Wednesday, December 1, 2021

DE GHOST - Newsletter December 2021

N E W S L E T T E R

NEW VIDEO


DE GHOST is the electronica project of the Swiss producer Sknail. A new video directed by the American multimedia artist ENO is released today. The Lausanne-based producer and musician and the Phoenix (Arizona) designer have chosen the track "CELSIUS" form the album "Luxe" to propose a new journey mixing aestheticism and minimalist futurism in a virtual world ... or maybe not so virtual after all!
The 10 tracks album "LUXE" is available only in digital format on all online music platforms.

Click on the link below to access it.

James Newton - Flute Music (February 11, 2022 Morning Trip Records)


Jame’s Newton’s 1977 self-released solo-debut, ‘Flute Music’ is an unheralded gem of the 70’s jazz underground. An album that showcases a diverse range of styles and fervent cross-pollination, while retaining a clear sense of direction and cohesion. An artist funnelling their wild expression into multiple facets of “The New Music”, crafting an auspicious and artistic debut. Newton would later go on to record with revered jazz labels like India Navigation and ECM, and collaborate with fellow creative luminaries like Sam Rivers, Anthony Davis, Andrew Cyrille, David Murray, and John Carter. But ‘Flute Music’ captures Newton’s fiery creativity and experimental nature in its earliest blossom.

The album’s opener, Arkansas Suite, finds Newton’s flute unaccompanied, but densely layered. Folding and cascading upon itself, he creates a ricocheting web of dense woodwind harmonics. The effect is deeply immersive and meditative. From first blush, it seems this could be an album of blissful new age. But after this track, Newton’s influences explode outwards. On the same LP side, Darlene’s Bossa welcomes a full band into the fold. The track expounds upon a latin-jazz groove as if the group were seasoned experts of the form. The next track once again finds Newton’s flute on its own as he upends Duke Ellington’s jazz standard, Sophisticated Lady. And finally, on the sidelong b-side track, Poor Theron, the band is suffused with free-jazz electricity - quietly roiling in the midst of musique concrete clatter, and exploding into a din of spiritual fervor.

Flute Music pushes in many directions at once, and yet it revolves firmly around a singular smoldering core. That core is Newton’s unmistakable talent and musicianship. His flute anchors the whole affair, whether it’s in cascading sheets of unaccompanied wind, or flitting between the breathmarks of his backing band.

With ‘Flute Music’, James Newton casts himself as a potent force on the creative-jazz scene, and the rest of his career has certainly given credence to that promise. Reissued for the first time since its scarce private-press issue in 1977, Morning Trip are exceedingly proud to present the debut solo work by a renowned and prestigious jazz luminary. 
1. Arkansas Suite (Bennie)
2. Arkansas Suite (Solomon's Sons)
3. Skye
4. Darlene's Bossa
5. Sophisticated Lady
6. Poor Theon

Mars - Rehearsal Tapes and Alt​​-​​Takes NYC 1976​​-​​1978 (February 1, 2022 Improved Sequence)

Before No Wave there was China and after China there was MARS.

For the first time on vinyl the complete 'Rehearsal Tapes and Alt​-​Takes NYC 1976​-​1978', an incredible document from this era.

The rehearsal tapes are a chronological record of the 3 years of Mars' existence, the first year of which was spent forming their sound and musical identity, starting out with a lineup of upright piano, bass, acoustic guitar and percussion before going electric with guitars, bass and drums.

This 3XLP includes the complete:
- Summer '76 - Piano Sessions
- June '77 - China To Mars
- December '77 - 11000 Volts
- No New York Alt. Takes
- July '78 - Scorn
- November '78 - NN End

PRE-ORDER: Ships April 8th 2022
500 copies. 3XLP
Metal Box Ltd Edition 3XLP: 66 copies
Ltd Ed Silver 3XLP: 100 copies
Std Ed Black 3XLP: 334 copies

1. Summer Piano Solo (Summer '76 - The Piano Sessions)
2. Pale Blue Eyes (Summer '76 - The Piano Sessions)
3. Pale Blue Eyes (China)
4. Cry
5. I Can Feel It
6. Leather Jacket
7. Look At You
8. Son Of Sam (Crazy Like You)
9. Cry
10. 3E
11. Plane Separation
12. Cats
13. Don't Be So Sensitive
14. 11000 Volts I
15. 11000 Volts II
16. Cats
17. 3E II
18. 11000 Volts Jam
19. Helen Forsdale (LP take rough mix)
20. Helen Forsdale (alt. take)
21. Puerto Rican Ghost (2 takes drums and vocals)
22. Puerto Rican Ghost (alt. take)
23. Puerto Rican Ghost (LP take rough mix)
24. Hairwaves (alt. take 1)
25. Hairwaves (alt. take 2)
26. Hairwaves (alt. take 3)
27. Tunnel (alt. take)
28. RTMT
29. Cairo I
30. Cairo II
31. Scorn
32. Tunnel
33. Hairwaves
34. Outside Africa
35. Untitled Mystery (tape cuts off)
36. NN End
37. Scorn
38. Monopoly
39. Mummy Talk Pause
40. Monopoly II
41. Immediate Stages Of The Erotic

Ground Patrol - Migrations (December 1, 2021 Art As Catharsis)

As the fourth release from drummer Alon Ilsar and guitarist Kyle Sanna, Migrations portrays a version of Ground Patrol nearing their apex. The record manifests the duo’s desire to perform swarming rhythms and stampeding beats, never standing still as they wander over great swathes of texture. Driven by pure improvisation, the record takes pays homage to Oren Ambarchi’s Hubris, Steve Reich, Surgeon and the Gnawa musicians of Morocco. The final product is sharp, clear and poignant – a journey within a journey as the intricacies of each shifting rhythm eloquently outline.

“Geophone was recorded in one day in a studio in New York, mostly unrestrained improvisations with minimal edits and no overdubs,” begins Ilsar.

“Similarly, Migrations was born at a recording session Kyle and I did together in March 2019 in Kyle’s home state of Oregon in the US. I was on my way to Atlanta from Sydney, while Kyle had a few days off from a West Coast tour. It was incredible to meet with him there and meet some of his old friends and see the Oregon landscape. We booked a beautiful studio, Gung-Ho, run by Billy Barnett. Incredible old gear - drums, mics, amps. A great sounding room for us to improvise in. And outside, deep white snow. It was one of the biggest snow storms the state had had in decades, and the power had been out in the studio for days before we got there. It all powered up just in time for us to play.”

Divided into three parts, each segment of Migrations captures its own distinct feeling. Part 1 captures Ground Patrol in a familiar form. Light guitar work, reverb and intensifying loops continue to build until the song buckles and collapses upon itself, only to start anew shortly after. Part 2 shifts from intensity toward melancholia. Almost orchestral in nature, the song falls gracefully as a feather, right before clean chords sweep it back into the sky once more. Part 3 simmers with intensity, the crisp plucks of Sanna’s guitar soaring over the surface of Ilsar’s thundering drums. The song cuts to silence after 25 minutes, yet the energy flowing through each part leaves a sense of lingering, as if no time had passed at all.
“We brought a simple concept to our improvisation of Migrations,” continues Ilsar. “On drums, I limited myself to two toms and a bass drum and restricted myself to playing in them in one order, each hit pushing ever so slowly against the one preceding it, speeding up until fading out and unveiling the starting tempo again at the end. On guitar, Kyle started with the low rumble of a single sampled guitar note, and slowly elevated and multiplied the pitch as more polyrhythmic loops emerged for us to play against. We kept it minimal, playing for 40min with several crescendos, knowing that our next task would be to improvise over this 40min journey right after the take. We only listened to the recording when we got back to New York a week or so later, and it sounded so good. A theme of migration emerged as we started shaping the improv to it.”

“From then it was Zoom meetings and sharing audio files to get the edit and mix just right. This is the result.”

The level of detail attached to Migrations is riddled in its form and flow, with its additional release content only adding to its transcendental nature. A slew of digital and interactive media supports the release, creating a feast for the senses. Rare footage from Ian Backer of natural imagery ties in perfectly to the music, while artist/programmer Jon McCormack informs the album’s artwork through generative evolutionary systems to create something natural but wholly digital, a paradox within tangibility yet between worlds. Finally, coinciding with the release, Ilsar has released a gestural iPhone app allowing motion trackers to discover loops within the music when a phone faces different directions. 

1. < Migration > 09:09
2. < Migration > 06:24
3. < Migration > 09:17

Kyle Sanna, guitar
Alon Ilsar, drums

Produced by Ground Patrol.
Recorded by Billy Barnett at Gung-Ho Studio, Eugene, OR, March 5, 2019.
Additional guitars recorded by Kyle Sanna at Summercamp Studios, Brooklyn, NY.
Mixed by Kyle Sanna at Summercamp Studios.
Mastered by Mat Leffler-Schulman at Mobtown Studios, Baltimore, MD.

All music by Ground Patrol.

Cover art by Jon McCormack.

Vestbo Trio - Reflector (December 1, 2021)

Our biggest effort yet, "Reflector" is released worldwide on LP and CD in cooperation with Danish speaker manufacturer DALI, and digitally by us here on bandcamp so we can still be directly in touch with our fans (you guys!).

The music is instrumental, has a dusty guitar-vibe that's almost haunting, and hints at the very best from jazz, blues, folk and roots music. And this time there is even more: Along with 7 instrumental tracks, "Reflector" offers 4 tracks with vocals: Danish singer extraordinaire Bjørn Fjæstad is featured on the album, where he lends his vocal talents to superb interpretations of songs by Bob Dylan, Lambchop, Bill Fay and Jacques Brel. This is our first time releasing an album with vocals, and we have to say that Bjørn is amazing! Such a killer voice, and he blends in superbly as a part of the band on his 4 songs. We can't wait for you to hear this!

"Reflector" is dynamically engaging, melodic and drenched in a unique feel that's part jazz, part blues, and uniquely Vestbo Trio. And there's the occasional fuzz pedal thrown in too, because we mean business!

1. Do It For The Fun 03:43
2. Jaffe 02:59 video
3. Mirrors 05:03
4. My Blue Wave (feat. Bjørn Fjæstad) 07:00
5. To Make You Feel My Love (feat. Bjørn Fjæstad) 03:25
6. Color Burn 03:25
7. If You Go Away (feat. Bjørn Fjæstad) 03:08
8. Babylon 02:21
9. Carl 01:31
10. The Healing Day (feat. Bjørn Fjæstad) 03:48
11. Redscale 02:00

All tracks by Vestbo Trio except 4 by Kurt Wagner, 5 by Bob Dylan, 7 by Jacques Brel/Rod McKuen, 10 by Bill Fay.

Michael Vestbo: Guitars
Eddi Jarl: Drums and percussion
Jesper Smalbro: Bass

Bjørn Fjæstad: Vocals (4, 5, 7, 10)

Recorded at Lundgaard Studios, Denmark
Produced by Lars Skjærbæk
Engineered by Thomas Alstrup
Mixed by Thomas Alstrup
Mastered by Björn Engelmann at Cutting Room in Stockholm, Sweden
VT photo by Martin Dam Kristensen
Artwork by Paul Wilson and Nadja Rasmussen, Yellow1.

Roswell Rudd & Duck Baker - Live (Dot Time Records)

Live is an intimate collaboration between legendary jazz trombonist Roswell Rudd and formidable guitarist Duck Baker. Recorded in two parts nearly two decades ago, Dot Time Records is proud to bring this meeting of musical minds to light for the first time on record. Captured here are two masters at work, each drawing from their own respective pots of experience. Some of it is shared; both Baker and Rudd have ties to traditional music and traditional jazz. Baker, one of the most highly regarded fingerstyle guitarists of his generation, pulls from his varied experiences in blues and folk music, while Rudd's free-wheeling improvisation showcases unparalleled avant mastery. This collection of eight trombone-guitar duets is an exhilarating ride.

I got to know Roswell Rudd’s music as a teenager in the mid-1960s. He was on the very first free jazz record I ever heard, Archie Shepp’s Four For Trane, and shared front line duties on the incredible New York Art Quartet LP on ESP-Disk’. I followed his recording career as closely as I could from then on, sporadic though it was at times. I got to know him personally when I reached out to him for guidance regarding the compositions of Herbie Nichols, while working out ways to arrange the music for guitar in the mid-1990s. I was nervous about calling one the heroes of my youth for help, but Roswell demonstrated endless patience and the willingness to answer countless questions about Nichols, the musician and the man. We finally met in person in 1999, when Roswell came to San Francisco in a quartet with tenor man Rob Scheps, his first visit since Archie Shepp’s legendary run at the Both/And 33 years earlier. Of course I was thrilled when he invited me to visit him and his partner Verna Gillis in New York with the idea of playing music together.

The trombone - guitar combination is naturally a tricky one, but Roswell always regarded any possible difficulty as a challenge. It took a few rehearsals to figure out what we wanted to focus on, apart from some of the music of Herbie Nichols and Thelonious Monk. The fact that my experience included traditional jazz gave us one starting point, since Roswell had always been involved with that style, and he saw my folk/blues background as another thing to draw on. People sometimes forget that Roswell’s interest in all kinds of traditional music was a longstanding thing. He worked for many years with folklorist Alan Lomax, and authored a brilliant article for Downbeat about what we now call world music, back in the 1960s. So we tried to draw on as many things as we could, and ultimately Roswell decided to focus on a kind of collective improvisation that involved quotations from songs that shared a theme. We might incorporate actual arrangements, but most of the references were short quotations. It turned out that Roswell had made such free associating part of his practice routine for years but it was a new idea to me, and it was only when I grasped that it was fine to let the quotes emerge during a freely improvised dialog that I began to be comfortable with the process.

Even when I wrote down a bunch of tune titles to quote and put that on a music stand, it was hard to try and pick something out while also listening to what Ros was doing and trying to maintain an overall flow. Ultimately what happens is similar to something that I experienced when performing some of John Zorn’s game pieces in the late 1970s; the conscious mind is so engaged with negotiating the rules that more of the overall direction is taken over by the unconscious, and you often wind up playing things far removed from your normal vocabulary. The whole process was enormously challenging and exhilarating. I still remember how surprised I was when Roswell told the audience after we played one of our collage pieces that I was the only person who could do this with him. My reaction was

“I can do this?”

I’m still not sure about that, but I was one of many, many younger players who gained invaluable insights working with this great musical spirit. He connected us not only to the beginnings of free jazz but also, though the musicians he had known and worked with himself, to the beginnings of jazz.

-Duck Baker 

1. The Happenings 07:00
2. Buddy Bolden's Blues 03:14
3. A Bouquet For JJ 04:22
4. Melancholy People 07:44
5. Well, You Needn't 05:44
6. Bemsha Swing 05:06
7. Going West 06:48
8. Light Blue 04:54
9. Show 07:08
10. Church 10:07

Roswell Rudd - Trombone
Duck Baker - Guitar

Produced by: Jerry Roche
Graphic Design By: Jaime Ford
Ben Young - Engineer (Tracks 3, 5, 9, 10)
Tonic, New York, NY, January 5, 2002
Steven Schmidt - Engineer (1, 2, 4, 6, 7, 8)
The Outpost, Albuquerque, NM, March 28, 2004


S.E.V. Trio - Far from Close

‘Far from Close’ is the debut album of a new collaboration between three of Greece’s most vibrant jazz musicians. Tassos Spiliotopoulos, Panos Vassilopoulos and Michael Evdemon. The music was composed by Michael and Tassos and the goal was to achieve an elegant but emotionally powerful music through the electric sound of a modern jazz trio. Each one of the band members brought their own influences to the blend, ranging from electric jazz-rock and mainstream jazz all the way to classical and folk/world music.

The Story:
It was during lockdown, in the winter of 2021. While Panos and Michael were isolated in their homes at Athens – Greece, Tassos was isolated in his home in Sweden. Panos took the initiative and mailed both of them with proposition: “Let’s make some videos together” he said! Michael and Tassos knew each other from high school but never had the chance to play together. What a great opportunity to play even from afar. Technology at the service of creativity! The trio made three videos, playing music by Michael Brecker, Avishai Cohen and Allan Holdsworth and it was more than enough for all everyone involved to realize that this collaboration had a future. So, the most logical next step would be for the trio to write and record original tunes. The concept was to write a record combining all of the elements that the trio shared: rich harmony, strong themes and a lot of space for improvisation.

Sometimes things happen so easy and effortlessly. This is the case with SEV’s debut album. Everything came to place easily and eventually the trio created a strong foundation for future creations!

1. Clarity 04:56
2. Second Chance 04:15
3. Feral Dance 04:44
4. Seven Wishes 05:19
5. The Search Within 06:16
6. Fast Peter 03:21
7. Sweet Exposure 04:58
8. The Blues 04:42


Matt Choboter's Hypnagogia - Anima Revisited (ILK)

Formed in 2020 and based out of Copenhagen, Hypnagogia brings together a gifted cast of international musicians and improvisers including Anders Banke (Alberto Gismonti, Jim Black, Django Bates), Francesco Bigoni (Maria Faust, Benoît Delbecq) and Matias Seibæk (Jeppe Just).

Matt Choboter’s Hypnagogia is releasing its first album “Anima Revisited” for ILK Music on Nov. 26th, 2o21. In July 2021, Hypnagogia released its first video on NPR (National Public Radio U.S.A) Live sessions and later performed to a sold-out crowd at Concert Church for the 2021 Copenhagen International Jazz Festival.

This six-piece post-jazz ensemble might be described as a night of restless sleep, ripe with trance like fantasy and transitional states, between the dream world and wakefulness. Disorientation, ambiguity and illusion are created through a delicate balance of South Indian rhythm, post-romantic melody and kaleidoscopic group sound with continuous and shifting improvisation.

Multi award-winning Canadian pianist/composer, Matt Choboter has recorded and performed with diverse artists like Peter Bruun, Trichy Sankaran, Maria Faust and John Gross. A member of Inner Circle Music (NY), Songlines (CA) and now ILK Music (DK), his music has been described as “post-jazz of a distinctly personalized kind” (Ron Schepper, Textura).

1. Primordial Hinterland 06:03
2. Collapsing Cathedral 02:09
3. Croix des Luzes 01:44
4. Chthonic 02:47
5. The Tea man and the Ruffian 02:59
6. Floodwaters and Swimming Rats 01:33
7. Postcards of Nostalgia 10:50
8. Tarkovskian Portals 04:53
9. Cuneiform and the Walled Garden 06:00
10. Songline 01:10
11. Death by Cut Tongue 01:50
12. Northward on Caribou Highway 05:57

Matt Choboter (CAN) compositions, prepared piano
Francesco Bigoni (ITA) clarinet, tenor saxophone
Anders Banke (DK) bass clarinet
Luca Sguera (ITA) keyboard & sound design
Matias Seibæk (DK) percussion
Jan Kadereit (GER) modified drum kit 

Fuubutsushi - Shiki (cachedmedia)

A compendium physical/digital release that collects all four seasons/four albums by Fuubutsushi recorded 2020-2021. The physical edition includes 4 CDs in a fold-out digipak housed with a full color booklet in an O-card sleeve.

Combining many genres and elements, Fuubutsushi's catalog is one marked by playful and trusting exploration between four musicians; though each loosely assumes a role -- Jusell on violin, Prymek on guitars, Sage on percussion/keys, Shiroishi on woodwinds -- the group has, in their hallmark year of long-distance collaboration, established a free-form vocabulary. Borrowing idioms from ECM, cool jazz, ambient music, minimalism, city pop, post rock, folk, and Americana, this music thoughtfully roams across landscapes like a wandering cloud. At times it falls into valleys, at times in soars far above the surface, it falls and collects in puddles and lakes, it thaws and runs like rivers, it collects in snow banks and freezes solid.

After receiving critical acclaim and high demand, all four albums are now available in this handsome edition and download.

1. Bolted Orange 03:15
2. Sugar Maple Turn 03:49
3. Along the Causeway 03:08
4. Cicada Season 03:12
5. Watch the Time 03:07
6. Freedom and Crap 04:28
7. Fuubutsushi 05:37
8. Hayao's Garden 03:10
9. Some Surrender 05:06
10. Chorus Wheel 03:12
11. Lavender 06:09
12. Fresh Salt 03:04
13. Tsundora 02:16
14. White Out 02:46
15. Fuyo No Tiayō 04:35
16. Eulalia Floe 03:48
17. Shepherd's Stroll 04:15
18. Piñon 02:58
19. Hesitant Optimism 07:18
20. Good Morning Patrick 04:15
21.Mistral 04:16
22. Yamawarau 05:44
23. Floorless Room 04:13
24. Cracked Lake 03:37
25. Kodama 06:43
26. Flower Clock 04:01
27. Wisconsin Basin 05:26
28. Chopin Park Kite 11:03
29. Friends with Foxes 03:53
30. Ojai Mirage 04:47
31. So Long, Champ 02:48
32. Jiji's Lament 03:09
33. Suzushii Kaze 04:21
34. Hotaru 04:20
35. Heat Waif 03:57
36. I Hold Dearly (for Miles) 05:17

Sweet Inspirations - Sweet Inspirations at Muon (An'archives)

With the release of Sweet Inspirations At Muon, the first appearance on vinyl of Tori Kudo’s mythical early ‘80s primitive rock gang Sweet Inspirations, another piece of the seemingly endless puzzle of the Japanese underground has fallen into place. Recorded some time in 1982 at Yokohama venue Muon – precise details are sketchy – we’re now given another chance to discover what was going on in Kudo’s mind just before he formed the group he is now best known for, the ragtag gang of pro and amateur musicians that was Maher Shalal Hash Baz.

Sweet Inspirations were one of several groups formed by Kudo around this time. He’d already released the visionary naïve-art album, Tenno, in collaboration with Reiko Omura, in 1980, and a trip to New York the following year led to the recording of Atlantic City, under the name La Consumption 4. Returning to Japan, Kudo first formed Guys’N’Dolls with Jun Yoshiwara (bass) and Kiyoaki Iwamoto (drums); Yoshiwara carried over into Sweet Inspirations, who existed for a few years, their membership, at various times, featuring Asahito Nanjo (High Rise etc.), Jutok Kaneko (Kousokuya), Yoshio Kuge (Les Rallizes Denudes etc.), 3C123 and many more.

The material here was originally released, without permission, by the Cragale label on CD-R in 2000. It was one of a sudden wave of archival CD-Rs that Cragale pumped out that year of material recorded at Muon, which was owned by Kohei Iehara, who co-founded Cragale with Tamotsu Hongo. In the context of the recent unleashing of material from the Kudo archives – the 9CD At Goodman set, the reissue of the first two Maher Shalal Hash Baz cassettes and the Noise LP, and the tantalising glimpses of other historical gems via Tori’s own Bandcamp page – hearing Sweet Inspirations with such clarity fills in a significant piece of the puzzle; here is Kudo, just before Maher, channelling the rough conceptualism of Red Krayola and the glinting, staggered rhythms of Syd Barrett into extended blooms of ragged glory, sketching out future classics like “Manson Girls”; A bonus CD includes a cover of a song by legendary South Korean rock group San Ul Lim. 

1. Sometimes Ken is 06:43
2. Before the rearmament 06:03
3. Her decision to leave her home is beautiful 07:03
4. This Side of Paradise 04:11
5. Manson Girls 06:34
6. Work / Blue Sky 09:37
7. Noah's Ark 04:52
8. CD bonus : 내 마음에 주단을 깔고 09:38

Akiko Hotaka / Takuya Nishimura / Ikuro Takahashi - Live (An'archives)

An’archives are proud to present a reissue of the self-titled first album by the trio of Akiko Hotaka, Takuya Nishimura and Ikuro Takahashi. Originally released in 2020 as a limited CD-R on the Uramado label, those who had the chance to hear this collection of live recordings, documenting a brief window of exploratory activity for Hotaka during the mid-2010s, were knocked out by its elemental force, Hotaka’s minimal, carefully sculpted pop songs spirited away to other planes of where by Nishimura and Takahashi’s improvisatory tactics, with Hotaka’s guitar now tender, now furiously overloaded.

Hotaka first came to attention as a member of Tori Kudo’s Maher Shalal Hash Baz. She’s been playing and recording her own songs for almost two decades now, though, releasing a string of CD-Rs across the 2000s that documented live performances at Enban, some with Masanori Hattori and Yuki Yoshida; this trio subsequently released several lovely folk-like albums on F.M.N. Sound Factory. More recently, Hotaka has formed a new trio, Hotarutachi, with Shohei Matsuo and Kenji Yoshikawa (their debut album, Hikari, was released by Hayabusa Landings in 2018). Playing with Nishimura and Takahashi, though, freed Hotaka’s playing immensely. 

There was always something expansive about her approach to the song, but this freedom was implicit in earlier music; on this album, which draws from performances undertaken across 2015 and 2016 at Hikari No Uma, Okubo, Hotaka wrings great intensities from the simplest of two-chord levitations, allowing her melodies to follow lines of deeply personal logic. There are still skeletal pop songs here, but with Nishimura and Takahashi as Hotaka’s backing group, there’s something very open about the music; it’s wild yet courteous, gallant yet refined.

Throughout, both Nishimura and Takahashi draw on the double-language they’ve developed over the years, through performing in groups who are dedicated to the wide open spaces between song form and freedom – Nishimura has played with Ché-SHIZU, Miminokoto and Suishou No Fune, among others; Takahashi’s history is deeper still, with time spent with Ché-SHIZU, Maher Shalal Hash Baz, LSD March, Kousokuya, Nagisa Ni Te, High Rise, and Keiji Haino’s Fushitsusha and Aihiyo, and on. They are ideal foils for the slow breathing, simply structured songs that Hotaka writes, sourcing great depth of feeling from the most fundamental of gestures. 

1. 緑 midori 06:09
2. 静かな空 shizuka na sora 08:37
3. 風 kaze 04:05
4. うちゅう uchuu 08:10
5. 城 shiro 10:55

Recorded
Track 1, 4 - Mar 20, 2016
Track 2, 3, 5 - Nov 23, 2015
At Hikari No Uma / Okubo, Tokyo

Mastered By Taku Unami

Richardas Banys - The Summer Ends In Autumn

1. The Summer Ends In Autumn 03:57
2. Mother's Song 04:18
3. That's What I Like 05:03

Richardas Banys - piano
Remis Rančys - tenor saxophone (1, 3)
Paulius Volkovas - guitar (3)
Gediminas Stankevičius - drums, percussion
Denis Murašov - double bass

J Michael Harris - Departure

‘Departure’ is the debut EP release of UK/London based saxophonist/composer, J Michael Harris.

With performance/recording credits with artists including Nile Rodgers, Dr John, Maceo Parker and The Pointer Sisters amongst many others, this recording marks the debut as J Michael Harris as a solo artist and composer.

Freddy Sheed (Lewis Capaldi, The Japanese House, The 1975) plays drums and programs percussion. Harris writes, arranges and performs all other instruments: Tenor and Soprano saxophones, Flute, Acoustic Piano, Electric Piano, Juno synth, Fender Rhodes and synth bass.

1. Juno Watt 04:40
2. Departure 03:53
3. We Need New Stories 03:39
4. Aceite del Cuello 05:08

Departure’ is recorded, mixed and produced by Haydn Bendall
Mastered by Mazen Muraz @Katara Studios
Artwork by Nate Hill Photography

Peter Danstrup - Absolute Danstrup (ILK)

"Absolute Danstrup" is a new album from bass player and composer Peter Danstrup featuring 11 tracks with changing musicians on every track, in all 24 artists. Absolute Danstrup was mostly conceived when I was hospitalized with Covid-19. It reflects on personal, topical experiences and statements. You may call it an imaginary compilation album, dealing with a kaleidoscopic mix of songs. You will find subjects of immediate relevance, reflecting on the pandemic outbreak, the #metoo situation in Denmark and the Trump era.

The music styles change throughout the album: bluesy odd meter rock, instrumentals influenced by Captain Beefheart, sarcastic yet political musical like songs, large jazz ensemble arrangements, bass tunes and female a cappella singing. All of it compiled with the unmistakably Danstrup trade mark of clever, colorful, condensed extracts of music, interesting arrangements with an open headroom for individual presentations. The gender balance is 12/12, a clear response to the discussions about male/female representation in music.

1. Jesus Gonna Make Up My Dying Bed 04:28
2. Covidiously Speaking 03:29
3. (I Wish I Was An) American 03:21
4. Donkeyman 03:05
5. Peter Edderkop 02:01
6. Petrified Heart 03:36
7. Crisis 06:35
8. Injection March 04:33
9. Late Sequel 03:31
10. The Bat 03:39
11. If I Fall 05:05