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On Ride The Wind, Roscoe Mitchell scales up the chamber‑like intensity of his Conversations work, setting it inside a 20‑piece Montreal–Toronto ensemble that treats his textures as weather systems to move through, reshape and suddenly ignite.
On Signaling, Nick Mazzarella and Tomeka Reid compress a wide slice of Chicago’s creative music history into intimate alto–cello dialogues, tracing a clear line from Hemphill/Wadud’s 1970s duets to a present tense that feels urgent and newly carved.
On Silver Cornet, Bobby Bradford and Frode Gjerstad turn a one‑night Baltimore stop into a fiercely conversational blowout, their quartet with Ingebrigt Håker Flaten and Frank Rosaly mapping free jazz as living, mobile history.
On 6 Duos (Wesleyan) 2006, Anthony Braxton and John McDonough turn a teacher–student bond into a finely wired brass–reeds colloquy, shuttling between Braxton systems, McDonough themes, open improvisation and Sousa with disarming clarity and wit.
On Indian Summer, Eddie Johnson lets his late‑era Chicago tenor glow with undimmed warmth, spinning swing‑era lyricism and speech‑like nuance over a veteran quartet that treats time as something to lean into, not chase.
Recorded in Chicago in 1976, All Music catches Warne Marsh in lucid, late-middle form: a cool-toned tenor moving with dry wit and quiet daring through Tristano-school material, buoyed by Lou Levy, Fred Atwood and Jake Hanna’s alert swing.
On Snurdy McGur dy and Her Dancin’ Shoes, Roscoe Mitchell launches the Sound Ensemble with a volatile mix of abstraction and groove, folding AACM rigor into slyly funky frameworks that keep tilting from tight forms into open risk.
On their 1981 debut, NRG Ensemble, Hal Russell and his much younger bandmates detonate a joyous, combustible mix of free jazz, skewed swing and dada humour, turning multi-instrumental chaos into a sharply etched group identity.
On Generation, Hal Russell’s NRG Ensemble collides with Charles Tyler to turbo‑charge its already volatile chemistry, turning multi‑author charts into a raucous, shape‑shifting suite of free‑jazz blowouts, sly grooves and side‑eyed melody.
On Procession of the Great Ancestry, Wadada Leo Smith threads trumpet history and civil rights struggle into a lean, glowing suite where dedications to Davis, Gillespie, Little and Eldridge sit alongside blues testifying and a closing hymn for Martin Luther King Jr.
On Circumstantial, Ira Sullivan returns to Chicago after fourteen years away, sounding both relaxed and razor‑sharp as he trades easy, hard‑won wisdom with a seasoned hometown rhythm section and a fiery young guitarist at his side.
Opening with the 18+ minute track of the same name, Archie Shepp’s ‘The Magic of Ju-Ju’ takes on a fevered pace as the centrepiece of this date from 1968. Shepp lets loose from the beginning as he’s joined by Beaver Harris, Norman Connor, Ed Blackwell, Frank Charles and Dennis Charles, all on percussion. The initial pace never dissipates throughout the title-track’s run. The additional tracks on Magic of Ju-Ju are a departure from the first, sitting more in a traditional realm. The album is a va…
*2024 stock* “Between stood and still stands for the simultaneity of things that are really mutually exclusive” (Peter Michael Hamel, 2005). “Originally we wanted to call the project B.A.C.H.,” Peter Michael Hamel re-calls, when, in 1970, they were looking for the most unusual name possible for a extremely unusual formation. “Naturally we chose in it in part in allusion to the immortal baroque composer of that name, but above all the letters stood for “Between All Chairs.” That’s exactly how we …
*2022 stock* The Polish composer Krzysztof Penderecki used to write chamber music even as a student in Krakow. He was writing the chamber music works for himself, then already an accomplished violinist, and his fellow students (The title "Sonata for Violin and Piano" from 1953 has only recently been published.). A specialty of these early works are Penderecki's inventions with which he altered the sound of the stringed instruments, indeed almost to the point of being completely unrecognizable. W…
*2022 stock* These pieces (mostly recorded within a couple years of Ligeti writing them) are superb in that unsettling way of most of Ligeti's music. The "Kammerkonzert" is amazing - one of the best things I've heard of his. It's great to hear the harpsichord and Hammond organ in this context and unique in modern music. The uniqueness is really just Ligeti's style and the instruments don't matter so much, whether it's the giant orchestra used for "Atmospheres" or the choral effects in the most f…
In modern experimental music, and especially among a number of musician-composers emerging in America during the Sixties, a fixation on process and awareness became a structural hallmark, exploring the gradual change of sonic materials, built environments, and the human body. Though much maligned as a term by its practitioners, figures like Steve Reich, La Monte Young, Philip Glass, and Terry Riley were among these 'minimal' composers; askew of them were electroacoustic explorers like Alvin Luci…
This recording is the product of a remarkable intercultural musical experiment. It contains five strikingly varied works, each one the fruit of musical cross-pollination between America and the island of Bali. The three American composers represented here-Evan Ziporyn, Michael Tenzer and Wayne Vitale, along with their peers in the Sekar Jaya ensemble-have, since 1979, devoted an extraordinary amount of effort, intelligence, and talent to the study and performance of traditional Balinese music. T…
Important reissue of two historic minimalist albums, originally released on LP via the Advance label and out of print for decades now. Mastered from original tapes according to the composers original specifications. Packaged with informative liner notes by Kyle Gann, including an overview discography for seminal works within the field of minimalism. This timely CD reissue combines two LPs from the Advance label-Richard Maxfield’s Electronic Music and Harold Budd’s The Oak of the Golden Dreams-bo…
This album, by virtue of its initial founder characteristic from 1981, shows this concern about participating to the interaction of the energy of the future, to the reciprocal mediation linked to the productive activity of the world. Like Vivenza will say: « By working and through the strengths of work, in the sonorous magma of the industrial society, at the heart of the forges and weirs, of the rolling mills and power stations, reactors and artificial intelligence, nature reveals its dynamic ch…