Chinese free improvisation saxophonist / flutist 老丹 Lao Dan's debut saxophone solo album (previously released in cassette format, sold-out) reissue in 6-panel Digipak CD format, with new artwork. These recordings are from Qinglongdong Tunnel in Hangzhou, China. All natural cave reverbs, the free improvisation of Lao Dan's alto saxophone and the sound of the passengers and the cars were recorded, as every functioning individual."Lao Dan is a monster improviser. I'd never heard of him and I was completely swept away by his powerful playing and concept.""I have this feeling Lao is a soldier that cannot be silenced."Lao Dan is a freelance musician and wind instrument player, who started learning sax at the age of 8 and later turned to Dizi.During 2002 to 2006, he studied dizi in Beijing. In 2007, he was admitted with the highest score to Shenyang Conservatory of Music (SYCM), majoring in Dizi. During college, he served as the principal Dizi player of Youth Chinese Orchestra of SYCM.From 2012, he started his research on wind instruments from all over the world, including Jew's harp, Didgeridoo, Bansuri, Bamboo Sax, Duduk, etc. Lao Dan blends his own thoughts into the traditional way of playing Dizi, in which he pays a lot of attention on details of freedom, mood, thought and space. With plenty of performing and recording experience, Lao Dan has been experimenting more on his music since 2014. Based on Dizi and sax, adding various wind instruments and with new elements such as experiment, noise and improvisation, his music has been improved to a more substantial and creative level. He has also been actively cooperating with artists worldwide, including the legendary Japanese drummer Sabu Toyozumi.In 2013, he formed the music group Red Scarf with Deng Boyu and Li Xing, covering a variety of music genres including progressive rock, thrash metal, avant-garde jazz, funk metal and punk rock, and released their eponymous debut album in 2016.In May 2017, Lao Dan finishde recording his first Dizi solo album “Zhui Yun Zhu Meng (追云逐梦)” and it was ready to be released under Modern Sky World Music. In June, he joined a four-country avant-garde saxophone project raised by Japanese label Armageddon Nova, where his own composition “Self-destructive Machine (自毁机器)” is issued.  --- Lao Dan / alto saxophone, chinese flute --- Recorded by 老丹 at Qinglongdong Tunnel, Hangzhou, China23 August & 25 December 2017Mastered by Cyril Meysson in Saint-Étienne, France, January 2018Photography by 饒依爾 Rao Eer & 若潭 ruò tánTranslation by 呂立揚 Li-YangLayout by 若潭 ruò tán  

CD in gatefold carboard case with booklet and accompanying postcard prints by Katya Kukol "waves extinguish the wind. archive" was a collaborative audiovisual project between musician Elina Bolshenkova and artist Katya Kukol, created in 2022. The authors wanted to create immersive entry points into a version of their future, merging soundscapes with drawings, and reflecting on the political crises in their home country. This artwork helped them provoke a conversation about the future and heal a little. They hope it can help others in a similar way. This is a digital and physical documentation of their artwork, presented in a form of compact discs and actual sized prints of the drawings. It is recommended that you listen to the soundscapes and view the corresponding images at the same time.

Deluxe limited edition double vinyl version of Beyond the Margins, pressed on Trost's high quality vinyl, protected by deluxe silky jacket and featuring beautiful artwork by master painter Miguel Navas. Includes a 20 minute bonus track from The Bridge's celebrated appearance at Berlin Jazz Fest, November 2022. New formations involving musicians from different countries and generations are often put together with laudable intentions, but rarely live up to the expectations. One notable exception is Rodrigo Amado’s The Bridge quartet, its name a reference to Sonny Rollins' 1962 comeback album, but presumably also to the determination to establish strong connections despite different backgrounds. And this band truly delivers: there is the level of interplay, the malleable sound these four conjure up; there is the freedom and the eagerness to push things forward; and finally, there is the tangible gravitas of their combined artistry. The band’s founder must have known what he was getting himself into. Amado has gradually become a front-rank improviser on the European scene. He can wrestle and brawl with the best of them, raise the roof with flamethrower energy and will not hold back anything if that is what the momentum requires. When I saw his Motion Trio with Miguel Mira and Gabriel Ferrandini at the 2014 edition of the Konfrontationen Festival in Nickelsdorf, Austria, I thought they were going to detonate. By the time they played, it must have been around 1 or 2am, and a huge sledgehammer blast was the smartest tactic. Still, it is not his go-to approach, as Motion Trio delivered a scorching set that, despite a furious, even manic intensity, never lost its sense of purpose, of clarity and depth. Urgency never got in the way of thoughtfulness. The introspective quality of his music remains somewhat underexposed. He is an example of a musician whose sound and physique are closely aligned. A man of discipline and balance, he takes care of himself and of his music, rarely laying all his cards on the table from the get-go. Watch him closely, and you will realize he is not the guy of conventionally spaced, explosive climaxes, of frequent musical peaks and valleys, that automatic yin-yang of exploding and recharging. If anything, it is the simmering heat running through many of his performances that feels like the true essence of his music. The burning, not the exploding. Amado is in it for the long haul and his music often meanders, in the best sense of the word. Not as a movement that doesn’t know where it is heading, but as an exercise in feverish introspection that keeps moving forward. His improvisations are exploratory exercises and perhaps no previous release is as enlightening in that regard as Refraction Solo (2022). On it, he touches upon thematic material by his most formative influence, Sonny Rollins, and an equally inspiring compatriot, Joe McPhee. This is something he never does in his other projects, yet he somehow bends the input, merges it with his personal framework, actually refracting it with two basic principles: patience and determination. What has emerged over the course of the past two decades, is a remarkably coherent oeuvre, even though there are some differences in aesthetics and line-up between his work with his ‘American quartet’ (w/ McPhee, Chris Corsano and Kent Kessler), the one-off (for now) with the Scandinavians of Northern Liberties, the Motion Trio (with and without guests), The Attic, etc. With this new ‘European quartet’, his trajectory gets a sublime new addition, stressing and expanding the iridescence of his sound world. Plus, you get to hear Amado with a pianist, which is relatively rare, although Alexander von Schlippenbach previously appeared on The Field (recorded in 2019, released in 2021), the most recent album by the Motion Trio. In the liner notes for that album, Amado recalled to Stuart Broomer, “Playing with a pianist is, for me, an added challenge, mostly because of the harmony. I need to play with pianists who are bold, open-minded, and who don’t get distracted, surprised or scared by my note choices.” As became immediately clear, the German trailblazer quickly found his place among these musicians that had been honing their particular group energy for a decade. As Broomer notes: “What is most striking about this first encounter is the extent to which the musicians find a common ground, like the early piano trio formation with the apt punctuation of Ferrandini’s drums and the parallel line of Mira’s cello, a continuous source of distinct light.” It is therefore no surprise that Amado wanted to work again with Schlippenbach, who performs with a masterful clarity throughout this performance recorded at Warsaw’s home for exciting live music, Pardon, To Tu. You really should give this album, and in particular the lengthy title track, a spin just to focus on the pianist’s contribution, his use of space and dynamics. Moving from manic repetitive clusters to sparse counterpoint and quirky Monk-isms, he is both an agent of surprise as well as another backbone for an organically unfolding group improvisation that is tightly controlled and loose at the same time. Of course, Amado knows that you are only as good as the people you surround yourself with. The presence of bassist Ingebrigt Håker Flaten was perhaps something just waiting to happen, as he crossed paths with Amado many times and is an ideal foil in a context like this. Like Amado, he has only become better over the course of the past decades, both with and without the bow, providing the music with color, thrust and dynamics. Supremely adaptable and quick-thinking, Håker Flaten confidently steps forward as a crucial part of this quartet of equals. The final addition to the band, expat Gerry Hemingway, amazed Amado with “(...) a mix of subtle nuanced drumming and sheer mind-blowing energy” at the 2021 edition of Freejazzfestival Saarbrücken, where he played with Mat Maneri and Assif Tsahar. On Beyond the Margins, he impresses with the dexterity that has been his calling card since the glory days of the Braxton Quartet. Supremely inventive, moving around, over and through the band’s interaction with restless agility and controlled energy, Hemingway is too proficient to be a mere rhythm section member. He is all over the album, in the best way imaginable. It was only when I got to see them live in Mechelen, Belgium, half a year after this recording, that I truly understood how exceptional their synergy is. Getting the opportunity to spend some time with the band before their concert, I was struck by the easy-going camaraderie when they saw each other again after some time. They checked the sound, opting to stand as closely to each other as possible and had it down in no time, after which they shared Italian food, wine and coffee. Not a word was spent on the upcoming concert. When they finally played, they did it with that untamed sense of control that you get when you find yourself in the company of artists who allow the music to move in the direction it needs. That is also what you hear on Beyond the Margins: the sound of four imaginative masters combining craft and bold imagination with patience and determination. Never gets old.  Rodrigo Amado – tenor saxophone Alexander Von Schlippenbach – piano Ingebrigt Håker Flaten – double bass Gerry Hemingway – drums, voice

recorded live at Cafe Oto, London on January 29, 2023 Pat Thomas - piano (1+2) & electronics (3+4) John Butcher - saxophones Ståle Liavik Solberg – drums

Recorded by Holger Scheuermann and Jost Gebers, October 30 and 31, 1991, in Berlin. First released on FMP as FMP CD 53 in 1994. "In perhaps the most understated performance of his entire career, German saxophone giant Peter Brötzmann played in a trio with American free jazz legends Fred Hopkins and Rashied Ali back in 1991 at the now mythical Total Music Meeting. . . . Brötzmann appears to have been in awe on this date so great is his restraint. There are literally no passages in the entire concert where he attempts to push his way through the rhythm section to get to the other side. No mean feat when you consider the man's powerful personality both on and off the stage. But Hopkins was a founding member of Air with Henry Threadgill, and Ali, of course, played with John Coltrane. Given these proceedings with their haunted, hunted, beauty, it would be fair to say that -- even on his own compositions -- the mighty Brötzmann was humbled in the presence of these great musicians. Does that mean he was humbled by them? Hardly. Brötzmann's playing here is so fiery and lyrical, so completely focused on his rhythm section that he turns harmonies on their heads and finds intervals in places where the only thing that should be happening is free blowing. He is the band's leader by the force of that lyricism and restraint. He makes room for the other players to move through and around him rather than behind him. His sheer 'musicality' is wondrous. Hopkins and Ali are no strangers to each other -- there is telepathic communication; the shift from one modality to the next is seamless and grounded, each player by the other. There are six compositions on this record; it comes off as a very intense, extremely quiet kind of blowing gig, where this trio were looking to discover things about each other and the music they were making. As a result, it is one of the finest performances issued from that festival, and a landmark in Brötzmann's career in particular." -- Thom Jurek, --- Peter Brötzmann / tenor saxophone, alto saxophone, tárogató  Fred Hopkins / double bass Rashied Ali / drums. 

A 1987 performance between legendary German free-jazz saxophonist/clarinetist Peter Brotzmann and the late legendary American free-jazz guitarist Sonny Sharrock performing live at Jamkulturfabrik in Esch/Alzette, Luxembourg. "Both players engage, respond, bluster, and resolve these eleven pieces with a mutual purpose and a reciprocity of sound. Raw and beautiful like a Paul Gauguin painting." - All About Jazz  "A surprising trademark of this album is the contrast between quiet, meditative, almost mellow passages which are confronted with brutal, distorted and wild parts like in Track 10, it’s an emotional back and forth that structures the music but also affords the listener’s permanent concentration. Another very unusual and exciting characteristic – especially of the first four tracks – is the fact that Brötzmann and Sharrock play harsh, minimalistic – almost hard-rock- like – repetitive breaks (sometimes in unison) which float either into real tunes (for Brötzmann standards) or angry outbreaks." - Free Jazz Collective --- Peter Brötzmann / alto/tenor/bass-saxophone, tarogato Sonny Sharrock / electric guitar --- There is only one prior release existing of Brötzmann and Sharrock as a duo (vinyl-only on Okka Disc 2003). This live recording from the archives of Peter Brötzmann was mixed by Lou Malozzi in Chicago, mastered by Martin Siewert in Vienna.

The Trost label presents a live recording from the trio Sonore, featuring Peter Brötzmann (tenor and alto sax, clarinet and taragato), Ken Vandermark (tenor sax and clarinet) and Mats Gustafsson (baritone sax). All compositions by Brötzmann, Vandermark and Gustafsson. Recorded at Café OTO, London, for Jazz On 3, BBC Radio 3, April 20th 2011.

One of two different sets, along with Two City Blues 1 (TROST 126LP), recorded on one intense night at Tokyo's Shinjuku Pit Inn. A trio of three towering figures, German free jazz legend Peter Brötzmann, Japanese avant-garde wizard Keiji Haino, and wildly versatile American composer and musician Jim O'Rourke, recorded by Yasuo Fujimura on November 23, 2010. Brötzmann: alto and tenor saxophones, tarogato, and clarinet; Haino: guitar, voice, shamisen; O'Rourke: guitar.

Absolute solo burner by Peter Brötzmann, originally issed by FMP in 1976 REVIEWS "Brötzmann is completely over-powering both in the mastery of his instruments and his overwhelming inventiveness. Here he runs the range of music from Rollins to Lacy to Bird, and touches on music from the blues to the comedia del arte, in an absolute festival of invention.... This record and FMP 0160 – The Globe Unity Orchestra – are two of the finest recordings I’ve heard in 1977." --Bob Rusch, Cadence Magazine "Overall, 'Solo' is a fascinating document, both musically satisfying for open-eared listeners and for late coming Brötzmann fans interested in learning his roots." --Bob Olewnick, All Music Guide Peter Brötzmann: clarinets, alto, tenor, bass saxophone Recorded by Jost Gebers in May 1976 in Berlin.

Les Disques Bongo Joe are pleased to announce the fourth album of La Tène ! Collaborating for the third time with the band, we're proud to release Ecorcha/Taillee, a two track project in between drone, folk, experimental and occitan music. La Tène’s long, hypnotic, wordless pieces are built from traditional folk instrumentation, wild percussion and blurred, subtle electronic embellishments, and feel as ancient and earthy as those millennia-old artefacts – with all the metal, wood, dedication and craftsmanship they entailed. As on their previous release Abandonnée / Maleja, a double set running to over 80 minutes, Cyril Bondi, Alexis Degrenier and Laurent Peter expand to seven members in total. Cohorts Jacques Puech (cabrette – a small bagpipe associated with the Auvergne region of France), Louis Jacques (cabrette and a larger, 23” bagpipe), Guilhem Lacroux (12-string guitar) and Jérémie Sauvage (bass) each return to add colour, layers and intrigue. Ecorcha/Taillée was recorded in a barn converted into a ballroom and cultural centre which exists to promote the folk music of region Auvergne. Both L’Ecorcha (eighteen and a half minutes long) and La Taillée (just under a quarter of an hour, brevity by this group’s standards) were recorded live and what you hear is a single take, with no editing after the fact. L’Ecorcha goes into space with simple, minimal tools. Beginning with a single, doomy chord circling in perpetuity and a metallic shaker by way of rhythm, a drone of unspecified provenance is joined a little under halfway through by Alexis’ hurdy-gurdy, adding bucolic buoyancy while Laurent uses the wooden surface of his harmonium as an extra percussive source. La Taillée is spikier, danceable even thanks thanks to Cyril’s insistent drumming and the harmonium and hurdy-gurdy moving in a glorious lockstep. If you were to think of the relationship between Lou Reed’s guitar and John Cale’s violin while taking in La Taillée, you wouldn’t be OTT by any means. nspirations, soundalikes and kindred spirits are elusive and fleeting in the case of La Tène. There are a couple specific to Ecorcha/Taillée, both brought to the table by Alexis : a Christian song titled La Passion, collected in 1883 by French folklorist Félix Arnaudin, and a reggaeton hit single from 2022, Saoko by Spanish star Rosalía. La Taillée adapts its crunchy central riff in La Tène’s own image. It’s that link between the past and the future that also rings out in the music of La Tène.  Alexis Degrenier : Amplified Hurdy-Gurdy - Vielle À Roue Amplifiée Cyril Bondi : Percussions - Percussions D’Incise : Indian Harmonium, Electronic, Percussions - Harmonium Indien, Electronique, Percussions Jacques Puech : Cabrette - Cabrette Louis Jacques : Cabrette, 23'' Bagpipe - Cabrette, Cornemuse 23'' Guilhem Lacroux: 12 Strings Guitar - Guitare 12 Cordes Jérémie Sauvage: Electric Bass - Basse Electrique

The first concert of Peter Brötzmann, Fred Van Hove, and Han Bennink in East Germany -- 4.11.1974, Deutsches Theater, Berlin. Recorded by radio for the series Jazz in der Kammer Nr 71. Liner notes by Bert Noglik, with translation by Jeb Bishop. Recorded by Radio GDR, Berlin. Produced by Brötzmann, 2021 mastering by Martin Siewert. Artwork/design by Brötzmann/Untiet. Personnel: Peter Brötzmann - alto/tenor saxophone; Fred van Hove - piano; Han Bennink - drums.

By the early '70s, Milford Graves had more or less stopped gigging. Having learned his lesson the hard way in multiple-night runs like a legendary Slugs' residency with Albert Ayler, he knew that the level of energy that he put out during a performance would be difficult to sustain over the long haul. A concert was a kind of absolute ritual for him, after which he would be totally spent, emotionally and physically. Graves rarely left anything on the table. Any musical performance was an opportunity to present an amalgamated version of all the things he had learned. He was an innovator and a teacher at his core, and the concert venue was one of his first classroom settings. In March 1976, Verna Gillis invited Graves to perform on WBAI's Free Music Store radio show. For the date, he chose to present a trio lineup which he had been occasionally playing – featuring two saxophonists who were dedicated to the drummer's vision. Hugh Glover is almost exclusively known for his work with Graves, while Arthur Doyle would gain exposure later for an obscure record that he made two years later, Alabama Feeling, which would become a highly collectable item among free jazz enthusiasts. Originally released in 1977, Bäbi remains one of Graves' most seminal recordings. The music played by the trio was ecstatic. Extreme energy music, buoyant and joyful. It relied on Graves' new way of approaching the drum kit, in which he had opened up the bottoms of his skin-slackened toms and eliminated the snare. Graves' art was always unblemished by commercial interests, and this album is its finest mission statement. First-time vinyl reissue. Sourced from the original master tapes.

The only LP featuring a band under Peter Kowald's name, Peter Kowald Quintet comes from a vital moment in the German bassist's career. A close colleague of Peter Brötzmann's in their formative years, including the saxophonist's debut For Adolphe Sax and the classic Machine Gun, Kowald had by 1972 broadened his circle of collaborators, eventually working with a who's who of global creative music. Recorded live in Berlin, released on FMP, this date documents a tensile ensemble, with an unusual lineup featuring two trombones – Londoner Paul Rutherford and the German maestro Günter Christmann – together with the less-well-known Dutch alto saxophonist (and sculptor) Peter van de Locht and brilliant German percussionist Paul Lovens. Kowald adds to the low brass when he turns from double-bass to tuba and alphorn. Spacious and fiery, these four tracks are exemplary European free music led by one of the music's foremost originals – Kowald's rough and ready bass, which was anchoring (and de facto leading) the Globe Unity Orchestra of that period, is echoed in the take-no-prisoners music of the fivesome.Mastered from original tapes, this first-ever CD release features a facsimile version of the original cover, which featured artwork by ten non-musician friends and unique hand-additions. Track Times: Platte Talloere (13:08) Wenn Wir Kehlkopfoperier Te Uns Unterhalten (7:09) Pavement Bolognaise (14:01) Guete Luuni (2:38) Peter Kowald, bass, tuba, alphorn Paul Rutherford, trombone Günter Christmann, trombone Peter van de Locht, alto saxophone Paul Lovens, drums

The quiet beauty of the improvised duets of legendary guitarist and composer Jim O’Rourke and saxophone player extraordinaire Mats Gustafsson finally pressed on extenisve double vinyl.  The 1999 recordings for Incus Records were taken in all their glory and remastered by O‘Rourke – now the full versions of the tracks plus some unreleased songs. --- Mats Gustafsson – tenor saxophone, fluteophone, flute, junkJim O´Rourke – guitar, accordeon, junkDedicated to Derek Bailey. Recording: 1999 by Jeremy Lemos at ACME Studios, Chicago Production: Will & Siegmund Mix: 1999 by Jeremy Lemos at ACME Studios, Chicago Re-Mastering: 2021 by Jim O'Rourke at Steamroom Artwork: Hanns Schimansky

Until now, the earliest recordings anyone has heard by Joe McPhee come from the period around his 1968 debut album, Underground Railroad. McPhee had just started playing tenor saxophone at that point. A couple of years earlier, the bassist featured on all of McPhee's early recordings, Tyrone Crabb, led a band of his own, the Jazzmen, in which McPhee was featured on his first instrument: trumpet. Indeed, McPhee was a trumpet legacy – his father was a trumpeter. In the mid-'60s, Joe was a serious young player with deep knowledge and an expansive ear. Performing around Poughkeepsie and across the Hudson Valley, the Jazzmen were one of the very first ensembles recorded by Craig Johnson, who would go on to form the CjR label expressly to release McPhee's music. The fledgling audio engineer was clearly learning the ropes when he documented this incredible 1966 performance, but despite a few excusable acoustic blemishes, it's a beautiful window into McPhee's trumpet playing, suggesting that, had he stuck to that instrument alone, he might well have been considered a major figure on the horn (of course, he is such a figure on the pocket trumpet); the opening track, a version of "One Mint Julep" as arranged by Freddie Hubbard (on his Blue Note record Open Sesame) shows McPhee's lithe stylings to good effect. McPhee's musical cosmology was much bigger than a single axe, however, as is evident on the sprawling second track, which, over the course of half-an-hour proceeds from an excoriating yowl to a version of Miles Davis's "Milestones" taken at a sweltering tempo. A fiery portent of the free jazz to follow and a marker of McPhee's foundations in hard bop and soul jazz, Nineteen Sixty-Six features the entire reel-to-reel tape long thought lost, simply labeled: "Joe McPhee, 1966, trumpet."  JOE MCPHEE trumpet, recorder HARRY HALL tenor saxophone, recorder REGGIE MARKS tenor saxophone, recorder MIKE KULL piano TYRONE CRABB bass, bandleader CHARLIE BENJAMIN drums Recorded June, 1966, in Newburgh, New York.

Officially released for the first time ever, a previously unknown half-hour from cosmic mythologist and sound scientist Sun Ra's 1971 U.C. Berkeley course "The Black Man in the Cosmos." Ra's soft-spoken intensity is underscored by the sound of chalk on the board as he ambles effortlessly through his potent and prescient ideas. The class session closes with two musical tracks, a piano version of "Love In Outer Space" and a blistering Moog solo.

Joe McPhee is one of the great multi-instrumentalists of contemporary improvised music. His instrumental battery has included saxophones, clarinets, valve trombone, pocket trumpet, sound-on-sound tape recorder, and space organ, but another arrow in his quiver is text. McPhee has been writing poems since the 1970s. He occasionally introduces one into performance, as an introduction or afterword to music, and in recent years he's been known to do full-on readings, text only, featuring his inimitable sense of dramatic timing intoned in his rich voice. The poems range from the observational to the political to the surreal. They're composed in rhyme or according to an internal rhythm, sometimes utterly prosaic, sometimes fantastic and flamboyant. A few of them capture the immediacy of improvised music more acutely than any critical writing on the subject, his half-century immersion in the craft of free music having given him a bottomless cup to draw on and his sensitivity to the nuances of language providing a host of palpable metaphors and metonyms, similes and strophes. The poems are marvels on the page, but they really take flight in McPhee's mouth. In 2021, during a flurry of pandemic-inspired poetic activity, he traveled to Chicago expressly to record a program of his poems. For the studio date, he invited saxophonist and clarinetist Ken Vandermark to play duets as interludes between groupings of the poems. Then Vandermark, engineer Alex Inglizian, and the CvsD team sat breathless in the Experimental Sound Studio control room as McPhee proceeded to perform his poetry nonstop and without repetition for nearly two hours. The result is Musings of a Bahamian Son, the first full-length release dedicated to McPhee's writing, with 27 poems interspersed with nine musical interludes and a postlude. This CD release anticipates the forthcoming McPhee memoir, Straight Up, Without Wings: The Musical Flight of Joe McPhee, written with Mike Faloon, a book that will be published in the fall by CvsD. oe McPhee, voice and soprano saxophone. Ken Vandermark plays clarinet and bass clarinet on Interludes and Postlude.

Recorded for the German FMP label in 1972, this is one of the landmark recordings of free jazz in Europe, a mind-blowing studio session featuring Carl on tenor saxophone, Günter Christmann on trombone, and the astonishing Detlef Schonenberg on drums. Volatile and precise, anticipating much of the future sound of free music in Europe but also paying homage to American antecedents like Roswell Rudd and Archie Shepp, King Alcohol is truly a lost jewel. This is its first time on CD, remastered from the original tapes, and featuring a full disc of newly discovered, previously unreleased bonus tracks. Reproducing the insanely rare first-pressing cover with its black and white line drawing by Carl himself. 1. King Alcohol (Carl/11:45) 2. Thrombose (Christmann/8:24) 3. Aeiou (Schönenberg/6:12) 4. a) Rush-Hour (Carl) b) Something? (Schönenberg) c) Triotrip (Christmann) (total time: 13:09) Unreleased tracks:1. KA Alt #1 (9:33)2. KA Alt #2 (12:24)3. KA Alt #3 (11:19)4. KA Alt #4 (6:40)5. KA Alt #5 (4:28)6. KA Alt #6 (9:56)7. KA Alt #7 (15:59)Rüdiger Carl, tenor saxophoneGünter Christmann, tromboneDetlef Schönenberg, drumsTracks 1-4c originally released on FMP (FMP 0060, 1973). All other tracks previously unreleased.Recorded by Eberhard Sengpiel at Akadamie der Künste, Berlin, on January 12, 1972.LP produced by Rüdiger Carl and Regina Schönenberg, supervised by Jost Gebers.LP design by Rüdiger Carl.Remastered by Alex Inglezian at Experimental Sound Studio, Chicago.CD design by David Giordano. Publication editor, Corbett vs. Dempsey, Emily Letourneau. CD produced by John Corbett.