translated by Kato David Hopkins Softcover, 368pp Public Bath Press, Japan, 2019   "This book, the only history of free jazz in Japan, has been reprinted many times in Japan and is finally available to readers overseas in English translation. From its earliest stirrings in the 1960s until it reached international recognition in the 1970s and after, free jazz in Japan is a unique music that has found its perfect scribe. Teruto Soejima was a writer who fell in love with a music and devoted his life to it as promoter, critic, label owner, tour organiser, and much more. "If you like jazz at all, if you like the unique voices of Japan at all, this book will open your ears to many sounds you haven't heard, or heard of, before. "Introduction by Otomo Yoshihide. All new photos in this edition, none used from the original Japanese volume." - Publisher Public Bath "Soejima Teruta was a legend on the scene of jazz and improvised music in Japan ... Much more than a critical observer, Soejima-san was a tireless supporter of music and musicians, and will always be remembered for his brilliant mind and gentle soul."- John Zorn

Delighted to present an utterly life-giving recording from the trio of Pat Thomas (piano), Olie Brice (double bass) and Gary Willcox (drums), recorded at OTO in June 2026 as part of a night celebrating the release of their album, The Day After, on Jazz in Britain's 'Jazz Now' label. Joined for this performance by the great saxophonist, Xhosa Cole, the group take the already lofty bar set by The Day After and raise it even higher. Matching each other note for note, beat for beat, the four musicians conjure the sort of rollicking, galvanising forward momentum that can leave you utterly breathless one minute, before sharpening to pin-drop focus the next. A priviledge to have been in the room and a pleasure to share, this is Jazz Now for sure. -- Recorded by Rory SalterMixed by Oli BarrettCover photo by Pete Woodman

Brötzmann – In My Focus is a large-format photo book by Slovenian photographer Žiga Koritnik – a tribute to Peter Brötzmann, one of the most influential figures on the international free jazz and improvisation scene. For almost three decades, Koritnik accompanied Brötzmann on stage, backstage, on tour, and in quiet moments. The result is a powerful, intimate portrait that shows the musician not only as an icon, but also as a human being. The images are complemented by texts from Peter Brötzmann, John Corbett, Mats Gustafsson, Bill Laswell, Heather Leigh, Paul Lovens, and Paal Nilssen-Love, as well as poems by Steve Dalachinsky and Joe McPhee—a dense collection of voices, memories, and reflections from the innermost circle. The volume is published by Društvo Pega (Slovenia). At the request of Žiga Koritnik, Wolke distributes this title in German-speaking countries and internationally. An extraordinary document of a musical era—photographically precise, emotionally intimate, and full of resonance for readers, listeners, and collectors.Hardcover, 144pp, photographs Wolke Verlag, 1st edition, November 2024

Bajas go fruity for for loops, and put the 'tronic back in sonic. Film at eleven!

Double CD banger housing both Natural Information Society and Bitchin Bajas as a single release  The invisible force meets the ancient object — two ensembles for the price of one and a half! Synths, sintir, and much more. Sky music by deep earth people...

Hardback, 285pp Goldsmiths Press, 2026 The STEIM foundation in Amsterdam was a music studio radically dedicated to the live, physical performance of electronic sound. From 1969 to 2021, the Studio for Electro-Instrumental Music supported artists in building new instruments, insisting on tangible, hands-on engagements with electronic sound.This book provides a comprehensive overview of STEIM’s work, drawing on original interviews and extensive primary source research in the archive of its longtime artistic director, Michel Waisvisz (1949–2008). It traces the studio’s evolution from its roots in the anarchic, situationist spirit of 1960s Amsterdam to the famous Cracklebox and to a long line of pioneering developments in sensor-based instruments between 1984 and 2000.A primary focus is Waisvisz’s landmark instrument The Hands (1984)—the world’s first sensor-based gestural controller—and the SensorLab platform it inspired. This emerging expertise fuelled an international artist-in-residence programme, attracting figures like Jon Rose, Nicolas Collins or Laetitia Sonami among many others and fostering a global wave of experimental instrument design.The common thread through this history is a paradigm called Touch, which championed musicians’ embodied presence over automation and predefined control. By documenting the pursuits of immediacy within highly mediated technologies, The STEIM Touch offers a crucial historical lens for today’s ongoing negotiations between artificiality and physicality in music creation.