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Stones Throw Records debuts new imprint Listening Position with the long-awaited reissue of Kelan Phil Cohran & Legacy’s spiritual jazz masterpiece African Skies.
A holy grail for jazz collectors, African Skies has been out of print since its initial pressing of 1000 vinyl copies in 2010. The thousands who’ve long sought their own copy will welcome this reissue as the definitive version of this profound recording. Used copies fetch over $500+ on the used market, and thousands of users “want” the record on Discogs.com.
Kelan Phil Cohran was a member of the pioneering afro- futurist Sun Ra Arkestra and appears on several of their most acclaimed recordings.
He released several albums of his own compositions in the 1960s with his band The Artistic Heritage Ensemble, including a revelatory tribute to Malcom X – a well-known collectible for jazz aficionados.
Cohran was a mentor to artists such as Earth, Wind & Fire, Chaka Khan and The Hypnotic Brass Ensemble, a Chicago-based brass band whose members included 8 of his sons.
An essential Roy Ayers album blending soulful jazz roots with crisp 1970s funk. Featuring Ayers' signature vibes, tight arrangements, and standout tracks like ‘The Boogie Back’ (sampled by the likes of NWA, 2Pac, De La Soul…) and ‘Change Up the Groove,’ this LP is a must-have for any fan of jazz-funk and vintage grooves. AUDIO: www.youtube.com/watch?v=HCE1TYS7a4w&list=PLeQdEEo-NQ4RiCGrVw6DbTmM4m0CGsMpF Un álbum esencial del catálogo de Roy Ayers, donde el jazz se funde con el funk setentero en su máxima expresión. Con el vibráfono como protagonista, ritmos pegadizos y arreglos sofisticados, incluye clásicos como ‘The Boogie Back’ (sampleado por multitud de artistas como NWA, 2 Pac, De La Soul…) y ‘Change Up the Groove’. Ideal para amantes del soul, jazz-funk y grooves elegantes..
Marcos Valle is one of those artists you simply can’t overlook if you have even a passing interest in Brazilian music. Whether your taste leans toward bossa jazz, samba, psychedelic folk, or modern soul, Valle has surely recorded a great album for you. By the late 1960s he had already released enough outstanding records to secure a place among the greatest Brazilian artists of all time, but fortunately his career didn’t stop there. He has continued recording fabulous albums over the following decades, right up to the present day. This second album by Marcos Valle (1965) is one of the foundational works of bossa nova. In fact, the record includes one of the most widely heard and covered Brazilian songs in history: ‘Samba de Verão.’ In addition to his work as a composer—alongside his brother Paulo Sergio—Marcos Valle also begins to reveal himself here as a great singer, with a soft, almost fragile voice, while his acoustic guitar recreates the same intimacy of the nighttime atmosphere in which he composed most of the songs. The arrangements were co-written with Eumir Deodato, with the participation of other renowned Brazilian musicians, and they surround Valle’s compositions with elegant string orchestrations, bossa rhythms, and jazzy touches of swing. Highlights include the sophisticated beauty of songs like ‘Preciso Aprender a Ser Só,’ the rhythmic 3/4 feel of tracks such as ‘Seu Encanto,’ and the powerful ‘Deus Brasileiro.’ First vinyl reissue in over 50 years! Pressed on 180g vinyl.
Money Chicha, the Austin-based collective featuring members of the Grammy-winning Latin orchestras Grupo Fantasma and Brownout, unveils their third full-length album, “Onda Esotérica”.
Psychedelic cumbia amazónica with South Texas swagger. “Like taking a hit of acid, downing a couple shots of tequila, and hopping a plane to 1960s Peru” – KUTX.
Volume 2 of this series focused on the amazing sonic treasures Bollywood music has to offer. This second volume is centered on the incredible instrumental gems that populate Hindi cinema soundtracks. 14 tracks of pure Bollywood instrumental genius to continue the dive into the mind-blowing world of Hindi cinema music. Covering a time span of 3 decades, this compilation mixes well-known names (like S.D. and R.d. Burman or O.P. Nayyar), with lesser-known talents from the endlessly thrilling vaults of Hindi movie soundtracks and throws a couple of delicious covers for a truly unforgettable sonic experience. Includes liner notes.
Eduardo Polonio (1941–2024) was one of the foundational figures in the emergence and development of electroacoustic music in Spain. The anthology "Eduardo Polonio: Obra electroacústica 1969–1981" revives his legacy with a selection of essential pieces from his early electroacoustic period. The album includes eight compositions created between 1969 and 1981, spanning from Polonio's early experiments at the Alea Electronic Music Laboratory in Madrid to his later work at the Phonos Laboratory in Barcelona. From the raw electronic textures of "Para una pequeña margarita ronca" (1969) to the timbral subtleties of "Flautas, voces, animales, pájaros..." (1981), this collection showcases Polonio’s artistic evolution and highlights different facets of his work as a composer and musician. The included works reflect this multifaceted aesthetic. "Oficio" (1969) is a real-time improvisation recorded using two low-frequency generators and a modified electric guitar amplifier for sound modulation. "Rabelaisiennes" (1969), for prepared guitar, explores minimalism and instrumental experimentation. "Continuo" (1970), a piece for electric guitar and bass, anticipates ambient music while engaging with free jazz and psychedelia. "Me voy a tomar el Orient Express" (1976) stands out for its rhythmic and harmonic interplay between the lines forming the sonic texture. "Valverde" (1981) offers a microscopic study of a distinctive way flamenco guitar concludes bulerías phrases. "El reclinatorio en el tejado de la lejana abadía" (1971) is structured as an imaginary soundscape in the form of a suite. Polonio’s life and work parallel the history of electroacoustic music in Spain. As one of the most significant composers of his generation, he was both a witness and participant in the technological evolution and various aesthetic movements of the late 20th century. From his beginnings at Alea, Spain’s first electronic music laboratory, to his collaborations with figures like Horacio Vaggione and Josep Maria Mestres Quadreny at Phonos, Polonio carved a unique path in the history of Spanish experimental music. "Eduardo Polonio: Obra electroacústica 1969–1981" is released by Buh Records as a limited double LP edition and in digital format, in collaboration with the Asociación de Música Electroacústica de España (AMEE). The audio in this edition has been restored and mastered directly from the master tapes by Víctor Aguado. The album includes extensive liner notes written by Víctor Aguado and Ramón del Buey, with artwork and design by Gonzalo de Montreuil.
lack Truffle is pleased to present Radis, the first recording by the Oslo-based trio of Andrea Giordano (voice and organetto), Kalle Moberg (accordion) and Jo David Meyer Lysne (guitar and snare drum). Now based in Norway, Giordano is a native of Cuneo, in the Piedmont region in the north-west of Italy and her exploration of the Piedmontese language provides the starting point and conceptual anchor of the trio improvisations heard on Radis, which make use of the words of 20th century Piedmontese poets Nino Costa, Bianca Dorato and Oreste Gallina. As the musicians explain, the project is an attempt to preserve the beauty and singularity of a language at risk of extinction. Fittingly, the first sound we hear on the opening piece ‘Fiorìa’ is Giordano’s unaccompanied voice. She sings a poem from Oreste Gallina as a kind of floating cadenza, the accompanying silence sensitizing the listener to the pellucid quality of Giordano’s voice and the unique sound of the Piedmontese language. The voice dies away and into the silence swells a single tone, sounded by Moberg’s accordion and—special guest on this opening piece—the alto saxophone of Mario Gabola. Extended techniques and preparations create unexpected timbres from the acoustic instruments: Gabola’s saxophone is augmented with tin cans and springs and Moberg’s unorthodox techniques allow the accordion to generate wheezing, buzzing textures and patterns of microtonal beating. Giordano’s voice returns, picking up the thread of the languorous opening melody, coexisting for a while with the shifting drone before the piece takes an unexpected yet organic left-turn into a delicate saxophone solo of sorts. Recorded in several locations across Italy and Norway over the course of three years, Radis documents an ensemble who have developed both a distinctive sound-world and a remarkably sensitive group dynamic. Moving from folkish duets between accordion and Giordano’s organetto (the small accordion used in Italian folk music) to episodes of metallic guitar scraping from Meyer Lysne, the music is both quietly contemplative and gently chaotic. Ensemble roles shift with disarming ease. If on ‘Profij dëspers’ Meyer Lysne’s prepared guitar adds a haywire noise element to a lyrical episode of organetto and accordion, the next piece, ‘D’antorn a lor’, is grounded in chiming guitar chords of stunning beauty; once Giordano’s joins, the result calls up the most spacious moments of Maria Monti’s Il Bestiario. Throughout the seven pieces, the trio explore countless possibilities of group interaction and the margin between conventional euphony and pure abstraction: at times the voice floats against silence or seems almost disconnected from the gentle clatter of the instruments (sometimes reminiscent of Nikiforas Rotas’ haunting settings of Cavafy), while at other points the instruments touch on conventional harmonic accompaniment. What is perhaps most striking of all is the way that voice and instruments relate to each other, the extended technique reframing the voice as a kind of abstract sound object, while the melodic beauty of Giordano’s voice lends a contemplative, almost melancholic air to the wheezing and scraping of accordion and guitar. Captured in gorgeously intimate recordings, Jim O’Rourke’s careful and beautifully spacious mix highlights the wealth of textural detail in each element. Accompanied by notes, session photos and the text of the Piedmontese poems, Radis is a work of stunning beauty that demonstrates the vitality of exploratory music in Norway today.
Mikkel Metal makes a welcome return to Echocord with his new ‘Rebuild’ EP, accompanying remixes from Luke Hess and Frenk Dublin. Copenhagen’s Mikkel Metal is a pioneering figure in dub-techno and minimal house, known for his atmospheric soundscapes and textured production. With acclaimed releases on Kompakt and Echocord, including Close Selections, Victimizer, and Peaks and Troughs he’s cemented his place as one of Denmark’s most distinctive electronic artists. Here he continues to dispay this further diving into new sonic realms with a new EP for Echocord. Title-track ‘Rebuild’ opens, a hazy excursion through metallic, reverberations, expansive atmospherics and crisp drums before Detroit’s own Luke Hess steps in to offer his interpretation, delivering his signature groove-driven style, extracting the essence of the original and stirring it in amongst robust drums and spiralling dub echoes. ‘Bend’ is up next and displaying Mikkel’s production prowess as he blends murky bass flutters and analogue rhythms with psychedelic guitar melodies and dynamic space echoes, resulting in something that sounds uniquely his own. ‘Steam’ continues this theme with further psychedelia infused guitar tones flowing alongside breathy vocal stylings and fluttering atmospherics tucked into the depths. Rotterdam, Netherlands based artist Frenk Dublin delivers his ‘Deep Space Rework’ of ‘Stream next, reshaping the original into something entirely different with a dropped-tempo roots dub aesthetic, weaving fragments of the original into the composition alongside swaying dub drums and heavy doses of sub. ‘Midnite’ then concludes the release, another experimental sonic foray into unique effect processing, glitched out percussion, haunting vocals, plucked bass notes and expansive atmospherics.
Newly remastered version of Oren Ambarchi’s long out-of-print classic Hubris originally released on Editions Mego in 2016. Expertly remastered by audio wizard Joe Talia who worked with the original mixes, highlighting the myriad details of the audio with forensic precision, previously unheard up until now. From the 2016 press release: Hubris continues the exploration of relentless, driving rhythms heard on Ambarchi’s Sagittarian Domain (2012) and Quixotism (2014). Where those records looked to Krautrock and techno for their starting points, the sidelong opening track here begins from the perhaps unlikely inspirations of disco and new wave, drawing particularly from Ambarchi’s love of Wang Chung’s soundtrack to William Friedkin’s To Live and Die in L.A. Leaving behind the song-forms of these reference points, Ambarchi weaves a sustained and pulsating web of layered palm-muted guitars from which individual voices rise up and recede, eventually setting the stage for some lush guitar synth from Jim O’Rourke. Arnold Dreyblatt collaborator Konrad Sprenger contributes overtone-rich motorized guitar, pushing the piece into a satisfying intersection of shimmering minimalism and rhythmic drive that smoothly builds up until the entrance of Mark Fell’s electronic percussion in its final section. After a short second part, in which Ambarchi, O’Rourke and crys cole pay tribute to the skewed harmonic sense of Albert Marcoeur with a track built from layered guitar figures and abstracted speech, the long final piece pushes the concept of the first side into darker and denser areas. Joined by electronics from Ricardo Villalobos and the twin drums of Will Guthrie and Joe Talia, the layered guitars of the first piece are transformed into a raw and tumbling fusion-funk groove that calls to mind early Weather Report or even the first Golden Palominos LP. As this stellar rhythm section rides a single repeated chord change into oblivion, a series of spectacular events emerge in the foreground: first, aleatoric synthesizer burbles from Keith Fullerton Whitman, then slashing skronk guitar from Arto Lindsay, until finally Ambarchi’s own fuzzed-out harmonics take center stage as the piece builds to an ecstatic frenzy. Few artists could hope to include such an incredible variety of collaborators on one record and still hope for it to have a unique identity, but Ambarchi manages to do just that, crafting three pieces that emerge directly out of his previous work while also pushing ahead into new dimensions. Players: Oren Ambarchi, crys cole, Mark Fell, Will Guthrie, Arto Lindsay, Jim O’Rourke, Konrad Sprenger, Joe Talia, Ricardo Villalobos, Keith Fullerton Whitman.
Cumbia, currulao, bambuco, juga and Afro Colombian music taken to the realms of dub by Llorona Records & Discos Pacífico producer and dub maestro Cerrero. Cerrero steps into his lab like the alchemists of 1970s Kingston: cutting, repeating, filtering, letting the bass breathe, and allowing echo and reverb to give a new dimension to a unique selection of songs from the catalogs of Llorona Records and Discos Pacífico. Cerrero Dubs is a tribute to classic dub, crafted with the soul of cumbia, juga, and bambuco, from Palenque, San Jacinto, Guapi, and Tumaco: live manipulation, sonic experimentation, bass as backbone, delay as tool. Los Gaiteros de San Jacinto, Son Palenque, Sexteto Tabalá, Bejuco, Agrupación Changó and Semblanzas del Río Guapi… transported into a universe where the sounds of Colombia 's jungles and coasts are not remixed — they are deconstructed, twisted, and dubbed. Cerrero —sound alchemist and founder of Llorona Records and Discos Pacífico— offers a selection of versions in which the Caribbean and Afro-Pacific sounds of Colombia are transformed into hypnotic, ethereal, psychedelic, and minimalist soundscapes. A reinterpretation of the legacy of iconic groups, shaped through the console and the sensitivity of a producer exploring the possible futures of local sound. Llorona Records presenta: Cerrero Dubs Canciones emblematicas de agrupaciones legendarias del sonido Caribe y Pacifico de Colombia llevadas al territorio del dub por CERRERO, productor al frente de Llorona Records y Discos Pacífico Cerrero —productor y fundador de Llorona Records y Discos Pacífico— entra en su laboratorio como lo hacían los alquimistas del Kingston de los años 70: cortando, repitiendo, filtrando, dejando que el bajo respire, y permitiendo que el eco y la reverberación de otra dimensión a una selección única de canciones del catálogo de Llorona Records y Discos Pacífico. Cerrero Dubs es un homenaje al dub clásico, hecho con alma de cumbia, juga y bambuco, desde Palenque, San Jacinto, Guapi y Tumaco: manipulación en vivo, experimentación sonora, bajo como columna vertebral, delay como herramienta. Los Gaiteros de San Jacinto, Son Palenque, Sexteto Tabalá, Bejuco, Agrupación Changó y Semblanzas del Río Guapi… llevados a un universo donde el sonido de las selvas y costas de Colombia no se remezcla: se deconstruye, se retuerce, se dubbea. Cerrero nos entrega una selección de versiones en las que el sonido caribe y afropacífico de Colombia se transforma en paisajes hipnóticos, etéreos, psicodélicos y minimalistas. Una reinterpretación del legado de agrupaciones icónicas, desde la consola y la sensibilidad de uno de los productores que explora los futuros posibles de los sonidos locales.
Released in 1967, “Jazz Raga” is a hypnotic fusion of jazz, rock, psychedelic folk, and Eastern influences. Gábor Szabó, the Hungarian jazz guitarist known for his boundary-pushing style, delivers one of the most captivating records of his career with sitar-laced melodies. From the dreamy groove of ‘Walking On Nails’ to the swirling mysticism of ‘Mizrab,’ and his hauntingly original take on the Rolling Stones’ ‘Paint It Black,’ “Jazz Raga” is a hypnotic fusion where European tradition meets the counterculture spirit of the '60s. ***AUDIO***: youtu.be/aX6CIIJXIeQ?si=1vlVWlVH4QSNpzmQ Publicado originalmente en 1967 en el emblemático sello Impulse, “Jazz Raga” es una mezcla hipnótica de jazz, rock, folk psicodélico y sonidos orientales. Gábor Szabó, el guitarrista de jazz húngaro conocido por su estilo rompedor, entrega en esta obra una de las grabaciones más fascinantes de su carrera con melodías adornadas con sitar. Desde la atmósfera ensoñadora de ‘Walking On Nails’ hasta la mística envolvente de ‘Mizrab’, pasando por su versión profundamente original de ‘Paint It Black’ de los Rolling Stones, “Jazz Raga” es una mezcla hipnótica en la que la tradición europea se cruza con el espíritu contracultural de los años 60.
Short Span hail a twinkling star in their ambient x dub microcosm with Yu Su’s 2nd LP of elegant arrangements entwined with chops by Seefeel, A Dip in the Pool and Memotone, displaying distance travelled over her 10 year catalogue. Preceded by a reputation earned over the past decade for mesmerising DJ sets, a split with CS + Kreme, and gems scattered across PPU to Second Circle and bié Records, Yu Su occupies a fissure of practice between downbeat ambient pop and dance music which has made her a cult concern. Her 2nd solo LP ‘Foundry’ continues to explore sensuous space between styles, with an effortless sense of atmosphere that's gently insistent to more rolling and dreamy motion, always with a quietly steady hand on the rudder. The chewy mid tempo acid title of the title track ‘Foundry’ best belies Yu Su’s links to the ‘floor at the album’s core, along with the lowkey groove-driven micro-dub of ‘Cul De Sac’ or ‘Wanly’, and breezy finesse of ‘Ripe Fruits’. The rest is really a showcase for her sound sensibilities, which ooze from the sticky sway of ‘A Jewel’ with Japanese ambient pop explorer Dip In The Pool, thru the pastoral 4th world scape of ’Sunless’ ft. Memotone, and gently strung-out fever dream scenery of ‘One Place After Another’ benefiting from Seefeel’s super spacious proprioception, drawn to a sublime resting heart rate with the frayed ambient fabric teased into ‘Os Cionn.’
Mysticisms’ returns to the music of the Conscious Sounds label and their short-lived but highly prized Dub meets Funk project, Dub Specialists. Created by label head Dougie Waldrop and Chris Petter (Love Grocer) to explore their interest in samplers and a love of Funk and Jazz. A hugely respected “Digital” and “Roots Reggae” label, Conscious Sounds has been a mainstay of the East London digidub sound for over 30 years. Dub Specialists released 3 albums on the Crispy Music sub label, they have recently gained considerable interest in digger circles, with rising prices to match. As with their first Dubplate outing, the release features extended re-edits by the label and friends, this time featuring versions by Lexx, Miles J Paralysis, Chuggy and Vanity Project. Working with the simplicity and skill of his studio craft, Dougie utilised the Atari 1040, Cubase and Soundcraft mixer to effect. Petters’ chords sit atop reggae basslines, funk samples, loops and this time, a heavy dose of cut up vocals in to the mix. While the first EP came from their debut album, Breat To Break, here the source material for the re-edits comes, in the main, from their second outing “Dub To Dub Beat To Beat”. A more expansive album that also dipped in to 4/4 rhythms and touches of House / Techno. Opening track Dynamic Duo is a 4/4 stepper bomb – with comedic samples from Adam West’s iconic interpretation of Batman – expertly extended by long-standing DJ, producer and edit master, Zurich’s own Alex Storrer aka Lexx, who dials things to max for a club stop. A new name on many lips, Miles J Paralysis takes it all back down with a beautifully drawn out, acid-tinged tripper. Bumpin’, the mid-tempo groove sucks you in, psychedelic and mind expanding. The flip returns to the more traditional Dub Specialists vibes of Breaks’n’Funk’ cut ups, first with (co-)label head Chuggy’s faithful extension of Heavy Dub. Featuring the classic Ijahman Levi’s vocal, the breaks flow and piano / horns stab, a dance floor shaker for the discerning. To close, secret studio fixer to many, Matt Bruce again dons his Vanity Project moniker to perfectly tease and live dub (out) the half-stepper, Reality Dub and close this latest in the Dubplate series.
“duo,” a collaboration between norwegian jazz heavyweight bugge wesseltoft and german house visionary henrik schwarz, is finally being reissued. it stands as one of the finest albums in the history of club music to so beautifully fuse jazz and electronic music. deep and experimental yet irresistibly melodic, this gem of a record possesses a captivating sensibility that draws in listeners of every kind. newly remastered by kuniyuki, this long-awaited reissue comes pressed on 180g vinyl. the refreshed artwork has been created by emerging japanese artist joji nakamura happy 15th anniversary!
“Everything flows – nothing remains, there is only an eternal becoming and changing” is a well-known formulation of the river theory of the Greek philosopher Heraclitus, also known as panta rhei (ancient Greek: πάντα ῥεῖ, “everything flows”). This teaching states that everything in the universe is subject to constant change and that nothing stays the same forever. The metaphor of the river illustrates this: You can't step into the same river twice because both the river and you are constantly changing. The water is constantly flowing, but the river stays in one place. Thus, reality is constantly changing, even if sometimes perceived as constant.” „Same Same but Different.“ Always different – always the same. Chill-Out DJ Heraklit For the 26th time, the most consistent of all ambient compilations, in a constant flux of static change, is released on Kompakt. Joining good friends from the early days and reliable confidants are some new additions to the non-hierarchical charts of contemplative rapture culture. Leading the way is Micå, a Japanese electronic musician whose finely chiseled, graceful musical style has made it onto the new collection with two pieces. Also making his debut is Richard Ojijo, a seasoned sound engineer known, among other things, for his long-standing collaboration with the artist Marcel Odenbach and the Cologne-based label Magazine. Oskø aka Max Hytrek, a multi-talented newcomer to Kompakt and the music scene, debuts with his rapturously ecstatic piece "Ar Vag." He's followed by Sebastian Mullaert, appearing for the second time—this time teamed up with Sebastian Lilja aka Hush Forever. After his surprise return last year after a 20 year hiatus, we are delighted that Tetsuo Sakae aka Pass Into Silence is back again this year with one of his distinctive sound gems. As are Dirk Leyers (Closer Musik) and Mikkel Metal. 18 tracks are featured on this CD. "Erlösung" (Redemption) is the title of Segensklang's closing track. A kind of ambient bolero into infinity. Or at least until next year... And what would Pop Ambient be without the iconic, artistic cover design of Veronika Unland, who once again, in her unmistakable way, says through the digital flower: The eye always listens...
One of many peaches on Wackies, few are sweeter than Love Joys’ Lovers Rock Reggae Style [1983]. Produced and originally issued by the JA/NYC bossman Bullwackie, and subsequently reissued via their Hardwax hook-up outta Germany, who’ve rightly kept it in print (this edition), Lovers Rock is all killer no filler, starring Claudette Brown and Sonia Abel riding high over killer disco-dub-edged lovers rock riddims such as the bubbling beauty One Draw and the synth-buoyed float of Let Me Rock You Now, all replete with dubs.Unmissable!
577 Records Announces Eva Novoa Solo (I) — A Bold and Intimate Solo Piano Statement Brooklyn-based pianist and composer Eva Novoa presents Eva Novoa Solo (I), her first solo piano recording and seventh album with 577 Records. Recorded at the legendary Sear Sound Studios in Manhattan, the album captures Novoa alone in the studio, embracing the artistic challenge of vulnerability, introspection, and creative freedom that defines the solo piano format. After several years working primarily within piano trio settings and other ensemble configurations, Novoa turned inward, embarking on a deeply personal sonic journey. Solo (I) marks a pivotal moment in her artistic evolution and establishes the foundation for a new series of solo recordings. An active and respected member of New York’s experimental and creative music community, Novoa prepared extensively for this session through months of solo performances—mostly in Brooklyn—leading up to the recording. These included a standout solo concert at the Brooklyn edition of the New York Forward Festival, where her approach to the solo format fully crystallized. On Solo (I), Novoa expands the traditional piano vocabulary. While the grand piano remains her primary instrument, she also performs on Fender Rhodes and electric harpsichord (the latter to be explored further in upcoming volumes), incorporating Chinese gongs, additional percussion, vocals, and even whistling on select tracks. The result is an intensely intimate and sonorous experience—raw, cinematic, and emotionally charged. Eva Novoa Solo (I) is the first installment in a planned trilogy of solo recordings. Across six original pieces, Novoa approaches the solo piano format with boldness, rhythmic fire, and fearless energy. Her percussive use of the instrument, expansive dynamic range, and deep command of tone transform the piano into both an emotional soundscape and a cinematic narrative. The album opens with “Left Behind,” beginning with Chinese gongs and delicately spaced piano chords that evoke a wintry stillness before erupting into an explosive improvisation, as if multiple players were inhabiting the same room. “Dime Con Quién Tú Andas” features Novoa’s voice alongside piano in a wild, poetic exchange—almost folk-like—where she explores the instrument percussively, clapping, tapping, engaging the strings inside the piano, and savoring silence as an expressive force. “Stilte Cabine,” the album’s lead single, distills the essence of the Solo project: the timeless beauty, warmth, and expressive depth of the piano. Inspired by a train journey through the Netherlands—where Novoa spent many formative years—the piece reflects both motion and reflection. Dutch bassist and producer Ruben Samama, a longtime collaborator, offers these words on the recording: “The piano sound is impressive enough, but to show yourself so unafraid, so unapologetically full of curiosity and emotion as Eva Novoa does on her solo album—this is the dream and ultimate goal for any performing artist. A remarkable feat!” “Just Say It” explores the piano through a classical yet inventive and sensorial lens, while “Time Will Tell” shifts to Fender Rhodes, unfolding as a restless, gospel-inflected track that moves through an odd-meter groove and closes with a vamp-like section evocative of 1970s jazz-electric aesthetics. The album concludes with “Tumbleweed,” a cinematic journey reminiscent of Western film soundtracks—a solitary road through the desert. Featuring piano and whistling, the piece builds toward a virtuosic improvisation that brings this vivid first volume to a powerful close. Recorded in Fall 2024, Eva Novoa Solo (I) captures an intimate session and deeply emotive music shaped by mature technical mastery and a highly compositional approach. Novoa dazzles on piano, Fender Rhodes, electric harpsichord, Chinese gongs, vocals, and whistle, revealing an expansive and deeply personal sonic universe. Originally from Barcelona, Spain, Eva Novoa has cultivated her distinctive musical voice since childhood. Now firmly rooted in New York, she has performed internationally and collaborated with some of the most adventurous voices in jazz and beyond. Eva Novoa Solo (I) will be released on March 20, 2026, on limited-edition vinyl and CD, as well as digital platforms. The album features cover art and portrait photography by Takamasa Ota (front cover) and Art Jones (back cover). Volumes 2 and 3 are forthcoming—stay tuned.
All the tracks on this release come from a live concert at Sharmanka, a beautiful and unique museum of kinetic sculptures in Glasgow, and throughout the record, the sounds of the sculptures moving and emitting noises are incorporated into the music performed. The four pieces presented are entirely improvised. There was no discussion beforehand of what instruments or what approach would be taken, and each piece evolved as a musical negotiation as the performers individually made choices about what instruments to play and how to support and meet each other within the unfolding musical narrative. While Macdonald and Ferlaino both share a lifetime of work with their chosen primary instrument, the saxophone, they also share a passion for exploring other instruments and objects for their sonic and socio-creative potential. This record foregrounds both these aspects of their work: they use saxophones, but also incorporate bells, toys, bagpipes, accordions, percussion instruments and voice. "Raymond MacDonald is a saxophonist and composer with an extensive career in music, cross-disciplinary arts and academia. He has played on and released over 100 albums, toured and broadcast worldwide and has composed music for film, television, theatre, radio and art installations. He is a founding member of the Glasgow Improvisers Orchestra, and his work is informed by a view of improvisation as a social, collaborative, and uniquely creative process that provides opportunities to develop new ways of engaging musically. "Christian Ferlaino is an Italian saxophonist, bagpipe player, improviser, composer and ethnomusicologist. He composes for ensembles of improvisers, both from the jazz and improvised music scene, as well as for contemporary music ensembles. His work explores the relationships between composition and improvisation, and the expressive potential of improvised music. His musical research also focuses on creatively engaging with the sonic and musical realm of Calabria, with special attention to its performing techniques and approach to sound and music generation.
Doctor Bionic return with Electric Pollen, the fourth instalment in their Terrestrial Radio series, via Chiefdom Records. Recorded, produced and mixed in Cincinnati by Jason Grimes, the album leans into the project’s spontaneous, studio-first approach. Sessions begin with little more than a loose idea. The band hits record and jams, with most of the material improvised on the spot. A rotating cast of musicians adds warmth, grit and rhythmic swing, landing somewhere between soul-jazz, library funk and heavyweight instrumental groove. As with earlier editions, the concept takes shape around selected artwork, with the music composed in response. The result is cohesive but unforced: a free-flowing transmission tuned to its own frequency. For fans of Frollen Music Library, Butcher Brown, El Michels Affair and Surprise Chef.
Sparkling or Silent, by the duo composed of crys cole and Oren Ambarchi, is a moment apart in their respective artistic approaches, taking a step aside and marking a point of fixation around an electroacoustic method which, while always latent in both of their works, here asserts itself as a central compositional modality. However, the electroacoustic approach is not called upon here for its formal reasons, or even less as an aesthetic line to follow. On the contrary, it is seen as a writing tool, open to all possible sonic possibilities, a tool that allows the artist to draw, within the sound itself, an intertwined space where reminiscences, impressions and sensations weave a narrative on the edge of the imagination and the moments experienced together, a narrative in which a complex and sensitive layer of sound is embedded, blurring the boundaries between artistic project, intimate journey and shared dreams. — Derived from a live performance, unfamiliar music (paris) reveals the essence of the obsessions and sonic universe of Giuseppe Ielasi, a musician whose discretion is matched only by his talent and boundless dedication to musical creation over almost 30 years. unfamiliar music (paris) is a remarkable manifestation of Ielasi’s approach, an approach in which delicacy, sometimes nostalgia, and emotions know how, with discretion, to infuse a sound universe built around polyphony and reminiscence, around textures and motifs that intertwine, combine and drive each other with grace and inspiration. François J. Bonnet
Caught between the Canyon and the Caribbean, Cathy Hamer's pair of extremely private LP's got lost in the Me Decade's hippy hangover. Tracked in '79 and '80 at Roanoke, Virginia's custom bluegrass powerhouse Threshold Recordings, these 11 originals breeze through all colors—folk, country, yacht, etc—of the cosmic American rainbow. Remastered LP comes housed in a tip-on
Alto saxophonist and flutist Alan Braufman first emerged as a singular voice in New York’s 1970s loft-jazz scene with his 1975 debut Valley of Search, a record that would later be recognized as a landmark of spiritual and free jazz. After decades outside the spotlight, Braufman returned with a new wave of acclaim, releasing two highly regarded albums in 2020 and 2024 that reestablished him as both an essential elder and a vital contemporary presence—long described as “a legend in free music” (Gilles Peterson / BBC). Recorded in a single day in the fall of 2025, Anthem for Peace is a fully new studio album that captures Braufman in the present tense. Leading a quartet with vibraphonist Patricia Brennan, bassist Luke Stewart, and drummer Chad Taylor, he delivers concise, hook-forward compositions that move fluidly between spiritual anthems, buoyant post-bop, and hypnotic, eastern-influenced themes. Brennan’s vibraphone—shimmering acoustically and occasionally treated electronically—adds depth and color, while Stewart and Taylor form a deeply locked, responsive rhythm section. The result is music that is “playful and light, yet texturally dense” (NPR): optimistic, focused, and driven by a clear sense of forward motion.
Hive Mind Records are thrilled to announce The Vertical Luminous, an immersive new album from F.Ampism that invites listeners into a singular sound-world of quietly ecstatic wonder. A dayglo collection of synth experiments, found sounds and musique concrète sound collage, The Vertical Luminous blurs all lines between the organic and the electronic, each piece shimmers with a sense of wide-eyed curiosity and lightness, tying the album together into a bubbling, serene gift to the world. Listening to The Vertical Luminous feels a little like tuning in to the secret noises of the microscopic world, the hum and flutter of atoms, molecules, and micro-organisms as they dance just beyond the limits of our perception. F.Ampism is Paul Wilson is F.Ampism. Sound/visual artist based in Brighton,UK. He also plays in Kaloja, a duo with Jan Anderzén (Tomutonttu, Kemialliset Ystävät) and Yayoba; a trio with Johannes Schebler (Baldruin, Grykë Pyje) and Jani Hirvonen (Grykë Pyje, Last Night on Earth). Member of Brighton-based gonzo free-jazz fünftet Bolide. Monthly radio show The Infinite Inward, on Resonance Extra. Check the archives here: extra.resonance.fm/series/the-infinite-inward When he’s not making stuff, he’s practising/teaching Yoga. F.Ampism has previously released on illustrious and discerning labels such as Ikuisuus, Chocolate Monk, Poot Records and Lal Lal Lal.