Jazz /
The Art Of Flight: For Alvin Fielder
Astral Spirits and the Instigation Festival are proud to announce the first release on Instigation Records: "The Art of Flight: For Alvin Fielder" by Survival Unit III (Fred Lonberg-Holm (cello), Joe McPhee (tenor saxophone, pocket trumpet), Michael Zerang (percussion). This set finds the trio breaking new ground - Lonberg-Holm going sans electronics for the first time in Survival Unit III's storied discography - while displaying the mastery of sonic shade and deft interplay that's been their ha…
The Seventh Son
Big, big tip! "The Seventh Son" was originally release in 1980 on RA Records and became a true Jazz Holy Grail. For anyone collecting Spiritual Jazz this reissue is simply not to be missed. Malachi Thompson moved to Chicago as a child and credited his interest in the trumpet when he was 11 years old. Malachi worked in the rhythm and blues scene on Chicago’s South Side as a teen. In 1968, he joined the Association for the Advancement of Creative Musicians (AACM), spending some time in the AACM bi…
Can't Hide
FRIM Records presents Can't Hide. Released December 10, 2021
Gustaf Hielm, bassElin Forkelid, saxophonesErik Carlsson, drums
All music by Forkelid, Carlsson, Hielm (STIM/NCB)Produced by FRIM.Recorded March 12, 2020, at Fylkingen, Stockholm, by John Chantler.Mixed by John Chantler.Mastered by Göran Stegborn.
How Long This Time? Live 1970
*All tracks previously unreleased. Stereophonic sound. In process of stocking* Featuring the classic KTG frontline of Marc Charig, Nick Evans and Elton Dean with rhythm section appearances by British jazz luminaries Jeff Clyne, Trevor Tomkins, Roy Babbington and Bryan Spring. These six previously unreleased live studio tracks were recorded for broadcast purposes in January and August of 1970, between the group’s two now seminal British jazz/rock releases for the Polydor and Vertigo labels respec…
Swedish Library Grooves Vol. 2
The explorations of the mid-70s sounds of rare grooves and library music, all reimagined, recorded, produced and in Sweden by Falk & Klou.
I Had the Craziest Dream: Modern Jazz and Hard-Bop in Post War London, Vol. 1
Another luminous compilation from London's Death is Not the End, this time examining the city's modern jazz and hard-bop scenes from the end of the 1940s until the early '60s.
Unreleased 1974 - 2016
Available for the first time on CD, this is another collection of essential pieces from one of the originators and masters of this style. These recordings were selected from the personal collection of Tony Oxley and were mastered for this release with superb sound by Karsten Lehl under Tony’s supervision. Some of the pieces were edited into their final composed form many years after the original recording was made. Performed by a who’s who of European improvised music, this new release is an e…
Natural Sources
"Some albums show you right away what kind of spirit backs them. Ronald Snijders solo debut from 1977, Natural Sources, is one of these. It begins with a free improvised, sometimes scatting flute and while the flute goes more and more crazy some scat vocals join in to make this first track a kinda strange affair. Jazz, free and spirited, seems the way but Ronald Snijders, son of Surinamese composer Eddy Snijders, outwits us in all our tiny minded expectations with the next song already. An everg…
Quod
*2022 stock* Experimental improvisation from three masterful players --Joe McPhee on soprano sax, Sylvain Guerineau on tenor saxophone, and Jean-Marc Foussat on synthesizer and voice--recording in France in 2010 for two extended works of concentrated and diverse dialog.
We Now Create - Music For Strings, Winds And Percussion
A historical masterpiece recorded on 23 May 1969 at the Tokyo Studio Centre by the "Togashi Masahiko Quartet", consisting of Masahiko Togashi (drums), Motoki Takagi (saxophone), Masayuki Takayanagi (guitar) and Motoharu Yoshizawa (bass). Recorded at the Tokyo Studio Centre on 23 May 1969, this historical masterpiece has been reissued on CD from Germany.
String Fables
"A true music lover typically has dreams that their favorite musicians, who do not normally work one with another, will meet and perform together. I had a dream many years ago that the two Giants of contemporary improvised music, Joëlle Léandre and Barry Guy play a double bass duo together. And my dream became true at the 2017 Ad Libitum in Warsaw in Festival, and was released by Fundacja Słuchaj! on a phenomenal 3 CDs box “Blue Horizon ● Barry Guy@70”. Here is another dream realized by Fundacja…
Thread Of Light
'I became acquainted to Joe Fonda’s musical creativity in 1998, precisely on November 6th at a concert of the Fonda/Stevens Group at Bunker Ulmenwall in Bielefeld, Germany. Along with some friends, I was curating the club‘s jazz program since 1996 at that time. After the enthralling show in 1998 Joe was a frequent artist at our club as his music was immensely inspiring - full of enthusiasm and playfulness. On November 8th 2003 there was Satoko Fujii Quartet playing a show in Bielefeld. On this e…
Yes Tomorrow
Paul Dunmall the composer is to the fore here, delving deep into his musical history by providing a range of material that celebrates the breadth of his experience including aspects of jazz, funk and soul. The flexible ostinato based pieces are constructed around the unique musical personalities of the players; the first soloist on each track being the only preordained performance decision. Dunmall has always actively encouraged younger players and many of us have benefitted from Paul’s personal…
The Gospel According To Matthew & Michael
requent collaborators, Matthew Shipp (piano) and Michael Bisio (bass) are joined by fellow Downtown New Yorker Mat Maneri on viola create what they refer to as a chamber ensemble, performing the 15 improvised and inspired chapters of Shipp & Bisio's "Gospel"
Pulverize The Sound
The trio of trumpeter Peter Evans, electric bassist Tim Dahl, and drummer/percussionist Mike Pride have played together since 2010, crossing the boundaries of improvisation, composition and rock in dynamic genre-defying music intended to be played loud.
Sećanja
Tip! Misa Blam’s - Secanja (Memories) One of the most sought of, rarest and cult ex-Yugoslavian jazz LP’s – is finally reissued, sourced and fully licensed straight from vaults of Jugodisk (Belgrade, Serbia). And where better than on the Everland’s Everland-Yu imprint dedicated to the unheard sound of Yugoslavia! This LP, kept tight in private ex-Yu collectors cabinets and championed by jazz dance DJ’s across the planet, was recorded in 1979 and released in only 1000 copies in 1980 by the Beogra…
The Uplifting Abyss
*In process of stocking* What would you do if a never before released jazz funk album from 70s Yugoslavia had dropped suddenly into your arms? An album which sounds like a crate diggers holy grail!? Album full of heavy drum breaks, repetitive bass grooves, superb sax solos and world class jazz arrangements finely intertwined with Yugoslavian folk music elements?! – “Press it!” ~ That’s what we said always striving to present the future of unheard sound of Yugoslavia! With the help from Mr. Cosmi…
Utopia
For more than two decades Swedish reedist Martin Küchen has cemented his place as one of the most versatile musicians within improvised and experimental music, following his innate curiosity to pursue many different approaches. Depending upon one’s aesthetic preferences one might know him as a free jazz firebreather in Threnody (with Johan Berthling and Steve Noble), a post-bop composer and bandleader of grainy soulfulness (particularly as the ringleader of the sprawling Scandinavian nonet Angle…
Björnhorn
*100 copies limited release* Recorded and mixed by Daniel Bengtson at Studio Rymden, Stockholm, Feb 2021Produced by Alex Zethson & Johan BerthlingMastered by Daniel Ögren
All music by Johan Berthling except For Turiya by Charlie HadenDedicated to Maria, Arvid & Vidar
Produced with support from the Swedish Arts Council
Some Of Them Were Never Unprepared
*In process of stocking* 'As a musician, I've been curious for many years of how collective musical practices can provide a sense of weightlessness, as well as how a focused interplay can blur the lines between musicians and sound sources and create reconfigurations of the relations between the two. I have also tried to explore these observations in depth in some of my composed music: during 2015-2017 I experimented with ways to surprise and destabilise myself in the solo format within the compo…