I first heard this Trio on the occasion of Brötzmann's 70th birthday celebration, called Long Story Short, on the 5th of November 2011 at the Schlachthof Wels. It was a Brötz of beauty. And like William Hogarth's "Analysis of Beauty" from 1753 tells us to learn how to see, especially how to see Beauty in the Line of Beauty, the S-shaped line of the serpentine, this recording of the meeting of Peter Brötzmann, Sabu Toyozumi, Jason Adasiewicz at the Shenzhen OCT-LOFT Jazz Festival on October 18th, 2015, teaches us how to listen.  Brötzmann first played with Sabu in Tokyo in the early 1980ies, he first met with Adasiewicz in the early 2010s in Chicago. You are listening to 30 plus years of solid cosmopolitanism, invention and improvisation forming a distinct language of its own in front of an audience that loved "Uncle Peter". So close your eyes and hold your breath, a beautiful storm is coming, it takes you right into the eye of the hurricane where time stands still as witnessed by the silences between Sabu's mighty toms and the whirlwinds of crystal-shaped vibraphone ringing of Jason and the existential roar of you know who. Enjoy the essence of making great music. 马库斯·穆勒 Markus Müller FMP-Publishing

“Dec. 2015: I received an invitation from Old Heaven to participate with FaUSt to the 3rd edition of “Tomorrow Festival” at B10 Live, Shenzhen, China! A few months later, May 2016, we were on our way to the most exciting concert experience. A loooong flight-haul and then, such a warm welcome, such a perfect organization… the most charming, dedicated, competent crew around us… the largest cement mixer I ever used on stage, and an audience so vibrant, so focused. I was and still am in memory, overwhelmed by the endless energy of all the people I met: technicians, promoters, music fans, the so-creative Knitting Ladies, my old-time friend Keiji Haino, and my comrade Maxime. The music we created together had been accurately recorded. As Old Heaven proposed to release this concert, I immediately was enthused by the idea. Even more so when I heard the perfect mix of Liu Ying. Two tracks were beautifully post-produced, edited and mixed by Amaury Cambuzat. I loved the B10 Live performance and place it in my top ten FaUSt concerts ever and I love this album, I do. ” —— JHP / art-Errorist --- Recorded at the 3rd Tomorrow Festival on May 14, 2016. B10 Live, Shenzhen, China. Published by Old Heaven Books & B10 Live, Shenzhen 2022. Tomorrow Festival Series OH 036 录音 Recording：曾君 Zeng Jun；罗绿野 Luo Lvye混音 Mixing & 母带处理 Mastering：刘英 Liu Ying编辑 Editing & 混音 Mixing：Amaury Cambuzat（track 06/C2 & 08/D1）制作人 Producer：涂飞 Tu Fei统筹 Coordinators：李书琴 P.G，尹思卜 Yin Sibo设计 Design：Nino摄影 Photography：艾飞 Effy，大米，惠子@DAFA，肖蔚鸿 Xiao Weihong，子弹，左氏文化特别鸣谢 Special Thanks：黄可 Huang Ke，李秭林 Li Zilin，邹佳伟 Zou Jiawei Jean-Hervé Péron - 人声 Vocals / 贝斯 Bass / 原声吉他 Acoustic Guitars / 小号 Trumpet / 水泥搅拌机 Cement MixerWerner “Zappi” Diermaier - 鼓 Drums 特邀嘉宾 Very Special Guests：Maxime Manac’h - 键盘 Keyboards / 吉他 Guitar/ 煤气罐 Gas Cylinder / 手摇风琴 Hurdy-Gurdy灰野敬二 Keiji Haino - 人声 Vocals / 电吉他 Electric Guitars / 电子设备 Electronics魏籽 Wei Zi, Tina, 郦亭亭 Li Tingting - 针织行为表演 Knitting PerformanceB10 Live, Shenzhen, China!

Bayawan:The Call of the Wild and Free "Bayawan" is the common name for Muqam music used by the Dolan people. Bayawan, or Dolan Muqam, is a unique form of folk music and one of the most important cultural heritages of the Uyghurs in Xinjiang, China. Generally speaking, Muqam is a form of large-scale suites which include songs, dances, and instrumental sections, in which the development of music often features a significant degree of improvisation. The Muqam of the Uyghurs is characterized by its diversity of musical styles. Apart from the classical Twelve Muqam, there are also multiple folk Muqam traditions with distinct regional characteristics, including Kumul Maqam, Turpan Muqam, Dolan Muqam, and Ili Muqam. Among them, Dolan Muqam is often considered as the wildest, if not the uncanniest tradition that still exists. "Dolan" is the name of a people, typically considered as an ethnic sub-group of the Uyghurs, who historically inhabits the banks of the Yarkand and Tarim rivers on the northwest edge of the Tarim Basin. Dolan Muqam has been circulating by and large in the Dolan region—which now mainly includes Makit County and Maralbexi County in Kashgar Prefecture, and Awat County in Aksu Prefecture—and its influence has also reached places such as Kargilik, Poskam, Kuqa, Korla, Turpan, and Kumul. The Dolan people refers to the Muqam music they play as "Bayawan", which literally means "the desert and the wildland". Bayawan, in their common language, is not something to be sung, but rather to be "shouted out". It is said that there were originally twelve sets of Dolan Muqam, three of which have now been lost. Each set of Dolan Muqam is approximately six to nine minutes in length. The remaining nine sets last about one and a half hours in total. Dolan Muqam is marked by its simple, unadorned instrumentation, strong and intense grooves, and a distinctively hoarse, air-rending style of singing. The lyrics draw from folk songs and oral poetry, maintaining an overall sense of rugged raw beauty. A unique and rare cultural treasure worldwide. In May 2023, the Mekit Dolan Muqam Group performed at the 7th Tomorrow Festival in Shenzhen. Taking this chance, we invited the artists to a session at Liu Ying Studio, which gave birth to this one-of-a-kind record. This was our great good fortune. We wish these magnificent sounds and voices travel far and reach more ears.

Beautiful entry via Old Heaven from Czech avant-garde violinist, singer, and composer Iva Bittová

李带菓 Li Daiguo：古筝 Guzheng, 低音提琴 Double Bass, 大提琴 Cello, 塔不拉鼓 Tabla, 模拟合成器 Analog Synthesizer, 中国鼓 Chinese Drum, 锣 Gong, 踩镲 Hihat, 地鼓 Bass Drum 录制于2021年11月 云南·大理Recorded in Dali, Yunnan in November 2021 录音/混音 Recording & Mixing: 李带菓 Li Daiguo母带 Mastering: 刘英 Liu Ying制作人 Producer: 涂飞 Tu Fei统筹 Coordinator: 陈铁梅 Chen Tiemei / 尹思卜 Yin Sibo封面木刻作品 Front Cover Woodcut Artwork: 刘庆元 Liu Qingyuan设计 Design: 林溪 Lin Xi（来信收悉工作室）

Recorded at the 8th Tomorrow Festival, B10 Live, Shenzhen May 25th, 2024

David Murray — 萨克斯 Saxophone Kahil El'Zabar — 打击乐 Percussion / 卡林巴 Kalimba / 人声 Voice 录制于第十届 OCT-LOFT 国际爵士音乐节，深圳 B10 现场，2023 年 10 月 27 日 Recorded at the 10th OCT-LOFT Jazz Festival, B10 Live, Shenzhen October 27th, 2023

"On the night of December 18, 2021, Mamer and his newly formed psychedelic folk band Mask were about to record a live album at Shenzhen B10 Live, a few audiences were invited. Before the recording, Mamer improvised on sherter for nearly 40 minutes. This album was therefore born.Xêrtêrmin / Sherter Solo may be, or should be the world’s first sherter solo album—although we don’t want to overemphasize it for the sake of sales. Most of the time, this ancient Kazakh instrument is used as a tenor dombra in ensembles, rarely as a soloist—but on this night, its old soul was awakened." - Tu Fei --- 切尔铁尔独奏: 马木尔 Sherter Solo by Mamer2021 年 12 月 18 日录制于深圳 B10 现场Recorded on Dec. 18, 2021 at B10 Live, Shenzhen制作人 Producer: 涂飞 Tu Fei录音 Recording: 曾君 Zeng Jun, 罗绿野 Luo Lvye母带 Mastering: 刘英 Liu Ying封面绘画 Album Cover Artwork: 张咏瑜 Zhang Yongyu摄影 Photography: 阿瓜 Wain设计 Design & 统筹 Coordination: 尹思卜 Yin Sibo曲目翻译 Tracklist Translation: 唐加力克 Karatorhay (哈译汉 Kazakh-Chinese), 骆炜湘 Lowi (汉译英 Chinese-English)旧天堂书店 & 深圳 B10 现场联合出品Published by Old Heaven Books & B10 Live, Shenzhen 2023

This album is a special production for IZ's 2025 China Tour. The selected tracks include the live recordings from the "Koxpendi" tour in 2023 and from the BBC radio show in 2010. Over the years, as an important branch of Mamer's many music projects, IZ has been on a path of self-innovation and even self-denial. We hope you can feel this from these recordings spanning 13 years. As Mamer said, "We need to learn from tradition, and give back as much new content to it as possible, at the same time embrace the challenges that instruments bring. This is the meaning of IZ's existence." Heart like the ocean, zeal like shining stone.

Man from the East This album was recorded at Liu Ying Studio in Shenzhen. An improvised session on acoustic guitar from start to finish, it nonetheless demonstrates a highly original, coherent artistic conception: a distinct “Oriental” aesthetic redefined by Mamer’s own creative vision. In tracks like “Sleepless”, “Man from the East”, and “Backyard”, Mamer ingeniously deconstructs and deploys traditional Han Chinese music scales to serve his own purpose, adding artful ambivalence and rich subtleties to an unmistakable lingering ambience of ancient Chinese spirituality. Tracks like “Punk Long Johns” and “Bande”, on the other hand, are sonic and rhythmic experiments upon “Nearer East” musical traditions: techniques of strumming, typical to Central Asian plucked string instruments, are applied to an acoustic guitar with constantly changing tunings, sometimes by the help of drumsticks or a screwdriver. In the track “Tursun Matia”, Mamer plays his guitar as if it was possessed by the spirit of a Dolan Rawap—an emotional tribute to his lifelong friend Tursun Matia, the late master of Mekit Dolan Muqam. Uyⱪesez (or Sleepless) sees Mamer reimagines the “Orient” from a unique position as an other of the othered. A man from the East with pale fire snatched from the sun, with strings that transcend the boundaries of time.

Otomo Yoshihide（大友良英） is Japan’s most prominent experimental musician and composer. Over the years, Otomo’s music has spanned across Free Jazz, Noise, Free Improvisation, Sound Art, popular music, film scores, and compositions for large amateur ensembles. Carrying the lineage of the Japanese Free Jazz movement that developed in the 1960’s, Otomo has exploited the sonic possibilities of both the electric guitar and turntable. He is one of the key figures who defined a now internationally recognized genre of Japanoise. His band Ground Zero, which as active throughout the 1990’s, has become legendary for their extreme stylistic collages and hyper energetic live performances. In the late 1990’s, Otomo lead Tokyo’s Onkyo (音響) movement, which crossed between minimalistic improvisations and Sound Art. Parallel to these, he also lead his jazz big band Otomo New Jazz Quartet (ONJQ) and scored award winning sound tracks for independent films and documentaries. After the tragic earthquake and tsunami that hit North-Eastern Japan in 2011, he initiated Project Fukushima, an outdoor festival and community art project in areas of Fukushima where he grew up during his youth. Together with local residents and artists, every year they host events that aim to remind people that life still goes on there, even after such severe calamity and environmental destruction caused by the nuclear reactor meltdown. In 2013, Otomo won national recognition for his soundtrack for TV drama “Ama-chan” which aired every morning on the national public broadcasting network, NHK. Combining many musical styles from Jazz, Pop, Big Band, and hints of experimental music, the soundtrack became a household hit. Interestingly, during the early 90’s, Otomo spent much of his time in Hong Kong before extensively touring Europe and the U.S. On each visits to Hong Kong, he actively collaborated with local experimental musicians. This album is a live recording from 2014 when he performed in B10 Live.

Tracklisting: A. Part 1 - 22:44B. Part 2（Featuring ここ）- 16:33C. Part 3 - 25:42D. Part 4 - 22:37The Meaning of Blackness, More Decorous than DutyHaving become faster than everything A smile that was never birthed into the light (Live at the 3rd Tomorrow Festival 2016 @ B10 Live) This release from Shenzen's Old Heaven Books documents a blistering live performance, recorded in B10 as part of the 3rd Tomorrow Festival. Over the last fifty years few musicians or performers have created as monumental and uncompromising a body of work as that of Keiji Haino. Through a vast number of recordings and performances, Haino has staked out a ground all his own, creating a language of unparalleled intensity that defies any simple classification. Haino lets loose a 90 minute performance maelstrom, marrying the immersive echo-fields of kosmische music to the rough and ready hands-on feel of classic wall of noise intensity that he's known for. This is both an essential historical document and a classic performance in its own right. Keiji Haino considers this live album as an integral work that cannot be separated. Released by Old Heaven Books, Dec 5th 2019

pre-order, arriving late december / early jan Amazing duo perfromance by Hamid Drake and Piano, recorded at the Shenzhen Jazz Festival in China, during late Cotober of 2019, issued by the always amazing Shenzhen based imprint Old Heaven.  Hamid Drake - 鼓 Drums / 打击乐 Percussion / 框鼓 Frame Drum / 人声 Vocals Pat Thomas - 钢琴 Piano 录制于第九届 OCT-LOFT 国际爵士音乐节，深圳 B10 现场，2019 年 10 月 20 日 Recorded at the 9th OCT-LOFT Jazz Festival, B10 Live, Shenzhen, October 20th, 2019

Beautifully produced X4CD Box set / First ever release dedicated to seminal British experiental ensemble Intermodulation via Paradigm Discs Having releasing a box set of works by Gentle Fire it felt necessary to do the same with Intermodulation and thus complete the other half of this missing chapter in British experimental music. Intermodulation have a quite different line up to Gentle Fire, most notably with Peter’s percussion, Robin on bassoon and soprano sax, and the shared use of VCS3’s and electric keyboards. Nonetheless both groups covered similar ground, appeared at the same European festivals, travelled together with Stockhausen to Iran, and they were generally concerned with a similar repertoire of experimental scores. Although Intermodulation released no records during their existence (and Gentle Fire only the one LP), both groups did appear side by side on the recording of Stockhausen’s Sternklang. This 4CD set aims to cover a wide range of their work. CD1 contains the entirety of their 1971 concert at Ely Cathedral (a 6 minute excerpt of which appeared on the 2CD ‘Not Necessarily English Music’ compiled by David Toop). CD2 focuses on their BBC recordings including excerpts from 2 Prom performances, one of which is the famous 1970 Prom which had Soft Machine taking the stage in the second half. CD3 features material held in the archives of 3 German radio stations and the fourth disc consists of one work; World Music by Tim Souster, the 72 minute opus written for the four players plus tape. In summary, we hear Intermodulation play 5 Stockhausen pieces (4 of which are realisations of his intuitive text pieces), 2 Terry Riley pieces and one by Cardew. They also play 2 compositions by Tim and one by Roger as well performing 2 group improvisations. The set comes with a 48 page booklet detailing the groups history. This is a numbered edition of 500.

You may have heard of Gentle Fire, but could be forgiven for not knowing much about them. They were a 6, then 5 member group of composers/improvisers/performers based in London and Yorkshire. Most of the writings that cover the pioneers of experimental, electronic and improvised music have given them scant attention. In addition to this, their recorded output is slim, the main item being a long out of print LP (for EMI Electrola), featuring their interpretations of graphic scores by Cage, Earle Brown and Christian Wolff. Despite recordings for BBC Radio 3 and many German radio stations, it seems extraordinary that there were no other substantial releases of their repertoire, or any of the 6 Group Compositions they created. Most of the existing Gentle Fire archive was kept privately by Hugh Davies. After Hugh died in 2005 it was shared between various institutions. This release owes much to Hugh’s meticulous record keeping as well as the archives at the British Library and Special Collections at Goldsmiths, University of London. Listening sessions at the British Library were a revelation, it was like discovering a missing link in the evolution of experimental music, but above all it sounded so undated and fresh. The release is divided into 3 sections. The first CD, recorded between 1970 and 1971 contains 4 studio and 2 concert recordings of graphic and text scores: 2 parts of Stockhausen’s Aus den sieben Tagen, and one piece each by Earle Brown, John Cage, Toshi Ichiyanagi and Christian Wolff. Gentle Fire were active between 1968 and 1974 and were especially active during the early 70s, appearing at numerous European avant garde festivals, playing their own Group Compositions and a wide variety of experimental scores. They even ended up in Iran playing in Stockhausen’s Sternklang, and improvising at dawn at Hafez’s tomb. The text and graphic scores that they were innately drawn towards have large elements of interpretive freedom to them, where the composer provides a skeleton and steps back allowing the players to give it flesh. They were in regular communication with the composers of these piece, so it’s no surprise that their interpretations were sought after by concert organisers and composers alike. There are very few examples of groups working at this time with direct contact to the composers, which makes these recordings especially precious. CD2 and 3 focus on their own works, CD2 dates from 1973 and was recorded during a 2 day residency at Radio Bremen. The 5 pieces on this disc cover a wide variety of styles and include a 23 minute version of Group Composition VI which is their only text based piece and uses processed and filtered speech. CD3 is a recording of their appearance at ICES 72, a legendary festival that took place at the Roundhouse in London. Over the course of 2 chaotic weeks a vast number of the world’s experimental musicians took to the stage. Miraculously the whole of the Gentle Fire concert has been preserved. It consists of a performance of their Group Composition IV, centred around a large metal sculpture that all members of the group could play at the same time. The piece actually had its première the previous year on the original pyramid stage at the first Glastonbury Fair. There are several photos of the event included in the booklet that accompanies the CDs. At last it is possible to assess the importance of this group’s work, both their own work and their interpretations of scores, and to give them their proper place in the history of live experimental/electronic music as well as indeterminate and intuitive composition. Released in an edition of 500 with a numbered 48 page booklet.

Pre-order: Ariving late Dec / Early Jan Astounding, long-overdue repress of Art Into Life's essential X5CD survey of Anne Gillis  French artist Manon Anne Gillis began creating everyday yet theatrical sound works and performances in the early 1980s. This is the first archival collection of her work, covering her earliest pieces from 1983 under the name Devil’s Picnic up to her installation and exhibition recordings from 2005. This five-CD box set includes all the LP and CD albums released on (CRI)2, DMA2, and Rangehen; her only collaboration with another artist—a 7-inch single with her close associate G.X. Jupitter-Larsen; her compilation contributions up to 1999 (excluding a few whose original masters have been lost); and eleven previously unreleased pieces appearing here for the first time. A dense compilation filled with the imagery of beautiful isolation.