‘A never-before-released recording of a performance in Bochum, Germany, in 1992; in its complete glory, mastered from the original tapes. The storied English drummer leads an intriguing quintet: the trumpeter and flugelhornist Manfred Schoof, whose 1969 FMP LP European Echoes stands as one of the great documents of orchestral improvisation; the American bassist Sirone, from the Revolutionary Ensemble; the saxophonist Larry Stabbins, bringing the versatility and mix of ferocity and buoyancy that he added to diverse projects from Spontaneous Music Ensemble and Peter Brötzmann to Weekend and Working Week; and Pat Thomas on piano and electronics, when he was still a relative newcomer to the British scene, rapidly becoming one of its leading lights and most sought-after collaborators.
‘Oxley drew on this crew’s wide range of orientations for this iteration of Angular Apron — a work combining jazz improvisation with the influence of Xenakis, Ligeti and co — exploiting their extremes of timbre and register, calling on their acuity as listeners, and prodding them with his finely-honed junkshop of metal percussion, with which he detonates the hour-long piece.’

The tussling vegetables in Mal Dean’s cover-sketch somehow befit perfectly this extraordinary duo of Bailey and the great Dutch drummer Han Bennink. Recorded in London in 1972, Incus 9 was their second record (after an ICP in 1969), becoming a blueprint and inspiration for generations of free-improvisers. It is paired here with a brilliant session from the following year, with the same power and friendly combativeness, and oodles of creativity, technique and humour. It’s obvious how much they loved playing together.

A melodica instrumental right up there with his very best cuts. A lot more exalted — Rockers International style — than his Studio One killers.

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The one-hundredth Trilogy!
Hats off to an amazing, uncompromising run of killer music and lavishly brilliant artwork. Bangers and magic like dirt.
21 gun salute.

Reviewing Ellis Taylor’s Kansas City imprint — from prime Marva Whitney all the way through to Sharon Revoal’s ace, slinky, early-eighties disco-funk.

‘Venomous Tex-Mex R&B and early rock n’roll from San Antonio’s West Side scene. From 1961-67, Bexar county kingmaker Abe Epstein cut every teen combo to grace the Patio Andaluz stage, launching the careers of Doug Sahm, The Royal Jesters, Sonny Ace, The Dreamliners, and hundreds more throughout the decade.’

DJ Richard, Galcher Lustwerk, Young Male and Morgan Louis (not necessarily in that running order).

‘One of the most provocative ongoing bodies of work by any American musician’ (Pitchfork). ‘Astonishing work of history, memory and sensed experience. Confirms Roberts’ place as one of the most important living artists in any field’ (The Quietus).
With Hannah Marcus (guitars, fiddle, accordion), percussionist Ryan Sawyer, bassist Nicolas Caloia, and Sam Shalabi on guitar and oud — plus trombonist Steve Swell and vibraphonist Ryan White guesting. ‘Memphis unspools as a continuous work of 21st century liberation music, oscillating between meditative incantatory explorations, raucous melodic themes, and unbridled free-improv suites, quoting archly and ecstatically from various folk traditions along the way.’