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Paul Motian — Standards plus One (May 1, 2015)

Paul Motian — Standards plus One (May 1, 2015)

United States                 Paul Motian — Standards plus One 
♦   He showed us new ways to think about jazz drumming. There will never be another like him.
Born: March 25, 1931, Philadelphia, Pennsylvania, US
Origin: Providence, Rhode Island, US
Died: November 22, 2011, Manhattan, New York, US
Album release: May 1, 2015
Record Label: Winter & Winter
Duration:     55:11 
Tracks:
1. They Didn't Believe Me    [Jerome Kern]     4:23
2. How Deep Is The Ocean    [Irving Berlin]     6:50
3. You And the Night And the Music    [Arthur Schwarz]     5:36
4. You Took The Words Right Out Of My Heart    [Ralph Rainger, Leo Robin]  7:59
5. Someone To Watch Over Me    [George Gershwin]     9:22
6. Just One Of Those Things    [Cole Porter]     6:18
7. It Might As Well Be Spring    [Richard Rodgers]     5:56
8. It Should've Happened a Long Time Ago    [Paul Motian]     8:47
Personnel:
♦   Paul Motian  drums
♦   Joe Lovano  tenor saxophone
♦   Bill Frisell  electric guitar
♦   Charlie Haden  acoustic bass
♦   Lee Konitz  soprano and alto saxophone; track 2 and 6                                             © Ryan Paternite, 2009
REVIEW
♦   In the 80s Paul Motian asked Stefan Winter and Hiroshi Itsuno (from Polydor K.K.), whether they would be interested in producing with him new interpretations of well–known and less known pieces from musicals. This was the beginning of the »Paul Motian On Broadway« recordings, a series of albums, which is considered an important milestone of unique interpretations of famous jazz standards. Stefan Winter, who recorded with Paul Motian over 25 albums, selected for »Standards plus One« seven works, which have been of special significance for Motion in his life.
♦   The opening track is Jerome Kern's »They Didn't Believe Me«. Kern and Reynolds (lyrics) presented this song as an extension of their musical »The Girl from Utah«, which was premiered at the Knickerbocker Theatre in 1914. This was Kern's first big success. The music fitted in a perfect way to the prevalent fashion at the time when foxtrot turned into one of the most popular dances. And Kern also integrated ragtime influences and created a love song, which became a catchy tune and an an all–time super hit. In 1949 »They Didn't Believe Me« got performed as part of the musical »That Midnight Kiss«. Frank Sinatra, George Sanders, Dinah Washington, Charlie Parker, Elvis Costello, Stan Kenton and Harry Belafonte, to name a few, recorded this song. In 1969 Richard Attenborough used this piece under the name »We'll Never Tell Them« as the key sequence at the end of his movie »Oh! What a Lovely War«. For Motian this scene left a deep impression, since he himself had served in the Korean War only a few years before. Motian has experienced what it meant to fight for the fatherland.
♦   Irving Berlin composed »How Deep is The Ocean« in 1932, which was used in the movie »The Life of Jimmy Dolan« with Douglas Fairbanks Jr. During that time Berlin had reached a low point, neither his career, nor his private life had been successful. The lyrics of the song present questions after questions, with the only exception being the second line: »How much do I love you? / I'll tell you no lie / How deep is the ocean? / How high is the sky?«. The following publication »How Deep Is The Ocean« became a big success.
♦   »You And The Night And The Music« by Arthur Schwartz (1934) came from the Broadway show »Revenge with Music«. After World War II this piece turned into one of the most popular jazz standards, performed by Bill Evans, Chet Baker, Keith Jarrett and many others. Paul Motian presented this piece featuring his most important "fellow players" Bill Frisell (guitar) and Joe Lovano (sax) plus Charlie Haden (bass).


♦   For the feature film »The Big Broadcast Of 1938« Ralph Rainger and Leo Robin composed »You Took The Words Right Out Of My Heart«. Paul Motian interpreted this song with its legendary trio with Bill Frisell and Joe Lovano. As a teenager Motian heard this composition by Thelonious Monk, with whom he played together when he was still very young. Motian was talking about that evening, the meeting with Monk was for him an unforgettable and exceptional event.
♦   »Someone To Watch Over Me« is a key work by George Gershwin from the great American Songbook, composed in 1926 for the musical »Oh, Kay!«. Gershwin originally approached the song as an uptempo jazz tune, but his brother Ira convinced him that it might work much better as a ballad, because of the melody sounding better in a slow tempo. Charlie Haden and Paul Motian interpreted this song with a special, sensitive interaction, the sound of Bill Frisell and Joe Lovano developed fully and perfectly. A great homage to the Gershwin brothers.
♦   The list of singers and jazz musicians, who have performed Cole Porter's »Just One Of Those Things« (from the musical »Jubilee«) is almost endless. Paul Motian asked Joe Lovano and Lee Konitz to perform this song in a dialogue. Together with Motian, Frisell and Haden this recording turned out to be a landmark recording of this world famous jazz standard.
♦   Vivian Blaine sung »It Might As Well Be Spring«, composed by Richard Rodgers in the movie »State Fair« (1945) and this music received the Academy Award in the USA. ♦   In 1962 Paul Motian recorded this song for the first time for Bill Evans' album »Moon Beams«. Bill Evans formed (1958–1961) his trio with Paul Motian which was one of the most influential piano trios in the history of modern jazz. Later Paul Motian founded his own groups. Bill Frisell, Joe Lovano and also Charlie Haden became most important companions. Almost 30 years after the recording with Bill Evans, Paul Motian recorded »It Might As Well Be Spring« with Frisell, Lovano and Haden in his own interpretation.
♦   Paul Motian ended with his own composition »It Should've Happened A Long Time Ago« very often a set. Motian gave many concerts all over Europe and Japan. In the last couple of years of his life he stopped touring and he only played live at the Village Vanguard. From time to time »It Should've Happened A Long Time Ago« became the final chord of a concert.
ABOUT
♦   by Michael Parillo
♦   On a dark night at the Village Vanguard, the audience snakes slowly down the long staircase and settles in at tiny tables, squeezed together nice and tight. In such close quarters, strangers exchange greetings, knees bumping. Soon the house lights go down and the stage lights come up, the back curtain casting a lush red glow on the Gretsch kit out front. Along with his bandmates for the week, Paul Motian — bald with tinted glasses, lithe, stylish, cool — weaves his way from the green room through the cheering crowd, with all eyes on him, and eventually reaches the stage. As the applause dies down, a hushed sense of anticipation takes its place. The Motian veterans in the house practically feel uneasy. What’s going to happen? What will it sound like tonight? No one knows.
♦   With the occasional shoveling of ice by the bartender in the back now providing the only sound in the room, Motian picks up his sticks and glances at his comrades. Then he extends his right arm, and — clang! — he hits a cymbal, once, with authority, shattering the silence. Starting to create a loosely knit web of rhythm, he plays a brief, wide–open roll on the snare and brings the hi–hats together a few times with his left foot. The nervous energy at the tables deflates a bit; the magic is beginning. The other players join in, and they’re off. The spell won’t be broken for around seventy–five minutes, when the band takes a bow.
♦   Great drummers play at the venerable Vanguard every month, but in recent years the shabby–chic basement room was Motian’s turf. Starting in the mid–2000s, Motian, who passed away this past November 22 at age eighty, figured out a way to maintain a productive career without leaving Manhattan, and the Vanguard was the venue that hosted him and his varied groups most often. The drummer and composer made serious music, but the little club on Seventh Avenue South was his playground for fifty years.
BEGINNINGS
♦   Stephen Paul Motian was born in Philadelphia on March 25, 1931, to Armenian parents and grew up in Providence, Rhode  Island. In a 2005 MD interview with Burt Korall, Paul offered insight into the Middle Eastern–sounding themes in many of his compositions by saying, “As a kid, Arabic– and Turkish–derived melodies and rhythms got me dancing around the parlor.”
♦   Taking up the drums in earnest around age twelve after a brief fling with the guitar, Motian found his life’s work. After high school, he played in the U.S. Navy band; he was stationed at the Brooklyn Navy Yard in 1953 and ’54, studying with the famed Radio City Music Hall percussionist Billy Gladstone, among other teachers. Bebop pioneer Kenny Clarke, whom Motian often credited with inspiring his wonderfully sensitive brush playing, was a major influence around this time, as was Max Roach. Once Motian got out of the service he moved to Manhattan’s East Village.
♦   Just as jazz was really blossoming in the ’50s, so too was Motian’s drumming, as Paul played tirelessly and made his first significant recordings in the middle of the decade. He gigged briefly with pianist Thelonious Monk, whose tunes he would later cover frequently — and whose angular presence seems to lurk in the background of some of his own compositions. And then he joined forces with pianist Bill Evans.
♦   Evans’ groundbreaking trio, which also featured bassist Scott LaFaro, remains one of the most heralded units in jazz history. Rather than supporting Evans as subordinates, Motian and LaFaro blended with the pianist as equals, nurturing a fresh style that was rooted in tradition but branched out into new modes of improvisational interplay. Motian said his favorite album with this group was Portrait in Jazz, a studio session released in 1960, which he preferred to the more famous — and more understated — live recording from 1961, Sunday at the Village Vanguard. (A second album from the same June 25 date at the Vanguard, Waltz for Debby, was released in 1961, and a three–CD box set, The Complete Village Vanguard Recordings, 1961, was issued in 2005.) Tragically, LaFaro was gone mere days after the legendary performance, killed in a car accident on July 6, 1961, at just twenty–five. Motian remained with Evans until 1964, when he quit and went home in the middle of a tour. By then, Paul told MD in 2005, “We played so softly, we were hardly moving.”
♦   “That original trio made such an indelible mark on the jazz world and trio culture,” says bassist Eddie Gomez, who played with Evans for eleven years starting in 1966 and joins Motian and keyboardist Chick Corea on the new double–disc Evans tribute Further Explorations, which was recorded over two weeks in May 2010 at the Blue Note in Manhattan. “Bill chose the musicians for the kind of interactive play that Scott and Paul developed. Scott and Paul were very contemporary in the sense that they were looking to expand the music back then, in the ’60s. Miles’s band was exploring that too, in a different way, with Herbie Hancock, Tony Williams, and Ron Carter. Those bands were opening up the language of trio playing.”
♦   In the mid–’60s Motian worked with pianists Paul and Carla Bley and with saxophonist Albert Ayler, before joining another far–reaching trio, this time with pianist Keith Jarrett, who was just bursting onto the scene, and bassist Charlie Haden, who’d been in saxophonist Ornette Coleman’s band. This group made many recordings, including Jarrett’s debut as a leader, Life Between the Exit Signs (1967). ♦   Motian pointed to Jarrett’s The Survivors’ Suite (1976), which augmented the trio with saxman Dewey Redman, as his favorite album by the unit. Starting in the late ’60s, Motian and Jarrett also spent time in sax/flute player Charles Lloyd’s group. And Paul famously backed Arlo Guthrie at Woodstock in 1969.
♦   As the ’70s dawned, the always feisty drummer took up a new challenge and began his parallel career as a composer and bandleader.
BRANCHING OUT
♦   Motian did his writing on the piano — and his first set of keys was most likely a charmed one, as he bought it from Keith Jarrett. Motian’s 1972 debut as a leader, Conception Vessel, kicked off a fruitful, albeit interrupted, association with the ECM label and features Jarrett and Haden, plus Becky Friend on flute, Leroy Jenkins on violin, and Sam Brown on guitar. Notice the presence of the guitar, an instrument that would continue to take on heavy significance in Motian’s musical endeavors.
♦   For his 1982 release, Psalm, Motian was joined by Ed Schuller on bass and Billy Drewes on sax, plus two men around twenty years his junior who would be counted among his very closest musical accomplices for the rest of his life: saxophonist Joe Lovano and guitarist Bill Frisell. “I was a huge fan of Paul’s,” Frisell says. “The day he first called me, it was a complete surprise that he would ask me to come over and play. I had his Conception Vessel album sitting there facing me on the floor, and the phone rings and he says, ‘Hi, this is Paul Motian….’ I just about had a heart attack. We played together ever since. It’s just gigantic, the importance of him in my life — even if I hadn’t played with him.”
♦   For a drummer who made a habit of flouting expectations, Motian was perhaps at his most unpredictable with Frisell and Lovano. The trio’s recorded output runs the gamut from beautiful ballads to dreamy cloud–watching soundscapes to flaming barn burners, all heightened by sharp listening and a unified sense of melody among the bandmates — as well as by a rare ability to ditch the past and live in the moment.
♦   “Paul made me feel like I was discovering everything I was playing for the first time,” Frisell says. “He was allowing me to be myself, and I could just go full force, as far as my imagination could go. I credit him with giving me the confidence and the experience of really finding my own voice.”
♦   “I’m playing with him and I think, Wow, I just had this great idea,” Frisell continues, “but then I realize later that there was a lot of telepathy stuff going on, almost like he was transmitting his ideas into me. Like we’d be on a train somewhere, and I would be singing some song in my head that we had played the night before, and then he would start singing it right at the exact same moment, at the same point, in the same key. You just get into a zone of being connected in this amazing way.”
♦   The Motian/Frisell/Lovano trio played all over the world, always coming home to the Vanguard for at least a couple of weeks a year. Its discography, sometimes with special guests, includes Monk in Motian (1988), three volumes of On Broadway (1989, 1993), Motian in Tokyo (1991), Trioism (1994), At the Village Vanguard (1995), I Have the Room Above Her (2005), and Time and Time Again (2007).
DEEPER AND DEEPER
♦   By the ’90s Motian had enjoyed a long career and was already something of an elder statesman, even if the word elder never quite fit him. He was free to mix in his pieces with time–honored standards that could either be deconstructed or served straight up — whatever he felt at that moment. “I’m into me now,” he told Ken Micallef in a 1994 MD interview, after being told that he sounds like no one else. “That’s what I play. I don’t give a shit if it’s this or that or whatever. I’m just  playing from what I’m hearing and turning myself on and getting myself from myself!” Motian laughed, but it’s clear he wasn’t joking.
♦   As for the drummer’s compositions, Frisell says, “He would sometimes write very specific harmony — real dense, unusual harmonies — but there were also ones that were super–open, where I could make up my own stuff. Some songs are maybe just a major scale, and then others are sort of odd, chromatic, ‘puzzle’ things. There was a lot of variety in the stuff he wrote, and it always sounded like him somehow.”
♦   Motian performed with so many combos in his last two decades that it’s hard to make sense of it all. In 1993 he released Paul Motian & the Electric Bebop Band, an album of standards featuring two guitarists, Kurt Rosenwinkel and Brad Shepik. In the lineage of packs of young lions led by big–cat drummers, which includes Art Blakey’s Jazz Messengers and Elvin Jones’s Jazz Machine, the Electric Bebop Band was something of a training camp for emerging musicians with a searching soul (although in this case the leader was neither the largest member of the pride nor the one with the biggest mane). In recent years the group changed its name to the Paul Motian Band. Its very fine last album, the stylistically and dynamically varied 2006 set Garden of Eden, features Chris Cheek and Tony Malaby on sax, Jerome Harris on bass, and Ben Monder, Steve Cardenas, and Jakob Bro on guitar.
♦   Fittingly, much of Motian’s last great work was done in trios, and his final week of gigs, in September 2011, was at the Vanguard with saxophonist Greg Osby and pianist Masabumi Kikuchi. Paul’s 2010 album, Lost in a Dream, which earned a perfect five stars from Modern Drummer, finds the drummer on stage — at the Vanguard, of course — with pianist Jason Moran and saxophonist Chris Potter, playing mostly ballads. And this year’s aforementioned Further Explorations, with Chick Corea and Eddie Gomez, is the ideal document of late–era Motian accompaniment.
♦   “Paul had an almost orchestral–percussion–section sound,” Gomez says. ♦   “And his sound is his. It’s like composing all the time, the way he plays — and it’s also improvised. I’ve always loved approaching music so that it breathes and has the components that make it sing, dance, and touch your heart. And Paul has all that. He makes the music just kind of vibrate. He’s very subtle, and he also has all that energy and swing that you want.” Further Explorations’ opening number, Bill Evans’ “Peri’s Scope” (first heard on Portrait in Jazz), offers a prime example of Motian’s straight–ahead swinging, with a crisp hi–hat shuffle and singing ride cymbal work, plus crafty little solo breaks.
♦   Speaking of soloing, like everything else Motian did it his way. He sometimes mentioned a dislike of drum solos, yet it wasn’t as if his arm needed to be twisted to get him to play a few choruses by himself. Besides, he was so skilled and creative — not to mention so musical, keeping the form and melody alive — that he always found something compelling to say during his brief showcases. Listen to the Lost in a Dream reading of his haunting tune “Abacus.” After the sax and piano take turns stating the melody, Motian downshifts into a solo. He takes his time developing his ideas, as always, slowly building on his own minimal foundation. He begins with a cymbal, some bass drum, and a bit of hi–hat, and starts adding his throaty snare and rumbling, deep–voiced toms, getting contrast by playing on the rims as well. Over the course of around three minutes, he allows his sound to grow until he’s whipping up a frenzy, like a storm starting far off at sea and building force as it crashes to shore. Just at the high point, he hits a resounding accent, and his mates reenter for one last triumphant pass through the melody, with Motian still rolling and tumbling around the kit. It’s a deep, spine–tingling solo that tells a story—in the way that only Motian’s drums can.
HONORING THE MUSE
♦   Motian often talked about being an accidentalist, saying he just let things happen in the music, without discussion or forethought. “He was always on the edge,” Bill Frisell says. “I think that’s why we were able to play so long and it always felt new. He never settled into a safe zone — he was always reaching for something he’d never played before.”
♦   Part of the reason why Motian was so successful at subverting expectations and demolishing any clichéd concept of what “the jazz drummer” should be is because he had a firm grasp of tradition; he possessed the ability to follow any rule that he might also gleefully break. Paul could come at you with a style that challenged your idea of traditional timekeeping, but it’s equally true that he could lay it down simply and solidly with the best of ’em. He often blended both approaches within a piece, showing that traditional and avant–garde jazz simply represent points along a continuum.
♦   “Some people say he didn’t play time, or something,” Frisell says. “That’s absurd. He had the deepest beat of anyone I ever played with. Some of the stuff I read about him, they talk about how he’s ‘abstract,’ or this or that, but they miss that he did play with Oscar Pettiford and Coleman Hawkins. That’s all in there. I think they have to listen a little harder.”
♦   “I think Paul is one of the grand artists of the twentieth century, certainly on the instrument,” Eddie Gomez says. “But I don’t know that he gets enough credit. I think his art makes him less accessible to others. If you only like to hear a kind of playing that’s driven either by technique or by certain stylistic ways, Paul isn’t going to come up on your radar, because he’s so understated and artistic and special. He heard music in a different way and opened up all kinds of possibilities.”
♦   Motian would probably just blow off the subject of “in” versus “out,” straight up versus abstract, with a wave of his hand. “I believe that ‘time’ is always there,” he told Scott Kevin Fish in a 1980 MD interview. “I don’t mean a particular pulse, but the time itself. It’s like a huge sign that’s up there and it says time. It’s there and you can play all around it.”
THE MAN HIMSELF
♦   “Paul was a lot of fun to be around,” Gomez says of his weeks spent with Motian at the Blue Note playing the Bill Evans–inspired material that comprises Further Explorations. “Honestly I had no idea he was ill. He seemed so perfectly healthy and full of life, and he played that way. We got a chance to hang out and kid around a lot and talk about older times. He was a great spirit.”
♦   After spending thirty–plus years making music with Motian, Frisell offers rare insight into a man who could seem a bit prickly to the outside world but who also often wore a wide smile. “He was protective of his own space,” the guitarist says. ♦   “He lived alone, and his whole life was about music. He just wanted to stay in the music, I think. He was super–sensitive, and sometimes people like that have to put up a little bit of a barrier, just to keep themselves from getting trampled on. But he was so generous with people too, and if he let you in, he really let you in.”
♦   When Frisell is asked about Motian’s sense of humor, he responds, “Paul had this real intense thing, but I was looking at a bunch of old pictures, and there are millions of ’em where he’s just laughing and laughing. He always tried to lift things up. He wouldn’t stay down in some dark place for long. He had that effect on people, and certainly on the music. It was very serious and it was never a joke, but there was joy in it.” ♦   http://www.moderndrummer.com/
Also:
Chris May, Published: January 24, 2006 |
♦   http://www.allaboutjazz.com/garden-of-eden-paul-motian-ecm-records-review-by-chris-may.php
As leader:
♦   Conception Vessel (ECM, 1973)
♦   Tribute (ECM, 1974)
♦   Dance (ECM, 1977)
♦   Le Voyage (ECM, 1979)
♦   Psalm (ECM, 1982)
♦   The Story of Maryam (Soul Note, 1984)
♦   Jack of Clubs (Soul Note, 1985)
♦   It Should've Happened a Long Time Ago (ECM, 1985)
♦   Misterioso (Soul Note, 1986)
♦   One Time Out (Soul Note, 1987)
♦   Monk in Motian (JMT, 1988)
♦   On Broadway Volume 1 (JMT, 1989)
♦   On Broadway Volume 2 (JMT, 1989)
♦   Bill Evans (JMT, 1990)
♦   Motian in Tokyo (JMT, 1991)
♦   On Broadway Volume 3 (JMT, 1991)
♦   Paul Motian and the Electric Bebop Band (JMT, 1992)
♦   Trioism (JMT, 1993)
♦   Reincarnation of a Love Bird (JMT, 1994)
♦   At the Village Vanguard (JMT, 1995)
♦   Sound of Love (Winter & Winter, 1995 [1997])
♦   Flight of the Blue Jay (Winter & Winter, 1998)
♦   Trio 2000 + One (Winter & Winter, 1997 [1999])
♦   Play Monk and Powell (Winter & Winter, 1998 [1999])
♦   Europe (Winter & Winter, 2000 [2001])
♦   Holiday for Strings (Winter & Winter, 2001 [2002])
♦   I Have the Room Above Her (ECM, 2004 [2005])
♦   Garden of Eden (ECM, 2004 [2007])
♦   On Broadway Vol. 4 or The Paradox of Continuity (Winter & Winter, 2005)
♦   Time and Time Again (ECM, 2006)
♦   Live at the Village Vanguard (Winter & Winter, 2006 [2007])
♦   Live at the Village Vanguard Vol. II (Winter & Winter, 2006 [2008])
♦   Live at the Village Vanguard Vol. III (Winter & Winter, 2006 [2010])
♦   On Broadway Volume 5 (Winter & Winter, 2009)
♦   Lost in a Dream (ECM, 2010)
♦   The Windmills of Your Mind (Winter & Winter, 2011)
_____________________________________________________________

Paul Motian — Standards plus One (May 1, 2015)

 

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Jennifer Curtis & Tyshawn Sorey: Invisible Ritual (2020)
The Innocence Mission — See You Tomorrow (Jan. 17, 2020)
The Sufis — Double Exposure (Jan. 24, 2020)
Blackbird & Crow — Ailm (17 Jan 2020)
Blackbird & Crow © 2020 Author: Megan Doherty
Torres — Three Futures (29th Sept. 2017)
Torres — Silver Tongue (Jan. 31, 2020)
Andy Statman — Old Brooklyn (2011)
Recondite — Dwell (Jan. 24, 2020)
Silkworm — In The West (24 Jan., 2020)
James Harries — Superstition (Jan. 31, 2020)
James Harries — Before We Were Lovers
Yorkston | Thorne | Khan — Navarasa : Nine Emotions (2020)
Fruition — Broken At The Break Of Day (Jan. 23, 2020)
Loveblind / Sleeping Visions (March 27, 2020)
Rizan Said — Saz û Dîlan (Oct. 11, 2019)
HMLTD — West of Eden (7 Feb., 2020)
HMLTD ©Dean Hoy
ÁSGEIR: IN THE SILENCE
Ásgeir — Bury the Moon (7 Feb., 2020)
Frazey Ford — U kin B the Sun (Feb. 7th, 2020)
Erlend Apneseth — Fragmentarium (Jan. 31, 2020)
Les Filles de Illighadad — Eghass Malan (Oct. 28, 2017)
Nina Kohoutová — Blue Sunray (Feb. 6th, 2020)
Alphaxone — Dystopian Gate (Jan. 14, 2020)
Cheerleader — Almost Forever (Feb. 7, 2020)
Oh Wonder — No One Else Can Wear Your Crown [Deluxe Edition]
Tame Impala — The Slow Rush (Feb 14, 2020)
REBECCA FOON — WAXING MOON (21st Feb., 2020)
Thomas Köner — Motus (Feb. 20, 2020)
Julianna Barwick — Circumstance Synthesis (Dec. 20, 2019)
ELYSIAN FIELDS — Pink Air
The Men — Mercy (Feb. 14, 2020)
Le Butcherettes — DON’T BLEED EP (14 Feb 2020)
The Gray Havens — She Waits (Nov. 7, 2018)
The Heliocentrics — Infinity Of Now (Feb. 14, 2020)
Caribou — Our Love (October 14, 2014)
Caribou — Suddenly (Feb. 28th, 2020)
Jack Peñate — After You [Expanded Edition] (2020)
These New Puritans — The Cut (2016~2019) (14 Feb. 2020)
Sarah Harmer — Are You Gone (Feb. 21st, 2020)
Sonny Landreth — Elemental Journey (May 22, 2012)
Sonny Landreth — Blacktop Run (Feb. 21, 2020)
Lanterns On the Lake — Spook the Herd (21 Feb., 2020)
Lanterns On the Lake — Spook the Herd (21 Feb., 2020)
Humanist — Humanist (21 Feb., 2020)
Sega Bodega — Salvador (Feb. 14, 2020)
Myopia Exclusive Crystal Clear Vinyl
Molina — Vanilla Shell (Jan. 24, 2020)
Debashish Bhattacharya JOY!guru cover
Cate Le Bon — Here It Comes Again (2020)
CocoRosie — Restless (Feb. 12th, 2020)
Wrekmeister Harmonies — We Love to Look at the Carnage (2020)
Calexico / Iron & Wine — Years to Burn (2019)
Fairport Convention — 50:50@50 (June 9, 2017)
Fairport Convention — Shuffle and Go (29 Feb., 2020)
James Taylor — American Standard (Feb. 28th, 2020)
The Magnetic Fields — Quickies (May 15, 2020)
Moses Sumney — græ Part 1 & 2 (May 15, 2020)
The Dream Syndicate — „The Universe Inside“ (April 10, 2020)
The Third Mind — The Third Mind (Feb. 14, 2020)
ANNA CALVI — HUNTED (March 6, 2020)
Jonathan Wilson — Rare Birds (March 2nd, 2018)
Jonathan Wilson — Dixie Blur (March 6, 2020)
Luke Haines — Beat Poetry For Survivalists (6 Mar. 2020)
Sink Ya Teeth — Two (28th Feb. 2020)
Stian Westerhus — Redundance (March 5, 2020)
Thomas Dybdahl — The Great Plains (Feb 24, 2017)
Thomas Dybdahl — Fever (March 13, 2020)
PETR KALANDRA — Petr Kalandra & ASPM 1982 — 1990 (Feb. 26, 2020)
Al Di Meola — Across the Universe: The Beatles, Vol. 2 (2020)
Sam Gendel — Satin Doll (13 Mar 2020)
Chapelier Fou — Deltas (Sept. 22, ​2014)
Chapelier Fou — Meridiens (Feb. 28, 2020)
CocoRosie — Put the Shine On (6 March 2020)
Dungen — Live (March 13, 2020)
Queer Jane — Home (Dec. 1, 2016)
Hornscape — Hornscape (March 6th, 2020)
Joywave — Possession (March 13, 2020)
Walter Martin — The World at Night (Jan. 31, 2020)
Morrissey — I Am Not a Dog On a Chain (March 20th, 2020)
Human Impact — Human Impact (13 March 2020)
Hibiscus Biscuit — Reflection of Mine (March 1st, 2020)
Markus Reuter — TRUCE (Jan. 17, 2020) cover
Orchards — Lovecore (March 13th, 2020)
Julia Holter — Never Rarely Sometimes Always (March 13, 2020)
Cathedral Bells — Velvet Spirit (March 6, 2020)
Bacchae — Pleasure Vision (March 6, 2020)
The Dears — Times Infinity Volume One (September 25, 2015)
Amanda Palmer — Forty~Five Degrees: Bushfire Charity Flash Rec.
THE DEARS — ‘Lovers Rock’ (May 15, 2020)
Eivind Aarset & Jan Bang — Snow Catches On Her Eyelashes (2020)
Waxahatchee — Saint Cloud (March 27, 2020)
Michael Landau — The Michael Landau Group Live (Oct. 31, 2006)
Låpsley — Through Water (March 20th, 2020)
Elysian Fields — Transience Of Life (May 7, 2020)
Baxter Dury — The Night Chancers (20 March 2020)
The Weeknd — Beauty Behind the Madness (Aug. 28th, 2015)
The Weeknd — Beauty Behind the Madness (Aug. 28th, 2015)
False Heads — It’s All There But You’re Dreaming (13 March 2020)
False Heads — It’s All There But You’re Dreaming (13 March 2020)
The Album Leaf — OST (March 20, 2020)
Real Estate — The Main Thing (28th Feb., 2020)
Villagers — The Art Of Pretending To Swim (03/19, 2020) DELUXE E
Villagers — Darling Arithmetic [Deluxe Version] (April 10, 2015)
Noveller — Arrow (June 7, 2020)
Justine Vandergrift — Stay (Feb. 7th, 2019)
The Electric Soft Parade — Stages (Jan. 8, 2020)
Ben Watt — Storm Damage (31st Jan., 2020)
Anoushka Shankar — Love Letters (7 Feb., 2020)
Roger Eno | Brian Eno — Mixing Colours (20 March, 2020)
Alberto Posadas : Poética del Laberinto, cycle pour quatuor de s
Sufjan Stevens — Aporia (March 27, 2020)
Beck — Deep Cuts (March 2020)
BECK — Uneventful Days (St. Vincent Remix)
Béla Fleck & Toumani Diabaté — The Ripple Effect [2LP, March 27,
Arbouretum — Let It All In (March 20, 2020)
Pearl Jam — Gigaton (March 27, 2020)
Loveblind: Visions
Loveblind: Visions
San Fermin — San Fermin (Nov. 11, 2013)
San Fermin — The Cormorant I & II (Oct. 4, 2019/April 3, 2020)
Stove — ‘s Favorite Friend (Oct. 31, 2018)
Queer Jane — Amen Dolores (March 27, 2020)
Rory Block — Prove It On Me (March 27, 2020)
Lizzy Farrall — Bruise (March 27, 2020)
Lilly Hiatt — Walking Proof (27 March, 2020)
The Chats — High Risk Behaviour (March 27, 2020)
Kazuomi Eshima & Masahiko Takeda — Inheritance for Soundscape
Marissa Nadler — unearthed (March 20, 2020)
Lucy Railton — Paradise 94 (22 Mar 2018)
BECCA STEVENS — WONDERBLOOM (March 20th 20, 2020)
Trees Speak — Ohms (3rd April, 2020)
Teho Teardo — Ellipsis dans l’harmonie (March 6th, 2020)
Ellipsis dans l’harmonie BACK COVER
Cocteau Twins — Head Over Heels
Cocteau Twins — Treasure
Cocteau Twins — Garlands (1982, Reissue 2020)
1600 x 1600 High Violet (10th Anniversary Expanded Edition).jpg
Riva Taylor — ‘This Woman’s Heart .1’ (27 Mar 2020)
Amy LaVere — Painting Blue (27 Mar 2020)
Sea Wolf — Through a Dark Wood (March 20, 2020)
Locate S,1 — Personalia (April 3, 2020
Anna Burch — Quit The Curse (Feb 2, 2018)
M.Ward — Migration of Souls (April 3, 2020)
Peel Dream Magazine — Agitprop Alterna (3rd April 2020)
ANDREW BIRD — CAPITAL CRIMES (April 1st, 2020)
Spy Machines — Spy Machines (April 3, 2020)
Richard Barbieri ‎— Past Imperfect / Future Tense (Mar 2020)
DAVID POMAHAČ — DO TMY JE DALEKO (Feb. 7, 2020)
KIESLOWSKI Tiché lásky
Born Ruffians — Juice (April 3, 2020)
LENKA NOVÁ — DOPISY (21.03./24.04., 2020)
Ezra Bell — This Way to Oblivion (3rd April, 2020)
Songdog — Happy Ending (27th March, 2020)
Laurel Halo — Raw Silk Uncut Wood (July 13, 2018)
Laurel Halo — Possessed (April 10, 2020)
Laura Marling — Song for Our Daughter (April 10th, 2020)
Hamilton Leithauser (The Walkmen) — Dear God (Aug. 2015)
Hamilton Leithauser — The Loves of Your Life (10 April 2020)
Don Gallardo — The Lonesome Wild (April 2, 2020)
Cowboy Junkies — Ghosts (30 Mar 2020)
The Mountain Goats — Songs for Pierre Chuvin (April 10, 2020)
Darnielle, Jon Wurster, Matt Douglas, Pete Hughes. ©Josh Sanseri
Erik Griswold — All’s Grist That Comes To The Mill (03/20, 2020)
Erik Griswold — All’s Grist That Comes To The Mill (03/20 2020)
Varga Marián — Solo in Concert (1. feb. 2018)
Joe Bonamassa & The Sleep Eazys — Easy To Buy, Hard To Sell
Midwife — Forever (April 10, 2020)
Moondog — On The Streets Of New York (Feb. 14, 2020)
Damon Locks Black Monument Ensemble — Where Future Unfolds (2019
Meredith Monk & Bang on a Can All~Stars — Memory Game (03/27/20)
Pharoah Sanders — „Live In Paris (1975): Lost ORTF Recordings“
I Like to Sleep — Daymare (April 17, 2020)
MoE/Mette Rasmussen — Tolerancia Picante (March 25, 2019)
The Tiger Lillies — Cold Night in Soho (10 Feb. 2017)
The Tiger Lillies — Edgar Allan Poe’s Haunted Palace
Sarah Jarosz — World On The Ground (June 5, 2020)
Kate Amrine — This Is My Letter to the World (Jan. 24, 2020)
Fiona Apple — Fetch The Bolt Cutters (17 Apr., 2020)
The Tiger Lillies — Covid~19 (April 10, 2020)
Veneer — Recovery (April 15, 2020)
Siobhan Wilson — The Departure (10 May, 2019)
BC Camplight — Shortly After Takeoff (24 April 2020)
Siobhan Wilson — There Are No Saints (14 Jul, 2017)
Brendan Benson — Dear Life (April 24, 2020)
Ali Holder — Uncomfortable Truths (April 10, 2020)
From Atomic — Deliverance (April 2020)
Whyte Horses — Hard Times (17th of Jan., 2020)
Gerald Cleaver — Signs (March 27, 2020)
Sophie Tassignon — Mysteries Unfold (April 24, 2020)
HOUPACÍ KONĚ: SOULKOSTEL 8 11 2019 (April 25, 2020)
Sarah Longfield — Dusk (April 22, 2020)
Ariel Pink — House Arrest (2002/Mar 2011/April 24, 2020)
All The Best, Isaac Hayes (A Spoken Word Album)
Prophecy Playground — Comfort Zone (Feb. 15, 2020)
Mark Lanegan — Straight Songs Of Sorrow (8th May, 2020)
Genesis Revisited: Live at The Royal Albert Hall — 2020 Remaster
Joan As Police Woman — Cover Two (May 1, 2020)
Kuře v hodinkách — Flamengo
Kuře v hodinkách — Flamengo
Devon Williams — A Tear in the Fabric (May 1, 2020)
Johanna Warren — Chaotic Good (May 1, 2020)
emozpěv — Spolu (1st May 2020)
THE LEAGUE OF ASSHOLES — UNPLUGGED (1st May 2020)
Morgan1
Zuzana Mikulcová — Slová
The Fratellis — Half Drunk Under A Full Moon (8th May, 2020)
The Fratellis — Half Drunk Under A Full Moon (8th May, 2020)
Cocteau Twins — Victorialand (April, 1986, Reissue 2020)
Coloured Clocks — Flora (May 2, 2020)
I Break Horses — Warnings (08 May 2020)
Hawkwind — Acoustic Daze (25 Oct. 2019)
Indoor Voices — Animal (Feb. 14, 2020)
I Break Horses — Chiaroscuro
Einstürzende Neubauten — Alles In Allem (May 29th, 2020)
100 Gecs — 1000 gecs (May 31, 2019)
Evergreen — Overseas (15 Jun 2018)
Kurt Rosenwinkel Trio — Angels Around (May 8, 2020)
The Feather — Room (10 July, 2020)
Eyvind Kang — Ajaeng Ajaeng (May 1, 2020)
Eyvind Kang — Ajaeng Ajaeng (May 1, 2020)
Kaitlyn Aurelia Smith — The Mosaic of Transformation (May 15, 20
Kaitlyn Aurelia Smith — The Kid (October 6, 2017)
Mr. Alec Bowman — I Used to Be Sad & Then I Forgot (May 1, 2020)
György Ligeti — Lontano (22. Oct.,1967)
OWEN PALLETT — Heartland (March 3, 2014)
Badly Drawn Boy — Banana Skin Shoes (22nd May, 2020)
A.O. Gerber — Another Place to Need (May 22, 2020)
Kaleidoscope — Faintly Blowing (11 April 1969, Reissue, Remaster
Perfume Genius — Set My Heart On Fire Immediately (15th May 2020
Perfume Genius — No Shape (5 May, 2017) BC
Perfume Genius — No Shape (5 May, 2017) FC
Sungazers — Wasting Space (May 18, 2020)
Cermaque — Lament (22nd May, 2020)
Mountaineer — Bloodletting (May 22nd, 2020)
Jetstream Pony — Jetstream Pony (May 22, 2020)
Steve Earle — Townes (May 8, 2009)
Steve Earle & The Dukes — Ghosts of West Virginia (May 22, 2020)
Sixth June ‎— Trust (17 Jan 2020)
White Tail Falls — Age of Entitlement (May 29, 2020)
Weyes Blood — “Wild Time” from Titanic Rising
Nicole Atkins — Italian Ice (29 May 2020)
Deerhoof — Future Teenage Cave Artists (May 29, 2020)
Deradoorian — Find the Sun (Sept. 18, 2020)
Bob Dylan — Rough and Rowdy Ways (June 19th, 2020)
The Magnetic Fields — QUICKIES VINYL BOX SET (June 19, 2020)
The Magnetic Fields — QUICKIES VINYL BOX SET (June 19, 2020)
This Will Destroy You — Vespertine (June 9, 2020)
Jake Blount — Spider Tales (May 29, 2020)
Jake Blount — Spider Tales (May 29, 2020)
Yoko Ono, Kim Gordon & Thurston Moore — YOKOKIMTHURSTON
Psychic Markers — Psychic Markers (29 May, 2020)
The Memories — Pickles & Pies (May 29, 2020)
Songs for the Late Night Drive Home (Feb. 5, 2016)
Spc Eco — Dark Matter (Nov. 20, 2015)
SPC ECO — June (June 1, 2020)
Yves Tumor — Heaven to a Tortured Mind (April 3, 2020)
Norah Jones — Pick Me Up Off the Floor (June 12th, 2020)
Larkin Poe — Self Made Man (June 12th, 2020)
Ezra Furman — Sex Education [Original Soundtrack] (April 24, 202
Endless Field — Alive in the Wilderness (June 12, 2020)
Wesley Gonzalez — Appalling Human (June 12, 2020)
Noveller — Arrow (June 12, 2020)
Kim Myhr & Australian Art Orchestra — Vesper (17.04. 2020)
Kim Myhr & Australian Art Orchestra — Vesper (17.04. 2020)
Andrej Šeban — Triplet (March 22, 2019) inner cover
Andrej Šeban — Triplet (March 22, 2019) cover
The Crossing & Donald Nally — James Primosch: Carthage (05/2020)
Jerskin Fendrix — Winterreise (April 17, 2020)
Zoongideewin — Bleached Wavves (June 19, 2020)
ULRICH SCHNAUSS — A Long Way To Fall — Rebound (3rd April, 2020)
Sports Team — Deep Down Happy (5th June, 2020)
Wrekmeister Harmonies — We Love to Look at the Car (2020)
Midlake — Antiphon (Nov. 4, 2013)
ANASTASIA MINSTER — Father ©Michael Haley
Jessie Ware — Glasshouse (Deluxe; 20 Oct 2017)
Teen Daze — Morning World
Jessie Ware — What’s Your Pleasure (June 26, 2020)
Art Feynman — Half Price At 3:30 (June 26th, 2020)
Bo Ningen — Sudden Fictions (26th June, 2020)
Khruangbin — Mordechai (June 26, 2020)
Pottery — Welcome to Bobby’s Motel (June 26th, 2020)
Orlando Weeks — A Quickening (June 12, 2020)
John Craigie — Asterisk the Universe (June 12, 2020)
Kavus Torabi — Hip to the Jag (May 22, 2020)
Nadine Shah — Kitchen Sink (June 5, 2020)
Paul Weller — On Sunset [Deluxe Edition] (3rd July, 2020)
Corb Lund — Agricultural Tragic (June 26, 2020)
Christine Ott — Chimères (pour ondes Martenot) (May 22, 2020)
The Beths — Jump Rope Gazers (July 10th, 2020)
Ashley Paul — Window Flower (May 13, 2020)
Grey Daze — Amends [Deluxe Edition] (July 3, 2020)
Grey Daze ©Photo credit: Anjella / Sakiphotography
Ajimal — As It Grows Dark / Light (June 26, 2020)
Ajimal — As It Grows Dark Light (June 26, 2020)
Eleanor Friedberger — Rebound (May 4th, 2018)
ELEANOR FRIEDBERGER — NEW VIEW (January 22, 2016)
Immigrant Union — Judas (June 19, 2020)
Julianna Barwick — Healing Is a Miracle [Japan Edition] (2020)
Neil Young & Crazy Horse — Colorado (Oct. 25, 2019)
Neil Young — Homegrown (19th June, 2020)
The Jayhawks — XOXO (July 10, 2020)
Joy Division — Closer (40th Anniversary) [2020 Digital Master] (
Daniel Bachman — The Morning Star (July 27, 2018)
Daniel Bachman — Green Alum Springs (June 6, 2020)
Becca Mancari — The Greatest Part (June 26, 2020)
Ytamo — Vacant (June 12, 2020)
Bright Eyes — Down In The Weeds, Where The World Once Was (Aug.
Thin Lear — Wooden Cave (24th July, 2020)
Devendra Banhart — Vast Ovoid (July 24, 2020)
Cub Sport — LIKE NIRVANA (24 July, 2020)
Sara Serpa — Recognition (June 5th, 2020)
Sara Serpa, Ingrid Laubrock, Erik Friedlander — Close Up (2018)
Klara Lewis — Ingrid (1st May 2020)
Buju Banton — Upside Down (June 26, 2020)
Son Lux — Learning Structures vol. 1~4 (Oct. 11th, 2019)
learning structures, vol. 3 distance between us (Oct. 11, 2019)
learning structures, vol. 2: end firma
learning structures, vol. 3: distance between us
The Boomtown Rats — Citizens of Boomtown (13 March, 2020)
Ralph of London — The Potato Kingdom (19th June, 2020)
Mike Polizze — Long Lost Solace Find (July 31, 2020)
Land of Talk — Indistinct Conversations (July 31, 2020)
The Heliocentrics — Infinity Of Now (Feb. 14, 2020)
TANYA DONELLY: Swan Song Series bonus tracks (FC)
The Heliocentrics — Telemetric Sounds (Aug. 7, 2020)