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At the beginning of the 1960s, at the Berklee College of Music, Byard Lancaster met some feisty friends: Sonny Sharrock, Dave Burrell and Ted Daniel. It is easy to see why he rapidly became involved in free jazz. Once he was settled in New York, he appeared on Sunny Murray Quintet, recorded under the leadership of the drum crazy colleague of Albert Ayler. In 1968, the saxophonist and flutist recorded his first album under his own name: It’s Not Up To Us. The following year he came to Paris in the wake of… Sunny Murray. He would come back to France in 1971 (again with Murray) and in 1973 (without Murray for a change). This is when he met Jef Gilson, the pianist and producer who encouraged him to record under his own name again. On Palm Records (Gilson’s label), he would release four albums: Us, Mother Africa, Exactement and Funny Funky Rib Crib. “Funny Funky Rib Crib” is an unforgettable recording (made up of several sessions dating from the middle of 1974) of creative jazz overwhelmed by funk and soul. If Lancaster had already made successful albums in the same genre – notably New Horizons, under the name Sounds Of Liberation which he co-led with Khan Jamal –, this one is an homage to James Brown and Sammy Davis enjoying the company of a host of guests including François Tusques (electric piano), Clint Jackson III (trumpet), François Nyombo (guitar), Joseph Traindl (trombone)… Funny Funky Rib Crib’s cover is a three-quarter profile portrait of the saxophonist (who can also be heard on flute, piano and even vocals), however, on the record, it is the whole group, inspired and frenetic, that tests the melodies of “Just Test”, “Dogtown” or “Rib Crib” – the two versions of which display leader Lancaster’s art of nuance. On both sides of the album, the group also moves into a calmer groove, infused by blues and soul, “Work And Pray” and “Loving Kindness” are meditative tracks where listeners can lay back and relax before asking for more: Funny Funky Rib Crib!!!
At the beginning of the 1960s, at the Berklee College of Music, Byard Lancaster met some feisty friends: Sonny Sharrock, Dave Burrell and Ted Daniel. It is easy to see why he rapidly became involved in free jazz. Once he was settled in New York, he appeared on Sunny Murray Quintet, recorded under the leadership of the drum crazy colleague of Albert Ayler. In 1968, the saxophonist and flutist recorded his first album under his own name: It’s Not Up To Us. The following year he came to Paris in the wake of… Sunny Murray. He would come back to France in 1971 (again with Murray) and in 1973 (without Murray for a change). This is when he met Jef Gilson, the pianist and producer who encouraged him to record under his own name again. On Palm Records (Gilson’s label), he would release four albums: Us, Mother Africa, Exactement and Funny Funky Rib Crib. “Funny Funky Rib Crib” is an unforgettable recording (made up of several sessions dating from the middle of 1974) of creative jazz overwhelmed by funk and soul. If Lancaster had already made successful albums in the same genre – notably New Horizons, under the name Sounds Of Liberation which he co-led with Khan Jamal –, this one is an homage to James Brown and Sammy Davis enjoying the company of a host of guests including François Tusques (electric piano), Clint Jackson III (trumpet), François Nyombo (guitar), Joseph Traindl (trombone)… Funny Funky Rib Crib’s cover is a three-quarter profile portrait of the saxophonist (who can also be heard on flute, piano and even vocals), however, on the record, it is the whole group, inspired and frenetic, that tests the melodies of “Just Test”, “Dogtown” or “Rib Crib” – the two versions of which display leader Lancaster’s art of nuance. On both sides of the album, the group also moves into a calmer groove, infused by blues and soul, “Work And Pray” and “Loving Kindness” are meditative tracks where listeners can lay back and relax before asking for more: Funny Funky Rib Crib!!!
At the beginning of the 1960s, at the Berklee College of Music, Byard Lancaster met some feisty friends: Sonny Sharrock, Dave Burrell and Ted Daniel. It is easy to see why he rapidly became involved in free jazz. Once he was settled in New York, he appeared on Sunny Murray Quintet, recorded under the leadership of the drum crazy colleague of Albert Ayler. In 1968, the saxophonist and flutist recorded his first album under his own name: It’s Not Up To Us. The following year he came to Paris in the wake of… Sunny Murray. He would come back to France in 1971 (again with Murray) and in 1973 (without Murray for a change). This is when he met Jef Gilson, the pianist and producer who encouraged him to record under his own name again. On Palm Records (Gilson’s label), he would release four albums: Us, Mother Africa, Exactement and Funny Funky Rib Crib. The recording of “Exactement” required two sessions in the studio: February 1st and May 18th 1974 – in between the two dates, Lancaster recorded, alongside Clint Jackson, the excellent “Mother Africa”. Two names appear on the cover of “Exactement”: Lancaster (Byard) and Speller (Keno). Byard Lancaster wanted to be precise, moving regularly from one instrument to another: first on piano, which was the first instrument he learned. On “Sweet Evil Miss Kisianga”, his inspiration is first and foremost Coltrane (even if leaning more towards Alice than John), this announces the storm to follow. It is Lancaster’s horn-playing which really stands out: on alto (the sound of which is transformed by an octavoice on one track, "Dr. Oliver W. Lancaster") or soprano saxophones, as well as on flute or bass clarinet, the musician walks a tightrope making the most of all the risks he takes. Using the full register of his instruments, he has fun with the possibilities. Then, Lancaster invokes or evokes Ornette Coleman, Eric Dolphy and even Prokofiev, before going into a danse alongside Keno Speller on percussion. Above all, he has a unique sound. Byard Lancaster, on whatever instrument he plays and by continually seeking, always ends up hitting the right note… ends up by playing exactement the note he had to play.
At the beginning of the 1960s, at the Berklee College of Music, Byard Lancaster met some feisty friends: Sonny Sharrock, Dave Burrell and Ted Daniel. It is easy to see why he rapidly became involved in free jazz. Once he was settled in New York, he appeared on Sunny Murray Quintet, recorded under the leadership of the drum crazy colleague of Albert Ayler. In 1968, the saxophonist and flutist recorded his first album under his own name: It’s Not Up To Us. The following year he came to Paris in the wake of… Sunny Murray. He would come back to France in 1971 (again with Murray) and in 1973 (without Murray for a change). This is when he met Jef Gilson, the pianist and producer who encouraged him to record under his own name again. On Palm Records (Gilson’s label), he would release four albums: Us, Mother Africa, Exactement and Funny Funky Rib Crib. The recording of “Exactement” required two sessions in the studio: February 1st and May 18th 1974 – in between the two dates, Lancaster recorded, alongside Clint Jackson, the excellent “Mother Africa”. Two names appear on the cover of “Exactement”: Lancaster (Byard) and Speller (Keno). Byard Lancaster wanted to be precise, moving regularly from one instrument to another: first on piano, which was the first instrument he learned. On “Sweet Evil Miss Kisianga”, his inspiration is first and foremost Coltrane (even if leaning more towards Alice than John), this announces the storm to follow. It is Lancaster’s horn-playing which really stands out: on alto (the sound of which is transformed by an octavoice on one track, "Dr. Oliver W. Lancaster") or soprano saxophones, as well as on flute or bass clarinet, the musician walks a tightrope making the most of all the risks he takes. Using the full register of his instruments, he has fun with the possibilities. Then, Lancaster invokes or evokes Ornette Coleman, Eric Dolphy and even Prokofiev, before going into a danse alongside Keno Speller on percussion. Above all, he has a unique sound. Byard Lancaster, on whatever instrument he plays and by continually seeking, always ends up hitting the right note… ends up by playing exactement the note he had to play.
“A beautiful conceptual approach that is understandable and appreciated.” - Eric Therer, Jazzmania “But somehow, all pieces are strangely interconnected and cast a sensual, hypnotic rhythmic spell.” Jan Granlie, Salt Peanuts " a soundscape that is quite extraordinary, unconventional and vibrant." - Ivan Rod With Unit of Time, Hans Hulbækmo and Egil Kalman aim to show that we can experience the essence of time through rhythm. How can the perception of time—both for the listener and the performers—be turned completely on its head by rhythm? By zooming in on rhythms from traditional music from around the world, the hyper-focused interplay of free jazz, and the rhythmic structures of just-intoned drone music (which is essentially about resonant intervals built on polyrhythms), these gentlemen create a wholly unique rhythmic universe—a universe where both listeners and performers can lose themselves in a thicket of twisted branches. As you know, Motvind Records is much about filling out our own record collections, and it’s high time for a drum’n’bass record that you can enjoy on the couch at home. Piercing the Veil by William Parker and Hamid Drake is fantastic, but it’s 25 years old... Now, we finally have another album where the groove button is stuck in the "on" position, and creativity overflows. "The rhythm section" has long had a supporting role in rhythmic music like jazz, pop, and rock, often overshadowed by a brash saxophonist, lead guitarist, or singer dominating most of the frequency range. In jazz, much happened early on with drummers like Max Roach, Kenny Clarke, and Warren "Baby" Dodds, as well as bassists like Jimmy Blanton, Charles Mingus, and Scott LaFaro. In folk music traditions with strong rhythmic elements, such as those in Africa and Southeast Asia, these instruments have played a more prominent role in shaping the music. But all too often, especially in Norwegian folk music, these instruments have had a rather static function. In my own record collection, I even have an album where the accompanying musicians aren’t credited—it just says, "Ola Opheim, fiddle w/Rhythm." However, Hans Hulbækmo and Egil Kalman have long been a playful and creative rhythm section, with one foot in free jazz and the other in folk music. They’ve played together in the Marthe Lea Band and other projects, and since last year, they’ve delved into the folk music of Norway and Sweden—all set in an experimental duo format: drums and mouth harp (Hans) meet modular synth and double bass and mouth harp (Egil). They’ve now gone deeper into this, aiming to create an album they can take on tour. Both individually and together, they have explored folk music, jazz, and experimental electronic music. Their projects, such as Hulbækmo & Jacobsen Familieorkester, Skrekk & Guro, Camilla Hole Trio, and Reolô, showcase their diverse musical backgrounds. In this duo project, they draw from rhythmic details in folk music—small elements that form the basis for minimalist compositions full of improvisation. They have composed and improvised most of the material, including a traditional tune from Setesdal, Filleværen. The album is a good old-fashioned musical journey where all the tracks have distinct characteristics yet are strangely interconnected. The music is also highly visual. Once the record has spun through once, it’s tempting to flip it over again—once you get a taste for good music, it’s hard to stop. And they don’t let the groove dictate everything. Some melodies are interpreted more straightforwardly, but the unconventional instruments they use give the music a different kind of depth. Unusual timbres and sonic phenomena emerge, giving the music a hypnotic quality. Both the listener and the musicians themselves can get lost in the groove, immersed in a rhythmic cosmos.
Originally released in 2005, Out To Lunch by Otomo Yoshihide’s New Jazz Orchestra (ONJO) is a bold, track-by-track homage that reimagines Eric Dolphy’s legendary 1964 album of the same name. Bringing together the early members of ONJO, this record serves as the most vivid manifestation of Otomo’s "New Jazz" concept at the time—placing a jazz orchestra, free improvisation, and electronic textures on the exact same stage.
Volume Two of The Spiritual-Sonic Research series features three live concerts by Roman Norfleet and Be Present Art Group, recorded between 2023 and 2025 in Portland, Oregon. These performances are connected through themes of reverence, ancestral veneration, and African American spiritual technologies. This compilation is meant to uplift, educate, and deepen engagement with these traditions. Many figures mentioned throughout this series deserve further study. This music is intended to support that study and can be used in educational and spiritual settings, such as presentations, sermons, sacred services, ceremonies, intentional listening sessions, book clubs, lectures, educational videos, and more. The first tape, Live at the Hollywood Theatre, was recorded at the Hollywood Theatre on May 25th, 2023. The concert celebrated the release of the self-titled LP Roman Norfleet and Be Present Art Group, released through Mississippi Records. The evening opened with performances by Angel Bat Dawid and Oui Ennui as DAOUI, with Angel Bat Dawid later joining Roman Norfleet and Be Present Art Group for a powerful rendition of her song “Black Family.” Songs like “A New World Awaits,” “Future Ancestors / Awaken (Redux),” and “Black Family” explore ideas of Afrofuturism and Afromultidimensionalism. Here Afrofuturism is understood not only through science fiction, cosmic imagery, and futuristic aesthetics, but also through everyday survival and the work of building a future for Black life. It is about preparing for ancestorhood, communicating with ancestors, self-determination, self-governance, and preserving Black family and community. Afrofuturism explored here is both cosmic and practical; it is also spiritual and grounded at the same time. It reaches toward the metaphysical while remaining deeply connected to everyday life, collective survival, and future-building. It asks how we sustain ourselves not only tomorrow, but generations from now. Afromultidimensionalism, a term coined by Roman Norfleet, is explored here as a spiritual system and ancestral technology that allows one to exist in the past, present, and future simultaneously. Through ancestral memory, sound, ritual, and collective consciousness, it becomes possible to be present across worlds and dimensions while remaining rooted in the physical world. Ultimately, it is a practice of seeking communion with the Divine, which in this work is called The Love Supreme. This idea reaches its culmination in the final piece: a chanting rendition of John Coltrane’s A Love Supreme, offered here as prayer and spiritual invocation. The second tape, Universal Love Revival Service at the IFCC, was recorded on June 1st, 2024, at the Interstate Firehouse Cultural Center, a longstanding cultural and creative hub for Portland’s Black community. Rooted in the tradition of the Black church, this gathering took the form of a revival-style service, honoring African American spiritual traditions developed by enslaved Black people in the American South. While deeply grounded in these traditions, the service also served as an invitation to commune with the Universal Divine Spirit through collective prayer, sound, movement, and remembrance. The service featured a heartfelt welcome offered by Vaughn Kimmons, and included the construction of an altar and a ring shout held in reverence to ancestors and the enduring spiritual practices of the Afro-diaspora. Songs such as “Wade in the Water,” “This Little Light of Mine,” and other traditional spirituals were sung collectively alongside devotional music and improvisation. Through collective participation, testimony, chant, and sacred sound, the service honored the ways these traditions have carried Black people through generations of survival, resistance, remembrance, and communal healing. The third tape, Recalling the Mystics: Black Mystery Month at The Old Church, was recorded on February 8th, 2025, at The Old Church Concert Hall. “Black Mystery Month” is a term coined by Roman Norfleet that reimagines Black History Month as a space in an alternate dimension devoted to connecting with the Divine Mystery and honoring the spiritual, sacred, and esoteric dimensions of the Black American experience, while maintaining the lineage of Black History Month. This work is dedicated to Black American ancestors who devoted their lives to spiritual, mystical, and esoteric paths. Songs and compositions were created in honor of figures such as Harriet Tubman, Aunt Caroline Dye, Howard Thurman, and Sun Ra, functioning as a form of live ancestral veneration. The evening featured an altar where the ensemble paid homage to ancestors, alongside mystical Southern incantations, storytelling, and poetry from Midnite Abioto. Performing as part of the ensemble, her presence helped weave the spiritual fabric of the night. A slideshow presentation accompanied the service, depicting ancestors such as Nat Turner, Sandy Jenkins (drawing), El-Hajj Malik El-Shabazz (Malcolm X), Bishop C.H. Mason, Zora Neale Hurston, and A. C. Swamini Turiyasangitananda, among others — extending the vision of ancestry across the diaspora and visually deepening their presence throughout the space. The service concluded in sacred prayer led by DJ Ashé.
A1 Hum-Allah-Hum-Allah-Hum-Allah 15:08
A2 Sun In Aquarius (Part 1) 3:42
B1 Sun In Aquarius (Part 2) 24:10
Science Fiction is an album by the American avant-garde jazz saxophonist and composer Ornette Coleman, released in February 1972. It is considered as Coleman's creative rebirth. A stunningly inventive and appropriately alien-sounding blast of manic energy, where Coleman combines his past and future, working with bassist Charlie Haden and drummers Billy Higgins and Ed Blackwell. The album is made up of spacy, long-toned melodies and rhythm, including two songs with Indian vocalist Asha Puthli, which sound like pop hits from an alternate universe, and "Rock the Clock" where an Arabic double-reed instrument called “musette” is used.
Ornette! is the seventh album by Ornette Coleman as a bandleader and the second credited to his quartet (following This Is Our Music). Though considered one of his early works, by the time it was recorded on 31st January 1961, Coleman was already an established jazz legend. His reputation had been cemented by the release of ground-breaking albums such as The Shape of Jazz to Come and Free Jazz.
These two albums embody the central, seemingly contrasting, elements of Coleman's early career: a meticulously crafted approach to melodic innovation and free improvisation, often with only minimal pre-determined structure. Ornette! bridges these two aspects, leaning more towards the former with its focus on melodic exploration, while still incorporating elements of Coleman's characteristic spontaneity.
The album’s opening track, W.R.U., exemplifies Coleman’s refusal to conform to audience expectations or traditional jazz conventions. The theme is sardonic and intricate—too demanding to fit into established jazz frameworks yet too deliberate to be dismissed as pure improvisation. The track encapsulates Coleman’s vision of "free jazz" as music freed not only from rigid structures but also from the constraints of genre classification, a limitation Coleman resisted throughout his career.
Critics have speculated that Coleman’s angular, unconventional sound may reflect his interest in psychoanalysis, suggesting that his music operates on both personal and artistic levels. This interpretation is bolstered by the track titles, which are acronyms of Sigmund Freud’s notable works and essays, hinting at deeper layers of meaning within the compositions.
The album’s brilliance also lies in the exceptional chemistry among its musicians. Don Cherry’s pocket trumpet—a defining feature of Coleman’s early recordings—remains a vital counterpart to Coleman’s alto saxophone. Ed Blackwell, who had appeared on the previous quartet album, demonstrates his rhythmic creativity and technical brilliance, particularly on T. & T., while Scott LaFaro, the newest member of the ensemble, contributes adventurous and daring bass work, most notably in his dynamic solo toward the end of W.R.U. Despite joining after the departure of long-time collaborator Charlie Haden, LaFaro integrates seamlessly, and his bold playing adds a fresh dimension to the group.
While Ornette! is less celebrated than some of Coleman’s other albums, it is a pivotal work in his artistic evolution. Upon its release, it was well-received by DownBeat magazine and later gained increased recognition from critics and publications such as The Village Voice, The Penguin Guide to Jazz Recordings, and Pitchfork. Over time, it has achieved cult status within Coleman’s discography, recognized as a critical document in the development of his innovative musical approach.
"It's been nearly five decades since Joe McPhee assembled a group of musicians to perform the weekend concerts that would become Nation Time. It was December 1970, thirty-one-year-old McPhee was inspired by Amiri Baraka's poem 'It's Nation Time,' and the students at Vassar College didn't know what hit them. 'What time is it?' shouted the bandleader. 'C'mon, you can do better than that. What time is it?!'
"The music on Nation Time came out of the fertile, but little-known creative jazz scene in Poughkeepsie, New York, McPhee's home base. Two bands were deployed, one with a funky free foundation featuring guitar and organ, the other consisting of a more standard jazz formation with two drummers and the brilliant Mike Kull at the piano. Across the concert and the next afternoon's audience-less recording session, the band was ignited by McPhee's passion and his gorgeous post-Coltrane / post-Pharoah tenor. On 'Shakey Jake,' they hit a James Brown groove filtered through Archie Shepp, while the sidelong title track is as searching and poignant today as it was during its heyday.
"Originally released in 1971 on CjR, an imprint started expressly to document McPhee's music, Nation Time has a sense of urgency and inspiration. Additional material from those December days would later appear on Black Magic Man, Hat Hut's first release. In fact, the first four records on this seminal Swiss label all featured McPhee.
"Nation Time was largely unknown a quarter century or so later, when it was first issued on CD through Atavistic's Unheard Music Series. On Corbett vs. Dempsey, we reissued the album along with all known tapes leading up to and around it as a deluxe box set, but the standalone LP has long remained incredibly rare. Now is the time for a new generation of freaks to lose their shit when settling into the cushy beat of 'Shakey Jake' and answer McPhee's call with the only appropriate response: It's NATION TIME."
– John Corbett
"We're very happy to release Johannes Rød’s amazing new book Free Jazz and Improvisation on LP and CD 1965-2024. This is the complete guide to avant-garde/experimental/contemporary. Jazz/spiritual. Jazz/improvisation/modern composition. Electronic/abstract/noise. And a guide to 185 label. A monument of discographic research spanning six decades of freeform music. "
Masayuki Takayanagi, having absorbed free jazz, offers a response that brings the tumultuous 1970s to a close. His return to his roots—a tribute to Lennie Tristano and Lee Konitz—serves as a rite of passage to reach new heights in the coming era.
"As expected, the set began with some brain-blasting brutal noise [...] Although Merzbow is known for his extreme electronics, he is much more diverse and creative than most give him credit for. The best part of the set was when both Merzbow and Mats [Gustafsson] worked more carefully with their electronics while Mr. Pándi played some cerebral, shifting currents on his drums [...] which brought this set to a grand climax [...]". » GALLANTER, Bruce. « Downtown Music Gallery », June 2018 "The festival concluded—climactically and cathartically—with a bracing wall of sound, noise and fury from the trio of Gustafsson, the mystical Japanese noise master Merzbow and impressive young Hungarian drummer Balázs Pándi.". » WOODARD, Josef. « DownBeat », May 27, 2018 "If you've seen Merzbow perform live, a question you probably wouldn't ask is, "How can we make that louder?" Well, the answer comes in the form of sax monster Mats Gustafsson and a relative newcomer, Hungarian drummer Balázs Pándi." » HILL, Eric. « Exclaim! », May 20, 2018
On May 28, 1969, four American musicians -- reed/wind players Roscoe Mitchell and Joseph Jarman, bassist Malachi Favors, and (accompanied by his wife, singer Fontella Bass) trumpeter Lester Bowie -- boarded the ocean liner S.S. United States, bound for Le Havre, France. After landing five days later, they moved on to Paris, where they got to work. On August 22, 1970, in the waning days of their stay overseas, the group, with Bass on vocals, would record their second release for EMI's Pathé Marconi: the movie soundtrack Les Stances à Sophie. The record, an exciting, eminently listenable combination of soul, classical, and jazz strains that survives as the Art Ensemble of Chicago's most stylistically diverse album, has long been admired by a devoted cult. Its durability is largely due to the popularity of its "hit": Over the years, "Theme de Yoyo" has been covered repeatedly, essayed by acts as varied as German funk band the Boogoos (and the offshoot Deep Jazz, both featuring singer Julia Fehenbeger), British nu-jazz combo the Cinematic Orchestra, Polish jazz man Wojtek Mazolewski, Norwegian rockers Motorpsycho, French dance music artist Étienne Jaumet, and London-based remixer, Shall I Bruk It. More than half a century later, "Theme de Yoyo" and Les Stances à Sophie still bring it. Limited-edition LP reissue from play loud! Productions, supplemented with new notes by U.S. music journalist Chris Morris.
HUMAN ERROR CLUB is keyboardists Diego Gaeta and Jesse Justice and drummer Mekala Session. Gaeta is a jazz-trained pianist with a restless harmonic imagination. Justice honed his chops making beats before trading his MPC for a Fender Rhodes, always maintaining a producer’s ear for texture and detail. Session, raised in Los Angeles’ Leimert Park, studied under the legendary drummer Billy Higgins, and also leads the Pan Afrikan Peoples Arkestra. All hailing from different corners of LA, these longtime musician friends came together in 2019 as a solution to a recurring dilemma: good bassists are hard to find. What was originally meant to be a one-off for the underground series BackbeatLA turned into a regular thing, and soon the trio was in the studio recording what would become their debut album. HUMAN ERROR CLUB AT KENNY’S HOUSE, the group’s first release on Backwoodz Studioz, is their first album since 2022. The project emerged from three recording sessions that took place at LA producer Kenny Segal’s home studio between 2021 and 2024. Segal, an underground hip-hop mainstay, opened not just his space but his full arsenal of gear and toys. The sessions were pure improvisation, the trio’s defining compositional approach. Out of this comes a project grounded in exploration and bound by trust, mutual respect, and a shared musical vocabulary. A collection of sound experiments bridging and pushing their varied creative lineages forward. Beyond just playing host, Kenny Segal engineered and produced, cutting roughly ten hours of raw material into this album. He’s also the link to a constellation of features from the Backwoodz universe: ELUCID, Moor Mother, Pink Siifu, Quelle Chris, billy woods, Cavalier, and k-the-i??? These collaborations extend HUMAN ERROR CLUB’s musical family, each folding into the group’s soundscapes. This wild, synthy ride captures a band in motion: improvisation as method, not a format—built on generative tension and honest craft.
To mark 50-years since a 22 year old Michael Gregory Jackson recorded his groundbreaking first release, "CLARITY / CIRCLE / TRIANGLE / SQUARE", recorded with the mind blowing group of his contemporaries Oliver Lake, David Murray and Leo Smith. This album is like no other I know, a new world, finding a perfect balance between multiple genres. Moved-By- Sound is very excited and honored to be involved in releasing the first reissue authorized by Michael Gregory Jackson since the original release in 1976. Remastered and restored, it is a perfect album in which to lose and/or find yourself in these complicated times.
To mark 50-years since a 22 year old Michael Gregory Jackson recorded his groundbreaking first release, "CLARITY / CIRCLE / TRIANGLE / SQUARE", recorded with the mind blowing group of his contemporaries Oliver Lake, David Murray and Leo Smith. This album is like no other I know, a new world, finding a perfect balance between multiple genres. Moved-By- Sound is very excited and honored to be involved in releasing the first reissue authorized by Michael Gregory Jackson since the original release in 1976. Remastered and restored, it is a perfect album in which to lose and/or find yourself in these complicated times.