The alto saxophonist Marion Brown (1931), who grew up in Atlanta, moved to New York in 1965, and almost immediately, while still an unknown, played on John Coltrane's seminal album "Ascension" and Archie Shepp's "Fire Music," quickly became one of the most radical yet romantic of free improvisers. (Proper Music) 


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On this new studio recording the duo expand into a trio with the addition of a venerable master musician from a generation earlier, the great drummer Andrew Cyrille. (Harmonia Mundi) 


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Featuring a quartet with guitar luminary Bill Frisell, keyboardist Richard Teitelbaum and bassist Ben Street, the album kicks off with an artfully oblique interpretation of John Coltrane's "Coltrane Time," led by Cyrille's solo drum intro. The disc then features a sequence of sonically arresting originals, including Street's luminous "Say..." and Frisell's deeply felt "Kaddish" and "Song for Andrew," with Frisell's guitar alternately cutting and billowing, the edge evoking some of his most illustrious past ECM performances. (Proper Music) 


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Don Pullen was a free-form pianist often compared with Cecil Taylor but he insisted that he had developed his style completely independently of any Taylor influences. This was the first record issued under his own name, having established his reputation as a member of the Charles Mingus group with which he had recorded 3 LPs. (Discovery Records) 


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Written for a 12-piece ensemble - made up of an unusual instrumental combination of three saxophones, violin, viola, two cellos, tuba, percussion, piano and two bassoons - The New York Times described the performance as possessing "a galvanic sense of swing," and "in lock-step with his every surprise rhythmic feint - producing an obliquely danceable, straightforwardly joyous Threadgillian energy." (Proper Music) 


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Circle was a band on fire with creativity. Chick Corea and Dave Holland had just left Miles Davis's band, keen to explore all parameters of new music in an improvised context. Anthony Braxton, equally inspired by Stockhausen and Coltrane, brought in new directions from the AACM. Barry Altschul's resumé included extensive work with Paul Bley. Together they were, for a while, matchless. Corea called the Paris Concert (recorded 1971) the realization of a dream. Melody Maker: "Paris Concert is evidence that here was one of the most excitingly talented bands of recent years, for these 94 minutes of music simply burst with vigorous invention." (Proper Music) 


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2023 repress with new packaging. (Proper Music) 


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Though sharing seventeen years together in the legendary David S. Ware Quartet, Shipp recalls that he and Ware performed duo concerts perhaps six times at most in that period. Thankfully, on this latter-day occasion, their work together in this form was professionally recorded. (Proper Music) 


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Also included here are four exceptional out-takes from the Onecept session - all of which had been completed & considered for inclusion at that time. This new release, together with 'Onecept' and 'Live in New York, 2010' (rel. 2017) present the complete (and fully illuminated) work which this group created. (Proper Music) 


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John Zorn asked AUM Fidelity's Steven Joerg to curate his NYC performance space The Stone for two weeks in June 2011; those two weeks served in effect as an early celebration of AUM Fidelity’s 15th anniversary, and resulted in profiles of Joerg and the label in the Village Voice and Wall Street Journal. Booking this trio as part of the series was a very first thought. Altitude presents the entire first set of the night (with Parker on bass), along with two excerpts from their second set (with Parker on the three-string Moroccan lute known as a sintir or guimbri). The long form of music creation / total immersion in invention transpired. (Harmonia Mundi) 


Price:  £13.99