Following his first record on Rekem (Fullness of Harmony... Rekem 08), Panos Charalambous returns with a double vinyl collection that compiles a wide amount of sound and material within its four sides of vinyl. On top of recordings of his performances -where existing records are brought alive using objects from nature as cartridges- this album collects field recordings, performance and installation documentations. In addition, Charalambous has included a number of contributions from other artists, which he uses to compliment and contrast his own material and actions. Bringing together –amongst others- Mike Cooper & Tasos Stamou’s London Taximi, midnight recordings of jackals captured on Greece’s Mount Athos, Aggelos Krallis’ raw take on Misirlou, a rhythmic dance on glass cups under the distant sounds of a country festival, as well as voice-o-graph records containing voices and immigrant stories from the 50s, Charalambous pieces together a rich and manifold sound mosaic, reinstating neglected or unknown voices from the Balkan peninsula. Focusing both on content and sonic atmosphere, he manages once more to bring together the disparate and distant elements of the land, and to draw out a parallel ethnography and rapprochement of the local aural tradition. Building upon this aspect, the physical edition includes, amongst others, a pamphlet featuring an essay by Thanasis Moutsopoulos on the secret post-war history of folk music in Greece.

Vi Är Alla Guds Slavar is the latest missive from the long-running duo pairing of Mats Gustafsson (The Thing, Peter Brötzmann Chicago Tentet, etc) and Thurston Moore (Sonic Youth, Chelsea Light Moving, Dream/Aktion Unit, etc). Thurston had first come across Mats' playing on a duo disc with Barry Guy and had assumed he was one of those older beardy European improv guys - Remember this was before the internet and everyone knew everything. Their first actual meeting goes back to the early 90s at Blue Tower Records in Stockholm (now Andra Jazz - arguably the greatest jazz record store in the world) on one of Thurston's frequent soundcheck-skipping discaholic binges. The young guy behind the counter was blowing his mind with side after side of crazy rare jazz, test pressings, acetates and more. Running late, he offered Thurston a lift to the gig and en route asked if there was any particular records he was looking for. "There is this sax player - Mats Gustafsson - I'm looking for some of his stuff" "That's me" says the young guy - and there started an intense friendship that has manifested intself in music through their discaholics anonymous trio (with Jim O'Rourke), Gustafsson's large scale HIDROS 3 composition for Sonic Youth and much more besides… You can watch a video interview with Thurston where he tells the story of their first meeting here:

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

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

"Atlantis is an exhilarating listen, equally thanks to its fierce free jazz and brightly textural abstraction" Antonio Poscic, The WIRE, Feb 2020 Following closely on the heels of his ravishing solo album Tomorrow is Too Late, Stockholm-based synthesist and improviser John Chantler switches gears to unleash the stunning second album by his trio with saxophonist Seymour Wright and drummer Steve Noble, Atlantis. Chantler is well-known for his solo electronic work, which frequently explodes richly layered ambient soundscapes into visceral explosions and thrilling physicality, to say nothing of his imaginative experimentation with the organ, heard in radically transformed mode on the recent solo recording. But Chantler is equally invested in real-time improvisation and he’s developed a dazzling rapport and sound world with Wright and Noble, two of England’s most distinctive, active, and turbulent figures in spontaneous music over the last couple of decades. The pair has worked together in numerous contexts over the years, but it took Chantler to create an ongoing context for them, and since forming in 2017 the trio’s rigour and level of communication have steadily expanded.“My fantasy idea in the beginning when I wanted to do this trio was thinking about taking Derek Bailey’s role in the Topography of the Lungs trio,” he says, referring to the classic 1970 album with Evan Parker and Han Bennink. “That’s not what happened, but that was my way of imagining how I could make the synthesizer have the kind of range and ability to both comment on stuff and guide and push in certain ways, like Derek did in that group. That remains a kind of ambition even if aesthetically it doesn’t feel very close to that, but that’s how I first thought about what my role would be.” Indeed, Chantler serves as a pesky interrogator, his serrated tones and viscous globules cutting through the kinetic din dished out by Wright and Noble, and on the new album his integration is more fully realised to the point where it’s often impossible to decipher where the output of one musician ends—the sibilant bowed cymbals of Noble or the feedback-laced lines of Wright—and the pushback of another begins.The album was cut and mixed in a single day with in-house engineer Janne Hansson at Stockholm’s legendary Atlantis Studio, a facility made famous by the chart-topping albums recorded there by Abba in the 1970s, when the place was known as Metronome. Prior to entering the studio the trio spent an exhausting, all-in week rehearsing at the arts space Fylkingen—where they also played a show—in addition to playing a handful of gigs in Norway. Locked in, they discovered much different acoustic qualities at Atlantis from what they’d previously encountered. “There’s a very specific sound at the studio, and we’d been playing for a week together at Fylkingen, so we started to develop a thing that really works in that room, and then you move somewhere else, and the drums in particular sounded really different, and in some ways they had a bit more of a rock ‘n’ roll kind of feeling.” explains Chantler. Responding to that radically different, reverb-soaked ambience, he and Wright took advantage of a pair of matching Fender tube amps, charging their individual signals to match the booming, resonant sprawl of Noble’s pinpoint clatter.Compared to the group’s debut album Front and Above—a live recording of the trio’s very first performance at London’s Café Oto—which Chantler edited to emphasise the sparser expanses of the raucous, performance, the new album reveals a more open-ended spectrum, from delicate to crushing. Noble’s beautifully metallic rustling and throbbing snare bombs hang pregnantly in the air, and Chantler and Wright thicken the atmosphere with twinned abstractions, alternately ethereal and punishing. The transitions between calm and chaos are sometimes seamless, sometimes abrupt, but the full landscape transports the listener to another realm regardless of how ferocious or gentle the attack may be. As strong as the trio’s first album was, Atlantis marks a massive step forward. “The more you play together the more it starts to cohere into some kind of specific language,” says Chantler. “You start to understand the point of what a particular constellation might be.” With Atlantis there’s little doubt these three improvisers know exactly what the point of it all is, which thrillingly means that many new paths in the future have opened up.    ---   John Chantler / synthesiser   Steve Noble / drums   Seymour Wright / alto saxophone   --- RECORDED AND MIXED AT ATLANTIS GRAMMOFON AB, STOCKHOLM 24 JANUARY 2018ENGINEER: JANNE HANSSONMASTERING: STEPHAN MATHIEUPAINTINGS: LESTER WRIGHT   RECORDING SESSION MADE POSSIBLE WITH SUPPORT FROM THE AUSTRALIA COUNCIL FOR THE ARTS

First volume of solo piano compositions, originally released in 1963, by Emahoy Tsege Mariam Gebru, finally back in print. Born to an aristocratic family in Addis Ababa in December of 1923, Emahoy spent much of her youth and young adulthood studying classical music in Europe. She returned to Ethiopia in the 40s, where the war interrupted her musical studies. In 1948 during a church service in Ethiopia, she found her faith and began years of religious training. Throughout her physical and spiritual journeys, Emahoy continued to compose for the piano. She first released this album in Germany 1963 as small private press record. The tracks reflect her own travels, seamlessly moving between Western classical and traditional Ethiopian modes, evoking Erik Satie, the orthodox liturgy, and meditative Christian music all at once. Her work is like no one else in the world, lyrical, hypnotic, full of spiritual warmth and a direct connection to the divine.

Double LP version. Four long and vaporous unreleased tracks that document the Juri Camisasca's first mystical afflatus, bringing to light the moments of "collective meditation" of some events in 1978, including the recordings drawn from the exhibition "L'evoluzione interiore dell'Uomo", which took place at the Villa Reale in Monza. After his participation in the Telaio Magnetico project in 1975, and in parallel to his contribution in works like Franco Battiato's Juke Box (1978) and Lino Capra Vaccina's Antico Adagio (1978), and in Raul Lovisoni and Francesco Messina's Prati Bagnati Del Monte Analogo (1979), a more general syntony of Camisasca for different aspects of Eastern philosophies seemed to conceive his first personal form of music as a "celestial ocean" in which to break the eternal divine love. The mantra nature of deep drones of a natural reverberated harmonium literally introduce you to another level of consciousness; harmonic chants of dhrupad inspiration expanding the ethereal voice in the transcendental plot of all, while Roberto Mazza's oboe intervenes to paint this perfect osmotic sound echoing motifs of ancient medieval saltarello. For Camisasca, "the vibration of sound is something primordial which contains the mystery of creation"; and in this sense "the musician is a medium through which the Nature is expressed". This makes Evoluzione Interiore an intense minimalist work where singing generates a universal and archetypical spiral of purity and candor that suggests the Pandit Pran Nath's lesson as well as dialogues in concept with the mutability flux of seminal works as Terry Riley's Persian Surgery Dervishes (1972), Peter Michael Hamel's The Voice of Silence (1973) and Nada (1977), or with research on the overtones as that of Roberto Laneri's Prima Materia. Includes liner notes with archival photos.

The first vocal album by beloved Ethiopian nun, composer, and pianist Emahoy Tsege Mariam Gebru - profound and deeply moving home cassette recordings made amidst political upheaval and turmoil. These are songs of wisdom, loss, mourning, and exile, sung directly into a boombox and accompanied by Emahoy’s unmistakable piano. Though written and recorded while still living at her family’s home in Addis Ababa, Emahoy sings of the heartache of leaving her beloved Ethiopia, a reflection on the 1974 revolution and ensuing Red Terror in her homeland, and a presentiment of her future exile in Jerusalem. In the 21st century, Emahoy has become known worldwide for her utterly unique melodic and rhythmic style. Commonly misinterpreted as “jazzy” or “honky tonk,” Emahoy’s music actually comes from a deep engagement with the Western classical tradition, mixed with her background in Ethiopian traditional and Orthodox music. These songs, recorded between 1977-1985, are different from anything previously released by the artist. Rich with the sound of birds outside the window, the creak of the piano bench, the thump of Emahoy’s finger on the record button, they create a sense of place, of being near the artist while she records. Emahoy’s lyrics, sung in Amharic, are poetic and heavy with the weight of exile. “When I looked out / past the clouds / I couldn’t see my country’s sky / Have I really gone so far?” she asks in “Is It Sunny or Cloudy in the Land You Live?” Her vocals are delicate and heartfelt, tracing the melodic contours of her piano on songs like “Where Is the Highway of Thought?” “Tenkou! Why Feel Sorry?,” a career highlight that closes out her self-titled Mississippi album (MRP-099), is revisited here with vocals. Originally composed for her niece, Tenkou, the lyrics clarify the song title we’ve wondered about for so many years. “Don’t cry / Childhood won’t come back / Let it go with love Emahoy dreamt of releasing this music to a larger audience before her passing in March of 2023. We are proud to release this music, in collaboration with her family, now, in what would have been her 100th year. LP comes with a 16-page booklet full-color booklet. Gold cover first edition, pressed in both black and gold vinyl editions.  All songs composed and recorded by Emahoy Tsege Mariam Gebru, Addis Ababa, 1977–1985

Ideologic Organ is pleased to present Kali Malone’s new album Does Spring Hide Its Joy as a triple LP set of two-hours duration. Does Spring Hide Its Joy is an immersive piece by composer Kali Malone featuring Stephen O’Malley on electric guitar, Lucy Railton on cello, and Malone herself on tuned sine wave oscillators. The music is a study in harmonics and non-linear composition with a heightened focus on just intonation and beating interference patterns. Malone’s experience with pipe organ tuning, harmonic theory, and long durational composition provide prominent points of departure for this work. Her nuanced minimalism unfolds an astonishing depth of focus and opens up contemplative spaces in the listener’s attention. Does Spring Hide Its Joy follows Malone’s critically acclaimed records The Sacrificial Code [Ideal Recordings, 2019] & Living Torch [Portraits GRM, 2022]. Her collaborative approach expands from her previous work to closely include the musicians Stephen O’Malley & Lucy Railton in the creation and development of the piece. While the music is distinctly Malone’s sonic palette, she composed specifically for the unique styles and techniques of O’Malley & Railton, presenting a framework for subjective interpretation and non-hierarchical movement throughout the music. Does Spring Hide Its Joy is a durational experience of variable length that follows slowly evolving harmony and timbre between cello, sine waves, and electric guitar. As a listener, the transition between these junctures can be difficult to pinpoint. There’s obscurity and unity in the instrumentation and identities of the players; the electric guitar's saturation timbre blends with the cello's rich periodicity, while shifting overtone feedback develops interference patterns against the precise sine waves. The gradual yet ever-occurring changes in harmony challenge the listener’s perception of stasis and movement. The moment you grasp the music, a slight shift in perspective guides your attention forward into a new and unfolding harmonic experience. Does Spring Hide Its Joy was created between March and May of 2020. During this unsettling period of the pandemic, Malone found herself in Berlin with a great deal of time and conceptual space to consider new compositional methods. With a few interns left on-site, Malone was invited to the Berlin Funkhaus & MONOM to develop and record new music within the empty concert halls. She took this opportunity to form a small ensemble with her close friends and collaborators Lucy Railton & Stephen O’Malley to explore these new structural ideas within those various acoustic spaces. Hence, the foundation was laid for Does Spring Hide Its Joy. In Kali’s own words: “Like most of the world, my perception of time went through a significant transformation during the pandemic confinements of spring 2020. Unmarked by the familiar milestones of life, the days and months dripped by, instinctively blending with no end in sight. Time stood still until subtle shifts in the environment suggested there had been a passing. Memories blurred non-sequentially, the fabric of reality deteriorated, unforeseen kinships formed and disappeared, and all the while, the seasons changed and moved on without the ones we lost. Playing this music for hours on end was a profound way to digest the countless life transitions and hold time together.” Does Spring Hide Its Joy has since been performed live on many European stages, in durations of sixty and ninety minutes. Including at the Schauspielhaus in Zürich, the Bozar in Brussels, Haus Der Kunst in Munich, and the Munch Museum in Oslo. Concerts are forthcoming at Unsound Festival in Krakow, Mira Festival in Barcelona, the Venice Biennale, and the Purcell Room at the Southbank Center in London. In addition to live concerts, the Funkhaus recordings of Does Spring Hide Its Joy have evolved in parallel as a site-specific sound installation. Malone has also invited the video artist Nika Milano to create a custom analog video work that interprets and accompanies the musical score as a fourth player, creating a visual atmosphere inspired by the sonic principles of the composition. Eight sequential video stills from Milano’s work are featured in the album artwork. Does Spring Hide Its Joy is packaged in a heavyweight laminated jacket with full-color printed inner sleeves with artwork by Nika Milano. Mastered by Stephan Mathieu and cut at Schnittstelle Mastering, the record is pressed in perfect sound quality by Optimal in Germany.

recorded at DE Studio, Antwerp, November 23rd, 2016 mixed by Mikael Werliin mastered by Lasse Marhaug cover illustration / design by Lasse Marhaug Anna Högberg - alto and baritone sax Mats Gustafsson - baritone sax and conduction Susana Santos Silva - trumpet Per-Åke Holmlander - tuba Hedvig Mollestad - guitar Dieb13 - turntables Christof Kurzmann - lloopp, voice Massimo Pupillo - bass Gert-Jan Prins - drums and electronics Ivar Loe Bjørnstad - drums

In 1972, trumpeter Baikida Carroll and some of his colleagues from the Black Artists Group (more precisely saxophonist/flutist Oliver Lake, trombonist Joseph Bowie, drummer Charles "Bobo" Shaw and trumpeter Floyd LeFlore) took the advice of their friends in the Art Ensemble Of Chicago and left their native Missouri to come and discover the bright lights of Paris for themselves. The following year they would even get the chance to record their only album which would rapidly attain mythical status and a collector’s item: “In Paris, Aries 1973”. Therefore, it was not surprising that they crossed paths with Jef Gilson in the capital. He was always on the lookout for new artists for his recently formed Palm label and had been active on many fronts in jazz since the end of the 50s. The French bandleader/pianist/composer/sound engineer had already recorded, in the preceding months other American musicians who would go on to have great careers: Byard Lancaster, Keno Speller, Clint Jackson III, Khan Jamal… Gilson therefore offered Baikida Carroll the chance to record his first album under his own name, which would be the 13th release on the label. Carroll logically asked Oliver Lake to join him. He also recruited Manuel Villaroel, a young Franco-Chilien pianist from the group Matchi-Oul, who had already released an album on Futura in 1971 and would release another on Palm in 1976. The group was completed with the addition of Brazilian percussionist Naná Vasconcelos, who had just released a well-received album on the Saravah label. They were ready to enter the studio for the 3rd, 4th and 5th June 1974. The first side of the album is divided into two long tracks which send free jazz back to its long-lost African roots. The opener “Orange Fish Tears” indeed rolls out a jungle of percussion of all sorts and sizes -the whole group is involved- which weave and mix together reaching a point where all bearings are lost, lending a sense of wonder to the majestic entry of the brass and woodwinds, flying suddenly out from the undergrowth. “Forest Scorpion” (sic) is a real voodoo ceremony where a venomous percussive groove backs the fiery solos from keyboards and saxophone in a furious trance. A warning; after these two tracks listeners are physically and emotionally wiped out! The other side is more introspective. Deliberately using dissonance and repetition, “Rue Roger” -the only composition by Oliver Lake- in a long dialogue between trumpet and saxophone, could almost remind us of Terry Riley in his favourite ballpark. “Porte D'Orléans”, the fourth and final track on the album, has the group back to their old tricks in a long hallucinatory jam which owes as much to the contemporary music of György Ligeti as to the most angst-ridden Jerry Goldsmith soundtrack music (remember the heavy chords which beat through “Planet of the Apes»). With these two sides, and in under 45m, Baikida Carroll and his musicians show just what they can do, from cerebral to charnel without ever simplifying things. This is an indispensable album if you are a fan of free-wheeling avant-garde music from the Art Ensemble of Chicago to Sonic Youth and including Shabaka Hutchings and Rob Mazurek. For those with good taste, in other words. 

The Intercommunal Free Dance Music Orchestra was created in 1971 by an “old hand” of French free jazz, François Tusques. Free Jazz, was also the name of the recording made by the pianist and other like-minded Frenchmen (Michel Portal, François Jeanneau, Bernard Vitet, Beb Guérin and Charles Saudrais) in 1965. But, six years later Tusques had had his fill of free jazz. After having wondered, together with Barney Wilen (Le Nouveau Jazz) or even solo (Piano Dazibao and Dazibao N°2), if free jazz wasn’t a bit of a dead end, Tusques formed the Inter Communal, an association under the banner of which the different communities of the country would come together and compose, quite simply. If at first the structure was made up of professional musicians from the jazz scene it would rapidly seek out talent in the lively world of the MPF (Musique Populaire Française).{French Popular Music, ndlt} Compiled of extracts from concerts given between 1976 and 1978, L’Inter Communal is not the first album from the Intercommunal Free Dance Music Orchestra. But it is the one which shows with the most exuberance the “social function” which inhabited free jazz and popular music at the time. All the more so as, to head up the project, the group (made up of wind instruments: Michel Marre, Jo Maka, Adolf Winkler and Jean Méreu) called upon Spanish singer Carlos Andreu. Andreu, claimed Tusques, was a griot “who created of new genre of popular song improvised with our music, based on events going on at the time”. L’Intercommunal can start the festivities: on “Blues pour Miguel Enriquez”, it is first Thelonious Monk who is invoked in an homage to one of the leading figures of the Chilean revolution, and a victim of Pinochet. The circumstances may be serious, the music, though, is not. The musicians light a bonfire to bring together on the same frequency France and Spain, the Americas and Africa: “L’heure est à la lutte” (the time to fight is here ndlt), is the new song offered by the l’Intercommunal Free Dance Orchestra… As if proof were needed that their music is still more than timely! 

Those who have caught @xcrswx live have seen the intensity at which drummer Crystabel Riley and saxophone player Seymour Wright blast improv's cobwebs away. Utterly ripped drum patterns meet subs and sax for their first physical release. A hot 7". Edition of 150.  "Feedback Moves launches with ‘Call Time / Hard Out’ by @xcrswx. @xcrswx are London based artists Crystabel Riley (drum-/human-skin) and Seymour Wright (saxophone), who alongside performing as a duo have appeared in projects such as أحمد [Ahmed], GUO, Maria & The Mirrors and RP Boo & XT.
Call Time / Hard Out presents us with a contrast of opposing recording techniques - the LIVE and the ANDROID. Call Time is largely made up of phone recordings, mashed up to create a layered mix of mini aural breaks, which scatter barbed sax and motoric drum patterns through a cloud of bass tone and feedback. Hard Out is an edited in-house live recording from Cafe Oto which sees the duo communicating through a live language of repetition and interplay. Sparse, rotating snare and sax blows are met with pulsing subs as the mix gradually folds back on itself. 7” comes with folded @xcrswx artwork, A4 insert by @xcrswx with words by Janina Pedan and label business card. Edition of 150."  Call Time recorded by @xcrswx
. Hard Out recorded by Shaun Crook, with reflections from Amy Gwatkin and Billy Steiger. Mastered by John Hannon

Keiji Haino, one of the foremost exponents of the Japanese avant-garde, always provides a masterclass in constantly shifting improvisation. John Butcher is a saxophonist of rare grace and power, who has expanded the vocabulary of the saxophone far beyond the conventions of jazz and other musics, to encompass a staggering range of multiphonics, overtones, percussive sounds, and electronic feedback. Haino and Butcher met when Butcher opened for Fushitsusha at the show Cafe OTO arranged at St. John, Hackney - 5 years ago. In 2016 they were invited to play two duo concerts – at The Empty Gallery in Hong Kong and at Cafe OTO in London. Otoroku is proud to present the audio documentation of their first UK meeting. Recorded live at Cafe OTO in July 2016 the results are an uncompromising milieu of swirling sound played out as a total union of these two legendary performers.  Haino’s blues drenched guitar entices skittering notes from Butcher’s sax playing as numerous sonic clues unravel over the course of of this unique and compelling journey. Light Never Bright Enough comes in a limited edition of 500 LPs and 500 CDs with matt sleeves and japanese removable obi-strip. --- Keiji Haino / vocal, guitar, flutes   John Butcher / saxophones and feedback --- Recorded live at Cafe OTO on the 9th July 2016 by Luca Consonni. Mixed by John Butcher. Mastered by Giuseppe Ielasi. Photography and design by ORGAN. 

A classic mid-1970s outing from the Schlippenbach Quartett. Partially released on CD (tracks 2 & 3 only) as part of the massive FMP retrospective box, this is the only in-print edition of this crucial LP. "On all 3 'live' pieces, one experiences the unrelenting intensity (even during quiet sections) that this quartet exudes. Schlippenbach is in sublime form, his two-fisted attacks pushing the pianos to their limits. Parker rips, tears and growls. His feature piece, 'Black Holes,' being an early example of his circular breathing techniques on soprano sax, which he uses to create piercing split tone walls. And Kowald and Lovens thrust and push, laying down textures as well rhythms." - Milo Fine, Sweet Potato --- Evan Parker / soprano & tenor saxophoneAlexander von Schlippenbach / pianoPeter Kowald / double bassPaul Lovens / percussion --- Side A (track 1) recorded live by Michael Krause on June 2nd, 1974, at the 3rd New Jazz Festival Moers. Side B (tracks 2 & 3) recorded live by Jost Gebers on February 2nd, 1975, at the Quartier Latin in Berlin.

  The second release in a series of collaborations between Honest Jon's Records and Incus: three double-LPs of the legendary free-improvising guitarist Derek Bailey, solo (HJR 200LP) and in duos with Anthony Braxton and Han Bennink(HJR 202LP), augmenting the original releases with marvelous, previously unissued music. Recorded in 1974, at the Royal Hotel in Luton, with Braxton playing soprano and alto saxophones, and Bb and contrabass clarinets. Two volumes were planned; only one was issued, till now. This was an early transatlantic meeting between the leading free improvisers. Many of Braxton's signature techniques and ideas were gestated in such sessions. It still brims with inquisitive musical creativity and knockabout jazzbo allusiveness. Newly transferred from tape at Abbey Road, and remastered by Rashad Becker. Available exclusively for download here.  --- Derek Bailey / electric guitar Anthony Braxton / saxophones, clarinets --- Recorded during a concert played at the Royal Hotel, Luton, England on July 2, 1974. Sides 1 and 2 were issued as Royal Volume 1 in 1984; 3 and 4 are released here for the first time by Honest Jons. Thanks to Karen Brookman-Bailey and Tim Fletcher. 

Written and recorded between 1972 and 1982 in Western Oregon, Back to the Woodlands is a previously unreleased, and nearly lost, album made by Ernest Hood during the same era as his near mythical album Neighborhoods. A visionary combination of field recordings, zithers, and synthesizers, Back to the Woodlands offers an unprecedented depth of access to this singular artistic mind. Working closely with his estate to maintain his original vision, Freedom to Spend has restored and remastered this never before released, lost masterpiece by Ernest Hood from the original tapes. Ernest Hood’s Back to the Woodlands will be issued on vinyl, as well as on CD in combination with its contemporary Where the Woods Begin, with new liner notes by Michael Klausman.

  "Since leaving Rio, Cyro has been accepted as one of the world's leading Brazillian percussionists, recording with Paquita de Rivera, Ruben Blades, Astrud Gilberto and lots of people like that. We met in New York while I was living there in the winter of 1982 and first played together at the Ear Inn on Spring St. In the following months we played all kinds of places, occasions which figured prominently among the many musical pleasures I enjoyed during that period. One such occasion, thanks to Bill Laswell, was this recording." - Derek Bailey.  --- Derek Bailey / guitar Cyro Baptista / percussion --- Tracklisting: 1. Toca Joga - 5:32 2. Quanto Tempo - 3:53 3. Polvo - 4:53 4. Rio Branco - 5:21 5. Joca Toca - 3:26 6. Que Horas - 5:02 7. Tondo - 7:04 8. Batida - 4:36 --- Recorded by Martin Bisi in October  1982, New York City. Produced by Adam Skeaping and John Haddon. Design by Karen Brookman. Photos by Eleonora Alberto and Karen Brookman.