Manuel Villarroel left Santiago in September 1970 to participate in the Contemporary Music Workshop in Berlin. He rapidly decided to remain in Europe, to pursue his musical career. The following year, the pianist formed a quartet in Paris with saxophonist Jef Sicard (from the Dharma Quintet to be), adding Gérard Coppéré (saxophone), William Treve (trombone), François Méchali (bass), and Jean-Louis Méchali (drums). With the arrival of Sonny Grey, a Jamaican trumpeter who had collaborated ten years earlier with Daniel Humair, they were ready.
On May 8, 1971, the Septet Matchi-Oul was in the studio for Gérard Terronès’ Futura label. recording seven of Villarroel’s compositions.

“I had to deal personally with my situation as an expatriate, without disavowing it. I tried not to betray my roots, I tried to translate into my music what was essential to me, to reflect my origins — Latin America, its musical and above all human feelings — while remaining faithful to jazz.”
‘Structured free music’, recorded for Palm in January 1975, with producer Jef Gilson at the helm, and the Chilean pianist Manuel Villarroel leading fourteen musicians, including Jef Sicard, François and Jean-Louis Méchali, and Gérard Coppéré, from the earlier Septet formation.
‘From togetherness to dissonance, we dance to Bolerito and shake it up to Leyendas De Nahuelbuta. As for the finale, it is a serpent which is bedazzling and impossible to pin down. To remind ourselves of this, let’s listen to it again.’

Adrian Sherwood marshals Bruce Smith, Keith Levene, Ari Up, and Crucial Tony; and George Oban, Eskimo Fox, and Style Scott, from African Head Charge.

‘Stunning, moody, spiritual jazz from Ireland, recorded in 1979; featuring original compositions such as the deep collectors’ cut Spon Song, subtle Latin flavours on Spacer’s Delight, and a beautiful modal arrangement of the traditional Irish air Castle of Dromore.
‘A legendary recording in Ireland, Ozone reflects Kelehan’s keen appreciation of classic quintet-era Miles, with touches of the cerebral fusion of Ian Carr and the arranging genius of Neil Ardley. Not just a landmark Irish jazz set, Ozone is a lost classic of European jazz more widely.’

Licensed from producer John D’Ardis. Remastered at Abbey Road using the master-tapes; cut at D&M; pressed at Pallas. Presented with previously unseen photographs of the band, and their commentary.
A deadly trump card from Outernational. Essential, startling stuff. Bim bim bim.

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.’