‘Masses is an utterly unexpected, and utterly gripping, collaboration between the East London duo, Spring Heel Jack, and a group of top-flight improvisers, drawn largely from New York’s ascendant free jazz network but also including Evan Parker and microtonal violinist Matt Maneri.
‘If there are precedents for this particular mix, in which studio-processed audio environments are played back in real time as the triggers for, and fixed components in, a series of group improvisations, they feel few and far between. George Rusell’s 1967 Electronic Sonata For Souls Loved By Nature, Bob Ostertag’s Say No More Project, and some of Evan Parker’s explorations in the realm of synergetic electroacoustics provide three possible and very different models. But as Matthew Shipp points out, Masses ‘creates its own space and time’.
‘Masses opens a tunnel on a space where matter and anti-matter can co-exist without the vernacular power of either state being compromised or diminished. It is a total triumph.’
(The Wire).

Recorded in 1999 in NYC, with Matt Shipp, Roy Campbell, Matt Manieri, William Parker, and co.

With new cohorts from Finland and Denmark — electric bass and guitar bringing a new tension and urgency — this is by turns fierce and hard, swinging and sparse, lyrical and mournful.

‘The quintessence of experience of sorts. It has some free playing, some reflection, and we also played Komeda’s Kattorna. Among my records this is the one I listened to the most after recording.’

Beautiful, balladesque quartet album — moody, blue and restrained.

Inspired by the great poet Wislawa Symborska, who died last year. Ace NY quartet. Full of dread and life, tersely sophisticated, imbued with Miles. Monk and Andrew Hill in the pianism. Always recommended, TS.

Leading his New York Quintet.

Melodic, texturally-inventive, often mesmeric pieces for both piano and prepared piano, including SB’s own compositions and spontaneous improvisations, as well as two versions of the traditional Arab song Lamma Bada Yatathanna.

Silvio Rodríguez, Bartók and Satie, in amongst original compositions and improvisations, beautifully elucidated by Stenson’s uncluttered lyricism, Anders Jormin’s arco double bass and Jon Fält’s impressionistic drumming. Mompou’s Canción Y Danza succeeds perfectly this way.

This saxophonist came through with the likes of Roy Ayers and Joe Henderson in the sixties, before hooking up with Steve Lacy in Paris in 1973. In this soundtrack composed for a film by his friend Joaquin Lledó — entitled Le Sujet Ou Le Secrétaire Aux Mille Et Un Tiroirs — he was joined by members of the group around Lacy, and diverse co-conspirators including friends from the funk outfit Ice, French accordionist Joss Bassellion, and none other than Jef Gilson at the mixing desk. It’s a dazzling, intensely entertaining blend of modal, cosmic and spiritual jazz, free funk, dirty grooves, heavy jams, bistro boogie and Javanese wah-wah.

An overlooked jazz classic.
In step with Giuffre’s lean, startling arrangements, Stitt expressively reins in his virtuosity: he plays dazzlingly as ever, swinging hard, but with a new lyricism and freedom.
The band is killer — including Frank Rosolino, Jack Sheldon, and Lawrence Marable — and Giuffre himself plays some of his best tenor saxophone on record.
Scintillating and absorbing; hotly recommended.

Top-quality, all-analogue reissue by Speakers Corner.

Joyous, uniquely Arkestral renditions of songs from Disney films like Peter Pan, Sleeping Beauty, Snow White & the Seven Dwarfs, Dumbo, and Mary Poppins.
Ra loved this repertoire, faithfully re-visiting it over the decades. He once had his band billed as Sun Ra & His Disney Odyssey Adventure Arkestra.

All previously unissued; drawn from concert performances, 1985-1990.

Another unmissable Ra LP — previously impossible to find — from the same 1972 sessions as Space Is the Place. The opener Pan Afro is a modal tear-up bossed by Gilmore’s saxophone; the title track is a hugely enjoyable, side-long, Ra-led space chant.

‘One thing is certain about a Sun Ra performance: You never know what to expect. Last week at the Chicago Jazz Festival, he presented a huge troupe of musicians, dancers and acrobats in a veritable circus of improvisation’ (John Litweiler, Chicago Tribune, September 9, 1988).
The entire show as originally broadcast by National Public Radio in the same year.