t the beginning of the 1960s, at the Berklee College of Music, Byard Lancaster met some feisty friends: Sonny Sharrock, Dave Burrell and Ted Daniel. It is easy to see why he rapidly became involved in free jazz. Once he was settled in New York, he appeared on Sunny Murray Quintet, recorded under the leadership of the drum crazy colleague of Albert Ayler. In 1968, the saxophonist and flutist recorded his first album under his own name: It’s Not Up To Us. The following year he came to Paris in the wake of… Sunny Murray. He would come back to France in 1971 (again with Murray) and in 1973 (without Murray for a change). This is when he met Jef Gilson, the pianist and producer who encouraged him to record under his own name again. On Palm Records (Gilson’s label), he would release four albums: Us, Mother Africa, Exactement and Funny Funky Rib Crib. A few months after recording “Us”, Lancaster recorded “Mother Africa” along with Clint Jackson III, a trumpeter, partner of Khan Jamal or Noah Howard on other recordings. On march 8th, 1974, Lancaster and Jackson headed up a group composed of Jean-François Catoire (electric and double bass), Keno Speller (percussion) and Jonathan Dickinson (drums). Together, they create an immediate impression. From the first seconds of “We The Blessed”, they develop a free jazz which rapidly abandons any virulence under the effect of blues and soul based interventions. When Gilson’s composition “Mother Africa” begins, listeners are transported into the studio, listening to the musicians setting up: chatting and joking… Then comes the melody: a dozen or so notes of a repeated theme which is accelerated and deformed according to their whims… The jazz played by the association Byard Lancaster / Clint Jackson III is rare: creative AND recreational. “We the blessed”, is apt listening to this again today! This CD edition contains a bonus track, the magnificent “Love Always” that was originally released on the fourth (and last) volume of the Jef Gilson Anthology series released in 1975. Recorded on 8th March 1974, it is a beautiful 15-minute-long modal jazz piece. Four notes from the bass (the relentless Jean-François Catoire, who makes up the rhythm section alongside drummer Jonathan Dickinson and percussionist Keno Speller), and the group is up and running! On piano, Gilson shows the subtle tact of a sideman, leaving the lions’ share of the place to the horns. This allows us to hear the trumpet of Clint Jackson III and the alto (which sometimes sounds almost flute-like) of Byard Lancaster each staking their claim in a long hallucinatory march which moves from moments of direct exaltation to profoundly sensitive collective playing.

pre-order, arriving late december / early jan Amazing duo perfromance by Hamid Drake and Piano, recorded at the Shenzhen Jazz Festival in China, during late Cotober of 2019, issued by the always amazing Shenzhen based imprint Old Heaven.  Hamid Drake - 鼓 Drums / 打击乐 Percussion / 框鼓 Frame Drum / 人声 Vocals Pat Thomas - 钢琴 Piano 录制于第九届 OCT-LOFT 国际爵士音乐节，深圳 B10 现场，2019 年 10 月 20 日 Recorded at the 9th OCT-LOFT Jazz Festival, B10 Live, Shenzhen, October 20th, 2019

Originally issued as a very small run of tapes on Glasgow's GLARC, this is the first time vinyl release of Still House Plants’ self-titled debut. Recorded and mixed to tape in one day at Green Door Studios with Emily and Stu, ‘Still House Plants’ documented the then quartet’s output at the start of summer 2016. The tape was the first release on the GLARC label which turns 10 years old this year.glarc.bandcamp.comMastered by John Hannon at No Recording Studio and cut to lacquer for the vinyl reissue by Loop-O. All songs written by Jess Hickie-Kallenbach, Finlay Clark, David Kennedy and Calum O'Connor. Artwork by Still House Plants.

There ARE no simple songs — only simple people. And since guns don't kill people, "Simple Songs" will have to do. Super-sweet terrorism from our very own latter-day Spector!

Announcing Perseverance Flow, the latest album from acclaimed Chicago-based ensemble Natural Information Society (NIS), release date 2024-10-24. After a trilogy of double LPs by expanded manifestations of the band that began in 2018 with Mandatory Reality & continued through Since Time Is Gravity (a Pitchfork Best Jazz & Experimental Album of the Year selection & Mojo’s #1 Underground Album of 2023), NIS returns to its core formation of Lisa Alvarado on harmonium, Mikel Patrick Avery on drums, Jason Stein on bass clarinet, & composer/multi-instrumentalist Joshua Abrams on guimbri for one continuous 37 minute composition across a single LP. As the rocket boosters on spaceship earth sputter closer to burnout, lower your stylus into a soundfield that grows stronger the deeper you travel into it; a dose of the medicine many of us look to music to deliver awaits you inside.  One of the deep contemplations of this natural information (thanks Bill Callahan) is the wide range of source materials Abrams draws from over the band’s more than 15 year history: Ideas from minimalism, modal jazz & traditional musics are regularly reimagined in these compositions. The 2021 double LP descension (Out of Our Constrictions), with guest soloist Evan Parker, reflected aspects of Abrams’ love of party music, Chicago house, & John Coltrane. *But even veteran travelers with the NIS best brace themselves for the Perseverance Flow. Speaking to the history & the inspirations behind the album, Abrams offers: “We played the piece for a year in concert before the recording. At Electrical (Audio Studios, Chicago) we went in at 11 & were done in time to pick our kids up from school.” Abrams continues: "In a reference world, I imagine Perseverance Flow like a live extended realization of a Jaylib lost instrumental as remixed by Kevin Shields. Or vice versa. I also think it has sympathies to some of the more rhythmically intricate dance musics out of Chicago & Lisbon.” The core NIS ensemble heard on Perseverance Flow always address Abrams’ writing with the discipline of orchestra musicians & the creativity of improvisers. But this time around, instead of inviting living legend status musicians Evan or William Parker or Ari Brown as honored guests to solo freely over the composed materials, Abrams’ invited guest collaborator was the medium of the recording studio itself. Situated at the board with engineer Greg Norman, Abrams pushed post production techniques found only sporadically on earlier NIS records deep into the heart of the music, distorting & reshaping instruments to subtly &, at times, aggressively mutate timbre & texture, color & time. Refracting the band’s signature mesmerizing chains of overlapping rhythmic patterns through the sonic funhouse of dub makes Perseverance Flow the most formally experimental NIS album to date. Now a soundworld fully unique to itself is listening to itself, consoling & humoring itself, & consoling & humoring you. A destruction myth & a creation myth of a soundworld together at once —”energetically nutritious” (October 2025 Issue 500 The Wire) supernatural information society.

Originally released on tape by Sound Reporters in 1986. Het Jacoba Prieel is a very weird compendium of imaginary soundscapes, in which every coordinate seems lost and totally deviated. Fred Gales, in collaboration with Walter Maioli and Pit Piccinelli, presents his idea of ​​a concrete organic music, a diary of signals and sound impressions inspired by the great tradition of primitive music, an extreme investigation of love on the primordial beauty of sound expression. Travelling into the properties of all matter of the sonic environment, the members of the legendary Sound Reporters generate, transform, mix, filter and modulate natural and electronic sounds in the magical analogical studio of the Utrecht Institute of Sonology. From a single movement of sound fragments are opened catalyst flows and circuits, flickering sequencers and oscillations of luminous channels. Futuristic tribalism, hypnotic fossil percussion, alien sounds, dreamlike trips in the jungle, echoes of rustling and rumbles otherworldly, rain waterfalls and shells in the pond, calls of animals and insects, heart beats and radar waves. Everything is just pure sound and surrounds us

"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.

For the time being we are unable to get to the post but if you order now your item will be posted as soon as things return to normal. Thank you for your support. Originally released by Incus in 1974. Recorded at a private house in Catford, south-east London, the side-long title track is a masterwork: a twenty-two-minute, starkly personal, freely expressive, itchily searching re-casting of orders of rhythm and sound into a new, quicksilver kind of affective and musical polyphony. Never mind the guitarist’s championing of ‘non-idiomatic improvisation’, the poet Peter Riley gets the ball rolling in his identification of the various hauntings of Bailey’s playing at this time: ‘mandolins & balalaikas strumming in the distance, George Formby’s banjo, Leadbelly’s steel 12-string, koto, lute, classical guitar… and others quite outside the field of the plucked string.’  The five pieces on side two were recorded back home in Hackney around the same time — with the exception of Improvisation 104(b), from the year before (and issued by Incus in its TAPS series of mini reel-to-reel tapes) — opening with ventriloquised guitar feedback, and taking in some cod banter about colleagues like Mervyn Parker, Siegfried Brotzmann and Harry Bentink. Crucial. "In 1974, when Derek Bailey was planning his second solo LP on Incus, he decided to include a side-long solo using his stereo electro-acoustic set-up. Unfortunately, he never seemed to have a 20-minute stretch of time free of interruptions in his home, so he asked if he could record it at my place. After a fairly lengthy drive across London on the arranged date, he discovered that he had brought all his gear except the actual guitar. So he had a cup of tea and a chat, then drove home again. He came again about a week later, on May 13th, this time with everything. I set the level too high for the first two takes, not quite allowing for his enormous dynamic range (which really was not suitable for analogue recording and reproduction equipment). The result was too much distortion for his liking. The level was corrected for the third take which was the one used as the title track on the LP, even though he preferred the music on the earlier takes. All but one of the short pieces on the second side of the LP were recorded by Bob Woolford around the same time, probably at Derek's home. (The exception, 'Improvisation 104(b),' was recorded the previous year and originally released on one of the Incus TAPs -- mini reel-to-reel tapes that were an attempt to bypass the technical problems of going from tape to vinyl. They were reissued by Organ of Corti.) 'Pain In The Chest' and 'In Joke (Take 2)' feature the unamplified 19-string (approx) guitar, which was probably the only instrument that Derek modified -- he otherwise used standard guitars. There was a shortage of good vinyl at the time, making it difficult to get decent pressings. (The original pressing of the solo Steve Lacy Emanem LP sounded as though it had been recorded in a hail-storm.) We were recommended to go to a pressing plant that specialized in 'classical' music. (At the same time that Derek was trying to get Lot 74 pressed, I was also working on his duo album with Anthony Braxton.) The first test pressing of Lot 74 was very muffled, and we discovered that the cutting engineer had played the tape up-side-down, so that the music had been filtered through the tape backing (used on professional tapes to reduce print-through). The cutting was subsequently redone correctly, resulting in an acceptable test pressing. However, the plant manager was completely incredulous and perplexed, as he was used to checking pressings using his library of scores of Beethoven sonatas and the like. How could he tell if the vocal and feedback howls at the start of side two ('Together') were correct? Over thirty years later, advances in technology have eliminated most of the technical problems we had then, so that this magnificent music can be heard sounding better than ever. Every so often, I get someone asking me to issue things on vinyl -- my response is usually not very polite." Martin Davidson --- Please note the LP available is the 2018 Honest Jons reissue

The third release in a series of collaborations between Honest Jon's Records and Incus: a reissue of Derek Bailey & Han Bennink, originally released in 1972. The tussling vegetables in Mal Dean's cover-sketch somehow befit perfectly this extraordinary duo of Bailey and the great Dutch drummer Han Bennink. Recorded in London in 1972, Incus 9 was their second record (after an Instant Composers Pool in 1969), becoming a blueprint and inspiration for generations of free-improvisers. It is paired here with a brilliant session from the following year, with the same power and friendly combativeness, and oodles of creativity, technique, and humor. It's obvious how much they loved playing together. Newly transferred from tape at Abbey Road, and remastered by Rashad Becker. Available exclusively for download here. Derek Bailey / guitar, voice Han Bennink / percussion, saw, reeds, brass, strings, voice --- Engineered by Bob Woolford (tracks: A.1.-B.3.). Mastered by Rashad Becker. Cover by Mal Dean.

For the time being we are unable to get to the post but if you order now your item will be posted as soon as things return to normal. Thank you for your support. Kicking off a series of collaborations between Honest Jon's Records and Incus: Solo Guitar Volume 1, a reissue of Derek Bailey's Solo Guitar release on Incus in 1971, with additional tracks included on previous reissues and a performance at York University in 1972. Recorded in 1971, this was Bailey's first solo album. Its cover is an iconic montage of photos taken in the guitar shop where he worked. He and the photographer piled up the instruments whilst the proprietor was at lunch, with Bailey promptly sacked on his return. The LP was issued in two versions over the years -- Incus 2 and 2R -- with different groupings of free improvisations paired with Bailey's performances of notated pieces by his friends Misha Mengelberg, Gavin Bryars, and Willem Breuker. All this music is here, plus a superb solo performance at York University in 1972, a welcome shock at the end of an evening of notated music. It's a striking demonstration of the way Bailey rewrote the language of the guitar with endless inventiveness, intelligence, and wit. As throughout the series, the recordings are newly transferred from tape at Abbey Road, remastered by Rashad Becker, and available for download exclusively here. --- Derek Bailey / guitar, synthesizer — Tracks 1-13 recorded by Bob Woolford and Hugh Davies. Photographs by Roberto Masotti. Mastered by Rashad Becker.

A sequence of piano and tenor saxophone free improvisations recorded in concert at the Appleby Jazz Festival in 2004.

Evan Parker's monumental LP of solo soprano saxophone improvisations, recorded direct-cut and issued by Incus in 1978. Lovingly reissued by Treader — the CD is from PSI — using the original stampers, in a gorgeous hand-assembled sleeve, with glossy front and matt back, flaps out. Unmissable. ‘Parker uses rapid tonguing techniques and circular breathing to create a sound all his own, marked by the simultaneous intonation of multiple notes. One hears a note as well as all the residual tones around it; each breath ends up sounding like a battle between the different registers of the horn. At various times, Parker’s saxophone sounds like dolphin speech, electronic tape squeals, or human murmurs; namely, anything but what it actually is. His language on the instrument is essential listening for anyone interested in acoustic experimental music’ (AllMusic). ‘Eight years after Topography Of The Lungs, and two years after his Saxophone Solos, Monoceros was the most muscular statement of Evan Parker’s solo saxophone muse. Superbly recorded, it seemed to place the listener within the chaotic air flows of the saxophone’s own tubing. Philip Clark said: ‘Parker’s dialogue with the saxophone throws up so much that is unexpected, and indeed unknowable, that the problem he faces is how to keep pace with his own invention’’ (The Wire, Best Albums Of The Year).

Tracklisiting: Side A - Raga Chandrakaush 21:57 Side B - Raga Khamaj 30:34Nikhil Banerjee was an Indian classical sitarist of the Maihar Gharana. A student of the legendary Baba Allauddin Khan, Pandit Nikhil Banerjee was known for his technical virtuosity and execution. This very special release is a live recording of his performance at KPFA Radio in Berkeley, California, on the 9th of July, 1967. It is the first time Banerjee has been released on record and published in China. The original recordings were on two reel-to-reel tapes. In 1988, American record label Raga Records released the recordings on both CD and cassette. By chance Old Heaven's producer Tu Fei came to possess the reel-to-reel tapes and decided to release this vinyl version, hoping to present the contents to the audience as authentic as they are and pay tribute to the great musician Nikhil Banerjee. Special thanks to Chen Yun, professor Tejaswini Nirajana and her friends Deepak Raja and Meena Bannerji, for it would not be possible for us to contact with Nikhil Banerjee’s daughter Mita Tagore and get her authorization without their kind introduction. Mita has been very supportive of this release in China and has given us important suggestions during the process. We would also like to thank our friend from Morocco, Habi (Habib Rkha). He is an enthusiast and expert of Indian classical music who cleared up much confusion for us.  The woodcut artwork on the cover is by long-term collaborator of Old Heaven, artist Liu Qingyuan. Released by Old Heaven Books, 2020.

李带菓 Li Daiguo：古筝 Guzheng, 低音提琴 Double Bass, 大提琴 Cello, 塔不拉鼓 Tabla, 模拟合成器 Analog Synthesizer, 中国鼓 Chinese Drum, 锣 Gong, 踩镲 Hihat, 地鼓 Bass Drum 录制于2021年11月 云南·大理Recorded in Dali, Yunnan in November 2021 录音/混音 Recording & Mixing: 李带菓 Li Daiguo母带 Mastering: 刘英 Liu Ying制作人 Producer: 涂飞 Tu Fei统筹 Coordinator: 陈铁梅 Chen Tiemei / 尹思卜 Yin Sibo封面木刻作品 Front Cover Woodcut Artwork: 刘庆元 Liu Qingyuan设计 Design: 林溪 Lin Xi（来信收悉工作室）

David Murray — 萨克斯 Saxophone Kahil El'Zabar — 打击乐 Percussion / 卡林巴 Kalimba / 人声 Voice 录制于第十届 OCT-LOFT 国际爵士音乐节，深圳 B10 现场，2023 年 10 月 27 日 Recorded at the 10th OCT-LOFT Jazz Festival, B10 Live, Shenzhen October 27th, 2023

Tracklisting: A. Part 1 - 22:44B. Part 2（Featuring ここ）- 16:33C. Part 3 - 25:42D. Part 4 - 22:37The Meaning of Blackness, More Decorous than DutyHaving become faster than everything A smile that was never birthed into the light (Live at the 3rd Tomorrow Festival 2016 @ B10 Live) This release from Shenzen's Old Heaven Books documents a blistering live performance, recorded in B10 as part of the 3rd Tomorrow Festival. Over the last fifty years few musicians or performers have created as monumental and uncompromising a body of work as that of Keiji Haino. Through a vast number of recordings and performances, Haino has staked out a ground all his own, creating a language of unparalleled intensity that defies any simple classification. Haino lets loose a 90 minute performance maelstrom, marrying the immersive echo-fields of kosmische music to the rough and ready hands-on feel of classic wall of noise intensity that he's known for. This is both an essential historical document and a classic performance in its own right. Keiji Haino considers this live album as an integral work that cannot be separated. Released by Old Heaven Books, Dec 5th 2019

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

The first release to document the solo cello work of musician and composer Lucy Railton, the 40-minute composition Blue Veil recorded at Église du Saint-Esprit in Paris invites listeners into the realm of precision-tuned states of resonance: states made manifest through Railton’s careful traversal of her cello's most subtle acoustic characteristics as they harmonically interlock with mind’s embodied modalities of attention and imagination. Blue Veil arises out of, is sustained in and finally dissolves back into Railton’s momentary presence with her intimate connection to the cello, a way of hearing that allows for a deeper engagement with harmonic resonance, one that opens a space for immediate encounters of mind and sound. Railton’s exploratory practice of harmonic perception emerges from a focus on the physical qualities of intervallic and chordal sounds, their textural qualities, degrees of friction, and inner pulsations. Composing in the moment guided by resonances within the cello’s body, her own, and their shared vibrational space, Railton moves through Blue Veil by giving sounds what they ask for: sounds of pure texture manifesting as a move through temporal transparency, sounds of rough texture marking regions of dimensionally dense space. Railton’s creative and highly refined use of just intonation harmony deforms sound's inner movements in ways that suggest a mode of listening that actively supplies imagery of sounds implied or completely absent rather than merely savouring those fully present. This active mode of “listening-with”, playfully and semi-metaphorically referred to by Railton as “sing-along music”, allows listening to reflexively participate in the music’s movement as it gradually passes through richly saturated domains of harmonic imagination. And just as the precision-tuned tones of Blue Veil lose their individuality when fusing multifaceted uniformity, listening’s structures of reference and recognition dissolve into nameless waves of intensity, continuously unfolding themselves upon and merging with the listener. Blue Veil is the result of a deep exploration of the inner worlds of tuning, an undertaking in turn informed by and emerging out of Railton’s realisations of the music of Catherine Lamb and Ellen Arkbro, her collaborative work with Kali Malone and Stephen O’Malley as well as her interpretive practice in performing the work of Maryanne Amacher, Morton Feldman and others.