‘As searching and searing as anything either of them has made, these 2008 duets live up to their explosive title. Gustafsson is known for his energy, and it’s here in droves, but there are other nuances brought out by McPhee — a supple sense of melodicism (hey now, Gustafsson is a Swede, so by birthright he’s melodic) and the love of experimental sound-making that McPhee displayed on his sound-on-sound recordings in the late ‘60s…
‘Insanely powerful. We recommend that you prepare yourself for the impact.’

‘A studio recording from 1979, previously unreleased. It is primarily structured around pairs of tunes by Charles Mingus, Thelonious Monk, and Duke Ellington (or Billy Strayhorn), adding Ornette Coleman’s Lonely Woman for good measure. The results are stunningly intimate and show the twosome’s capacity for creative interplay at a fairly early stage in its unfolding. Pithecanthropus Erectus gets pared down to its essential walking-bass-ness, while Monk’s Evidence is taken apart, and solo spots by both men are as riveting as one would expect.’

Even at the age of eighty — Nation Time is fifty years old — Joe McPhee refuses to stand still or bask in nostalgia. For all its lovely strangeness — for a start, besides playing, he sings and recites — this LP elaborates lineages in his oeuvre initiated with John Snyder in the seventies, and sustained with Pauline Oliveros.
Lasse Marhaug is an old hand, young at heart, too. After thirty years of making electronic music — hundreds of releases, collaborations and projects — his name is synonymous with Norwegian noise music.
A one-of-a-kind, highly enjoyable, compelling mixture of free jazz and electronics, inspired by science fiction and early electronic music.

Recorded in St. Edmund’s Church, Oslo, on 13 December 2017.
Compositions by James Weldon Johnson and Thelonious Monk; also originals, including a tribute to Don Cherry.
Another humdinger in the Actions For Free Jazz series supervised by Smalltown Supersound.
Vinyl only, no digital. 500 copies, that’s it.

Two LPs of mid-sixties club dates — Woman Talk (with Feelin’ Good), at The Village Gate, and Live And Wailing, at The Half Note.

The two 1957 LPs — the first more intimate, with quartet and trio settings (four with Carmen playing her own piano accompaniment); the second an all-star session, with Charlie Shavers, Jimmy Cleveland amongst em.

A bunch of Broadway standards, Shubert Alley is Torme’s masterpiece, a wonderful jazz vocal album — with Marty Paich and band (featuring Art Pepper) going after the sound of Miles’ The Birth Of The Cool.

Chocolate Mena leading three lineups — featuring Joe Henderson, Jerome Richardson, Alfredo Armenteros, and co — through Lalo Schifrin and Duke Pearson arrangements of core Latin and Jazz classics.

A fourth LP of spiritual jazz by this feted nine-piece from Australia.
‘A stunning work, full of integrity and class… Essential’ (Echoes).
‘Wonderful record, full of some great Kamasi/Donald Byrd/even Art Blakey moments.’ (The Guardian).

A heartfelt tribute to Sun Ra.
Trumpet, drums, and the great man’s favoured Rocksichord; and up-and-coming Cuban bassist Ledian Mola, who adds vocals inspired by Cuban folklore.
Another winner from 577.

The illustrious clarinettist alongside John Surman, Barre Phillips, Stu Martin, and Jean-Pierre Drouet, in 1970. Iconic Futura cover-art by Avoine.

Multi-tracking especially the raj nplaim from Laos and the nohkan from Japan (a free-reed pipe and flute, both bamboo), as well as many male voices, inspired by Georgian polyphony, sung by himself.

Playing ndingo, genbri, guitars, suling, nay, rewab, rabab and shakuhachi, and singing.

Playing a chikulo from Mozambique, twelve-string guitar, tongue drums from Central Africa, kalimba, a Gambian sinding harp, a Peruvian charango, Egyptian nay flute, Japanese nohkan flute, Balinese suling flute, bowed sattar from Xinjiang, Tibetan cymbals…

Bringing together two of the most prized, auratic LPs in all of free music, with music as vital and challenging today as it was more than five decades ago.
In Concert At Yale University, Vol. 1 was self-released on the duo’s Self-Reliance Program imprint in 1966. Copies are impossibly rare, especially the first few, which sported hand-painted covers by the musicians. (Several of these are displayed in the CD gatefold, together with a terrific photo of the pair selling LPs at a Nation of Islam convention.)
It was followed by Nommo, the next year.

For a performance at Yale University in New Haven, Connecticut, in spring of 1966, percussionist Milford Graves invited pianist Don Pullen to play duets. The two musicians had worked together in a band fronted by saxophonist and clarinettist Giusseppi Logan, with whom they had recorded two LPs in 1965 for ESP. Graves was already a daunting presence in free music. One step at a time, he was busy transforming the role of drumming in jazz, introducing a new way of dealing with unmetered time and accomplishing this task with technique that was almost inconceivable. His experience playing timbales in Latin bands had been formative, suggesting that the snare could be used as accent rather than beat-keeper, but by the mid 60s he’d worked up a holistic approach to sound and energy that was the most radical of his improvising percussion contemporaries.
For his part, this early setting finds Pullen at his most hard-hitting, and his pianism here lays to rest any allegations of Cecil Taylorism.

Thrillingly uncontainable, uproarious, wildly creative music, teeming with passion, protest, sex, orality, dread, blues, and the gospel truth. With Roland Kirk newly enrolled, Mingus passes his bass to Watkins… and it all kicks off. We can’t recommend this record strongly enough. It will do you good.