Back in stock
Testament: A Conduction Collection - Conduction 50
1995 release ** P3 Art and Environment - Tokyo, Japan; March 5, 1995Asuka Kaneko, electric violin; Kim Dae Hwan, percussion; Haruna Miyake, piano; Shonosuke Okura, o-tuzumi; Hikaru Sawai, koto; Yumiko Tanaka, gidayu; Yoshihide Otomo, turntables; Michihiro Satoh, tugaru-syamisen; Tomomi Adachi, voice; Keizo Mizoiri, bass; Motoharu Yoshizawa, electric bass; Ayuo Takahashi, zhengConducting is no longer a mere method for an interpretation, but an actual part of the process of composition. Conduction…
Ear Wash
2003 release ** "Crazy free noise, controlled chaos & vocals in usual Sudden Infant's Childish-Industrial style."
Apokalypsis XXIII
2011 release ** "In August 2010, Maurizio Bianchi officially announced his retirement from musical scene. "Apokalypsis XXIII" is his last ever electronic music album, recorded in Summer of 2010. All the latest albums appeared after that are in fact re-issues of older works or the collaborations with other artists using his sound sources. Like other solo albums of Maurizio Bianchi, "Apokalypsis XXIII" has religious roots and consists of four long tracks, each of those divided into further section…
About (or On), First Visit
"A standard takes on a new shape when it is realized through Trio New York’s methods. Their improvised preludes promote refreshed readings studded with bright accents and pungent embellishments, reinforcing the qualities that have enabled these tunes to endure, be it the sweet sentimentality of “Memories of You” or the devil-may-care of “Just One of Those Things.” By embracing the tenets of free improvisation – experimentation, discovery, and, on a good night, elucidation – Trio New York has tra…
In The Shadow
Joe Maneri’s last Microtonal recordings from the year 2002. These are not typically arranged songs, but asymmetrical, asynchronous constructs that develop from simultaneous, complimentary but peripheral gestures of the mind and heart. The harmonic contrasts that result from Joe Maneri’s breathy microtones; the fixed pitches, inclining towards atonality, of Tyson Rogers’ piano; and Jacob Braverman’s ambiguously scored percussion color their contrapuntal angles and parallel lines. Layers of energy…
Introducing A Very Heavy Person, First Visit
First visit to the audio equivalent of a graphic novel.
Die Unwucht
Big Tip! As poets from Shakespeare to Heine have recognised, “the forest” is not just about grandeur and most expansive of gestures; it is also about intimacy and there is a remarkable intimacy to Christopher Kunz’s and Florian Fischer’s music. The forest is both inhuman, wild, and, because it houses us and to a degree depends on us, profoundly humane. You’ll find these qualities here as well. Focus, breathe and listen. (Brian Morton)
Luigi Nono w/ Ludwig van Beethoven, First Visit
The relationship between Ludwig van Beethoven’s "op. 132 string quartet" and Luigi Nono’s "Fragmente – Stille, an Diotima" spans 155 years while sharing several conceptual dimensions – among them, their respective composers’ intense idealism in the pursuit of art as a transformational, unifying experience; their utopian visions of political and social justice; and the struggle to translate a profound personal expression into a consequential public reality. - Art Lange
Cecil Taylor Unit, Live At Fat Tuesday's February 10, 1980 First Visit
"This, the third release from the sequence of remarkable performances by Cecil Taylor’s Unit recorded at Fat. Tuesday’s in New York from 8-10 February 1980 (the previous two are It Is In the Brewing Luminous [Hat Hut], and Live At Fat Tuesday’s, February 9, 1980 [ezz-thetics 101]), is a further illumination of the transformational premise which conceptualized and catalyzed Taylor’s music, from creative impulse to spiritual and self-defining fulfillment." – Art Lange
Live Lugano 1984, First Visit
"The special qualities of this music emerge from the focus on Lacy’s soprano saxophone in this unique instrumentation; the transparency and intimacy of the bass and guitar create a nuanced background set against the variety of improvisational strategies." - Art Lange"The removal of two recorded compositions and the editing here is based on notes originally written by Steve Lacy on the cassette he sent me to listen to and evaluate the music for release. I acquired the original recording in 1985 f…
Prophecy Live, First visit
First visit live offers new mastering of the trio’s first performance at the cellar cafe, New York City 1964.
At Sotto Il Mare, First Visit
"No music making can be entirely non-idiomatic. Removing the metaphor, the claim is that it is characterless, without personality. But despite his best intentions, perhaps, one can hear a range of influences in Bailey’s own work – even if jazz isn't one of them. And the present album shows that "non-idiomatic" is the wrong description for much free improvisation. The common description "abstract" is also misleading. All music is abstract in form, humane in utterance." – Andy Hamilton
1964 Recordings
"A long life can contain a certain amount of waste. Live long enough and posterity doesn’t notice the occasional unproductive gap. A short life adds value to every moment and every creative act. This new issue of Albert Ayler’s brief association with Don Cherry includes further material from their time in Copenhagen, a period when the saxophonist daily reinvented the themes that were coursing through his mind, breath and fingers. These are not a collector’s fetishes. These are fresh document…
Kon.Takte
"Kontakte makes contacts between acoustic instrumental sounds and electronic music, its multidimensionality and its invitation to time travel, all promised a future in which humanity might transcend the limitations of material reality. In Spiegelung and Geschichte der Gewalt the electronic sounds emerge as transformations of this reality." – Christopher Fox
Solo Bern 1984, First Visit
"In its entirety, the concert is lively and penetrating evidence of Braxton’s remarkable facility, powers of invention, and commitment to his principles at this point in time, with special emphasis on saxophone techniques energizing variables of tone color, texture, and timbre to affect separate phrases, extended lines, and sectional contrasts." – Art Lange
Producer’s note: "I experienced over many years Anthony Braxton different performances. His solo performance 1984 in Bern belongs into the …
Live at Jazz Festival Willisau 2023, First Visit
“We are in the business of transformation, applying our knowledge of improvising together for twenty-five years, interwoven with our resonance with these melodies and forms. We have found our collective way with honouring what these pieces express to us, through our personal language, comments Gerry Hemingway.” He agrees that there's a concept of authenticity”. “The feeling of swing is our own, but shaped by the pieces we are playing”. Authenticity is acquired through assimilating traditions, an…
Live At Fat Tuesday's, February 9, 1980 First Visit
First visit archive offers previously unreleased recordings of historic and musical importance. "When, in this music, he succeeds in fusing the emotional (translated into its lyrical and dramatic qualities) pas- sage of ritual with the complex architecture of his ensemble’s infrastructural procedures, we have a bridge into Cecil Taylor’s creative spirit, and far beyond." - Art Lange
"I was present at the recordings, sitting in the recording truck in front of Fat Tuesday’s in NYC. The recording w…
Thelonious Monk With Sonny Rollins 1953 To 1957 (Revisited)
Though they may not have recorded together until 1953, when Rollins was 23 years old, Sonny was introduced to Monk while a senior in high school, already part of a cadre of young neighborhood jazz neophytes. Monk became a mentor to them, offering home-based instruction on the new possibilities restructuring bop harmonies and rhythms, or as Rollins later put it, “the geometry of musical time and space.” - Art Lange
Our Thing To In ’N Out
Joe Henderson Our Thing To In ’N Out Revisited notes: The Blue Note label in the early and mid 1960s was a haven for musicians engaged in the process of expanding the jazz vocabulary with unconventional harmonic strategies and new compositional infrastructures that elicited equally exploratory improvisational responses. And it was an ongoing process, benefiting from the sporadic, albeit calculated, interaction of different perspectives and methods of creative inspiration. Established or working g…
Floater & Syndrome - The Upright Piano Sessions, Revisited
"It was once said of Paul Bley that he was the only pianist who could make a concert grand sound like an
upright. While that is not literally true, or only partly so, it makes a point that strikes home on these often
strange, offbeat, otherworldly tracks. It is a quality preserved by Michael Brändli’s typically sensitive sonic
Paul Bley-upright piano
Steve Swallow-double bass
Pete LaRoca-drums
restoration, which increases the probability of rapture. Enjoy." – Chris May