TAO FORMS - Forced Exposure

$13.00 IN STOCK

"The seminal Matthew Shipp String Trio (Shipp: piano; Mat Maneri: viola; William Parker: bass) reconvened in late 2024 in order to commune with tenor saxophonist Ivo Perelman in the studio, and Armageddon Flower is the epic result. This album is a peak gem of improvised communication in each of their extensive and astonishing bodies of work, revealing new ways of exemplifying tradition, language, physics, material, and energy. A profound work presenting such communication at a very high level indeed. Since 1996 Perelman and Shipp have recorded 46 albums together in duo and small group settings. But as Shipp is careful to point out, 'there's only one Matthew Shipp String Trio.' At the turn of the century, this Trio struck out on a path to redefine 'Third Stream' chamber jazz via two very well-received Hat Hut CDs. A quarter century later, this new work clearly builds on extensive, musically interwoven personal history. For Shipp, 'William and Mat are as close to my natural soul brothers as you can get -- and by soul I mean the soul. Ivo is another layer of that same soul.' Perelman's copious studio dates -- beginning with his self-titled Ivo (1989) -- are a continual refinement and study in process whether or not they share personnel, and countless gems reside in his vast body of work. Armageddon Flower is a singular gem in the entire body of improvised music. This work is fundamentally a group music; while there are sections of duo and trio interaction, the onus is on a four-way conversation in which parallel streams become oceans of sound, only to be distilled into isolated rivulets once again. Without a drummer but with forward motion and bounce, the music on Armageddon Flower is sublimely striking and operates in a continuous flow of both impulsion and idea. As these four musicians have spent decades together in various capacities, their language is on one level honed. What's surprising is that entirely new pathways are exploding into view. It's unquestionable that this is music of necessity, of striving, and of possibility."

$13.00 LOW STOCK LEVEL

"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."

$25.00 IN STOCK

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."

$13.00 IN STOCK

"With Anchors, Chicago-based bass clarinetist-composer Jason Stein arises from a six-year hiatus as bandleader with his most personal, nuanced, and expansive album to date. A masterful player on this difficult-to-master reed instrument (Dolphy did it, too), Stein created Anchors together with bassist Joshua Abrams (Natural Information Society, of which Stein has been a member since 2017), drummer Gerald Cleaver (whose bona fides run deep and wide), and guest artist/co-producer Boon. Anchors is a suite of great beauty and potency, moving from meditative calms to lyrical buoyancy to gripping intensity and again to a transformative peace found in unity. Anchors are, so often, symbolic of strength and stability. They reflect peoples' capacity to steady themselves in turbulent waters, allowing them to traverse the deepest seas. With anchors aboard, listeners can quell their fears, weather the storm, and chart forth. In all their looming weight, anchors allow then to be free. With Anchors, Jason Stein emerges with a luminous tribute to anchors of his own. Amidst the discomfort of transformation, he reaches into a reservoir of resilience and invites listeners to do the same. Stein's purposefully chosen trio partners on this work, Joshua Abrams and drummer Gerald Cleaver, are two illustrious improvisers rooted as much in the jazz tradition as they are in contemporary experimental approaches. Abrams' grounding in multifarious music traditions gives way to a visionary synthesis of styles, perhaps most apparent in his acclaimed Natural Information Society. Stein has recorded and toured with the group since 2017, and the unmistakable intuitive interplay between these long-time collaborators is a through-line on Anchors. Gerald Cleaver, a definitive stylist in the international creative music community, works with Stein for the first time here, shaping the record with a skillful prowess as impressive as his distinctive sound."

$24.00 IN STOCK

LP version. "With Anchors, Chicago-based bass clarinetist-composer Jason Stein arises from a six-year hiatus as bandleader with his most personal, nuanced, and expansive album to date. A masterful player on this difficult-to-master reed instrument (Dolphy did it, too), Stein created Anchors together with bassist Joshua Abrams (Natural Information Society, of which Stein has been a member since 2017), drummer Gerald Cleaver (whose bona fides run deep and wide), and guest artist/co-producer Boon. Anchors is a suite of great beauty and potency, moving from meditative calms to lyrical buoyancy to gripping intensity and again to a transformative peace found in unity. Anchors are, so often, symbolic of strength and stability. They reflect peoples' capacity to steady themselves in turbulent waters, allowing them to traverse the deepest seas. With anchors aboard, listeners can quell their fears, weather the storm, and chart forth. In all their looming weight, anchors allow then to be free. With Anchors, Jason Stein emerges with a luminous tribute to anchors of his own. Amidst the discomfort of transformation, he reaches into a reservoir of resilience and invites listeners to do the same. Stein's purposefully chosen trio partners on this work, Joshua Abrams and drummer Gerald Cleaver, are two illustrious improvisers rooted as much in the jazz tradition as they are in contemporary experimental approaches. Abrams' grounding in multifarious music traditions gives way to a visionary synthesis of styles, perhaps most apparent in his acclaimed Natural Information Society. Stein has recorded and toured with the group since 2017, and the unmistakable intuitive interplay between these long-time collaborators is a through-line on Anchors. Gerald Cleaver, a definitive stylist in the international creative music community, works with Stein for the first time here, shaping the record with a skillful prowess as impressive as his distinctive sound."

$18.00 IN STOCK

"Acclaimed vocalist-lyricist-arranger Fay Victor and her Herbie Nichols SUNG Quintet celebrate and thoroughly reconsider the rich legacy of revered jazz composer Herbie Nichols with Life Is Funny That Way, bringing it singing boldly into this century. Following on Billie Holiday, who famously wrote 'Lady Sings The Blues' to Nichols' 'Serenade,' Victor developed this deep labor of love project over the course of the past decade, after years of exploring the late composer's work. This landmark album is also the first time that a full program of lyrics have been written and recorded for Nichols' compositions. The innovative arrangements -- also by Victor -- are brought to vibrant life by a long-dedicated and deeply gifted quintet of veteran jazz performers, with Michaël Attias (alto and baritone saxophones), Anthony Coleman (piano), Ratzo Harris (bass), and Tom Rainey (drums). A group united by their mutual love of both Nichols' writing and Victor's estimable artistry. The source material is from Nichols' Blue Note sessions of 1955-56, plus three compositions not recorded in his lifetime. The erudite and extensive liner notes, which include key elements of Nichols biography, were written by esteemed jazz critic and author Kevin Whitehead. Though Fay Victor was born two years after the death of pianist-composer Herbie Nichols, these two native New Yorkers are connected by the space-time filament that is mu- sic, with a detour through Amsterdam. Nearly 30 years ago while living in the Netherlands, Victor discovered and was captivated by Nichols' music in the collection of her future husband. She first began to explore the concept of singing this tremendous work with Dutch pianist Misha Mengelberg and then, with Mengelberg's encouragement, together with trombonist and one-time Nichols collaborator Roswell Rudd. It was in 2013 that Fay Victor formed the Herbie Nichols SUNG project with American players and began to present it regularly in NYC, adding to a European trio version that had already toured the continent. This deep and extensive artistic journey which Victor embarked on, alongside leading other acclaimed bands and recording projects of all-original material, eventually led to the enthused involvement of the TAO Forms label. Its creative director, drummer Whit Dickey, not only shared a great appreciation of Nichols' singular work as a composer, but was also a long-time fan of the exceptionally gifted vocalist."

$31.00 IN STOCK

Double LP version. "Acclaimed vocalist-lyricist-arranger Fay Victor and her Herbie Nichols SUNG Quintet celebrate and thoroughly reconsider the rich legacy of revered jazz composer Herbie Nichols with Life Is Funny That Way, bringing it singing boldly into this century. Following on Billie Holiday, who famously wrote 'Lady Sings The Blues' to Nichols' 'Serenade,' Victor developed this deep labor of love project over the course of the past decade, after years of exploring the late composer's work. This landmark album is also the first time that a full program of lyrics have been written and recorded for Nichols' compositions. The innovative arrangements -- also by Victor -- are brought to vibrant life by a long-dedicated and deeply gifted quintet of veteran jazz performers, with Michaël Attias (alto and baritone saxophones), Anthony Coleman (piano), Ratzo Harris (bass), and Tom Rainey (drums). A group united by their mutual love of both Nichols' writing and Victor's estimable artistry. The source material is from Nichols' Blue Note sessions of 1955-56, plus three compositions not recorded in his lifetime. The erudite and extensive liner notes, which include key elements of Nichols biography, were written by esteemed jazz critic and author Kevin Whitehead. Though Fay Victor was born two years after the death of pianist-composer Herbie Nichols, these two native New Yorkers are connected by the space-time filament that is mu- sic, with a detour through Amsterdam. Nearly 30 years ago while living in the Netherlands, Victor discovered and was captivated by Nichols' music in the collection of her future husband. She first began to explore the concept of singing this tremendous work with Dutch pianist Misha Mengelberg and then, with Mengelberg's encouragement, together with trombonist and one-time Nichols collaborator Roswell Rudd. It was in 2013 that Fay Victor formed the Herbie Nichols SUNG project with American players and began to present it regularly in NYC, adding to a European trio version that had already toured the continent. This deep and extensive artistic journey which Victor embarked on, alongside leading other acclaimed bands and recording projects of all-original material, eventually led to the enthused involvement of the TAO Forms label. Its creative director, drummer Whit Dickey, not only shared a great appreciation of Nichols' singular work as a composer, but was also a long-time fan of the exceptionally gifted vocalist."

$18.00 LOW STOCK LEVEL

"James Brandon Lewis' second album with the glorious Red Lily Quintet: For Mahalia, With Love. This highly anticipated new album -- following on their Jesup Wagon -- reimagines songs made famous by the gospel icon who galvanized a nation with her voice. Whereas Lewis used his transformative talents to newly illuminate renaissance man George Washington Carver on Jesup Wagon, the saxophonist does the same here for gospel-music force of nature Mahalia Jackson. The album consists of nine gospel songs made famous by Jackson, plus another indelible tune written by Lewis. The challenge was to turn these songs into jazz, the 21st century variety. And that's where not only Lewis' sensibilities come in, but the band's as well. What James and the band (William Parker on bass, Chad Taylor on drums, Kirk Knuffke on cornet, and Chris Hoffman on cello) conjure with this music is miraculous. Lewis' gospel origins are evident and wholly operational within a scintillating blend of pre- and post-avant contexts, with the leader's love cry on tenor meshing at cloud level with Kirk Knuffke's plaints on cornet. Rooting the band while somehow defying gravity is the bass playing of William Parker, who with his unparalleled mastery of intonation delivers each bouncing note as a distinct flavor curated for the split-second moment. Chad Taylor, hailing from Chicago, seems to embrace everything swept up by that city during the great Northern Migration -- including Mahalia Jackson herself -- in the tidal surges of his drumming. On cello, Chris Hoffman summons bright earth tones to move beautifully through this wondrous blend. The entire thing rides on the inspired melodies by Lewis that refract and reassemble those of Mahalia's original numbers, enabling the soul, tears, joy and devotion she whipped up to be heard in a wholly new context. The double CD and LP editions also exclusively include the contemporaneous suite, 'These Are Soulful Days,' JBL's first composition for strings; performed with the Lutosławski Quartet."

$31.00 LOW STOCK LEVEL

Double LP version. "James Brandon Lewis' second album with the glorious Red Lily Quintet: For Mahalia, With Love. This highly anticipated new album -- following on their Jesup Wagon -- reimagines songs made famous by the gospel icon who galvanized a nation with her voice. Whereas Lewis used his transformative talents to newly illuminate renaissance man George Washington Carver on Jesup Wagon, the saxophonist does the same here for gospel-music force of nature Mahalia Jackson. The album consists of nine gospel songs made famous by Jackson, plus another indelible tune written by Lewis. The challenge was to turn these songs into jazz, the 21st century variety. And that's where not only Lewis' sensibilities come in, but the band's as well. What James and the band (William Parker on bass, Chad Taylor on drums, Kirk Knuffke on cornet, and Chris Hoffman on cello) conjure with this music is miraculous. Lewis' gospel origins are evident and wholly operational within a scintillating blend of pre- and post-avant contexts, with the leader's love cry on tenor meshing at cloud level with Kirk Knuffke's plaints on cornet. Rooting the band while somehow defying gravity is the bass playing of William Parker, who with his unparalleled mastery of intonation delivers each bouncing note as a distinct flavor curated for the split-second moment. Chad Taylor, hailing from Chicago, seems to embrace everything swept up by that city during the great Northern Migration -- including Mahalia Jackson herself -- in the tidal surges of his drumming. On cello, Chris Hoffman summons bright earth tones to move beautifully through this wondrous blend. The entire thing rides on the inspired melodies by Lewis that refract and reassemble those of Mahalia's original numbers, enabling the soul, tears, joy and devotion she whipped up to be heard in a wholly new context. The double CD and LP editions also exclusively include the contemporaneous suite, 'These Are Soulful Days,' JBL's first composition for strings; performed with the Lutosławski Quartet."

$13.00 LOW STOCK LEVEL

"This is the exquisite new solo work by virtuosic bassist/composer Brandon López. vilevilevilevilevilevilevilevile is about perceptions. More pointedly: it is 'less about -a thing- than it is about perceptions of things, questioning those perceptions, and possibly altering perceptions.' On moving to NYC, López immediately began making himself indispensable in many creative music scenes. From New York Philharmonic's David Geffen Hall to the DIY basements of Brooklyn, López has worked extensively beside many luminaries of jazz, classical, poetry, and experimental music. As with all bass players of great skill and commitment through the ages, López has been prolifically active in collaborations because he has been in duly high demand. 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.' López is also an improvising composer of estimable gifts. One recent example is his expansive work in duo with equally astonishing drummer Gerald Cleaver; recently incorporated into a trio with Fred Moten, the inimitable poet, theorist, critic, and 2020 MacArthur Fellow. Among the attention paid to their 2022 debut was an '8.0' review in Pitchfork and a 'Best Jazz Albums of 2022' notice by the New York Times. The brawn which Brandon brings to his playing is abundantly clear on stage, and can be viscerally felt as a force coming out of his recordings. The strings & wood frame are wholly resonant when called forth, by muscles well-developed for the purpose by a longtime gravedigger. Yes, López dug many for a strong spell as a young man. It is also abundantly clear that 'brains over brawn' are a key differential. A Puerto Rican kid growing up working class in North Jersey doesn't perform with the New York Philharmonic (as a soloist, no less) without the brains. López has kept busy during these pandemic years, releasing solo works (and other collaborative stealth recordings) via his Bandcamp page and creating live streams on Instagram. vilevilevilevilevilevilevilevile is, however; by his own telling, only his second 'real one' for solo bass -- an album created with forethought towards wider release."

$25.00 LOW STOCK LEVEL

LP version. "This is the exquisite new solo work by virtuosic bassist/composer Brandon López. vilevilevilevilevilevilevilevile is about perceptions. More pointedly: it is 'less about -a thing- than it is about perceptions of things, questioning those perceptions, and possibly altering perceptions.' On moving to NYC, López immediately began making himself indispensable in many creative music scenes. From New York Philharmonic's David Geffen Hall to the DIY basements of Brooklyn, López has worked extensively beside many luminaries of jazz, classical, poetry, and experimental music. As with all bass players of great skill and commitment through the ages, López has been prolifically active in collaborations because he has been in duly high demand. 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.' López is also an improvising composer of estimable gifts. One recent example is his expansive work in duo with equally astonishing drummer Gerald Cleaver; recently incorporated into a trio with Fred Moten, the inimitable poet, theorist, critic, and 2020 MacArthur Fellow. Among the attention paid to their 2022 debut was an '8.0' review in Pitchfork and a 'Best Jazz Albums of 2022' notice by the New York Times. The brawn which Brandon brings to his playing is abundantly clear on stage, and can be viscerally felt as a force coming out of his recordings. The strings & wood frame are wholly resonant when called forth, by muscles well-developed for the purpose by a longtime gravedigger. Yes, López dug many for a strong spell as a young man. It is also abundantly clear that 'brains over brawn' are a key differential. A Puerto Rican kid growing up working class in North Jersey doesn't perform with the New York Philharmonic (as a soloist, no less) without the brains. López has kept busy during these pandemic years, releasing solo works (and other collaborative stealth recordings) via his Bandcamp page and creating live streams on Instagram. vilevilevilevilevilevilevilevile is, however; by his own telling, only his second 'real one' for solo bass -- an album created with forethought towards wider release."

$13.00 IN STOCK

"Drummer Whit Dickey guides a formidable new quartet through deep waters on Root Perspectives. As he states, 'I get into music not just by playing but by accessing a vibration.' This work gets to the heart of what he means by that elliptical phrase. It is the latest recording from his TAO Forms label, which since its 2020 founding has released some of the freshest material in recent memory, including James Brandon Lewis' poll-winning Jesup Wagon, and Dickey's own highly inspired works, Expanding Light and Astral Long Form: Staircase in Space. On Root Perspectives -- recorded the day after releasing Astral Long Form in May 2022: 'I conceived this album off of a vibration that I felt while obsessively listening to the title composition of Coltrane's Crescent,' he recalls. 'I tried to rhythmically anticipate each instrument of the classic quartet while keying into the central mantra/vibration. I began to hear how each instrument embodied the mantra in subtly different ways. On this album, my plan was to tap into the drum part of that mantra, and let the quartet rise from there.' The sound and energy of a tenor-based quartet was a logical choice, and this presents the first encounter between Dickey and saxophonist Tony Malaby -- who brought determined grit and fire to the session, along with Matthew Shipp -- one of Dickey's closest associates, and the youngest of the group -- agile and inventive bassist Brandon Lopez. By deeply tuning in to cosmic vibrations, the Tao, and the players assembled around him, Dickey has found a musical center that grows more profound with each passing year."

$31.00 IN STOCK

Double LP version. Gatefold sleeve; includes download card. "The exemplary and well-traveled cornetist Kirk Knuffke here introduces a bold new trio -- with bassist Michael Bisio and pianist Matthew Shipp -- on an intimate and expansive double album. Gravity Without Airs features the three world-class musicians on both Knuffke compositions and in open form, creating a tour-de-force of poetry and verve. This is Knuffke's debut as a leader for TAO Forms, following on his being full part of James Brandon Lewis / Red Lily Quintet's Jesup Wagon, one of the most acclaimed jazz releases of 2021. That album was eventually voted #1 Album of the Year in the JazzTimes Critics Poll, the international Jazz Critics Poll established by Francis Davis, and the (soon to be announced) DownBeat Critics Poll. Accolades for the cornetist's own recent work as leader include NPR's Jazz Album of the Year laurel for 2017's Cherryco, his homage to Don Cherry, a prime influence. DownBeat praised the way that album showcased Knuffke's 'nonchalant versatility and ebullient melodic gifts,' while esteemed critic Francis Davis called it 'nothing short of spectacular.' Davis also wrote the liner notes for Gravity Without Airs, noting the allure of Knuffke's instrumental aplomb: 'Kirk plays as if his cornet is a part of him -- he plays with it, not just on it.' On his guiding artistic impulse, Kirk Knuffke says: 'I'm concerned with making beautiful music. Beauty is always first, though not in a precious way. It can be in a rough way, too.' A prolific, lauded record-maker, Gravity Without Airs fulfills his poetic aims as well as any recording he has made. This work finds Knuffke in the rare, even unique, trio format of cornet, piano and double-bass. His partners are two ever-estimable pillars of creative music, and the work they've created together here brims with melody and mystery, intimacy and dynamism. Regarding the album title, Knuffke explains: 'I was reading Meditations by Marcus Aurelius while preparing for this recording. He used the phrase 'gravity without airs', and it stuck with me. That's what it's all about! Being heavy but not putting on airs -- that's what my favorite musicians do. In these days of social media and constant hype and self-promotion, this is what we should really aspire to: do the work and study, get into your thing and avoid showing it off half-cooked. Matthew and Michael have that sort of grace. I was really touched because once we started playing, they both got excited and wanted to play more and more -- that's how we ended up with a double album,' Knuffke recalls. 'I hope people can listen to it as a whole, so they can hear all the subtleties as well as the shape and flow of the album. I have to say: I'm especially proud of this one.' Liner notes by Francis Davis." "Rhythmically precise, New Orleans funky and full of grace, Kirk Knuffke's music is a reflection of his multifaceted personality: part musical sage, part jazz philosopher, a self-taught musician with wide interests, endless curiosity and an abundance of good humor." --DownBeat

$18.00 NOT IN STOCK

"The exemplary and well-traveled cornetist Kirk Knuffke here introduces a bold new trio -- with bassist Michael Bisio and pianist Matthew Shipp -- on an intimate and expansive double album. Gravity Without Airs features the three world-class musicians on both Knuffke compositions and in open form, creating a tour-de-force of poetry and verve. This is Knuffke's debut as a leader for TAO Forms, following on his being full part of James Brandon Lewis / Red Lily Quintet's Jesup Wagon, one of the most acclaimed jazz releases of 2021. That album was eventually voted #1 Album of the Year in the JazzTimes Critics Poll, the international Jazz Critics Poll established by Francis Davis, and the (soon to be announced) DownBeat Critics Poll. Accolades for the cornetist's own recent work as leader include NPR's Jazz Album of the Year laurel for 2017's Cherryco, his homage to Don Cherry, a prime influence. DownBeat praised the way that album showcased Knuffke's 'nonchalant versatility and ebullient melodic gifts,' while esteemed critic Francis Davis called it 'nothing short of spectacular.' Davis also wrote the liner notes for Gravity Without Airs, noting the allure of Knuffke's instrumental aplomb: 'Kirk plays as if his cornet is a part of him -- he plays with it, not just on it.' On his guiding artistic impulse, Kirk Knuffke says: 'I'm concerned with making beautiful music. Beauty is always first, though not in a precious way. It can be in a rough way, too.' A prolific, lauded record-maker, Gravity Without Airs fulfills his poetic aims as well as any recording he has made. This work finds Knuffke in the rare, even unique, trio format of cornet, piano and double-bass. His partners are two ever-estimable pillars of creative music, and the work they've created together here brims with melody and mystery, intimacy and dynamism. Regarding the album title, Knuffke explains: 'I was reading Meditations by Marcus Aurelius while preparing for this recording. He used the phrase 'gravity without airs', and it stuck with me. That's what it's all about! Being heavy but not putting on airs -- that's what my favorite musicians do. In these days of social media and constant hype and self-promotion, this is what we should really aspire to: do the work and study, get into your thing and avoid showing it off half-cooked. Matthew and Michael have that sort of grace. I was really touched because once we started playing, they both got excited and wanted to play more and more -- that's how we ended up with a double album,' Knuffke recalls. 'I hope people can listen to it as a whole, so they can hear all the subtleties as well as the shape and flow of the album. I have to say: I'm especially proud of this one.' Liner notes by Francis Davis." "Rhythmically precise, New Orleans funky and full of grace, Kirk Knuffke's music is a reflection of his multifaceted personality: part musical sage, part jazz philosopher, a self-taught musician with wide interests, endless curiosity and an abundance of good humor." --DownBeat

$13.00 NOT IN STOCK

"Drummer-percussionist Whit Dickey channels ecstatic cosmic vibration together with a stellar quartet on Astral Long Form: Staircase In Space, his second album as a leader for TAO Forms. The album also features alto saxophonist Rob Brown, violist Mat Maneri and bassist Brandon Lopez. 'The interaction between players is perfect. Entrances, exits, the space between sound and silence, all meeting at the right moment. This is great human music that will stand up to any dark forces in any universe.' --William Parker, in his liner notes for the album. Since his launch of the TAO Forms label in 2020, Whit Dickey has curated a remarkable series of releases showcasing some of the most astonishing voices in modern jazz & creative music. Among them was/is James Brandon Lewis' Jesup Wagon which topped several year end 'Best of 2021' lists, including #1 in JazzTimes Critics' Poll and the coveted top spot in the 2021 international Jazz Critics Poll established by Francis Davis. TAO Forms has also provided an outlet for Dickey's own vital work -- first with 2020's breathtaking trio date, Expanding Light, featuring his 30+ year colleague, maestro alto saxophonist Rob Brown & young firebrand bassist Brandon Lopez. Those same musicians return in quartet here -- joined by violist Mat Maneri, another virtuoso with whom Dickey shares a long history. Astral Long Form is without doubt one of the drummer's most adventurous & fully realized works to date. These five conceptually interwoven pieces as performed by this intuitive quartet may well come to be considered his masterwork -- one of them, at least. There is a sustained, enrapturing mode that unites its five parts. In keeping with the drummer's yin/yang view of musical balance -- exemplified not only by the name of the label, but in the duality of Dickey's previous quartet release, Peace Planet / Box of Light, this album opens immediately into a heretofore under-explored expanse. Staircase in Space luxuriates in open space and atmospheres, untethered from the common notion of time. Regarding the album title, Dickey explains: 'It's a long form in the sense that the music stays in a long vibration ringing throughout its rhythmic underpinning. These vibrations form a growing staircase and the phenomenon goes on ad infinitum.' He continues, 'I was looking for something more relaxing, where I could ground myself, the way I can when I hear Cecil Taylor or John Coltrane. I like that feeling where everything seems to float -- it's comfortable.'"

$13.00 LOW STOCK LEVEL

"This Michael Bisio Quartet is a new kindred-spirit assembly featuring the veteran bassist alongside Mat Maneri (viola), Karl Berger (vibraphone) and Whit Dickey (drums). Their melodiously alluring debut album, MBefore, features the four virtuoso improvisers communing on a set of original compositions by Bisio & Berger, plus a free-minded take on the standard 'I Fall in Love Too Easily'. Michael Bisio has earned just praise for his textured solo performances as well as collaborations with the likes of veteran multi-instrumentalist Joe McPhee. But it's perhaps his 13-year membership in the Matthew Shipp Trio that has earned him widest renown, having toured on both sides of the Atlantic along with recording numerous albums with the pianist. Cadence magazine marveled over the way Bisio's playing 'seems to be produced by sorcery.' From the liner notes by Matthew Shipp: 'Michael Bisio is one of the greatest bassists on the planet -- but this album isn't about his bass playing. It's about his humanity. Bisio is a thoughtful group leader who has a knack for bringing the right people together and setting them up in such a way that they feel at one with the group dynamic.' MBefore is about the ensemble and its collective consciousness -- it's about the group aesthetic, with the resulting sound having a transparent quality. With vibes and viola, there's a sonic clarity, even a kind of sweetness. That clarity and transparency allows the contrapuntal quality of the music to be fully revealed -- you can hear everyone's lines at once, and the subtle harmonies created by the crossing of those individual lines. On that clarity and transparency... there's no more compelling improviser on a stringed instrument than Mat Maneri, and his viola sings darkly with light throughout MBefore. As for Karl Berger -- the illustrious octogenarian vibraphonist who brought two new compositions to this album as well -- he remains profoundly on top of his game. Bisio has worked with him regularly since moving a decade ago from NYC up to Berger's neck of the woods in the Hudson River Valley. As Shipp notes, Berger is 'a master of space, a master of restraint, a master of melding his sound in the sonic ambient.' TAO Forms is honored to present his very latest work as performer and composer here on MBefore." "This is a banquet, a true feast. It was created by people who gave themselves over to the concept and reveled in the generation of beautiful sound." --Matthew Shipp

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"Matthew Shipp takes an introspective turn on his latest solo piano album, continuing to discover new territory for his singular cosmic pianism. Codebreaker encrypts rich harmonies, cloud-like clusters, and the unlikely confluence of Bill Evans and Bud Powell. Within the voluminous catalogue that pianist Matthew Shipp has created over the last three and a half decades, his solo piano work has charted a unique and compelling pathway for the evolution of the instrument's vocabulary. On his latest album, that path finds Shipp in an uncharacteristically meditative state of mind. Though the language is unmistakably his own, the usual attacks, dense clusters and insistent circularity are more often replaced by harmonic nebulae that luxuriate in the mysterious resonances which Shipp conjures from the keyboard. 'I was actually shocked at how introspective the album was when I listened back to it,' Shipp admits. 'If I try to dissect my motivations, which are not always conscious and which just happen on their own, I see myself really basking in harmony. I'm interested in trying to wring all of the harmonics from the piano that I possibly can, and with that in mind, any set of harmonics has a set of melodic fragments that are implied.' Given that investigative impulse, Shipp himself could be viewed as the Codebreaker of the album's evocative title. There's a wry humor to the name, as Shipp imagines a parallel between a World War II secret agent doggedly racing to crack an enemy cypher and himself sitting at the piano, puzzling over the music's infinite enigmas. But the idea seems profoundly serious when considering the singular sonic vernacular he's coined, making him one of the most distinctive pianists of his generation. The album title also continues a career-long investigation into the ways that his subversive approach to the piano connects with the instrument's storied lineage. While the likes of Cecil Taylor and Sun Ra have been constant touchstones in critical writings on his work, one name that emerges when listening to Codebreaker, perhaps for the first time in Shipp's discography, is that of Bill Evans."

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"Drummer Whit Dickey, bassist William Parker, and pianist Matthew Shipp present a wondrous collective creation, their first new studio recording since Shipp's classic 1992 trio debut, Circular Temple. This is also their first assembly since their work together in the revered David S. Ware Quartet. 'Everything is melody.' --Whit Dickey on the mantra of the music. In the late 1980s/early '90s, pianist Matthew Shipp and drummer Whit Dickey were young musicians taking part in the cultural ferment happening on New York City's Lower East Side, a place where free jazz, avant-rock and all manner of creative arts and political causes were colliding and combining to further the area's legacy of progressive action. William Parker -- although just two years older than Dickey -- had been part of that progressive action since the mid-70s, and was already a world traveler. As Shipp has noted on numerous occasions, a key aim in his moving to NYC was to make music with Parker. The sound and sensibility of that vintage East Village milieu informed Shipp's very first trio album, the striking Circular Temple. Although the three have worked together in important configurations in the decades since (vitally, in the revered David S. Ware Quartet), they are now releasing their first trio studio album together since that original classic: Village Mothership, its title in homage to the rich environment that fed the artistic development of these artists. This brand new work together re-ignites this trio's profound creative pulse, with 30 years of devotion to the music since then clearly evident. 'We created this album in the moment as a trio,' Dickey explains. 'The atmosphere of this session was warm and fun, and it was a deep, wondrous experience with the three of us. To me, everything is melody. And the melodies manifest out of the mantra of our playing, the rhythms radiating multi-directionally out of those melodic vibrations. Mystical stuff was happening.' Both formats feature extensive liner notes by Steven Joerg & vintage photographs by Sylvia Plachy, then staff photographer at the Village Voice."

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LP version. "Jesup Wagon is the astonishing new work from the fertile creative mind of ascendant tenor saxophonist-composer James Brandon Lewis. Voted Rising Star Tenor Saxophonist in the 2020 DownBeat Magazine International Critic's Poll, for his ninth release (and his TAO Forms debut) he leads the Red Lily Quintet, an exceptional inter-generational ensemble assembled specifically for this project. The album speaks eloquently to the forever-evolving continuum of the jazz tradition. Essentially a collection of tone poems -- or, as Duke Ellington might have called them, "tone parallels" -- Duke being the instigator of this type of programmatic jazz. Jesup Wagon is an evocative appreciation of the life and legacy of turn-of-the-19th century African-American musician-painter-writer-scientist George Washington Carver. Sustainable agriculture was a key component of Carver's prescient thoughts into action; his Jesup Wagon was a part of that. The album consists of seven pieces that create a portrait of stunning clarity and depth. Jesup Wagon marks another remarkable step for James as player and composer. Helping him get it all out on this release is the Red Lily Quintet, anchored by the tectonic rhythm section of bassist William Parker and drummer Chad Taylor, and rounded out by cornetist Kirk Knuffke and cellist Chris Hoffman. The album also features liner notes by the great American historian Robin D.G. Kelley, who in 2009 released the definitive Monk biography, Thelonious Monk: The Life and Times of an American Original. His notes contain much historical detail about Carver, particularly as they relate to the tunes."

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"Jesup Wagon is the astonishing new work from the fertile creative mind of ascendant tenor saxophonist-composer James Brandon Lewis. Voted Rising Star Tenor Saxophonist in the 2020 DownBeat Magazine International Critic's Poll, for his ninth release (and his TAO Forms debut) he leads the Red Lily Quintet, an exceptional inter-generational ensemble assembled specifically for this project. The album speaks eloquently to the forever-evolving continuum of the jazz tradition. Essentially a collection of tone poems -- or, as Duke Ellington might have called them, "tone parallels" -- Duke being the instigator of this type of programmatic jazz. Jesup Wagon is an evocative appreciation of the life and legacy of turn-of-the-19th century African-American musician-painter-writer-scientist George Washington Carver. Sustainable agriculture was a key component of Carver's prescient thoughts into action; his Jesup Wagon was a part of that. The album consists of seven pieces that create a portrait of stunning clarity and depth. Jesup Wagon marks another remarkable step for James as player and composer. Helping him get it all out on this release is the Red Lily Quintet, anchored by the tectonic rhythm section of bassist William Parker and drummer Chad Taylor, and rounded out by cornetist Kirk Knuffke and cellist Chris Hoffman. The album also features liner notes by the great American historian Robin D.G. Kelley, who in 2009 released the definitive Monk biography, Thelonious Monk: The Life and Times of an American Original. His notes contain much historical detail about Carver, particularly as they relate to the tunes."

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"A rather exquisite new communion between these three master improvisers. One of the most exhilarating qualities shared by great improvising musicians is the ability to bring one's immediate situation -- the joys, sorrows, fears and desires of the day -- into each unique performance. What made this most recent convening of the Ivo Perelman Trio so singular was the fact that not only were all three musicians -- prolific saxophonist Ivo Perelman, pianist Matthew Shipp, and drummer Whit Dickey -- immersed in the same present-day miasma, so was every potential listener, wherever they might be. Garden of Jewels was recorded in June 2020 as the coronavirus pandemic raged across the globe. On the day that these three longtime collaborators warily (albeit safely) entered the studio for the first time since the virus forced us indoors, the un-precedented circumstances provided the trio a profoundly urgent source of inspiration. At the same time, the country was in the midst of a series of turbulent protests that added an additional layer of vitality to the proceedings. While Garden of Jewels is only the second time that Perelman, Shipp and Dickey have recorded as a trio -- the first, Butterfly Whispers, was released in 2015 ? all three share a long and rich history. Shipp and Dickey, of course, worked together as integral members of the David S. Ware Quartet & in Shipp's own Trio, while the pianist and Perelman have spent the last decade creating one of the most well-documented partnerships in improvised music history. The trio entered the studio without having discussed what might transpire at the session -- the eight tracks that resulted provide vivid evidence of the band's deft spontaneity, kaleidoscopic versatility and deeply felt camaraderie. It's also the latest glimpse of the ongoing evolution of their collective identity. 'We're like scientists dealing with sound,' Perelman says. 'Each recording is a means to check our development.' 'There was a dark energy surrounding all of us, counterbalanced by the sheer power of creation. We had to become an antenna to capture the angst and anxiety of the times and transform it into art and catharsis. There was a social function to that music, not just for us but for anyone who might hear it one day. I left the studio with a new soul.' Featured on the inner panels of the digipak are luminous track-by-track poetic responses by a woman of strength and vision, Mia Hansford, who provided similar notes to Matthew Shipp's The Piano Equation, and will again on future Tao Forms releases."

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"Now Then, by Tani Tabbal Trio, is the vital third release on Tao Forms, and we are honored to present this brand new work from the master drummer-percussionist. Tani Tabbal is known for his extensive performing and recording career with Roscoe Mitchell, Geri Allen, James Carter, David Murray, Sun Ra, and Faruq Z. Bey / Griot Galaxy. Following a series of self-released recordings over the past decade (including two by this trio), Now Then will be his first internationally distributed work as a leader. Tabbal -- who came of age on Detroit's fertile jazz scene -- has always looked for colleagues with fresh ideas, big ears, and adventurous souls. He found them again in veteran bassist Michael Bisio and next generation alto saxophonist Adam Siegel. Now Then is an exceptional album of charismatic communications by three musicians who breathe as one. The compositions -- six by Tabbal, four by Bisio -- define specific materials and moods that the trio develops with patience and a subtle variety of textures and dynamics. Melodic riches abound, wielded with both controlled fire & giving tenderness, while the joy of prolific communication and illuminated creation permeates the album. It's a beauty!"

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"Free improvisation is as much an act of discovery as of creation. On their breathtaking debut, Expanding Light, the brand-new Whit Dickey Trio shines their collective illumination into the heretofore unexplored darkness between them. The album teams the drummer with one of his most long-standing collaborators in saxophonist Rob Brown & for the first time with the young firebrand bassist Brandon Lopez, in what is certainly hoped will be an ongoing communion. The light and the dark, intimate friends and fresh relations -- these are a few of the dualities embodied by the new recording label Tao Forms (launching May 1, 2020 with The Piano Equation, a cosmic solo piano outing by Matthew Shipp). This second release by the label continues the remarkable creative renaissance which Dickey embarked on with his stunning and widely acclaimed 2019 double-album by the Tao Quartets, a Yin and Yang pairing of two distinct ensembles. Expanding Light is an exercise in going full-bore Yang. The result maintains a visceral ferocity even at its most abstract and more gentle moments, a sonic territory that the drummer refers to as 'free grunge,' influenced as much by Nirvana at their finest as by the holistic experimentation of Dickey's mentor, Professor Milford Graves."

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"Further honing a singular cosmic musical language, Matthew Shipp begins celebrating his landmark 60th year with this new work for solo piano. The Piano Equation is also the inaugural release from Tao Forms, a new label devoted to enlightened and elevated free jazz. Over more than half of his lifespan, Shipp has built up an unparalleled body of work and a wholly original musical language that only becomes more hyper-focused and distinctive with the passage of time. Shipp's abstract eloquence is on vivid display throughout The Piano Equation, which presents Shipp alone at the piano, brilliantly solving his higher-order musical mathematics, approaching each new unknown from unexpected vantage points as in some form of cubist algebra. Shipp builds his solo music in a cellular fashion, formed like the building blocks of human life out of disparate elements that combine and evolve in ever-unique and fascinating forms. 'There are billions of different human beings on the planet, all constituted with the same genetic material but all completely different,' he says. 'All of these pieces can be generated with a different mother/father idea and the basic cellular material can unfold in billions of ways.' Stride, swing and the avant-garde collide like so many elemental particles, the aftereffects radiating outward in increasingly complex and intricate formations. The scientific, the personal, the political and the fantastic co-exist throughout Shipp's work, melding in the radical vocabulary that the pianist employs on the album, which speaks with its own alien yet familiar logic. Fragments of melody coalesce and transform, dissolve or shatter into kaleidoscopic reveries."