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Lucy & Aaron is the debut collaboration LP from the duo of Lucrecia Dalt (RVNG Intl.) and Aaron Dilloway (Dais Records). Full length LP in full color cover with printed inner sleeve featuring art by artist Pieter Schoolwerth. File under Electronic / Tape Music. ARTIST STATEMENTS “I met Aaron in Madeira around 10 years ago, and I was blown away by his set, when I was going to tour the US for the first time, Forest, my US my booking agent asked me if I wanted to tour with someone from his roster and I suggested Mr Dilloway, the first show we played together was in Toronto, he started with a very groovy loop, some kind of soul extract that felt just right. With that, he levelled the dynamics and the atmosphere of the room, moving back and forth from the stage to the audience to double check if everything was sounding right. I have never seen such an elegant, disturbing and powerful show at the same time, it was a wild combination. We played a couple more shows together and on my journey throughout the states I was never in a place where his name didn’t pop up with a positive comment of admiration. We became extremely close and utopian. We started this record during a two week visit of mine in NYC, we crossed our signals, sometimes his affecting mine, or the other way around, we just wanted to make a fun, weird and inevitably emotive record that somehow captured so many things we love about music, to put oneself in character and go with the flow.” -- Lucrecia Dalt “Lucrecia and I met briefly 10 years ago while performing at a festival together. We traded some releases and I was very excited by what I heard. Her records stuck out to me over the years as something very special. I was a fan. We met again recently while performing on a bill together in Toronto, and while watching her perform, I was mesmerized by her selections of sounds, as well as her movements and control of the mixing board. I felt like we worked similarly. We struck up a very close friendship and what followed was a year of intense discussions about art, music, performance and recording. Immediately we began working on music together and her expertise in mixing and her highly trained ears and overall drive were very inspirational. This album was recorded in 3 different locations, Pioneer Works in Brooklyn, NY where Lu was doing a residency, sessions at Lu’s home in Berlin, Germany and finally at my home in Oberlin, OH. It was one of the most inspirational periods of my life and helped me overcome some intense musical and psychological obstacles. I learned so much by making this record.” Aaron Dilloway Recorded by Lucrecia Dalt & Aaron Dilloway 2019 - 2020 Mastered by Rashad Becker Cut by Warren Defever Art by Pieter Schoolwerth --- Hanson Records, 2021

Aaron Dilloway & Lucrecia Dalt – Lucy & Aaron

"Back in 2018, I was invited by Dave Rempis to participate in the Exposure Series at Elastic Arts in Chicago. The Series was for me a shining example of artist-lead organizing of different yet connected communities around the Music. From my standpoint, it is yet another in the continuum of such actions, specifically in Chicago, and has been a major inspiration for my work as an artist and for the material on this recording. The ensemble was assembled by Mr. Rempis, and was the first time the group had ever played together. The experience was immensely moving and was a major event in my own musical development, having the chance to lead a collective ensemble of true pillars in Creative Music. Later that year, I was invited back to Chicago by Ken Vandermark for the Option Series at Experimental Sound Studio. It was then when I was able to schedule a recording and subsequent concert with the group, revisiting the material conceived by the ensemble earlier that year. As for the actual composition, I wanted to showcase the collectivism of the sounds produced in that first meeting. With that in mind I listened back to the first recording and transcribed different movements, motifs, and themes, plus added a few original composition ideas. We then recorded these collective compositions, first in a private recording session, second in front of an audience at Elastic Arts, where the Quintet first met. What is presented here on this double album is a collection of both sessions. I want to convey again the collectivity of the Quintet. The concept of being a (C)omposer is a result of centuries of musical hierarchy, regarded and celebrated as the ultimate form of a musical artist. The example set out by the journeys of many in Improvised Music, including the gentlemen on this recording, allows for exploration of "composition" in true collective non-hierarchical form. There are no single series of notes, timbres, and dynamics conceived previously by an individual that was then imposed. Rather the Music was allowed to be presented with equal representation from each individual. The "Composer" here, is merely the organizer of the spirit energy of the ensemble. This is the nature of the beautiful offering that This Music provides." - Luke Stewart, July 2020.  --- Luke Stewart - Bass, Compositions Edward Wilkerson, Jr. - Reeds Ken Vandermark - Reeds Jim Baker - Piano Avreeayl Ra - Drums --- Released: Oct 2020, Astral Spirits

Luke Stewart – Exposure Quintet

حمد [Ahmed] – the quartet of Pat Thomas, Antonin Gerbal, Joel Grip and Seymour Wright – make music of heavy rhythm, repetition and syncopation set deep into an understanding of jazz and the obscure depths of its history. Recorded live at Cafe OTO at the launch of the previous record 'Super Majnoon [East Meets West]’ the group work and rework the music of the late musician Ahmed Abdul-Malik to create a stamping, swinging, relentlessly propulsive record where profundity and physicality root right back to ecstatic feeling --- "The journey of self-discovery, communing with the eternal sound. A musician steeped in multiple worlds; oceans apart yet closely connected in ancestral memory. Musicians such as Ahmed Abdul-Malik were able to experience the global community of sound warriors, drawing inspiration from ancient cultures to support personal investigation. The connection was made clear, the music of Africa would certainly influence the African in America despite the atrocities of the Middle Passage, chattel slavery, and continued racist violence that sought to sever any connection to the continent. The beauty of Malik’s investigation is this original fusion of new music (Jazz) of the African in America with ancient music of Africa. It is a shining example of collaboration in culture, where the music is allowed to shine for itself. This is the inspiration that is being tapped, being explored in this collaboration where rhythm is the basis for the sound. Just like Malik, they allow the spirit of the collective push the sound as the music develops into exalted chaos. Joy Be Upon Us!" - Luke Stewart --- Arranged by [AHMED] Pat Thomas - Piano Joel Grip - Bass Antonin Gerbal - Drums Seymour Wright - Alto saxophone --- Recorded live at Cafe OTO, London, December 5th, 2019. Recording: Shaun Cook Mixing: Billy Steiger Mastering: Mikey Young --- Inner-sleeve text: ' Origins Revisited' by Pat Thomas (2004) Cover photo of Ahmed Abdul-Malik at the Cabana Club, New York City, 1965 Produced: Astral Spirits / Seymour Wright --- Released: Astral Spirits, 2021

[Ahmed] – Nights on Saturn (communication)

Otoroku is extremely proud to present the first vinyl reissue of one of the most legendary free jazz records ever produced. Originally released in 1978 on Ogun recordings, Louis Moholo Octet’s Spirits Rejoice! is a high achievement in the movement of the era as it soars beyond oppression with a raucous and spiritually uplifting surge of movement and melody  Featuring Harry Miller, Johnny Dyani, Keith Tippett, Evan Parker, Nick Evans, Radu Malfatti and Kenny Wheeler, this is former Blue Note artist Louis Moholo’s first album under his own name and is a classic example of the cross-pollination between South African and British players. Mongezi Feza’s ‘You Ain’t Gonna Know Me ‘Cos You Think You Know Me’ alone is enough to make your life a better place. From Matthew Wright’s new liner notes:  The South African melodies, now so familiar, were wholeheartedly taken on board by the individual musicians, their unity of purpose mirroring the belief in the strength of the collective. Stunning solos, often close to the edge, feature throughout –  Evan Parker and Keith Tippett on “Shine Wherever You Are”; the contrasting trombone styles of Nick Evans and Radu Malfatti on “You Ain’t Gonna Know Me...”; the octet sounding like a full big band; and behind them, the relentlessly rhythmic urgency of the piano, bass and drums. Add to this Kenny Wheeler’s moving and all-encompassing trumpet on the elegiac “Amaxesha Osizi” and the joyous flamboyancy of “Wedding Hymn” with Parker’s relatively straight-ahead tenor and Tippett’s dextrous piano solo over a bed of riffing horns, (fast) walking bass lines and a supreme sense of swing. Louis’ early hero, Big Sid Catlett, would have loved it! This 2019 re-issue has been made with permission and in association with Ogun records. Features an exact reproduction of the original artwork and liner notes along with new liner notes from Matthew Wright. Remastered by Giuseppe IIelasi and packaged in a high gloss sleeve this is the definitive release of one of the absolute free jazz classics of the 20th Century. Edition of 1000 copies.

Louis Moholo Octet ‎ – Spirits Rejoice!

Spencer Clark is back with Vol.2 of his eco-friendly extravaganza Avatar Blue. It’s life on earth as you never heard it. The story goes like this: Spencer wanted to do a soundtrack for the yet to be made “Avatar 2”. And if you know Spencer’s work, you’ll know that he engaged on this mission reading material that influenced the rich and crazy imaginary world of “Avatar”. If you think about it a little bit, something like “Avatar” could have really come out from the mind of Spencer Clark. But it didn’t. So, he dwelled around the idea of that soundtrack, working on what is now known as “Avatar Blue”. The record we now release is a selection he made from the 2CD released last year on his own Pacific City Sound Visions. Like many of Spencer’s other alias or incarnations, Star Searchers introduces the listener to a new world. Besides making sounds/soundtracks for alternative realities he cares about making a world for his music to live in. It’s never superficial or dedicated just to the act of imagination, Spencer creates sounds that sustain the reality he imagined. That’s why they’re so rich and consequential in the realisation of music as a medium. “Avatar Blue” is music but also literature. And cinema. Star Searchers’ sound creates an absorbent sound about what’s happening in aquatic life. It goes beyond the perception of what we’ve seen or what we’ve known, it’s a neo-future aquatic life, with a world building structure and sounds and narratives that go along with it. All done with a sound-aesthetics that could be described as slowed-down-trance, that fits 1980s synth nostalgia and dreams of sci-fi to come. --- Discrepant Music, 2020

Star Searchers – Avatar Blue Vol.2

Latest in a standout line of collaborations between Japanese dynamo Haino, ingenious synthesist O’Rourke, and limitless shredder Ambarchi, was recorded on the night that Hideo Ikeezumi - a titan of Japanese psychedelic and experimental music, and long-term collaborator with Haino - passed away in February, 2017. In effect a bardo-like soundtrack of sorts, the results can’t help but remind us to Gaspar Noe’s use of Jean-Claude Eloy’s music in ‘Enter The Void’ as much as their own reference to David Behrman’s ‘Wave Train’ as the trio follow their nose along the axes of ‘Each side has a depth of 5 seconds A polka dot pattern in horizontal array A flickering that moves vertically’ to plumb deeply psychedelic, other dimensions and planes of existence. The album is dominated by the sidereal scope of its side-long ‘Introduction’, where each member elides their respective electronics into an insoluble fluid mass of roiling white noise and starscreaming timbre where it’s difficult, and unnecessary, to pick out who’s doing what. However Haino takes the lead on the other side’s three-part suite, proper; piping up with spine-tracing effect on the suona (a Chinese double-reed horn) over O’Rourke’s descending synths and Ambarchi’s Leslie cabinet amp hum in ‘Part I’ and steering them into shattered bleeps, before the more concise ‘Part II’ erupts with angular free jazz drum machines and wrenched guitar squall, and ‘Part III’ passes out into space music recalling Rafael Toral. --- Presented in a deluxe gatefold sleeve with artwork and design by Lasse Marhaug and an inner sleeve with live pics by Ujin Matsuo. --- Black Truffle, 2021

Keiji Haino, Jim O'Rourke, Oren Ambarchi – Each side has a depth of 5 seconds A polka dot pattern in horizontal array A flickering that moves vertically

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Bunny Lee recorded a massive volume of remarkably consistent music in the 70s. This compilation brings together rare and unreleased cuts that put the listener bang in the middle of a typical recording session, complete with false starts and studio banter. Linval Thompson is represented by two unreleased tunes, and is also heard in the runup to 'Tommy's Vibration'. Once the 'flying cymbal' sound had taken off, Bunny often recorded a 'flyers' and a straight version of the same rhythm: 'Tommy's Vibration' is a classic but little known Tommy McCook instrumental on the flyers cut of Linval's 'Jah Jah A The Conqueror'. 'Ethiopian Rock' is a total scorcher, the only recorded tune by the deejay Jah Smile, before Bunny persuaded him to turn to singing and changed his name to Barry Brown. In a healthy spirit of competition, Bunny often tried out different singers on tunes that he thought would hit, hence Ronnie Davis's soulful take on Johnny Clarke's 'Every Knee Shall Bow', Johnny's version of Horace Andy's 'Better Collie', and Johnny and Horace sharing vocals on 'No Man Is An Island', all unreleased until now. 'No Babylon Shall Escape In This Time' has Johnny Clarke and 'Bongo' Herman Davis recorded over the original version side of Johnny's 'None Shall Escape The Judgement'. 'Life Of My Own' is a beautifully constructed lament by a singer who neither Bunny nor various expert ears have managed to identify: at Bunny's suggestion he is credited as 'The Raver'. 'War Zone' and 'Keep On Running' are examples of Tubby's mixes that have had further effects dubbed on elsewhere; sound systems and foreign record labels occasionally did this to manufacture their own specials from existing mixes. 'Jamaican Fruit Of African Roots' has recently been the subject of the fascinating documentary 'Shella Record: A Reggae Mystery'; the Lennox Brown cut here has only just been discovered. Also included are two stinging dubplates by Cornell Campbell: the first is aimed straight to the head of Arrows sound system, while the second, recorded in the early 80s, sums up the vital partnership of two of Jamaica's musical giants --- Produced by and under licence from Bunny ‘Striker’ Lee Recorded at: King Tubby’s, Randy’s Studio 17, Harry J’s, Dynamic Sounds, Treasure Isle, Channel 1 Studios Engineers: King Tubby, Philip Smart, Pat Kelly, Prince Jammy, Sylvan Morris, Errol Thompson, Sid Bucknor, Carlton Lee, Stanley ‘Barnabas’ Bryan, Ernest Hoo Kim Musicians include: Drums: Carlton ‘Santa’ Davis, Lowell ‘Sly’ Dunbar, Carlton ‘Carly’ Barrett Bass Robbie Shakespeare, George ‘Fully’ Fullwood, Earl ‘Bagga’ Walker Guitar Earl ‘Chinna’ Smith, Tony Chin, Jerome ‘Jah Jerry’ Haynes Keyboards Winston Wright, Robbie Lyn, Ossie Hibbert, Keith Sterling, Bernard 'Touter' Harvey Horns Tommy McCook, Lennox Brown, Bobby Ellis, Val Bennett, Herman Marquis, Vin Gordon Flute Tommy McCook Percussion Noel ‘Scully’ Simms, ‘Bongo’ Herman Davis Photography: Adrian Boot Artwork: Teflon aka John Sims Tape Transfers: Newton Williams and Diggory Kenrick Mastering: Dave Blackman at Hiltongrove Sound Restoration: Andy Le Vien Sleeve Notes: Bunny Lee and Diggory Kenrick Special thanks to Bunny ‘Striker’ Lee, ‘Little Striker’ Lee, Chris Flanagan Album Co-ordination: Pete Holdsworth

Various Artists – When Jah Shall Come