Recorded a month after Outspan No 1, this album offers up four more sonic delights from the core trio of Brötzmann, Van Hove, and Bennink. Rarely has free jazz/Euro improv/circus music/[your identifier here] sounded so unfettered and delightful -- adventurous without seeming self-serious, silly yet not without gravity. A must for any fan of these three maestros.

For the celebration of the 50th anniversary of the legendary Machine Gun recordings at the Lila Eule in Bremen, Peter Brötzmann put together a trio with the Berlin pianist, composer Alexander von Schlippenbach and the percussionist Han Bennink, who already sat on the drums 50 years ago. They were so pleased with the music that they decided to release it and continue to play gigs as the trio. Machine Gun was originally recorded in May 1968 by an octet consisting of influential musicians of new jazz and improvised music. The LP was repressed on Cien Fuegos in 2018 (CF 020LP). --- Peter Brötzmann / tenor saxophone, b-flat clarinet, tarogato Alexander von Schlippenbach / piano Han Bennink / drums

Eugen Robinson - voiceNiko Wenner - guitar, pianoDan Adams - bassGreg Davis - drumsandPeter Brötzmann - saxophone At the Moers Festival 2018, OXBOW got together with Peter Brötzmann to deliver a memorable performance, bringing out the best of two legends in their very own genres while playing old and new Oxbow songs together. Mix: Bill Mims and Joe Chiccarelli, "The Finished Line" mixed by Ken Sluiter and Joe Chiccarelli Mastering: John Golden Artwork: Aaron Turner Photos: Rainer Holz

Renowned for her percussion genius, Limpe Fuchs surprises with a rare venture into her classical roots – the piano. Despite her extensive musical career, documented piano performances have been scarce until now. In this album she transcends time and expectation, diving into the instrument's essence. Her rhythmic finesse as a percussionist leaves an indelible mark on each keystroke. Join Fuchs on this intriguing late venture into the world of piano and savour every note on this unique and raw artistic encounter.

Among its many qualities, music relies on a special force: transcendence. When we listen, we are placed in a different reality, where sound is a vehicle for a much higher meaning. Naturally, not all music is capable of such a thing. But a few musicians clearly stand above as special – as soon as we hear them, we know that their music flows, floats and transcends. Dialogues and shadows, the second recording by the duo of Gonçalo Almeida and Pierre Bastien emanates a distinct and intriguing sound from the beginning, inducing our listening toward a world that goes way beyond a succession of notes and timbres. We hear it and it's there, this mysterious matter that touches us. We hear a dialogue, a connection, and a shadow of luminescent presence. Both musicians are based in Rotterdam, and they share an ethical common ground, with an endless list of collaborations, recordings and the same passion for a music that should always point in new directions. Throughout this recording, we are taken into a conversation where the listener plays a significant and active part. With constant changes in the mechanical instruments and a rich harmonic content of polyrhythmic counterpoint, the duo sets a base for subtle melodic phrases, that appear surprisingly from different sources – Bastien’s pocket trumpet, Almeida’s double bass, or their custom-made instruments and devices. As we listen, we move towards a personal fictional narrative, accompanied by these abstract sonic entities that guide us through the record. Their presence is highly visual too, as our imagination is immediately filled by Bastien’s instruments coming to life along with a multitude of strings played by erratic movements of the bows, almost like a tribal dance from a culture that never existed. In this strange and beautiful world, we are constantly surprised by the next element that will face us and transcend its physical projection, in an elegant invitation to the unknown. The unknown we seek constantly throughout all our lives. So, let the sound be the light that guides us in our shadows.

n 1981, Joe McPhee culled together one of his greatest bands to record Topology, his classic outing for Hat Hut. Feturing an expanded version of Po Music, his ensemble with saxophonist André Jaume, guitarist Raymond Boni, and bassist François Mechali, the group included pianist Irene Schweizer, percussionist Pierre Favre, baritone saxophonist Daniel Bourquin, cellist Michael Overhage, and trombonist Radu Malfatti. One of the tracks left on the cutting room floor was a spectacular take on Ornette Coleman's composition "Lonely Woman," with McPhee on pocket cornet and haunting vocals by Tamia. Thirty one years later, Corbett vs. Dempsey is proud to present The Loneliest Woman, the full, uncut, 13 glorious minutes of music, available on this CD single for the first time ever. As McPhee says: "The Loneliest Woman is lonely no more!" Recorded in Boswil, Switzerland, March 25, 1981.

Artistry was Sirone's first album as a leader, recorded in 1978, just after the split of the Revolutionary Ensemble. Artistry has an Atypical combination of instruments, bass, cello , flute and percussion and delivers aplenty. Listen and you will know. Sirone ( Norris Jones) had an enormously prolific career as a bassist, both as a member of the Revolutionary Ensemble and playing with many of the best musicians of the 20th century - from Pharoah Sanders, Albert Ayler, John Coltrane, Gato Barbieri, Noah Howard, William Parker, Cecil Taylor, Sun Ra, Sonny Sharrock,Marion Brown ... and the list goes on.

Malik King was an important part of the St Louis jazz scene of the 70's & 80's. He studied under Albert Ayler in NY in the early 70s before returning to the Midwest. He was a member of the Shirley Le Flore's ensemble "Free N' Concert". He also served as musical director of The Creative Arts & Expression Lab, The African Peoples Continuum, & The Black Arts Alliance, The worrier poets, The Human Arts Ensemble, as well as various Emerging Force Ensembles. Zimbabwe Nkenya (1953-2022), a creative artist and innovative musician, was brought up on army bases in the USA and Spain. He spent 30 years traveling and performing in New York, New Mexico, Arizona and St Louis. playing with a who's who of jazz. In New Mexico he became an integral part of the scene, producing and hosting the KUNM'S radio show "THE HOUSE THAT JAZZ BUILT" . Luckily Malik self released "Time & Condition" in 1982, capturing his work together with Qaiyim Shabazz. It's not just a crate diggers Holy Grail, but an important artistic and historic document of the St Louis scene. Time & Condition stands alone as a (very) individual, spiritual jazz classic. Maurice Malik King - Alto saxophone, voice, & small instruments Qaiyim Shabazz - Congas Drums Zimbabwe Nkenya - Bass Violin

Banned and jailed under Czech communism THE PLASTIC PEOPLE OF THE UNIVERSE are a true story of artistic perseverance, Authorities claimed their music would have a "negative social impact", and they were banned from playing for the public. having to play secret shows in remote locations.. they were founded in 1968, influenced by the velvet underground/beefheart and zappa.. but by the 1970s had developed there own sound. The raw diy sound of there recodings escaped to europe on tape and was released without the bands knowledge, there first album being a document of artistic defiance against the controlles of a stringenyt political environment they lived under.

In 1961 Sun Ra took off from Chicago – where he had established the Arkestra, his dedicated ensemble and the vehicle for his mission to better the planet – and with a scaled-down version of the band he landed in NewYork. Their first recording session was in Newark in October of that year. The Futuristic Sounds of Sun Ra, recorded for the Savoy label, is a beautiful document of the material they'd honed during a long residency at the Wonder Inn at the end of the Chicago period. Among tracks left in the vault from that day in the studio were these two great ballads sung by Ricky Murray, both of them redolent of the bright popcraft that had long been part of Ra's repertoire, with classic Afrofuturist themes of navigating outer space and altered destiny cloaked in sweet songs with tart arrangements. This 7-inch vinyl single is limited to 1000 copies, with full-color cover including a rare photo of the band with Ricky Murray. --- Released: Corbett vs Dempsey

Peter Brötzmann Chicago TentetUltraman vs. Alien Metron12 inch, one-sided LPCvsDLP002In the first years of its existence, starting in 1997, the Peter Brötzmann Chicago Tentet worked as a collective, inviting all and any of its participants to contribute compositions to the band's repertoire.  Eventually, the Tentet would jettison scores and pre-planned structures altogether, opting for free improvisation, but on their early tours and initial recordings they played pieces written by the various band members.  A marathon set of summer studio sessions in 2002, just off a U.S. tour, yielded material later featured on two CDs for Okka Disk, Images and Signs.  Of two Mars Williams compositions from the session, one was recorded but never issued...until now.  Featuring the original lineup of the band, which combined seven stellar Chicagoans – Williams, Ken Vandermark, Jeb Bishop, Fred Lonberg-Holm, Kent Kessler, Michael Zerang, and Hamid Drake – with Mats Gustafsson, Joe McPhee, and the band's namesake, the Peter Brötzmann Chicago Tentet was a sensationally versatile free music ensemble, capable of going into all sorts of unexpected territory.  The group sports a four-saxophone frontline, with twin trombones (McPhee is on valve trombone here), two strings, and a ferocious drum section featuring Zerang and Drake, who had already worked together intimately for more than 25 years at this point.  Recently rediscovered in his vaults by Williams, newly mixed by original engineer John McCortney, Ultraman vs. Alien Metron is a lost classic of improvised music by one of the premier improvised music bands of its era.  With preposterous juxtapositions of mood, from mostrous lurching heavy rock (underpinning the Japanese Godzilla-esque theme) to hard-swinging freebop and even an incredibly delicate, poignant ballad section, this feature-length track (18+ minutes) is chock full of rock 'em sock 'em goodness.  For the maiden vinyl voyage of Ultraman vs. Alien Metron, Corbett vs. Dempsey has prepared a special package, with artwork and design by Brötzmann.  The format is a one-sided LP, with music on the A-side and the B-side featuring a silkscreen of artwork by Brötzmann.  Peter Brötzmann Chicago Tentet Ultraman vs. Alien Metron (Mars Williams/18:25) Peter Brötzmann, tenor saxophoneMars Williams, tenor and soprano saxophonesKen Vandermark, baritone saxophoneMats Gustafsson, alto saxophoneJoe McPhee, valve tromboneJeb Bishop, tromboneFred Lonberg-Holm, celloKent Kessler, bassMichael Zerang, drumsHamid Drake, drums

Globe Unity is available on vinyl CvsDLP003 and CD CvsDCD091 In 1966, pianist Alexander von Schlippenbach assembled his first large ensemble to play his compositions “Globe Unity” and “Sun.” This 14-piece band, which brought together some of the leading figures in European improvised music, would eventually expand – incorporating not only Europeans but also American and Asian musicians – and assume its rightful name: Globe Unity Orchestra. In its nascent outing, beautifully recorded at Ariola Studio in Cologne, Schlippenbach’s band was already sensational, performing at various festivals and solidifying the reputations of some of its star players. Most notably among these was a 25-year-old saxophonist named Peter Brötzmann, whose whole band – saxophonist Kris Wanders, drummer Mani Neumeier, and bassist Peter Kowald, the latter of whom would for a period assume nominal leadership of Globe Unity – was incorporated into the large Schlippenbach group. Globe Unity was Brötzmann’s first outing on LP. Kowald’s too. And future drum heroes of the krautrock genre, Neumeier (with Guru Guru) and Jaki Liebezeit (with Can) constitute the incredible rhythm section. If you factor in German early-free-music mainstays Gunter Hampel (here on flute and bass clarinet, no vibes), trumpeter Manfred Schoof, bassist Buschi Niebergall, and tenor saxophonist Gerd Dudek, Dutch saxophonist and clarinetist Willem Breuker, French trumpeter Claude Deron, the enormity of the band’s potential becomes apparent. Add Schlippenbach himself, an absolute cyclone on the piano as well as prominent tubular bells and gong, and the global scene is set. Schlippenbach’s unique position at the time, as one of the foremost players in German free music, but also as a rising young composer who’d studied with Bernd Alois Zimmermann, allowed him to serve as exactly the right conduit for several approaches to creative music, from introducing his graphically notated scores to making a perfect context for the debuts of future star improvisors Brötzmann and Kowald.Schlippenbach’s Globe Unity was first issued on SABA in 1967, then MPS a couple of years after that. It has long been out of print and has only ever appeared on CD in a tiny Japanese version published in 1999. Corbett vs. Dempsey is reissuing this classic record in a special, strictly limited edition of 500 vinyl LPs and 1000 CDs, with a faithful facsimile of the original LP’s gatefold cover. The music was remastered from the original tapes and is licensed directly from MPS. Anyone interested in the history of improvised music needs to hear Globe Unity, which retains a sense of urgency 56 years after it was waxed. Track List: 1. Globe Unity 20’122. Sun 20’34 Musicians: Manfred Schoof Claude Deron Willi Lietzmann Peter Brötzmann Gerd Dudek Kris Wanders Willem Breuker Gunter Hampel Karlhanns Berger Buschi Niebergall Peter Kowald Jaki Liebzeit Mani Neumeier Aleaxander von Schlippenbach Produced by: Joachim E. Berendt Recording director: Willi Fruth Engineer: Gert Lemnitz Recorded December 6th and 7th, 1966 at Ariola Studio Cologne Cover painting: “C 12” by Henry Garde Photos: Uwe Oldenberg Cover design and layout: Gigi Berendt Compositions by Alexander von Schlippenbach

The artist record Call and Response brings together pieces created in connection with performances and exhibitions by Jimmy Robert, including a booklet wrapped around the record. These pieces provide insights into his collaborative practice in conjunction with his performances. The record is released following the exhibition la musique dans la chambre which took place in 2022 at Künstlerhaus Bremen. It addressed the question of how his performance works can continue to be shown apart from being performed again in exhibitions: How can one approach a performance work anew without re-staging it? The exhibition focused partcularly on sound and brought together videos, works on paper, as well as sculptural elements and sound created in the framework of his performances. Call and Response expands the exhibition and gathers sound pieces produced by Robert as well as by other artists—often in connection with Robert's works.Featuring Ain Bailey, Emma Hedditch, Jane Ellison, Rosa Barba, Jimmy Robert, Nadja Quante, Mason Leaver-Yap. Jimmy Robert (born 1975 in Guadeloupe, France) produces works on paper, photographs, collages, sculptures, videos and artist books. His artistic practice explores the points of contact between body and material, as well as the representations and material conditions of bodies.

Emerging incognito, with synthesizer and powerbook under arm, Mr. Socket takes an excursion into outer now-ness. Reveals a poet in the making, a tone poet, that is. Here's the essential info for all of you persistent code-crackers: Mr. Sockett plus synth and powerbook = melancholy electronics! The LP version available in hi-fidelity pink vinyl. Dig it!

Icelandic artist and musician Sigtryggur Berg Sigmarsson is known for his work with Stilluppsteypa, numerous solo albums and collaborations with other artists, such as Swedish composer BJ Nilsen. Into The Second Half takes the listener into a mysterious, yet calming sound world, where carefully composed textures weave hypnotically in and out of each other, as subtle as the changes of light in the forbidden zone in Andrej Tarkovsky’s Stalker.

Brunhild Ferrari returns to the scene with this new solo album. Extérieur Jour is comprised of two previously unreleased electroacoustic compositions – the first, a piece of cinéma pour l’oreille, a movie for the ears, and the second, a meditation on the loss and reappearance of memory and silence, recorded in various places across the globe over a period of 15 years.

nehan is a Japanese free improvisation/avant-garde rock quintet formed in 2022. Their performance is initiated by a 9HZ brain wave emitted from a testee who has been brought into a deep meditative state. nehan respond with gongs, typani, tabla and other percussion, crumhorn, bagpipes, oscillator and mellotron, passing tranformatively through a musical prism, from east to west, from traditional folk and classical to rock, jazz, and electronic.