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One For Archie
On One For Archie, Moor Mother joins Nicole Mitchell and Nduduzo Makhathini to turn a cancelled duet into a living monument, threading Shepp’s titles, politics and tonal language into a fierce hymn of gratitude, grief and ongoing struggle, paired with the incendiary, future‑facing “They’ve Got A Plan.”
One Day
Shortly after the breakup of Flower Travellin’ Band, guitarist Hideki Ishima released his first and only solo album in 1973—a hauntingly beautiful work that stands apart in the landscape of ’70s Japanese rock. Known for his later work as a sitar player, Ishima showcases a signature floating guitar sound throughout the album, blending psychedelic rock, acid folk, and introspective singer-songwriter elements into a deeply personal and atmospheric record. Contributing to this richly textured sound …
Sonor
For a few fleeting moments during a sunset, the sky is cast a vivid shade of amber. A dramatic flare of colour, a moment belonging to both the day and the night. It is within this vibrant, ephemeral world, that Mongolian-born, Munich-based Enji has written her new album Sonor. Sonor is a record full of life and optimism, from an artist finding the beauty of existing between two worlds, much as a sunset does. Between the cultures of Mongolia and Germany, tradition and innovation, nostalgia and ex…
Fleeting Future
*2026 much needed repress!* Akusmi is the new project moniker of French-born, London based composer, multi-instrumentalist and producer Pascal Bideau, who signs to the new Tonal Union imprint for the release of his album ‘Fleeting Future.’ With its hallucinatory, genre-defying blend of minimalism, cosmic jazz and Fourth World influences, and in its quest for optimism in the face of unknown and limitless possibility. ‘Fleeting Future’ stands apart as an inventive and inspirational debut. The crea…
Beam Penetration
Expo 70, held in Osaka, was a pivotal event for the Japanese people and their relationship with the rest of the world, demonstrating both the nation’s ongoing economic recovery from World War Two and the creative spirit of Japanese society and its artists. The event gained international acclaim for its adventurous architectural design, visual art and electronic music. Some of Japan’s most renowned composers were involved, but also present were the now-legendary rockers, the Flower Travellin' Ban…
Roman Norfleet & Be Present Art Group
Premiere LP by Portland's finest practitioners of Great Black Music. A spiritual record for the ages. Roman Norfleet And Be Present Art Group play deeply felt sometimes earthy and sometimes cosmic music. A trio (sax, drums and organ) are augmented by additional percussion, soaring vocals and even a vocal appearance by a toddler. This record will take you where you need to go. Don't miss history in the making. Across six expansive tracks, Roman Norfleet and Be Present Art Group build from free-fl…
Nihil Obstat
Gorgeous new full length from Dutch lutenist Jozef Van Wissem. Wissem's long form, graceful melodic lute layers, preceded by suspenseful deep bass movements, create a transcendental and pastoral. Wissem's is a world where hypnotic minimalist figures are repeated to slow the act of listening. Nihil Obstat (Nothing Hinders) is performed on Wissem's custom black lute built by Michael Schreiner. LP pressed in an edition of 800.
"New classical lute music that sound as if it always existed, as if it h…
Floater & Syndrome - The Upright Piano Sessions, Revisited
"It was once said of Paul Bley that he was the only pianist who could make a concert grand sound like an
upright. While that is not literally true, or only partly so, it makes a point that strikes home on these often
strange, offbeat, otherworldly tracks. It is a quality preserved by Michael Brändli’s typically sensitive sonic
Paul Bley-upright piano
Steve Swallow-double bass
Pete LaRoca-drums
restoration, which increases the probability of rapture. Enjoy." – Chris May
Out Front To And Friends „Revisited"
"The material on From Out Front To Booker Little And Friend Revisited is Little’s collective chef d’oeuvre. It is exploratory but also strewn with retentions from tradition. The dense yet sonorous dissonance, the graceful tempo and metre shifts, the extended forms that give equal weight to composed and improvised sections, together these „alter the present“ and „direct the past“." – Chris May
How Time Passes To Essence "Revisited"
"...How Time Passes... and Essence were issued at a time when jazz history was being made practically on a monthly basis. There are a few reasons why they became submerged in the tsunami of groundbreaking albums released in the first years of the 1960s. For starters, Candid and Pacific Jazz simply did not have the market clout of Atlantic, Impulse, and other labels. Furthermore, Don Ellis’ music differed significantly from that of the avatars of free jazz, occupying a space between contemporar…
Live Greenwich Village To Love Cry „Revisited“
"The two reissues presented herein include the last sessions that Donald would record with his brother, bookending a turning point in Ayler’s music. The Village Theater sessions, from late 1966 and early 1967 (the latter without Donald) mark, arguably, a high point in his work to that date, where the musical ecstasy he sought was as close to realization as he ever achieved – and new avenues may have been opening up – whereas ‘Love Cry’, from the summer of 1967, indicates at least partially a piv…
Live Lugano 1984, First Visit
"The special qualities of this music emerge from the focus on Lacy’s soprano saxophone in this unique instrumentation; the transparency and intimacy of the bass and guitar create a nuanced background set against the variety of improvisational strategies." - Art Lange"The removal of two recorded compositions and the editing here is based on notes originally written by Steve Lacy on the cassette he sent me to listen to and evaluate the music for release. I acquired the original recording in 1985 f…
Live At Fat Tuesday's, February 9, 1980 First Visit
First visit archive offers previously unreleased recordings of historic and musical importance. "When, in this music, he succeeds in fusing the emotional (translated into its lyrical and dramatic qualities) pas- sage of ritual with the complex architecture of his ensemble’s infrastructural procedures, we have a bridge into Cecil Taylor’s creative spirit, and far beyond." - Art Lange
"I was present at the recordings, sitting in the recording truck in front of Fat Tuesday’s in NYC. The recording w…
Charles Mingus Presents Charles Mingus To Pre Bird „Revisited“
"Heard together, Charles Mingus Presents Charles Mingus and Pre Bird suggest the enormity of
Charles Mingus’ artistic vision. No one album encompasses it in its entirety, and perhaps not even
two or three. However, these recordings, made six months apart in 1960, vividly summarized his
work to date, as he headed towards to jazz’s pantheon." – Bill Shoemaker
Free Jazz to Ornette „Revisited“
Free Jazz: A Collective Improvisation is an album by the jazz saxophonist and composer Ornette Coleman. It was released through Atlantic Records in September 1961: the fourth of Coleman's six albums for the label. Its title named the then-nascent free jazz movement.
About Ornette! Brian Olewnick commented that Coleman is found "plumbing his quartet music to ever greater heights of richness and creativity," concluding that the album was "a superb release and a must for all fans of Coleman and cr…
Cecil Taylor Unit, Live At Fat Tuesday's February 10, 1980 First Visit
"This, the third release from the sequence of remarkable performances by Cecil Taylor’s Unit recorded at Fat. Tuesday’s in New York from 8-10 February 1980 (the previous two are It Is In the Brewing Luminous [Hat Hut], and Live At Fat Tuesday’s, February 9, 1980 [ezz-thetics 101]), is a further illumination of the transformational premise which conceptualized and catalyzed Taylor’s music, from creative impulse to spiritual and self-defining fulfillment." – Art Lange
Prophecy Live, First visit
First visit live offers new mastering of the trio’s first performance at the cellar cafe, New York City 1964.
Solo Bern 1984, First Visit
"In its entirety, the concert is lively and penetrating evidence of Braxton’s remarkable facility, powers of invention, and commitment to his principles at this point in time, with special emphasis on saxophone techniques energizing variables of tone color, texture, and timbre to affect separate phrases, extended lines, and sectional contrasts." – Art Lange
Producer’s note: "I experienced over many years Anthony Braxton different performances. His solo performance 1984 in Bern belongs into the …
Unfurling
*200 copies limited edition* Pefkin is the alter ego of Gayle Brogan, a Sheffield-based creator of slowly-unfolding, ritualistic hymnals that draw deeply on landscape, nature, and the histories that bind them. Her sound is built from a mesmerising layering of voice, viola, analogue synths, harmonium, melodica, zither and field recordings manipulated with a kaleidoscopic array of effects. Hereby she blurs the boundaries between folk, psychedelia, and experimental music. Over the years her work ha…
All Hands Bury The Cliffs At Sea
After last year’s Black Clouds Above The Bows, Amsterdam-based collective Wanderwelle presents the second entry of their trilogy for Important Records, which is dedicated to telling the story of the climate crisis and its effects on coastal areas around the globe. For this album the artists incorporated the sound of a dying organ.
All Hands Bury The Cliffs At Sea consists of electro-acoustic threnodies for an environment at risk due to the effects caused by receding coastlines around the globe. …