Abstract Rhythm in Time DigitalART With eremite records

Blue Winter by Fred Anderson, Hamid Drake, William Parker blue winter is a milestone achievement in the career of tenor saxophone stalwart fred anderson. an exponent of the illustrious chicago heavyweight tenor tradition that includes his contemporaries gene ammons, johnny griffin, john gilmore & von freeman, anderson spent decades as a family man & bar owner before starting to seriously tour & record in the nineties. born 1929 in monroe, louisiana, anderson migrated to chicago in 1940, devoting many years of study to the music of lester young, coleman hawkins, & charlie parker. in 1964 anderson co-founded the seminal chicago musicians' organization the association for the advancement of creative musicians (AACM). the strength & individuality of his playing in early AACM ensembles with muhal richard abrams, joseph jarman, & henry threadgill earned anderson the nickname "the lone prophet of the prairie." joining anderson on blue winter is one of...

Never Too Late But Always Too Early by Peter Brotzmann, Hamid Drake, William Parker founded in 1993, peter brötzmann's die like a dog band is widely regarded as "one of the leading ventures in the history of avant-garde jazz" (all music guide). its fusion of brötzmann's explosive "kaput music" with the omni-sourced rhythms of hamid drake & william parker makes for one of the most exhilarating ensemble sounds in any & all music. a two c/d set, never too late... is the trio's complete concert from 10 april, 2001, montreal. eremite recorded every north american performance by the group from 2000 to 2005, & never too late (dear friends) is the motherfucker of them all. the wire magazine #1 'jazz record,' 2003 rewind cadence magazine readers poll, #1 record 2003 cadence magazine editor's choices, 2003 coda magazine writer's choices top ten recordings 2003 chosen as one of the "crucial" brötzmann recordings in the wir...

Through Acceptance of the Mystery Peace by William Parker william parker's earliest recordings as a leader. first released in 1979 on his own centering music (centering 1001), in an edition of 500 LPs, through acceptance of the mystery peace has been a much sought-after collectors item for many years. eremite is proud to return this vital & historic music to common circulation. five ensembles recorded between 1974 and 1979, ranging in size from trio to octet, musicians include billy bang, charles brackeen, daniel carter, denis charles, tristan honsinger, toshinori kondo, jemeel moondoc, and many others from far corners of the 1970s n.y.c. free music community. an altogether different view of the new york loft era than that provided by the wildflowers series, & the earliest view of parker's powerful influence upon the american free jazz scene. one previously unissued performance (title track), & the complete unedited version of "desert flower." jazz ma...

Perles Noires vol II by Sunny Murray sunny murray's talent is bigger than any category you could use to describe it. he's one of the most original musical minds of the past 50 years, a genuine innovator, the liberator of the drum kit, and an artist of uncompromising honesty. murray's playing in the 1960s with albert ayler, cecil taylor, archie shepp, & others opened up entirely new expressive realms for the drums in jazz. murray's act of liberation --to free drummers from their strict time keeping role-- still outrages many listeners, and his militant individuality, his obstinate adherence to his artistic vision over the years, still make him something of an outlaw presence in jazz. it should come as no shock to his listeners, then, that the music on this c/d and its companion volume, recorded on brief visits to the u.s. from murray's home base in paris, is full of fire and surprise, ornery as hell, charming and urbane, and totally, unstintingly true to his ...

Perles Noires volume I by Sunny Murray sunny murray's talent is bigger than any category you could use to describe it. he's one of the most original musical minds of the past 50 years, a genuine innovator, the liberator of the drum kit, and an artist of uncompromising honesty. murray's playing in the 1960s with albert ayler, cecil taylor, archie shepp, & others opened up entirely new expressive realms for the drums in jazz. murray's act of liberation --to free drummers from their strict time keeping role-- still outrages many listeners, and his militant individuality, his obstinate adherence to his artistic vision over the years, still make him something of an outlaw presence in jazz. it should come as no shock to his listeners, then, that the music on this c/d and its companion volume, recorded on brief visits to the u.s. from murray's home base in paris, is full of fire and surprise, ornery as hell, charming and urbane, and totally, unstintingly true to hi...

We Are Not At The Opera by Sunny Murray & Sabir Mateen like baby dodds and kenny clarke before him, sunny murray revolutionized the role of the drum kit in jazz. his playing with ayler and taylor opened up entirely new expressive realms for the instrument, and his influence on the last thirty-five years of improvised music cannot be overestimated. long in exile from the american scene, murray made a rare working visit to the states in the summer of 1998. this live recording from a 27 june unitarian meetinghouse performance in amherst unites him with an old comrade, the masterful multi-instrumentalist sabir mateen, who stimulates some of murray's most intense playing on record since the classic jump up side with jimmy lyons. both men are former citizens of the nation state philadelphia, pa, and that pitiless city's deep tradition of great black music courses through the set. if action music -- furiously energized and immediate -- is what you dig, this set delivers heavil...

Captain of the Deep by Denis Charles azziz magazine critics picks top ten recordings 1998 cadence magazine reviewers' choice best recording 1998 Captain is an imposing live set led by the late drummer Charles (he died the day this was released). With a resume that included time with Steve Lacy and Cecil Taylor, Charles was firmly ensconced in the restless beauty of the free jazz world, and that sort of passion and joy overflows here. His group draws its sound from Albert Ayler and early Ornette Coleman, with stirring folkish themes that turn into blazing marathon solos. Its all-encompassing exuberance draws funeral wails, blues, African rhythms and down-the-line bebop into one roaring vortex. This band includes veteran avant-gardist Jemeel Moondoc on alto and Nathan Breedlove, now with the Skatalites, on trumpet. Their music is consistently powerful but controlled. They are both careful never to go so far out that they leave the other musicians behind or destroy the fabric of ...

We Don't by Jemeel Moondoc & Denis Charles -we don't- is a previously unreleased 1981 session pairing moondoc with denis "jazz" charles (1933-1998). in the 1970s, moondoc was a member of ensemble muntu with william parker. moondoc's quirky & vivid alto style suggests the influence of ornette coleman, but the comparison "does not do justice to moondoc's originality" (the penguin guide to jazz). moondoc's grandfather, the original 'moondoctor' & the family namesake, sang & danced in medicine shows at the turn of the century, & the presence of earlier american folk musics haunts the edges of moondoc's post-cecil taylor strategies. moondoc had a special chemistry with the late denis charles. a legendary "underground" figure, charles worked with cecil taylor & steve lacy in their formative periods, & his caribbean-inflected rhythms animated jazz in an entirely unique way. -we don't- is rough-ed...

New World Pygmies by Jemeel Moondoc & William Parker Moondoc pulls out all the stops on this album; it's the most complete documentation of his instrumental prowess on record. From the sustained melodic invention of the title track, to the sound-color-texture manipulations of "Huey Sees a Rainbow" to the gut-wrenching interpretation of "Another Angel Goes Home," Parker's tribute to the late Denis Charles, Moondoc is at the top of his game. Listening to him on the title track as he carefully picks his notes, threading his way in crazy zigzag lines that avoid cliche at every turn, I thought of Thelonious Monk - not his style but his spirit. The proud insistence on the idiosyncratic, the way he favors deliberate rough edges over polish and "technique," the unsentimental rigor of his ballads, and the sheer emotional honesty of his playing - these are Moondoc's virtues just as surely as they were Monk's and they make Moondoc's music ...

Revolt of the Negro Lawn Jockeys by Jemeel Moondoc ur bid for moondoc's finest ever small-group recording. revolt of the negro lawn jockeys shows a musician capable of drawing together the post-bop lineage that includes jackie mclean & charles mingus, & the free jazz/energy music tradition of ornette coleman & cecil taylor into one grand, swinging synthesis. it is clear that for Moondoc, one does not exclude the other. his big-hearted, all-embracing music renders irrelevant the boundary between free & post bop jazz. jazztimes critics picks, top five c/ds 2001 wire magazine, 50 records of 2001, all categories wire magazine, 15 records of 2001, jazz cadence magazine reviewers choices, top ten records 2001 coda magazine writers choice top ten recordings 2001 Any quintet lineup featuring alto sax, trumpet, vibes, bass and drums inevitably invites comparison with Eric Dolphy's Out To Lunch. Hard act to follow, but Jemeel Moondoc can hold his head up high. Thos...

Live / by TEST This quartet seem ready to spearhead a back-to-the-roots exercise in New York free jazz, playing long & loud (though not unlyrical) sets of unfettered improvisation. The notes to the AUM Fidelity disc release suggest that TEST can be heard at the corner of 57th & 5th, & they've also been known to do subway gigs; this is classic street music: tough, sweepingly passionate, but informed & articulate playing. The Eremite disc has one long set from Baltimore & a brief postscript for a Boston show which is a riotous coda to the disc. Rough, live sound, but the spirit is unquenchable & there is some feelingful & exciting interplay among the four players, each of whom suggests that he has a good grasp of long form improvising. --Richard Cook & Brian Morton, The Penguin Guide to Jazz Recordings Twin sax quartets can be confusing as too-similar voices vie for the lead. Daniel Carter & Sabir Mateen work well together. While one is buildi...

Always Coming From The Love Side by TEST I first heard TEST in June 1996 at the Learning Alliance, 324 Lafayette Street, 7th floor. The occasion was the very first Vision Festival. The mid-90s was a signal moment for avant-garde jazz & TEST was creating a buzz among the capsule of younger freaks gravitating to the scene. If the David Ware Quartet was the flagship group, TEST was literally the underground favorite —as part of the Music Under New York Program, TEST was out on the streets & subway platforms year-round, playing long-form unadulterated free jazz with an energy & creativity level rarely encountered. Even on a scene known for strong personalities these guys were obviously renegade cats. I mean, who else would do that? Sabir Mateen (1951) spent the '70s in LA playing in Horace Tapscott's Pan-Afrikan Peoples Arkestra. Tom Bruno (1937-2012) & Daniel Carter (1945) had been gutting it out downtown for ages. All three were U.S. military veterans. If you...

White Boy Blues by Tom Bruno For years, a subway token was all the cover you needed to hear some of the fiercest free jazz in New York City. That's because Tom Bruno, with his pared-down drum kit, practiced in subway stations. Pick up the uptown 6 at Astor Place & there he was, competing with the clack of trains. Some days, he was under Time Square or in the bowels of Grand Central Terminal. Maybe he took the phrase underground musician too seriously. Maybe everyone else didn't take it seriously enough. Don't misunderstand this. This was not exile. He chose to go underground to play his music unconditionally. Think Sonny Rollins on the Williamsburg Bridge, playing for himself. Once, I happened upon him playing at Astor Place & stopped to listen. his eyes were closed as his hands skipped & shuffled around. I let a couple trains go by & listened. Tom didn't open his eyes much. If he knew he had an audience, it must have been because he smelled us. Here...

First & Last by Glenn Spearman "What does it matter what you say about people?" --Marlene Dietrich as Tanya in -Touch of Evil- "He played the hell out of his horn." A first image: "Maestro!" those were the first words he said to me. In '93, after a set with my quintet at Radio Valencia. At least in person. We had been on the phone before, set up a time to meet, an isolated voice: "If you want to talk about music, give me a call." But that was when I first met him, saw him standing before me, the whole size of him. There were always images of wind, the storm, the hurricane. The Tempest, & he blew you right off, out of the stage, onto you damn head. "You're kickin' my ass, man." What does it matter what you say about people? Each sound contains the encapsulation of our condition; an entrance, a varying sustain, a decay. Notes like the lives of people. Filled with the ase, their rich resonances giving meaning. So...

H.CON.RES.57, Volume I by Alan Silva & The Celestrial Communication Orchestra n days gone by, a star-crossed european concert organizer who attributed their successful recovery in a psychiatric hospital to listening to the 1970 alan silva celestrial communication orchestra recording -seasons- (BYG 42/43/44) made a personal appeal to alan silva to form a new orchestra. subsequently a new & presumably final silva CCO performed two concerts at the 2001 uncool festival in poschiavo, switzerland, whence these direful omens were procured. this was likely the last time an orchestra comprised entirely of musicians from the OG 1960s & ‘70s jazz avant-garde was ever assembled. ensuing generations of the avant-garde, needless to say, are valid, too, but nothing resembling the 2001 CCO will happen again in this world. H.Con.Res.57 refers to a 1987 congressional resolution introduced by the late michigan congressman john conyers “respecting the designation of jazz as a rare and valu...

H.CON.RES.57, Volume II by Alan Silva & The Celestrial Communication Orchestra in days gone by, a star-crossed european concert organizer who attributed their successful recovery in a psychiatric hospital to listening to the 1970 alan silva celestrial communication orchestra recording -seasons- (BYG 42/43/44) made a personal appeal to alan silva to form a new orchestra. subsequently a new & presumably final silva CCO performed two concerts at the 2001 uncool festival in poschiavo, switzerland, whence these direful omens were procured. this was likely the last time an orchestra comprised entirely of musicians from the OG 1960s & ‘70s jazz avant-garde ever assembled. ensuing generations of the avant-garde, needless to say, are valid, too, but nothing resembling the 2001 CCO will happen again in this world. H.Con.Res.57 refers to a 1987 congressional resolution introduced by the late michigan congressman john conyers “respecting the designation of jazz as a rare and valuab...

H.CON.RES.57, Volume III by Alan Silva & The Celestrial Communication Orchestra n days gone by, a star-crossed european concert organizer who attributed their successful recovery in a psychiatric hospital to listening to the 1970 alan silva celestrial communication orchestra recording -seasons- (BYG 42/43/44) made a personal appeal to alan silva to form a new orchestra. subsequently a new & presumably final silva CCO performed two concerts at the 2001 uncool festival in poschiavo, switzerland, whence these direful omens were procured. this was likely the last time an orchestra comprised entirely of musicians from the OG 1960s & ‘70s jazz avant-garde ever assembled. ensuing generations of the avant-garde, needless to say, are valid, too, but nothing resembling the 2001 CCO will happen again in this world. H.Con.Res.57 refers to a 1987 congressional resolution introduced by the late michigan congressman john conyers “respecting the designation of jazz as a rare and valuab...

H.CON.RES.57, Volume IV by Alan Silva & The Celestrial Communication Orchestra in days gone by, a star-crossed european concert organizer who attributed their successful recovery in a psychiatric hospital to listening to the 1970 alan silva celestrial communication orchestra recording -seasons- (BYG 42/43/44) made a personal appeal to alan silva to form a new orchestra. subsequently a new & presumably final silva CCO performed two concerts at the 2001 uncool festival in poschiavo, switzerland, whence these direful omens were procured. this was likely the last time an orchestra comprised entirely of musicians from the OG 1960s & ‘70s jazz avant-garde ever assembled. ensuing generations of the avant-garde, needless to say, are valid, too, but nothing resembling the 2001 CCO will happen again in this world. H.Con.Res.57 refers to a 1987 congressional resolution introduced by the late michigan congressman john conyers “respecting the designation of jazz as a rare and valuab...

Total Music Meeting 1977 by Peter Brötzmann & Han Bennink ncludes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more. Download available in 16-bit/44.1kHz. Buy Digital Album $11 USD or more Send as Gift 1. Nr. 1 08:44 2. Nr. 2 04:25 3. Nr. 3 05:35 4. Nr. 4 08:41 5. Nr. 5 03:52 6. Nr. 6 14:53 7. Nr. 7 06:52 8. Nr. 8 04:50 9. Nr. 9 08:45 10. Nr. 10 00:46 11. Nr. 11 08:42 about edition 400 CD copies, sold exclusively on 2007 Brötzmann / Bennink U.S. tour credits released September 29, 2023 Bennink: drums, toys, mouth-organ, megaphone, banjo, fiddle, singing-saw, trombone, soprano & c-melody saxophone, piano Brötzmann: alto & tenor saxophones, clarinets, piano recorded November 1977, Quartier Latin, Berlin engineer: Jost Gebers producers: Brötzmann & Ehlers license all rights reserved tags Tags bennink berlin brötzmann fmp han bennink jost gebers peter brötzmann Hawaii about eremite records image eremite records Hawai...

Live at The 'Bottle' Fest 2005 by Peter Brötzmann & Nasheet Waits Includes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more. Download available in 16-bit/44.1kHz. Buy Digital Album $11 USD or more Send as Gift 1. Nr. 1 (alto/drums) 13:10 2. Nr. 2 (cl-tenor/drums) 18:51 3. Nr. 3 (tarogato/drums) 09:26 4. Nr. 4 (alto/drums) 07:55 about edition 400 CD copies, sold exclusively on fall 2005 Brötzmann / Waits U.S. tour credits released September 29, 2023 Brötzmann: alto & tenor saxophones, clarinet, tarogato Waits: drums recorded 2006-06-16, Empty Bottle, Chicago engineer: Lou Malozzi producers: Brötzmann & Ehlers license all rights reserved tags Tags brö records brötzmann chicago nasheet waits peter brötzmann Hawaii about eremite records image eremite records Hawaii Follow eremite.com discography Perseverance Flow Oct 2025 Onilu Feb 2025

In Amherst 2006 by Peter Brötzmann & Han Bennink edition 400 CD copies, sold exclusively on 2008 Brötzmann / Bennink U.S. tour. Titles from -What Shall We Do Without Us-, Kenneth Patchen/Sierra Club Books 1984 credits released September 29, 2023 Brötzmann: alto & tenor saxophones, b-flat clarinet, tarogato Bennink: drums, piano, room recorded 2006-10-09, Unitarian Meetinghouse, Amherst engineer: The Eremite Mobile Unit producers: Brötzmann & Ehlers

Tri-p-let by Jemeel Moondoc Trio The first recording since 1985 by this prime and crazy mover of the loft era. Jemeel Moondoc's new trio is as catalyzing and deeply musical a group as any currently working in the so-called free jazz. A spectacular showcase of players in love with the aesthetic and spiritual adventure of high-level improvisation. --Norman Weinstein, Boston Phoenix Emotional, incredibly flexible, and constantly surprising. --Jerome Wilson, Option credits released February 29, 2024 Moondoc: alto saxophone Laurence Cook: drums John Voigt: bass 16 November 1996, PBS Studios, Westwood MA producers: Michael Ehlers & John Voigt engineer: Peter Kontrimas liner notes: Jemeel Moondoc photography: Charles Gross license all rights reserved tags Tags free jazz free jazz history jazz history jemeel moondoc loft jazz Hawaii about eremite records image eremite records Hawaii Follow eremite.com discography Perseverance Flow Oct 2025

Fire In The Valley by Jemeel Moondoc Trio zziz magazine critics' picks #6 recording 1997 Cadence reviewers' choice top ten recordings 1997 Moondoc's alto restlessly tumbles forth from antic bounces to r&b drenched Texas honk to piglet squeals to bursts of tenor-like resonance. High-impact and, often, high-velocity, the Moondoc trio blazes like a hail of comets. --Sam Prestianni, Jazziz Moondoc seemed to bare his very soul with his darting clipped jumps, plaintive smears, and skirling cries. The three seemed to be charged particles, simultaneously sparking and surging with the turbulent crackling energy of a storm cloud. --Michael Rosenstein, Cadence This 41 minute set, comprised of just two tracks, was recorded at the 1996 Fire in the Valley Festival in Amherst, MA. Moondoc and his alto saxophone are accompanied by bassist John Voigt and percussionist Laurence Cook. The title track, which clocks in at a mighty 39:51, is where all the meat is. Here is where the li...

Drum Dance to the Motherland by Khan Jamal Creative Arts Ensemble eremite presents the definitive vinyl edition of the most legendary private press underground jazz album of the 1970s. There’s not another record on the planet that sounds even remotely like vibraphonist Khan Jamal's eccentric, one-of-a-kind masterpiece, Drum Dance To The Motherland. In its improbable fusion of free jazz expressionism, black psychedelia, & full-on dub production techniques, Drum Dance remains a bracingly powerful outsider statement forty-five years after it was recorded live at the Catacombs Club in Philadelphia, 1972. Comparisons to Sun Ra, King Tubby, Phil Cohran & BYG/Actuel merely hint at the cosmic otherness conjured by The Khan Jamal Creative Arts Ensemble & by sound engineer Mario Falana's real-time enhancements. Originally issued by Jamal in 1973 in an edition of three hundred copies on ‘Dogtown’ records, Drum Dance To The Motherland was effectively a myth until eremite’s ...

Music For Life Itself & The Interrupters by Joshua Abrams Joshua Abrams's music first came to my attention through a friend and colleague who thought he might be an interesting choice to score for The Interrupters. After listening to his eclectic and impressive record Natural Information, I was keen to meet the man. Having done a number of films and worked with many different composers over the years, I was looking for a composer who could give The Interrupters a sound that felt authentically Chicago, but didn't feel like film score. Oh, and by the time we called Joshua, we were about six weeks from the film premiering at the Sundance Film Festival. No pressure there. In an amazingly short time, Joshua crafted music that at times felt urgent and "of the street" while never succumbing to hip hop cliches of toughness and false bravado. A song like "Drugs, Guns, Party, Fun" is as cool and catchy as its name - which like many in this collection is a dire...