Konono No.1, Orchestre Tout Puissant Likembe, from Kinshasa, Congo, was founded more than 25 years ago by likembe (thumb-piano) virtuoso Mingiedi Mawangu. The band was one of the first groups to use electric amplified likembes. They built everything themselves. The pick-ups were made from hammered bits of car starter-motors, handwound with copper-wire; they made wooden microphones and jack-plugs from bits of copper-wire and branches. With a 25 watt amplifier on a car battery and the typical "lance voix" field speakers they play fast, powerful, distorted music with the energy and rawness of a punk band. Konono No.1 plays music based on the tradition of the Bazombe, a tribe living on the border of Angola and Congo. Their style is also the basis of modern Congolese music like Zaiko Langa Langa. They have three likembes (solo, accompaniment, and bass), three drummers (congas [ngoma], cowbells, and a kind of hi-hat from metal plates), two singers, three women dancers and the mysteriously moving "president". It is a rough type of urban Congolese music. The lyrics are a bitter comment on the social situation in the Congo. This CD is a tribute to Konono No.1, to that first ever gig in Holland. It's a rough recording, recorded in stereo directly from the mixing-desk. But the music speaks for itself. PLAY LOUD!

Tracklisting: Human Car (June 1980) Rock'n'Roll-stoel (June 1980) Cells (June 1980) Apathy Disease (June 1980) Stupid Americans (June 1980) Money (June 1980) Curtains (June 1980) Weapons For El Salvador (March 1981) Dust (March 1981) New wars II (March 1981) Constitutional State (August 1981) Gonna Rob The Spermbank (May 1983) When Nothing Else Is Helpful Anymore (May 1983) Memberhips (May 1983) Trash (May 1983) Crap-rap (November 1983) Long Live The Aged (November 1983) Enough Is Enough (August 1984) Rara Rap (June 1988) Contempt (June 1988) Stonestampers Song (January 1990) Lied Der Steinklopfer (January 1990) Keep On Hoppin' (December 1990) Throughout their existence, the Ex have always been steadfastly uncommercial, refusing major label deals and remaining close to the radical politics that fueled them from the beginning. During their first decade, the Ex released a steady stream of albums and peripheral tracks, all on vinyl, and while the full-lengths have all found their way to CD, the numerous flexi-discs, compilation tracks, splits, and 7-inch EPs they put out remain exceedingly rare. Singles. Period. rectifies this situation by compiling all 23 non-album tracks the band recorded from 1980-1990, nicely remastered with pulverizing low-end and liner notes so thorough they take the disc's full 70-minute running time to read. The constants across the disc are Terrie Ex's ablating guitar and G.W. Sok's dry, amelodic vocals, taking on overzealous police raids, Apartheid, the El Salvadoran Civil War, and nuclear power with motor-mouthed rage. Bass players, drummers, and other assorted instrumentalists come and go around them, and the band evolves vividly across the chronologically-arranged disc, taking the agit-funk of the Gang of Four to rougher, nastier extremes and mixing directly with the European radical groups whose causes they espoused. --- Players: Terrie - guitar (1-21, 23), acoustic guitar (22) G.W. Sok - voice (1-21, 23), backing-vocals (22) Ome Geurt - drums (1-7) René - bass (1-7) Wim - drums (8-11) Bas - bass (8-15) Sabien - drums (12-18) Yoke - bass (16-18) Luc - bass (16-21, 23), double-bass (22) Nicolette - guitar (19) Katherina - drums (19-21, 23), vocals (22) Andy - guitar (23) Guests: Gert-Jan Blom - organ (4) Coby Laan - tiny grand piano (12) Jon Langford - drums (12-13) Ferry Heyne - guitar (13) Dolf Planteijdt - heavy mental guitar (16) ? of Awara - violin (18) Jeroen - samples (19) Marion, Andy, Wilf, Colin + Martin from Dog Faced Hermans - trumpet, acoustic guitar, rattle, woodblock, mandolin, backing-vocals (23) --- Album tracks taken from: All Corpses Smell The Same (7", He Records, 1980) EX 001 Utregpunx (compilation 7", Rock Against Records, 1980) Z 2 New Horizons in Retailing (7" flexi, Ping Pong Records, 1980) w/ Raket fanzine Weapons For El Salvador (7", f 3,50 Records, 1981) EX 006 w/ Gramschap Villa Zuid Moet Blijven (split 7" flexi, 1981) Gonna Rob The Spermbank (12", Sneeelleeer Records, 1983), EX 015 The Red Dance Package (split 12", CNT Productions, 1983) CNT 017 Awara / The Ex (split 7", Gramschap, 1984), DEI 975-EX 21 w/ Gramschap magazine Rara Rap (7", Lala Records, 1988), WAWA 01 Stonestampers / Steinklopfer (7", Ex Records, 1990), EX 043 Mekons / The Ex (split 7", Clawfist, 1990), CF 4

A compilation of cassette recordings by the Azmari (traditional Ethiopian singer) Bahru Kegne. Woozy and hypnotic tracks lulling the listener with its hypnotic air, which really exemplifies the singer’s talents. It’s certainly a worthy work of historical documentation, but this is also an accessible compilation that will deservedly further our knowledge of Ethiopia’s music and traditions --- Music By, Masinko, Vocals – Bahru Kegne Bass Guitar – Abijou Solomon Keyboards – Berhane Kidane Saxophone – Yared Tefera Arranged By – Abebe Melesse, Yilma Gebreab --- Terp Records Released November 22nd 2013

PERSONNEL:JOE McPHEE, tenor saxophone and valve tromboneDAUNIK LAZRO, baritone and tenor saxophonesJEAN-MARC FOUSSAT, analogue synthesizer and voiceMAKOTO SATO, drumsRecorded live at the Nickelsdorf Konfrontationen Festival,La Garenne-Colombes, France, July 20, 2017.TRACKS:01. Sweet Oranges02. Encore

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

X4 CD + DVD + Book edtion of this amazing collection! Long out of print. One copy onely The year 2007 saw one of the most remarkable findings in the long treasure-hunting history of Die Schachtel: the complete set of recordings of the early manifestation (1967-1969) of one of the most legendary improv group of all time, the Gruppo di Improvvisazione Nuova Consonanza. Rescued by the private archives of Walter Branchi, one of the original founding members -- alongside Franco Evangelisti, Ennio Morricone, Ivan Vandor, Roland Kayn, Egisto Macchi, Mario Bertoncini, and John Heineman -- the tapes were then restored in their entirety. Only a part of them were published in a CD-only boxset in an edition of 500, titled Azioni 1967-1969, which also featured a DVD with the original film Nuova Consonanza shot by Theo Gallher during the rehearsal and concert that the group held on March 19th and 20th, 1967, at the Galleria darte Moderna in Rome. Spanning from free-jazz to total abstract noise to wild electronic sounds, their music was -- and remains -- one of the most dynamic, original, and uncompromising expression of a period defined by intense experimentation and musical bravery, anticipating experiments to come in years following. Or, to put it simple, They were utterly unique," as per the words that John Zorn, who expressively wrote for this edition. To mark the ten-year anniversary of its original release, Die Schachtel present Azioni/Reazioni 1967-1969, the complete cycle of improvisations -- which includes thirteen additional, never before published pieces -- taken from the original tapes. Remastered by Giuseppe Ielasi.

A note from Lawrence English Some time in the early 00s John Chantler, who was living in Japan at the time, sent me a couple of curious sound pieces he’d just recorded with musicians he’d met from Tokyo - Tenniscoats. This was my first introduction to Saya and Ueno, who have subsequently gone on to become longtime friends and a wellspring of sonic inspiration. In 2005, through their connections to Guy Blackman in Melbourne, Tenniscoats under took a tour of Australia and as part of that visit I arranged a concert for them in Brisbane. Their show, held at Rics Cafe in Fortitude Valley, was a wildly-flowing flux of song, improvisation and sheer melodic freedom. Following the performance Saya, Ueno and drummer Yoshinari Kishida spent a few additional days in Brisbane, and it’s during this time that the majority of Totemo Aimasho was recorded. The recording itself took place in a reappropriated office building, where my friend Heinz Riegler had set up a small recording space. We were able to use the various offices as somewhat isolated recording zones. The results were surprisingly rich, a testament to office room design I suppose. For this special 15th anniversary edition, I spent some time going back over the recordings to remaster them. This version is perhaps a bit more faithful to the dynamics of those sessions. I also spent some days going through archival materials that were not included in the original Totemo Aimasho sessions. To my surprise I found a couple of demo versions of Cacoy, one of my favourite pieces from the record, as well as some variations of other album pieces and also a couple of experiments not included on the record. There’s a certain radiant joy to this music. The record is equal parts curiosity, porousness and generosity. It's a mixed methodology that informed this collaboration, and equally the creation of Totemo Aimasho itself. I want to send a special note of thanks to John, without whom this project, and many subsequent other connections, would not have occurred.

CD release of Improvisie, a live album by Paul Bley issued in 1971 by the legendary (French) imprint America, featuring Annette Peacock and Han Bennink.

meditations · T.R.Mahalingam - Mali- Essential Recordings Of Carnatic Bamboo Flute 1969 - 70 (Excerpt)" type="application/x-shockwave-flash">meditations · T.R.Mahalingam - Mali- Essential Recordings Of Carnatic Bamboo Flute 1969 - 70 (Excerpt)" />EM Records and Meditations, from Kyoto, are pleased to announce the reissue, on double vinyl and double CD, of two classic 1969 and 1970 LP releases from Indian bamboo flute legend T.R. Mahalingam, known as "Mali" to his fans. Born in Tamil Nadu in 1925, Mali was a true original whose musicality revolutionized Indian flute playing, elevating the instrument from its folk origins to the heights of art music, imbued with spirituality, without losing vitality or succumbing to the blandishments of fame. Mali was a beguiling combination of virtuosity, spirituality and rebelliousness, and his music reflects this, and much more. He was a legend and a master. Mali's virtuosity was innate; he picked up the flute, against his father's wishes, at the age of five, and gave his first performance at seven, to great acclaim, eventually playing with other legendary musicians including the revered violinist Palghat Mani Iyer. Mahalingam developed tremendous control of the instrument, able to sustain single notes for over 40 seconds, able to play any music after hearing it only once, but he used his virtuosity to serve the music, pursuing the Carnatic ideal of the voice as the purest form of music. He sang with the flute. In contrast with the mechanically-keyed Western flute, the Indian bamboo flute allows the player to directly touch the finger holes, allowing access to a wider range of tones and contributing to this vocal quality. Mali added an extra hole to his flutes, increasing his expressivity, and performed other modifications to bring him closer to the ideal of the human voice. Mali's technical innovations also included the development of new fingering techniques and the introduction of a unique hand positioning, the "parrot clutch." This relentless search allowed the flute, for the first time, to be elevated to the highest ranks of Carnatic music. Mali was spiritually driven. He had a life-changing religious experience at the age of sixteen, lending a sense of depth and introversion to his music. He claimed to have seen god many times while playing, and was known to cut concert appearances short in such instances. He was also said to have been able to communicate with birds through his music. Legendary in India, Mahalingam was very influential in Europe and North America also, especially among composers including La Monte Young and Terry Riley. Olivier Messiaen, another bird lover, was keenly interested in Mali's music, and one may hear this influence in a number of Messiaen's pieces. So, a legend. A master. And beyond words. Please listen to Mali.

This album is blooming with energy and full of nature vibes. The three artists accomplished each other in a perfectly relaxed state. Just like being blown by the wind at the same time, they and the instruments mingled and resonated freely in harmony to an enviable state, where both self and the external world evanesce; in a few times driven by passion, they couldn't help but shout out, as if it was a reward from free will. Mr. Sabu has been to China several times and many fans regard him as a legend. In his performance, we can feel the profound meaning of "nature", which easily dissolves the confusion caused by style, genre, and skill. It gives more freedom to music. Sabu shows us a kind of "innocence", simply leaving the secular world behind. In 2014, we interviewed Sabu during his first gig in Shenzhen and had it titled "I am a Thick Candle". His obsession with the word "nature" inspired me so greatly that I can still remember it vividly. At almost the same period, Lao Dan had the chance to perform with Sabu during his stay in Shanghai, and that was when he began to think about his own musical direction. What this album has documented, is this young Chinese artist’s journey of self-discovery － fearless, just like the day half a century ago, when Sabu walked into Chicago's free music scene... I believe more stories like this are yet to come – if art always favors the brave, this album could be an evidence. Tu Fei (Curator of OCT-LOFT Jazz Festival, Shenzhen)

The bamboo flute is the embodiment of Chinese aesthetic spirit and literati tradition. There are two completely different aspects of the bamboo flute in Lao Dan's practice. First is the avant-garde abstraction, which fits his various compositions and free improvisation projects involving the saxophone and other instruments. His flute performance in this realm is wild and unrestrained, combining effects units and electronics to open a musical space that meets the speeding and noisy reality, the swirl of transcendental time, rather than the contemplation of the landscape. Finding inspiration in the landscape and making art to convey imagery and tranquility is where the second realm of his music settles. In 2022, a turbulent and closed year, Lao Dan recorded two utterly different bamboo flute albums simultaneously. It's his game of bilocation. Second Signal will release under the BADHEAD label, and Empty Mountain Calling will publish as the sequel to 2017's Going After Clouds and Dreams under the Modern Sky World Music label; it also uses Yan Ming's photographs and Lu Dadong's calligraphy. Going After Clouds and Dreams, recorded in a bomb shelter in his hometown Dandong of Liaoning Province, across the river from North Korea, is an internalization of the northern landscape. Empty Mountains Calling is a Jiangnan legend recorded in Hangzhou, where Lao Dan currently resides. The whole album is based generally on the story of scholar Wang An, with particular scenes evoking Princess of West Lake in Pu Songling's (1640-1712) short story collection Strange Tales from a Chinese Studio. However, in Pu Songling's book, West Lake does not refer to the Hangzhou West Lake, but rather to Dongting Lake. As a native of Zichuan, Shandong, Pu Songling's idea of "West Lake" also belongs to the "Jiangnan complex" in Chinese cultural tradition. Princess of the West Lake decomposes the typically complementary Chinese cultural tradition of Confucianism versus Taoism into a surreal narrative of power and chaos: the Confucian scholar respects the order of human relations at home while his doppelganger has a romantic relationship with a fairy south of the Yangtze River. Lyrical and narrative, Lao Dan's composition and performance don't ever break away from the conventional; It's just that as habit becomes orthodoxy, and gracefulness devolves into cheesiness, Lao Dan summons the wildness and strangeness hidden deep in tradition. The speed, the timbre, the knuckle tapping, and the roaring voice all correspond to the narration of the title text. Elevated by classical texts, Lao Dan's bamboo flute travels through fantasy, fairy tales, martial arts chivalry, and gods-and-monster genres, where tradition and modernity reshape each other. I invite you to fly to a fairyland on Lao Dan’s flute, like Bodhidharma crossing the Yangzi River on a reed.

Blacks' Myths is a duo from Washington, DC comprised of Luke Stewart on bass and Warren G. "Trae" Crudup III on drums. The group's latest, 'Blacks' Myths II' collects thirteen tracks from a marathon recording session in the summer of 2019. Two of DC's most active and versatile musicians, Stewart and Crudup build symbiotic rhythmic pieces by locking into something both hypnotic and free. Their collaboration is redefining the rhythm section by dismantling its tropes and injecting unpredictability as well as a sense of vibrancy and freedom. The group's debut, Blacks' Myths (Atlantic Rhythms, 2018), established a space for ambience and eruption, building hypnotic rhythmic structures and exploratory soundscapes. "On Black Myths, Stewart and Crudup craft evocative, Afro-futuristic grooves, frequently disrupted by eruptions of feedback dissonance or languid soundscapes." -- Down Beat Magazine

Seymour Wright's fourth, full solo record.A 4-CD-set:SEASONAL RITES (2017-2023) ANCIENT RITES (2003-2008) (IF) I REMEMBER RITES (2020) REAL AND IMAGINARY RITES (2022-2023)Alto saxophone solos recorded between 2023 and 2003.In an oblong sleeve, 2 x 300gsm sheets, 4 discs, sleeve-notes.Sounds, words and design by Seymour Wright. These RITES are designed (realised and situated) – through/in – the saxophone, as: (conic) vessel, text, structure, lens, ‘kitchen’, nexus, body/organ(s), rhythm, ecology/knot, speculative (entrepreneurial) invention, (and shadow). Recorded in London (and Brussels) between 2023 and 2003. They follow on from, and update, Seymour Wright of Derby (2008), Seymour Writes Back (2014), and Is This Right? (2017). credits released July 28, 2023 Sounds, words, and design Seymour Wright.

This 2CD is essentially a retrospective of Eastley’s installation work. As such, it updates and adds many new examples to the 1975 release “New and Rediscovered Musical Instruments”, which was released as a split LP with David Toop on Brian Eno’s Obscure Records. This is Eastley’s first solo CD. Of the 35 tracks, only the last 2 have any guests or ‘playing’ (the most virtuosic moment being George Lewis playing a grass blade). All the other pieces are either powered by the natural forces of wind and water, or else are motor driven gallery installations. The ethereal sounds of the aeolian harp, the haunting aeolian flutes, and the violent tension of his aerophone installations are hallmark Eastley sounds. These sounds, and many others, sit amidst a wide range of acoustic settings, from windy hill tops to quiet brooks, residential street scenes to coastal shores. The indoor recordings are no less varied, ranging across a rich variety of acoustics and gallery spaces from tiny micro sounds to large scale amplification. Wood, metal and stone are brought to life with electricity. Although there are many photos in the 20 page booklet, much is left to the imagination to work out how the sounds are made. With this limited access to the visual, the focus is pulled towards the musicality of the sounds themselves. This musicality is reinforced by the slow crossfades of most of the pieces from indoors to outdoors to form a series of suites. The recordings mostly date from the mid 70s, but there are pieces from later decades. Nearly everything was recorded either to Revox or Uher and occasionally cassette, using what microphones were available at the time. Recent recordings are digital. The varying quality of the recording set-ups across this 2CD adds yet another dimension to the shifting sound fabric of this anthology.

Tracklisting: Part 1 - 25:03 Part 2 - 24:22 Part 3 - 13:58 Part 4 - 5:54Two of the most influential artists in Lithuania, Vladimir Chekasin and Vladimir Tarasov performed as a duet at the 8th OCT-LOFT Jazz Festival. Titled “La Grande Sonata”, it was absolutely a one-of-a-kind performance specially presented to the Chinese audience. As the former members of the legendary Ganelin Trio, they shared the glorious years with Vyacheslav (Slava) Ganelin. Together they have nurtured the aesthetics of Soviet new jazz. The Trio was arguably the world's greatest free jazz ensemble. This incredible double LP strives to restore that wonderful night - to witness history, and to draw the great spiritual power from their music. --- Vladimir Chekasin / saxophone, voice, keyboards Vladimir Tarasov / drums, percussion --- Live at the 8th OCT-LOFT Jazz Released: Old Heaven Books, May 2018