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Sunny Ozuna is a living legend and a man worthy of praise on many levels. In the Texas and Latin Music pantheon, few have been at it longer and are more revered by their fans and peers than Sunny is. He became a star right out of high school in the late `50s and hasn't looked back in the seven decades since. Among countless other honors and notable achievements, Sunny was the first Latino artist to appear on Dick Clark's "American Bandstand" (in 1963). He penned "Smile Now, Cry Later," a hit for him and The Sunliners, which along with the theater masks that grace the album's cover, became staples in the Chicano Soul and Lowrider Soul cultures. We have been fans of Sunny & The Sunliners' music for a long time. We first got in touch with Sunny to try to reissue some of his records in 2013 but we didn't sign a deal until 2015. It took a trip to San Antonio and then two years of steady phone calls before they decided "if you have been chasing us for this long, you must be serious." With Sunny's blessing we started getting everything mastered, scanned, and planned. First we released 2017's Mr Brown Eyed Soul Vol. 1 compilation that put rare 7" sides next to some of his biggesthits and mixed in some choice album cuts for good measure. In the wake of that, we released three of Sunny's full lengths with their original track lists and art: Smile Now, Cry Later, Little Brown Eyed Soul, and The Missing Link - all of which were Record Store Day releases that raised money for the victims of 2017's Hurricane Harvey. For the 7" collectors, we reissued ve 45s,making some very hard to come by sides widely available again and pressing some tunes on the format for the first time. In 2020, as an homage to Sunny, we released Dear Sunny... a compilation of Big Crown artists covering Sunny & The Sunliners songs. Through all of this we were able to do what we set out to do: get Sunny's music to a new audience of people and make it all accessible and available again to his existing fanbase. Sunny still keeps a busy schedule an...

Still in shrink but opened. EU reissue from 2021. Cover has tiny wear.

In Paris in 1965, F. Tusques mixed with Michel Portal, François Jeanneau, Jean-François Jenny-Clark, Aldo Romano or Jacques Thollot. He also met Don Cherry and above all recorded, with other like-minded Frenchmen (Portal and Jeanneau alongside Bernard Vitet, Beb Guérin and Charles Saudrais), the first album of free jazz in France. Years later his thirst for freedom led him to isolation; between May and September 1970, the pianist recorded, at his home, the first of two albums that he would release on Futura Records: »Piano Dazibao« and »Dazibao N°2«.

“We are inspired by our own experiences, as well as those of others. The last year was the beginning of a new era for all of us and it has left us with much to analyze and the need to rethink our priorities. There’s been so many changes on this planet: the confinement, the constant looking back at the past, the struggle of many against endless injustices, love, all this leads to the fact that our new songs have very current themes but that also transcend time. They continue the characteristic sound of Acid Coco, with the undeniable influence of the Caribbean.” Acid Coco If we can define folklore as the passing on of traditions from a particular group of people, then there can be no denying that Acid Coco, whether consciously or not, are playing an important role in disseminating the folk culture of Colombia’s Caribbean coast. Throughout their music there are links to tradition: the gaita flute typical of rural cumbia, the effervescent guitar licks that are such a big part of the coast’s Afro-diasporic sounds, the teeth-rattling bass indicative of communities brought up on picó sound systems since the 70s, the unmistakable sound of the marimba wooden xylophone (each note like a rain drop on the jungle canopy), and then there are the lyrics. Tradition should not stand still, and in Andrea’s words we find the oral traditions of the last 30 years: on “Hoy Como Siempre” she sings of the need for women to stick up for themselves, to not fall in love too easily; on “Cara Dura” the sentiment is even stronger, its lyrics picking out a male predator on the dance floor who will not be tolerated; and then there’s “Mundo de Mentira” where vulnerability peaks through, the story of a woman whose life has become a “world of lies” since their lover has left – who can she believe now the one she trusted the most has gone? They are stories that could have spilled out of Cali’s salsatecas, Cartagena’s picós or any club the world over, yet through Paulo’s canny production there is no doubt where we are. Dembow, cumbia, reggaeton, even on the spiky Caribbean folk of final track “Por Las Venas” or chiptune melody of “Aquí y Allá”, there is nowhere we can be other than on Colombia’s Caribbean coast. It’s music that comes from lived experiences, from growing up in Colombia’s clubs and through its violence and daily realities. Culture is being passed forward.

Deliberately presented as a dance music release, this brilliant Quincy Jones album - first released on Mercury label in 1961 - comprises material from two marvelous big band performances recorded the year before in Paris and New York. Here the great composer and arranger leads a first class "dance organization", a top-flight big band featuring the cream of NY Jazz musicians, among them: Clark Terry and Freddie Hubbard - trumpets, Curtis Fuller and Melba Liston - trombones, Phil Woods, Oliver Nelson and Sahib Shihab - saxes, Stu Martin - drums. An exquisite platter of highly swinging and danceable grooves signed by the genius of Quincy Jones

Cover has ring-wear.

Presswell Pressing.

Mega Rare 1974 Jazz Funk Rock Album Recorded By Argentina's Top Jazzmen Pocho Lapouble, Ricardo Lew And Adalberto Cevasco (Also Members Of Quinteplus, Jorge Lopez Ruiz's Band And Gato Barbieri's Group Among Many Others).Includes The Irresistible Fast-Paced Funk Rock Track 'Se Acabó El Recreo' And The Ethereal 'Todo En Su Medida Y Armoniosamente' And 'Haceme Shaft', Featuring Patricia Clark On Vocals And Unexpected Moog Arrangements.First Time Reissue, With Remastered Sound And Original Artwork. -Info: Those Into World Jazz Will Be Aware Of The Amazing Modal, Big Band And Post-Bop Jazz Recordings Released In Argentina In The '60s. The Body Of Work Produced By The Likes Of Chivo Borraro, Jorge López Ruiz Or Enrique Villegas Would Be Able To Rival The Recordings Of Their American Counterparts.The Following Decade Would See A Great Openness To The Exploration, With A Jazz Language, Of Other Musical Genres, With A Certain Preponderance Of Rhythm. The Members Of El Trio Are Part Of A Jazz Generation With A Greater Propensity To Experiment With Electricity And With What Could Be Considered An Avant La Page Exercise Of What Soon Afterwards Would Be Called Jazz Rock -It Is Music Composed And Played, In The Faraway Buenos Aires, At The Same Time Miles Davis Adventured Into New Fields, With Such Records As "In A Silent Way" Or "Bitches' Brew"."Todo En Su Medida Y Armoniosamente" Reflects That Same Spirit Of Experimentation And Fusion Of Diverse Influences With An Eye On Both Rock And Local Folklore. It's Not Surprising That The Protagonists Of This Recording -Pocho Lapouble (Drums), Ricardo Lew (Guitar) And Adalberto Cevasco (Bass) - Had Accompanied Gato Barbieri Himself In His Project "Latinoamérica" Shortly Before The Release Of This Album Where The Presence Of Rhythms From The Southern Hemisphere Infused The Avant-Garde Jazz Of The Argentine Saxophonist. Drummer Pocho Lapouble Had Also Created Quinteplus, Which In 1972 Released A Single Studio Lp Inspired By Those Same Premises Of Fusi...

Reissued For The First Time, "Fragmentos Da Casa" By Brazilian Percussionist Marco Bosco, Was Originally Released In 1986, By Carmo, Owned By Egberto Gismonti. Carmo Also Released Albums By Gismonti, Piry Reis, Fernando Falcao, Nando Carneiro And André Geraissati, Among Others.In 1986, Marco Bosco's Percussive Arsenal Was Unique And Extremely Peculiar, Containing Chizanzhi, Caxixis, Purrinhola, Requo-Requo, Shequeres, Berimbaus And Lingo Drum, Among Other Instruments.Brazilian Percussion Is A Universe Apart. The Fusion Of African And Brazilian Cultures And Rhythms Has Generated Many Talented Musicians Who Have Gone Deeper Into Brazilian Roots In Search Of Its Essence And Thoroughly Research All Of Our Diversity. Many Of The Percussionists Have Been Transformed Into An "Export Product" Worshiped Worldwide: Airto Moreira, Naná Vasconcelos, DJalma Corrêa, Fernando Falcao, Pedro "Sorongo" Santos And Marco Bosco, Among Many Others.Marco Bosco Started His Personal Journey In The 70s, But The Biggest Impact Happened When He Released His First Solo Work, Metalmadeira (1983), A Journey Made Up Of Acoustic And Electronic Textures, Nature Noises, Vocoders, Synthesizers And Sequencers. "Fragmentos Da Casa", His Second Solo Album, Had A Striking Concept, Explained By The Artist Himself, From The Original Press Release: "Antagonizing The Synthesized Universe Of Digital Equipment And Instruments To An Acoustic Aesthetics; Plus Emphasizing The Timbristic Characteristics Of Percussion: "Fragmentos Da Casa" Is A Musical Interpretation Of A Journey - One Night And One Day - Through The Rooms Of An Imaginary House"This Fusion Of Acoustic And Synthetic, Promoted By Some Brazilian Artists In The 80's And Celebrated Worldwide, Still Brings Memories To The Percussionist. For Him, The Arrival Of Those Electronic Gadgets "Was The Best Thing That Happened On The Planet".This Reissue Includes A Reproduction Of The Original Artwork, New Testimonies By Marco Bosco And A A Long Article Signed By Bento Araujo...

Our second LP this month is an unreleased magical modern soul LP from the band Coast To Coast, the full story below by band leader Mark Beiner...

I met Ben iverson in 1976 when I was 17 years old. I was a junior at Newtown High School in Elmhurst, Queens. At that time, I took a part time job as a Produce Clerk at Walbaum's Supermarket on Northern Boulevard in Jackson Heights, Queens, where I met Ben Iverson who was the "Frozen Food Manager." In between the music, this job was steady income, and he and his Wife, Diane, started a family and raised two Daughters, Tonia and Cytherea, whom I am still in contact with today.

Back then, I remember going to work early just to talk to him about his musical background and his time spent in the 50's and 60's with the Ohio Doo Wop Group, "The Hornets", or better known as, "Ben Iverson and The Hornets." However, Ben was somewhat quiet and at a loss for words when I questioned him with regard to "Ben Iverson and the Nue Dey Express", as well as his short career as Manager and Songwriter for Brooklyn's own, "Crown Heights Affair" in the early 70's.

Between the 50's and 60's, "Ben Iverson and The Hornets" shared billing at music events with recording artists such as, The Drifter's, Bill Haley and The Comets, Pat Boone, Etta James, Mary Wells, Nancy Wilson, Jackie Wilson, Sam Cooke, Aretha Franklin, Lloyd Price and Al Green. Many of these names got their start in the 50's, which Ben met at music concert events hosted by Radio Disc Jockey, Alan Freed. Alan was truly the first Concert Promoter for Doo Wop, Rhythm & Blues, and early Rock & Roll.

In 1978 after Ben and I discussed getting together and composing music, I started writing poetry and expressing in writing my break up with my college girl friend, Paula Vasta. Paula's middle name was Marie, so in kidding around, I would call her "Paula Marie." Ben thought my lyrics were "powerful" and wanted to put them in music. Thus our first recorded 45 rpm record called "Paula Marie", backed with "I Want You Dear." This launched our musical partnership and within a year, the Coast to Coast Band was formed. Ben and I went on to writing two albums worth of material, which in turn gave us a lot of time and presence on stage at our live gigs.

The regular Coast to Coast Band members consisted of Ben Iverson on Lead Vocals, Rhythm Guitarist and Co-Executive Producer, Joe Crowley, who is known today as "New York Congressman Joe Crowley." Carl (Woody Wood) Morton on Bass Guitar, Jimmy Johnson on Keyboards. Woody and Jimmy used to hang and play rap in its early days with "Run Dmc" in St. Albans, Queens. Lead Guitarist, Lou Jimenez, currently owns his own recording studio, Music Labs in Elmont, Long Island. On Drums, Eddie Byam, on Alto Sax, Jay Cohen, who in the 70's used to record for "Gary U.S. Bonds." Gary Pevols on Trumpet. On Bone, Scott Burrows, Trumpet player, Steve Becker, whom we lost to Testicular Cancer at the age of 25, along side Neil Levine, Stan Stockley, Tom Russo and additional members that came and went that we used for live gigs and studio recordings.

In addition, special recognition goes out to our Producer, Recording Engineer and Multi-sound Recording Studio, Owner, Dave Weiner and staff. Dave and I launched Multi-Sound Records under the Multi-Sound label in 1980.

Last, of course myself, Mark Beiner, where I served as Executive Producer, Songwriter, Business/Marketing Manager, and background vocals.

Unfortunately, Ben Iverson passed away on March 21, 2008, and cannot be here to share this with us, but his music and voice still lives on!

Recorded in 1966, Fats Sadi’s ‘Ensadinado’ was his second recording as leader, his first album had been an early Blue Note 10”. Essentially comprising the Clarke-Boland rhythm section, with Sadi on vibes, Francy Boland on piano, Jimmy Woode on bass and Kenny Clarke on drums, this 45 features the two standout tracks from this rare Saba LP, which remains unissued on vinyl since its release in 1966. ‘Ensadinado’ finds the quartet playing a latin oriented title penned by Jimmy Woode. Boland’s ‘Night Lady’, a standard for the band and the highlight from this collectable album, has a hard, swinging percussive groove driven by the irrepressible pulse of Kenny Clarke.

We Release Jazz is very happy to announce the official reissue of Ryo Fukui’s only solo piano al-bum, recorded live, June 4-5, 1994 at The Lutheran Hall in Sapporo. Sourced from the original mas-ters, this intimate offering from the Japanese jazz legend is available on limited edition 180 gram vinyl mastered at half speed for full audiophile sound, as well as on digipack CD. Both formats come with liner notes by Yusuke Ogawa. Originally released on CD only by Sapporo Jazz Create in 1994, My Favorite Tune is a beautiful bop adventure which includes two superb compositions that Ryo Fukui wrote as an homage to his belo-ved Hokkaido region, the fan-favorite “Nord” and “Voyage", a tribute to his mentor Barry Harris ("No-body’s"), alternate versions of his mega classics “Scenery” and “Mellow Dream", and, last but not least, bewitching takes on timeless gems by Sonny Clark and Avery Parrish. My Favorite Tune plays like a cool summer night, full of contemplative notes and deep feelings, with Ryo Fukui baring his heart on the piano and displaying the soulful sophistication he is loved for. A true masterpiece completing his amazing discography. Points of interests - For fans of jazz, soul jazz, modal, hard bop, piano, Japanese jazz, Hokkaido, Scenery, cool sum-mer nights and intimate piano moments. - Official reissue of the only solo piano album by legendary Hokkaido pianist Ryo Fukui. - 11th release from We Release Jazz, notably following Hiroshi Suzuki’s Cat, Ryo Fukui’s Scenery and Mellow Dream, the soundtrack of Le Cercle Rouge by Eric Demarsan, and Marc Moulin’s Pla-cebo Live 1971. We Release Jazz is the sister-label of Geneva-based Wrwtfww Records.

Lloyd Altamont Thomas Robinson recorded many songs as a singer first for Studio One in 1963 and later for many labels and Jamaican producers including Duke Reid, Lloyd Daley, Sir JJ and more. Robinson was part of the duo Lloyd and Devon, whom had quite a few good songs under their belt including a hit for Derrick Morgan's Hop label, "Red Bum Ball.". With Glen Brown, under the name Lloyd & Glen, he wrote and recorded many outstanding Rocksteady & early Reggae tracks, some quite heavily influenced by black Soul including the two sublime tracks featured here. He went on to record the big dancehall hit “Cuss Cuss” in 1984 on the Harry J. label. He died in 2013 in the Kingston Public Hospital. He was 68 years old. Glenmore Lloyd Brown, began his career as a vocalist in Sonny Bradshaw’s jazz group before recording duets with Hopeton Lewis, Dave Barker, and Lloyd Robinson. Later, Brown became the founder and owner of the Reggae/Dub labels Pantomine and South East Music. A sought after producer he worked with many with many Reggae greats including U Roy, Gregory Isaacs, Big Youth, I-Roy, Prince Jazzbo, Johnny Clarke, Lloyd Parks, and Little Roy. The heavy rhythms of his Dub productions resulted in his being known as "The rhythm master". He died at the Far Rockaway Center for Rehabilitation and Nursing in New York City on 4 October 2019, at the age of 75. As “Lloyd & Glen”, they composed, sang and recorded together about 15 tracks, ranging from Ska to Rocksteady to Soul on a variety of labels between 1966 and 1968. Most of these songs are outstanding, many are just sublime with a strong American Soul influence. In the late 50s & 60s, Jamaica was Rhythm & Blues/Soul crazy. Many Jamaican artists regularly performed and recorded tracks in these styles along with Rocksteady and Reggay. Very few though could do it as well Lloyd & Glen...

A newly-discovered live performance by Bill Evans Trio, featuring Eddie Gómez on bass and Eliot Zigmund on drums. The previously unreleased concert took place on June 20, 1975, at Oil Can Harry’s, Vancouver, BC. Captured for radio host Gary Barclay, it was aired on his popular CHQM jazz show. For nearly half a century, the tapes lay forgotten – until now. Thanks to audio restoration by Plangent Processes and meticulous mastering by Paul Blakemore, it sounds just as fresh today as it did in 1975.

One of the greatest gospel disco records of all time from Detroit’s Elbernita "Twinkie" Clark gets its first ever 12 inch pressing courtesy of South Street Disco. Formerly of the Clark Sisters, Elbernita went solo in ’79 and after a debut album she let loose the ’81 follow-up ‘Ye Shall Receive Power’. ‘Awake o Zion’ is the jaw-dropping, gospel disco dancefloor destroyer cut of choice from the album and now rightly receives a full length, 6 minutes of joy, loud and proud, 12 inch pressing. Favoured by the likes of Hunee, Antal, Sadar Bahar and Motor City Drum Ensemble to name only a handful. On the flip the truly epic, organ-led, body slammer, ‘Power’, sure to convert any naysayers out there. Heavenly goodness for your ears, eyes and mind.

Standard version on black vinyl. 2LP in gatefold sleeve with liner notes.Utopic Cities is an eclectic selection of forward-thinking jazz from the Belgian underground, including the left-field fusion of Marc Moulin's Placebo, Koen De Bruyne, Solis Lacus and more.

close to NM

Big Crown Records is proud to present Dear Sunny... a compilation of Sunny & The Sunliners covers by Big Crown artists. Since the first time we heard "Should I Take You Home" by Sunny & The Sunliners, we have been avid fans. That record, which we were introduced to on MF Classy Chris' now legendary mixtape, The Time Is Right, set a lot of things in motion. It started of course with tracking down copies and collecting all of Sunny's records for our personal collections. That quickly turned into the desire to reissue some of his vast catalog on our label for the rest of the world to hear. We got in touch with Sunny and his son David and brought the idea to them. It took a lot of phone calls, a visit to their home in San Antonio, and three more years of calls and emails to convince them that our New York record label was a good place for them to entrust their music. After getting to know each other well enough Dave said, "You have been calling us non-stop for more than three years, you Must mean what you are saying" and with that, we signed a deal to do a reissue project on Big Crown. We then flew out to San Antonio again, this time with a scanner and a videographer. We sat down with Sunny to interview him, went through his vast collection of photos, and talked about his life and career. Sunny was even kind enough to let us film him performing acoustic versions of a few songs. We used all of that material for our 2017 compilation, Mr Brown Eyed Soul. That release is our highlight reel of Sunny's Soul tunes. Looking back at the response to that compilation, it is safe to say that we achieved our goal of connecting a whole new audience to Sunny's incredible music. We also made his rarest records readily available to collectors at a price that wouldn't empty their pockets. The concept for Dear SunnyâÇÝ came to us right after we signed the deal. We wanted our artists to cover his music as a tribute to him. Three years later we released the digital album on Sept 4th to coincide with Sunny's 77th birthday. The response has been nothing but love and now we are ready to press this up on vinyl with the addition of Liam Bailey's scorching cover of "Give Me Time". Everyone here stepped up to fill very big shoes doing these covers. Bobby Oroza teamed up with Cold Diamond & Mink and made a smashing version of "Should I Take You Home". The Shacks took on the anthemic "Smile Now, Cry Later" while Holy Hive covers "If I Could See You Now" building off the uptempo dance floor energy of the original. Paul & The Tall Trees bring a crooning vibe to "Rain Makes Me Blue" and Brainstory turned "Runaway" into a haunting ballad reminiscent of early Lee Hazelwood productions. Some of these turn out to be covers of covers. Bacao Rhythm & Steel B and takes on the funk collector's holy grail from Sunny, his cover of War's "Get Down" while 79.5 take Sunny's version of "My Dream" and change the vibe from a floating love song to theme music for the brokenhearted. Mr. Lee Fields does "The One Who's Hurting Is You" and the latest addition to the Big Crown Roster, Lizette and Quevin, do a rendition of the song that brought Sunny to Dick Clark's American Bandstand in 1963 and catapulted him to fame; his cover of Little Willie John's "Talk To Me". So as the letter begins, "Dear Sunny.." we hope that you enjoy this homage Sir. Thank you for all the music you have given all of us, it has been a pleasure to work with you and to get a chance to know you and your family. We will keep calling Dave every other week trying to get you in the studio with Leon to record some new material until it happens or you flat out tell us no...but all jokes aside, thank you Sunny. This was all really a dream come true for us. We hope everyone enjoys this homage to t he living legend, San Antonio's finest, Mr. Brown Eyed Soul, Sunny Ozuna as much as we do.

Cooked up in the Blue Note Lab, RMX presents last year’s band-defining masterpiece, GoGo Penguin, re-imagined through the filter of some of the world’s finest producers and remixers.

For RMX the idea was both simple and inspired; commission a remix of every track from last year’s album and present a total re-imagination of the record, a remix, or as the band title it, a RMX.

In the end they went one better; with a remix of every track (and two of one) plus a remix of the track Petit_a, which was originally released only in Japan before surfacing on their Live from Studio 2 digital EP.

The idea behind RMX was also the catalyst for a remarkably inspired collaboration. The Manchester trio's music has always drawn heavily on electronica (alongside jazz, indie and classical influences) and so commissioning ten of their favourite artists to rework their music made perfect sense - and the results are spectacular. One of the very best remix projects you will hear anywhere.

Amongst the many highlights are Squarepusher’s thumping remix of F Maj Pixie, alongside Japanese producers Cornelius and Yosi creating sublime new landscapes with the band’s music on Kora and Embers. James Holden assembles an epic synth odyssey around Totem and Portico Quartet produce a sympathetic reworking of Don’t Go. Band faves Clark and Nathan Fake produce inimitable reworkings as does noted French producer Rone. While American producer Machine Drum turns Atomised into dance floor friendly ‘belter’ which is also the first single. Finally, the band have not forgotten their hometown - Manchester is well represented, with remixes from elder statesman and dance music legend Graham Massey (808 state) and new discovery Shunya, whose enigmatic reworking of To The Nth almost steals the record.

Well known as a super rare vinyl of sweet soul will be reissued again by P-vine! originally issued by the TSG records in 1976 according to producer Bruce Clark, TSG's LP is bootleg as well as The Topics

Japanese pressing without OBI!

Japanese pressing without OBI!

Japanese pressing without OBI, with insert. Copy closer to NM

Japanese pressing with OBI and insert

Limited Vinyl LP edition! The second volume in a two-part collection of Jamaican doo wop from the late 1950s through to the early 1960 represents a period in which sound systems began to dominate the island, and were starting to step up their rivalry by beginning to record heir own platters rather than rely on imports to gain the competitive edge. With the uniquely Jamaican ska craze yet to fully catch hold, these tracks are largely imitative of the sounds that had been reaching the island from American shores, albeit peppered with hints of what was to come ~ some of the future stars of ska, rocksteady and reggae are starting to cut their teeth here on these records, providing a unique view into the fledgling industry at a time of creative flux.

Deluxe Edition pressed on 180 grams vinyl. Iconic and much sough after self titled LP by Piry Reis now re-issued as a deluxe edition containing an extra bonus track (spaced out Jazz interpretation of No Risco Do Relâmpago). After playing for several years with Egberto Gismonti group and other prominent Brazilian acts, Piry decided to record this album which was originally released in 1980 featuring a special guest appearance by Egberto Gismonti.

Originally recorded direct to disc and released by Incus in 1978, this new edition from Treader is pressed from the original stampers. Hand-finished sleeve.

‘Parker uses rapid tonguing techniques and circular breathing to create a sound all his own, marked by the simultaneous intonation of multiple notes. One hears a note as well as all the residual tones around it; each breath ends up sounding like a battle between the different registers of the horn. At various times, Parker’s saxophone sounds like dolphin speech, electronic tape squeals, or human murmurs; namely, anything but what it actually is. His language on the instrument is essential listening for anyone interested in acoustic experimental music’ (AllMusic).

‘Eight years after Topography Of The Lungs, and two years after his Saxophone Solos, Monoceros was the most muscular statement of Evan Parker’s solo saxophone muse. Superbly recorded, it seemed to place the listener within the chaotic air flows of the saxophone’s own tubing. Philip Clark said: ‘Parker’s dialogue with the saxophone throws up so much that is unexpected, and indeed unknowable, that the problem he faces is how to keep pace with his own invention’’ (The Wire, Best Albums Of The Year).

US reissue. Monarch pressing.

US original. Richmond pressing.

Original Japanese pressing.

Cover without OBI has slight wear. With insert. Original Japanese pressing.

“After their first album which came out in 1971 on Futura Records, Perception wanted to rapidly record a second, but Gérard Terronès did not want to produce another, especially so soon after the first. Therefore, the only solution was to produce it themselves. It is thus completely logical that it came out on the label of the Association for the Development of Improvised Music (A.D.M.I.) created by Didier Levallet with the aim of promoting creative music ( and, on this subject, it was this same label which also produced the excellent Inter Fréquences by the Free Jazz Workshop).

As the album was entirely created from A to Z by Perception, they decided on a more ambitious project, exploring a wider palette of colours by augmenting the original quartet with additional instruments. So, it was with numerous guests including Teddy Lasry, Jean-Charles Capon, Kent Carter and Jean-François Jenny-Clark, that Perception developed still further the apparently contradictory directions which were their specificity. This is further highlighted by the fact that Siegfried Kessler, largely absent on this recording, is temporarily replaced by Manuel Villaroel, a pianist from Chile with a completely different temperament (and, by-the-by, already the name behind the superb Terremoto with the Matchi-oul Septet).

Contrary to the first album, which seems in comparison much more compact and united this second (and second-to last, not counting the live recordings), with the many different options proposed, would seem to predict the different directions that musicians from Perception would subsequently take. One track, by Yochk'O Seffer, who had already been part of Magma two years previously, looks forward to the more structured Neffesh Music, whilst, in the opposite direction, another track, by Didier Levallet, is more evocative of the future arrangements on Swing Strings System. It is, to sum up, a nice paradox that all these different elements, from tightly written pieces to wild improvisation, work so well together and are one the key attributes of a group free like few others.”