Christmann- Gustafsson-Lovens - TR!O (FMP, 2010) ****

In 1994 cellist and trombonist Günter Christmann, drummer Paul Lovens and saxophonist Mats Gustafsson performed together for the first time as a trio. Now, in 2010, their performance is released on CD.

Musically, it shows that what was avant-garde then still is avant-garde today, sixteen years later, and very much so. The music also demonstrates that even within avant-garde, this trio was thinking quite ahead. What you hear is an incredibly intense interaction between three masters, barely using their instruments other than to produce sounds - not phrases, not melodies, just timbral explorations of coloring, restrained power, blocked flux, sudden release, shades, changes in intensity, and all this against a broad canvas of silence.

Critics who claim that all modern and avant-garde jazz is just noise will find both denial and confirmation here.
It is not noise in the traditional sense : the volume is kept down, allowing for even the most subtle of movements to be picked up by the mikes. No other music, not even classical chamber music, allows for such nuance of sound perception.
Yet it is noise in its most traditional sense, in its most primitive and basic meaning : what you hear are scraping, screeching,clattering, gurgling, hammering, hissing, shouting, rumbling, ticking, weeping, thundering, chattering, ... all coming out of instruments, not in a structure, but raw and in immediate reaction or as propulsion for other sounds.

Ten years ago, I would have run away from this as fast as I could, arms in the air screaming bloody horror.

Today, and don't ask me why, I can listen to this intently, as I have done several times back-to-back and in bits and pieces, enjoying the incredible power contained, almost locked-up, in this music, full of tension despite its minimalism, with sometimes no sound, then all three simultaneously letting out a shout from their instrument, as if read from some sheet music. The greatest quality of the music is the total effect, including what is not being played, not only in the silence, but in what is being suppressed. That is by itself a rare achievement.


Watch a more recent performance by the trio. There is less silence here than on the album, but it will give you an idea of what kind of music they bring. 



© stef

Barcella / Van Herzeele Duo - Monday Sessions Live at El Negocito (El Negocito, 2010) ***½

The cover contains no information, not even the names of the artists on the side, the sixteen page booklet has no words, only pictures. The label is totally obscure. Welcome to free jazz land. The band is Giovanni Barcella on drums and Jeroen Van Herzeele on sax.

The music is free as the wind. Raw, unrelenting, full of energy and intensity. It could go in any direction. And it does : from the wild opening track to the more sensitive gospel-like and Ayleresque second piece, which of course does not stay in sweet-and-nice-territory, but gradually develops into intense playing, with screaming sax and mayhem drumming.

The recipe is known of course, and you get what you can expect. Sure, it is not the most memorable free jazz sax-drums duo, but it sounds so real, so true, so direct, as if you were there, with two guys playing their heart out, laying bare their souls. And that is absolutely fantastic, even if the format is known.

I enjoyed every second of it, and so did the ten people in the audience.


Buy from Instantjazz.

© stef

Stephen Gauci, Kris Davis, Michael Bisio - Three (Clean Feed, 2010) ****½

In the past years, I praised saxophonist Stephen Gauci's to the stars, I praised pianist Kris Davis for her innovative musical creativity, and I praised bassist Michael Bisio for his inventive and emotional playing. Then you get them as a trio, and it's a guarantee that sparks will fly.

The playing is unconventional, so is the structure of the compositions, and so are the order of the pieces, starting with "The End Must Always Come", with an intro of heads-on heavy piano chords and a frantic right hand, with Bisio's bass trying to keep up with Davis's stream of consciousness. Gauci joins with short staccato bursts, then starting with wild phrases with the piano circling around the same tonal center, increasing the wild intensity, yet gradually the piano limits itself to repetitive phrasing over a single note by the bass, and beautiful soloing by the sax, full of resignation for the inevitable, giving up all struggle, leaving the floor to the polyrhythmic repetitive piano.In short, a kind of strangely evolving piece, yet full of depth, introducing the listener into a real wonderland.

"Like A Dream, A Phantom" starts with solo sax, with a piano response in an almost post-boppish way - I almost expected Davis to start grunting along like Jarrett - then shifting from slow romanticism to more intensity, with Gauci organically joining in with repetitions of the same note, the piano dropping away, and Gauci's heartrending playing tenderly supported by the warmth of the bass, mirroring the growth of intensity by the piano earlier in the piece.

The most expressive piece is without a doubt "Something From Nothing", with the piano, sax and bass playing muted percussive sounds, like a mad and relentless rhythm section, with the occasional voiced note arising out of the agitation, now a piano key, then a single sax tone, or a string plucked. The piece's magnificent restraint creates an equal level of tension, that is gradually, ever so slowly released, not in a tune, but in a rhythmic playing with the same notes, around which the three instruments start adding tiny expansions, maintaining all the while the relentless tempo they set from the start.

I will not review each track. You get the picture: each piece is carefully and inventively structured, capturing the soul of music, turning the familiar upside-down without changing it completely, offering new perspectives on interaction, making the unexpected essential in each piece, treating the listener to fantastic ear-candy and to some fun too: on "Groovin' For The Hell Of It", a quite free development suddenly hits the wall of a halted piano rhythm, going totally against the established groove, sounding like the sax is taken by surprise, but smoothing things out as they proceed. The same playfulness in the interaction can also be heard on the last track.

And despite all the wide explorations of the possibilities of the instruments, it stays relatively accessible, even Bisio's fantastic "Now", a bass solo beyond the conventional, with a few piano strings plucked in the middle part.

The album's highlight is "No Reason To Or Not To", a slow minimalist yet wonderfully lyrical piece, on which the trio sets down a mood and atmosphere with sparse sounds, not built around solos, but around a few cautious phrases.

An absolute delight, this album. You can keep listening to it: joy and new pleasures are guaranteed with each listen. Without a doubt, these three musicians understand music in a very profound way and manage to create music that is also utterly creative and deep. Don't miss it. 


Buy from Instantjazz.

© stef

Warning: name-dropping beware ...

When you read the names of John Coltrane or Miles Davis or other jazz legends on album covers, you have to be doubly watchful: chances are high their names are being used to get your money out of your pockets. I had never heard it done with Ornette Coleman's name, but there's a first to everything.

The sad thing about the two albums that I'm mentioning here, is that I truly appreciate the label and the musicians, but somehow both of them have missed a point.

Jamaaladeen Tacuma - Coltrane Configurations (Jazzwerkstatt, 2010)

Bassist Jamaaladeen Tacuma is possibly best known for his work with Ornette Coleman's Prime Time in the 70s and 80s. Here he is bringing a tribute to John Coltrane, playing "India", "Dahomey Dance", "Impressions", "Naima", and "A Love Supreme". The band is Jamaaladeen Tacuma on bass guitar, Tony Kofi on alto and soprano sax, Orrin Evans on keyboards, and Jim Hutson on drums.

The music is a pitiful demonstration of technical skills over Coltrane's tortured and abused masterpieces. Coltrane's great, sweeping and compelling sound is reduced to night-club funk with slapping and wah-wah bass sounds and glittering fusion keyboards. Or Coltrane meets a third rank Bitches' Brew. It is full of pretense and false emotions, showing off, etc. And it's not that I hate Coltrane tributes, some, like Branford Marsalis' take on "A Love Supreme", I quite like even.

I think these four musicians completely misread the music of John Coltrane, even if they can play his tunes.

Dave Liebman - Turnaround - The Music Of Ornette Coleman

This album received the "Jazz Record Of The Year Award" from the German Jazz Journalists & Critics. It just shows how jazz journalists make their choices: a safe bet on Coleman as the historic jazz icon, a safe bet on Liebman the great sax-player.

The downside is what this band, further consisting of Vic Juris on acoustic and electric guitars, Tony Marino on acoustic bass, and Marko Marcinko on drums and percussion, does with Coleman's material. They turn it into your average middle-of-the-road jazz, just playing the tunes in a quite polished and orderly fashion, after having sucked out the spirit, the rebelliousness and the raw vision that the original Coleman material still has these days.

The playing itself is not middle-of-the-road though, just listen to Marcinko's drumming on "The Turnaround", or Marino's bass-playing on "The Face Of The Bass", Juris on "Bird Food", but yes, music is so much more than technical skills on an instrument. Even my all-time favorite tune, "Lonely Woman", is as on an earlier Liebman recording, reduced to new-agey pulp by his playing of the woodflute.

It is all sweet and nice, like a stuffed lion in a museum, looking quite healty, if a bit dusty, and you run no risk, there is no more danger, it doesn't move anymore, you can watch it, and remain totally indifferent. That's the advantage compared to the real stuff, which creates emotions instead of nice tunes. 

What is wrong with the "German Jazz Journalists and Critics"? What about all this other great music that is being produced, also on Jazzwerkstatt?

I also truly hate writing negative reviews, but because of the big names involved here, I thought you needed some warning. There are more valuable things to spend your money on.


© stef

Free free music

Especially in the newer regions of experimental music and avant-garde jazz, the internet offers great opportunities for promoting material that is difficult to get released by established labels. The self-promotion often coincides with a willingness to share the material freely, as a matter of necessity or of principle.

Here are a few "labels" from which you can download the material. The music is often minimalist, soundsculptures with electro-acoustic elements.

Zpoluras is the blog on which you can find different new bands, albums and links to the new labels and music. Several of the album are available for free download too. 

Paulo Chagas and Bruno Duplant - Complicity (self-published, 2010) ***½

This is a duo album by Paulo Chagas on woodwinds and field recordings and Bruno Duplant on double bass. The music is minimalist, with careful explorations of sound, quite respectful in the interaction, quite adventurous while being inobtrusive at the same time. The duo builds its sound around silence, and these sounds are often out of the ordinary. Chagas' wide choice of instruments leads to sufficient variation to keep the attention going for the whole fifteen tracks, ranging from flute on the first track, to the undefinable moan of the wind instrument on the last piece. Duplant's contribution is of the same high level, varying strongly between arco, pizzi and a whole array of uncommon sounds, including percussive ones that you can get out of a bass.


Rhizome Records is created by French bassist Bruno Duplant, and has released one album so far.

Astula Democratica - Illusio (Rhizome Records, 2010) ****

Astula Democratica is built around the same core musicians : Paulo Chagas on winds, reeds, violin & some electronics, José Oliveira on percussion and amplified objects, Bruno Duplant on double bass, violin, acoustic guitar with objects, and toy electronics. On some tracks the band is expanded with Fernando Simoes on trombone &amp voice, and Philippe Lenglet on prepared acoustic guitar &amp autoharp. The music is a not less intense than the duo recording, and equally unclassifiable, with some clarinet playing that sounds almost classical on the weirdest possible electronic background, full of doom and gloom. Despite the expanded line-up, the music is as minimalistic, yet it is all the richer for it. I'm not sure whether I can call it accessible avant-garde, because there are few points of recognition, but the band clearly stays away from noise or abrasive moments. They may need some help with their knowledge of Latin, but otherwise this is a fine album.

Array is a "label" founded by multi-instrumentalist Massimo Magee, with the telling mission statement "When we are no longer bound by the constraints of time, the past-present-future, the beginning and end, it is then that we must turn to concepts like arrays that allow us to consider all the endless possibilities that would be available to us simultaneously in that one endless moment outside of time".


Tim Green, Massimo Magee, John Porter - Of An Evening (Array, 2010) ***½

The trio of Tim Green on drums and mobile phone, Massimo Magee on sopranino , clarinet, piano, signal generator, laptop feedback, tape recorder with blank tape, walkie-talkies, field recordings, recordings of prior drum improvisation by Tim Green, amplifier feedback, and John Porter on soprano also works in the realms of minimalism. The two saxes enter into mad and excited dialogues, but in contrast to the two previous albums, at moments they raise the volume, creating mad interaction with the drums going full force. The second track, "Experiments In Hypnotism", moves a little beyond the level of the audible, with sudden peaks of madness. "In Which We Encounter A Groove", is - as its title suggests - the most jazzy piece. Have I sued the word "mad" three times? Well, it tells.


Zero Centigrade - I Am Not Like You (Twilight Luggage, 2010)

I am a little less thrilled by this duo recording by Tonino Taiuti on acoustic guitar and Vincenzo De Luce on trumpet. We enter the realm of sound collisions where the actual source of the sound no longer really matters. The sounds are raw and unpleasant to the ear, but that's obviously not a criterion for quality. That's what mainstream jazz fans will say about free jazz, or what classical music afficionados will say about rock music. Since it is all available on the internet, I will leave the evaluation over to you.

The challenge of breaking boundaries is that, while deconstructing the known, you have to create something new in the process, something that is worthwhile listening to - and not just fun to play.


You will need open ears for much of the material on these albums, and even if not everything works, some of the adventurous parts integrate moments of great playing - and listening - and we can only applaud the musicians for their vision and audacity in shifting boundaries, both musically and in terms of publishing their music.


© stef

Zorn in various forms ....

John Zorn : The Goddess—Music for the Ancient of Days (Tzadik, 2010) ***½

For those of you who like the surf jazz rock loungy kind of music of "The Gift","The Dreamers", and other of the most accessible in the Zorn discography, here is another album you will enjoy. It is a celebration of "Women in Myth, Magick and Ritual throughout the Ages", whatever that means. Musically, it is not really adding much the existing catalogue, yet again the music and the playing are excellent. Easy to swallow and digest, but a pleasure to hear.

The band is Rob Burger on piano, Trevor Dunn on bass, Carol Emanuel on harp, Ben Perowsky on drums, Kenny Wollesen on vibes, and Mark Ribot on guitar. 


John Zorn : Dictée/Liber Novus (Tzadik, 2010) ****

"Dictée" (track 1) and "Liber Novus" (track 2) is musically a lot more interesting. Starting with a weird fog horn call and ambient sounds, it leads into a recitation in French by Sylvie Courvoisier, like a dictation, and even if I abhor text recitation in music, on this album it really fits with the absolutely uncanny things you can hear, changing in line-up texture and mood every so often, from Asian to ambient, to romantic, to pastoral, to avant-garde, it is disorienting, frightening, The whole doesn't sound like one piece but rather as snippets of music integrated into a very coherent whole, over which other sounds are added to give it a sense of unity. It reflects the ambiguity in the music, which is at moments friendly and welcoming, yet equally foreboding and full of existential angst, a paradox of emotions dear to Zorn.

The band is Sylvie Courvoisier on piano, French narration, Okkyung Lee on cello and Korean narration
John Medeski on organ, Ned Rothenberg on shakuhachi, bass flute, and clarinet, David Slusser on sound Effects, Kenny Wollesen on vibes, percussion, and "Wollesonics", John Zorn on Foley effects, samples, German narration, Stephen Gosling on piano. 

The second track, "Liber Novus", is based on the book by Carl Gustav Jung, with Freud one of the fathers of psycho-analysis. In this book, Jung claims that he encountered figures in his active imagination : "The figures, according to Jung, "brought home to me the crucial insight that there are things in the psyche which I do not produce, but which produce themselves and have their own life". Which is a quite frightening concept too, although also an illuminating one. The music is again out of the ordinary, with Medeski's organ as the unifying and predominant instrument, with lots of ambient sounds, varying levels of intensity and calm, and with a whole zoo of animal sounds to cheer you up, and juxtaposed joy and horror, and somehow ending in resignation.

A strong album.


John Zorn/Fred Frith Duo : Late Works (Tzadik, 2010) **½

This is the fourth duo collaboration between John Zorn on alto and Fred Frith on electric guitar. Their first album, "The Art Of Memory", was often used by a friend as the ultimate example of non-music. He will not be disappointed to hear that their approach has not changed over the years. What you get here is beyond words: a long improvisation of two musicians who are willing to do what has not been done before, and this with raw energy, without taking the listener into consideration for one single instant. You can respect them for trying something new, but it's not because it's daring and harsh, that it's good. It is not for the faint of heart, although interestingly on two pieces they move into more harmonious sonic environments ("The Fourth Mind" and "Slow Lattice"), and in my opinion these two are absolutely stellar. For the rest of the noise and violence, it is not really my cup of tea.


For those who have forgotten what Zorn and Frith sound like:


© stef

What happens when they stop beating the drums?

For the answer to the question above, see my original post on solo bass albums. Apart from that, I can say that I like solo bass albums. First, I like the deep sound of the bass, its power and beauty, and when played solo, the full sensuality of the strings on wood become all the more clear, often hidden in the overall sounds of bands, even small ones, or impossible to hear when driving a car, unless you really turn up the volume.

So it's always a pleasure to introduce new solo bass albums, this time by two prominent bassists in the current modern jazz scene: Jason Roebke and Robert Landfermann.

Jason Roebke - In The Interval (Self-published, 2010)***½

This EP is Jason Roebke's second solo bass album, one in which he delves even deeper into the nature of sound and silence than in his previous one. The album starts with a plucked note, followed by a barely audible successor after 33 seconds, then a second hard note after 50 seconds. then 1 min. 13 seconds, then 1 min. 44 seconds, gradually decreasing the intervals between notes, while at the same time changing his touch, and adding - again barely audible - other less identifiable sounds, changing between resonating sounds and suddenly muted ones, playing single string or chords, gradually increasing the intervals.

It is very minimalist, but only temporarily, because by the tenth minute, the bass is playing for real, still slowly, but sensitively, cautiously, precisely, but if you thought it would continue picking up speed, you're wrong, it becomes unpredictable, with long silences being alternated with some extended techniques, some boppish playing, some silence.

The result of this is quite unexpectedly that you cannot listen differently than in a very concentrated way. Everything you anticipate will happen, does not happen, so rather than listening in on automatic pilot, you're forced to be there with your full attention on the bass, its sound and the silence surrounding it. And I must say, that is an exceptional feat for a solo bass album. Another example that less is more and that lack of repetition is guaranteed to keep you alert.

Listen and download from iTunes.


Robert Landfermann - Null (JazzHausMusik, 2010)***½

German bassist Landfermann's approach is different. From the very first track he goes beyond any sound you think could ever come out of a bass, piercing, industrial, resonating, screeching, howling animal-like. Quite impressive stuff.

I knew him only from his collaboration with Christian Lillinger's Grund. But despite his young age, he has already played on several dozen albums, and this is his second solo bass album.

The mad timbral approach of the first track is not continued in the second piece, which is a high tempo complex piece which make you wonder whether you actually hear only one bass. Most pieces are relatively short, somewhere between three to four minutes, just setting down some ideas and exploring sounds, some of which are absolutely staggering, like the piercing whale songs of "Ich Habe Nie Gelernt Zu Frieren" (I have never learned to freeze), or the tribal drumming on the next piece.

Alternating virtuoso playing in a regular fashion with interesting explorations, this is a clear bass-player's album in the first place. In contrast to the piercing sounds of the first track, he ends the album in the most convential of ways, but no less brilliant, with some great classical-sounding arco playing.

Listen and download from eMusic.


Both albums complement each other somewhat. Roebke tries to make a musical statement, a solo bass album that can be enjoyed by non bass players. Landfermann is less interested in musical expansion or the building of tension than in the sounds he can create with his instrument, leading to much more variation by definition.

If you like the sound of the double bass, like I do, I can recommend both albums.


Watch Roebke and Ayako Kato perform:


© stef

Grand and epic ...

John Coltrane was not only a phenomenal saxophonist, he first and foremost changed the course of jazz in a couple of years time, lifting it out of the confines of urban entertainment into the world of art and spiritual power. He incorporated some of Albert Ayler's and some of Ornette Coleman's ideas, but he integrated those into something grand and epic, into a musical sphere and language that did not exist before him. He turned even a chidren's song like "My Favorite Things" into a mesmerising dimension of floating and endless energy and expressivity.

He turned jazz into a whole new thing. The music of Jarrett's American and European quartet's would not have existed without Coltrane, nor would for instance Abdullah Ibrahim's "The Journey", to give just a few examples.

Here are two albums which capture this great new dimension in music.

Amalgam - Prayer For Peace (No Business, 2010) *****

The first one is Amalgam's "Prayer For Peace", recorded in 1969, and it might well be the re-issue of the year. The band is Trevor Watts on alto, Jeff Clyne on bass and John Stevens on drums, with Barry Guy playing bass on the title track.

"Tales Of Sadness" starts with arco bass and a wonderful melody on the alto, slowly, very slowly increasing the intensity till they're playing up a storm after a while,with especially Watts doing an extraordinary expressive piece while staying within the tune, overblowing like crazy, till absolute madness, relentlessly, without losing sight of the melody which suddenly comes shining back through the mayhem like a sudden smile breaking through the tears on a face full of agony and fear. This track is nothing short of phenomenal, and by itself worth buying the album for.

The second piece, "Judy's Smile 1", is less intense, yet equally beautiful, and it is continued on the second side of the vinyl LP with "Judy's Smile 2", which starts slowly with great bass-playing by Clyne, and perfect accents by Stevens for a quiet almost gospel-like melody on the alto. Then Stevens starts pushing up the tempo, and the piece gains again a strong momentum, going beyond bop in a more free fashion.

Also the last piece, with Barry Guy on arco, lifts the music into high spheres, fully delivering the title's content, without any need for further explanation, reverent, expansive, spiritual and full of inherent beauty and emotional depth. Magnificent!


Buy from Instantjazz.

Faruq Z. Bey With Northwoods Improvisers - Emerging Field (Entropy Stereo, 2010) ****½

Saxophonist Faruq Z. Bey is possibly less known than Trevor Watts, but he's a free jazz player who incorporates some Ayler with Coltrane and African music.

On this album, he is joined by the Northwood Improvisers, which is Mike Carey on bass clarinet, alto saxophone, tenor saxophone, and shaker,  Skeeter C. R. Shelton on alto and tenor saxophone, Mike Gilmore on marimba, Nick Ashton on drums, and Mike Johnston on percussion.

The music has this grand and expansive approach that Coltrane introduced. Through a strong rhythmic backbone, very African in nature, and long-winding thematic improvisations, the music soars, and yes, it is less complex than Coltrane, or less expressive than Amalgam, but it is so compelling and hypnotic, that it is a real delight. The interesting thing is that this music sounds like it was made in 70s, reminiscent of some Art Ensemble work, or Human Arts Ensemble, or Sonny Simmons, but less wild, more controlled and accessible, but indeed grand and epic. A really strong and recommended album. 


Both of these bands are indebted to Coltrane. Even if their approach is totally different, you can hear the great master's legacy and inventive power still playing in these bands.

I am open to lots of musical genres, from classical over rock and prog-rock and avant-garde and trip-hop to ... well, no, not as far as rap, but in all frankness, none of these genres has the breadth, depth, expressive power and sheer musical delight as jazz.

To a large extent thanks to Coltrane.


© stef

Ben Syversen - Cracked Vessel (2010) ****

If anything, this album made me listen back to Dave Douglas and his Tiny Bell Trio with Brad Shepik and Jim Black. Not only is the line-up the same, with Ben Syversen on trumpet, Xander Naylor on guitar, and Jeremy Gustin on drums, and true, all three need some more practice to reach the technical excellence of the Tiny Bell Trio, but their approach to music is comparable : raw, rock and world music influenced, adventurous and melodious at the same time.

The greatest thing is their unbridled enthusiasm for their music, combined with a strong discipline in making it work in a natural and controlled fashion.They keep up the great music throughout the album, from the very first notes of "Frontman", with trumpet intro, then muted electric guitar strings, gradually getting their raw voice, with great counter-rhythmic drumming, going against the grain in the best of fashions with Syversen clear playing gradually fading out. Yet they can also be jubilant as on "Weird Science", sufficiently powerful to start a spontaneous little dance on the spot.

But it's not all rock 'n' roll and funk, with "Bad Idea" they show their more melancholy side, somewhat reminiscent of Eastern European music, and almost organically they make the piece evolve into more grunge-like sounds, but without really losing the piece's real nature. "Krazzle" is more fanfare and funk at the same time, again a rhythmic delight built around a compelling theme, with lots of room for quite adventurous improvisations. "Apparition" is totally "out there", as its title suggests, in the eery spheres of exploratory  soundscapes.

This album is wildly entertaining, creative at the same time, and the guy's have something to tell. A band to watch. And to enjoy.

Listen and download from Bandcamp or CDBaby.


Watch the band on Youtube, but with another guitar player



© stef

NEW RELEASES

At about any time, I have 60 to 80 CDs that are waiting on a huge pile to be listened to. Many of them I will listen to several times, but most of them will unfortunately only be honored by a quick and possibly too fast scan on my player.

And I know selecting albums for - mostly positive - reviews is a very subjective thing. And I would not want to deprive you of some good stuff out there that's really worth listening to, even when it's not really my thing. And even if I wanted, there would never ever be sufficient time to listen and review all those albums.

Secondly, I am not aware of any web-location where new and upcoming releases are centralised for the interested avant-garde and free jazz fans and addicts.

Hence the idea to centralise all upcoming and recent, yet unreviewed CDs in one place. The list is alphabetical by label. Once a CD has been reviewed, it will be deleted from the list below, so please use the search engine on this blog for recent albums. Musicians who sent material that is self-published should not worry - they will be added too.

So I hope that this web-page will be of service. It will be permanently posted on the left side of this increasingly popular blog (but that's quite relative), under the heading "NEW AND UPCOMING RELEASES".

Musicians and labels are free to send me updates and planned releases, so that we can know what to save our money for.

Each label title provides the link to the label's website. You will notice that not all labels keep their websites up-to-date, which is a shame. Tzadik is possibly the best organised : easy to find, with clear monthly updates and a look into the near future. An example to follow. 

Many thanks for sending me information. The address is "freejazzblog + @ + live.be" (delete the space and the + when sending e-mails).

The list is currently updated based on the material and information received from the labels and musicians. Some websites are down or not updated.

482 RECORDS

Tomas Fujiwara - Actionspeak

Danton Boller (bass), Jonathan Finlayson (trumpet), Tomas Fujiwara (drums), Mary Halvorson (guitar), Brian Settles (tenor saxophone)

ACCURATE RECORDS

 The Either/Orchestra - Mood Music For Time Travellers

ALLOS DOCUMENTS

Vox Arcana - Aerial Age

Tim Daisy: percussion and marimba
James Falzone: clarinet
Fred Lonberg-Holm: cello and electronics

AMIRANI

ANOTHER TIMBRE

nella basilica

roberto fabbriciani bass, contrabass and hyperbass flutes
robin hayward microtonal tuba










A.D.

angharad davies violin
axel dörner trumpet










Giles U.

carl ludwig hübsch tuba
christoph schiller spinet










pie ‘n’ mash

mathias forge trombone
olivier toulemonde acoustic objects

ANOVA MUSIC

Albert Beger Electroacoustic Band - Peacemaker

The Albert Beger Electroacoustic Band : Dan Benedikt (Drums & Percussions), Avi Elbaz (Laptop and Electronics), Assaf Hakimi (Bass), Ido Bukelman (Electric and Acoustic Guitars) and Albert Beger (Tenor and Soprano Sax).

AUM FIDELITY

William Parker: I Plan to Stay a Believer: The Inside Songs of Curtis Mayfield

David S. Ware: Onecept

William Parker Organ Quartet - Uncle Joe's Spirith House 

William Parker: bass
Darryl Foster: tenor sax
Cooper-Moore: organ
Gerald Cleaver: drums

Mike Pride's From Bacteria To Boys - Betweenwhile

 Mike Pride (drums)
Darius Jones (alto saxophone)
Alexis Marcelo (piano)
Peter Bitenc (bass)

AYLER RECORDS

Dennis González & Yells at Eels - Cape of Storms

BANDCAMP 

Elderflower - Deep Drink

ryan ferreira: guitar
lorenstillman: saxophone

BARNYARD

BETTER ANIMAL RECORDINGS

Jeb Bishop Trio - 2009

BLACK BOWLER

LeGroulx, Kesley, Grillot, Lobo - Redemption 

 

Chris Kelsey - Alto Saxophone

Francois Grillot - Bass

Joao Lobo - Drums

Matt LeGroulx - Guitar

 

 

BROKEN RESEARCH

Sven-Åke Johansson - Cymbals in the Night

Sven-Åke Johansson, Percussion

CANDY DINNER 

Fred Lonberg-Holm - Lost ND Fragments

CHIEF INSPECTOR

CARRIER RECORDS

CHITEI

CIMP

Trio X - Live on Tour 2008 

CIRCULASIONE TOTALE

CIRCUM-DISC

Christian Pruvost - Ipteravox

Christian Pruvost - trumpet

CJR

Jimmy Bennington Quartet & Perry Robinson - The Spirits at Belle's

Jimmy Bennington
Perry Robinson
Mathew Golombisky
Daniel Thatcher

CLEAN FEED

I NEVER META GUITAR (solo guitars for the XXI Century)

Adam Lane´s Full Throttle Orchestra - ASHCAN RANTINGS

KAUFMANN / LANDFERMANN / LILLINGER - GRÜNEN

Hugo Carvalhais - NEBULOSA

JAMES CARNEY / STEPHAN CRUMP - ECHO RUN PRY

JASON ROBINSON / ANTHONY DAVIS - CERULEAN LANDSCAPE 

Hugo Antunes - ROLL CALL

PARKER/GUY/LYTTON + PETER EVANS - SCENES IN THE HOUSE OF MUSIC

Daniel Levin Quartet - Bacalhau

Daniel Levin (cel)
Matt Moran (vib)
Nate Wooley (t)
Peter Bitenc (b)








Urs Leimgruber / Evan Parker - Twine

Evan Parker (ss)
Urs Leimgruber (ts)

CONRAD SOUND

Frode Gjerstad - Sekstett

Frode Gjerstad (clarinets), Håvard Skaset (guitars), Lene Grenager (cello),Hilde Sofie Tafjord (French horn), Børre Mølstad (tuba), Guro Skumsnes Moe (double bass)

CREATIVE SOURCES

Urs Leimgruber, Philipp, Gerold - HIN

Urs Leimgruber - soprano & tenor saxophone
Ulrich Phillipp - double bass
Nils Gerold - flute, piccolo

Alexander Frangenheim - The Knife Again

Alexander Frangenheim - double bass












erosions


Ernesto Rodrigues
Neil Davidson
Wade Matthews

CRYPTOGRAMMOPHONE

CUNEIFORM

DEATH DEFYING RECORDS

Modo Trio & Wayne Horvitz - Dog Leg

DELMARK

Rob Mazurek's Exploding Star Orchestra - Stars Have Shapes

Jason Adasiewicz Trio - Sunrooms 

Rich Corpolongo Trio - Get Happy

Mikrokolektyw - Revisit

DISCOS INTOLERANCIA

Remi Álvarez & Mark Dresser - Soul to Soul

DOUBTMUSIC

DRIP AUDIO

Fond of Tigers - Continent & Western

DUNS

ECM

Steve Tibbetts - Natural Causes

EL GALLO ROJO

Fresh Frozen

ACHILLE SUCCI alto sax, bass clarinet
CHRISTOPHER CULPO piano
OREN MARSHALL tuba

EL NEGOCITO

Riccardo Luppi's Mure Mure - Live In Milano

Moker

Bart Maris - trumpet / Jordi Grognard - tenor sax, clarinets (songs 1, 3, 5, 6, 7, 8, 9 & 11) / Zeger vandenbussche - tenor sax (songs 2, 4 & 11) / Mathias Van de Wiele - guitar, composition / Kristof Roseeuw - double bass / Giovanni Barcella - drums






BackBack - Backo

Filips Wauters (gt),
Marc de Maeseneer (bar sax),
Giovanni Barcella (drums)

EMANEM

ROSS BOLLETER "Night Kitchen

RIVIÈRE COMPOSERS’ POOL "Summer Works 2009"

KENT CARTER (double bass)
THEO JÖRGENSMANN (clarinet)
ALBRECHT MAURER (violin, viola)
ETIENNE ROLIN (clarinet, basset horn, alto flute)

ENGINE RECORDS

Andrew Lamb Trio - New Orleans Suite

Stephen Haynes - Parrhesia 

ENTROPY

ESP DISK

Konitz, Cheek, Furic Leibovici Jugendstil II

Lee Konitz: alto saxophone. Chris Cheek: tenor saxophone, Stephane Furic Leibovici: double-bass, Jim Black: glockenspiel, vibraphone, chimes, Dan Dorrance: alto flute, bass flute, piccolo, Joy Plaisted: harp, Maria Garcia: celesta, Chris Speed: clarinet






Sun Ra College Tour Volume One: The Complete Nothing Is...

Sun Ra: piano, John Gilmore: tenor sax, Marshall Allen: alto sax, Pat Patrick: baritone sax, Robert Cummings: baritone clarinet, Teddy Nance: trombone, Ali Hassan: trombone, Clifford Jarvis: drums, Ronnie Boykins: bass, tuba, James Jackson: log drum, flute, Carl Nimrod: sun horn, gong





Michael Gregory Jackson Clarity 

Michael Gregory Jackson (acoustic guitar, vocal, electric guitar, electric mandolin, bamboo flute, timpani, marimba, percussion) David Murray (tenor sax) Oliver Lake (flute, soprano sax, alto sax, talking drum, cowbell) Wadada Leo Smith (trumpet, soprano trumpet, fluegel horn, Indian flute)

EVIL RABBIT RECORDS

FENOMMEDIA

F-IRE RECORDS

NeWt with Silke Eberhard

Silke Eberhard [alto sax/clarinet]
Chris Greive [trombone/effects]
Graeme Stephen [guitar/effects]
Chris Wallace [drums/percussion]

FIREHOUSE 12

Mary Halvorson Quintet - Saturn Sings -

FLUTTERY RECORDS

Gate- Iterations

FMP

FMR

PARALLAX:LIVE IN THE UK

Stian Omenås - trumpet, percussion
Are Lothe Kolbeinsen - guitar, prepared guitar
Ulrik Ibsen Thorsrud - drums, percussion

FOGHORN RECORDS

Sunny Murray - John Edwards - Tony Bevan - Boom Boom Cat

GREENLEAF MUSIC

Dave Douglas - Spark Of Being

Dave Douglas, trumpet; Marcus Strickland, tenor saxophone; Adam Benjamin, fender rhodes; Brad Jones, ampeg baby bass; Gene Lake, drums; DJ Olive, turntables/laptop

HATHUT

Lucien Johnson, Alan Silva & Makoto Sato · Pieces Of Eight

Joe Maneri, Tyson Rogers & Jacob Braverman · In The Shadow

Michael Adkins Quartet · Flaneur

Russ Lossing Trio · Oracle

Pandelis Karayorgis Quintet · System Of 5

Noah Kaplan Quartet · Descendants

Stephen Haynes Quartet · Hebeshebewebe


Albert Ayler Quintet · Berlin, Stockholm 1966

HENCEFORTH

Dither

 Taylor Levine - guitar
David Linaburg- guitar
Joshua Lopes- guitar
James Moore- guitar

HOT CUP RECORDS

Peter Evans & Kevin Shea - ZONBISEKUSHI

ICP

ICP 049

Misha Mengelberg - piano
Mary Oliver - violin, viola
Tristan Honsinger - cello
Ernst Glerum - bass
Ab Baars - tenorsaxophone, clarinet
Tobias Delius - tenorsaxophone, clarinet
Michael Moore - altosaxophone, clarinet
Thomas Heberer - trumpet
Han Bennink - drums

ICTUS

ILK

IMPROVISING BEINGS

nobusiko

benjamin duboc (double bass),
itaru oki (trumpet, flugelhorn, misc.)









topolitologie

françois tusques (piano),
noel mcghie (drums)

INTAKT

Ingrid Laubrock - Anti-House

PIERRE FAVRE - SAMUEL BLASER - Vol à Voile

Samuel Blaser: Trombone
Pierre Favre: Drums










PIERRE FAVRE - PHILIPP SCHAUFELBERGER - Albatros

Philipp Schaufelberger: Guitar
Pierre Favre: Drums









STEVE LACY - NOVEMBER

Steve Lacy: soprano saxophone











MICHAEL JAEGER KEROUAC MEETS GREG OSBY & PHILIPP SCHAUFELBERGER - OUTDOORS

Michael Jaeger: tenor saxophone
Greg Osby: alto saxophone
Philipp Schaufelberger: guitar
Vincent Membrez: piano, prepared piano
Luca Sisera: bass
Norbert Pfammatter: drums

JAZZLAND

JAZZHAUSMUSIK

Mahall-Nabatov-Landfermann-Lillinger - Nicht ohne Robert Vol.1

Rudi Mahall - bcl
Simon Nabatov - p
Robert Landfermann - b
Christian Lillinger - dr

JAZZWERKSTATT

The Ullmann/Swell 4 - News No News

Gebhard Ullmann - tenor sax, bass clarinet
Steve Swell - trombone
Hilliard Greene - double bass
Barry Altschul - drums








Andreas Willers - Orange Years

Chris Dahlgren Lexicon: Mystic Maze

Heinrich Köbberling - Sonnenschirm

Hyperactive Kid: Mit Dir Sind Wir 4

Lauer Large: Konstanz Suite

Der Moment: Transzendenz

Perry Robinson Trio: From A to Z

Trio Dolce Vita: Amarcord

Uwe Oberg & Evan Parker Full Bloom

Hermann Keller: Nicht ohne Wasser / 29 Stucke 

Cordulla Hamacher Quartett: Connected

Wanja Slavin Quintet: Scirocco

Thewes/Mahall - Quartetto Pazzo (re-issue)

KADIMA

Triptych # 1 - Mark Dresser: Guts

Triptych # 2 - Deep Tones For Peace

Thierry Barbe (France), Han Han Cho (Taiwan), Mark Dresser (USA), Lisle Ellis (USA), Dean Ferrell (USA/Iceland), Ken Filiano (USA), Irina-Kalina Goudeva (Bulgaria/Denmark), Henry Grimes (USA), J.C. Jones (Israel), Michael Klinghoffer (Israel), Rob Nairn (Australia), Chi Chi Nwanoku (UK), William Parker (USA), Barre Phillips (USA/France), David Phillips (USA), Bertram Turetzky (USA), Sarah Weaver (USA)



Vinny Golia & Mark Dresser - Live At Lotus

Vinny Golia woodwinds / Mark Dresser contrabass











The Cy Twombly Trilogy

Ariel Shibolet sax solo











The Cy Twombly Trilogy - Scenes from an ideal marriage

Shibolet soprano sax / Jacoby viola











The Cy Twombly Trilogy - Happiness for things unseen 

Shibolet soprano sax / Haggai Fershtman drums

KALLIGRAMMOFON

Viktor Sjöberg New Jazz Ensemble - Lover Man 

KILOGRAM

KONNEX

DEAD COUNTRY feat. CHADBOURNE 

EUGENE CHADBOURNE g, bj , voc;
SEVKET AKINCI g;
UMUT CAGLAR g;
DEMIRHAN BAYLAN el b;
KEREM ÖKTEM dr





OUR SPACE "New Conception of Duo" 

THEO JÖRGENSMANN low G clarinet,
HAGEN STÜDEMANN classical guitar








HASSEY/DECHELLIS/NAKATANI "Ritual Joy" 

GARY HASSEY saxophone,
DAN DECHELLIS piano,
TATSUYA NAKATANI percussion







CENTER "Reisezeit"

EIKE WULFMEIER piano
ANDREAS EDELMANN bass
LIZZY SCHARNOFSKE drums

LADO ABC 

LAURENCE FAMILY 

Powerhouse Sound - Overlap

Ken Vandermark saxophones
Jeff Parker guitar
Nate McBride bass and electronics
John Herndon drums

LEO RECORDS

Vyacheslav Guyvoronsky - Pieces for String Trio & Trumpet

Simon Nabatov - Roundup

Second Approach - Event Space

Atipico Trio - Eqqueeqqua' !!!

Carlo Actis Dato
Davide Tilotta
Beppe Di Filippo










Heinz Geisser / Eiichi Hayashi / Takayuki Kato / Yuki Saga On Bashamichi Avenue

Vlady Bystrov / Alexey Lapin Rimsky-Korsakov - Crosswise

Gael Mevel Quintet - Images et Personnages

Jean-Jacques Avenel bass
Jacques Di Donato clarinet
Gaël Mevel on piano & bandonéon
Didier Petit cello
Thierry Waziniak percussion








Katja Cruz / Thomas Rottleuthner - Primeval Sounds of the World

Katja Krusche - voice
Thomas Rottleuthner - flute, bassclarinet and saxophone

Urs Leimgruber - Chicago Solo

LIBRA

LONG SONG RECORDS

LONOTE RECORDS

Ron Brendle & Mike Holstein - Rhizome

LOYAL LABEL

Jeff Davis - We Sleep Outside

Jeff Davis: drums, percussion; 

Eivind Opsvik: upright bass; 

Jon Goldberger: guitar; 

Kris Davis: piano, Fender Rhodes piano; 

Tony Barba: tenor and soprano saxophone, clarinet; 

Kirk Knuffke: trumpet

MARGE

Evan Parker / Barry Guy / Paul Lytton - Nightwork / Live at the Sunset

Evan Parker (saxophones ténor & soprano)
Barry Guy (contrebasse)
Paul Lytton (batterie & percussions)

MATCHLESS

Free Jazz Quartet - Memories For The Future

Paul Rutherford - Trombone
Harrison Smith - Tenor/soprano saxophone and bass clarinet
Tony Moore - Cello
Eddie Prévost - Drums

MAYA

MIKROTON RECORDINGS

Clare Cooper - Hammeriver

Clare Cooper: harp
Chris Abrahams: piano
Christof Kurzmann: lloopp
Tobias Delius: clarinet & tenor saxophone
Clayton Thomas: double bass
Werner Dafeldecker: double bass
Tony Buck: drums

MODE

MULTIKULTI

Ircha clarinet quintet - lark uprising

MUTABLE 

JD Parran - Window Spirits

Jerome Cooper - A Magical Approach

NESSA

Bobby Bradford & Spontaneous Music Ensemble

Bobby Bradford-trumpet
Trevor Watts-alto saxophone, soprano saxophone
Bob Norden-trombone
Julie Tippetts-voice, guitar
Ron Herman-bass
John Stevens-drums, percussion, voice

NEW WORLD RECORDS

Scott Fields: Samuel (Free Download)

NO BUSINESS

The Nu Band - Live In Paris

Dominic Duval, Jimmy Halperin, Brian Willson - The Music Of John Coltrane

Dominic Duval – bass
Jimmy Halperin – tenor saxophone
Brian Willson – drums

Joelle Leandre & India Cooke “Journey”

Kablys. Live at 11:20

Liudas Mockunas - tenor, baritone and soprano saxophones
Eugenijus Kanevicius - bass and electronics
Dalius Naujokaitis – drums

Liudas Mockunas & Ryoji Hojito “Vacation Music”

 

Liudas Mockunas – soprano, tenor and baritone saxophones, clarinet and bass clarinet
Ryoji Hojito – piano, small instruments, voice, etc.

 

 

NOT TWO

Joe McPhee & Ingebrigt HakeFlaten - Blue Chicago Blues

Vandermark 5 - The Horse Jumps and the Ship Is Gone

Joe Morris / Luther Gray - Creatures

Joe Morris - guitar
Luther Gray - drums











Sabir Mateen & Matthew Shipp - Sama

Ivo Perelman / Rosie Hertlein / Dominic Duval - Near to the Wild Heart

Ivo Perelman - tenor sax
Rosie Hertlein - violin
Dominic Duval - acoustic bass








OIR Trio - Kanata

Frank Gratkowski - alto sax, clarinet
Sebastian Gramss - double bass, bows
Tatsuya Nakatani - percussion, bowed gongs











Szilárd Mezei - Bot 

Emőke ZÁKÁNY oboe
Bogdan RANKOVIĆ bass clarinet, clarinet, alto saxophone
Damir BAČIKIN trumpet
Lordan SKENDEROVIĆ trumpet
Slobodan DRAGAŠ trumpet

OKKADISK

The Engines - Wire & Brass

Jeb Bishop
Dave Rempis
Nate McBride
Tim Daisy

PETIT LABEL

Wark 

marc baron-altsax
antoine dauras-tenorsax
sébastian balaiah-contrebasse
guillaume dommartin- batterie

PINE EAGLE RECORDS 

Rich Halley Quartet w Bobby Bradford - Live At The Penofin Jazz Festival

PI RECORDINGS

Steve Coleman & Five Elements - Harvesting, Semblances & Affinities

Rudresh Mahanthappa - Apex

Rudresh Mahanthappa – alto saxophone
Bunky Green – alto saxophone
Jason Moran – piano
François Moutin – bass
Jack DeJohnette – drums (on 1, 2, 9, & 10)
Damion Reid – drums (on 3, 4, 5, 6, 7 & 8)

Release Date: September 28, 2010

PNL

Hairy Bones - Fresnes

Paal Nilssen-Love - Miro

Broe/Massimo/Nilssen-Love - "Roma

Peter Brotzmann-alto saxophone, tenor saxophone, gema
Massimo Pupillo-electric bass, siae
Paal Nilssen-Love-drums, tono








Paal Nilssen-Love - 27 years later

Paal Nilssen-Love & Anders Hana - AM/FM

PORTER RECORDS

Henry Grimes & Rashied Ali - Spirits Aloft

Matt Bauder - Paper Gardens

PSI

QBICO

The Mirror Box - The Orkustra/ Arthur Doyle Trio / James Gurley / Muruga / Odu Afrobeat Orchestra: / Muruga and the Global Village Ceremonial Band / Faruq Z. Bey w/Northwoods Improvisers / Steve Baczkowski / Ravi Padmanabha / Andrew Barker / Daniel Carter / Arthur Doyle Electro Acoustic Ensemble / Direct Current Featuring Atiba N. Kwabena and Dave Nuss

Art edition: 26 copies : three versions: silver, sunburned, bronze age

inside:
hand-made postcard by Bobby BeauSoleil (qbico 100)
hand-made FOLDER covers by Muruga (qbico 99)
hand-made covers by Dave Nuss (qbico nu)
hand-made (qbico xi)

plus
hand-made covers by John Olson
(which'll be the last single hand-made cover on qbico)
textile, hand/spray painted and sewed, so that you can't insert any record !

QUOI DE NEUF DOCTEUR?

RAPID MOMENT

Christoph Gallio & Olaf Rupp - Fasane Hula Punk

RED TOUCAN

RE:KONSTRUKT

Cağri Erdem - Connected 







































Have You Seen My Bird - Hey Jack!
 

Gary Hassay - Live At The Connexion

konstruKt + Jürg Solothurnmann // In Concert!

Korhan Argüden / drums
Özün Usta / drums, percussion
Umut Çağlar / guitars
Korhan Futacı / tenor & soprano saxophones
Jürg Solothurnmann / alto & soprano saxophones







Sarp Keskiner // Retrospective (1997-2007)

Sarp Keskiner / various instruments
Korhan Futaci / soprano sax (on tracks 1-2)
Volkan Terzioglu / clarinet (on track 4)
Deniz Cuylan / percussions (on tracks 5-6)
Orcun Basturk / percussions (on tracks 7-8)
Burkay Donderici / loops (on track 7)

ROARATORIO

GEORGE CARTWRIGHT & DAVU SERU - RAG

George Cartwright - sax
Davu Seru - percussion

ROGUEART

RUBY FLOWER RECORDS

"CECIL TAYLOR" (December 2010)

Cecil Taylor : piano, poetry

----

Dominic Duval, David Taylor, Edward Ricart, Jay Rosen (Autumn 2010)

Domnic Duval - bass

David Taylor-trombone

Edward Ricart- guitar

Jay Rosen-drums

----

Biaggio Coppa "Antagonisti Androgeni" (December 2010)

Biaggio Coppa- sax

Nate Wooley-trumpet

Cory Smythe-piano

Trevor Dunn-bass

Tyshaw Sorey-drums

RUNE GRAMMOFON

SANS BRUIT

Pascal Maupeu - Folk Standards

SAZI RECORDS

Scott Amendola - Lift

JEFF PARKER - guitar
JOHN SHIFFLETT - bass
SCOTT AMENDOLA - drums, percussion, electronics

SELF-PUBLISHED

Paulo Chagas & Bruno Duplant - As Birds

Sing Sing Penelope - Electrogride

SETOLA DI MAIALE 

Enzo Rocco & Pablo Ledesma - Seis episodios en busca de autor

Pablo Ledesma soprano sax
Enzo Rocco  guitar








Sureau - The Leuven Concert

Jean-Michel Van Schouwburg voice
Jean Demey  double bass
Kris Vanderstraeten percussions


Gianni Mimmo soprano sax
Enzo Rocco  guitar

SILTA

SKIPSTONE 

Erik Friedlander - Fifty Miniatures For Improvising Quintet

Jennifer Choi, violin
Sylvie Courvoisier, piano
Trevor Dunn, bass
Erik Friedlander, cello
Mike Sarin, drums





Erik Friedlander - Alchemy

Erik Friedlander - cello and sampling

SKIRL

SLAM

 Szilárd Mezei Octet - Tõnk/Stump

 Gergely Ittzés – flute, alto flute, piccolo, bass flute Bogdan Rankoviæ – alto and tenor saxes, bass clarinet Bravislav Aksin – trombone Szilárd Mezei – viola Albert Márkos – violincello Milan Aleksic – piano Ervin Malina – double bass István Csík – percussion All compositions by Szilárd Mezei.







ASYNCHRONOUS 

Fred Van Hove piano, Paul Dunmall tenor saxophone, Paul Lytton drums, Paul Rogers double bass.

SMALLTOWN SUPERJAZZ

SOFA

Koboku Senjû - Selektiv hogst

Tetuzi Akiyama - guitar
Toshimaru Nakamura - no-input mixing board
Espen Reinertsen - saxophone & flute
Eivind Lønning - trumpet
Martin Taxt - tuba

SOLYD RECORDS

Matthew Shipp - Creation Out Of Nothing

Matthew Shipp - Piano

SOULNOTE

TAIGA RECORDS

Rafael Toral Space Elements vol. II

Evan Parker (soprano sax), Manuel Mota (guitar),
Afonso Simões (drums), Stefano Tedesco (vibraphone), João
Paulo Feliciano (rhodes piano), and Ruben Costa (digital
synthesizer), Sei Miguel (trumpet),César Burago (percussion), Fala Mariam (trombone), Rute Praça (cello)

THIRSTY EAR

THRILL JOCKEY

TUM

Billy Bang - PRAYER FOR PEACE

Kalle Kalima & K-18 - SOME KUBRICKS OF BLOOD

Juhani Aaltonen Quartet CONCLUSIONS

TZADIK

Marty Ehrlich - Fables

Marty Ehrlich-Clarinet, Bass Clarinet, Flute, Alto Sax, Soprano Sax

Marcus Rojas-Tuba

Jerome Harris-Acoustic Bass Guitar

Hankus Netsky-Piano, Accordion

Gabriele Coen - Awakening

Gabriele Coen-soprano sax, tenor sax, clarinet

Lutte Berg-electric guitars

Luca Caponi-drums, vibes

Marco Loddo-double bass

Pietro Lussu-piano

John Zorn - Filmworks XXIV: The Nobel Prizewinner

Rob Burger-Piano

Trevor Dunn-Bass

Kenny Wollesen-Drums, Vibraphone 

Ned Rothenberg : Quintet For Clarinet And Strings

Ned Rothenberg: Clarinet

Mivos Quartet

Olivia De Prato: Violin

Isabel Castellvi: Cello

Victor Lowrie: Viola

Joshua Modney: Violin

Ned Rothenberg - Ryu Nashi/No School - New Music for Shakuhachi

Riley Lee-Shakuhachi
Ned Rothenberg-Shakuhachi
Stephanie Griffin-Viola
Yoko Hiraoka-Voice
Jiuta Shamisen-Voice
Ralph Samuelson-Shakuhachi

VICTO

carla kihlstedt / matthias bossi / shahzad ismaily - « causing a tiger »

CARLA KIHLSTEDT : violon, voix...

MATTHIAS BOSSI : batterie...

SHAHZAD ISMAILY : guitare et basse électriques...

GUNDA GOTTSCHALK / XU FENGXIA - You Lan

Gunda Gottschalk : violon, voix

Xu Fengxia : guzheng, voix

WEAVE 

WINTER & WINTER

Kneebody - You Can Have Your Moment

Adam Benjamin: Fender Rhodes, Effects
Shane Endsley: Trumpet, Effects
Kaveh Rastegar: Electric Bass, Effects
Ben Wendel: Saxophone, Melodica, Effects
Nate Wood: Drums

Theo Bleckmann - I Dwell In Possibility

© stef