“The animating spirit is Poppy’s protean musical imagination, as light as wings beating one moment, thunderous and dark the next. … It’s not just an archive [but] otherwise unreleased works caught in live performance and gently transformed in the editing suite into the components of four well-shaped albums. … Poppy’s music is like Madagascar — you discover species there you don’t find anywhere else.” — Brian Morton, Wire magazine, on ARK HIVE OF A LIVE “Whatever the details, whatever the situation he finds himself in at any given moment, whatever his temporary function, whatever company he finds himself in, whether he is on his own or with others, commissioned, contracted and sponsored or left to his own devices, the music is as elusive and compelling as ever, expressing a mysterious state of being rather than merely a form, creating space and time for both performer and listener. Some of his pieces are intensely exciting and uplifting and cheerful, a melancholy razzle-dazzle; some are very austere and serious and sober, a freaky, bittersweet unease. Exactly as they were, exactly as they will be, the same, but different, taking advantage of the ambiguity in the world.” — Paul Morley, from the introduction to Ark Hive of A LiveArk Hive of A Live is a set of recordings by Andrew Poppy, along with a 128 page PDF, including writing by Andrew Poppy, an introduction by Paul Morley, other writing by Leah Kardos, Nik Bärtsch and Rose English and archival photographs. Andrew Poppy developed Ark Hive of A Live as a place for unreleased music from the 80s 90s 00s and 10s. ‘Live’ in the title indicates these works originated in public performance as opposed to the recording studio — however, these live recordings have been processed, and while they remember their original acoustic vibration are now transformed, transplanted and almost the same. Ark Hive of A Live isn’t a box set ‘best of’ or mini series. Each disc has been ordered to play like an album, with an indelible ‘suite-like’ order, even if many of the pieces were written at different times and with different production details. Volumes 1 to 4 are focused respectively on: the orchestra with a soloist; a collection of vocal pieces, for ensemble or orchestra; music written for independent ensembles; and the contrast between acoustic music and music which creatively exploits electrical and electronic technology. The Ark Hive is an ironic meditation on the archive. It brings together element of biography and materials from a lifetime of creative endeavour in sonic, language and visual forms. Tracks, writings, performance photographs and scores: 1+1+1+1 = Ark Hive. The project holds it all together with some irony, because it is aware of the absurdity of the enterprise but plows ahead relentlessly anyway --- Performers include: 
Andrew Poppy, Sustaining Ensemble, Noszferatu, Crash Ensemble, CoMA Ensemble, Roger Heaton Group, John Harle, Simon Haram, Darragh Morgan, Tania Chen, Kädy Plaas, Margaret Cameron, Ashley Slater, Peter Sidholm, BBC Concert Orchestra, ROH Garden Venture Ensemble, Estonian Male Choir, Royal Liverpool Philharmonic Orchestra. The live recordings in Ark Hive of A Live are connected with various images and writings collected in the PDF, which contains the following:— An introduction by Paul Morley, who helped release Andrew’s first albums on ZTT Records in the 1980s.— Invited writing by Leah Kardos, Nik Bärtsch and Rose English, responding to different aspects of the Ark Hive collection.— Writing by Andrew: introducing and reflecting on the Ark Hive project; overviews of each of the four volumes of music; writing on each composition, including programme notes, lyrics, poems, prose poems, librettos, performing instructions; and thoughts on his life and work as a composer, performer and creative artist.— The Image Ark: 38 photographic images, with complementary text by Andrew and credits/captions.— Discography Backwards: writing by Andrew, reflecting on each of his album releases.— Discography Forwards: summarising compositions and musician credits. --- “Freely drawing from the sounds of contemporary classical, experimental, jazz and pop music, and moving confidently between forms and formats, from concert music to pop records, operas and oratorios, dance and film soundtracks, Andrew Poppy’s diverse oeuvre resists easy categorisation … An elegantly generous (or stubborn), genre-indifferent (or should that be style-inclusive?) approach that flies in the face of putrefying compositional tradition, and any rules or anxieties over low vs highbrow, tonal vs textural, serious vs popular, acoustic vs electroacoustic; artfully dodging conspicuous intellectualism and side-stepping the class-political airs of contemporary classicism. Poppy’s denial of boundaries not only frees his music to be what it wants to be, it gives his music freedom to explore the uncanny territories and tensions that live in the in-between. Replacing polarities with multiplicities.” — Leah Kardos, from the Ark Hive of A Live book --- Music by Andrew PoppyWriting by Andrew Poppy, Paul Morley, Leah Kardos, Nik Bärtsch and Rose EnglishMastered by Stephan MathieuDesign by David Caines

The 40th anniversary edition of Andrew Poppy’s The Beating of Wings, originally released on ZTT Records. Hailed as “a major landmark in pop-classical genre-blending and post-minimalism” (Robert Davidson, Topology) and “… ahead of his time … he’d fit right in with the Max Richters and Nils Frahms of today” (Steven Wilson; Porcupine Tree, The Album Years podcast).Composed and produced by Andrew Poppy and performed by his bespoke ensembles, The Beating of Wings contains four mesmeric tracks that mix acoustic orchestral instruments with electric piano, electric guitar, bass guitar, sampler, Fairlight Music Computer and drum machine. Each piece has its own narrative, perspective, musical world and colour held together by an infectious pulse.For this release, the album has been remastered by Stephan Mathieu, and an expanded booklet includes new writing by Andrew Poppy. 2-panel gatefold sleeve, 24 page CD booklet and CD sleeve.A gateway access to the world of contemporary classical music for fans of Brian Eno, Laurie Anderson and Kraftwerk, a generation of music fans discovered The Beating of Wings as it rubbed shoulders with ZTT’s pop artists, The Art of Noise, Propaganda and Frankie Goes To Hollywood. ZTT co-founder Paul Morley wrote in The Quietus, “ZTT needed Poppy as much as it needed Frankie”.

“This is a most ambitious effort, two ensembles playing simultaneously on either side of the Atlantic ocean, connected through the internet and improvising through the airwaves … the sound and flow is seamless … Most impressive on all fronts.” — Downtown Music Gallery, NYCEvan Parker and Matthew Wright’s Trance Map project has included improvised live events across Europe and the US, involving other invited guest performers, with various Trance Map+ recordings released on psi, Intakt and FMR Records. Since 2020, Trance Map+ have undertaken ambitious streamed and networked performances, connecting with musicians around the world from The Hot Tin venue in Faversham, Kent, UK. In 2022, this resulted in Transatlantic Trance Map, a simultaneous performance between seven musicians in Kent and six musicians in Roulette, New York City, which is profiled on this album release. Transatlantic Trance Map helps to mark Evan Parker’s 80th birthday in 2024. It is the second Evan Parker release on False Walls, following THEN THROUGH NOW by Evan and Henry Dagg (2022). In November 2024, False Walls will also release THE HERACLITEAN TWO-STEP, etc., a 4 CD set of solo, improvised recordings by Evan Parker, along with a 128 page book, including writing by John Corbett, Richard Leigh and Stephen C. Middleton; an extended interview with Evan Parker by Martin Davidson; along with writing and visual artwork by Evan Parker. --- THE HOT TINFaversham, UK, 8pm GMT:Evan Parker: soprano saxophone
Matthew Wright: turntable, live sampling and processing
Peter Evans: trumpet, piccolo trumpetRobert Jarvis: trombone
Hannah Marshall: celloPat Thomas: live electronicsAlex Ward: clarinet ROULETTEBrooklyn, USA, 3pm EST:Sylvie Courvoisier: piano, keyboardMat Maneri: violaIkue Mori: laptop live electronicsSam Pluta: laptop live electronicsNed Rothenberg: clarinet, bass clarinet, shakuhachiCraig Taborn: piano, keyboard, live electronics

A very special duo recording from yan jun & axel dörneryan jun: voiceaxel dörner: trumpetrecorded 3rd of january 2017 in berlinmixed by yan junmastered by axel dörner

CD 11. prologue2. 1st tale3. interval 1CD 21. 2nd tale2. interval 2CD 31. 3rd tale 2. epilogue released October 15, 2025----------Yan Jun / Taku Unami - Old Tales Retoldrecorded at Inside-Out Art Museum, Beijing, China on 25th August 2025design by Yuko Zamaproduced by Jon Abbey

eg shaking is not an easy action.or better say "non-action" as it's about moving unconsciously and always meaning negative.yes it's not easy to be unconscious and negative while the body was controlled by such a social agency, i.e. the body itself.i mean there is no naked body left. there is only the built body.so does the language.basically i think language is something generated by a body and through this body to its outer environment. the body is an energy transformer and an interface at same time.technically to shake leg(s) it needs no control. you can't do it by giving an order after another. it's all about automatics of a temporary system which consists muscles, nerves, ligaments, gravity, a perfect angle and a little initial power. it works like springs with sensors. and there is no room for the mind.some people can't do it. drummers improved it into a musical action. that's about controlling the loose. just like writing poems.i have never done a workshop about writing poems. or about making "musical" music. i rather like to invite people to join my nonsense and loose. it's not like training a drummer. at least not a drummer of useful music.they say leg shaking is a behave leads one to be useless. that close to some truth.btw this is my reaction to minimalism music, which i have been deeply influenced by. but i can't and would never work with such a pure form.yan jun, august, 2022

Tomeka Reid - celloJason Roebke - bass, cassetteMary Halvorson - guitarTomas Fujiwara - drums

From the 1950s, Masaaki Takano (1927-2007) worked as a freelance "sound planner," mainly creating sound effects for stage productions. In the mid-1980s he began performances called "Sound Play" where he would perform on his own self-created sound instruments and his collection of ethnic instruments. Growing out of his work with sound effects, he became obsessed with the recording of natural sounds from the 1970s onwards, and this album "Shizukutachi" is a record of a high-quality recording of water droplets that he created in the studio using his own self-created suikinchiku system. This reissue recreates the original LP, using special paper to create beautiful packaging and duplicating the original, ultra-transparent vinyl. The reissue includes newly penned, detailed liner notes by Tomotaro Kaneko (owner of the Japanese Art Sound Archive).

B.A.N.S. The band features the great pianist Sophie Agnel, saxophone master John Butcher, French double bassist Pascal Niggenkemper, and Stale Liavik Solberg on drums, with the live album “fine&mesh;” recorded during the St. Johann festival and the debut album “Rhizoming” by the trio Ben Dwyer (Barry Guy Blue Shroud Band), Rafał Mazur on bass guitar and Ramon Lopez on drums. B:A:N:S BANDAgnel / Butcher / Niggenkemper / Solbergfoam & mesh1. foam and mesh I - 35:212. foam and mesh II - 9:33Total Time: 44:54Sophie Agnel - pianoJohn Butcher - saxophonesPascal Niggenkemper - double bassStåle Liavik Solberg - drumsRecorded by Karl Winand and Markus Massinger at artacts – Festival for Jazz and Improvised Music, Alte Gerberei, St. Johann in Tirol, Austria.

Recorded live at Cafe OTO by Billy Steiger on Saturday 18th November, 2023. Mixed by James Dunn. Mastered by Giuseppe Ielesi. Artwork by Norman Wilcox-Geissen. Layout by Maja Larrson.First meeting of two incredible talents - Tyshawn Sorey on drums and Pat Thomas on piano. Recorded live back in 2023, we’ve sat on this for an inexcusably long time, and yet the music is as just fresh and explosive as we remember it in the room. Just a few hours prior to the duo, Tyshawn Sorey had given a deeply meditative solo piano performance in total darkness, windows boarded up and the piano in the centre of the room, Sorey directly facing the audience as he played for almost two hours. A reflective mood set into the room, and the prospect of him being replaced on the keyboard felt a bit off. “When I’d heard he was doing a solo piano set first I thought, well, that’s it,” laughs Pat Thomas. “I’m really going to have to play”. It doesn’t take long for the intensity to rise. A run of the right hand on the keys gives a warning, like the first few drops of rain before a thunderstorm. As Thomas’ left hand joins to plumb the bass notes, Sorey calls his metallics into play, whipping up the air around them before the humidity in the room breaks and the duo drop into momentary silence. Thomas reaches into the body of the piano - sounding some of the familiar language of Elephant Clock of Al Jazari before dropping some of those immense key clusters we’ve grown to know so well through his work in [Ahmed] and stacking them up into dense, rotating rhythms. Sorey mixes light brush work with aeolian tones, at some points striking just the air to meet Thomas’ palm muted rhythms. Midway through the set the two players are joined in percussive pursuits, Thomas’ string slides totally enmeshed with Sorey’s clinical snare work. When Thomas lifts off into more celestial territory as the set builds, Sorey marshals his shuddering field drum towards one extraordinarily clean clasp of the hi-hat - a sort of musical gasp which the crowd can’t help responding to. The pair are wildly dynamic, beautifully precise and in possession of innumerable talents. As Sorey’s mallet rush crescendos and fades, Thomas adds two single bass notes, as if to wryly say, ‘Ta-da!” You have to laugh - it’s ridiculously good stuff from two of the best at the peak of their powers.

limited edition *500 copies in black vinyl copies, inside a revers-board printed sleeve with black inner-sleeve with postcard insert.with new liner notes by LaMont Hamilton To mark 50-years since a 22 year old Michael Gregory Jackson recorded his groundbreaking first release, "CLARITY / CIRCLE / TRIANGLE / SQUARE", recorded with the mind blowing group of his contemporaries Oliver Lake, David Murray and Leo Smith.This album is like no other I know, a new world, finding a perfect balance between multiple genres.Moved-By- Sound is very excited and honored to be involved in releasing the first reissue authorized by Michael Gregory Jackson since the original release in 1976.Remastered and restored, it is a perfect album in which to lose and/or find yourself in these complicated times.

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"

First ever reissue of OFAMFA by CHILDREN OF THE SUN, a legendary and virtually unobtainable artifact of St. Louis' Black Artist Group from 1971 Original released in 1971 by the BAG groups own label “Universal Justice Records” this album has for years been an impossible to find/listen to album, and this is its first reissue ever .. Ofamfa by The Children Of The Sun, a band lead by poet/musicien Ajule/aka Bruce Rutlin Is a heady mix of poetry/jazz/political songs/ and a document of a comunity avent. The BAG group being about all the arts theater and dance. The original liner notes by Ajule are great Insight in to the creative/vibrant politically aware jazz scene of St Louise in the late 60s early 70s. This album is an important piece of black American history, and even as a visual artifact it is the thing! “All of the brothers playing and writing on this record are members of the Black Artist Group (BAG) which is based in St. Louis, "Misery." The Black Artist Group, a loose association of young Black men & women, is a potent/fertile creative force; a group which has contributed strong/fresh/inspirational creativity in the fields of Music/Writing/Dance/Drama. The Children of the Sun is one of the units operating under the BAG umbrella; others are or have been, The Oliver Lake/BAG, The 'BAG' Ensemble (Big Band), Red Black & Green Solidarity Unit, Onawali Dancers, Malinque Rhythm Tribe, BAG Drama Dept., Great Black Music Orchestra of St. Louis, Fire-Earth-Air-Water, Me We & Them, Julius Hemphill Quartet and some others.......all different creative approaches and reflecting a sum of influences and wisdoms which ranges across 500 years from here to Africa.......During their brief creative association the COS etched themselves into many hearts and minds. The group was together for little more than a year. Playing college concerts (when $ lucky), playing benefits for all kinds of groups of Black people and progressive whites. "A spiritual oasis in the baren desert of Amerika..." They would say, sometimes...... The conceptions reflect experiments which sought to establish a balance/harmony between the mediums of muse/ic and the spoken/sung word, (often the motions of dancers added still another depth) a balance which would catch the pulse and flame of the will of our people even tho they and we had already condemned the english language as the criminal insignia of the privileged class/es. (...Still, english wuz the only language we had in common so it was a dilema of how to reinspire the language). But because the members had to spend a majority of their time food getting their experiments and investigations were abandoned short of their goal which was/is to find a way to restablish the natural harmony of the Spiritual World; which has been upset and polluted to the same extent as our physical world: SPIRITUAL ECOLOGY?? Unfortunately, as it was, the experiments had to be cut short just as the techniques of communication were being perfected. Cut short by a manifestation of whut George Jackson called "over oppression." These young Black men look, walk, talk, eat, love, trip like us all but (unlike most) life is incalcuably more important to them than property values, hot dogs, cadillacs, or even "civilization;" if u can dig where i'm comin from! Their compassion for the Black, the poor, and the disadvantaged in general is reflected by the staggering numbers of free concerts they give/have given or the free classes they offer at BAG in the 4 major disciplines. And by the fact that they seek to maintain their comittment to life and creativity even as they exist at or near the starvation level. So these young Black men are emissaries of the Spiritual Universe....... the lost/abandoned universe they seek to describe in their creativity. "The main thing a musician would like to do is to give a picture to the listener of the many wonderful things he knows of and senses in the universe."* All these things are being said ...... u see ...... in an attempt to distinguish them favorably from their contemporaries in the Kapitalist "superstars"/entertainers/puppets who frolic like gelded puppies across the stages/footlights of the nation; at the end of the silver gaudy chains held by the bloody hands of the richest pale faces and their legions of sattelites and lackeys; who do come in all colors and races. This expression was recorded (by BAG) at various concerts and all of it was recorded "live"/accomplished in one taping. Other than regular microphones no electronic devices shaped this creativity (BLACK). we are new yes we are old before and after the mighty winds of change and revolution The "Black Artist Group" wuz there yes we are the shambles, ruined tones of ancient memories and the sound of running waters, singing leaves flirting the silly air and yes sunlight splashed against dark wrinkled faces sighed winds driving the seasons the gifted moans of cherished lovers yes yes yes serene faces of beautiful children Ours..........” *John Coltrane - Ajulé  credits released June 3, 2024 The Muse/icians on the album are…. Rashu Aten / conga, small instruments Oliver Lake / soprano &Alto; sax, flute, poems, small instruments Floyd LeFlore/ trumpet, small instruments Ishac Rajab/ Trumpet Arzinia Richardson/ bass, small instruments Vincent Terrell / cello Charles “bobo” Shaw / drums, small instruments Ajule / poetry, arrangements, small instruments, drums

Stephen McCraven's WOOLEY THE NEWT was his first album under his own name, released on Marion Browns own Sweet Earth record label in 1979 (orignal copies are rare and go for $500). Working with Stephen and the carvery we have remastering the audio and restored the original artwork.Stephen is a master drumer and composer and has worked with archie Shepp for many years,he has also played & recorded with many; Marion Brown, Mal Waldron, Reggie Wokman and Stanley Cowell to mention just a few. Stephens son is the talented drumer and composer Makaya McCraven,, & Wooley the Newt was sampled in his album; Gil Scott-Heron, Makaya McCraven – We're New Again (A Reimagining By Makaya McCraven) Alto Saxophone, Soprano Saxophone, Percussion – Sulaiman HakimBass – Jack GreggDrums, Percussion – Stephen McCravenEngineer – Jean-Louis RizetEngineer [Assistant] – Laurent Peyrom*Engineer [Mastering] – Dave Crawford (2)Piano, Percussion – Michel GraillierTenor Saxophone, Soprano Saxophone, Percussion – Richard Raux

Artistry was Sirone's first album as a leader, recorded in 1978, just after the split of the Revolutionary Ensemble. Artistry has an Atypical combination of instruments, bass, cello , flute and percussion and delivers aplenty. Listen and you will know. Sirone ( Norris Jones) had an enormously prolific career as a bassist, both as a member of the Revolutionary Ensemble and playing with many of the best musicians of the 20th century - from Pharoah Sanders, Albert Ayler, John Coltrane, Gato Barbieri, Noah Howard, William Parker, Cecil Taylor, Sun Ra, Sonny Sharrock,Marion Brown ... and the list goes on.

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.