The Squid's Ear
Recently @ Squidco:

Greg Saunier / Mary Halvorson / Ron Miles: New American Songbooks, Volume 1 [VINYL] (Sound American/Pleasure of the Text Records)

Two essential Downtown New York improvisers--guitarist Mary Halvorson and trumpeter Ron Miles--are joined by drummer Greg Saunier of Deerhoof in response to Nate Wooley's request that the three expand the American Songbook in astouding instrumental versions of music by Fiona Apple, Elliott Smith, The Partridge Family, John Williams, James P. Johnson, &c. ... Click to View


Large Unit: Fluku (PNL)

The 3rd album from Norwegian drummer Paal Nilssen-Love's big band Large Unit, here in a 12-member configuration, adding saxophonist Kristoffer Berre Alberts (Starlite Motel, Cortex) to the band, in an album centered on Nillsen-Love's penned title track "Fluku", and the equally impressive "Playgo", large complex works that showcase the group's collective and individual voices. ... Click to View


Large Unit: Selected Tracks 2013-2017 (PNL)

An excellent introduction to Norwegian percussionist and composer Paal Nilssen-Love's big band, Large Unit, through tracks showing the breadth of the band's ability in game pieces, ballads, a collaboration with Brazilian percussionists, live recordings from their 2015 North American tour and at Moers festival in Germany, and their first concert at Molde Jazzfestival in 2013. ... Click to View


Frode Gjerstad / Paal Nilssen-Love : Nearby Faraway (PNL)

The 25 year collaboration of Norwegian free improvisers Frode Gjerstad on saxophones and clarinets and drummer/percussionist Paal Nilssen-Love, starting with Circulasione Totale Orchestra and best experienced in their duo recordings, here in an album dedicated to Frode's close friend and musical colleague, pianist and accordion player Elvin One Pedersen. ... Click to View


Konstrukt / Keiji Haino: A Philosophy Warping, Little By Little That Way Lies A Quagmire [VINYL] (KARLRECORDS)

The Konstrukt free improvising band from Turkey, known for their collaborations with master musicians of a wide spectrum of approaches, joins forces with improvising Japanese psych guitarist, vocalist and sound artist Keiji Haino for two 3-part works of swirling sax, synth, sound and guitars, startling vocals, and hallucinatory rhythms. ... Click to View


Peter Hammill: From The Trees (Fie! Records)

Peter Hammill continues his immense solo career, intricately linked to his work with Van Der Graaf Generator, but more focused in intelligent lyrics, profound vocal layering, and fluid song structures, a unique voice who for more than 35 studio albums has developed an approach to songwriting and intellectual observation of subtle sophistication and detail. ... Click to View


Thanos Chrysakis / Kurt Liedwart / Nuno Torres / Ernesto Rodrigues : Skiagraphia (Creative Sources)

Three label leaders come together for an album of free electroacoustic improvisation--Thanos Chrysakis (Aural Terrains); Kurt Liedwart (Microton); Ernesto Rodrigues (Creative Sources), with Nuno Torres on sax--for an extended dialog built of exotic and microscopic sound, string abberations, and reed abnormalities; exceptional. ... Click to View


Charlemagne Palestine : STTT THOMASSS '''''''DINGGGDONGGGDINGGGzzzzzzz ferrrr TONYYY'''''''' [CASSETTE] (Blank Forms)

In memory of the late polymath avant-garde artist Tony Conrad (1940-2016), longtime friend and coconspirator Charlemagne Palestine returned to the site of their first encounter for a tribute performance on what would have been Conrad's 77th birthday, performing on the bells at St Thomas's Church, in New York City for a rich album of ritualistic ringing and tones. ... Click to View


Magda Mayas / Pierre-Yves Martel / Eric Normand: Boule-spiel (Tour de Bras)

Quebec improvisers Pierre-Yves Martel on Viola da Gamba, objects, and feedback, Eric Normand on electric bass and snare drum, are joined by Berlin pianist Magda Mayas for two extended works of free improvisation, manipulating and contorting strings with an electroacoustic edge, dark ruminations of exquisite detail, patience, and adroit interaction. ... Click to View


Albert Ayler: Bells (White Vinyl 180gm) [VINYL] (ESP-Disk)

Albert Ayler's 1965 ESP album originally released as a 1-sided clear vinyl LP, the single "Bells" song actually an amalgamation of his piece "Holy Ghost" which transitions into "Bells", here augmented with "Vibrations aka (tune Q)2", performed with brother Donald on trumpet, Charles Tyler on alto sax, Lewis Worrell on bass, and Sunny Murray on drums. ... Click to View


Irene Schweizer / Joey Baron : Live! (Intakt)

Two generations and two monumental masters of free improvisation from Europe and New York joined together at the unerhort!-Festival Rote Fabrik Zurich in 2015 to unleash this technically awesome and ebullient duo in a fantastic concert of dynamic power, lyrical insight, intense rhythmic support and counterpoint, and profound musical ideas; incredible! ... Click to View


Die Enttauschung (Axel Dorner / Michael Griener / Rudi Mahall / Jan Roder): Lavaman (Intakt)

The remarkable European Free Jazz quintet Die Enttauschung, crossing bop forms with modern creative approaches to jazz for over 20 years, take a new drummer--Michael Griener--and adds trombonist Christof Thewes, to join Rudi Mahall on clarinets, Axel Dorner on trumpet, and Jan Roder on bass, for an exciting and upbeat album of succinct tunes that both revere and abuse jazz history in wonderful ways. ... Click to View


Trio Heinz Herbert (w/ Dominic Landolt / Ramon Landolt / Mario Haenni): The Willisau Concert (Live) (Intakt)

Textural improv of improbable grooves and tones driven by intense periods of interaction balanced with spatial sonic environments; adventurous and exuberant dialog caught live at the Jazzfestival Willisau, in Switzerland, 2016 from the trio of Dominic Landolt on guitar, Ramon Landolt on Hammond organ, synthesizer & samples and Mario Haenni on drums. ... Click to View


Aruan Ortiz : Cub(an)ism (Intakt)

Cuban pianist Aruan Ortiz explores a range of musical idioms and styles, drawing on experiences from many phases of Ortiz' life in Cuba, Spain, France and the US, exploring cubist principles, faceting, and multiple perspectives with folkloric elements, as he presents 10 original compositions of passionate and playful music, performed with virtuosic skill. ... Click to View


Aki Takase / Paul Ayumi : Hotel Zauberberg (Intakt)

Pianist Aki Takase and violinist Ayumi Paul's 1st collaboration is an 18 movement suite for violin and piano blending composition and improvisation, with 11 movements from Takase and 5 written with Paul, plus Mozart's "K. 1 minuet in G major" and the Preludio movement from Bach's solo violin partita in E major; an absorbing set of recordings inspired by the writings of Thomas Mann. ... Click to View


Hans Hassler: Wie Die Zeit Hinter Mir Her (Intakt)

Swiss accordionist Hans Hassler stands above the (small) crowd of improvising accordionist in the breadth of his career, his ability to balance both lyrical, abstract, serious, and humorous aspects in his approach to the instrument, a true original in intent and ability to engage his listeners, in 15 original and diverse compositions recorded in 2017. ... Click to View


Pan-Scan Ensemble: Air And Light And Time And Space (PNL)

"Pan-Scan" refers to pan-Scandinavian, and the nine players on this thrilling and joyful recordings are all of that origin, performing live at Blow Out in Mir, Oslo, Norway in 2016, including both Lotte Anker and Ann Hogberg on sax, Thomas Johansson, Emil Stranberg and Goran Kajfes on trumpet, Sten Sandell on piano, and Paal Nilssen-Love and Stale Liavik on drums. ... Click to View


Xavier Charles / Michel F Cote / Franz Hautzinger / Philippe Lauzier / Eric Normand: Torche! (Tour de Bras)

An exceptional free improvising quintet of Montreal & Quebec improvisers--bassist Eric Normand, drummer Michel F. Cote, and bass clarinetist Philippe Lauzier--with French clarinetist Xavier Charles and German trumpeter Franz Hautzinger, performing live during the 2016 Festival de Musique de Creation, creating fascinating commontion with incredible restraint. ... Click to View


Fraufraulein: Heavy Objects [CASSETTE] (Marginal Frequency)

The duo of Brooklyn electronics, field recording, bass guitar and french horn artists Billy Gomberg and Anne Guthrie, using musical and abstract sounds to create something between the concrete textures of field recording and spontaneous composition, presenting restrained yet detailed sound that engages the listener through transition and mystery. ... Click to View


Joda Clement / Mathieu Ruhlmann: Kindred (Marginal Frequency)

A unique cover of Brian Eno's "Taking Tiger Mountain" using synthesizer, field recordings, electromagnetic feedback, treatments, objects, oscillators, shruti box, reel to reel, ukelin, guitar, piano, clarinet, cello and voice, from Joda Clement and Mathieu Ruhlmann joined by Cristian Alvear, Gregory Moskos, Alexandra Spence, Tim Clement, Judith Hamann and A.F. Jones. ... Click to View


Mars Williams presents (w/ Berman / Lonberg-Holdm / Baker / Kessler / Sandstrom / Hunt): An Ayler Xmas: The Music of Albert Ayler & Songs of Christmas (Soul What Records)

Chicago saxophonist Mars Williams directs his Albert Ayler tribute band, Witches and Devils, to merge Ayler-esque compositions with Christmas songs, performed by Josh Berman (cornet) Fred Lonberg-Holm (cello), Jim Baker (keys, viola), Kent Kessler (bass), Brian Sandstrom (bass, guitar, trumpet); an unexpected and welcome present for your free jazz festivities! ... Click to View


Boneshaker (Mars Williams / Paal Nilssen-Love / Kent Kessler): Unusual Words (Soul What Records)

A CD intended to sell at concerts from Mars Williams' own Soul What Records label, a studio recording in 2012 from the powerhouse trio of Chicago multi-reedist Mars Williams, in-demand Norwegian drummer/percussionist Paal Nilssen-Love, and Chicago bassist Kent Kessler, running the gamut from furious blowing to introspective interaction. ... Click to View


Elliott Sharp / Mary Halvorson / Marc Ribot: ERR Guitar (Intakt)

Elliott Sharp's New York Studio zOaR was the meeting place for three New York guitarists--Sharp himself, Mary Halvorson, and Marc Ribot--who find common ground by blending a variety of approaches to the instrument in 12 excellent and generally succinct collective improvisations, stretching, bending, plucking and inexplicably effecting their guitars. ... Click to View


John Cage: Klang der Wandlungen [3 CDs] (Edition Rz)

An impressive triple-CD box with recordings of some late works by John Cage, including "Seventy-Four for Orchestra, 1992", "103 for Orchestra, 1991, part 1 & 2", In a Landscape fur Harfe", "Postcard From Heaven fur Eine Bis Zwanzig Harfen", and some of "The Harmony of Maine"; including a 32 page booklet with photos and liner notes by Jakob Ullmann. ... Click to View


Jurg Frey: L'ame Est Sans Retenue I [5 CDs] (erstwhile)

A massive work from composer Jurg Frey focused on the dynamic relationship between sound and silence, and how it can affect our perception of the silence in a frame of space and time, using environmental sounds of field recordings and silence to create a massive work over six hours, modifying pitch, rhythm, dynamics, texture, and overtone, here properly released on 5 CDs. ... Click to View


Michael Pisaro / Samuel Dunscombe / Steven Andrew Flato / Wen Liu / Celeste Oram / Johannes Regnier: Organ For The Senses (Marginal Frequency)

San Diego's Parkeology director Kate Clark and composer Samuel Dunscombe organized this concert to take advantage of the Balboa Park's Spreckels Organ, inviting local and regional experimental composers to develop works for the 5,017 pipe instrument, attracting artists like Michael Pisaro, Samuel Dunscombe, Steven Andrew Flato, Wen Liu, &c. ... Click to View


Jon Irabagon / Joe Fiedler / Todd Neufeld: In Formation Network (Nuscope)

Saxophonist Jon Irabagon, trombonist Joe Fiedler, and guitarist Todd Neufeld met in April, 2017 in Mount Vernon at the Oktaven Audio studio to record these nine varied compositions, presenting a unifying trio sound and identity that reflects Chicago's Giuffre trio, but with a unique collective attitude as the trio employs a varied set of compositional strategies. ... Click to View


Joe McPhee: The Willisau Concert (Corbett vs. Dempsey)

Recorded in 1975 at the Swiss Willisau Jazz Festival, Joe McPhee's trio with John Synder on synth and Makaya Ntshoko on drums, and McPhee on tenor and sopranox sax, was Hat Hut's 2nd release and has been out of print since; Corbett vs. Dempsey asked McPhee what unavailable album he'd like to see in print, and this suberb album was his first choice. ... Click to View


Eugene Chadbourne : The Lost Eddie Chatterbox Session [2017 REISSUE] (Corbett vs. Dempsey)

Reissuing free improvising guitarist Eugene Chadbourne's 1977, San Francisco recording of compositions by the likes of Thelonious Monk, Charlie Parker, John Coltrane, and Ornette Coleman, plus a few standards and originals, captured on an ailing quarter-track tape deck, but saved for the force of his playing, here restored, corrected, and remastered. ... Click to View


Sun Ra: Discipline 27-II [2017 REMASTER] (Corbett vs. Dempsey)

The 2nd volume in Sun Ra's "Discipline" series was recorded during the same sessions as 1972's Impulse release "Space Is the Place", with Sun Ra on electronic keyboards and Moog, and a large band including Marshall Allen, John Gilmore, Danny Davis, Akh Tal Ebah, June Tyson, &c. ... Click to View


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Evan Parker Discusses Four Decades in Free Improvisation


By Marc Chenard
Photo by Martin Morissette 2003-06-19

Call it 'free jazz', 'free music', or 'European Improvised Music' if you want, but one thing is for sure: it is as vibrant nowadays, if not more than when it was first thrust upon the transatlantic music scene a little less than forty years ago. As enduring as its history has been over there, it is now spanning the Great Divide and reaching not only a steadily growing audience but an increasingly younger one at that. Of its most heralded practioners, British tenor and soprano saxophonist Evan Parker is clearly one of its leading figures and, at 59, his commitment to this art form has never flagged. Two summers ago, during the debut edition of a festival of improvised music held in Montreal, Evan Parker visited the city for the first time in 15 years. Between two evening performances, one solo, the other with a pair of live electronics players, he spoke at length of the music he has been unerringly devoted to for the last 35 years, sharing some insights on its checkered history while expatiating, so to speak, on a few of the fineries of his own artistic practices and beliefs. Evan Parker

Marc Chenard: In 1997, veteran Belgian pianist Fred van Hove made an interesting point when I asked him to contrast the state of improvised music now from the early days of the 1960s: for him it used to be like jumping off a cliff, but now it's more like finding your way through a jungle. Do you agree with that statement? Since you too are a 'first generation' free improviser, you have seen this music change considerably over time.

Evan Parker: To me jumping off a cliff speaks of an uncertain voyage with a messy and most likely painful end to it. But wandering through the jungle doesn't really speak of any direction, so you may not know where you're going and be lost. I'm not quite sure I follow that. This music certainly has a history to it and we play as much in reference to it as our to own current activities. Now this calls into question the issue of stylistic or aesthetic coherence, and how we can keep something fresh while keeping it true to a certain way of thinking, or line of development. Yes, I've been called a 'first generation' free improvisor, but it's really hard to say where or when this music really started, and while it may be true in a certain context, it's not really the case when you look at the bigger picture.

M.C.: Speaking of things historical, London in the late '60s was really a fulcrum of sorts, and one place in particular played an important role in the emergence of the British free music scene, that being the Little Theater. How did you get involved?

E.P.: The late drummer John Stevens just invited me to play there, and it was really his fiefdom. He had the ear of the owner (Jean Pritchard was her name), and she'd been operating an after-hours hangout for actors who, by the way, weren't that crazy about the music. So it must have been a struggle for John to keep her straight, so to speak, but he had the social skills to do that.

M.C.: At that same period, you would also get to know other European free improvising musicians from the continent, like bassist Peter Kowald [who died last year, after this interview took place].

E.P.: Peter came to London in fact, but we never played at the Little Theater. He joined me and John at a time when our group (i.e. the Spontaneous Music Ensemble, or SME for short) was reduced to just a duo. We were working at a small folk club called 'Les Cousins', which interestingly enough was operated by the blues musician Alexis Korner. At that time, he had this duo with a guy called Victor Brocks, and they had this sort of idealistic notion of playing a very free kind of blues while were doing a very free kind of jazz. So we'd each do a set thentry to play together at the end of the week... but that didn't go on for too long. So we played there with Peter over the Summer of '67. Late that year, Peter invited me to come to this music workshop that the radio producer Joachim-Ernst Behrendt was putting together for the South German radio in Baden Baden. But I only got in because John Tchicai decided to cancel at the last minute. It's on that occasion I first met Peter Brötzmann and Gunther Hampel, as well as Don Cherry, Marion Brown and Jean ne Lee.

M.C.: So I gather this session was what lead up to the now 'seminal' recording "Machine Gun"?

E.P.: Right. And Brötzmann also introduced me to Alex von Schlippenbach (around 1970), but that was after getting to know Willem Breuker, Han Bennink and Misha Mengelberg. Kowald, on the other hand, was responsible for bringing me together with Irene Schweizer and Pierre Favre, and we worked for a couple of years together, and did that one recording for Wergo in '69. Sometimes they played just as a trio, or I'd join them when they could afford bringing me over. I was now getting better acquainted with the German scene, and thanks to an invitation from Jost Gebers (the now soon to retire producer of FMP Records in Berlin), a larger version of SME performed there, which had Dave Holland, Derek Bailey, Trevor Watts, John and myself.

M.C.: So it was John who was responsible for bringing you and Derek together.

E.P.: In effect, because he was playing occasionally at the Little Theater club with that trio called 'Joseph Holbrooke', the one with Gavin Bryars and Tony Oxley. But Gavin left to study in America, so it was from there that we started playing together. It was also around that time that we did that record for ECM (" Music Improvisation Company"). Come to think of it, it's really a complicated period to re-construct, because there were so many contacts happening at the same time.

M.C.: Among those contacts, there were the Blue Notes, that legendary South African band who settled in London for a while. They, too, had quite an effect.

E.P.: Sure, their approach was so different, but it was not like we were trying to learn their music only; they were just as interested by our free playing as we were by theirs. I remember doing a gig with the pianist Chris McGregor and the drummer Louis Moholo, just playing completely free, and that was probably around or before 1970. The trumpeter Mongezi Feza also did the same, and Dudu Pukwana, the sax player, would go to Holland to play with Misha and Han. To this day, Louis is still the happiest when he plays free.

M.C.: I can imagine there were a lot of sessions going on during the day, but were there many more venues to bring this to the public?

E.P.: Well, the Little Theater was pretty much the place, but there was also a short period, of about a year and a half or two, when Ronnie Scott's club kept its original Gerrard Street locale while starting up its new one right across on Frith Street. It was probably more jazzy on the average, like Mike Westbrook's bands, Chris McGregor, John Surman and Mike Osborne, with John Stevens and myself usually slotted on a midweek evening. Mike also had a place of his own called 'Peanuts' and that was further East, near Liverpool Street. His own people mostly played there, but he would farm out gigs to others as well. So you could say it was pretty healthy back then, but I think we need to have a few more Peanuts-type places happening now. I'm always encouraging bass players and drummers to do this, because they're the natural ones for this type of thing.

M.C.: In contrast to that period, how does London compare nowadays? It is happening?

E.P.: Absolutely! There are hundred of musicians now and it's impossible to keep up. There's a whole generation of people in their20's and younger now ready and eager to pursue this music. Take for example, the bassist John Edwards (who plays with Jah Wobble), he's still quite young and very much involved in this scene.

M.C.: Interestingly enough, this renewed interest in improvised music is not only a local phenomenon, but a more international one as well. Take, for instance, the United States: It's blossoming there as well, both in terms of musicians and audience.

E.P.: There's a surge, that's for sure... and I hope it carries on like this! Let's see, here we are in June, and I've been over four times already, a record for me. But the interesting thing is that I don't even initiate these contacts. They come from people inviting me. And they come not only from New York or other major cities, but from more remote places, too.

M.C.: On the first night of your stay here, you played a solo saxophone concert, and this has been very central to your art over the last 25 years. But until only recently, you would only play soprano in solo contexts, how come?

E.P.: I've always thought of myself as being a soprano player who doubles on tenor rather than the other way around. Actually, when I switched from alto to tenor way back when, there was a time I was only playing soprano. Nowadays, in certain contexts, like with drums, I only play tenor, but it's taken time for that to happen. And after playing just soprano in solo contexts, that too is changing.

M.C.: It worked out to about half and half in the performance. What also struck me is the fact that your tenor language is moving closer than ever to your soprano language, whereas in the past it seemed you made a conscious effort to keep both of these as separate as possible. What interests me here is to find out how you are working on translating the concepts of the soprano to the tenor.

E.P.: That's quite new for me, indeed, and it does seem they're overlapping more than ever. With the techniques I've developed to control certain possibilities on one horn, it's as if I can reverse the roles of the two hands when I'm trying to translate these over to what I could call the "physics of the tenor." You see, it all has to do with how broken air columns work. Now this may well be a broad generalization, but I could say that the soprano is a closed column broken in the left hand while the tenor tends to be more of a left hand position modified by the right hand. Now this might sound impenetrable to anyone who doesn't play the saxophone, or maybe even for those who do, but it means something to me. You could say that it has to do with the ways in which the keys fall under your hand, the weight distribution and the fingerings as well, because a lot of this stuff depends on getting up to a certain speed.

M.C.: I imagine you have to practice a lot to keep this up.

E.P.: These days, I'm not practicing as much as I should, because I'm too busy, traveling and what not. But one can do a lot of conceptual practicing as well, something like mental arithmetic where you're thinking of intervallic patterns. For instance: to go through sequences of alternating minor thirds and fourths, or semi-tones and flat fifths, from bottom to top and knowing where to go down when you run out of instrument. The eight or ten hour practice day is long in the past for me, but there were times when I was only doing that because work was so scarce.

M.C.: After 25 years of solo concerts and having built such a language, do you have a feeling of living too much by it? Are there times where you'd like to break away from it?

E.P.: That calls to mind the title of a book by Doris Lessing and that is Prisons We Choose to Live Inside. I guess it's a prison I've chosen to live in. Of course, you can choose to do something different, but that's rather easy to juststand up and do something nobody expects. I find it more interesting to do what people expect and then still surprise them, or myself for that matter. For the moment, I am finding things and recombining them in interesting ways. I like that feeling of capturing people's ears and taking them on a journey. I can be a guide only if I go down some paths I already know myself. After all, it's not much good having a guide who doesn't know his way through the jungle...



continued...




The Squid's Ear presents
reviews about releases
sold at Squidco.com
written by
independent writers.

Squidco

Recent Selections @ Squidco:


Thanos Chrysakis /
Kurt Liedwart /
Nuno Torres /
Ernesto Rodrigues :
Skiagraphia
(Creative Sources)



Large Unit:
Fluku
(PNL)



Peter Hammill:
From The Trees
(Fie! Records)



Konstrukt /
Keiji Haino:
A Philosophy Warping,
Little By Little
That Way Lies
A Quagmire
[VINYL]
(KARLRECORDS)



Greg Saunier /
Mary Halvorson /
Ron Miles:
New American
Songbooks,
Volume 1
[VINYL]
(Sound American/
Pleasure of the Text Records)



Trio Heinz Herbert
(w/ Dominic Landolt /
Ramon Landolt /
Mario Haenni):
The Willisau Concert
(Live)
(Intakt)



Irene Schweizer /
Joey Baron :
Live!
(Intakt)



Die Enttauschung
(Axel Dorner /
Michael Griener /
Rudi Mahall /
Jan Roder):
Lavaman
(Intakt)



Pan-Scan Ensemble:
Air And Light
And Time
And Space
(PNL)



John Cage:
Klang der Wandlungen
[3 CDs]
(Edition Rz)



Leap of Faith
Orchestra:
The Expanding Universe
(Evil Clown)



Elliott Sharp /
Mary Halvorson /
Marc Ribot:
ERR Guitar
(Intakt)



Mars Williams presents
(w/ Berman /
Lonberg-Holdm /
Baker /
Kessler /
Sandstrom /
Hunt):
An Ayler Xmas:
The Music of
Albert Ayler &
Songs of Christmas
(Soul What Records)



Tree Ear
(Strinning /
Troller /
Hemingway):
Witches Butter
(Clean Feed)



Eve Risser /
Kaja Draksler:
To Pianos
(Clean Feed)



Kullhammar,
Aalberg Zetterber &
Santos Silva:
Basement Sessions
Vol.4
(The Bali Tapes)
(Clean Feed)



Imaginary Numbers (McPhee /
Niggenkemper /
Solberg):
Imaginary Numbers
(Clean Feed)



Joao Camoes /
Jean-Luc Cappozzo /
Jean-Marc Foussat:
Autres Paysages
(Clean Feed)



Steve Swell (w/ Brown /
Hwang /
Ulrich /
Boston /
Pugliese):
Music for
Six Musicians:
Hommage a
Olivier Messiaen
(Silkheart)



Schlippenbach Trio
(Schlippenbach /
Evan Parker /
Lovens):
Warsaw Concert
(Intakt)







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