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Limited edition of 500 copies. Recorded direct-to-tape in Devon Turnbull's Listening Room at 180 Studios, London. Pressed on 180-gram heavyweight black vinyl with colour sleeve featuring exclusive session photography. Engineered by Jamie Harley. On January 30, 2025, saxophonist Isaiah Collier and drummer Tim Regis walked into Devon Turnbull's Hi-Fi Listening Room at 180 Studios in London - the same OJAS space that has become a pilgrimage site for anyone serious about how music should actually s…
Huge Tip! Small repress. "I stood on top of the mountain and looked out over the landscape. It was so beautiful that my chest hurt. The light vibrated, time stood still, and the contours dissolved for a moment. Everything had changed; I felt it then. I took their little hands so as not to lose contact with the ground. Then we ran down the mountain, scraping our knees. Still, we didn't make it. You had already put away all the nautical charts, loosened the moorings and steered out among the skerr…
Huuuge Tip! In the pantheon of classic free jazz, Noah Howard's The Black Ark looms large. Recorded at Bell Sound Studios in New York City in 1969 - just prior to the alto saxophonist's relocation to Europe - the album was eventually released in 1972 on Alan Bates's Freedom label, and has since acquired near-mythical status among collectors and devotees of the music. Now, Superior Viaduct presents the definitive remastered edition on vinyl, restoring this landmark to the visibility it has always…
One of the most important jazz albums of the 1970s - finally on vinyl in its definitive edition. Julius Hemphill's Dogon A.D. is the missing link between the avant-garde and the blues, between the cotton fields and outer space. Recorded on a freezing February day in 1972 at Oliver Sain's Archway Studios in St. Louis - no heat, malfunctioning equipment, some musicians didn't even show up - and yet what emerged was nothing short of a masterpiece. An "almost accidental classic" that has haunted col…
Recorded live at the Bimhuis, Amsterdam. The debut album of M.O.B. - "My Own Band" - the project that would become the main vehicle for this South African giant in exile. Eight tracks, almost an hour of music, with titles that tell you everything you need to know: "Purtles," "Ice Cream Man," "Tea and Scones," "Monkey Woman," "Beach Balls," "Kids-Trainride."
Sean Bergin (1948-2012) left Durban for Amsterdam in 1976, escaping apartheid, carrying South African jazz in his blood. Half Irish, half So…
Live at the Music Academy of the West, Santa Barbara, April 12, 1987. Cello and percussion. Two Europeans conquering California with nothing but strings, drums, bones, bodhran and squeaky toys. This is the duo that gave us Cellotape & Scotchtape in 1982 - now captured live on American soil, over an hour of pure duo improvisation.
Reijseger needs no introduction: Dutch cellist extraordinaire, ICP Orchestra veteran, Clusone Trio with Han Bennink and Michael Moore, later Werner Herzog's go-to compo…
Three creative cells of Austrian avantgarde music form a playfull trio of piano and drums/percussion -pianist and composer Elisabeth Harnik has various improvisation projects, for instance with Joelle Leandre, Ken Vandermark, Zlatko Kaucic, Tony Buck, etc. She is backed by Martin Brandlmayr of Radian-fame, who works fluently in jazz, electronics and acoustic music, and Didi Kern who, coming from Bulbul guitar underground and Noiserock, lately found his place in the international improv scene.
"Trying to play serious music in an area as shallow and fad-driven as Los Angeles were too much for this band to deal with." So reads the liner note epitaph for one of the most potent ensembles to emerge from the UGMAA constellation. One hundred minutes of music. One night in Santa Barbara. July 1987. Then silence. The Nimbus Collective assembled six of the scene's finest: Nate Morgan on piano, Jesse Sharps on reeds, Danny Cortez on trumpet, Rickey Kelly on vibraphone, Joel Ector on bass, and De…
Recorded on February 26, 1980 at United-Western Studios in Hollywood, Dial B For Barbra stands as one of the absolute peaks of Horace Tapscott's output for Nimbus West. Following his monumental orchestral sessions with the Pan-Afrikan Peoples Arkestra, Tapscott here condenses his vision into a sextet of extraordinary cohesion, achieving with just six musicians the same sonic vastness of his larger ensembles.
The album opens with "Lately's Solo," where Tapscott weaves Miles Davis's "Milestones" t…
The Lobero Theatre in Santa Barbara, built in 1872 by local composer José Lobero, has witnessed over a century of California cultural history. On the night of November 12, 1981, it became the site of one of the most powerful trio recordings in the Horace Tapscott discography. Tom Albach captured it all for Nimbus West.
The group is a study in complementary forces. Roberto Miranda, born in New York to Puerto Rican parents but raised in Los Angeles since the mid-1950s, had been a member of UGMAA a…
2412 South Western Avenue, Los Angeles. A mansion the Arkestra members had taken over for communal living. They called it the Great House. In the late 1970s, Michael Session - the Pan-Afrikan Peoples Arkestra's tenorist - brought a young pianist named Kaeef Ruzadun Ali through the front door. "When I walked in there," Kaeef recalled, "it was like this whole rush came over me, just from going in the front door. It was like a very, very warm feeling of love. I went and I came out with 'Flashback o…
Twenty years in a vault. That's how long I Want Some Water waited before anyone outside of a Los Angeles studio could hear it. Recorded on April 29 and May 3, 1980, at United Western in Hollywood, it wasn't released until 1999 - a small CD run that most collectors never saw. The vinyl pressing came forty years after the tapes were made.
Billie Harris was born in Laurel, Mississippi, on February 15, 1937. He picked up the saxophone at fourteen, served four years in the Air Force, and landed in Lo…
She kept notebooks. Spiral-bound, lined, 8x10 inches. In her beautiful flowing cursive, Linda Hill documented every rehearsal, every concert, every recording session of the Pan-Afrikan Peoples Arkestra. The names of three hundred musicians passed through those pages. When she died, the notebooks vanished - a treasure of information, lost. But the music survives. Lullaby For Linda, recorded on April 25, 1980 and released the following year on Nimbus West, is the only album Hill made as a leader. …
Seventeen years. That's how long it took the Pan-Afrikan Peoples Arkestra to make their first record. Founded in 1961 by Horace Tapscott as the Underground Musicians Association, the orchestra had weathered the Watts uprising, the ferment of the Black Arts Movement, a decade-long residency at the Immanuel United Church of Christ - all without committing a single note to vinyl. Not for lack of industry interest, but by choice: Tapscott wanted to build a community, not a recording career.
It was T…
For nearly two decades, Horace Tapscott and his Pan-Afrikan Peoples Arkestra made music without making records. They played in parks, on street corners, at fundraisers, churches, community centers - anywhere the people needed them. While the rest of the jazz world chased contracts and critics, Tapscott was building something else entirely: an ark for the Black arts in the heart of Los Angeles.
The story of The Call is inseparable from this larger project. When long-time jazz devotee Tom Albach f…
The Western Pacific archipelagic nation of Tuvalu has high levels of exposure to both local and abstract climate change stressors. The sea level rise poses a fundamental risk to its very existence. Tuvalu’s vulnerability to the impacts of climate change characterises it as a ‘sinking’ nation. This reality inspired Pascal to form the musical ensemble Tuvalu with the intention to reflect on the human relation to nature using texts and poems slammed in the native tongues of each ensemble player : F…
** Repress soon in stock ** Known for their exhilarating live-to-record albums such as last year's critically acclaimed Wood Blues and Giant Beauty, سماع [Sama'a] (Audition) is the first of two releases that will surface after [Ahmed]’s first studio recording sessions at North London’s The Fish Factory in early 2025. Since 2014, [Ahmed] أحمد have excavated and re-imagined the music of Ahmed Abdul-Malik, in an ever ongoing search for future music. Over a decade on, the group were given the opport…
”Music and art without definite labels is a necessity for a better living - create your own individual genres and open up for more death-jazz-core-noise-metal-poetry to enter your world of destroying the local and global stupidities around us” - Mats Gustafsson "We really hope this slab of stupid, violent death rock will ruin someone’s day. Haha." - David Sandström Backengrillen is a new ensemble with their roots in HC, punk, noise and free Jazz. All members from Umeå, with roots in the original…
We are thrilled to announce the reissue of the most precious hidden gems of Soul Jazz / Spoken Word albums from a key era. Originally released in 1974 as a private pressing of fewer that 100 copies, Touching Your Feelings by Jim Marks is a crucial missing piece of the proto-rap era lying firmly between Gil Scott Heron and Amiri Baraka, with whom he made a strong friendship. Jym Marks' mix of deep, expressive poetry and solid jazz sits on the edge of works by The Last Poets and fellow west coast …
A cross-generational summit between the legendary pianist Marilyn Crispell (member of the Anthony Braxton Quartet and Reggie Workman Ensemble) and Midwest improvising trio of bass clarinetist Jason Stein, bassist Damon Smith, and drummer Adam Shead delivers all the range and expressivity one would expect from such seasoned players. The concert captured on Live at the Hungry Brain moves organically from searing free jazz to contemplative, lyrical balladry, all of conceived in the urgency of the…