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*Hand-numbered edition of 300. Digipak in resealable poly-bag* "Tenor saxophonist Gerrit Hatcher's latest solo recording – I believe it's his third solo document - is also the first title available from his new label, Kettle Hole. While he oversees a fairly prolific output, he's not into overkill. The CD's total time is under 30 minutes & it is limited to 300 numbered copies. Time is tight; copies are limited. Nothing is wasted. Economical and sharp." - The Free Jazz Collective
This is the sequential classic of Freddie Hubbard‘s catalog. Bandmates on this musical journey are Herbie Hancock on Fender Rhodes, Ron Carter on electric & acoustic bass, Lenny White on drums & Joe Henderson on tenor sax & alto flute. ‘Red Clay’ is accessible, grooving and one of the first fusions of R&B & Funk with Post-Bop. “Red Clay” sprung from his memories of his childhood in Indianapolis, noting that many of the neighborhood’s residents had come from the deep South, and he wanted the tune…
After the very well received, both by the audience and critics, debut album Repetitions (Letters to Krzysztof Komeda), focusing on the lesser-known works of the legendary Polish composer, the Wrocław-based EABS decided to further expand this lead and released two more vinyl records, "live" and "on tape", which crowned the "Komeda triptych". The astounding reception of the band's debut whet listeners' appetite for completely new recordings. It took 2 years for the new album to materialise, this t…
*2025 stock* Setting the stage for The Zebra Paradox requires building anticipation and intrigue on the inside of the listener before they even hear the first notes. To accomplish this an imagined transference of information must bloom like a deep inhalation of sonic spores. If categories can be applied to explore how concepts are played out in this music and throughout the album, perhaps think of displacement, confusion, time distortion and derangement. Otherwise the listener might choose to tr…
*2025 stock* This acoustic piano-drums collaboration can be transformed through electronics into a hybrid spatial continuum creating a frictional, nervous symbiosis filled with jolts but also with abrasive and/or restrained fluidity.
After an initial meeting within the N-Ensemble project initiated as a Carte Blanche from the AMR jazz club in Geneva by Nicolas Field in March 2018, Valerio Tricoli (IT, tape Recorder Revox) , Nicolas Field (drums, UK/CH) and Thomas Florin (piano, CH) wanted to deve…
The Equinox is PainKiller's much anticipated sequel to their critically praised 2024 album Samsara, and it has a more varied and adaptable style than their previous work.
If it can be said of someone that he is more than a musician, more than an improviser, more than an artist then it can certainly be said of Slovenian drummer Zlatko Kaucic. Zlatko is a good spirit, he is a man who not only goes down in musical history as a partner of the greatest artists of improvised music, but also as a good spirit. As someone who, when he plays and when he enters a room, the world becomes brighter, wiser and arranged as it should be. This year Zlatko Kaucic turned 70 and his …
The ultimate cosmic music has arrived! Prepare to be gently led into an invigorating electronic dreamscape by a skillfully creative partnership. Despite collaborating since 2016, Endless Season is the first duo album from 577 Records Co-Creator (and legendary maestro), Daniel Carter, and rising tenor saxist Ayumi Ishito. Originally recorded as an acoustic set, the plan changed when Carter encouraged Ishito to explore audio production. Before they knew it, she had shaped beats and sounds that per…
"Furthered" is the new album by Alex Ward Item 4. The quartet's music is the fullest realization of Ward's long-standing desire to create a context where his compositional concerns can coexist with improvisation of the most unfettered stripe. Given a line-up which would be perfectly capable of creating compelling music without recourse to pre-written elements at all, Ward's compositions aim to function as another "personality" within the overall mix, subject to the same spontaneous interrogation…
This is the debut album of a group dedicated to the invisible world. Some people operate invisibly by choice, some are invisible because of the nature of events in their life, some remain invisible and unknown against their will.
Norwegian guitarist Stian Larsen joins London-based musicians Colin Webster (alto sax), Andrew Lisle (drums), and Ruth Goller (bass) for an exciting collision of energetic free jazz, post-rock and noise that is dynamic, playful and hard-hitting.
These duets exemplify a compelling musical interplay, characterized by symmetrical encounters and an organic, intuitive dialogue that seamlessly weaves together elements of core improvisation, contemporary classical influences, and jazzy choruses, resulting in a rich tapestry of sound that is captivating in its spontaneity and depth.Alexandra Grimal: tenor and soprano saxophonesGiovanni Di Domenico: acoustic grand pianos, celesta, pipe organ
After a wonderful concert at the Elastic Arts Foundation, Chicago, the ES Trio (Kwan/Zerang/Steyer), decided to record their music to document this inspiring collaboration. In their trio work they focused on sound oriented pieces, that were nurtured by the individual approaches to their instruments. The duo works of Zerang and Steyer also reflect the work of Steyer concerning instrumental ornamentation, that is inspired by the multi-ethnic, mostly near eastern sounds of the streets in Berlin.
"This, it seems to me, is the great strength of Sophie Lüssi’s music here on Atlantic Puffin. It is clearly skilled and doesn't deal in casual approximations. It is built on solid technique, a brilliant appropriation of classical violin methods in the interests of improvisation. But her music, which draws on folk as well as canonical forms, is one that emanates from and addresses the whole person. It's generous music, kindly and open, and in its gentle humour it engages a part of the spirit that…
Elisabeth Harnik, an Austrian based pianist and composer has created a multi-faceted body of work by blurring genre boundaries through various collaborations in the field of improvised music, interdisciplinary projects and contemporary compositional works. She studied classical piano and later – with Beat Furrer – composition at the University of Music and Performing Arts, Graz. As an improviser she works within an electro-acoustic inspired sound-world, using specific preparations and extended t…
"In the quartet on this album, Paul Dunmall has returned to his first love: totally free improvisation based on interaction between the four players. Many aspects of Paul Dunmall’s playing are apparent on this album. His approach is to listen very carefully to what is happening around him and to react to it. If you see him play live, you will see how he concentrates on the flow of the music, often stepping back and allowing the music to develop before choosing the right moment to enter or re-ent…
2024 Stock. Minor signs of wear from long-time storage. ** "On this set recorded live at the Knitting Factory, George Cartwright (switching between various saxophones) and clarinetist Michael Lytle battle it out on three lengthy free improvisations."
2024 Stock. Minor signs of wear from long-time storage. ** "A White Line is, in many ways, Austrian composer, arranger, flugelhorn player, and bandleader Franz Koglmann's most controversial work because in it, he dares to use race as a compositional element. His is not merely a cultural dissension but a musical one. A White Line is Koglmann's salute to the white lineage in jazz, from Bix Beiderbecke through to Chet Baker, and including perhaps even one of his guests on this recording: pianist an…
2024 Stock. Minor signs of wear from long-time storage. ** "This duet performance between improvisational soprano saxophone wizard Evan Parker and Tuvan jazz and new music vocalist Sainkho Namtchylak was recorded live in 1996 at the Toronto Music Gallery. It was not the first time they had played together, though it was the first as a duo. The recording is aptly titled, not because the music is spaced out, but because it appears beyond the scope and breadth of human language to encompass, let al…