Fantastic vinyl reissue of this massively revered side from the inspirational tag-team of saxophonist/clarinettist/pianist Peter Brotzmann and drummer/pianist/bass-clarinettist, viola and banjo player Han Bennink. Originally issued in 1977 on FMP, the record has a classic Brotz title – Half A Dog Can’t Piss – and consist of a bunch of ferociously beautiful live recording from early ’77, with the players moving from roaring post-Fire Music deconstructions to Industrial folk music and the sound of gospelised holy terror that no one else outside of Albert Ayler could ever pull off. Sounds great on 180g vinyl with a limited edition pressing and high quality sleeves. Highly recommended!

Another massively necessary high quality reissue of primo Peter Brotzmann material, this time 1975’s classic Tschus. Here Brotzmann switches between clarinet, alto, tenor and bass sax and vocals while Fred Van Hove is on piano and accordion and Han Bennink uses drums, cymbals, accordion, clarinets, floors, walls, megaphones etc. It’s a ferociously inventive set, a tour-de-force of the boundless possibilities of free improvisation rescued from the hands of musical conservatives, moving from vamping/rasping runs through triumphal brass work through rusty, proto-Industrial free form blow-outs. Simply fantastic, on 180g vinyl in a limited pressing and with gorgeous high-quality sleeves. Highly recommended.  

Beautifully done reissue of this emphatically aggressive free jazz milestone, released by FMP in 1970. Peter Brotzmann on tenor, Fred Van Hove on piano and Han Bennink on drums, gachi, shell and voice tear through American fire music concepts with punk primitive fury, translating and transforming the original gesture into a whole new Wildman vernacular. This reissue is beautifully done, part of an extensive series of vinyl FMP reissues, pressed on 180g vinyl in a limited run and with sleeves that look even better than the originals! Still one of the greatest European free jazz sides. Highly recommended. 

Stunning previously unreleased document from the ferment of the New York loft era free jazz scene, with legendary violinist Billy Bang’s first group as leader captured live on 29^th May 1977 at A Day In Solidarity With Soweto: A Fund-Raiser, Harlem Fight-Back, 1 East 125^th Street, New York. The group is a remarkable ensemble, not least for the presence of the amazing, weeping saxophone tone of Bilal Abdur Rahman aka Clive Hunter who had been a member of a radical black separatist group alongside Bang and who had been wounded and arrested during a shoot-out at a botched bank job and ended up doing time in Attica where he changed his name and converted to Islam. The group also features William Parker on bass and Rashid Bakr on drums and the set opens with an astounding piece of music by Parker with Bang reading a poem dedicated to Albert Ayler that namechecks virtually every key player in underground fire music before Bang’s violin and Rahman’s saxophone kick into a wild, bluesy, radically ‘out’ hymn to the titans of the eternal now. The recording quality is fantastic and it has all of the raw, raggedy appeal of classic private press sides on Jihad or Ak-Ba. A major excavation that will appeal to anyone who digs the post-Ayler radical Wildman style of subterranean New York. Limited edition of 500 copies. Highly recommended!