Drawing inspiration from Sarah Davachi and Kali Malone, six glacial minimalist drones in contemplation of Body and Soul, ecological collapse, and the nature of listening, played on the oldest functioning pipe organ in the world, built in 1435, at the Valère Basilica in the Swiss Alps.
“What I like about the organ is that you can make it feel very physical. It has all these mechanical parts that sound really beautiful.”

Litho cover; riso insert. Tiny run.

Deep, intrepid, alchemical communion between West African kora and European classical guitar.
‘It’s a remarkable album,’ says Lucy Durán. ‘It’s the furthest away that Ballaké has gone from his own idiom and it’s brilliant. Not world music, it’s in a totally different realm, entering new territory.’

The great Don Carlos riding heavyweight Aggrovators, honed by Scientist. Sly & Robbie hosting at Channel One.
Spread out, spread out, and rock this a music.

Lee Morgan, Duke Jordan, Bobby Timmons… plus three expert Latin percussionists… and outstanding contributions by Barney Wilen, on both tenor and soprano saxophones.

‘An overview of his earliest works, gathering selections from his 1978 debut Celestial Vibration and six additional studio sessions from the era. Full of discovery and wonderment, Glimpses of Infinity is a miraculous chronicle of new age’s most fabled artist.’

Thirteen feeling, liquid synth explorations, rooted in ambient, Balearic and Kosmische; melodic, tremolo waves and rhythmic, organic vibrations, attuned to the more blissed-out, ambient fall-out from E2-E4… and of course to Ruscha’s own paintings.
“I really love when music forces you to forget,” he says. “There’s this beautiful moment where everything coalesces, and you just don’t think about anything.”
Refreshing, transporting music.

The Intercommunal Free Dance Music Orchestra was created in 1971 by the legendary pianist François Tusques. L’Inter Communal compiles extracts from concerts given between 1976 and 1978, revelling in the political engagement which lit up free jazz and popular music in that period.
According to Tusques, the Spanish singer Carlos Andreu was a griot ‘who created of new genre of popular song improvised with our music, based on events going on at the time.’
The opener Blues Pour Miguel Enriquez invokes Thelonious Monk in an uproarious homage to the Chilean revolutionary. Another song is entitled L’heure est à la lutte’... The time to fight is now.

From 1981, the further excursions of ‘the people’s jazz workshop’, in the words of founder Francois Tusques.
Le Musichien is an Afro-Catalan adventure, free as a bird, headed for the outer spaceways. Tusques sings together with the Spaniard Carlos Andreu, riding the grooving bass-playing of Jean-Jacques Avenel, percussion from Kilikus, the saxophones Sylvain Kassap and Yebga Likoba, and Ramadolf playing trombone.
Les Amis d’Afrique was recorded the following year, at the Tombées de la Nuit festival in Rennes. Tusques and bassist Tanguy Le Doré weave the backdrop of an explosive new brotherhood of breath, in the tradition of John Coltrane and Pharoah Sanders: Bernard Vitet on trumpet, Danièle Dumas and Sylvain Kassap on saxophones, Jean-Louis Le Vallegant and Philippe Le Strat on… yes… cannons.