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In 1968, Don Cherry had already established himself as one of the leading voices of the avant-garde. Having pioneered free jazz as a member of Ornette Coleman’s classic quartet, and with a high profile collaboration with John Coltrane under his belt, the globetrotting jazz trumpeter settled in Sweden with his partner Moki and her daughter Neneh. There, he assembled a group of Swedish musicians and led a series of weekly workshops at the ABF, or Workers’ Educational Association, from February to April of 1968, with lessons on extended forms of improvisation including breathing, drones, Turkish rhythms, overtones, silence, natural voices, and Indian scales. That summer, saxophonist and recording engineer Göran Freese—who later recorded Don’s classic Organic Music Society and Eternal Now LPs—invited Don, members of his two working bands, and a Turkish drummer to his summer house in Kummelnäs, just outside of Stockholm, for a series of rehearsals and jam sessions that put the prior months’ workshops into practice. Long relegated to the status of a mysterious footnote in Don’s sessionography, tapes from this session, as well as one professionally mixed tape intended for release, were recently found in the vaults of the Swedish Jazz Archive, and the lost Summer House Sessionsare finally available over fifty years after they were recorded.
On July 20, the musicians gathered at Freese’s summer house included Bernt Rosengren (tenor saxophone, flutes, clarinet), Tommy Koverhult (tenor saxophone, flutes), Leif Wennerström (drums), and Torbjörn Hultcrantz (bass) from Don’s Swedish group; Jacques Thollot (drums) and Kent Carter (bass) from his newly formed international band New York Total Music Company; Bülent Ateş (hand drum, drums), who was visiting from Turkey; and Don (pocket trumpet, flutes, percussion) himself. Lacking a common language, the players used music as their common means of communication. In this way, these frenetic and freewheeling sessions anticipate Don’s turn to more explicitly panethnic expression, preceding his epochal Eternal Rhythm dates by four months. The octet, comprising musicians from America, France, Sweden, and Turkey, was a perfect vehicle for Don’s budding pursuit of “collage music,” a concept inspired by the shortwave radio on which Don listened to sounds from around the world. Using the collage metaphor, Don eliminated solos and the introduction of tunes, transforming a wealth of melodies, sounds, and rhythms into poetic suites of different moods and changing forms. The Summer House Sessions ensemble joyously layers manifold cultural idioms, traversing the airy peaks and serene valleys of Cherry’s earthly vision.
In the Swedish Jazz Archive quite a few other recordings from the same day were to be found. Some of the highlights are heard as bonus material on the CD edition of this album. The octet is augmented by producer and saxophone player Gunnar Lindqvist, who led the Swedish free jazz orchestra G.L. Unit on the album Orangutang, and drummer Sune Spångberg, who recorded with Albert Ayler in 1962. The bonus CD also includes a track without Cherry featuring Jacques Thollot joined by five Swedes including Lindqvist, Tommy Koverhult, Sune Spångberg, and others.
With liner notes by Magnus Nygren and album art featuring a cover painting by Moki Cherry: Untitled, ca. 1967–68
Blank Forms, 2021
Don Cherry – The Summer House Sessions
Nathaniel Mackey is a hugely influential American poet, novelist, anthologist, literary critic and editor. He is the Reynolds Price Professor of Creative Writing at Duke University and a Chancellor of Academy of American Poets. His on-going series of epistolary novels (begun 1978) From A Broken Bottle Traces of Perfume Still Emanate narrate the music making, dreams and creative life a group of imaginary jazz-based musicians making a fictional music, at the edge of words, dream and physical possibility in late 1970s and 1980s Los Angeles.The idea for the Creaking Breeze Ensemble emerged in 2016 in response to a reading of Mackey's books by a group of musicians, writers and artists closely connected to the creative community around Cafe OTO in East London: Billy Steiger, Evie Ward, Paul Abbott, Ute Kanngiesser and Seymour Wright. Each have their own distinct voice, and respective connection with the musical traditions at the core of From A Broken Bottle. As a group of artists they felt that what Mackey explored as the making of a fictional music articulated something close to their actual, respective and overlapping musical lives. The group was named and so doing established a space for them to undertake an on-going 'reading' of the novels. And
led in turn to them inviting Mackey to come to London to work, somehow, on this 'reading' of the novels and their ideas.Mackey agreed and this mysterious proposal was realised in June 2019. Together Mackey and the ‘Breeze developed a working method and honed their attention on close reading of two letters from the books. What emerged was an open mobile process moving through the letters (and their content) in ways that shaped rich, sensual and playful spaces for reflection and improvisation, iteration and inter-textual pleasures.The result is Fugitive Equation a remarkable and beautiful long-song across two nights. The first night Lit by Eclipse takes as its point of departure, reads and develops a letter from book five, Late Arcade; the second night Skeletal Water, X-Ray Water takes as its point of departure, reads and develops a letter from book two Djbot Baghostus's Run.The album is a complex, unique and long-form (2 hours plus) composition of sound and word, unlike the previous work of any of those involved. The six unique voices, drums, violin, cello and saxophone and Mackey and Wards' words. It is a work that continuously collapses, questions and flips many poles - word/sound, voice/music, vocals(foreground)/band(background), recorded past/improvised present and fact/fiction.The art work for the album cover is ‘Clutch’, a painting by seminal London based artist Frank Bowling whose retrospective was on show at the Tate Britain during Mackey’s visit to London.The project was supported by the Arts Council of England and Cafe Oto.
Nathaniel Mackey - voice, readings, vinylEvie Ward - voice, improvised poetry fragmentsPaul Abbott - acoustic drums, synthetic soundsUte Kanngiesser - celloBilly Steiger - violin, pianoSeymour Wright - alto saxophoneRecorded in concert by Shaun Crook and Paul Skinner at Cafe OTO,London on June 7 and 8, 2019. Mixed by Shaun Crook.
Nathaniel Mackey and The Creaking Breeze Ensemble – Fugitive Equation
Michael Winter's extraordinary composition from 2015, a seven-part canon which starts off fast and gradually slows down over its 45 minute duration. Performed by Liminar, Mexico's leading ensemble for contemporary music. The cover image cover and corresponding caption are reprinted from the book Matters Computational by Jörg Arndt
Another Timbre, 2021
Michael Winter – single track
5 chamber works by James Weeks, beautifully performed by Explore Ensemble. An album of interlinked pieces that form a sequence. James Weeks says "I was aware of tying the pieces together as a set, by continuing and extending certain poetic ideas, ways of using and combining instruments, and ways of thinking about material....Things like the use of mixed instrumental duos, which comes from Violet-Violute, the use of a slow-moving or static background harmonic layer, which comes from Summer, the overall very soft and intimate instrumental idiom based on long, breath-length sounds, which appears in all the pieces other than Durham. And finally of course the poetic idea of a piece as opening up an imaginary (or remembered) space: music which unfolds as an area or a field, for the listener to wander in without having to follow a complex series of narrative events."
Another Timbre, 2021
James Weeks – Summer
Nantes-based Australian drummer and percussionist Will Guthrie returns to Black Truffle with Nist-Nah. Like his previous solo record on the label, the abrasive hip-hop concrète of People Pleaser (BT027), Nist-Nah finds Guthrie branching out in a new direction, this time in a suite of six percussion pieces primarily using the metallaphones, hand drums and gongs of the Gamelan ensembles of Indonesia. The music presented here is grounded in Guthrie’s travels in Indonesia and study of various forms of Gamelan music, from the stately suspended temporality of the courtly Javanese Gamelan Sekatan, to the delirious, thuggish repetition that accompanies the Javanese trance ritual Jathilan, to the shimmering acoustic glitch of contemporary Balinese composer Dewa Alit and his Gamelan Salukat. However, far from an exercise in exoticism, Nist-Nah develops out of Guthrie’s extensive work with metal percussion in recent years (as heard, for example, on his 2015 LP for iDEAL, Sacrée Obsession), where gongs, singing bowls and cymbals are used to build up walls of hovering tones and sizzling details. Though Guthrie is broadening his palette to explore Gamelan instrumentation and pay tribute to his love of this sophisticated yet elemental percussion music, the pieces presented here are equally informed by Guthrie’s interests in free jazz, electro-acoustic music and diverse experimental music practices, exploring long tones, extended techniques, and non-metered pulse.Nist-Nah presents a variety of approaches across its six pieces, from the crisp, precise rhythmic complexity of the opening title track to the droning textures of ‘Catlike’ and ‘Elders’. On the epic closing ‘Kebogiro Glendeng’, Guthrie offers an extended, layered rendition of a Javanese piece belonging to a repertoire primarily used for warmups, beginner’s groups and children first learning Gamelan, elegantly gesturing to his own amateur status while using the piece’s insistently repeated melody as an extended exploration of the hypnotic effects of repetition, falling in and out of time with himself to create woozy, narcotic effects until the piece eventually dissolves into a wavering fog.
Will Guthrie – Nist Nah
A truly stunning accomplishment from Unseen Worlds, building on their long-standing relationship with the late, great "Blue" Gene Tyranny, comes 'Degrees of Freedom Found', a towering 6 CD box set of material recorded between1963-2019, hand selected from the archives by the artist before his passing in 2020. Spanning countless musical forms and as ever refusing to be nailed down, it’s a visionary excursion into the irreverent world of one of the most import musical figures of the last 50 years. So good...
**6CD Box. Includes 24 page booklet with liner notes by "Blue" Gene Tyranny and download card.** There have been very few artists as singular, unique, and difficult to define as the late, great "Blue" Gene Tyranny. A maverick of the highest order who blended a near countless number of musical idioms into a definitively unique form, his long-standing relationship with Unseen Worlds breathed new life into his practice and fan base over the last decade or so of his life. As a final parting, the label has now embarked on their most ambitious release attending to this incredible artist’s legacy, Degrees of Freedom Found, a six CD set of material recorded between 1963-2019, that was hand selected by Tyranny from archival, live recordings, and brand new first recordings, before his passing in 2020. This is a truly stunning accomplishment that represents the most comprehensive immersion into Tyranny’s incredible world of sound, we couldn’t possibly recommend it enough.Born and raised in San Antonio, Texas, "Blue" Gene Tyranny began studying piano at an early age and launched his performance career while still in high school, already drawn toward the avant-garde by the work of composers like John Cage. Across the 1970s and early '80s, he taught at the legendary Mills College, and toured with The Carla Bley Band, The Prime Movers (which included Iggy Pop and Michael Erlewine), and Iggy & The Stooges, as well as embarking upon extensive work with composers like Robert Ashley, Peter Gordon, and Jacques Bekaert. In the words of Kyle Gann, Tyranny had "Cecil Taylor's keyboard energy, [and] Morton Feldman's ear. The most original aspect of [his] works is the way they create continuity: they're tonal, yet rigorously asymmetrical. They satisfy the ear without letting it take anything for granted. They evolve...with the labyrinthine irreversibility of deep psychic forces."A number of years before his move to NY in 1983, Tyranny recorded his debut LP, Out of the Blue - for many his most definitive and most striking statement - issued by Lovely Music in 1978. While currently not the earliest of his available recordings - Unseen Worlds’ incredible archival issue of Trust In Rock, for example, predates it by a couple years - Degrees of Freedom Found takes unprecedented steps to fleshing out our understanding of his activities for the decade preceding and following, as well as what has come since, of this seminal work.Degrees of Freedom Found, sprawling across 6 CDs, features recordings dating to as early as 1968, and builds across the '70s, '80s, and first two decades of the 2000s, curated conceptually and for playability, rather than chronologically. Featuring live and studio recordings, that encounter Tyranny solo on the piano, in numerous stunning duos, and working within ensembles of varying sizes - featuring astounding players like Leroy Jenkins, Conrad Harris, Jon Gibson, Richard Landry, Peter Zummo, and a near countless who’s who of the American experimental vanguard, the degree of creative diversity and scope is absolutely astounding across the album’s length, ranging from emotively melodic minimal piano excursions embarked upon solo, works for tape and electronics, expansive orchestral works, abstraction laden efforts of startling harmonic interplay, fascinating ventures into the fourth world, and playful rethinking of the nature of song, the set really has it all and brings an artist like no other into crystalline focus.A truly monumental gesture that couldn’t be bested as a farewell to one of the most singular artists of the last 50 or so years. Unseen Worlds has done it again, reminding us not only of Tyranny’s seminal place in the history of music, but of the importance of record labels in the support of their work. Issued in a beautiful box with extensive notes on each work made by the artist himself, stunning colour photographs by Phil Makanna and a black and white portrait by Pat Kelley, this is absolutely essential and not to be missed.
"Blue" Gene Tyranny – Degrees Of Freedom Found
VINYL IS DELAYED TIL NOVEMBER. CDS READY TO SHIP.
In the late 1960s, the American trumpet player and free jazz pioneer Don Cherry (1936–1995) and the Swedish visual artist and designer Moki Cherry (1943–2009) began a collaboration that imagined an alternative space for creative music, most succinctly expressed in Moki’s aphorism “the stage is home and home is a stage.” By 1972, they had given name to a concept that united Don’s music, Moki’s art, and their family life in rural Tagårp, Sweden into one holistic entity: Organic Music Theatre. Captured here is the historic first Organic Music Theatre performance from the 1972 Festival de jazz de Chateauvallon in the South of France, mastered from tapes recorded during its original live broadcast on public TV. A life-affirming, multicultural patchwork of borrowed tunes suffused with the hallowed aura of Don’s extensive global travels, the performance documents the moment he publicly jettisoned his identity as a jazz musician, and represents the start of his communal “mystical” period, later crystallized in recordings such as Organic Music Society, Relativity Suite, Brown Rice, and the soundtrack for Alejandro Jodorowsky’s The Holy Mountain.
The musicians in Don Cherry’s New Researches, hailing from Brazil, Sweden, France, and the US, converged on Chateauvallon from all over Europe. The five-person band—Don and Moki Cherry, Christer Bothén, Gérard “Doudou” Gouirand, and Naná Vasconcelos— performed in an outdoor amphitheater and were joined onstage by a dozen adults and children, including Swedish friends who tagged along for the trip and Det Lilla Circus (The Little Circus), a Danish puppet troupe based in Christiania, Copenhagen. The platform was lined with Moki’s carpets and her handmade, brightly colored tapestries, depicting Indian scales and bearing the words Organic Music Theatre, dressed the stage. As the musicians played, members of Det Lilla, led by Annie Hedvard, danced, sang, and mounted an improvised puppet show on poles high up in the air.
The music in the Chateauvallon concert aspired to a universal language that would bring people together through song. In a fairly unprecedented move, Don abandoned his signature pocket trumpet for the piano and harmonium, thereby liberating his voice as an instrument for shamanic guidance. The show opens with him beckoning the audience to clap their hands and sing the Indian theta “Dha Dhin Na, Dha Tin Na,” and the set cycles through uplifting and sacred tunes of Malian, South African, Brazilian, and Native American provenance—including pieces that would later appear on Don’s albums Organic Music Society and Home Boy (Sister Out)—all punctuated by outbursts of possessed glossolalia from the puppeteers. “Relativity Suite, Part 1” notably spotlights Bothén on donso ngoni, a Malian hunter’s guitar, prior to Vasconcelos taking an extended solo on berimbau. A vortex of wah-like microtonal rattling, Vasconcelos’s masterful demonstration of this single-stringed Brazilian instrument is a harbinger of his work to come as a member, with Don, of the acclaimed group Codona. The sounds of children playing on the ensemble’s achingly tender rendition of Jim Pepper’s oft-covered beacon of spiritual optimism, “Witchi Tai To,” lends the proceedings an especially intimate, domestic glow. Given the context of the star-studded international jazz festival, the concert’s laid back, communal vibe feels like an attempt by the Cherrys to show Don’s jazz audience that he was moving on. At the same time, however, Don was extending a warmhearted invitation for them to come along for the ride.
With liner notes by Magnus Nygren.
Blank Forms, 2021
Don Cherry – Organic Music Theatre - Festival de jazz de Chateauvallon 1972
Five chamber and solo works by the Canadian composer Barbara Monk Feldman. "I have been thinking about what is inside and what is outside. The everyday life and tragedy of what goes on around you, and the fact that to accomplish anything you need the isolation in the studio - I think about this moral issue. And then on another level, I think about an inside and an outside for art itself, and how ephemeral that is....What I am looking for is a way to notate the most intangible aspect of the music – for me that is the colour. Colour is not only the instrumentation. It also involves the ‘weight’ of the tones, and a kind of gravity in the relationship of the sound and silence, as well as the spacing of duration and registration."
GBSR Duo (Siwan Rhys & George Barton) with Mira Benjamin
Another Timbre, 2021
Barbara Monk Feldman – Verses
Two pieces for cello and piano by Canadian composer Linda Catlin Smith, both performed by Anton Lukoszevieze (cello) and Kerry Yong (piano) "In Ballad (45 minutes in duration) I was extending myself into a longer work; I wanted to make a work that could be the entire concert, that could unfold over a longer time. With Through the Low Hills (10 minutes), I was working with a very restricted vocabulary in a process of constrained variation, working and re-working just a few elements. I felt like I had an object in my hands and was turning it over and over, looking at it from different angles. With Ballad, it felt more like a journey where I was discovering unfamiliar terrains."
--- Cover photograph by Anton Lukoszevieze
Apartment House: Anton Lukoszevieze (cello) and Kerry Yong (piano)
Another Timbre, May 12, 2021
Linda Catlin Smith – Ballad
Second CD release by Adrián Demoč following his highly-regarded debut 'Ziadba'. Four beautiful chamber works, three performed by Apartment House, one by an ensemble from the Janacek School of Music in the Czech Republic. The title track, Hlaholika, was commissioned by Another Timbre as one of the label's 'quarantine commissions' during Covid lockdown in 2020. The front cover shows a stone tablet engraved in Glagolitic script
Another Timbre, 2021
Adrián Demoč – Hlaholika
5 chamber works by UK-based composer Oliver Leith, performed by Explore Ensemble
Cover drawing by Susan Te Kahurangi King
Performed by Explore Ensemble
Another Timbre, 2021
Oliver Leith – Me Hollywood
A 40-minute composition for sextet and field recordings, combining harmonies taken from the music of Australian composer Peter Sculthorpe with field recordings made on Whadjuk Noongar boodja (country), Western Australia.
Josten Myburgh (composition, alto saxophone & electronics)
Jet Kye Chong (percussion)
Jameson Feakes (electric guitar)
Stuart James (piano, electronics)
Djuna Lee (double bass)
Kirsten Smith (flutes)
Cover image: still from the film 'Night Parrot Stories' by Robert Nugent (2016)
Another Timbre, 2021
Josten Myburgh – Sculthorpe Studies
64-minute piece by Antoine Beuger, composed in 2004, and beautifully realised by Apartment House. "It’s from a series of pieces I composed, each for a different number of players, from two to twenty. And the number in each piece is really important, because everything that happens can only happen in a situation where there are, in this case, six people. The question I was really involved with in this whole series was how is it to play with this particular number of musicians? It’s quite easy to see that to be two is somehow different from being three. But with five, six, seven, it becomes less easy to grasp the difference. But there will always be differences."
Apartment House: James Opstad (double bass)
Mark Knoop (accordion)
Heather Roche (bass clarinet)
Mira Benjamin (violin)
Joe Qiu (bassoon)
Bridget Carey (viola)
Artwork by Jack Vickridge
Another Timbre. 2021
Antoine Beuger – jankélévitch sextets
Absolutely mindblowing recording, live from Cafe OTO on 9th July 2019!!
Rich in musical associations yet utterly singular in its voice, joyous with an inner tranquility, the music of Natural Information Society is unlike any other being made today. Their sixth album in eleven years for Eremite records, Descension (Out of Our Constrictions) is the first to be recorded live, featuring a set from Cafe OTO with veteran English free-improv great Evan Parker, & the first to feature just one extended composition. The 75-minute performance, inspired by the galvanizing presence of Parker, is a sustained bacchanalia of collective ecstasy. You could call it their party album.
This was the second time Parker played with NIS. Joshua Abrams: “Both times we played compositions with Evan in mind. I don’t tell Evan anything. He’s a free agent.”
The music is focused & malleable, energized & even-keeled, drawing on concepts of ensemble playing common to musics from many locations & eras without any one specific aesthetic realization completely defining it.
Joshua Abrams guimbriLisa Alvarado harmonium & effectsMikel Patrick Avery drums Evan Parker soprano saxophoneJason Stein bass clarinet
recorded: London, Cafe OTO, 2019-07-09 producers: Abrams & Michael Ehlers engineer: Jimmy Dunn cover painting: Lisa Alvarado
Natural Information Society with Evan Parker – Descension (Out of Our Constrictions)
Muto Infinitas (2016/18) is an hour-long duo for quartertone bass flute and double bass, composed by the US-born Catherine Lamb, who is now resident in Berlin.
It was recorded by Adama Asnan at Andreaskirche, Berlin Wannsee in 2019.
Cover artwork by Rebecca Lane
Rebecca Lane (quartertone bass flute) Jon Heilbron (double bass)
Another Timbre, 2021
Catherine Lamb – Muto Infinitas
Portuguese pianist Tiago Sousa follows 2015's solo piano album "Um Piano nas Barricadas" with this heady set, based on themes of nostalgic escapism, repetition, temporality and other existential concepts. Don't worry if that sounds like too much to get stuck into now, the tracks here are pensive, but can be enjoyed without having a working knowledge of Heidegger, Camus or Kierkegaard. Souza's skill is in his attention to the texture of the sounds he works with - the anxious squeal of the clarinet, the distant rush of cymbals, the familiar twinkly of piano - and his arrangements are minimal, but always engaging. "ANGST" is a pensive and expressive exploration of the modern condition and it's enchanting
Released: Discrepant, 2021
Tiago Sousa – ANGST
Eryck Abecassis (b 1956) is a french-algerian composer, musician and electric guitar player. He went to Paris in 1976 to study film at the CLCF (Conservatoire Libre du Cinéma Français) and worked as a photographer. From 1979 to 1983 he took private lessons in composition and harmony with Julien Falk (1902-1987) and studied Jazz orchestration with Derryl Hall at the Centre d'informations musicales in Paris. In the following years he took various courses at IRCAM, among others in instrumental research and computer music. He took lessons with Jean-Claude Risset and in 1994 with Pascal Dusapin at the Centre Acanthes. In 1997 he took part in the Cursus Annuel de Composition et Informatique Musicale at IRCAM. "Siamoises" is his 3rd solo album and 2nd contribution to the Fragment Factory label catalogue (after "La Gueule Du Loup" w/ Francisco Meirino, 2017). Composed and recorded in Paris 2018, "Siamoises" is the pairing of Eryck's instrument of choice, an Ibanez 2404 double neck e-bass/guitar, with a modular synthesizer.
Fragment Factory, 2020
Eryck Abecassis – Siamoises
Schall und Klang is the result of Christina Kubisch's extensive fieldwork on the trail of Hermann Scherchen (1891-1966), conductor and key figure in 20th century new music. After moving to the village of Gravesano (Ticino/Northern Italy) in 1954, Scherchen established an electroacoustic experimental studio on his premises and created a meeting place for scientists, composers, musicians and sound engineers from all over the world. Among his guests were Iannis Xenakis, Luc Ferrari, Edgar Varèse and Luigi Nono, just to name a few. Originally commissioned and broadcasted by Deutschlandfunk Kultur, »Schall und Klang« is a personal portrait of Scherchen and his time in Gravesano. Kubisch brings together archival footage from the Scherchen estate and the Scherchen archive at Akademie der Künste in Berlin, tape recordings, recited texts from Scherchen's own quarterly »Gravesaner Blätter« as well as her own compositions and field recordings referring to her research made on site in 2016.
--- Christina Kubisch, born 1948 in Bremen, belongs to the first generation of sound artists in Germany. Studied painting, music and electronics. Own compositions since 1972. From 1980 increased sound installations, sound sculptures as well as electroacoustic compositions and radio plays. International scholarships and awards. Teaching as a professor of audiovisual art from 1994 to 2003 at Kunsthochschule Saarbrücken. Christina Kubisch is a member of the Berlin Academy of Arts. In 2016 she was awarded the Karl Sczuka Prize together with Peter Kutin and Florian Kindlinger for the piece "Desert Bloom" (WDR 2015). Her musical works have been released by labels such as Important Records, Edition RZ, Cramps Records and Gruenrekorder. Kubisch lives in Hoppegarten near Berlin.
Fragment Factory, 2019
Christina Kubisch – Schall und Klang