Jazz /
Flauto Dolphy
"The very first idea that came to my mind was, obviously, to record an album with my own music only. Soon enough I abandoned this idea having realized that a wider context, some clash, would work better. Even more importantly, it should be emphasized that the place of this instrument is here, amongst others. Alone, but simultaneously surrounded by a full orchestra of references and contexts.Therefore, it was my intention to turn to an artist who combines the two fascinations - different varietie…
CSW 14_03_2015
2016 release ** Established in 2013 and currently having over 50 floating members, the Warsaw Improvisers Orchestra acts as a resource for musicians to meet and work in a large improvising ensemble, or in smaller units within a larger context. Spontaneous music making is our remit, but on occasion, scores both regular and graphic may be used as well as visual cues presented by visual artists. The orchestra is a chance for people to develop a deeper understanding of the relationship of sound and…
African Bass, Solo Concert: Willisau Jazz Festival 1978
Lifeblood of the cultural diaspora of Apartheid, Dyani left South Africa with the Blue Notes in 1964. His amazing discography includes crucial collaborations with Don Cherry, Steve Lacy, Dollar Brand, the Brotherhood Of Breath and Derek Bailey.Here he is performing solo at a jazz festival in Switzerland in 1978, testing the compositions which would comprise his monumental LP African Bass, out two years later. Double bass, gongs, piano and singing. Knockabout, mystical roots — spell-binding and e…
Spontaneous 1971
Edition of 300 copies, newly remastered for optimal sound.The meeting of Masahiko Sato with Albert Mangelsdorff in a recording studio was planned in summer ‘71. Sato, Japan’s leading pianist, had recorded with Wolfgang Dauner, Attila Zoller, Jean-Luc Ponty, Gary Peacock and Charles Mingus. He wanted to play on a record with Albert Mangelsdorff and as both were invited for the Berlin Jazz Festival 1971 there was a good opportunity to record them there. This – first released as an original ENJA pr…
Good Cop Bad Cop
Recorded in Liverpool back in 2003, this improvised performance unites two of the UK's foremost improv exponents (Tony Bevan and Paul Hession) with two pioneers of modern free music, the multi-talented guitarist, turntablist and noise artist Otomo Yoshihide and the late, great Derek Bailey.The performance shuffles into first gear during the speculative, tentative first throes of "No Hiding Place/Softly Softly", establishing a ruthlessly abstract sound world from the outset, only to tighten up sl…
Royal
2018 small repress. Honest Jon's Records present a reissue of Derek Bailey and Anthony Braxton's Royal, expanded to include both intended volumes. Volume 1 was originally released in 1984; the second volume was never issued. The second release in a series of collaborations between Honest Jon's Records and Incus: three double-LPs of the legendary free-improvising guitarist Derek Bailey, solo (HJR 200LP) and in duos with Anthony Braxton and Han Bennink (HJR 202LP), augmenting the original releases…
Stamps
Corbett Vs. Dempsey present a reissue of Steve Lacy's Stamps, originally released in 1979 as a double-LP on Hat Hut. Stamps was Steve Lacy's first for the legendary Swiss label, and it remains one of the strongest statements of what he termed the "scratchy seventies". With the classic lineup of Lacy's soprano saxophone, Steve Potts on soprano and alto sax, Irene Aebi on cello (and singing on one track), Kent Carter on bass, and Oliver Johnson on drums, the recording catches the band live, perfor…
The Dull Blade
"More than a decade since their first (and last) trio album, Dim Bulb (2005), 'Buffalo Steve,' Chris Corsano and Paul Flaherty are back on the attack. The three recorded as part of a larger ensemble on the Open Mouth LP, Wrong Number
(2014), but they have a certain way of creating focused trio dynamics
that makes babies talk in tongues and old men drool. The line-up is a
bit unorthodox -- two saxes (one a goddamn baritone) and drums. You
might almost be tempted to call the format European. B…
Rats Don't Eat Synthesizers
Annihaya present Rats Don't Eat Synthesizers, the long-awaited second album by The Dwarfs Of East Agouza. Hailing from the Agouza district of Cairo, Egypt, this brilliant trio consists of Alan Bishop (acoustic bass, alto sax), Maurice Louca (keyboards, drum machine), and Sam Shalabi (electric guitar). Following their acclaimed first album Bes (NAWA 005CD, 2016), this new full-length is composed of two hypnotic journeys: "Rats Don't Eat Synthesizers" and "Ringa Mask Koshary" which were recorded i…
Live at the Bracknell Jazz Festival
Small repress available, in process of stocking. The mid 80s were a pivotal period for Don Cherry. Much of his energies had been devoted to co-op projects like Codona and Old and New Dreams and he also helped jumpstart the Leaders. The time being ripe to form his own ensemble, Cherry created Nu, a quintet with saxophonist/flutist Carlos Ward, bassist Mark Helias, percussionist Nana Vasconcelos and drummer Ed Blackwell. Live at the Bracknell Jazz Festival, 1986 confirms Nu to be an ensemble that …
Last Date 8. 28, 1978
Late great alto screamer Kaoru Abe is the lost wild legend of '70s Japanese free jazz. This was the very last recordings he has leftIn the short space of his tempestuous life, he burnt a path which has served as a map for a whole generation of Japanese artists to follow who would call themselves 'free' in any sense of the word whatsoever. Though he performed live frequently in his day, his releases were sporadic, many of them emerging after his untimely death in 1978, and on a string of Japanese…
Klinker
Factory pressed double CD in printed triple panel Ekopack cardboard sleeve. Derek Bailey : guitar. Simon H. Fell : double bass. Will Gaines : tap dance. Mark Wastell : violoncello. Recorded live at The Klinker, London on Thursday 24th August 2000. Compèred by Matt Scott. Original DAT recording by Tim Fletcher.Mixed and mastered by Simon H. Fell. Produced by Mark Wastell. One of the special qualities of improvisation is the array of responses musicians and performers have to the environment …
Live at Cafe Amores
Edition of 300. Kang Tae Hwan plays alto sax with a rawness that's usually reserved for the tenor – a fantastic sound that really comes through beautifully here in this solo set of improvisations! The material was recorded around the same time as Kang's brilliant (and few) recordings for the Japanese market – and the long-overdue presentation of this performance comes as a much-needed accompaniment to his small catalog – the kind of record that boldly, brilliantly documents a completely unique t…
Oh My, Those Boys!
Edition of 300. Brilliant work from these two very inventive bassists – the legendary Barre Phillips, working on acoustic bass – and Motoharu Yoshizawa, playing an unusual homemade electric vertical 5-string bass! The combination of instruments is beautiful – and with one electric, and one acoustic, you can really separate the voice of each player – even though both Phillips and Yoshizawa resonate strongly together, and really have a complimentary sense of improvisation – a beautiful combination…
Pleasures of the Horror
Bisou Records asked Eugene Chadbourne to do an album for children and he proposed an album about horror movies and monsters. Some references are obvious, like “The Thing”, “Blacky Lagoony”, etc., and some are about strange characters, like “Vampire Tiger Girl”, and some are covers (Sam And The Shams, Shockabilly). It’s probably the best recorded album of Eugene Chadbourne. Eugene met Steve Beresford and Alex Ward in London at Eastcote Studios (where Adele, Duran Duran, Aswad, Tindersticks…
Thirsty Ears
Jaap Blonk (born 1953, Woerden) is a Dutch avant-garde composer and soundpoet. He is primarily self-taught, both as a sound artist and as a visual/stage performer. One of his early influences was Kurt Schwitters, whose Ursonate he first heard in 1979; he memorized the entire work, and it became one of the cornerstones of his repertory; he has recited portions of the piece hundreds of times in various public places. His performances of sound poetry are unique and world renowned, making use…
Live at Bennington College, 1969
**ltd/numbered 1/30, one-sided picture disk** extract ! historical doc/ensemble with Arthur Doyle at the fiercest !
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“Music to me [is] the universal language, the universal way of communicating.” For Arthur Doyle, saxophonist, flautist and vocalist, music was the life force, and Doyle’s dedication to the music had him playing fast and free jazz for most of his life. “That was my first love,” he once said to Patrick Marley, in an interview from Muckraker: “playing free and spontaneous.” Born on …
Arthur Doyle Trio
**ltd/numbered 1/50, with paste-on cover** unique formation/one of a kind Doyle LP with one long track each side, deep spiritual dimension
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“Music to me [is] the universal language, the universal way of communicating.” For Arthur Doyle, saxophonist, flautist and vocalist, music was the life force, and Doyle’s dedication to the music had him playing fast and free jazz for most of his life. “That was my first love,” he once said to Patrick Marley, in an interview from Muckraker: “playing free and…
Live 1980
**ltd/numbered 1/50, with paste-on cover** Three long tracks, amazing/perfect duo (they'd have played a lot together, real tight/know each other real well); both musicians are still very very underrated ?! fantastic solos by Mr. Reid. Recorded at the New England Repertory Theatre; Feb. 25 1980
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One of the unsung baritonists in jazz, Charles Tyler had a huge tone on his instrument and played with a great deal of fire, usually in fairly free settings. After studying piano growing up in Indianapol…
Fresh From The Ruins
Dog Life explores free improvised music on a high-energetic plateau, descending from the outskirts of free jazz, and further towards a harder, darker and undefined terrain. Their debut album was critically acclaimed in Europe as well as in the US. On their new album Fresh From the Ruins, Doglife continue to push the freejazz-punk limits and sets out new directions with elements of doom and noise.