MICHAEL GREGORY JACKSON‘FREQUENCY EQUILIBRIUM KOAN’ EXPANDED!DOUBLE VINYL LP & CD + 2 UNRELEASED TRACKS FROM NEW SUPERIOR SOURCE Michael Gregory Jackson released "FREQUENCY EQUILIBRIUM KOAN" as a 4 track digital release in 2021. We got in contact with him to make an LP copy, as historic loft jazz recordings like this don't crop up every day, and this recording with Julius Hemphill, Abdul Wadud and Pheeroan aKLaff deserves physical form.To make it even more irresistable a project, Michael said he had 2 more tracks from the same session that we could add to the collection, making this our first Moved-by-Sound double vinyl release, and our first record that's not a reissue. The LP is limited to just 500 copies. Michael has signed the photo print insert of the first 100 orders. "These guys are all heroes of mine. I’ve learned so much (still learning) from all of them. To hear them all together like this is a real gift. What a combo! I can’t believe this happened more than 40 years ago. It sounds like the future. I’m so thankful the tape was running to document this extraordinary moment.” - Bill Frisell "FREQUENCY EQUILIBRIUM KOAN"Frequency • the rate at which a vibration occurs that constitutes a wave, either in a material (as in sound waves), or in an electromagnetic field (as in radio waves and light).Equilibrium • a state in which opposing forces or influences are balanced: a calm state of mind.Koan • a paradoxical anecdote or riddle, used in Zen Buddhism to demonstrate the inadequacy of logical reasoning and to provoke enlightenment.Many, many, years ago in a once enchanted place they called The Big Apple, New York City, on the Lower East Side, a scene congealed, a significant cultural revolution/renaissance was happening…it was later to be labeled “The Loft Jazz Scene”.This period was a magical time in my young impressionable life, I was 23 years old, I dove straight into the deepness. This scene was vibrant, encompassing, ebullient, original and incendiary. We all did our own thing, separately and together, contained and motivated, fully immersed in the richly encompassing comfort of our ancestral connections.Musicians, artists, poets, playwrights, actors, investors, galleries, clubs, museums and institutions of higher learning were mostly in cooperation…to showcase and revel at the torrents of music created and played on the Lower East Side, and beyond…reaching out to impact a vast world, to appreciative audiences of adventurous listeners.I was playing and collaborating with musicians that could only be described as autonomous islands of individuality, with whom l connected on potent, spiritual frequencies, and deep aura communing. We shared our ideas, experimentations, and voyages in the most personal of ways.I don’t recall the exact moment that I met Julius, but I do remember being immediately struck by his keenly intelligent, deliberate manner, by the low warm leisurely cadence of his voice, and by his wide, knowing, infectious and mischievous smile. Julius was one my favorite people, a master musician, a pioneer of sound, an innovator and magisterial composer. I was honored to have him play my music…to share ethereal air with him. His contributions were always blazing, heartfelt and breath taking. Rest In Peace Sir Julius.I met Cellist Abdul Wadud around the same period, I didn’t get to know him very well personally, but our connection in the music was strong. Simply put, Abdul is a genius, a man and musician of deep intensity, integrity, fire, knowledge, experience and wisdom. His incredible playing knocked me out, it brought me great joy every time we played together.I met drummer Pheeroan aKLaff at the La Mama Theatre in Alphabet City, not sure what year. Pheeroan was always there, a constant presence at our shows. I was playing a lot with the great master, saxophonist and composer Oliver Lake. Once we heard Pheeroan play it was clear, we knew, aKLaff would be the perfect drummer for our music.“Frequency Equilibrium Koan” is one of my personal documentations of that scene. These pieces were some of the many long form compositions that I was writing and performing at that time. F.E.K. was recorded live at the late great singer Joe Lee Wilson’s venue The Ladies Fort in 1977 on my trusty Sony field recording cassette machine. a stamp of time passed, in music that is wholly present.- Michael Gregory Jackson (2021 ) Michael Gregory Jackson- Electric guitar, acoustic guitar body percussion, chimes, bamboo flutes, recording, post production, digital editing & compostion.Julius Hemphill - Alto SaxophoneAbdul Wadud - Cello Pheeroan aKLaff - Drums

First Official Reissue of Conspiracy. NOT TO BE MISSED!! (due to a slight delay at the pressing plant, this release has been put back to the end of July) Jeanne Lee (1939-2000) was an African-American vocalist, poet, composer, improvisor, activist and educator. In her 40 year career she performed with Archie Shep, Marion Brown, Gunter Hampel, Frank Lowe, William Parker, Andrew Cyrille, Anthony Braxton, Ran Blake, Billy Bang, Cecil Taylor, John Cage, Rashsaan Roland Kirk, Pauline Oliveros, Reggie Workman, and many others. "jazz is a music that combines so many opposites...you have to fined that balance, then you have a guideline between freedom and discipline, between rhythm and melody, between body and spirit, between mind and instinct" (Jeanne Lee) This is the first official reissue of "Conspiracy" since its limited release in 1975, it was her first record under her own name as a solo artist. It is a true lost gem, with a unique and beautiful sound. Musician Elaine Mitchener describes "Conspiracy" as "one of greatest free-form albums of the1970s". "i feel the music like a dance, I think it's an important part of the music, it has to be felt like a dance" (Jeanne Lee) --- Jeanne Lee - vocal Gunter Hampel - flute, piano, vibraphone, alto clarinet, bass clarinet Sam Rivers - soprano saxophone, tenor saxophone, flute Steve McCall - drums Alan Praskin - clarinet Perry Robinson - clarinet Jack Gregg - Bass Mark Whitecage - alto clarinet Marty Cook -trombone Recorded in New York, 1974 Originally released in 1975 on "Seeds records" and Jeanne Lee's own "Earth-forms records"

"Long-time collaborators and iconoclastic improvisers, drummer Eddie Prévost and saxophonist John Butcher, met at All Hallows Church, in High Laver, Essex in 2023, using the natural ambience of the space to capture these three improvisations, Prévost playing primarily on a drum kit and both in a more jazz-oriented sax and drum duo, extended by both players' exceptional technique." All the music played one afternoon in All Hallow's Church, High Laver, Essex 2nd June 2023. Recorded by Daniel Blumberg. Edited and mixed by John Butcher. Mastered by Rupert Clervaux.  Design by Myah Chun Grierson

Track 3 includes music by MorgellonsTrack 1 samples 'Stand up for Judas' by Leon RosselsonTrack 7 samples 'Aliezer Coppe' by Leon RosselsonWords and voice on Track 6 by Ash ReidSome guitar and recorders on Track 1 by Gwena HarmanRecorded, mixed and produced by The SprigsAdditional recoding and production by Lou PenningtonMastered by James DunnCut by Mischa van der HeidenArtwork by Ben Victor WaggettLayout by The SprigsLP's screen printed by Oscar ReynoldsPressed by Press On in MiddlesbroughSome track titles taken from the following books - 'Wind in the Willows', 'The Pub and The People' and 'Where are the Elephants?'Inspired by Kenneth Grahame's 'Wind in the Willows'The Sprigs is: Rory S, Ben M and V.WEverything seems asleep, and yet going all the time. In the cold damp earth below, Mole, Ratty and Badger are working away on new homes for Mole's uninvited guests. But Ratty picks up on terrible whispers from the Wild Wood Inn. Developers are making plans in the field above...and the landlords are up to no good... "Essential listening FFO Time Is Away, Jon Collin or the 'Bagpuss' soundtrack, The Sprigs, confront cutesy British folk nostalgia on 'For Red Riverbank', using 'The Wind in the Willows' references, sobering newsreel snippets and straight-to-tape acoustic jams to develop a faded image of labour inequality."

Adam Bohman / amplified objects and stringsSue Lynch / tenor sax, clarinet, fluteCrystabel Efemena Riley / drums, metallics --- Recorded and mixed by Billy Steiger on 31st January, 2025. Mastered by Taku Unami. Artwork by Adam Bohman. Liner notes by Seymour Wright. Photographs by Crystabel Efemena Riley. Layout by Jeroen Wille.  ‘Me, you and Sue’ - the triangulation of improvisers Adam Bohman, Sue Lynch and Crystabel Riley, and the original name for the hand-picked three way of drums, wind and amplified objects responsible for Lynboril Lisinopril. The informality of their original name belies the groups origins - three players naturally drawn to each other via London’s longstanding Horse Improvised Music Club, each of them more concerned with the action of playing than the naming of their sounds.  However, the occasion of their first trio release forced a title, and Lynboril Lisinopril works perfectly - a play on the words Lyn(ch), Bo(hman) and Ril(ey), searched for and spat back at you. “The second word is what you get if you Google the made-up first word” remarks Seymour Wright in the liner notes - the second word being the name of a drug taken for lowering your blood pressure. And although probably not prescribable for hypertension, the music on Lynboril is approached with such a generosity and tenderness that it feels properly airy and light; as equally positive and playful as it is eccentric and uninhibited. Riley’s bouncy drums keep the trio in a state of permanent uplift, as if being buffeted along by a pleasant tailwind, each player perfectly unhurried in their turning over of a new sound. Alternating between tenor saxophone and clarinet, Sue Lynch is crystalline calm, blowing beautiful lines across the metallics of Riley and Bohman. When the trio dials up for their second half, the intensity lifts but the clarity remains - swirling skin patterns subverted with precision by each scratch and scrawl of the table and the punctuation of the saxophone. Grounding tonic from some of the best free musicians we know.

CD 1, Unitarian Chapel, Warwick, 1994 and 2023:“Andy Isham organised a concert in the Unitarian Chapel, Warwick on 29 June 1994. As part of a longer concert I played a solo piece on soprano which is the first track on CD 1.  It was not long enough to issue on its own and things moved on. Since then I have kept coming back to it because I think it is some of the best solo playing I have ever done. The idea came to me that I should go back to the chapel and see what it was about the space which drew that playing out. As the idea took shape, the saying of Heraclitus about not being able to step in the same river twice started swirling around too. And there it was – I had the title. The “concept”, even – or at least, the conceit … ”CDs 2-4, a sequence of solo recordings made at Arco Barco, Ramsgate, 2018-24:“I was introduced by Matt Wright, the other half of Trance Map, to Filipe Gomes and his Arco Barco studio in Ramsgate on the Kent coast. The studio is located in the upper floors of one of the former chandlers’ work spaces overlooking the harbour. A loft space with control room, a live main room and a smaller, less reverberant room. The acoustic response of the live room and Fil’s passion for sound recording has made Arco Barco my favourite studio and I have recorded there as often as possible.
 Over the many visits Fil has tested various microphones and their positioning. The variation means that some recordings are noticeably “dryer” and/or “closer” than others. Much of the thinking was inspired by the work of the late Michael Gerzon and his pioneering ambisonics. What I brought to the occasions was variability in reed behaviour and embouchure and perhaps most importantly my state of mind.”
THE HERACLITEAN TWO-STEP, etc.
BOOK CONTENTS:-- Writing by John Corbett (writer, curator, producer; Corbett vs Dempsey Gallery, Chicago), Filipe Gomes (Arco Barco, Ramsgate), Richard Leigh (writer), Stephen C. Middleton (writer/poet) and Robert Stillman (musician).-- An extended interview with Evan Parker by Martin Davidson (Emanem label).-- An email exchange between Evan Parker and Hans Falb (Konfrontationen Festival, Nickelsdorf).-- Writing and visual artwork by Evan Parker. 

Helping to mark Evan Parker’s 80th birthday in 2024, the book compiles both historical and contemporary perspectives on Evan’s work, by a range of contributors as well as Evan himself. The book also includes a selection of Evan’s visual collages, which are shared publicly for the first time.