Fanfare Bolchevique De Prades-Le-Lez (Oc)
1974 - 79

Tom WAITSForeign Affairs (remastered)Epitaph

The ‘Abroad EP’ catalogues a period of time spent travelling Japan in the spring of 2019. Throughout the course of the month-long trip, Rudy carried around a portable recorder, capturing various sounds that caught his ear. That collection of found sounds would eventually become the foundation for the EP, each track utilizing a handful of different recordings ranging from bird calls in Tokyo’s Yoyogi Park, to windchimes in the coastal town of Kawazu. The EP took a full year of patient, daily work to complete, during which time Rudy invited a diverse group of collaborators in to help finish the songs. Throughout the recording process, harp, saxophone, and violin parts were added to create a unique blend of organic and electronic sounds.

Linda FREDRIKSSONJuniperWe Jazz FinlandLinda Fredriksson (they/them) shares their debut solo album "Juniper" on We Jazz Records, 29 Oct 2021. Linda (of Mopo and Superposition) has been working on the compositions heard on the album for several years, composing them mostly on guitar, keys and by singing. Only later have they been arranged for the band heard on the album, including Fredriksson on saxes and various instruments, Tuomo Prättälä (of ilmiliekki Quartet) on rhodes, moog and piano, Minna Koivisto on modular synth, moog and OP, Olavi Louhivuori (of Superposition) on drums, and Mikael Saastamoinen (of OK:KO and Superposition) on bass, plus featuring the Swedish artist Matti Bye on piano.

Early Future Records is proud to present the official reissue of the iconic 1979 spiritual jazz classic Visions Of The Third Eye, newly remastered for limited vinyl release and digital download.- Including a 20 page zine featuring an in-depth testimonial and interview with Brandon Ross, and an essay by Andy Votel, as well as archival photos, scores and reviews.12" Vinyl + Download card

First ever vinyl reissue of this highly sought after French experimental jazz recording by the legendary Jef Gilson.In 1971, the day after the death of Igor Stravinsky, Jef Gilson and his Unit (Pierre Moret and Jean-Claude Pourtier) made this curious homage to classical music. It is jazz, contemporary and electroacoustic music that the trio interrogate through a wild ‘noise’ session evoking as much John Cage as Pierre Henry, John Coltrane as the Percussions de Strasbourg, the Art Ensemble of Chicago as the Tacet by Jean Guérin.Le Massacre du Printemps, (the Massacre of Spring) is a strange kind of homage to Igor Stravinsky, who had just died when, in 1971, Jef Gilson recorded this not-to-be-missed album of French experimental jazz. “Too many pieces of music finish too long after the end” the Russian composer was quoted as saying and here is Gilson offering us... six!A funny bird (of fire) was Jef Gilson. Clarinetist who came up playing in the basement clubs with Claude Luter and Boris Vian, he turned to piano and multiplied his experiences in jazz: bebop, choral, modal, free, fusion... As a free spirit, Gilson welcomed many ‘up and coming’ French musicians in his bands (Jean-Luc Ponty, Bernard Lubat, Michel Portal, Henri Texier...) as well as being associated with Woody Shaw, Nathan Davis or Byard Lancaster. Later he would go on to create, Europamerica, a transatlantic formation in which Butch Morris, Frank Lowe, and Joe McPhee would play...But for the time being it’s a massacre! With Pierre Moret on organ and Jean-Claude Pourtier on drums, Gilson improvises with style and gusto. On the eponymous title track of the album, he also plays tuba and invites Claude Jeanmaire to get involved on prepared piano. Spring, for the four musicians here, is windswept: billowing, rumbling, frantic, it sounds like Stravinsky played by the ‘Percussions de Strasbourg’ without a scoresheet!After which, behind his electric piano, Gilson with Moret and Pourtier offers us five more “unpremeditated spontaneous expressions”, as he wrote on the back of the album sleeve. Five wily and electric expressions which are like the soundtrack to a film which could also have been played by the Art Ensemble or Jean Guérin. So, when, in the same text, Gilson expresses the hope that we will get “from this album the same pleasure that we had making it”, we can but reply: how could it be otherwise?

Après les célèbres compilations We Out Here sur les nouveaux talents Londoniens et Sunny Side Up sur la bouillonante scène jazz Australienne, Brownswood présente Indaba Is, une compilation de musique improvisée et de jazz sud-africains actuels. Le projet est le fruit d'une collaboration avec deux grands noms de la scène musicale sud-africaine, le pianiste/auteur-compositeur Thandi Nthuli et Siyabonga Mthembu de The Brother Moves On, qui agissent en tant que curateurs sur le projet. Les townships sud-africains étaient historiquement des lieux cosmopolites. L'apartheid confinait toutes les classes dans les mêmes lieux appauvris. Les migrations de tout le pays et de toute la région ont fait que les habitants des kasi maîtrisaient de nombreuses langues musicales. La musique d'église, la musique classique européenne, le jazz américain et les chansons pop de Liverpool diffusées par les stations de radio étrangères ont alimenté ce riche mélange. Indaba est né de toutes ses racines. Mais la communauté n'est pas sans poser de problèmes. Les fractures persistantes de la société sud-africaine ont été délibérément créées par l'apartheid, résultat d'une tentative d'imposer à tous des identités unitaires et construites sur une base raciale. Tous les morceaux de cette collection le contestent :ils démontrent la puissance unificatrice du travail musical collectif.