A deep, atmospheric, careering groover from Gerard Hanson, remixed by ERP into thrilling, futuristic electro. Ace.

‘The groundbreaking debut album by legendary Nigerian percussionist Gasper Lawal, originally released in 1980 on his own label CAP.
‘Lawal meticulously self-produced, composed, and overdubbed the album over four years, assembling an elite group of musicians from both Nigeria and the UK. Several of he instruments used were hand-built, including a powerful one-of-a-kind drum carved deep in the Nigerian bush. “This music is not about trends, about what is commercial or a “sound” of a particular moment,” explains Lawal, “it is about music to be felt, that gives pleasure. It is nurturing and meditative.”
‘Spiritually resonant, rhythmically rich and genre-defying,’

A bouquet featuring interpretations of Joe Henderson’s Black Narcissus and Trane’s After The Rain, plus nine originals, performed by the New Breed, and dedicated by the guitarist to his mum.
“I used to deejay a lot when I lived in Chicago. I was spinning records one night and for about ten minutes I was able to perfectly synch a Nobukazu Takemura record with the first movement of A Love Supreme and it had this free jazz, abstract jazz thing going on with a sequenced beat underneath. It sounded so good. That’s what I’m trying to do with Max Brown. It’s got a sequenced beat and there are musicians improvising on top or beneath the sequenced drum pattern. That’s what I was going for. Man vs. machine.
“It’s a lot of experimenting, a lot of trial and error. I like to pursue situations that take me outside myself, where the things I come up with are things I didn’t really know I could do. Patchwork quilting. You take this stuff and stitch it together until a tapestry forms.”

Flexidisc.

‘2 LPs of long-form, lyrical, groove-based free improv recorded live at a bar in LA’s Highland Park neighborhood with just enough space in the back for Parker, drummer Jay Bellerose, bassist Anna Butterss, & alto saxophonist Josh Johnson to convene in extraordinarily depth-full & exploratory music making. Gleaned for the stoniest side-length cuts from 10+ hours of vivid two-track recordings made between 2019 & 2021 by Bryce Gonzales, Mondays at The ETA is a darkly glowing séance of an album, brimming over with the hypnotic, the melodic, & patience & grace in its own beautiful strangeness. Room-tone, electric fields, environment, ceiling echo, live recording, Mondays, Los Angeles. It belongs in the lineage of such canonical live double albums recorded on the West Coast as Lee Morgan’s Live at the Lighthouse, Miles Davis’ Friday & Saturday Night at the Blackhawk & Black Beauty, & John Coltrane’s Live in Seattle.
‘While the IVtet sometimes plays standards &, including on this recording, original compositions, it is as previously stated largely a free improv group — just not in the genre meaning of the term. The music is more free composition than free improvisation, more blending than discordant. It’s tensile, yet spacious & relaxed. Clearly all four musicians have spent significant time in the planetary system known as jazz, but relationships to other musics, across many scenes & eras — dub & Dilla, primary source psychedelia, ambient & drone — suffuse the proceedings.’

His first solo recording, in 2013-14; on top-quality vinyl, in a flipback sleeve.
‘Parker combines the dark tonal palette & percussive attack he’s long been known for with real-time processing elements & field recordings, deftly crafting a unique world of solo guitar music — multilingual, mysterious, alive with extraordinary sonic events, with a sturdy intelligence in charge & a raw homestyle vibe. The title composition sets the album’s cavernous mood. Terse lines & ricocheting loops morph into a gnarly ambient section that resembles Neil Young droning out over a vg+ copy of Discreet Music. Parker creates a different sort of ambient space in his take on Frank Ocean’s Super Rich Kids, bending the melody around a bossa nova rhythm into a moodsville tone poem. Parker makes an extraordinary long-form statement out of Chad Taylor’s Mainz, a piece he first recorded with Taylor & Chris Lopes on the album Bright Light In Winter. Twice the length of the trio recording, the multi-layered soliloquy finds Parker leaping from the high rung to damn near orchestral heights, pushing his techniques & concepts to the breaking points. To say Lush Life comes with formidable baggage is an understatement. Parker achieves instant classic status with a rendition that sounds beamed-in from a decommissioned satellite — burned out, covered in space grit, yet still formally nuanced & beautifully reflective of Strayhorn’s world-weary lyrics… An artist who’s clearly taking his music to the next level.’