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Artist	Title	Format	Label	Catalog #

ELLINGTON, DUKE	Sentimental Swing: 1927-53	LP	ACROBAT	ACRSLP 1673LP
$26.00 PREORDER RELEASE DATE: 12/31/2025 Delayed... "Duke Ellington was one of the most important and influential figures in the entire history of jazz, as pianist, bandleader, composer and innovator, his career spanned the evolution from the early days of electric recording. However, while critics and commentators focus on his over-arching significance as a giant of the medium, it's easy to forget that he was a genius at composing tune and songs for the medium of the three-minute, 78rpm single, and during the first three decades of his career before rock 'n' roll changed the pop landscape irrevocably, he had more than 70 records that were credited as chart hits. The Duke himself preferred not to have his work referred to as 'jazz' but liked people to see it as he himself saw it, as being 'beyond category,' simply 'American music.' In a career lasting six decades, he attracted the very best musicians to his orchestras, and gifted to the world many of the jazz standards we know and love today This LP brings together some of his most iconic compositions, including timeless classics such as the Billboard R&B No.1 'Don't Get Around Much Anymore,' alongside stalwarts of the jazz canon 'Mood Indigo,' 'Sophisticated Lady,' 'Solitude,' 'Caravan,' 'Take The 'A' Train,' and 'It Don't Mean A Thing (If You Ain't Got That Swing).' It's a fantastic insight into his most successful output during a primary era of his career, and a great showcase for the artistry which made the Duke such a revered and iconic personality."

Artist	Title	Format	Label	Catalog #
DENOIR, EDUARDO MATEO, DIANE	Ineditas	LP	LITTLE BUTTERFLY RECORDS	LBR 132LP
$38.50 PREORDER RELEASE DATE: 7/4/2025 Inéditas showcases the incredible musicianship and creativity of Diane Denoir and Eduardo Mateo in their early years. These previously unreleased tracks, recorded between 1966 and 1968 in various settings, blend bossa nova, chanson française, jazz, and pop in unique ways, revealing another side of the South American scene during the 1960s. Born as Diana Reches, Diane Denoir made her debut as a singer in 1966, backed by Eduardo Mateo on guitar. Influenced by Françoise Hardy and Astrud Gilberto, along with her own unique style, she performed a special blend of chanson française, bossa nova (sung in Portuguese, English, and French), and jazz. By then, Mateo was already a well-known guitarist in the Uruguayan music scene and a sought-after arranger. He was also beginning to establish himself as an incredible songwriter, connecting different musical universes in unique ways. The two formed a fruitful artistic partnership that lasted until the early seventies. This album, originally released in 1998 on CD, is a compilation of various unreleased recordings from different sources (concerts, radio and TV recordings, homemade tapes) made between 1966 and 1968. It is a unique document that showcases their incredible musicianship and creativity in their early years. The duo swings from bossa nova classics like "The Girl from Ipanema" to the rhythm and blues of "Fever," including chanson française standards like "Le lendemain" and "La Dernière Valse." The album also features earlier versions of the three best-known Mateo songs performed by Diane: "Y hoy te vi," "Esa tristeza," and "Mejor me voy," all of which were inspired by Diane. Inéditas unveils a new dimension of South American music from an unforgettable era.

Artist	Title	Format	Label	Catalog #
RADA'S OLD BOYS, THE	Manos	LP	LITTLE BUTTERFLY RECORDS	LBR 131LP
$32.00 PREORDER RELEASE DATE: 7/4/2025 Blending Afro-Uruguayan traditions with rock, soul, jazz, and funk, Ruben Rada has shaped the music of Uruguay and Argentina from the 1960s to the present day. Throughout his career, he has consistently been surrounded by talented musicians who have been integral to his sound. This was especially true with Daniel "Lobito" Lagarde, bassist and founding member of the iconic band Totem in the early 1970s; Ricardo Nolé, keyboardist, arranger, and musical director of Rada's band in Argentina during the 1980s; and Nelson Cedréz, the drummer who has been by Rada's side since the 1990s. In 2016, these three musicians reunited to form Rada's Old Boys, releasing an album of jazz-infused reinterpretations of Rada's songs that earned rave reviews. Now, they return with Manos, a bold new album that reimagines Rada's works from every phase of his career, featuring deeply personal renditions and a special guest appearance from Rada himself on one track.

Artist	Title	Format	Label	Catalog #
VA	Spiritual Jazz 18: Behind The Iron Curtain - Sounds Beyond Barriers Pt 1	2LP	JAZZMAN RECORDS	JMAN 148LP
$32.00 PREORDER RELEASE DATE: 6/13/2025 Double LP version. Part 1. One of the most politically charged terms of the 20th century, the Iron Curtain was a metaphor for political and cultural division. In a post-war telegram Winston Churchill referred to the fault line that ran through Europe between East and West as "an Iron Curtain is drawn down upon their front. We do not know what is going on behind." In this two-part album, as far as jazz is concerned, Jazzman will showcase, describe and celebrate exactly what was "going on behind." Music is the power supreme, with the ability to transcend all barriers, be they physical, political or metaphorical. The liner notes illustrate the complex and contradictory history of Soviet jazz, and the tracks chosen cover the key period of the early 1960s to the 1980s. It was during these dark years of the Cold War that the Soviet Union and its satellite states produced a number of outstanding artists playing in a variety of styles. The impact of modernism, from hard bop and Latin to modal and cool jazz, had found its way through cracks in the curtain. The deeply-felt ancestral strains of traditional European folk music were combined with the exciting new and progressive sounds of the West, and a radical, intoxicating brew was created that no amount of guns, tanks or polonium tea could overcome. Jazzman chronicles the triumph of jazz at a time of extreme geopolitical conflict. What went on behind the Iron Curtain in these countries was once mysterious and unknown to the West, but the perseverance of their artists provided sound and light amid the secretive, dark days of the communist-capitalist standoff. There was no end of life-affirming spiritual jazz behind the Iron Curtain. Featuring Collage, Manfred Ludwig-Sextett, Krzysztof Komeda, Polish Jazz Quartet, Vagif Mustafa-Zade, Quartet Jazz Focus-65, Theo Schumman Combo, Vaclav Zahradnik, Karel Velebny, Sevil, Focus '65, Golstain-Nosov Quintet, YU All Stars 1977, and Dan Mindrila.

Artist	Title	Format	Label	Catalog #
VA	Spiritual Jazz 18: Behind The Iron Curtain - Sounds Beyond Barriers Pts 1 & 2	2CD	JAZZMAN RECORDS	JMAN 148CD
$16.00 PREORDER RELEASE DATE: 6/13/2025 One of the most politically charged terms of the 20th century, the Iron Curtain was a metaphor for political and cultural division. In a post-war telegram Winston Churchill referred to the fault line that ran through Europe between East and West as "an Iron Curtain is drawn down upon their front. We do not know what is going on behind." In this two-part album, as far as jazz is concerned, Jazzman will showcase, describe and celebrate exactly what was "going on behind." Music is the power supreme, with the ability to transcend all barriers, be they physical, political or metaphorical. The liner notes illustrate the complex and contradictory history of Soviet jazz, and the tracks chosen cover the key period of the early 1960s to the 1980s. It was during these dark years of the Cold War that the Soviet Union and its satellite states produced a number of outstanding artists playing in a variety of styles. The impact of modernism, from hard bop and Latin to modal and cool jazz, had found its way through cracks in the curtain. The deeply-felt ancestral strains of traditional European folk music were combined with the exciting new and progressive sounds of the West, and a radical, intoxicating brew was created that no amount of guns, tanks or polonium tea could overcome. Jazzman chronicles the triumph of jazz at a time of extreme geopolitical conflict. What went on behind the Iron Curtain in these countries was once mysterious and unknown to the West, but the perseverance of their artists provided sound and light amid the secretive, dark days of the communist-capitalist standoff. There was no end of life-affirming spiritual jazz behind the Iron Curtain. Featuring Collage, Manfred Ludwig-Sextett, Krzysztof Komeda, Polish Jazz Quartet, Vagif Mustafa-Zade, Quartet Jazz Focus-65, Theo Schumman Combo, Vaclav Zahradnik, Karel Velebny, Sevil, Focus '65, Golstain-Nosov Quintet, YU All Stars 1977, Dan Mindrila, Leningrad Jazz Ensemble, Sh Jazz Quintet, Josef Blaha Trio, Csaba Deseo Ensemble, Manfred Ludwig-Sextett, Anatoly Vapirov, Zbigniew Namyslowski, Andrzej Trzaskowski Quintet, Tomsits Quartet, Nicolai Gromin Quartet, Valery Kolesnikov, Vyacheslav Novikov, Vladimir Molotkov, Alexander Christidis, Tone Jansa, and S+HQ.

Artist	Title	Format	Label	Catalog #
VA	Spiritual Jazz 18: Behind The Iron Curtain - Sounds Beyond Barriers Pt 2	2LP	JAZZMAN RECORDS	JMAN 149LP
$32.00 PREORDER RELEASE DATE: 6/13/2025 Double LP version. Part 2. One of the most politically charged terms of the 20th century, the Iron Curtain was a metaphor for political and cultural division. In a post-war telegram Winston Churchill referred to the fault line that ran through Europe between East and West as "an Iron Curtain is drawn down upon their front. We do not know what is going on behind." In this two-part album, as far as jazz is concerned, Jazzman will showcase, describe and celebrate exactly what was "going on behind." Music is the power supreme, with the ability to transcend all barriers, be they physical, political or metaphorical. The liner notes illustrate the complex and contradictory history of Soviet jazz, and the tracks chosen cover the key period of the early 1960s to the 1980s. It was during these dark years of the Cold War that the Soviet Union and its satellite states produced a number of outstanding artists playing in a variety of styles. The impact of modernism, from hard bop and Latin to modal and cool jazz, had found its way through cracks in the curtain. The deeply-felt ancestral strains of traditional European folk music were combined with the exciting new and progressive sounds of the West, and a radical, intoxicating brew was created that no amount of guns, tanks or polonium tea could overcome. Jazzman chronicles the triumph of jazz at a time of extreme geopolitical conflict. What went on behind the Iron Curtain in these countries was once mysterious and unknown to the West, but the perseverance of their artists provided sound and light amid the secretive, dark days of the communist-capitalist standoff. There was no end of life-affirming spiritual jazz behind the Iron Curtain. Featuring Leningrad Jazz Ensemble, Sh Jazz Quintet, Josef Blaha Trio, Csaba Deseo Ensemble, Manfred Ludwig-Sextett, Anatoly Vapirov, Zbigniew Namyslowski, Andrzej Trzaskowski Quintet, Tomsits Quartet, Nicolai Gromin Quartet, Valery Kolesnikov, Vyacheslav Novikov, Vladimir Molotkov, Alexander Christidis, Tone Jansa, and S+HQ.

Artist	Title	Format	Label	Catalog #
MORRIS & ELLIOTT SHARP, JOE	Realism	CD	ESP-DISK	ESPDISK 5084CD
$12.00 PREORDER RELEASE DATE: 5/30/2025 Joe Morris's recording career began in 1983 and has made him one of the most revered avant-garde jazz guitarists. Down Beat magazine dubbed him "the preeminent free music guitarist of his generation," while The Wire magazine called him "one of the most profound improvisers at work in the U.S." His revelatory 2012 book Perpetual Frontier/The Properties of Free Music (Riti Publishing) is a detailed and rewarding accounting of his approach to improvisation. He has been on the faculty in the Jazz and Contemporary Improvisation Department at New England Conservatory of Music since 2000. This is his fifth album as guitarist on ESP-Disk': two as leader, two in Fay Victor's SoundNoiseFUNK, and now this unique duo. Elliott Sharp began recording in 1979 and has continued prolifically adding to his discography ever since, working fluently in genres ranging from blues and jazz to free improvisation and modern classical composition. A cornerstone of the downtown NYC music scene and collaborator with musicians from around the world, he has extended the vocabulary of the guitar in ways that led Guitar Player magazine to include him in its 30th anniversary issue's list of "The Dirty Thirty: Pioneers and Trailblazers." (He also plays saxophone.) His 2019 book IrRational Music (TerraNova Press) is a crucial document of his work that goes beyond biography into musical philosophy. Realism is his first album released on ESP. Recorded and mastered by Jim Clouse, Park West Studios, Brooklyn, NY on July 17, 2023. Mixed by Elliott Sharp and Jim Clouse at Park West Studios on August 1, 2023. Produced by Steve Holtje for ESP-Disk'.

Artist	Title	Format	Label	Catalog #
TANG & PATRICK GOLDEN, ROSE	A White Horse Is Not a Horse	2LP	ESP-DISK	ESPDISK 5111LP
$35.00 PREORDER RELEASE DATE: 5/30/2025 Double LP version. Rose Tang has previously been heard on ESP-Disk in the band ATTITUDE!, whose album Pause & Effect came out in 2021 (ESPDISK 5048LP). She writes: "There was a school of philosophy in ancient China whose core theory stems from a debate entitled 'A White Horse Is Not a Horse.' In a book by Gongsun Long (公孫龍 320-250BC, about 200 years after Confucius) in the Warring States Period, two persons argue if a white horse is a horse: the protagonist argues it is not, because 'white' is the color of a (particular) horse while a 'horse' is a shape and a generic term. It's a linguistic/logical paradox, or sophistry. Ridiculed by his contemporary philosophers and forgotten for centuries, Gongsun is now considered the only philosopher in ancient China who delved into logic and philosophy of language. I was about 12 when my artist father first told me about the debate. He's painted many horses, especially white horses. Long before I discovered I'm a Mongol, I had always loved horses. Funny, my high school politics (Maoism/Marxism) teacher nicknamed me 'Wild Horse Running off the Reins.' That's how I see myself when playing music. Music offers instant and countless ways of freeing myself and connecting with people and the multiverse. It's all about following the qi, the energy, the flow. It's like cooking or making love, with senses and feelings all out in the open, without thinking. Improvising in a group is the most democratic activity. And all sounds are equal -- birds, traffic, construction, the ocean, kids -- all music to my ear. All instruments are my toys (some are indeed my daughter's toys). For every instrument I play, I feel the physical and spiritual connections with them. Ask not what your instrument can do for you, ask what you can do for your instrument. I look for the sounds that an instrument isn't 'supposed' to make. Music is the most abstract art form and the closest to the truth, yet it's the most institutionalized. My slogan is 'Learn through play. Play by ear. Fuck the rest!' So here it is, just some Weird Shit, music that is not music. A white horse is not a horse." All music improvised by Rose Tang and Patrick Golden. Recorded by Jim Clouse at Park West Studios, Brooklyn, on August 28, 2024.

Artist	Title	Format	Label	Catalog #
ENJI	Sonor	CD	SQUAMA	SQM 033CD
$16.00 PREORDER RELEASE DATE: 5/2/2025 For a few fleeting moments during a sunset, the sky is cast a vivid shade of amber. A dramatic flare of color, a moment belonging to both the day and the night. It is within this vibrant, ephemeral world, that Mongolian-born, Munich-based Enji has written her new album Sonor. Sonor is a reflection of Enji's personal evolution and the complex emotions that accompany living between two worlds. The album's themes revolve around the unplaceable feeling of being between cultures, not as a source of conflict, but as a space for growth and self-discovery. Enji explores how distance from her traditional Mongolian roots has shaped her identity, and how returning home brings a heightened awareness of these changes. Backed by a band of renowned jazz musicians (Elias Stemeseder on piano, Robert Landfermann on bass, Julian Sartorius on drums and co-composer Paul Brändle on guitar), Enji isn't just revisiting tradition, she's distilling the feeling of home, of small joys that reveal their significance only when viewed from afar. Like a familiar song hummed by a parent, her music captures the essence of belonging, not tied to a single place, but to the emotions and memories that shape humanity.

Artist	Title	Format	Label	Catalog #
ENJI	Sonor	LP	SQUAMA	SQM 033LP
$30.50 PREORDER RELEASE DATE: 5/2/2025 LP version. For a few fleeting moments during a sunset, the sky is cast a vivid shade of amber. A dramatic flare of color, a moment belonging to both the day and the night. It is within this vibrant, ephemeral world, that Mongolian-born, Munich-based Enji has written her new album Sonor. Sonor is a reflection of Enji's personal evolution and the complex emotions that accompany living between two worlds. The album's themes revolve around the unplaceable feeling of being between cultures, not as a source of conflict, but as a space for growth and self-discovery. Enji explores how distance from her traditional Mongolian roots has shaped her identity, and how returning home brings a heightened awareness of these changes. Backed by a band of renowned jazz musicians (Elias Stemeseder on piano, Robert Landfermann on bass, Julian Sartorius on drums and co-composer Paul Brändle on guitar), Enji isn't just revisiting tradition, she's distilling the feeling of home, of small joys that reveal their significance only when viewed from afar. Like a familiar song hummed by a parent, her music captures the essence of belonging, not tied to a single place, but to the emotions and memories that shape humanity.

Artist	Title	Format	Label	Catalog #
ENJI	Sonor (Color Vinyl)	LP	SQUAMA	SQM 033B-LP
$33.00 PREORDER RELEASE DATE: 5/2/2025 LP version. Color vinyl. For a few fleeting moments during a sunset, the sky is cast a vivid shade of amber. A dramatic flare of color, a moment belonging to both the day and the night. It is within this vibrant, ephemeral world, that Mongolian-born, Munich-based Enji has written her new album Sonor. Sonor is a reflection of Enji's personal evolution and the complex emotions that accompany living between two worlds. The album's themes revolve around the unplaceable feeling of being between cultures, not as a source of conflict, but as a space for growth and self-discovery. Enji explores how distance from her traditional Mongolian roots has shaped her identity, and how returning home brings a heightened awareness of these changes. Backed by a band of renowned jazz musicians (Elias Stemeseder on piano, Robert Landfermann on bass, Julian Sartorius on drums and co-composer Paul Brändle on guitar), Enji isn't just revisiting tradition, she's distilling the feeling of home, of small joys that reveal their significance only when viewed from afar. Like a familiar song hummed by a parent, her music captures the essence of belonging, not tied to a single place, but to the emotions and memories that shape humanity.

Artist	Title	Format	Label	Catalog #
INTERCOMMUNAL FREE DANCE MUSIC ORCHESTRA	Apres La Maree Noire: Vers Une Musique Bretonne Nouvelle	LP	SOUFFLE CONTINU RECORDS	FFL 093LP
$28.00 PREORDER RELEASE DATE: 4/18/2025 LP version. If the jazz of François Tusquesis is "free," his spirit is even more so: having recorded free jazz with other like-minded Frenchmen (Michel Portal, François Jeanneau, Bernard Vitet, Beb Guérinand Charles Saudrais), the pianist had covered a lot of ground, with Barney Wilen (Le Nouveau Jazz) or even solo (Piano Dazibao and Dazibao N°2), so as not to repeat himself. In 1971 he founded the Intercommunal Free Dance Music Orchestra which, as the notes to this album stated, "is an interpretation of a music which synthesizes the different communities living and working in France." In 1976, on the first album (L'InterCommunal) listeners can already hear Tusques playing without borders in the company of Carlos Andreu (vocals), Michel Marre (trumpet and saxophone), Jo Maka (saxophone) and Ramadolf (trombone). It is a meeting between jazz and music from Catalonia, Occitanie and Africa. So far so good, but what about Brittany, that, Tusques knows "by heart?" Having lived for a long time in Nantes, he would expand his "brittanitude" on the canal linking the city to Brest by playing with, for example the Diaouled-Ar-Menez. With these "devils from the mountain" who, under the baton of Yann Goasdoué, worked throughout the 1970s on the renewal of music from Brittany, Tusques met, notably, Tanguy Ledoré and invited him one day, with trois bombards and some bagpipes (Jean-Louis Le Vallegant, Gaby Kerdoncuff and Philippe Lestrat), to join the ranks of the Intercommunal. And so they set of towards a new music from Brittany, as the title states; Vers une Musique bretonne nouvelle! With percussion from Samuel Ateba and Kilikus, the association launches the "bombardier:" the repetitions and dissonance of the different members all serve a common cause however: the dance, which is always the reason for the party. This sets a whole universe spinning, which can bring to mind Chris McGregor's Brotherhood of Breath ("La rencontre") when not taking on board waltz, swing, blues and gavotta or even revealing mysteries like those of Gurdjieff ("Les racines de la montagne" or "Le cheval" sung by Andreu).

Artist	Title	Format	Label	Catalog #
INTERCOMMUNAL FREE DANCE MUSIC ORCHESTRA	Vol. 4: Jo Maka	LP	SOUFFLE CONTINU RECORDS	FFL 092LP
$28.00 PREORDER RELEASE DATE: 4/18/2025 LP version. Music-lovers of all lands, rejoice! Here you have the rerelease of the fourth album of the Intercommunal Free Dance Music Orchestra recorded with the Guinean saxophonist Jo Maka. The title says it all: Vol.4: Jo Maka. But before that, a bit of history: The Intercommunal Free Dance Music Orchestra was created in 1971 by an "old hand" of French free jazz, François Tusques. "Free Jazz" was also the name of the recording made by the pianist and other like-minded Frenchmen (Michel Portal, François Jeanneau, Bernard Vitet, Beb Guérinand Charles Saudrais) in 1965. But, six years later Tusques had had his fill of free jazz. So he then founded the Inter Communal, an association a name under which the different communities could become closer and compose, simply. In 1976, on the first album: L'Inter Communal, listeners can already hear Tusques playing without borders in the company of Carlos Andreu, Ramadolf, Michel Marreand, and Jo Maka (as a conclusion to this Vol. 4, listeners can hear them in 1977 at the Moulin de Prades Le Lez). Over the next decade, the, association kept going with concerts at the Dunois theatre, in 1980 and 1981, it welcomed old hands and new recruits (Bernard Vitet, Jean-Jacques Avenel, Jacques Thollot, Sylvain Kassap). If Vol. 4 : Jo Maka is an homage to the Guinean saxophonist, who passed away a few months before the release of this selection of concert recordings, it also displays a proud collective inspiration! One foot in the blues, and ears open to everything else, Tusques begins with a lament that the Company rapidly transforms into a joyful dance ("Vive la Commune"), weaves a full-blown party piece ("Poses ton fardeau et remets la machine en route," "7 rue des prêcheurs," "Mazir") or gets fabulous with Mingus ("Fable Of Faubus"). And there you have it, with so many revolutions François Tusques is almost back to free jazz. So, your turn with the turntable.

Artist	Title	Format	Label	Catalog #
INTERCOMMUNAL FREE DANCE MUSIC ORCHESTRA	Apres La Maree Noire: Vers Une Musique Bretonne Nouvelle	CD	SOUFFLE CONTINU RECORDS	FFL 093CD
$13.50 PREORDER RELEASE DATE: 4/18/2025 If the jazz of François Tusquesis is "free," his spirit is even more so: having recorded free jazz with other like-minded Frenchmen (Michel Portal, François Jeanneau, Bernard Vitet, Beb Guérinand Charles Saudrais), the pianist had covered a lot of ground, with Barney Wilen (Le Nouveau Jazz) or even solo (Piano Dazibao and Dazibao N°2), so as not to repeat himself. In 1971 he founded the Intercommunal Free Dance Music Orchestra which, as the notes to this album stated, "is an interpretation of a music which synthesizes the different communities living and working in France." In 1976, on the first album (L'InterCommunal) listeners can already hear Tusques playing without borders in the company of Carlos Andreu (vocals), Michel Marre (trumpet and saxophone), Jo Maka (saxophone) and Ramadolf (trombone). It is a meeting between jazz and music from Catalonia, Occitanie and Africa. So far so good, but what about Brittany, that, Tusques knows "by heart?" Having lived for a long time in Nantes, he would expand his "brittanitude" on the canal linking the city to Brest by playing with, for example the Diaouled-Ar-Menez. With these "devils from the mountain" who, under the baton of Yann Goasdoué, worked throughout the 1970s on the renewal of music from Brittany, Tusques met, notably, Tanguy Ledoré and invited him one day, with trois bombards and some bagpipes (Jean-Louis Le Vallegant, Gaby Kerdoncuff and Philippe Lestrat), to join the ranks of the Intercommunal. And so they set of towards a new music from Brittany, as the title states; Vers une Musique bretonne nouvelle! With percussion from Samuel Ateba and Kilikus, the association launches the "bombardier:" the repetitions and dissonance of the different members all serve a common cause however: the dance, which is always the reason for the party. This sets a whole universe spinning, which can bring to mind Chris McGregor's Brotherhood of Breath ("La rencontre") when not taking on board waltz, swing, blues and gavotta or even revealing mysteries like those of Gurdjieff ("Les racines de la montagne" or "Le cheval" sung by Andreu).

Artist	Title	Format	Label	Catalog #
INTERCOMMUNAL FREE DANCE MUSIC ORCHESTRA	Vol. 4: Jo Maka	CD	SOUFFLE CONTINU RECORDS	FFL 092CD
$13.50 PREORDER RELEASE DATE: 4/18/2025 Music-lovers of all lands, rejoice! Here you have the rerelease of the fourth album of the Intercommunal Free Dance Music Orchestra recorded with the Guinean saxophonist Jo Maka. The title says it all: Vol.4: Jo Maka. But before that, a bit of history: The Intercommunal Free Dance Music Orchestra was created in 1971 by an "old hand" of French free jazz, François Tusques. "Free Jazz" was also the name of the recording made by the pianist and other like-minded Frenchmen (Michel Portal, François Jeanneau, Bernard Vitet, Beb Guérinand Charles Saudrais) in 1965. But, six years later Tusques had had his fill of free jazz. So he then founded the Inter Communal, an association a name under which the different communities could become closer and compose, simply. In 1976, on the first album: L'Inter Communal, listeners can already hear Tusques playing without borders in the company of Carlos Andreu, Ramadolf, Michel Marreand, and Jo Maka (as a conclusion to this Vol. 4, listeners can hear them in 1977 at the Moulin de Prades Le Lez). Over the next decade, the, association kept going with concerts at the Dunois theatre, in 1980 and 1981, it welcomed old hands and new recruits (Bernard Vitet, Jean-Jacques Avenel, Jacques Thollot, Sylvain Kassap). If Vol. 4 : Jo Maka is an homage to the Guinean saxophonist, who passed away a few months before the release of this selection of concert recordings, it also displays a proud collective inspiration! One foot in the blues, and ears open to everything else, Tusques begins with a lament that the Company rapidly transforms into a joyful dance ("Vive la Commune"), weaves a full-blown party piece ("Poses ton fardeau et remets la machine en route," "7 rue des prêcheurs," "Mazir") or gets fabulous with Mingus ("Fable Of Faubus"). And there you have it, with so many revolutions François Tusques is almost back to free jazz. So, your turn with the turntable.

Artist	Title	Format	Label	Catalog #
ADJA	Golden Retrieve Her	CD	SDBAN ULTRA	SDBANU 044CD
$14.50 PREORDER RELEASE DATE: 4/11/2025 Brussels-based artist Adja Fassa releases her debut album, two years after her well-received EP Ironeye -- and it is promising to be quite a ride. This contemporary body of work showcases 11 stories, each telling their story of the impact capitalistic society has on humanity's most intimate moments: from dystopian neo-soul tales of Deliveroo-drivers being stalked by telemarketers (both of them selling/delivering literal "hope and dreams"), to re-imagined jazz standards and classical songs about conditional friendships, based on time and money. She even gives her take on the "stick-it-to-the-man-sing-along-rock-song," which she called "Sucking on my Emphatitties." Serious and concrete topics, wrapped up in a symbolic package, as Adja values both straightforwardness, critical thinking and, paradoxically, a bit of mysticism. For her visual artwork, she created four, self-made tarot cards, that represent the four themes on the album: "The Wheel Of Fortune," embodies the desire to get the upper hand in a system that doesn't align with your values. "The Mirror," represents projection and likeness within lost connections (whether with strangers or with friends), "The Dark Wheel" embodies the turning point of the wheel of fortune, where one is completely surrendered to their own moral demise and "The Cave" stands for the -- sometimes painful, sometimes blissful -- return to one's own mind and heart. Musically, this album contains as much variety as song titles, as Adja continues to explore her own depths as an artist and musician, together with her partner-in-crime, guitarist, composer and jazz-arranger Alexis Nootens. She collaborated with music producer Adam Scrimshire, who was featured in the Guardian as UK's one of three most significant soul music producers alongside Swindle and Inflo, and renowned Belgian producer, mixer and musician Koen Gisen, who both mentored her into deepening her own productional skills. Last but not least, she gathered 13 musicians to deliver the sound she brings to her album, among them her five steady band members and eight studio musicians from all over Europe.

Artist	Title	Format	Label	Catalog #
OCHS/JOE MORRIS/CHARLES DOWNS, LARRY	EVERY DAY --> ALL THE WAY	CD	ESP-DISK	ESPDISK 5106CD
$12.00 PREORDER RELEASE DATE: 4/11/2025 This is the first to be released of a series of albums ESP started recording in 2023 combining artists who hadn't worked together before. In this case, saxophonist Larry Ochs teams up with the Flow Trio rhythm section of drummer Charles Downs and bassist Joe Morris. They meshed magnificently on their first encounter! Larry Ochs, co-founder in 1977 of ROVA Saxophone Quartet, was born in New York City but has long been based on the West Coast, specifically the Bay Area. He has also been a member of the Glenn Spearman Double Trio, Maybe Monday, the John Lindberg Ensemble, What We Live, The International Creative Music Orchestra, and Room, along with many other collaborations. ESP-Disk has previously released albums featuring Ochs by ROVA, Jones Jones, and his duo with Donald Robinson. Joe Morris, guitarist and bassist, studied with ESP-Disk legend Lowell Davidson. Morris formed his first trio in 1977 and began his recording career in 1983, with well over 50 albums as a leader and many more as a collaborator, including albums on ESP-Disk under his own name and with Flow Trio and Fay Victor's SoundNoiseFUNK -- and a guitar duo with Elliott Sharp. He's also the author of the crucial book Perpetual Frontier/The Properties of Free Music and on the New England Conservatory faculty. Charles Downs, the senior member of the trio, is also known to jazz aficionados as Rashid Bakr, the performing name he used while drumming in various Cecil Taylor groups and elsewhere. He's also been in groups including Ensemble Muntu, Other Dimensions in Music, Flow Trio, and What You May Call It, and has recorded with Billy Bang, Glenn Spearman, Jamie Saft, Ras Moshe Burnett, William Parker, Arthur Doyle, Sabir Mateen, Joe McPhee, and many more.

Artist	Title	Format	Label	Catalog #
BROTZMANN/JOHN EDWARDS/STEVE NOBLE/JASON ADASIEWICZ, PETER	The Quartet	2CD	OTOROKU	ROKU 033CD
$28.50 PREORDER RELEASE DATE: 4/11/2025 One of Peter Brotzmann's final concerts, presented on Otoroku. When the label invited Peter to do a residency at Cafe OTO back in February 2023, it had no idea these would be his last ever shows and he played with such power it would have been hard for anyone present to believe he would never play publicly again. Recorded over two nights this grouping of Jason Adasiewicz on vibraphone, John Edwards on bass, and Steve Noble on drums feels especially resonant and personal to Cafe OTO. The first time Peter performed at the venue back in 2010 it was in a trio with John and Steve, so it feels fitting that the last shows he ever played here should also have that trio at its core. There are moments of tenderness to Brotzmann's playing that feels specific to this small group -- one that cuts across three generations -- and in a space that's come to feel like home. Of course, there is dizzying, forceful, single-minded playing, but even amongst a relentless chorus of cymbal splashes and busy vibraphone clusters the lyrical, spacious moments are savored and held onto. As he remarked after at the end of the group's first visit to OTO, "the Quartet is, for us, a great adventure." Peter clearly wanted to play to the end. It was Peter's wish that these recordings should be made public and he was due to finalize the cover design on the week he passed away. Otoroku would like to thank Peter's family for working to fulfil Peter's wishes to release this material. Recorded live at Cafe OTO by Billy Steiger on 10th and 11th February 2023. Mixed by James Dunn. Mastered by Giuseppe Ielesi. Photos by Dawid Laskowski. Pressed in the UK by Vinyl Press. Artwork by Peter Brötzmann. Design by Untiet. The 2CD version contains both sets from both nights. The discs are housed in a digipak on reverse board and will include photographs from the residency by Dawid Laskowski. The 2LP version (ROKU 033LP) is an edit of the music played on both nights. It comes as a gatefold 12" printed in reverse board outersleeves and includes a pull out with photographs from the residency by Dawid Laskowski.

Artist	Title	Format	Label	Catalog #
THOMAS, PAT	The Solar Model of Ibn-Al Shatir	LP	OTOROKU	ROKU 040LP
$31.50 PREORDER RELEASE DATE: 4/11/2025 LP version. Pat Thomas returns to OTOROKU for his fourth collection of solo piano improvisations, this time recorded in a studio setting at London's Fish Factory. For 25 years now, beginning with Nur (Emanem) and continuing through Al-Khwarizmi Variations (Fataka), The Elephant Clock of Al-Jazari (ROKU 019LP), and now The Solar Model of Ibn Al-Shatir, Pat Thomas has drawn on the Arabic world for titles for his solo piano work -- specifically the long-standing Islamic tradition of astronomical invention. For Thomas, the work of the polymaths he dedicates his music to has been sidelined by Eurocentrism, just as the Arabic origin of "jass" and the scalar, intervallic and polyphonic contributions made by Arab musicians have been routinely overlooked. Islamic innovation is at the heart of Thomas' solo projects and draws a direct link between his Sufi faith and a totally unique style of playing. Each of his solo piano records is a dedication -- not just to the innovators Thomas names but to the beauty of the universe in all its complexities. Starting standing up with one hand inside the piano and one on the keys, "The Solar Model" begins with single staccato bass notes appearing like chondrites in the darkness, occasionally tumbling towards a rhythm and then falling out of it. Metallic string work starts to pull towards an unseen center and eventually notes from the upper registers appear, clear and light. With both hands drawn to the keys, Thomas builds towards scintillating beauty, carried through "The Laws of Motion" and propelling listeners towards the A-side closer, "For George Saliba". The whole landscape of the A side swings with this one movement, until its energy is spent on one last sweeping rotation. On the B-side, "The Oud of Ziryab" notes to the instrument maker who added a fifth pair of strings to the Oud. The single bass notes of the first side are swapped for clusters, bursting together and decaying in space. Making use of the sustain pedal and the silence of a studio setting, it's one of the most open, lush recordings of Thomas at the piano -- more Muhal Richard Abrams than Monk, the lower end thundering under rapid, crystalline blues. "For Mansa Musa" brings back a swing instantly recognizable as Pat, with a huge euphoric lift halfway that crowns the record but the album's end title "The Birds are Singing" is more celestial, more chromatic -- a reminder that the spiritual matters just as much as the physical for Thomas.

Artist	Title	Format	Label	Catalog #
C'MON TIGRE	TEN	2LP	COMPUTER STUDENTS	CS 011LP
$45.50 PREORDER RELEASE DATE: 4/11/2025 Drawing inspiration from a wide range of cultures and musical traditions, C'mon Tigre is a dynamic duo that develops its identity into a collective of musicians and artists from all over the world. Along the years, they have collaborated with musicians such as Colin Stetson, Seun Kuti, Arto Lindsay, Xênia França, and artists Gianluigi Toccafondo, Harri Peccinotti, Danijel Zezelj, and Paolo Pellegrin, to name a few. TEN, which stands for "Tenth Edition Newness," is an expanded edition of their iconic self-titled debut album, which was initially published in 2015 through Africantape on a limited vinyl pressing. It sold out quickly, was later repressed by the band and sold out again. Today, it finds its chance to be reissued with the Computer Students treatment. Fans will love this remastered version, which sounds substantially better than the original. The album's expansion features a slightly altered record cover in addition to a 12-page booklet with a number of writings and images. TEN is featured on double black vinyl, audiophile quality pressing 180-gram, inside a gatefold cover. The entire package is housed in a unique heat-sealed aluminum Type-2 foil bag, courtesy of Computer Students.

Artist	Title	Format	Label	Catalog #
MOTEN & BRANDON LOPEZ, FRED	Revision	LP	TAO FORMS	TAO 017LP
$25.00 PREORDER RELEASE DATE: 4/11/2025 LP version. "The work of Fred Moten and Brandon Lopez, both powerfully creative and exceptionally perceptive individuals, concerns itself with how one might navigate the ascending reign of long-institutionalized madness while simultaneously keeping humanity and sanity intact. With Revision, the synergistic mesh of these two voices in duo is presented on record for the first time, following two acclaimed works on the Reading Group label in trio with Gerald Cleaver. Inimitable poet, cultural theorist, author, 2020 MacArthur Fellow, Fred Moten creates new conceptual spaces that accommodate emergent forms of Black cultural production, aesthetics, and social life. Moten is a professor of performance studies and comparative literature at New York University concerned with social movement, aesthetic experiment, and Black study. He is also a United States Artists Rockefeller Fellow and was elected to the American Academy of Arts and Sciences. Puerto Rican-American bassist Brandon López is the son of a gravedigger who himself put time in doing the same, developing muscles that serve him well in his thorough command of the upright bass. On moving to NYC, López made himself indispensable within numerous realms of creative music. As the Cleveland Review of Books noted, 'This is virtuosity as vocabulary, a total command of texture, subtlety, and a depth that can be reached into.' RIYL: Nathaniel Mackey, Amiri Baraka, Manley Lopez, Irreversible Entanglements, Gil Scott-Heron, Art Ensemble of Chicago."

Artist	Title	Format	Label	Catalog #
ADJA	Golden Retrieve Her	LP	SDBAN ULTRA	SDBANU 044LP
$28.00 PREORDER RELEASE DATE: 4/11/2025 LP version. Brussels-based artist Adja Fassa releases her debut album, two years after her well-received EP Ironeye -- and it is promising to be quite a ride. This contemporary body of work showcases 11 stories, each telling their story of the impact capitalistic society has on humanity's most intimate moments: from dystopian neo-soul tales of Deliveroo-drivers being stalked by telemarketers (both of them selling/delivering literal "hope and dreams"), to re-imagined jazz standards and classical songs about conditional friendships, based on time and money. She even gives her take on the "stick-it-to-the-man-sing-along-rock-song," which she called "Sucking on my Emphatitties." Serious and concrete topics, wrapped up in a symbolic package, as Adja values both straightforwardness, critical thinking and, paradoxically, a bit of mysticism. For her visual artwork, she created four, self-made tarot cards, that represent the four themes on the album: "The Wheel Of Fortune," embodies the desire to get the upper hand in a system that doesn't align with your values. "The Mirror," represents projection and likeness within lost connections (whether with strangers or with friends), "The Dark Wheel" embodies the turning point of the wheel of fortune, where one is completely surrendered to their own moral demise and "The Cave" stands for the -- sometimes painful, sometimes blissful -- return to one's own mind and heart. Musically, this album contains as much variety as song titles, as Adja continues to explore her own depths as an artist and musician, together with her partner-in-crime, guitarist, composer and jazz-arranger Alexis Nootens. She collaborated with music producer Adam Scrimshire, who was featured in the Guardian as UK's one of three most significant soul music producers alongside Swindle and Inflo, and renowned Belgian producer, mixer and musician Koen Gisen, who both mentored her into deepening her own productional skills. Last but not least, she gathered 13 musicians to deliver the sound she brings to her album, among them her five steady band members and eight studio musicians from all over Europe.

Artist	Title	Format	Label	Catalog #
MOTEN & BRANDON LOPEZ, FRED	Revision	CD	TAO FORMS	TAO 017CD
$13.00 PREORDER RELEASE DATE: 4/11/2025 "The work of Fred Moten and Brandon Lopez, both powerfully creative and exceptionally perceptive individuals, concerns itself with how one might navigate the ascending reign of long-institutionalized madness while simultaneously keeping humanity and sanity intact. With Revision, the synergistic mesh of these two voices in duo is presented on record for the first time, following two acclaimed works on the Reading Group label in trio with Gerald Cleaver. Inimitable poet, cultural theorist, author, 2020 MacArthur Fellow, Fred Moten creates new conceptual spaces that accommodate emergent forms of Black cultural production, aesthetics, and social life. Moten is a professor of performance studies and comparative literature at New York University concerned with social movement, aesthetic experiment, and Black study. He is also a United States Artists Rockefeller Fellow and was elected to the American Academy of Arts and Sciences. Puerto Rican-American bassist Brandon López is the son of a gravedigger who himself put time in doing the same, developing muscles that serve him well in his thorough command of the upright bass. On moving to NYC, López made himself indispensable within numerous realms of creative music. As the Cleveland Review of Books noted, 'This is virtuosity as vocabulary, a total command of texture, subtlety, and a depth that can be reached into.' RIYL: Nathaniel Mackey, Amiri Baraka, Manley Lopez, Irreversible Entanglements, Gil Scott-Heron, Art Ensemble of Chicago."

Artist	Title	Format	Label	Catalog #
BROTZMANN/JOHN EDWARDS/STEVE NOBLE/JASON ADASIEWICZ, PETER	The Quartet	2LP	OTOROKU	ROKU 033LP
$50.00 PREORDER RELEASE DATE: 4/11/2025 Double LP version. One of Peter Brotzmann's final concerts, presented on Otoroku. When the label invited Peter to do a residency at Cafe OTO back in February 2023, it had no idea these would be his last ever shows and he played with such power it would have been hard for anyone present to believe he would never play publicly again. Recorded over two nights this grouping of Jason Adasiewicz on vibraphone, John Edwards on bass, and Steve Noble on drums feels especially resonant and personal to Cafe OTO. The first time Peter performed at the venue back in 2010 it was in a trio with John and Steve, so it feels fitting that the last shows he ever played here should also have that trio at its core. There are moments of tenderness to Brotzmann's playing that feels specific to this small group -- one that cuts across three generations -- and in a space that's come to feel like home. Of course, there is dizzying, forceful, single-minded playing, but even amongst a relentless chorus of cymbal splashes and busy vibraphone clusters the lyrical, spacious moments are savored and held onto. As he remarked after at the end of the group's first visit to OTO, "the Quartet is, for us, a great adventure." Peter clearly wanted to play to the end. It was Peter's wish that these recordings should be made public and he was due to finalize the cover design on the week he passed away. Otoroku would like to thank Peter's family for working to fulfil Peter's wishes to release this material. Recorded live at Cafe OTO by Billy Steiger on 10th and 11th February 2023. Mixed by James Dunn. Mastered by Giuseppe Ielesi. Photos by Dawid Laskowski. Pressed in the UK by Vinyl Press. Artwork by Peter Brötzmann. Design by Untiet. The 2LP version is an edit of the music played on both nights. It comes as a gatefold 12" printed in reverse board outersleeves and includes a pull out with photographs from the residency by Dawid Laskowski.

Artist	Title	Format	Label	Catalog #
THOMAS, PAT	The Solar Model of Ibn-Al Shatir	CD	OTOROKU	ROKU 040CD
$16.00 PREORDER RELEASE DATE: 4/11/2025 Pat Thomas returns to OTOROKU for his fourth collection of solo piano improvisations, this time recorded in a studio setting at London's Fish Factory. For 25 years now, beginning with Nur (Emanem) and continuing through Al-Khwarizmi Variations (Fataka), The Elephant Clock of Al-Jazari (ROKU 019LP), and now The Solar Model of Ibn Al-Shatir, Pat Thomas has drawn on the Arabic world for titles for his solo piano work -- specifically the long-standing Islamic tradition of astronomical invention. For Thomas, the work of the polymaths he dedicates his music to has been sidelined by Eurocentrism, just as the Arabic origin of "jass" and the scalar, intervallic and polyphonic contributions made by Arab musicians have been routinely overlooked. Islamic innovation is at the heart of Thomas' solo projects and draws a direct link between his Sufi faith and a totally unique style of playing. Each of his solo piano records is a dedication -- not just to the innovators Thomas names but to the beauty of the universe in all its complexities. Starting standing up with one hand inside the piano and one on the keys, "The Solar Model" begins with single staccato bass notes appearing like chondrites in the darkness, occasionally tumbling towards a rhythm and then falling out of it. Metallic string work starts to pull towards an unseen center and eventually notes from the upper registers appear, clear and light. With both hands drawn to the keys, Thomas builds towards scintillating beauty, carried through "The Laws of Motion" and propelling listeners towards the A-side closer, "For George Saliba". The whole landscape of the A side swings with this one movement, until its energy is spent on one last sweeping rotation. On the B-side, "The Oud of Ziryab" notes to the instrument maker who added a fifth pair of strings to the Oud. The single bass notes of the first side are swapped for clusters, bursting together and decaying in space. Making use of the sustain pedal and the silence of a studio setting, it's one of the most open, lush recordings of Thomas at the piano -- more Muhal Richard Abrams than Monk, the lower end thundering under rapid, crystalline blues. "For Mansa Musa" brings back a swing instantly recognizable as Pat, with a huge euphoric lift halfway that crowns the record but the album's end title "The Birds are Singing" is more celestial, more chromatic -- a reminder that the spiritual matters just as much as the physical for Thomas.

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