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1993 release ** ""I want more POPEYE", writes Alfred Harth. "Possessing uncompromising moral standards and resorting to force when threatened". He also refers to "my artist's way through postmodernism", which at the beginning of the 90s brought him to grow tired of "all those mixes, remixes, postmodernisms and pop" that he had gone through during the previous decade: he was ready to return to a "pure" approach, essentially based on real players and real instruments. Enter Russian drummer Vladim…
1992 release ** "Robert Marcel Lepage, clarinettist, pays tribute to scientists, to today’s musicians and to this Renaissance man, little-known as a musician, Leonardo Da Vinci. Inspired by the personal history of this ingenious artist/inventor, Lepage has composed a remarkably eloquent music: a hydro-mechanic alliance of accurate writing, improvised music and sound machine. Musicians Michel F Côté, Jean Derome, Bernard Gagnon, Mario Légaré and René Lussier back him on this record. Adieu Leonar…
1994 release ** "Affinity consists of Joe Rosenberg on soprano, Rob Sudduth playing tenor, bassist Richard Saunders and drummer Bobby Lurie. They have a very inclusive approach in picking out "nine modern jazz classics," so this inventive CD ranges in repertoire from Lee Morgan and Thelonious Monk to Ornette Coleman and Anthony Braxton (two compositions, including his infamous march). Affinity's playful interplay is a bit reminiscent of Steve Lacy's early recordings, and the versatile solos fit…
1997 release ** "The Vinny Golia quintet on this CD is comprised of Golia on every woodwind known to man although he seems to prefer the extremes of range (e.g., piccolo, sopranino and contrabass saxes) alone with Tad Weed on the piano, Rob Blakeslee on trumpet, flugelhorn and cornet, Michael Bisio on the contrabass and Billy Mintz on the drum set. The music is in a style I have heard called freebop although I am not sure how common a usage that is. Freebop usually has a harmonic structure that…
Temporary Offer. Recorded for Berry Gordy's short-lived Workshop Jazz imprint and recorded at the Hitsville USA studio, Roy Brooks (joined by fellow Detroit natives George Bohannaon and Hugh Lawson, along with Blue Mitchell, Junior Cook, and Eugene Taylor) injects a Motor City soul-jazz groove into the hard-bop root of this engaging 1964 album. Manufactured at Third Man Pressing in Detroit MI 180g audiophile quality vinyl
Temporary Offer. Verve by Request Manufactured at Third Man Pressing in Detroit MI 180g Audiophile Quality Vinyl. As one of the last albums Don Cherry recorded before he passed away in 1995, “Art Deco” could be considered something of a return home – or at least a glance back over the shoulder. By 1988, the non-conformist trumpeter had been travelling the planet for about three decades, absorbing folk music of all styles, which led to collaborations with a wide variety of musicians. From South A…
1995 release ** “The music on L’âme de l’objet is strongly fed by Côté’s work for theater and dance performances, as it bears a remarkable plastic quality. One can feel the movement. All pieces (initially written by individual members and worked out by the whole band) are very atmospheric and often fitting a strange avant-gardist film noir mood, thanks mostly to the trumpet plus saxophone arrangements and Martin Tétreault’s remarkable performance (and highly original choice of LPs).”
1999 release ** "As John Corbett argues in his liner notes, this session, recorded in 1969 (but not released until 1999) at the national Swedish TV studio, is a fascinating document of European free jazz. Phil Minton hasn't yet developed the timbral serialism and lightning speed of his later vocal work, but he hollers and trumpets with gusto. Minton's grandiose arrangements owe a debt to John Coltrane's Africa/Brass, but they have a special dignity too."
1992 release ** "The first live documentation of this, at the time, three-year-old, hard working trio. A wild romp of different jazz and world music styles connected by intense improvisation."
Michael Moore - alto saxophone, clarinet, melodicaErnst Reijseger - cello, electric celloHan Bennink - drums, percussion
1996 release ** "Recorded live in 1995, Italian woodwind specialist Stefano Maltese along with fellow countryman, percussionist Antonio Moncada garner the services of modern jazz/improvising superstars pianist Keith Tippett and saxophonist Evan Parker for this engaging affair. Here, some of Italy's finest team with two musicians who respectively helped shape the oft-fabled British free jazz movement for two lengthy improvisational pieces consisting of spurious dialogue, turbulent reinvention, an…
1993 release ** “Lisa Sokolov displays incredible vocal range, versatility and creativity on her wild interpretations. This album is like a ticket to an avant-garde vocal extravaganza. It will make you sit up and listen until curtain-fall.”
2025 stock ** "The beauty of this music lies precisely in the capability of transmitting echoes of the pianistic music research happened in the last 50 years, filtered by Nicola Guazzaloca's personal and unmistakeable gaze.Prepared piano, improvisation, but also lyricism and the delicacy of the touch are the ingredients of his musical landscape. The ability of reinventing and being at ease with the "piano solo", aim and test for every pianist appears to us as one of the most precious elements of…
Orange Vinyl edition with OBI strip, Hand Numbered. RuinsZu is fusing the original core of Rome’s ace Zu bassist Massimo Pupillo and saxophonist Luca T Mai together with drummer Yoshida Tatsuya, founder of the Japanese band Ruins. An Italian-Japanese cooperation of outstanding artists in the loud extreme of avant-garde music produces Jazzisdead Live. Bass guitarist Massimo Pupillo from the band Zu teams up with saxophone Luca T. Mai (of Ruins and now Ruins Alone) and drummer Tatsuya Yoshida. The…
1994 release ** "Although altoist Julius Hemphill gets top billing on this CD, his heart surgery in 1993 forced him to stop playing. However, this saxophone sextet was his regular group; he contributed six of the eight compositions (the other two are free improvisations) and the chancetaking heard throughout this adventurous music definitely makes most of the performances sound like they came from a Julius Hemphill recording even if his alto is missed. The sextet has a very strong lineup (altois…