Leo Genovese - Keyboards
Brandon Lopez - Bass
Federico Ughi - Drums

Artist Title: Federico Ughi
Album Title: Infinite Cosmos Calling You You You, Vol. 1 (feat. Leo Genovese and Brandon Lopez)
Label: 577 Records
File Under: Avant-garde / Experimental / Cosmic
Release Date: 3/15/24
Cat#: 5930-1
Format: LP (first pressing, 200 copies) Classic Black Vinyl
Format: LP/CD (first pressing)
LP-577R-5930-1
Barcode LP: 736952027030
CD-577R-5930-1
Barcode CD: 755491288856

Recorded April 24, 2022
Recorded, mixed and mastered by Jeremy Loucas at Sear Sound, New York City

Illustration by Robert Mirolo
Graphic design by Mark Smith 

Music by Federico Ughi (Five Seven Seven Records Music, ASCAP)

577 Records is an independent record label based in Brooklyn, New York operating since 2001

577 Records
Brooklyn, New York
www.577records.com
©+℗ 2024

Infinite Cosmos Calling You You You, Vol. 1 (feat. Leo Genovese and Brandon Lopez)

The Door of The Cosmos Is Opening

Federico Ughi: 'The Door of The Cosmos...' from 'Infinite Cosmos Calling You You You, Vol. 1 (577)

This is a series of interviews with musicians and interesting folks from NYC and other parts of the world. Hosted by drummer Federico Ughi. Episode 25 is All the Talking with saxophone player and composer James Brandon Lewis. Recorded during the SOF Music Residency in Tangier, Morocco, 2023.

Check out James Brandon Lewis’ website:
https://jblewis.com/

SOF MUSIC RESIDENCIES
https://www.577records.com/soundsoffreedom

577 Records is an independent record label based in Brooklyn, New York operating since 2001
577 Records Brooklyn, New York www.577records.com ©+℗ 2024

Episode 25 - All the Talking with James Brandon Lewis

Against the Jazz Police — A Radical New Album of Avant-Garde Rebellion and Afro-Cuban Metaphysics
Emerging artist Leandro Cardenas announces the release of Against the Jazz Police, a bold and genre-defying debut that challenges musical orthodoxy and invokes a fierce metaphysical and cultural critique. More than an album, Against the Jazz Police is a sonic rebellion—part ritual, part philosophical treatise, part avant-garde eruption.
Under the mythic shadow of the ceiba tree, Leandro and his ensemble conjure an Afro-rooted, anarchic sound world built on collective improvisation and ancestral invocation. Using a Dolphy-inspired instrumentation of flute, alto saxophone, and bass clarinet, the group tunnels through the locked corridors of aesthetic convention to reclaim a temporarily autonomous zone in the sonic architecture of the global avant-garde.
Positioned at the crossroads of free jazz, experimental improvisation, and Afro-diasporic ritual, the album unfolds over five sessions of intense, collaborative composition. Each movement serves as a portal into layered cultural and spiritual consciousness, drawing from the symbolic power of Yoruba deities, rural trance practices, and post-colonial resistance.
Highlights include:
	•	“Rito: What Is Endures” – A visceral, textural opening that evokes ritual chaos and Dionysian ecstasy.
	•	“Exu Interlude” – A playful, shape-shifting tribute to the trickster spirit, charged with ludic spontaneity.
	•	“Cagüeiro : In the mangrove” – A trance-driven movement across sonic landscapes, with intensely expressive motifs giving way to deep ancestral resonances.
	•	“He/She Doesn’t Speak” – A haunting solo bass clarinet improvisation invoking the oceanic deity, where language dissolves into the unspeakable.
	•	“Postlude/ Ayágguna” – A baroque, ecstatic finale ascending from earthy textures to celestial climax.
The result is a project that defies genre classification: not jazz as genre, but jazz as force. Through his debut, Cardenas situates himself in dialogue with revolutionary thinkers such as Frantz Fanon, while channeling the raw spiritual currents of Afro-Caribbean cosmology and the ungovernable spirit of avant-garde improvisation.

Against the Jazz Police

'Postlude/Ayágguna' by Leandro Cardenas from album 'Against the Jazz Police' (577 Records)

The album:
Following on the heels of Sunspots, Jeff Snyder’s debut solo analog synthesizer album released this past January, Concerning the Nature of Things is a striking collection of Snyder’s concert music, performed by internationally-renowned musicians. The album is a bold statement of Snyder’s unconventional artistic voice, blending influences from medieval polyphony, algorithmically-generated Brazilian rhythms, and experimental noise music into a singular musical vision. 

Four of the five pieces feature unusual electronic instruments invented and built by Snyder, many of which produce sound through acoustic resonators instead of speakers, and are designed to encourage nuanced expression from the performers, creating a visceral and corporeal quality of tone.

The pieces:
Concerning the Nature of Things is a tour-de-force of Snyder’s alternate-reality Early Music, showcasing an ensemble of invented instruments (Treble and Tenor Contravielles, Resophonic and Bass Mantas, and the Birl) created by the composer and performed by members of Wet Ink Ensemble Eric Wubbels, Josh Modney, and Erin Lesser, and the voices of Gabriel Crouch (King Singers, Gallicantus) and Pulitzer-prize-winning composer Caroline Shaw (Roomful of Teeth, Kanye West), singing text from Renaissance scientist and magician Paracelsus. Strange, buzzing, just-tuned chords ring out from the ensemble, weaving nostalgia for a misremembered past that never was. 

Fictitious Forces, performed by So Percussion member Jason Treuting, is a percussion quartet composed for the Drumbox, a sensitive electronic percussion instrument developed by Snyder, in combination with traditional acoustic percussion instruments. Its complex interlocking rhythmic hockets, generated via algorithm, push at the edge of our perceptual pattern recognition abilities, while the human performance of these computer dreams lends a fierce energy to the work.

Substratum, written for and performed by Susan Alcorn (Mary Halvorson Octet) and Mivos, is perhaps the first use of the pedal steel guitar (generally found in country music and the “sacred steel” gospel tradition) paired with a traditional string quartet. Harmonically reminiscent of Stravinsky, Feldman, and late Ligeti, the piece develops like an intricate root system, with the voices slowly twisting and intertwining as they search the musical space. A video of the piece, directed by Caroline Key (Grace Period), accompanies the release.

Undeciphered Writing, which was conceptually inspired by fragments of texts in lost languages, progresses mysteriously in and out of blurred tonal fragments and eroded sound textures. The piece is performed by Sideband on a consort of instruments built by the composer (Treble and Tenor Contravielles, Resophonic and Bass Mantas, and a set of Forceboxes). A video of the piece accompanies the release.

Ghost Line, also performed by Sideband, uses webcams as instruments, with the pixel data from the cameras interpreted as audio waveforms. The performers alter the sound by moving within the frame, or by processing the video stream (altering the x and y resolution, adjusting the focus, or changing the speed or direction of the image scan). Resonant just-tuned sonorities devolve into aggressive clusters of noise, producing a masterful mix of patient harmonic changes and dense, frenetic timbral shifts. A video of the piece accompanies the release. 


Format Info:
CD
Digital download
Free online videos


Pre-order link:
https://jeffsnyder.bandcamp.com/album/concerning

Concerning The Nature Of Things

Resonating quarantine moods with voice(s), electronics and a selection of found kitchen objects.

Video is available here: https://youtu.be/uLT7A0vgRQQ

Live-streamed on IKLECTIK OFF-SITE ART RESISTANCE, April 20th 2020.
http://iklectikoffsite.org/

InQuarantine Sessions #1

For this rare solo audio release, multi-disciplinary artist Phoebe Collings-James lays out, overlaps and tangles a curious and often contradictory selection of material over a bed of slowly tumbling electronics. Like picking up someone's phone and briefly eavesdropping on their photos, diary notes, recordings & what they've been watching or listening to ‘Can You Move Towards Yourself Without Flinching?' renders an aural tapestry with a bracing question .

Like her compelling collaborative work 'Sound as Weapon, Sounds 4 Survival' with Last Yearz Interesting Negro, Phoebe's placement and arrangement of audio is masterful in its sleight of hand, inviting numerous interpretations, without losing its ability to beguile.

TR080 - Phoebe Collings-James - 'Can You Move Towards Yourself Without Flinching' [excerpt]

Distant Duo -Gerry Gibbs , Cheryl  Pyle 
from the cd Distant Duos
 -Cheryl Pyle and  Friends -11th street Music 2020

Distant  Duo -Gerry Gibbs  & Cheryl Pyle

Recorded by Mike Figgis in Terry’s attic at Lyonsdown Manor House, London 1969.

This session is one of the few times Figgis and Day played as a duo. Personnel of the CME & PB regularly played on TD’s drums during gigs & “jams” - Mike particularly had a ‘jazzy’ feel. They were, with others, co-founders of the Continuous Music Ensemble and People Band, whilst also plus collaborating in other configurations. 

Mixed and Mastered by Mike Figgis. 

Artwork Terry Day (2018)

TDA001 "Duets 69" [sample]

sounding out fernworth forest
extracts from an improvisation recorded on location, 10 sept 2020.

four locations in fernworthy forest, each with its own acoustic quality, its atmosphere. four locations inspire very different improvisations

hervé perez, alto saxophone, ©2020

sounding out – is the practice of deep listening, a connection with the spirit of a place.
these recordings are explorations of outdoor acoustics and sacred sites, investigating the nature of space and architecture, natural topography.

find more recordings of sounding out:
https://nexttimestudio.wordpress.com/

Sounding Out

bridge

bridge [Fernworthy Forest sept 2020]

STREAM / BUY NOW: https://rse.lnk.to/AskAnyone

ASK ANYONE

One for MF DOOM from LICE with love. 

Vocals - Aesop Rock and Homeboy Sandman
Beat - MF DOOM
Photo - Owen Brozman
Layout - Alex Everson
Vocal Mix and Master - Joey Raia

VILLAIN 
VILLAIN
VILLAIN

LYRICS:
Aesop Rock

Roses for the OG MF, where were you when Bob dropped the OG Deadbent?
I was over Tony’s on some “Whoa is that? No, is that...?
Yes it’s Zev Love X, sounding reckless”
I took it to the head and heart
You were back as Metal Face and threatening my pearl white Acura from the 2nd barBarfing up a master class in charismatic disrespect 
And trash talk, mask on, mac and cheese Timberlands
Sold the first Apple Seed cd's at your Brownies show
While you were saying "something to remember like the Alamo”
I was yelling every word and never late
And when you finally played “Hey!” I felt the venue levitate
Ask anyone, L.I. to upstate
Come to learn it’s only phase 1 of the flood gates
DOOM stay gluing true grit to the bass line
And made himself a hero and a villain at the same time
Back in ‘94 you had that line about the Nikes on the wire  
I’d always see these Nikes on the wire when I was driving through a neighborhood somebody said you stayed in
Convinced I’d found the actual inspiration 
For the record I was not even close to the right neighborhood
Even when the heart is pure, the brain is mush
Thank you for the stories, and the fuck you to the normies
Brewin said we lost our Jordan, I would sprinkle in some Vorhees and agree
Breeze I have this memory of me and you
Rapping Meat Grinder to each other at a BBQ in BK 
Got the same memory with a couple other people too
Trading DOOM lines, that’s what people do
You were always kind to me in person
I tried to play it cool but I was always kinda nervous
30 summers a guide in the muddy waters
To the man with many names: I hope you’re somewhere with your brother, yea


Homeboy Sandman

Supervillain tho
Illin tho
Chopping records that my parents listened to
DOOM was on a mission to remind you that the magic is what matters
But where’d he find that banter?
Where’d he find them patterns?
He ain’t had no manners
My favorite villain is The Drop off Viktor Vaughn
But every time I hear the Great Day intro I’ma sing along
And cats be sleeping on the GMO's them lessons on point
We share a brother in Kuri from the ? joint
Supervillain in the function then his peoples never far
Thanks for introducing us to John Robinson and Stahhr
And a era full of rarified jewels
And making use of airtime for making bad hairlines cool
Being crazy takes guts
Monsta Island Czars had a rep for being nuts
Extra special words
Scent of special herbs still lingers
My pantheon is Bird and Mingus, Prince and Metal Fingers
Larger than life, he had his own Nikes
I’m a Clearweather brand dude but dag DOOM
MM FOOD was the anagram
Fresh put me on I proceed to put on anyone that was famalam
And
Every particle genuine article
Okay you stiffed a few promoters
Who thought they booked the man under the mask but they could never tell for certain
Walking the walk, while talking in third person
He wore a mask so the charge won’t grab
On a rooftop with a large stone slab
Seen where the industry was going and
Had the gonads
To go “nah”
Thanks
A bar is not a measure
Of music DOOM was doing it’s a unit a buried treasure
No one ever done it better
So I’ma keep my computer on caps lock forever.

Lice (Aesop Rock & Homeboy Sandman) - Ask Anyone

577 Records is proud to be celebrating its 24 year anniversary.  The legendary music master Daniel Carter was one of the first people 577 cofounder Federico Ughi met soon after arriving in New York from Italy in 2000, after a brief stint in London.  It was a meeting of like minds and shortly thereafter the two started a series of house concerts at 577 Fifth Avenue in Brooklyn, the apartment where Federico was living at the time. The spontaneous nature of the concerts along with the incredible caliber of the deep downtown underground music they were able to present inspired them to bring the unique nature of what they were doing to a wider audience and they founded the label 577 Records to further that mission. 

577 Records started the New York Forward Festival in 2015 to mark the momentous occasion of Daniel Carter’s 70th birthday, now with festival editions happening in Morocco and Italy as well, and the international residency program Sounds of Freedom, in which active musicians are awarded the opportunity to develop their own sound, skills, and improvisation concept.

100% of profit from the sale of most of these albums goes to the musicians.

 

 “Guided by a mission to capture the ephemeral, to keep jazz relevant, and to foster a collaborative community of artists, the music 577 releases is timeless, masterful, and mystical.” - Bandcamp

“the music of new possibilities, full of spirituality and introspection, an alternative that did not need volume or screaming at the top of your lungs to position itself, and coupled with a deep sense of pulse and the blues.” - Free Jazz Blog

“577 Records, the musical home of the daring and the brave” - All About Jazz


577 Records
Brooklyn, New York
www.577records.com
©+℗ 2025

'Postlude/Ayágguna' by Leandro Cardenas from album 'Against the Jazz Police' (577 Records)

577 Records

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