A precious, previously unreleased live recording from 1977, when Jacques ‘Jeter La Girafe A La Mer’ Thollot was drummer.

‘Earl is on another level. The way he deploys his skill, humor, and encyclopedic knowledge of hip-hop has made him one of the most effortlessly deep and cool rappers alive’ (Pitchfork).

Conscious lovers — Paulette’s own upful, considered advice, delivered with fresh, youthful persuasiveness, and deadly horns. Another killer one-away.

‘What would happen if Erykah Badu, DJ Screw and Sa-Ra had a baby? You’d get Liv.e’ (NPR).
‘Martian soul music’ (Fader).

264 pages of essays, librettos, lyrics, memories, nuff photos, scores, personal anecdotes by musicians, visual artists, researchers and archivists; including contributions by Mary Jane Leach, George Lewis and Kodwo Eshun, besides Eastman in his own words.
Bracingly hostile towards settled, sanctimonious thinking about the composer and musician — Hans Werner Henze’s favourite bass player, featured on Arthur Russel’s Go Bang — especially any squaring off his sexuality and skin colour in relation to canonical minimalism, this is a punchy, immersive, diverse and thought-provoking homage.

Remastered from the original tape reels, this is the first official release of the legendary guitarist’s live recordings at the Penthouse jazz club, alongside bassist Sebastiao Neto and drummer Paulinho Magalhaes. With an extensive forty-page booklet containing rare photos of the performances; an essay by jazz critic Greg Caz; new statements by Carlos Santana, Lalo Schifrin, and others; and an effusive tribute by the John Fahey.

‘The eleventh and final concert recorded by Tom Albach at Immanuel United Church of Christ, here is one of the greatest Arkestra live recordings
‘Brimming with intense energy throughout, it culminates in the 1-2 punch of a blazing Leland’s Song followed by a fragile rendition of Tapscott’s As A Child, featuring Adele Sebastian performing her favorite Tapscott composition.
‘This one is not to be missed.’

‘At the Immanuel United Church of Christ on November 25, 1979. This is the eighth in a series of eleven concerts recorded at the church. This month saw the Arkestra stretching out at blissful heights — the half hour of Carnival is worth the price of admission alone, but the same could be said for the monumental Nation Rising, and the deep take on Roberto Miranda’s Faith. The groove kicks off with Horacio and doesn’t let up the whole concert.’