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Free Jazz

Free Jazz (Part 1)

Free Jazz (Part 2)

SUFFOCATION
STORM
JazzmanInTheRave
AboveTheCrowd
Crush!
MYFOOLISTHEART～crazyonearth～
殺し屋危機一髪
ジャズィ・カンヴァセイション


DJはぐれ親父 × SOIL&'PIMP'SESSIONS

Recorded live in Kargart in Istanbul on 3.12.2011 by Rammy Roo.

Konstrukt
Korhan Argüden: drums
Özün Usta: drums
Umut Çağlar: electric guitar

Guests
Dave Bryant (member of Ornette Coleman's Prime Time Band): electric piano
Korhan Futacı: reeds
Murat Taner: electric guitar, vocals

The Call Finding & Fullfilling The Central Purpose In Your Life

Konstrukt Live in Istanbul w/Dave Bryant of Ornette Coleman & Murat Taner

Sadness & Peace

Forerunner

Excerpt of the first five minutes from the forthcoming vinyl re-issue of 'Topography of The Lungs' - one of the key recordings in the development of free improvisation and originally the first release on Incus, the label founded by Evan Parker, Derek Bailey and Tony Oxley to document the music. 

This vinyl issue caps off a year celebrating Evan Parker's 70th Birthday. Evan plays a week of concerts at Cafe OTO and The Vortex from the 20-26 October. 

Release Date: 15 December 2014

Liner notes by Evan Parker (for the 2014 re-issue):

‘The Topography of the Lungs’ was the first recording I made as a "leader" - in the somewhat antiquated terminology of the times. What this means in simple terms is that I set up the date and invited Han and Derek to participate - after that it was a matter of open interaction.

The original notes make clear my enthusiasm for the work that Derek Bailey and Han Bennink had done as a duo and it was good of them to share their discoveries with me. It was the first release on Incus, a label that I set up with Derek Bailey and Tony Oxley with financial assistance from music journalist Michael Walters.  No accurate history of Incus Records has yet been written. After parting company  and when the conditions of my agreement with Derek Bailey had been met, it was issued as a CD, thanks to Martin Davidson, on my label psi.

Musicians of my generation were very happy when the CD superseded the LP. I remember clearly the initial argument that CD was an elitist format... Times and attitudes have changed and the LP has made a serious return, especially in the documentation of marginal musics. OTOroku is run by and, perhaps, largely for, a new generation of listeners who have an affection for the LP format that reminds me of my youth.

I am very happy that a label associated with one of the most important music venues in London is overseeing this release.

I often travel along Dawes Road in Fulham and pass the building where the recording was made.  It is on the first floor by a bus stop and was a small space with a dead acoustic, probably ideal for making low-budget rock demos, which encouraged very analytical listening.

The engineer, Bob Woolford, was not shocked by what we were doing. On the contrary he was then, and remains, one of the great engineers, along with Adam Skeaping and Michael Gerzon who enjoyed the challenges of recording alternative musics.

In the intervening forty-odd years since its first release, the idealism of the original notes has been battered almost sense-less by the Neo-Liberal (Neo-Fascist would be a more accurate term) moves to global hegemony. I take heart from the environ-mental, Occupy and anti-war movements and would encourage all younger listeners to find a way to live their lives as far as possible without interference and control by decisions made in corporate boardrooms. May the music here give you energy and fuel your imaginations.

					          EP  (August, 2014)



PRE-ORDER NOW

Evan Parker / Derek Bailey / Han Bennink 'Topography of the Lungs' [Excerpt] (ROKU(RE)001)

From the rare 1975 LP, "Improvisation"

Used in @clipping. 's "Something They Don't Know"


Derek Bailey - M3

Derek Bailey - Solo Guitar Volume 2 - (Three  05)

Recorded live in 2006 during one of Modular Set's many sessions on Stanford's KZSU. A concept piece in honor of the late great Derek Bailey who had just passed away a month prior and who was a huge influence on the band.

Dominic Cramp - Keyboards, Electronics, Percussion
Colin Held - Guitars, Loops, Electronics, Percussion
Daniel Humphrey - Drums, Percussion, Treated Guitar
Jeff Hobbs - Saxophone, Trumpet, Violin

Live on KZSU 2/1/06

Derek Bailey

Surrounded by handmade instruments, French folk singer, harpist, spinet and hurdy-gurdy player Emmanuelle Parrennin delivered an entrancing solo set to a winter crowd. Stripped of some of the more electronic, psychedelic tones that appeared on Maison Rose and Pérélandra, Parrennin creates an unearthly atmostphere with her vocals and a wired approach to instrumentation. Though in the past Parrennin has collected songs around rural France in a similar manner to the work carried out by Alan Lomax and Shirley Collins, this isn't simply revival folk; there's a tinge of a strange future to every song. 

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Emmanuelle Parrennin / vocals, harp, spinet, hurdy-gurdy

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Tracklisting (audio plays as one whole set)

1. Le Rêve
2. La Bar Mitsva
3. Laisse filer 
4. Le son de ta voix
5. Le secret 
6. Entre moi- Ce matin à Frémontel 
7. Hurdy gurdy drone ( improvisation ) 

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Recorded live at Cafe OTO on Friday 3rd November 2017 by Shaun Crook. Mixed and mastered by James Dunn. Photo by Jonathan Crabb. Artwork by Oli Barratt.

DS114 - Emmanuelle Parrenin 3.11.17 [sample]

Having been on our wish list for a long, long time we were delighted to have Patty Waters take up a two night residency at OTO last December. Accompanying her on double bass is Tjitze Vogel, and on piano is Burton Greene with whom she recorded 'Sings' for ESP Disk back in the 60s. Greene's scratching and tugging of the piano strings during their first ever rehearsal had encouraged Waters to turn ballads inside out, and the same is true today. Before 'Nature Boy' Waters asks Greene to play inside the piano once more; the songs refrain is shredded by Waters with total control. Her voice has shifted but her unique command remains. The trio hold the room on a breath as the deliver renditions of classics unheard anywhere else. Huge thanks to all three musicians. 

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Patty Waters / vocals

Burton Greene / piano

Tjitze Vogel / bass

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Recorded live at Cafe OTO on Thursday 6th December 2017 by Shaun Crook. Mixed and mastered by James Dunn. Photo by Maiken Kildegaard and artwork by Oli Barratt.

DS118 - Patty Waters "Wild is the Wind" from 6.12.17

The second release in a series of collaborations between Honest Jon's Records and Incus: three double-LPs of the legendary free-improvising guitarist Derek Bailey, solo (HJR 200LP) and in duos with Anthony Braxton and Han Bennink(HJR 202LP), augmenting the original releases with marvelous, previously unissued music. Recorded in 1974, at the Royal Hotel in Luton, with Braxton playing soprano and alto saxophones, and Bb and contrabass clarinets. Two volumes were planned; only one was issued, till now. This was an early transatlantic meeting between the leading free improvisers. Many of Braxton's signature techniques and ideas were gestated in such sessions. It still brims with inquisitive musical creativity and knockabout jazzbo allusiveness. Newly transferred from tape at Abbey Road, and remastered by Rashad Becker. Available exclusively for download here. 

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Derek Bailey / electric guitar

Anthony Braxton / saxophones, clarinets

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Recorded during a concert played at the Royal Hotel, Luton, England on July 2, 1974.

Sides 1 and 2 were issued as Royal Volume 1 in 1984; 3 and 4 are released here for the first time by Honest Jons. Thanks to Karen Brookman-Bailey and Tim Fletcher.

Royals

INCUS43 - Derek Bailey & Anthony Braxton "Closing (Opening)" from Royals

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. 

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Derek Bailey / guitar, voice

Han Beninnk / percussion, saw, reeds, brass, strings, voice

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Engineered by Bob Woolford (tracks: A.1.-B.3.). Mastered by Rashad Becker. Cover by Mal Dean

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INCUS09/HJRLP202 - Derek Bailey & Han Bennink "Improvisation III"

On the opening night of Le Guess Who? 2018, and on the eve of the Art Ensemble of Chicago’s 50th Anniversary, we celebrated their legacy and welcomed the collective back in style, after a 25-year absence in The Netherlands. 

You can now relive their glorious performance (curated by Moor Mother) and experience why the group have been celebrated as one of the most remarkable free jazz movements to arise from Chicago’s already rich jazz heritage. 

Line-up:
Roscoe Mitchell - alto sax, soprano sax, sopranino sax, flute and percussion
Famoudou Don Moye - drums, congas, bongos and percussion
Hugh Ragin - trumpet, flugelhorn and piccolo trumpet
Jaribu Shahid - double bass
Silvia Bolognesi - bass
Tomeka Reid - cello
Dudu Kouate – african percussion

While listening, read our in-depth feature ‘Tracing the Roots: Art Ensemble of Chicago’s Great Black Music, Ancient To The Future’, where we trace the roots of the group and its individual performers, their voyages across the world, and their establishment of some truly inspiring cooperative ethics: https://www.leguesswho.nl/news/tracing-the-roots-art-ensemble-of-chicagos-great-black-music-ancient-to-the-future

Recorded and mixed by Marc Broer on Thursday, 8 November, at TivoliVredenburg's Grote Zaal. 
Photography by Jelmer de Haas.

www.leguesswho.com

Art Ensemble of Chicago - Live at Le Guess Who? 2018

Jan Kaspersen - piano and Fredrik Lundin - baritone sax Live at New Note Festival in Hillerød August 4th 2012

172A 1850 C (Jan Kaspersen)

Dedicated to the memory of Tony Marsh

The recordings on this double LP are taken from the first night of Roscoe Mitchell's inaugural two day residency at Cafe OTO in 2012 and his first time playing with drummer Tony Marsh and double bassist John Edwards.

It was one of those nights where the music electrifies the room. Everyone on edge. Everything alive with the possibilities.

Although there was much talk after the concert of the group playing together again this would sadly be the first and last time the trio would play. Tony passed away unexpectedly just a few weeks later making this his last documented performance and a fitting tribute to a truly great drummer and percussionist.

Roscoe Mitchell is one of the most important saxophonists and composers of the 20th Century. Active since the 1960s as a bandleader, mentor, collaborator and teacher. Mitchell was a founding member of Chicago's Association for the Advancement of Creative Musicians (AACM) and the legendary Art Ensemble of Chicago. He has been a pivotal figure in the collective re-imagining of what is possible in jazz, improvisation and beyond combining an instantly recognisable sound on the saxophone with staggering technique (check the lengthy stretch of sustained circular breathing on SIDE C) and an arresting, fractured melodic sensibility.

On this date he quickly realised he was in the company of two musicians who could match his vision and create music that is more than the sum of its parts.

John Edwards is a vital presence in London's creative music community. A true virtuoso, his staggering range of techniques and boundless musical imagination have redefined the possibility of the double bass and dramatically expanded its role.

No one else played or plays drums like Tony Marsh. Richard Williams had previously described Tony's "marvelous ability to erase the boundary between time and no-time" and here, on the jerry-rigged suspended percussion set-up he'd developed (no kick or hi-hats) he opens up a beautifully resonant space, quietly directing the pulse whilst allowing you to fully hear the upper-register harmonic detail and flickering pizzicato of John Edward's bass. You'd be hard pressed to hear anything in the playing that would hint at his shock passing only a month later. 

"Listen closely, take a chance, keep going even if money's tight, and you'll find the real reward – that's why Tony was hip in the most meaningful sense … And he didn't need to play loud, or be loud, to get that intensity. It's like splitting diamonds or something. If you know exactly the right place to make the impact, you don't need to hit anything hard." - Evan Parker   	(Quoted in John Fordham's Obituary for Marsh)

Roscoe Mitchell / Tony Marsh / John Edwards 'Improvisations' SIDE A (excerpt)

The spaces, and the cracks between the spaces.  Somewhere they exist. Somewhere In them lies this trio of sound magicians known as Modular Set. Imagine this: A landscape filled with lush rapidly growing plant life, watered by the vapors of Sun Ra and photosynthesized by This Heat of a Crimson Can. Would not these plants make the tastiest of treats? Modular Set is movement forward, and their music are the cracks that fills the spaces, filling them all with the sound of the future. 

Fake Jazz.
Free Dub Improv. 
Urban Electronic.
Audio postcards.

"Soft Machine rowing Sun Ra’s Arkestra through the dissonant mindful multi-colored cloud-sea atmosphere of the 4th dimensional planet Arcturus. Spontaneous perfection!"  – KZSU Stanford

Derek Bailey

MODULAR SET