MUSIC

‘Yarrow’ is a bouquet of new music by Portland, Oregon-based musician and field recordist Patricia Wolf, marking the label’s ninth release and the third of Season Two. These works are her reflections on the life cycle of plants and their dynamic ecological relationships. Yarrow (Achillea millefolium, Asteraceae) is a flowering plant with a broad geographic range that includes North America and Eurasia. Yarrow connects Portland and London, where these songs were created and produced. Wolf wrote and recorded the music in Portland, Oregon, and it was pressed in the UK. Wolf created the album in response to her artist residency at the Rocky Mountain Biological Laboratory in Gothic, Colorado, as part of the Art-Science Exchange Project in the summer of 2024. She worked closely with ecologists Dr Paul CaraDonna, Dr Amy Iler, Dr Jane Ogilvie, Dr Nickolas Waser, Dr Mary Price, and Dr Will Petry, spending weeks engaged in long-term research on plants, pollinators, and their interactions as the climate changes. Each track on Yarrow looks at a different part of a plant’s life. The songs touch on the conditions that plants need to grow, the quiet life of roots, how flowers attract pollinators, and the strength of seeds. The first single, 'Inflorescence', the scientific name for the floral display that a plant makes in an effort to reproduce, captures this event in song. The music slowly builds layers, reflecting the album’s overall feel. The album ends with the majestic Boards of Canada-esque 'Adapted for Extreme Conditions', and the entire b-side features Patricia’s field recordings from around Gothic, Colorado, and a guided meditation by Dr Paul CaraDonna, whose research inspired the project, inviting listeners to tune into the sounds and activities of the ecosystem.

Following Music From Memory’s landmark compilation Virtual Dreams—which reframed ambient techno and IDM through a new age lens—comes another groundbreaking survey. Telepathic Fish: Trawling The Early 90s Ambient Underground revisits the legendary early ’90s London ambient party Telepathic Fish. Conceived by Mario Aguera, David Vallade, and Kevin Foakes (DJ Food), the series intersected with experimental spaces like Ambient Soho and Megatripolis, and this release captures that moment in vivid detail. Featuring unreleased and rare material from the likes of Global Communication, Spacetime Continuum, and Nightmares On Wax, the set reflects the multifaceted character of the ambient underground in its formative years. Complete with a 20-page booklet of photographs and archival materials, this is an essential document that reconnects sound with its era and hands the spirit of ’90s ambient and chillout into the present.

Join the Kyle Shepherd Trio on “A Dance More Sweetly Played” as they explore, collaborate and improvise on the ‘songs we like to play’. The album’s title is a dedication to the celebrated South African artist William Kentridge, with whom Shepherd collaborated on a joint-work “Waiting for Sybil” that has toured world-wide. In addition to ten Shepherd originals, perhaps most unexpected is the inclusion of an exquisite reading of Massive Attack’s ‘Teardrop’ and a deconstructed take of Journey’s ‘Don’t Stop Believing’, a favourite rock anthem that Shepherd describes as a ‘guilty pleasure’. ‘The inclusion of the Massive Attack and Journey tunes – that’s something out of character to me,’ observes Shepherd. The selection rests well within the grand jazz tradition of repurposing popular songs as vehicles for improvisation, thought, and pleasure. ‘It just came down to playing some tunes that we like and we can flow with, so that we can be inspired and express ourselves in a very natural organic way,’ he says. ‘We walked away from the from the studio feeling like – you know, we actually really enjoyed playing this record!’ ‘With this record, I felt less attached to any sort of predetermined concepts except that we would play some music that I wrote that we like – a selection of things that we like to play. It felt like a bit of a tonic – every musician gets a chance to breathe through the music, and the music just flows and moves as organically as we could make it.’ To hear one of South Africa’s foremost pianists play with intention, freedom and enjoyment, in the tradition and beyond it, is above all a gift to the listener, and Matsuli Music is proud to be able to share the Trio’s first album in a decade, A Dance More Sweetly Played. "… it’s in his linking of international influences with his own local traditions that his strength lies." Peter Bacon, The Jazz Breakfast

After nearly two years, Okonski returns with Entrance Music — an album that finds the trio at the height of their improvisational prowess and celebrating the spontaneous and meditative. On the heels of 2023’s debut Magnolia, pianist and leader Steve Okonski has reconvened long-time musical collaborators (Durand Jones and the Indications bandmate Aaron Frazer on drums and bassist Michael Isvara “Ish” Montgomery) for another session in the spirit of artists like the Bad Plus, Gerald Clayton, and The Breathing Effect. Ultimately Entrance Music serves as an invitation to early hours, where songs linger in the doorway, announcing their presence before returning to the air, in a meticulous drift into the next.

Recorded over a five day session, Entrance Music was one of the first albums committed to tape at Portage Lounge, Terry Cole’s studio in Loveland, OH. “It was a new setup, but with Terry behind the dials it was very familiar,” says Okonski. “I can’t emphasize enough how much Terry feels like a fourth member [of the band] because of the space he’s curating, the energy he is bringing, and the production ideas.” The energy and sound created with the Colemine labelhead at the helm makes for a listening experience equally at home with ECM or Stones Throw catalogs.

From the rippling notes of the pastoral opener, “October,” Entrance Music is lush with anticipation, both band and listener feeling the tension in the tranquility — where the interplay of jazz improvisation and boom bap beats never shortchanges the musicianship but the talent is ever in service of the song.

While the band does not play together as often as they would like, not much time is needed for the three to lock in. Montgomery’s bass opening to “Passing Through” bends and moves with a singular meditative grace before piano and percussion joins the daylight filling a room with breath and light. If Magnolia resonated with last calls and late nights, Entrance Music counters with early mornings and first cups of coffee.

Whereas much of the debut resonates with his time in New York, Entrance Music “feels a little less ‘on the streets at 2 A.M.’ and a little more nature-based…a little more ethereal,” says Okonski. “It’s definitely age, environment, and family — all of that does come through in the music.” <iframe style="border: 0; width: 350px; height: 439px;" src="https://bandcamp.com/EmbeddedPlayer/album=3410800866/size=large/bgcol=ffffff/linkcol=333333/artwork=none/transparent=true/" seamless><a href="https://okonski.bandcamp.com/album/entrance-music">Entrance Music by Okonski</a></iframe>

A highly collectable compilation first released as a double-CD by Mule Musiq in 2013, now updated and expanded to a triple-CD set of 21 remixes clocking in at almost 4 hours. Self-released on Sprinkles' own Comatonse Recordings, Queerifications & Ruins: Collected Remixes by DJ Sprinkles Expanded Edition compiles the bulk of DJ Sprinkles' third-party remix work produced between 2006 and 2017. Discs 1 and 2 are essentially identical to the first edition, featuring reworks of tracks by Leftroom boss Matt Tolfrey, Japanese producer Kuniyuki, Chicago producer Area, Ojo De Apolo founder Jorge C., and French DJ Hardrock Striker. Disc 3 adds long sought after remixes of Scissor & Thread boss Francis Harris, UK media sweetheart Simon Fisher Turner, regular Comatonse collaborator Will Long, the late US composer John Cage, and even "that" remix of The Mole everyone bitched about not being on the original compilation despite it not even existing yet. Unfortunately, one of our audio producer friends couldn't join us this time around, so the opening two tracks on Disc 1 have been "demixed" into new DJ Sprinkles tracks exclusive to this compilation, "Empty Dancefloor" and "Lost Dancefloor." (Okay, track 1 sounds the same as before because it consisted of only Sprinkles' parts to begin with, but track 2 brings in some changes.) All copies are hand assembled by Sprinkles herself, with the packaging including three CDs in an archival vinyl pouch, a double-sided insert card (100mm x 100mm), phonograph style anti-static inner sleeves, and a 4x4 panel poster insert printed on newsprint (472mm x 472mm) featuring Emi Winter's painting, "Lady."

With But remember what you have had, Stephen O’Malley continues and expands his musical approach by transposing it to multiphonic electroacoustic writing and acousmatic listening. Drawing not only on his extensive experience as a composer and live instrumentalist, but also on the countless studio production and mixing sessions he has taken part in the course of his many projects (in solo, with SUNN O))) or KTL, to name but a few), Stephen O’Malley’s work on this new piece is ambitious, engaging in an inspired research that delves into the deep intricacies between polyphony, intonation and timbrality, enhanced by melodic motifs. To do this, O’Malley summons up his own very personal sound universe, constellated with amplified textures, instrumental sustained tones and raw energy, in order to diffract them into wavefronts, waves and blows that weave a complex, rich and fascinating matter. But remember what you have had stands out as an important work in Stephen O’Malley’s repertoire: it brings together the multiplicity of his musical approach in an exemplary way, while laying the foundations and promises for the future of an already extraordinary journey.

2025 edition. Kali Malone’s The Sacrificial Code is the 2019 breakthrough album of the acclaimed composer’s pipe organ pieces. Her temporally informed studies of harmonics and intonation breathed life into a suite of compositions which leaves the heart moved and mind still. This 2025 edition was mastered by Rashad Becker and features a new track Sacrificial Code III.

Pitchfork praised the album for its "time-stretching properties" and "clean minimalism". Resident Advisor described the album as an "exercise in concentration, restraint, and focus". Tiny Mix Tapes emphasized the "intensity and intimacy" of the album, pointing out how Malone's close miking technique brings out every textural detail of the organ, creating a highly focused and immersive listening experience.

48k/32bit master by Rashad Becker

From 1970s Hawaii on to modern day New Jersey, Don Slepian has enjoyed a reputation as one of new age’s most respected and technologically-advanced synthesists. Slepian’s 1980 landmark Sea of Bliss is frequently cited as one of new age’s greatest albums, and is one of the genre’s most legendary tape-only recordings. Two side-length Alles synthesizer tracks transport listeners to personal paradises for relaxation, rest, focus and reset.

Vision Songs Vol. 1 (1984) is the LARAAJI album like no other, located at the intersection of new age and gospel. It is both his outlier and magnum opus, the feel-good DIY tape of the century.Discovered busking in Washington Square Park by Brian Eno in the late 70s, engagement with the eternal flow has led Laraaji to, seemingly by magic, emerge as the most beloved avatar of the unstoppable new age music revival of recent years.Now Vision Songs rewrites Laraaji's musical history. Vision Songs is literally a revelation -- of a master songwriter whose unbelievably catchy best compositions such as "We Shall Be Lifted", "All Of A Sudden", and "Is This Clear?" belong in any great American songbook.Casio synth jams recorded at spiritual retreat guest rooms and a tiny bedroom on the Upper West Side, lysergically-spectacular anthems for a continually arriving new moment, "channeled," as Laraaji states in the album's eloquent liner notes, "from the sky," previously available in an edition of 100 cassettes sold at yoga retreats and on the streets of New York City, Vision Songs is humbly offered on vinyl, CD, and streaming for the very first time.

First volume of solo piano compositions by Emahoy Tsege Mariam Gebru, finally back in print. Born to an aristocratic family in Addis Ababa in December of 1923, Emahoy spent much of her youth and young adulthood studying classical music in Europe. She returned to Ethiopia in the 40s, where the war interrupted her musical studies. In 1948 during a church service in Ethiopia, she found her faith and began years of religious training. Throughout her physical and spiritual journeys, Emahoy continued to compose for the piano. She first released this album in Germany 1963 as small private press record. The tracks reflect her own travels, seamlessly moving between Western classical and traditional Ethiopian modes, evoking Erik Satie, the orthodox liturgy, and meditative Christian music all at once. Her work is like no one else in the world, lyrical, hypnotic, full of spiritual warmth and a direct connection to the divine. Emahoy is now 98 years old and still lives in Jerusalem. She continues to play, and the funds from her work go to the righteous causes to which she has dedicated her life. We are incredibly proud to present this music on vinyl again, mastered by Timothy Stollenwerk and presented in collaboration with the EMAHOY TSEGE MARIAM MUSIC PUBLISHER and Foundation. This black vinyl LP version includes a new reproduction of the original artwork, with the composer’s own notes, translated from the original German.

From beloved composer Emahoy Tsege Mariam Gebru, a revelatory new album of piano pieces, unreleased or virtually inaccessible until now!

Emahoy Tsege Mariam Gebru is a true original – an Ethiopian nun whose recordings have funded orphanages back home since the early ’60s. Her compositions and unique playing style live somewhere between Erik Satie, Debussy, liturgical music of the Coptic Ethiopian Church, and Ethiopian traditional music. It is some of the most moving piano music you will ever hear.

This is the first archival release of the great composer’s recordings since the Éthiopiques series reintroduced her music to the world in 2006. Drawn from original master tapes and a nearly impossible-to-find vinyl release, Jerusalem unveils profound new facets of Emahoy Gebru’s performance and compositions.

The record picks up where the last two Mississippi releases left off, with tracks from her 1972 album Hymn of Jerusalem, of which only a handful of copies are known to exist. These include “Home of Beethoven,” “Aurora,” and a true masterpiece that stands amongst her greatest compositions, the moving “Jerusalem.” “Quand La Mer Furieuse” is the first release featuring Emahoy’s singing voice, forshadowing a vocal album planned for fall 2023. The B-Side brings us the artist’s home recordings - tracks like “Farewell Eve,” “Woigaye Don’t Cry Anymore,” and “Famine Disaster 1974” mark a bridge from liturgical work to dark and intense classical material, a new mode.

This album is released in celebration of Emahoy Gebru’s 99th birthday on December 12, 2022. Mississippi is honored to work with the Emahoy Tsege Mariam Music Publisher to continue to introduce this visionary composer to the world.

Newly remastered recordings pressed on 160gm black vinyl, heavy jacket with reproduction of 1972 artwork, song notes by the artist. 

Written and recorded between 1972 and 1982 in Western Oregon, Back to the Woodlands is a previously unreleased, and nearly lost, album made by Ernest Hood during the same era as his near mythical album Neighborhoods. A visionary combination of field recordings, zithers, and synthesizers, Back to the Woodlands offers an unprecedented depth of access to this singular artistic mind. Working closely with his estate to maintain his original vision, Freedom to Spend has restored and remastered this never before released, lost masterpiece by Ernest Hood from the original tapes. Ernest Hood’s Back to the Woodlands will be issued on vinyl, as well as on CD in combination with its contemporary Where the Woods Begin, with new liner notes by Michael Klausman.

Wheat and Rust was American composer and electronic musician Tim Story’s fourth and final album for the tiny but influential Norwegian label Uniton/Cicada. It was released in 1987, just on the cusp of the greater renown he would enjoy the following year with his Glass Green record, and a Grammy nomination soon after. Rust Smudges, the artist’s latest work, is an unlikely deconstruction of Story’s own Wheat and Rust, a haunting acknowledgement of time passed and the artistic evolution that has propelled Story, 30 years on, through an unpredictably varied and idiosyncratic career. Rust Smudges is both a distillation of the artist’s recent audio installations that re-contextualize existing material into new forms and experiences, and his unabashed fondness for an audio process that he deprecatingly dubs ‘smudging’. Originally developed simply for his own enjoyment and inspiration, these tone poems are built essentially by submitting harmonically-rich, looped phrases of other people’s music to a process that freezes and ‘smudges’ them. The aural equivalent of watching a movie by viewing only one frozen frame every 5 seconds, with everything in between lost, the hazy apparitions that result cycle through hypnotic, constantly-evolving landscapes both enigmatically abstract and warmly familiar. For Rust Smudges, Story manipulated all 12 pieces of his ’87 release, creating two completely new ambient tracks. It marks the first time the composer has submitted his own recorded music to these unconventional processes, and his pairing of early work with an inherently fragile playback medium crystallizes – and subverts – the distances between youthful exuberance and the inevitable, humbling passage of time. Wheat and Rust’s original tracks proved ideal for the proceedings, Story’s trademark harmonic language was blooming by the late 80’s, creating in the smudges a warmly epic contrast to the icy blurs the digital synths impart. The stately, ambiguous progressions that result are profoundly ruminative - reducing active melodies and intricate arrangements into a deep largo of harmony and timbre the way memory softens sharp narratives into transitory pulses of feeling and recollection. In the process of reworking music from his past, Story manages to put his own melancholy ‘meta’ fingerprint on a cassette culture that was in its first generation when he and his fellow explorers first exploited it in the 70’s, out of necessity rather than choice. Available on digital and in a limited edition of 300 cassettes through Dais records, with an artist edition of handmade box sets (with Rust Smudged dubbed onto the original Wheat and Rust cassettes) available directly from Tim Story.

Black Truffle is thrilled to present the first ever solo Donso n’goni recording from octogenarian Swedish multi-instrumentalist Christer Bothén. Active in the Swedish jazz and improvisation scene since the 1970s, often heard on bass clarinet, Bothén travelled to Mali in 1971, eventually making his way to the Wassoulou region in the country’s south where he encountered the Donso n’goni, the sacred harp of the hunter caste of Wassoulou society. Though playing the instrument has traditionally been restricted to those who belong to the hunters’ brotherhood, Bothén found an enthusiastic teacher in Brouema Dobia, who, after many months of intensive one-on-one lessons, gave Bothén his blessing to play the instrument both traditionally and in his own style. Returning to Sweden, he would go on to pass on what he had learned to Don Cherry and play the Donso n’goni in a wide variety of inventive settings, including the driving Afro-jazz-fusion of his Trancedance (reissued as BT118).

The seven pieces of Christer Bothén Donso n’goni offer up a stunning showcase of Bothén’s work on this remarkable instrument, heard entirely unaccompanied, except for the final piece where he is joined on a second Donso n’goni by his student and collaborator, the virtuoso bassist Kansan/Torbjorn Zetterberg, and Marianne N’Lemvo Linden on the metal Karanjang scraper. Produced by Johan Berthling (of Fire! & Ghosted) and recorded in three sessions in Stockholm between 2019 and 2023 in richly detailed high fidelity, the instrument’s buzzing, sonorous bass strings make an immediate, overwhelming sonic impression. Hyper-focused on hypnotically repeating pentatonic patterns, the seven pieces are at once relentlessly single-minded and endlessly rich in subtle variations. The concentrated listening environment turns small details, such as the deployment of the instrument’s segesege rattle on two of the pieces, into major events. Six of the seven pieces are traditional, with Bothén contributing the remaining ‘La Baraka’, but the line between tradition and the individual talent is imaginary here: as Bothén explained in a recent interview with The Wire’s Clive Bell, ‘I play traditional and untraditional, and I play the music forward and backward’. While the traditional Wassoulou pieces provide the rhythmic and harmonic elements, Bothén’s individuality as a performer is alive in every moment, felt acutely in boundless variations of attack, improvisational flourishes, and unexpected accelerations and decelerations. Captured entirely live and bristling with spontaneity, this music is undeniably the product of almost half a decade of Bothén’s devotion to the Donso n’goni and its traditional music.

Accompanied by detailed new liner notes by Bothén and stunning colour photos from his time in Mali, Christer Bothén Donso n’goni is a stunning document of a remarkable instrument, played with an almost spiritual intensity by one of contemporary music’s great explorers.

Black Truffle is pleased to announce a tenth anniversary reissue of Oren Ambarchi’s Quixotism, originally released on Editions Mego in 2014. Recorded with a multitude of collaborators in Europe, Japan, Australia and the USA, Quixotism presents the fruit of two years of work in the form of a single, LP-length piece in five parts. Quixotism takes the driving rhythmic aspect of works such as Sagittarian Domain to new levels, with the entirety of this long-form work built on a foundation of pulsing double-time electronic percussion provided by Thomas Brinkmann. Beginning as almost subliminal propulsion behind cavernous orchestral textures and John Tilbury’s delicate piano interjections, the percussive elements (elaborated on by Ambarchi and Matt Chamberlain) slowly inch into the foreground of the piece before suddenly breaking out into a polyrhythmic shuffle around the halfway mark, and joined by master Japanese tabla player U-zhaan for the piece’s final, beautiful passages. The pulse acts as thread leading the listener through a heterogeneous variety of acoustic spaces, from the concert hall in which the Icelandic Symphony Orchestra were recorded to the intimacy of crys cole’s contact-mic textures. Ambarchi’s guitar itself ranges over this wide variety of acoustic spaces, from airless, clipped tones to swirling, reverberated fog. Within the complex web Ambarchi spins over the piece’s steadily pulsing foundation, elements approach and recede in a non-linear fashion, even as the piece plots an overall course from the grey, almost Nono-esque reverberated space of its opening section to the crisp foreground presence of Jim O’Rourke’s synth and Evyind Kang’s strings in its final moments. Formally indebted to the side-long workouts of classic Cologne techno, the long-form works of composers such as Éliane Radigue and the organic push and pull of improvised performance, Quixotism is constantly in motion, yet its transitions happen slowly and steadily, often nearly imperceptible, the diverse elements which make up the piece succeeding one another with the logic of a dream. At the time of its first release, Quixotism was clearly a summation of Ambarchi’s work in the years leading up to it. Now, listening back a decade later, it also seems like an arrow pointing to the future, suggesting paths that would be explored further in works to come: the pulsating guitar layers of Hubris, the album-length collaboration with Jim O’Rourke and U-zhaan on Hence, Shebang’s joyous layering and percussive drive. Now sounding better than ever in a new remaster by Joe Talia, the time is ripe to rediscover its quixotic charms.

Shivkumar Sharma, the guitarist Brij Bhushan Kabra, and flutist Hariprasad Chaurasia were all aged about 30 when they made Call of the Valley. Shivkumar Sharma, who had made his first solo album in 1960, was responsible for establishing and popularizing the instrument in Hindustani classical circles. Kabra was also having to prove himself because of the guitar's Western and Indian popular music associations Chaurasia's problem was the wide popularity of the bansuri -- a bamboo transverse flute -- and his need to establish himself with the instrument. In 1967, the concept behind this album was as revolutionary as it was traditional. Conceived as a suite, they used their instruments to tell the story of a day in the life of a shepherd in Kashmir using ragas associated with various times of the day to advance the dramatic narrative. If the newcomer buys only one Indian classical recording, it should be Call of the Valley. Call of the Valley is considered Kabra's most beloved recording. It is certainly his most popular globally. Newly remastered for this edition. Limited edition pressing.

Music for movies by Václav Kadrnka "Absence of the loved one is a theme running through both films, but during the creative process we never discuss with the Havels the themes, symptoms or attributes of the characters. We do not specify any meanings. Our collaboration is intuitive, based on interconnectedness. We neither explain things to each other nor analyse. From the outset we have a common goal: to quieten the viewers’ perception, to attune them to certain vibrations by visual, musical and acoustic repetitions, thus enabling them to focus on every tiny detail, every subtle aesthetic quality, so that by the end of the film they have a sense of reconciliation. In fact it is a state similar to meditation or prayer. The aim is being shown Mercy. Each time, the linking of the filmed images with Irena and Vojtech’s music has uncovered a new quality that we have named: a commentary on eternity. Characters cease to be determined by their senses, psychological motivations, or the times they live in. They find liberation in the stream of eternal time." /Václav Kadrnka "We would like to thank all our friends, sound engineers and musicians. The main thanks goes to director Václav Kadrnka, his family and all his collaborators for the precious opportunity to assist them in creating both films. We have worked on our music for the film Saving One Who Was Dead for three years. We met with Václav, discussed the screenplay while it was being born and many other things. We have gradually prepared several working versions that included compositions for piano, Indonesian gamelan, gongs, Tibetan bowls, bells and mini-bells. Yet, step by step, we made it simpler and simpler and eventually only kept violas da gamba, organ and chanting. Everything else was redundant. We made most of the recordings of the compositions for viola da gamba in a church in Prague. The composition for organ was recorded in Milan where we performed a concert shortly before the pandemic arrived in December 2019. We tried to record it in various churches in Bohemia but it was not until the church in Milan that we found the best sounding organ. As for Little Crusader, we recorded the music for the film after it was completed. We had several versions and used the piano version for this album. Together with Václav, we searched for instruments that would work the best for this Medieval story. Eventually, we opted for harmonium with simple chanting which accompanies the character little boy Jenik. Violas da gamba intertwine, move close and then apart from each other the same way as paths of little boy Jenik and his father who is searching for him. Simple chanting and Tibetan bowl accompany scenes with little boy Jenik’s mother who awaits them at home. Trombone and saxophone are like metal swords and the knights’ armor. Violoncello and viola da gamba walk in the rhythm of horse’s hooves, in the rhythm of heartbeat of both the horse and his rider – a father searching for his lost son." / Irena and Vojtěch Havlovi

src="https://bandcamp.com/EmbeddedPlayer/album=2063437934/size=large/bgcol=ffffff/linkcol=333333/artwork=none/transparent=true/" seamless=""><a href="https://havlovi.bandcamp.com/album/saving-one-who-was-dead-little-crusader">Saving One Who Was Dead / Little Crusader The Havels / Irena &amp; Vojtech Havlovi</a>

Dj Sprinkles’ debut full length album,continues with themes from 1998’s “Sloppy 42nds: A tribute to the 42nd Street transsexual clubs destroyed by Walt Disney’s buyout of Times Square” (a track recently featured on Ame’s “Coast2Coast” DJ mix compilation for NRK Records).

While the world celebrates the revial of New York House Music, constructing utopian fictions about the genre as it goes along, DJ Sprinkles retreats deep into the bowels of house. This is the rhythm of empty midtown dancefloors resonating with the difficulties of transgendered sex work, black market hormones, drug & alcohol addiction, racism, gender & sexual crises, unemployment, and censorship.

The title song of track1&2 is a real “strictly rhythm” house music. It’s a simple 4/4 beat with piano loop.maybe this is a real minimal house! Third track “Ball’r (madonna-free zone)” is a euphoric mid tempo house.this track reminds jan jelinek or larry heard.

Fourth track “Brenda’s $20 Dilemma” is a sequel of his fag jazz style.check the beautiful kuniyuki remix of this song(mule musiq 34). Fifth track “House Music Is Controllable Desire You Can Own” is a classic new york house style.if you like the record of jus-ed or that kind of artist,you like this song.

Sixth track “Sisters, I Don’t Know What This World Is Coming To” is a one of the highlight song on the album. Actually this track is not 4/4 beat house but very emotional powerfull music. Seventh track “Reverse Rotation” is a deep and madness beautiful song.When you listen this song,you associate the music of theo parrish or pepe bradock.

Eighth&nineth track are main songs of this album. “Grand Central, Pt. I (Deep Into the Bowel of House)” is associated the sound of jungle wonz or virgo. but this song is filled with somthing sadness.check the story about this album from terre,you will see…. http://www.comatonse.com/releases/midtown120blues.html This album is for a real house music lovers.

視聴-Midtown 120 Intro・ミッドタウン１２０イントロ
視聴-Midtown 120 Blues・ミッドタウン１２０ブルース
視聴-Reverse Rotation・後戻り
視聴-Grand Central, Pt. II (72 hrs. by Rail from Missouri)・グランドセントラル駅　パート２（列車でミズーリ州から72時間）

In recent years, in the world of jazz and spiritual jazz, the phrase 'holy grail' has been often used. Once in a while though the phrase is truly justified, such as is the case with this reissue: Abdullah Sami - "Peace Of Time" Recorded in New York in August 1977 and released in 1978 on Sami's own label imprint, only 300 copies were ever pressed, each cover individually hand-made with different covers photocopied and pasted onto different coloured paper while some copies were adorned with Sami's own hand-drawn art (in much the same way as some of the rarest albums by Sun Ra). Forty years later, such a fabled, rarely seen artefact would garner mythical status amongst spiritual Jazz seekers with original copies selling online for over $2,000. But first, behind every myth and legend, there's a true story, or in this case two stories... Abdullah Sami's father, William Frank Slaughter, the composer of ‘Afrikan Samba’ and an accomplished saxophonist in his own right, was a great stimulus in his child's musical development, teaching him music theory and nurturing his creative approach to music since childhood. Called ‘Mudon’ by those closest to him, Abdullah Sami would go on to be part of Chicago's rich, musical tapestry, a city imbued with the urban blues of Muddy Waters and Howlin' Wolf, the soul of Curtis Mayfield and Donny Hathaway, home to influential record labels Chess and Delmark and the legendary Jazz artists co-operative the AACM (Association for the Advancement of Creative Musicians). Sami built a steady reputation in Chicago’s underground jazz and art loft scene, often performing with percussionist Yaounde Olu and bassist Imhotep Askia Ba at the former's own artist gallery Osun on Chicago's South Side, as well as other venues such as the Institute of Positive Education and Aziza Artist Space. In this period he would formulate his own multi-directional saxophone approach, his alto horn shifting modal frequencies in free flight, fluid and hypnotic, playing and teasing with harmony and melodics. Recognition in the Windy City remained elusive however and seeking wider exposure and better playing opportunities Sami headed east to New York where the recording "Peace Of Time" would come to fruition. It would remain perhaps the only documentation of Sami's creative talent, New York and the jazz scene ultimately proving to be as unforgiving as Chicago, to where he would return, but at least Chicago was home. The daily reality of life would take over, and Sami retreated from the music scene that nurtured him... Fast forward forty years to Japan where two jazz-heads from London - DJs, label bosses, radio show hosts, and vinyl diggers - stumble across a record without a sleeve. Intrigued, they ask to listen to it. Immediately they identify it as 'their' vibe, in 'their' spirit. They ask questions. Who is the artist? Where are they from? Did they release anything else? There's no sleeve, just a label. They are informed that nobody knows of anything else by this artist, or what happened to him/them. People have tried for years, they are told, tried to find the artist, tried to locate the label, tried to bring it to the attention of those who love and care for great music. They return to London enthused with missionary zeal to locate the source of this beauty. Phone calls are made, e-mails are sent, they speak to someone who knows someone who maybe knows someone else who...well, more than a year later, it is the spirit muse that finds the artist. He's still in Chicago, working, residing, living, unaware of his only album's legendary status, but he's flattered and thrilled that the team of two, guided by the spirit muse, had found him. Of course they can re-issue his masterpiece! Delighted by his approval, they tell him it's going to be re-mastered and re-issued on audiophile vinyl. Reciprocating their passion, and renewed with artistic vigour, he proclaims he might even "play the horn again!". The circle is complete.

This is a meditative abstract jazz-funk masterpiece that features the mbira, an ancient traditional instrument of the Shona tribe in Zimbabwe that is originally played in rituals to communicate with spirits. Each song has a serene and mysterious beauty behind it, and with the overtones of the mbira, this album has a beauty like a gemstone that sets it apart from many spiritual jazz albums, an exceptional quality. I highly recommend this album to not only spiritual jazz listeners, but to a wide range of music listeners.

Originally released in 1974 on Shandar, Dream House 78'17" is the second full-length album by La Monte Young and Marian Zazeela. This first-time US edition reproduces the original gatefold sleeve with beautiful calligraphy by Zazeela and liner notes by Young and French musicologist Daniel Caux. Side one was recorded at a private concert (on the date and time indicated by the title) and features Young and Zazeela's voices against a sine wave drone with Jon Hassell on trumpet and Garrett List on trombone. This work is a section of the longer composition Map of 49's Dream the Two Systems of Eleven Sets of Galactic Intervals Ornamental Lightyears Tracery (begun in 1966 as a sub-section of The Tortoise, His Dreams and Journeys, which was begun in 1964 with Young's group The Theatre of Eternal Music). The piece evolves with the oscillator changing pitch and dictating an ornate pattern over the course of the performance. Side two is an example of one of the sets of frequencies sustained in the Dream House, the composite sound environments conceived by Young and Zazeela. The composer suggests listening while seated – to experience how the sound interacts with the room and other perceptions of its arrangement – as well as while walking. As Young states, "The frequency ratios are monitored continuously as lissajous patterns on the oscilloscopes and, in spite of the great stability of the oscillators, the phase relationships of the sine waves gradually drift which causes their amplitudes to add and subtract algebraically. Not only does the sound become a bit louder and softer, but at very loud levels, one actually begins to have a sensation that parts of the body are somehow locked in sync with the sine waves and slowly drifting with them in space and time."

A pure shakuhachi work by Katsuya Nonaka, a shakuhachi player and organic rice farmer whose deep relationship with nature forms the very foundation of his musical express

Having studied under Takehisa Kosugi in 1975 and participated in the legendary improvisation group East Bionic Symphonia, Tomonao Koshikawa—now also a member of Marginal Consort and an artist who performs experimental music, jazz, rock, Indian classical music, and even Kanze‑school Noh chanting—presents his second solo work, following his ato.archives debut Footprint

Elevating, uplifting and beautifully arranged. Jasmine Myra's sophomore album Rising builds on the success of her breakthrough album Horizons to deliver a major statement from one of UK Jazz's rising stars. Produced by Matthew Halsall and mixed by Greg Freeman (Hania Rani, Matthew Halsall, Portico Quartet), Rising delivers a confident and vibrant follow up that joins the musical dots between Myra’s influences Kenny Wheeler, Bonobo and Shabaka Hutchings while delivering something unique, beautiful and profound. "Much like my first album, Rising is a reflection of a period of my life. It is a continuation from Horizons, which was all about my experience during lockdown, and entailed overcoming my struggles with mental health. Following on from that experience, I set out to continue building my self-confidence". Rising features the same core of musicians as Myra’s debut album Horizons with guitarist Ben Haskins, drummer George Hall pianist Jasper Green, harpist Alice Roberts (who both also perform with Matthew Halsall) and bassist Sam Quintana who collectively bring a deft understating of the subtle textures of Myra’s music and perform with a collective empathy and drive that really pushes the music on a radiant journey. And a string quartet add gently elevating textures to Still Waters, Knowingness, From Embers and How Tall The Mountains.