Music from United States

A selection of pieces by the great musical pioneer Robert ashley performed by the Dutch Ensemble MAE. Some of the works were especially written for the Ensemble in the last few years, and have never been recorded before, namely the title work 'Tap Dancing in the Sand' featuring ashley's voice and 'Hidden Similarites'. Other works presented on the CD are 'Outcome Inevitable', 'in memoriam Esteban Gomez' and 'She was a Visitor'.

Recording of a file-card composition, performed on flute, viola, guitar, turntables, sound effects, percussion & voice. "Creates a mysterious world of erotic perversion, drawing inspiration from the writings of Jean Genet, and features an unusual collection of some of SF's most interesting musicians: David Abel, Barbara Chaffe, Mike Patton, David Shea, David Slusser, Trey Spruance & William Winant.

Improvising guitarist Derek Bailey has expressed the belief that «If you’re going to explore uncharted territory, it’s okay to carry a compass, but not a map.» It’s obvious; if you know where you’re going and have plotted the most efficient or scenic course to get there, you may arrive without mishap but deprived of much of the drama, the danger, the unpredictable uniqueness of the journey. In the years following 1950, John Cage walked these paths of musical uncertainty, providing performers wit…

Reissue of the Rift 1983 DBL LP. Locus Solus was made up of small groups of Zorn's closest contemporaries at the time: Christian Marclay, Peter Blegvad, Arto Lindsay, Anton Fier, Wayne Horvitz, Ikue Mori, M.E. Miller. Subtitled "In search of improvised song form," this is supremely disorienting sonic chatter, but still quite listenable; watching this one waft though your speaker cones can't help but give you a feeling of superiority towards the human race's numerous inferior forms.

This original installment of the FilmWorks Series presents three scores ranging from punk-rockabilly (featuring the nasty guitars of Bob Quine, Marc Ribot and Arto Lindsay); a jazzy Bernard Herrmann fantasy; to a quirky classical/improv/world music amalgam for Raul Ruiz's bizarre film The Golden Boat. Out of print for several years these classic recordings are made available here with the original cover art intact. This is the place where it all began.

Recorded at Newsonic Studios Brooklyn, New Yok february 2005. Brian Chase (Yeah, Yeah, Yeahs- drums) in duet with Seth Misterka (Dynasty Electric Duo-saxophone).

Dinosaurs with Horns was formed in 1982 by Joseph Hammer and Rick Potts who had collaborated on several projects both individually and as members of the loosely formed collective, the Los Angeles Free Music Society (LAFMS). In the early 90's they began performing and recording extensively with ex-Monitor, Steve Thomsen, as the trio Solid Eye including a month-long tour of Japan in 2002. Over the years Potts and Hammer have each collaborated with an impressive array of noise/sound musicians. Some…

Not much explanation needed for this one, an incredibly well-conceived 7' (white vinyl, letterpress cover, housed in plastic sleeve) from Los Angeles sound artist G.X. Jupitter-Larsen. The result of one simple question: Have you ever worked with animal recordings?

RESTOCKED last copies, Eleh present their fourth vinyl-only full-length, Homage to the Square Wave. Featuring two sidelong tracks each clocking-in at over 20 minutes, Homage is dedicated to the highly influential artist Josef Albers. Eleh return with their battery of vintage modular analog gear to produce a recording of pure tone, pure sound, pure volume and pure analog. Side A features 'Black,' a slowly enveloping mass of intensely throbbing low end, activating the flight response. Time passes …

Henning Lohner's 1993 composed film in memoriam John Cage, 130 minutes long, combining interviews, found footage and concert performances with 42 personalities in conversation, plus a complete video of 4'33".

Paolo Angeli (Sardinian guitar & electronics), Evan Parker (soprano & tenor saxophones), Ned Rothenberg (alto saxophone, clarinet, bass clarinet). The Freezone in 2007 was played by just three. The smaller than usual line up allowed for a more intense investigation of the relationships between the players. For the first time an entire set was played by all three musicians and this set was so successful that it is presented unedited, along with two duos. There will be no Appleby Festival in 2008,…

Braxton concentrated heavily on duo performance during this period, and this was one of the happiest of his associations. ...warmly recommended.

2024 Stock. Minor signs of wear from long-time storage. A new side of ever surprising master composer/musician Anthony Braxton. A world premier performance by the Arizona State University Percussion Ensemble directed by Dr. J. B. Smith. Recorded Feb 6, 1994 in the Music Theatre at the Arizona State University School of Music, Temple, Arizona. The CD is accompanied by an 8-page booklet to lead you throught the labyrinth of Braxton's thinking.

Anthony Braxton plays piano. Two discs, 10 jazz standards, over 75 minutes each disc. (Incidentally this is the first piece by Lennie Tristano on Disc 1). Marty Ehrlich on reeds, Joe Fonda on bass, Pheeroan AkLaff on drums.

Recorded in 1981 by a 37-piece orchestra & dedicated to the master composer Karlheinz Stockhausen, this album is a key work in Braxton's music's evolution both on the structural & spiritual levels; features extensive notes by Graham Lock.

This CD brings together four seminal tape works of Terry Riley. The Gift music was performed in Paris 1963 by Chet Baker, with tape manipulations by Riley-- the first use of tape delay to fragment, attenuate, and return time, looping tape through twin-tape recorders. The Gift recordings, referred to often by Soft Machine members, is the precursor to the landmark that launched the minimalist movement In C. "Bird of Paradise" is a radical tape-manipulation work, the earliset known plundering that …

Quartet (GTM) 2006 is Anthony Braxton's first release for Important Records. GTM stands for Ghost Trance Music and this four CD box set contains four Ghost Trance compositions recorded in quartet with Anthony Braxton playing reeds, Carl Testa on bass, Aaron Siegal on percussion and Max Heath on piano. This 4CD box also contains a definitive essay by Braxton on his Ghost Trance compositions. 

A double CD documenting a complete concert at Wesleyan University in front of an appreciative audience. A 100-minute dialoge between a master percussionist And an amazing saxophonist who plays hos whole arsenal of saxophones And clarinet. Sit And watch how ideas are being born developed And brought to a close just to be started all over again.

How will Anthony Braxton be regarded 50 years from now, after the polemicists of today are dead and/or no longer interested, when something like an objective and knowledgeable evaluation of his work becomes possible? For all his undeniable brilliance as a composer, Braxton's seeming indifference toward the craft of composition will undermine his reputation to a significant degree. Which might not be fair, actually. Perhaps Braxton's problem is that he suffers from a condition virtually unprecede…

Anthony Braxton opens this one with a blues on alto. And does he play the blues. Not the neat, buttoned-down, arrogantly self-possessed kind of blues that epitomized jazz in the '90s, but the dirty, lowdown, heavily expressionistic blues that hearkens back to the music's beginning -- a blues that communicates something more than just an attitude. It's not slick, it's not pretty, but it's eminently real. This double-disc set, recorded live at Wesleyan University with the quite capable straightahe…