Matana Roberts – Coin Coin Chapter One: Gens de couleur libres

Matana (m(a)-ta-na\) Roberts; internationally documented, chicago born saxophonist/improviser/ composer/sound conceptualist; working in various mediums of  performance inquiry; has created alongside visionary experimentalists of this time period in various areas of improvisation, dance, poetry, visual art, theater; as a saxophonist, documented on sound recordings as collaborator, side woman and leader. some recent work focused on the place/problem of memory/tradition as recognized, deciphered, deconstructed, interrogated through radical modes of sound communication, alternative styles of musical notation, and multi genres of improvisation.

Says Matana: “COIN COIN is a compositional sound language, that I have been developing since 2006. My initial interest in creating this work came from my childhood fascination with ghosts, spirits, spooks, and the faint traces of what they leave behind. I have a deep interest in old, antique objects of human existence, mostly because of the variety of story that can be created, factual or not, from the possibility of their being. This project is a combination of those interests as well as my delight in musical communication , ritual adornment, and the genealogical 20th century history of Africans in America. In some instances I am using information that I have gleaned from research into my own ancestral history, as inspiration and area of creative consideration. The musical root of much of this work also stems from my continued attraction/repulsion to certain aspects of the American Jazz tradition(s) which I am deeply involved with as an alto saxophonist.”

In 2008, the success of her leader debut, *The Chicago Project* (Central Control International), led critics to call Roberts “one to watch” (Kevin Legencre, *Jazzwise*) and “an eloquent, dramatic, tone warping free jazz artist right out of Ayler’s anti bop tradition.” (John Fordham, *London Guardian*) She has also recorded as a side woman on recordings with a large smattering of influential post rock ensembles such as Godspeed You Black Emperor, TV on the Radio, Savath and Savalas, and Thee Silver Mount Zion.


Buy here


Finn Peters – Butterflies Remixes EP

Finn Peters is one of the leading flute and sax players in the UK today. A musician born and bred, he has dedicated his life to perfecting his art. He comes from a family of musicians, which can be traced back to the 1600s and started playing the flute aged five. Fortunate to be surrounded by famous musicians as he grew up, he decided on a career in music and has been studying ever since. After spending his teens practicing non-stop, he studied musicology at Durham University, then completed a post-graduate course atThe Guildhall School of Music and Drama.

His widescreen approach to composition and improvisation comes from working with some of the last decade’s most progressive artists. Moving to London in 1994 exposed Finn to many disparate musical styles, from which he has created an individual and genre-spanning musical language. He has traveled the world as a much-in-demand session player and has continued to learn about music from around the globe. This explorative nature has lead him to work with such pioneers as Frederick Rzewski, Giovanni Hidalgo, DJ Spinna, Sam Rivers and Sa-Ra creative partners, to name a few. All the while he has been developing his own productions, writing and playing and forging a new musical alloy from this melting pot of traditions.

Besides working on upwards of 80 recordings for other artists, Finn has released a number of his own recordings. The two Dr Seus EPs, released on his own imprint, Mantella records, were played in clubs across Europe by high profile tastemakers such as Gilles Peterson and Mr Scruff. Two tracks for Club Brasil, Joyce covers ‘Femenina’ and ‘Aldeia de Ogum’, were championed by DJs in the know like Rainer Truby and charted all over the world as well as getting extensive amounts of airplay. Two co-productions with ‘The Deal’ for Trip do Brasil were also club-land favourites. Finally his most recent album before Su-ling, entitled “Bansuri” pushed his name further into the limelight.

Fellow musicians and critics alike have consistently praised Finn’s work. In 1999 his achievements were recognised when he won the London Young Jazz musician award. The collaboration with Bembe Segue, “The Birds” was nominated for track of the year 2005 in the BBC Radio 1 Worldwide award. He has been described by Straight no Chaser magazine as being “the blazing definition of a seriously heavy player” and by Jazzwise as being “head and shoulders above his peers.” Su-Ling, his debut release for Babel records, is receiving a great deal of airplay on BBC Radio 1,2,3 and 1xtra. The way in which, what is essentially a jazz album, sits comfortably along-side hip-hop, world and classical music illustrates the fact that people are starting to understand the open-minded philosophy of a musician working at the peak of his creative powers.

Butterflies Remixed

Finn Peters’ Butterflies Remixed EP is out today! The ethereal beauty of Finn’s Accidental debut, Butterflies, has been sonically dissected and interpreted by the cream of London’s remixers, and is downloadable from iTunes and all other great digital platforms now.

Remixes come from: Yee-King/Matthew Herbert/2 Banks of 4/Kwes and Skinzi.

Sun Ra – A Joyful Noise (1980)

This video represents a good range of Sun Ra’s many musical moods. Ra was among the first person of any musical genre to use electronic keyboards. Here, the venerable titan of the jazz avantgarde performs tunes including “Astro Black,” “Calling Planet Earth,” “Organ Solo,” “We Travel the Spaceways,” “Ankh,” and other seriocomic chants and jingles.
1980 – director: Robert Mugge


Some call me Mr. Ra… others call me Mr. Ry… you can call me MYSTERY

Drums between the bells

Brian Eno first came across the work of Rick Holland in the late ’90s during the Map-Making project – a series of collaborative works between students of the Royal College, the Guildhall School of Music, the Royal Academy of Music, the Royal College of Music, the National Youth Orchestra and the English National Ballet, among others.

In 2003, Brian Eno and Rick Holland made their first music together (although the resulting work does not appear on this album). In the intervening time since that initial session they have met infrequently to work on new compositions.

In early 2011, following the release of Small Craft On A Milk Sea, the pair resolved to finish the project.

The result is Brian Eno‘s latest album, Drums Between the Bells, which will be released on July 4, 2011.


    1. bless this space
    2. glitch
    3. dreambirds
    4. pour it out
    5. seedpods
    6. the real
    7. the airman
    8. fierce aisles of light
    9. as if your eyes were partly closed as if you honed the swirl within them and offered me … the world
    10. a title
    11. sounds alien
    12. dow
    13. multimedia
    14. cloud 4


  1. breath of crows
  • Original imagery by Brian Eno. Design by Nick Robertson.



Hardback 2CD Edition (pictured above)
includes 44-page book & second disc with instrumental versions of tracks from the album

12″ Double Vinyl
includes mp3 download code of the original album
first 500 orders on Enoshop also receive mp3s of the instrumental versions

Here is a taster, “The Glitch”

Max Mathews and the future of musical instruments

Matthews studied electrical engineering at the California Institute of Technology and the Massachusetts Institute of Technology, receiving a Sc.D. in 1954. Working at Bell Labs, Mathews wrote MUSIC, the first widely-used program for sound generation, in 1957. For the rest of the century, he continued as a leader in digital audio research, synthesis, and human-computer interaction as it pertains to music performance.

Although he was not the first to generate sound with a computer (an Australian CSIRAC computer played tunes as early as 1951), Mathews fathered generations of digital music tools.

He described his work in parental terms in this excerpt from “Horizons in Computer Music,” March 8–9, 1997, Indiana University:

“Computer performance of music was born in 1957 when an IBM 704 in NYC played a 17 second composition on the Music I program which I wrote. The timbres and notes were not inspiring, but the technical breakthrough is still reverberating. Music I led me to Music II through V. A host of others wrote Music 10, Music 360, Music 15, Csound and Cmix. Many exciting pieces are now performed digitally. The IBM 704 and its siblings were strictly studio machines – they were far too slow to synthesize music in real-time. Chowning’s FM algorithms and the advent of fast, inexpensive, digital chips made real-time possible, and equally important, made it affordable.”

In the following video made at the SF MusicTech Summit last year  Mathew speaks about innovation

Third Uncle

There are tins
There was pork
There are legs
There are sharks
There was John
There are cliffs
There was mother
There’s a poker
There was you
Then there was you.
There are scenes
There are blues
There are boots
There are shoes
There are Turks
There are fools
They’re in lockers
They’re in schools
There in you
Then there was you.
Burn my fingers
Burn my toes
Burn my uncle
Burn his books
Burn his shoes
Cook the leather
Put it on me
Does it fit me
Or you?
It looks tight on you.