Buscar:sai

Second time around for label boss Tooli on Omena.
This time it's a remix package with an all-star line up !

The original track was recorded in NYC a few years ago and this release contains the remixes of that very track.
Mark Hand, FYI Chris and Saine all put their mark on the original.

UK's unsung hero Mark Hand infuses the original with some UR vibes, the dynamic duo FYI Chris twist and turns the track into something truly original and finally Saine finish the whole thing off with a beautiful version you never want to end.

New album of one of the biggest Reggae/Dub french soundsystem starring MacGyver, Rooty Step & Pupajim (who worked with Alpha Steppa, Biga Ranx, High Tone, Mungo's Hi-Fi ...).

Available as super limited edition including 60x60cm Poster !

Since their inception at start of the 2000s, Stand High Patrol have rocked sound systems to their own riddim, assimilating and re-purposing the codes of the genre in their own unique style. From tiny bars in Brittany to huge festival stages, on independent radio or across national airwaves, the crew have quietly trod their own path, never compromising their core value of independence. Connoisseurs have long recognised Stand High’s credentials both as a dub group and a leading sound system, but they stand out from the crowd because of their ability to deliver the unexpected, whether live or on record. Their ability to draw such a diverse audience is testament to this atypical approach to making music.

In 2020, almost 20 years since their humble beginnings, the collective presents their fifth album, “Our Own Way”. As with their first two albums “Midnight Walkers” and “Matter Of Scale”, now considered as classics in their genre, this new opus asserts itself as the latest representation of the crew’s versatile approach to crafting sound. Their music, a blend of its own known as “Dubadub”, has always borrowed influences from multiple sources, and over the course of their career their roots in dub and reggae have intertwined with hip-hop, jazz, new wave, trip-hop and numerous other genres. The ‘Dubadub Musketeers’ have never ceased experimenting, forever seeking to increase the sonic territory they cover, day after day. Both live and recorded, they’ve made it a point of honour to never offer up the same thing twice. Any resemblance that “Our Own Way” might bear to those first two albums is a consequence of this obvious creative continuity, rather than of going “back to basics”.

In contrast to the last two Stand High Patrol records, the hip-hop inspired “The Shift”, or the Bristol indebted “Summer On Mars”, “Our Own Way” doesn’t have a unifying concept or theme. Rather than being limited to a single aesthetic, the LP pays respect to the entire canon of Jamaican music, all unified under Stand High’s inimitable production values. With the wealth of experience gained during the recording of their last two records, the collective decided to aim for a freer project, letting themselves be guided by their own music and their own instincts. The end result is a musical portrait of what Stand High Patrol is in the present moment.

The tracks that make up the new LP burst out of the studio, each born out of unbridled, impulsive creativity. Previously unheard compositions and specially re-tooled dub plates have been assembled into a tracklist that shifts and moves like a classic Dubadub Musketeer live set. Each step of the process has been refined by years of practice : composition, effects, and the final mix. Throughout “On Our Way”, the brutal dub stepper, though still a favourite for sound system sessions, is noticeable by its absence. Instead, it’s the full weight of the crew’s reggae heritage that’s expressed in the mix. It's not just the depth and weight of each tune that strikes the listener, but also the spaces heard between the notes that grab and hold their attention.. The sense of a trip, whether musical, internal or geographic, is omnipresent throughout the LP, linking each track to those before and after. “Our Own Way” finds Stand High Patrol exploring as usual, yet also narrating their journey as they’ve rarely done before

MP 4 Teruyuki Kurihara Frozen Dust

»Frozen Dust« is an album unified by the theme of »destruction« and »creation.« Inspired by the power of nature; we’ve expressed how we humans overcome the magnificent phenomena and impacts nature has on us - while it brings us joy, it can sometimes take away our lives and pleasures, We’ve incorporated this rather difficult theme by telling stories of fictional characters in the album; an adventurer in the Arctic region who confronts the threat of nature and survives between life and death, or a widow who never eases the pain of losing her sailor husband by a great storm in the Age of Discovery. »Frozen Dust« is our manifestation of »destruction« and »creation and each sound brings you the essence of it.


Reviews in The Wire, A Closer Listen, MixMag Japan, ResidentAdvisor Japan, African Paper and more

Interview in Data Wave

Sublime, unique, sexy and peculiar unreleased scores by electronic and jazz pioneer Ron Geesin, made for the sublime, unique, sexy and peculiar films by maverick director Stephen Dwoskin. There. we’ve said it. And if you have not heard of one or either of these two dudes it doesn’t really matter. Geesin made great music and worked with Pink Floyd. Dwoskin made odd films, most of them are in the BFI permanent collection. They are great and a bit strange.
These superb unreleased soundtracks come from a fascinating, progressive and important period in British film history. They represent an intriguing collaboration between the lively Ron Geesin from Scotland and the American Stephen Dwoskin, who both met in London.
Musically they are minimal, charismatic and quite groundbreaking. Here is the story…
HISTORY:
Steve Dwoskin arrived in London in 1964, aged 25, with several 16mm films in his trunk, shot in the cold-water flats of Greenwich Village. He had been on the fringe of the Factory scene, and some of his films starred Beverly Grant, ‘the queen of the underground’. But they had scarcely been seen, and they didn’t have soundtracks. For almost a year they stayed in the trunk, and stayed silent. Then he met Ron Geesin, somewhere around Portobello Road.
‘Slept last night, completely dressed after working over 12 hours on sound tracks at Ron’s,’ wrote Dwoskin in his diary for 29 July 1965. ‘My films are not anywhere near being anything. I need more energy, more concise and positive ideas and less inhibition. And of course space, money and people.’ Dwoskin, who taught and practised graphic design by day, had recently decided to stay in London beyond the term of the Fulbright scholarship that had brought him there.
Ron, living with Frankie in a basement flat in Elgin Crescent – they would marry the next year, with Dwoskin as best man – was about to leave the Original Downtown Syncopators, the trad jazz band he had joined aged seventeen-and-a-half, and was trying to go solo. On stage he would make vigorous use of piano and banjo; at home Frankie had bought him a new kind of instrument – a tape recorder. ‘Soon I had one tape recorder, two tape recorders, three tape recorders.’

Ron, wrote Dwoskin in his unpublished autobiography, ‘loved to record, and to cut and splice the quarter-inch recording tape to make new sounds. This triggered in me the idea of getting back to my films and finishing them’. Soon he was living in a dank basement in Denbigh Road, a few minutes’ walk from Elgin Crescent. Ron’s soundtracks for Dwoskin’ films, recorded in the Geesins’ flat, encompassed Ron’s very eclectic range of styles – madcap piano and fretted banjo as well as tape manipulation.
Aside from Ron’s soundtracks, some of which belong to films that no longer exist (including Pot Boiler), Frankie would act in one of the films that Dwoskin either lost or never finished during these years. He was disabled, having contracted polio as a child, and Ron and Frankie were both carers and collaborators; Ron had met him when he was struggling into his car.
There was no London equivalent to the underground film scene that Dwoskin had known in New York, and his films remained unseen until such a scene began to come into being, in the autumn of 1966. Some of them made their debut at the Mercury Theatre, near Notting Hill Gate, that September. Dwoskin wrote that Alone, starring Zelda Nelson (from Ron Rice’s Chumlum), and Chinese Checkers, with Beverly Grant and Dwoskin’s friend Joan Adler, went over best.
Soon both Dwoskin and Geesin became involved in the nascent London Film-Makers’ Co-op, which put on screenings in Better Books on Charing Cross Road – ‘if you can call them screenings,’ Ron recalls; ‘I’d call it fifteen blokes in various stages of disarray, peering through the smoke’. One or more of the films had been ‘striped’ with magnetic audiotape; with others ‘we had no means of direct syncing to the picture, so he started the film and I started the tape recorder’.
In the same autumn, Dwoskin moved into a flat almost opposite the Geesins on Elgin Crescent. More collaborations followed, including Naissant, on which Gavin Bryars, whom Geesin had met during a stint on the northern club circuit with novelty act Dr Crock and His Crackpots, played double bass.
Around the end of 1967 Geesin released his first solo LP, A Raise of Eyebrows, and Dwoskin won recognition the Fourth Experimental Film Competition, aka EXPRMNTL 4, an occasional film festival staged at Knokke-le-Zoute in Belgium. By now the films had optical soundtracks.
It was only after this that Dwoskin completed his first ‘British’ films, including Me Myself and I, with Barbara Gladstone, an American dancer who had appeared in Barbara Rubin’s Christmas on Earth, and with whom Dwoskin and Geesin had at one point devised a stage show, never produced. For Moment, a single-shot film, Geesin provided his most experimental score yet. At the time of its debut in 1970, Dwoskin and the Geesins were sharing a house in Ladbroke Grove.
By then, Ron was working with Pink Floyd, and soon afterwards he and Frankie moved out to the country, to be replaced by Bryars both in the house and as Dwoskin’s principal collaborator.
Until now these scores have remained part of the Geesin Archive and have never been issued.

Acens last EP on Kniteforce was KF113 Play 2092 and it sold out, and we ordered a few more, and sold out again, and recently we ordered another repress which have almost all gone already. We have no idea how many we will need of this new EP, but probably loads because its brilliant, which is exactly what we have all come to expect from one of the most legendary producers ever to grace the world of hardcore

Club / DJ Support
Billy Bunter, the Fat Controller, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Clayfighter, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Ponder and many others

Frankly, this EP is ridiculous. It was originally planned as a double pack, so we were excessive with getting both a Pete Cannon remix and a Hyper On Experience remix. I was tempted to do one myself but I though "nah, no one can top the original" and then had to eat my words because all 4 of these meet, if not beat, the original classic tune. Petes is of the hook madness, hands in the air biznizz. Hyper On take it to a whole new crystal clear and completely complex level. HSI changes it from what Stompin Tunes would do to what perhaps Reinforced would do. And Wislov roles it back in time to an almost Njoi-esq style 1991 banger. Absolutely amazing...

Club / DJ Support
Billy Bunter, the Fat Controller, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Clayfighter, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Ponder and many others

‘Débuts’ is France-via-Brussels duo, Nikitch & Kuna Maze’s aka Nicolas Morant & Edouard Gilbert first full length album. Building on their collaborative EP “Mush”, ‘Débuts’ continues to explore the melting point between jazz and club culture, interspersed with the signature sounds of broken beat, Chicago footwork, UK garage, Detroit house, and underpinned by their road-tested new live format.

‘Débuts’ see’s the band push their musical and creative development even further, a result of touring extensively around Europe with a live drummer, from high-brow jazz festivals to sweaty basement clubs. “We would be lying if we said our gig experience didn’t influence us on this record” Edouard explains. “We discovered new aspects to songs such as “Bruk” and managed to push forward the energy side of the music from the rawness of the live shows. This energy empowered to produce and compose new material in the same vein”.

Until Now, All Is Well is the latest track to be shared by The Nix, a loose collection of uniquely talented musicians corralled together by Nick McCarthy (ex Franz Ferdinand) and Seb Kellig around their Sausage Studio in east London.

Based around the original composition ‘Warm Canto’ by Mal Waldron, the track features founding member of the avant-pop band Stereolab Laetitia Sadier.

Out on Moshi Moshi Records, Seb of The Nix said about the making of the track:

A night at Sausage Studios and nothing falls into place...we talk, we laugh, we mess about. But the 'record' button remains un-hit.
Time is not on our side, we need inspiration, and we know where to find it:
We saddle our bikes and ride into the mild London night. Down to Homerton, along the Canal, passing Springfield, we end up in Tottenham.

The mighty Jah Shaka tears the place apart. Low ceilings, the place is filled with smoke and bass. One love, unity, another version....the mids, the tweeters - in perfect harmony. Familiar riddims, unknown dubs. Shaka on the wire.

We get back to Sausage as the sun rises. Our senses are numb. We can't hear, don't want to see, how good it feels not to be guided by ears but by the heart. We close the curtains and plug in.

Paul Bradley returns with another massive EP, and this time he means business. Stretching his creative muscles as well as the tempos, this EP ranges in style and speed from late 1991 to early 1995 and contains everything a growing raver needs. Hefty beats, uplifting piano riffs and wicked stab sections all rolled together with a light, humorous touch. Its an unbeatable combination…

Club / DJ Support
Billy Bunter, the Fat Controller, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Clayfighter, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Ponder and many others

Marking his fourth full release on the label, leading UK talent Darius Syrossian returns to Hot Creations this July with Flashlight, a heavy duty two-track release influenced by the 90’s US house sound.
Flashlight embodies the warehouse sound with tough snares, a raw bass and thunderous kicks. On the flip Boujee B' takes inspiration from Darius’ love of the Strictly Rhythm house sound.“I said this year I wanna go back to my roots and focus more on house, those US house 'dubs' that were played by people like Sneak, Van Helden, Gemini, R Sanchez, Derrick Carter etc... this is inspired by that vibe…”

Selector, producer, label curator and radio host Darius Syrossian has dedicated his life to collecting and sharing the highest quality house and techno records. His productions have landed on respected labels including Get Physical, Drumcode, 8Bit, Moon Harbour, We Are The Brave and Defected, with whom his ethos is strongly aligned. Alongside his exploits in the studio and on the road, he has also launched his own record label - Moxy Muzik, which hit the ground running in 2019 with regular sold out Moxy Muzik events at 93 Feet East in London and South Nightclub in Manchester.

Laraaji erfüllt sich eine lebenslang gehegte Ambition und nimmt in einer Brooklyner Kirche unter der musikalischen Leitung von Jeff Zeigler (Kurt Vile, The War On Drugs, Mary Lattimore) ein Album mit spirituellen Piano-Improvisationen auf. "Sun Piano" markiert einen Wechsel von FX-getränkten, kosmischen Zither-Jams zu eleganten Klavierminiaturen, Laraajis erstem gelernten Instrument im New Jersey der 1950er. Gleichzeitig ist diese LP der Start einer Trilogie, die mit der komplementären "Moon Piano" LP und einer EP mit Piano/Zither-Duetten fortgesetzt wird, um schlussendlich in einer vollständigen CD-Anthologie zu münden.

Principal is the new solo project by producer and musician Rasmus Allin, who’s first album Treacherous Dub will be released on the Copenhagen-based label StereoRoyal in July 2020.

Best described as an homage to old-school Jamaican dub, Principal’s music features live recorded drums and other instruments. Fused with electronic elements, it celebrates the sound of the original dub pioneers.

Born in 1970, Rasmus Allin has been working as a producer, musician, and songwriter since the mid-nineties, primarily within the realm of electronic music. Inspired by the British trip hop and drum ‘n’ bass scene, he soon gravitated towards Jamaican dub, rocksteady, and reggae. "I found my inspiration in the old Jamaican dub masters like Lee Scratch Perry, King Tubby, Augustus Pablo, and Scientist. I’ve spent endless hours in the studio trying to replicate their sound, using old tape delays, filter boxes, and modulation effects,” he says.

In 2002, Allin formed the band Junkyard Productions, playing major venues and festivals like Elysee Montmartre, Le Triptyque, Télérama Dub Festival, and Roskilde Festival while touring through Denmark, Germany, Switzerland, and France. Alongside this, he continued to hone his skills in producing, co-writing, and remixing music, working with top Danish pop and reggae acts the likes of Natasja, Pharfar, Wafande, Shaka Loveless, and the British girl band All Saints.

Treacherous Dub will be released on vinyl and all major streaming platforms, and will be Allin’s first album of pure instrumental dub tracks —an ambition he’s been wanting to fulfil for years. Marking his debut as a solo artist, the album also marks his premiere as a visual artist, with the album cover lithograph made by Allin himself. For Rasmus Allin, the collaboration with StereoRoyal offered “the perfect opportunity to give the tracks the finishing touches.”

StereoRoyal is a Danish library music label founded in 2010 by and specializes in off-kilter music for film and TV. Originally, the label focused on electronic genres, but over the years has grown to include a broader variety of music produced by some of the most talented composers in Scandinavia.

This time, RØDHÅD tunes into a place of reflection and reformation on his most avant-garde project to date: WSNWG – BACK TO ZERO. Intended to provide a space for solo releases, the imprint comes at a crucial turning point, as society circles in on itself during the pandemic.

RØDHÅD christens the label with MOOD, his first ambient experimentalist release, comprised of his own solo archival material mostly from 2017/2018, working on a plane of spontaneity, devoid of set structures. The result is a life-giving, intimate and solipsistic work. Awash with field recordings, droning loops and subtle granulations, the sparse soundscapes on the 18- track album are deeply profound and satisfying.

Collating a myriad of emotions through this sonic venture, RØDHÅD demonstrates his kaleidoscopic nature as a producer of atmospheric and ambient soundscapes, as well as his legacy provider of dance floor energies. The album will have unique artwork contributed by DJ & producer Silent Servant.

"AVALPBOX4", Limited Edition- 1.000 Copies' 28-Page Hardback-Book: 10" Vinyl, Hand signed Programme, Tour Poster & DVD.

By the time The Beatles travelled to Blackpool for the first time,
they had toured with the legendary American singer, songwriter, Roy Orbison; recorded several BBC radio shows, including Saturday Club, Easy Beat and Pop Go The Beatles; appeared on many, highly popular television programmes; released their debut album, Please Please Me and issued their first three EMI singles, ‘Love Me Do’, ‘Please Please Me’ and ‘From Me To You’.

Their fourth, ‘She Loves You’ had just been recorded and mixed ready for release. It was an exciting time for the band so, when they reached the popular, seaside resort for the first time, on 7th July 1963, optimism was filling the air. This stunning AVA Editions collectors pack contains a 10" Record feat. two appearances made by the Beatles on the ABC television show, Blackpool Night Out; an impressive 28-page book, crammed full of previously unseen colour images of the group and a high-quality reproduction of an original, 1963 concert programme signed by Skiffle legend, Chas McDevitt, who supported the Beatles on several occasions.

Also included is a full colour A3 poster and an exclusive DVD feat. a new, 30-minute interview with him, alongside his previously unseen, candid, colour footage of the group backstage, and in performance at the ABC Theatre in August 1963.

So too is a unique, fully colorized version of their 17-Mins. appearance before the cameras for Blackpool Night Out in August 1965. For Beatles and music fans alike, this pack serves as a wonderful opportunity to own a unique slice of music history.


*** Side A: Recording 19th of July, 1964
*** Side B: Recording 1st August, 1965

Blowing in like a cool breeze on a sultry Caribbean evening, LA reggae veterans the Lions drop by Names You Can Trust with a perfectly timed sentimental summer blast. Lovingly taken for another dance by the west coast crew, the Derrick Harriott 1967 rock steady classic "The Loser" is canon, a masterpiece of Jamaican sweet soul instantly identifiable from its first chiming piano notes. In a nod to the "disco mix" DJ versions pioneered by Harriott, the Lions mic man Black Shakespeare provides a period-perfect chat backdrop to the Impressions-istic harmonies of the band, giving the tune an au courant spin while staying wide of heavy-handed faux ragga. All said, we wouldn't have felt right about releasing this without running things by the family, so we consulted Duane Harriott who approvingly called it "a brilliant take on one of the best rock steady songs of all time! Not an easy one to cover well and the Lions smash it out the park."

Up next in the Omena remix series we got Dee Tree from Minsk and four sparkling and effortlessly soulful re-makes from FloFilz, Harry Wolfman, Saine and Lipski.
All bringing a beautiful and soulful touch to the bands soul-flecked originals.

Siti of Unguja tells the story of pioneering women, of the ‘golden
voice’ of Siti Muharam, heiress to the singular legacy of her great
grandmother, the mother of taarab, Siti Binti Saad.

On the Corner teases this first taste of a landmark recording that the
label embarked upon two years ago on Zanzibar. Siti of Unguja has a
transformative atmosphere, brimming with romance, passion and
protest.

Zanzibar is an Island archipelago that lies 6 degrees South of the
equator and 30 miles off the East African coast out in the Indian
Ocean. Known for its spices, traditional Dhow sailing boats and being
a mercantile trading capital of Swahili culture.

The modern history of Zanzibar can be animated through the life and
legacy of one artist, Siti binti Saad. Born in 1890 in the small fishing
village of Fumba, on Unguja (Zanzibar’s largest island), she became
the first Zanzibari recording artist and her recordings sold in tens of
thousands across the swahili world.

The tracks recorded for Siti of Unguja demonstrate Siti Binti Saad’s
eclectic influence on Zanzibari taarab and her great granddaughter,
Siti Muharam imbues the compositions with feeling. Siti Muharam’s
golden voice carries the poetry and invects a timeless passion. It is
Muharam’s deep humility and love that brings the spirit of these two
women together.

With Sam Jones at the controls, taarab’s conservative layers were
opened up and given more than a little wiggle room. Under the
direction of Matona, the recording of this album paid homage to Siti
Binti Saad’s innovations by bringing back the percussive Kidumbak
style of music that originated on the streets of Zanzibar. By strippping
back the typically dense string section of taarab a space was created
for Muharam’s beguiling timbre that is gilded with emotion.

Midnight Resistance ist das 4. Album von The Toxic Avenger. Und zweifellos das außergewöhnlichste, bei dem seine musikalische Handschrift am besten zur Geltung kommt. Das Album gleicht einer Symbiose aus unterschiedlichen Einflüssen und Elementen, von energiegeladenem Elektro bis zu Popavancen, vom klassischen Song bis packenden House der 90er Jahre, vom neoklassischen Piano Revisited bis zum aktuellen Synth-Pop. Ein Album, bei dem der Fokus klar und direkt auf Emotionen und Gefühlen ausgerichtet wird und die Technik bewusst einen Schritt zurück tritt. Keine Frage - es ist auch sicherlich das Genre durchbrechendste und dabei offenste aller seiner Alben, bestückt mit echten Pop-Singles, wie die berauschende "Lies" (feat. Look Mum No Computer), die nostalgische Ballade "Mandala" aus den 80er Jahren (feat. Ornette) oder der packende Popsong "Rent Boy" (feat. Jay-Jay Johanson). Ein besonderes Highlight des Albums ist die Zusammenarbeit mit Maxence Cyrin bei dem sehr ausdrucksstarken und emotionalen Titel "On My own". Die wohl größte Überraschung dieses Al- bums besteht darin, dass Toxic Avenger bei "Les Heures" das erst Mal selbst singt und der Platte eine ganz besondere Note schenkt. Zum Abschluss beglückt Toxic Avenger mit zwei besonderen Gäste. Diese runden die Platte mit der luftigen und hedonistischen Teilnahme von Simone bei "Falling Appart" und dem Spoken Word und immer ungewöhnlichen Flow von Diamond Deuklo auf dem treffend benannten "L'Avenir d'Avant" genussvoll ab. Über zwei Jahre beschäftigte sich Toxic Avenger intensiv mit modularen Synthesizern – aus seiner leidenschaftlichen Klangforschung ist nun ein neuer Sound entstanden, der die Seele der Synthesizer "lebendiger" und organischer erscheinen lässt. Hier ist ein beeindruckendes Werk eines "Klangchirurgen" entstanden, dem es gelingt Stimmen im Detail zu sezieren und ihnen eine magische Aura zu verleihen und dabei ebenso eine intensive Reise in die Tiefen von Melodie und Klangwelten unternimmt, ohne den Fokus auf die Songs selbst zu verlieren. Dieses Album wird zu einer Zeit besonderer Aufmerksamkeit und Sichtbarkeit für The Toxic Avenger veröffentlicht, der gerade die Musik für Hugo Boss Parfum kreiert hat: (Europa/LateinamerikaKampagne für TV/Kino und Web for the World, für zwei Jahre sowie die Musik für die nächsten Web-Werbung von Armani und Yves Saint Laurent unterschrieben hat

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).