Concert recordings from the Contemporary Arts Center New Orleans and the Seattle Asian Arts Museum from the trio of Evan Parker (sax), Alexander von Schlippenbach (piano) and Paul Lytton (percussion), 2 CDs of stunning and surprising improv from three masters of the form.

Double Bass – Peter Kowald Layout – Jost Gebers Liner Notes – Klaus Kürvers Liner Notes [Translation] – Isabel Seeberg, Paul Lytton Mastered By – Jonas Bergler Percussion [Percussion Instruments] – Paul Lovens Photography By – Dagmar Gebers Photography By [Front] – Paul Lovens Piano – Alexander Von Schlippenbach Producer – Jost Gebers Recorded By – Jost Gebers Soprano Saxophone, Tenor Saxophone – Evan Parker

Incredible X3 CD Box of archival, Angus Maclise works,  fully restored and remastered by Jim O'Rourke in 2023. The 3CD box comes with a miniature poster, a sheet of track list, and each CD comes with a paper sleeve which reproduces the original cassette sleeve artwork. Angus MacLise, the first drummer for the Velvet Underground, was a poet, composer, and a member of The Theatre of Eternal Music alongside La Monte Young. The "Tapes" 3CD Box is the first-ever reissue of a 3-cassette compilation that Pleasure Editions originally released in 2015, limited to only 100 copies. The 3CD box set comes with a miniature poster and track lists, and each CD has a paper sleeve that reproduces the original cassette card artwork. This comprehensive 3CD box set is over three hours in length and includes session recordings with Tony Conrad and William Breeze (of Coil, Current 93, and Psychic TV), mystical recordings from the filming of Ira Cohen's "The Invasion of Thunderbolt Pagoda" (1968), shortwave experiments, and sounds of Tibetan Buddhist monks recorded by MacLise. The "Tapes" compilation features excerpts from the archives of the Angus MacLise Papers, which are held at Columbia University Library. The archives contain over 100 hours of reel-to-reel tape recordings of live improvised music, theatrical performances, and sound experiments created by MacLise and his associates during the 1960s and 1970s. MacLise produced the original recordings in his own unique style, characterized by rough and peculiar editing. The release is curated and sequenced by Will Cameron and Mark Iosifescu.

Documentary recordings of Hartmut Geerken and Michael Ranta’s November and December 1976 tour of the Middle East and East Asia. Geerken is known for his long relationship with Sun Ra (including compiling a discography), but he wears many other hats too: musician, film-maker, archivist. Ranta is a percussionist best known for his famous “Improvisation Sep.1975” collaborative record with Toshi Ichiyanagi and Takehisa Kosugi. This is a CD reissue of an LP boxset, originally released in 2010 as the last release on the now dormant Italian label Qbico. The tour started in Iran before moving east to India, Bangladesh, the Philippines, Korea, and ending in Japan. At their show in Osaka, they played together with Toshi Ichiyanagi. This edition includes the concert with Ichiyanagi, solo performances by Ichiyanagi and Shoko Shida, as well as a rare Delhi performance that was originally only included in the highly limited 6LP edition of the Qbico set. All the tracks overflow with rich multi-dimensionality, providing a glimpse of Ranta and Geerken’s depth as performers.

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

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.

Spirits Never Forgive 18:16 He Felt The Patient Memory Of A Reluctant Sea 15:14 Ascend Through Unspoken Shadow 12:55 Young Jim's foray into "pure sound", circa 1991. A fun game: see if you can find the instruments in this drone-fest. Like the drawing on the cover, they're only outlines of their former selves.

2023 restock. Subtitled: Live at the Kulturforum, Bonn, Germany, November 24, 1980. Another in the Wooden Weavil series, this time an unreleased live Robbie Basho recording from Germany in 1980. Robbie Basho was one of the great pioneers of the acoustic steel string guitar in the U.S., along with Leo Kottke and John Fahey in the 1960s. This program appears to have been recorded in one go. Robbie scatters his Americana numbers throughout, beginning with "Redwood Ramble," and ending with "California Raga." This date finds Robbie in fine fettle, his playing sharpened by the intensity of touring, his mood seems ebullient, at times (as on "Fandango") he comes off like John Lee Hooker's sun-kissed cousin, stomping furiously along to his playing. There is sweetness to his material, yes, but this is not, as Jack Rose put it, "music for wineries." There is the galloping muscularity of Basho's playing, coupled with the sheer hugeness of his sound; the fearless employment of dissonance as part of his musical make-up; a love for the unexpected chord change. Robbie was a voracious and uncompromising player. Basho's singing was as integral to who he was as his guitar playing, and when he opened his mouth, he filled the room with sound. Say what you like about his lyrics, no one can accuse Basho of dilettantism, of dabbling, or of trying something on merely for effect. Whatever bag he was in, he was in all the way. Liner notes from Glenn Jones and Stephen Basho-Junghans, and beautifully remastered by Glenn Jones.

Improviser Jean-Marc Foussat has been appearing in these pages on a regular basis, sometimes solo or in groups, often presenting excellent releases on his own Fou Records label. Today’s double disc set Cafe Oto 2020 (FOU RECORDS FR – CD 38/39) holds a special personal place in his heart, I would assume. We’ve long known that he was drawn to free improvisation in the early 1980s, and personally made some great recordings of live music that ended up on the Incus label. He told the story of his epiphany to this magazine in 2004 (TSP 12th issue). “Travelling from Nice to Italy, because I’d read in a Jazz magazine an advert about the Florence/Pisa festival in 78 or 79, I received confirmation of the kind of music I wanted to engage with, hear, listen, do, live and love. Something was happening in this festival as a meeting between the US and the European way of music, between Jazz and Contemporary music, and the confrontation of those two spirits was marvellous…listening to the Lovens/Lytton duet I thought the music I was hearing was genuinely coming directly from the brains of those two human beings playing together.” Further episodes of the story, and connections with great musicians, are contained in the liner to today’s release; he met Daunik Lazro at Angouleme around this time, and counts him as a lifelong friend. And he met Evan Parker at that Pisa and Florence festival, confirming that “I was so overwhelmed by the power of their music that I decided on the spot throw myself into the adventure, body and soul”. Some forty years later, these musicians remain his friends, and he is still in love with the music. When invited to play at Cafe OTO in London, he was delighted at the chance and invited his two “prime friends” to play with him. The results of this 22 January 2020 concert are now ours to enjoy…the opening set is Foussat solo for 31:35, playing his Synthi AKS – an instrument he has made all his own – and adding wailing tones with his singing voice. ‘Inventing Chimeras’ is strikingly original synth music, 100% improvised on an instrument not often associated with or heard within this genre. Characteristically for this very passionate player, the music is filled with emotion, passing through numerous turbulent and stormy passages (some of them verging on the terrifying), balanced out with melancholic and still sequences of plaintive wailing. Voice and instrument merge seamlessly, and the classical imagery of the title is enough to allow us to hear other supernatural beings from antiquity, such as the Furies or dead spirits from the house of Hades. Heartfelt and haunting music for sure, and stamped with the very honest and expressive personality of Jean-Marc Foussat. It’s some way from the wild noise of his 1980 solo LP i, but the subtlety and craft of this work is non-pareil. The second disc, titled ‘Présent Manifeste’, is the trio of Daunik Lazro (tenor and baritone sax) and Evan Parker (soprano), playing with Foussat on the Synthi and voice. What makes this work so well is that it’s a glorious polyphony – four voices (effectively) all sounding at the same time and not getting in each other’s way…the circular loops, intricate repeated patterns, and inventive drones of Parker, the alienated cries and heroic warrior-shouts of Foussat, his freaky synth noises and echoed repeats, and the romantic and florid lines of Lazro. Everything overlapping and mutating in a free-form and free-floating array of ideas. Also much to enjoy in the full-on continuity of the music; no mindless droning on automatic pilot, nor is the music fractured into multiple unconnected outbursts of sputtering, restless, “free” music. It couldn’t have turned out better if the whole 44:50 had been composed and scored from start to finish; this is real interaction and telepathy at work. And yet apparently it was the first time they played as a trio. “For the past 40 years we have been dreaming the music we could make together,” writes Jean-Marc wistfully, “and finally, here we are, the three of us, for the very first time.” From 1st June 2020; an essential set.

XXXCLUUSIVO !! These aren't available outside of the US, don't delay ! We are taking pre-orders for a shipment to land in time for our summer fair  2nd album by JCC Taped, composed & performed by Joshua Chuquimia Crampton in Boyle Heights, CA.All songs arranged for electric/acoustic guitars."Service" for Electric guitars & Bass guitar."Jamp'atu Colores" for solo guitar & natural sounds.Recorded in mono.Artwork by Puro Fantasía --- Cover & album design by Puro Fantasía.

ALBUM OF THE YEAR, SURELY Qulla style CD + full color 11x17 poster.CD estilo Qulla + póster de 27.94 x 44.18cmCD estilo Qulla com pôster colorido de 27.94 x 44.18cm XXXCLUUSIVO !! These aren't available outside of the US, don't delay ! We are taking pre-orders for a shipment to land in time for our summer fair  "In siblings Chuquimamani-Condori and Joshua Chuquimia Crampton’s dense, elaborate thicket of sound, traditional genres and ancestral wisdom coexist with digital ephemera and rapturous noise. At a time when anti-trans legislation is accelerating in the United States, this imaginative album is dedicated to Chuqi Chinchay, the Aymara deity that protects queer people, described as an animal painted with “all the colors.” You can hear a track like “Sariri Tunupa” and feel the uncertainty in its anachronistic, Oneohtrix Point Never-like ambience, but also an undercurrent of expectant celebration. The titular Aymara god symbolizes these exact feelings—Tunupa’s imprisonment led to the eventual creation of the Desaguadero River. Los Thuthanaka ends with the uplifting “Titi Ch’iri Siqititi,” like a reminder of joy yet to come. It brings to mind what Chuquimamani-Condori once said about their practice: “My life is a process of generating hope.” --- Elly - teclas, sampler, CDJ, ronroco, bombo italaqueJosh - guitar, bass --- recorded & mixed in Savannah GA & Nashville TNcover art by Josh[unmastered]English language version:1. The Queer People-Medicines Are Here2. Victory Ayllu Pahaza Marka Calacoto Pacajes3. Dumb Evil (huayño)4. Spring Fount (huayño)5. Driveable Cat (caporales)6. Queer Grandma (kullawada)7. Tunupa The Walker (parrandita)8. Cat Warlock Ant (salay)

XXXCLUUSIVO !! These aren't available outside of the US, don't delay ! We are taking pre-orders for a shipment to land in time for our summer fair  THE LP EDITION OF THIS HAS BEEN DELAYED! PLEASE EXPECT ORDERS START OF AUGUST   Limited edition CD/LP version of the 3rd album by JCC - “Profundo Amor”. CD first edition 1st run limited to 200 hand-numbered copies. Artwork/design by Puro Fantasía. Limited edition vinyl pressing - limited to 100 pcs!  --- Composed, performed & produced by JCC forElectric & acoustic guitars, tapeExcept “Profundo Amor” and “Forastero” traditional Aymara melodies.For my daughter (& her mother) and all of the “unknown medicine” they’ve yet to bring.Artwork by Puro Fantasía

XXXCLUUSIVO !! These aren't available outside of the US, don't delay ! We are taking pre-orders for a shipment to land in time for our summer fair 1st album by JCC Hand-numbered limited edition 2 Disc set featuring THE HEART'S WASH in two parts and bonus track "(Yoru)~night~"Artwork/design by Puro Fantasía Performed and Taped by Joshua Chuquimia Cramptonin Boyle Heights, CAAll compositions for solo guitar except "REN" & "Carnotaurus" for 3 guitars and "oh my Goddess" "Sea" & "Sacred Beasts" for 2 guitars.For all of the lights in my life. Cover & album design by Puro Fantasía.

XXXCLUUSIVO !! These aren't available outside of the US, don't delay ! We are taking pre-orders for a shipment to land in time for our summer fair  "Chuquimamani-Condori’s gloriously fractured music mashes the mundane with the divine, leaving every jagged seam lovingly exposed. Even the plastic detritus in Chuquimamani-Condori’s music feels charged by a higher power; few other artists could successfully deliver doomsday sermons while holding a keytar. On “Engine,” a tender piano melody glides alongside a whirring like that of a dentist’s drill—when its buzzing slows at the end, it feels like a great exhale. They’ve described DJ E as “the sound of our water ceremonies, the 40 bands playing their melodies at once to recreate the cacophony of the first aurora & the call of the morning star venus.” For Chuquimamani-Condori, this digital overload is tantamount to a spiritual release. The line between club and folk music smudges to the point where the two become indistinguishable, and the truth of who we are lies somewhere in that pixelated middle space." Elly - teclas, CDJ, BOSS sampler, baby grandJoshua Chuquimia Crampton - bass on 3, guitar on 2, 4PK Crampton - circular sawart by JCC[unmastered]

XXXCLUUSIVO !! These aren't available outside of the US, don't delay !  The 4th album by JCC. Limited edition CD / LP version of “Estrella Por Estrella” in special case with double-sided artwork by Puro Fantasía. Includes one exclusive track “Chupa-te ~Reflexion~” which will not be available digitally. "Estrella Por Estrella is a series of compositions for acoustic and electric guitar. Opener “Unifying Force” mixes glistening tones mix with crushing riffs; though the track only has a four minute runtime, it seems to stretch out as far as the night sky. Crampton wrings different emotions out of these basic sounds (see the meditative “Now That I Know U” or the blistering mania of “Acidito”), but his compositions on Estrella Por Estrella are all unified by a shared sense of scale. This is huge music, an album that often feels as vast as the universe itself." - undrcurrents --- Composed, performed & recorded in Northern California by JCC for electric and acoustic guitars.[Un-Mastered]"Sol, mi música siempre es un regalo para ti. I hope you reach for this one when it catches your eye" ---

The legendary Adnan Othman has long been a driving force in the Malaysian rock scene. As early as the 1960s his groundbreaking songs in the style known as Pop Yeh Yeh (rock and roll sung in Malay) attracted fans from across Southeast Asia. Recently, he has gained many new fans around the globe due to a renewed interest in rock music from this region. Adnan first rose to fame during the groovy Pop Yeh Yeh era (1964-1970) in Malaysia and Singapore and he continued to evolve as a musician and composer throughout his exciting career. He made his first recordings in Singapore in the early 1960s, when he was invited to record with a highly popular backing band, The Rythmn Boys. He produced innovative material well into the 1970s, but always stayed true to his Rock-and-Roll roots, even when many other artists were turning towards more predictable disco influences.Every track on this album, which draws from all eight of his solo EPs, reveals a different side of his personality. His forceful, gritty, and emotional lyrics and vocals are backed by such memorable Pop Yeh Yeh bands as The Rythmn Boys, The Wanderers, The Flamingoes, and The Falcons. This impressive collection includes rare photos from the artist’s own collection and a detailed biography, co-written by Adnan himself. This is a rare and personal insight into the life of one of Singapore and Malaysia’s most beloved Pop Yeh Yeh legends -- revealing the man behind the spotlight—one of the most humble, generous, down-to-earth people you could ever meet. It is clear that Adnan Othman cares deeply about preserving the legacy of his fellow Pop Yeh Yeh musicians: he devoted much time and energy helping to develop the previous Malaysian rock-focused release, Pop Yeh Yeh: Psychedelic Rock from Singapore and Malaysia 1964-1970 (SF079, 2013). Again, for this album, he patiently answered our many questions about his life as a musician and artist, and we are most grateful to him for giving this release so much of his unique perspective. In fact, the title of this collection, Bershukor, named for one of the hits included in this album, means “gratitude” in Bahasa Melayu. The 26 unforgettable tracks on these two records are soulful, electrifying, and beautiful. To the many fans of ’60s Asian Rock and Roll around the world who have been waiting for an album dedicated solely to the music of Adnan Othman, here it is!

Spending the greater part of the last decade assembling this masterpiece while tracking down most of the musicians in the process, Stuart Ellis of Radiodiffusion Internasionaal has compiled a mind-blowing set of Pakistani instrumentals spanning the period between 1966 and 1976. It’s all here: rock and roll beat, surf, folk traditional mixed with pop, film tunes, electric guitars, sitar and organ solos, brilliant percussion and arrangements crafted by the grooviest bands of the period: The Panthers, The Mods, The Bugs, The Blue Birds, The Abstracts, The Aay Jays, The Fore Thoughts, Nisar Bazmi, and Sohail Rana.Situated between Afghanistan, India and Iran, the collision of cultural influences in Pakistan gave birth to music that was, and still is, unlike anything heard anywhere else on the planet. By the late 1960s, previous restrictions on musical expression began to soften and bands that were playing American and British pop covers became popular in Karachi’s burgeoning night club scene and at private dance parties. Long hair came into fashion among young men and hashish became the popular drug of choice on college campuses across Pakistan. Soon, hippies from both North America and Europe began flocking to Karachi, Lahore and Peshawar. Very few of the bands that formed during this time actually got to record. Like their neighbors in India, the Pakistani record industry was more focused on releasing “filmi” music, which had just started to incorporate the electric guitar and electric sitar.Pakistan’s musical revolution ended in June 1977 after a coup d’état and the establishment of a pure Islamic state governed by Sharia law. This marked the end of the “Swinging ‘70s” in Pakistan as night clubs and alcohol were banned throughout the country. Television and cinema, as well as popular music, were now subjected to government censorship. After the clamp down, many Pakistani musicians left the country and moved to America, Canada and England.

The music and production encountered here represents a cross-section of Sumatran FM radio and to a greater extent, what’s happening now in Indonesian culture. From the signature sounds of Sumatra (Melayu, Minang Pop, the Batak ballad) to the widespread Indonesian phenomenon of Dangdut, this exclusive “FM only” Radio Collage will leave your skull shattered, wondering why it’s taken so long to be turned-on to the modern pulse of the world’s fourth largest country. Some of these selections come from Java and other parts of Indonesia via the FM airwaves of Sumatra’s major cities. Islamic Folk, Gambus Rock, and gorgeous anomalies are also placed in the mix amidst brief news reports, advertisements, prayers, and karaoke call-in shows. Many of the station ID’s could be mistaken for American or European networks and much of the music is highly influenced by western pop/rock/punk/metal/rap/etc. But beyond these obvious comparisons is an explosive musical kaleidoscope; still fresh, somewhat sincere and naive, and a bit resistant to the grasp of the world’s cultural export Moguls. This is an essential listening experience. There is undeniable evidence here of how Indonesians have crafted some of the world’s most thrilling popular music….yet the rest of this world somehow refuses to recognize it… that is, until now!