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The Art Ensemble Of Chicago We Are On The Edge 2LP (Vinyl)

& lt;header & gt; & lt;p & gt; & lt;strong & gt;50th Anniversary Celebratory Album On Double LP! & lt;/strong & gt; & lt;/p & gt; & lt;/header & gt; & lt;p & gt;Iconic, innovative and internationally renowned force in avant-garde music The Art Ensemble of Chicago released their 50th anniversary celebratory album We Are On The Edge in 2019, and Erased Tapes are honored to announce the vinyl edition of this exceptional body of work. & lt;/p & gt; & lt;p & gt;Led by surviving founding members & lt;strong & gt;Roscoe Mitchell & lt;/strong & gt; and drummer & lt;strong & gt;Famoudou Don Moye & lt;/strong & gt;, these brand new recordings involve a staggering array of contemporary artists ranging from across the jazz, experimental and improvised music spheres; from the visionary poet and musician & lt;strong & gt;Moor Mother & lt;/strong & gt;, trumpeters & lt;strong & gt;Fred Berry and Hugh Ragin & lt;/strong & gt;, who have performed with Mitchell for over five and four decades, to bassist & lt;strong & gt;Jaribu Shahid & lt;/strong & gt;, supreme cellist & lt;strong & gt;Tomeka Reid & lt;/strong & gt;, celebrated flute virtuoso & lt;strong & gt;Nicole Mitchell & lt;/strong & gt; and the extraordinary voice of & lt;strong & gt;Rodolfo Cordova-Lebron. & lt;/strong & gt; & lt;/p & gt; & lt;p & gt;The double LP features a meticulous studio session of the newly assembled group of musicians, combining re-recordings of works spanning the last 50 years, some never before recorded, as well as new compositions. The sheer breadth of the ensemble's collective expression is staggering, ranging from Mitchell's art songs and through-composed pieces, Moye's percussion workouts, and, of course, collective improvisation. Particularly powerful is the contribution of Moor Mother (Camae Ayewa), who, to prepare for the recording, was given nothing more than some old Art Ensemble recordings to listen to and the directive from Mitchell to & quot;just be you & quot;. Mitchell and Moye are now 78 and 72, respectively, but one would never guess by their outlook. There is, of course some wistfulness when looking back, particularly with the passing of Joseph Jarman earlier in 2019, but the overwhelming feeling is anticipation of what is coming next or, as Moye always says, & quot;focus and forward motion & quot;. It's a clarion statement that Mitchell and Moye are intent on ushering The Art Ensemble of Chicago forcefully into its sixth decade. As Moor Mother declares: & lt;strong & gt; & quot;We are on the edge! & quot; & lt;/strong & gt; & lt;/p & gt; & lt;section id= & quot;features & quot; & gt; & lt;h3 & gt;Features & lt;/h3 & gt; & lt;ul & gt; & lt;li & gt;Double LP & lt;/li & gt; & lt;li & gt;Lacquer cut by Barry Grint at Alchemy, London & lt;/li & gt; & lt;li & gt;Gatefold jacket & lt;/li & gt; & lt;li & gt;Made in the EU & lt;/li & gt; & lt;/ul & gt; & lt;/section & gt; & lt;section id= & quot;musicians & quot; & gt; & lt;h3 & gt;Musicians & lt;/h3 & gt; & lt;table & gt; & lt;tr & gt; & lt;th & gt;Roscoe Mitchell & lt;/th & gt; & lt;td & gt;sopranino, soprano and alto saxophones & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Famoudou Don Moye & lt;/th & gt; & lt;td & gt;drums, congas, djembe, dundun, gongs, Congo bells, bendir, triangles, Thai bells, shakers & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Moor Mother (Camae Ayewa) & lt;/th & gt; & lt;td & gt; voice, poetry & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Rodolfo Cordova-Lebron & lt;/th & gt; & lt;td & gt;voice & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Hugh Ragin & lt;/th & gt; & lt;td & gt;trumpets, flugelhorn, Thai bells & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Fred Berry & lt;/th & gt; & lt;td & gt;trumpet, flugelhorn & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Nicole Mitchell & lt;/th & gt; & lt;td & gt;piccolo, flute, bass flute & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Christina Wheeler & lt;/th & gt; & lt;td & gt;voice, Array mbira, autoharp, Q-Chord, Moog Theremini, sampler, electronics & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Jean Cook & lt;/th & gt; & lt;td & gt;violin & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Edward Yoon Kwon & lt;/th & gt; & lt;td & gt;viola & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Tomeka Reid & lt;/th & gt; & lt;td & gt;cello & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Silvia Bolognesi & lt;/th & gt; & lt;td & gt;bass & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Jaribu Shahid & lt;/th & gt; & lt;td & gt;bass, tuned brass bowls & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Junius Paul & lt;/th & gt; & lt;td & gt;bass & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Dudu Kouate & lt;/th & gt; & lt;td & gt; djembe, tama / talking drum, calabashes, kanjira, whistles, chimes, bells and small percussions & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Enoch Williamson & lt;/th & gt; & lt;td & gt;bongos, congas, djembe, kenkeni, okonkolo, Congo bells, chekere, shakers, tama / talking drum & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Titos Sompa & lt;/th & gt; & lt;td & gt;vocals, congas, mbira, Congo bells, cuica, shakers & lt;/td & gt; & lt;/tr & gt; & lt;tr & gt; & lt;th & gt;Stephen Rush & lt;/th & gt; & lt;td & gt;conductor & lt;/td & gt; & lt;/tr & gt; & lt;/table & gt; & lt;/section & gt; & lt;section id= & quot;selections & quot; & gt; & lt;h3 & gt;Selections & lt;/h3 & gt; & lt;h4 & gt;Side A: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;Bell Song & lt;/li & gt; & lt;li & gt;We Are On The Edge & lt;/li & gt; & lt;li & gt;I Greet You With Open Arms & lt;/li & gt; & lt;/ol & gt; & lt;h4 & gt;Side B: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;Chi-Congo 50 & lt;/li & gt; & lt;li & gt;Jamaican Farewell Part I & lt;/li & gt; & lt;li & gt;Villa Tiamo & lt;/li & gt; & lt;li & gt;Saturday Morning & lt;/li & gt; & lt;/ol & gt; & lt;h4 & gt;Side C: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;Jamaican Farewell Part II & lt;/li & gt; & lt;li & gt;Mama Koko & lt;/li & gt; & lt;li & gt;Fanfare And Bell & lt;/li & gt; & lt;/ol & gt; & lt;h4 & gt;Side D: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;Variations And Sketches From The Bamboo Terrace & lt;/li & gt; & lt;li & gt;Oasis At Dusk & lt;/li & gt; & lt;/ol & gt; & lt;/section & gt;

Nils Frahm Solo LP (Vinyl)

& lt;header & gt; & lt;p & gt; & lt;strong & gt;Piano Improvisation Single-Take With No Overdubs On Vinyl LP! & lt;/strong & gt; & lt;/p & gt; & lt;/header & gt; & lt;p & gt; & lt;strong & gt;TAS Super LP List! Special Merit: Informal & lt;/strong & gt; & lt;/p & gt; & lt;p & gt;For his 2015 album Solo, German musician Nils Frahm recorded eight improvised piano motifs in one sitting on the 12-foot-tall upright piano built in the late 1980s, the M370. The M370 is situated in Tübingen, Germany, is 1.8 tons in weight, is 3.7 meters high, and its longest strings are about 10 feet in length. The M370 was designed by piano builder David Klavins who also created Nils's upright stage piano, the Una Corda. & lt;/p & gt; & lt;blockquote cite= & quot;www.pitchfork.com & quot; & gt; During its best moments Solo brings to mind some of the lower-stakes work of Harold Budd, where melody and mood become two sides of the same coin. & lt;footer & gt; -Pitchfork & lt;/footer & gt; & lt;/blockquote & gt; & lt;blockquote cite= & quot;www.suindependent.com & quot; & gt; With 'Solo,' Nils Frahm pushes pause on the modern psyche and brings the artistry of 'classical' music to the forefront without resorting to gimmicks. This immaculate collection is the perfect recording to play for an intimate gathering with family or friends or alone on a solemn, rainy night. & lt;footer & gt; -Jason Gottfried, www.suindependent.com & lt;/footer & gt; & lt;/blockquote & gt; & lt;section id= & quot;features & quot; & gt; & lt;h3 & gt;Features & lt;/h3 & gt; & lt;ul & gt; & lt;li & gt;Vinyl LP & lt;/li & gt; & lt;li & gt;Made in the EU & lt;/li & gt; & lt;/ul & gt; & lt;/section & gt; & lt;section id= & quot;musicians & quot; & gt; & lt;h3 & gt;Musicians & lt;/h3 & gt; & lt;table & gt; & lt;tr & gt; & lt;th & gt;Nils Frahm & lt;/th & gt; & lt;td & gt;piano & lt;/td & gt; & lt;/tr & gt; & lt;!--More musician rows go here-- & gt; & lt;/table & gt; & lt;/section & gt; & lt;section id= & quot;selections & quot; & gt; & lt;h3 & gt;Selections & lt;/h3 & gt; & lt;h4 & gt;Side A: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;Ode & lt;/li & gt; & lt;li & gt;Some & lt;/li & gt; & lt;li & gt;Circling & lt;/li & gt; & lt;li & gt;Merry & lt;/li & gt; & lt;li & gt;Chant & lt;/li & gt; & lt;/ol & gt; & lt;h4 & gt;Side B: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;Wall & lt;/li & gt; & lt;li & gt;Immerse! & lt;/li & gt; & lt;li & gt;Four Hands & lt;/li & gt; & lt;/ol & gt; & lt;/section & gt;

Nils Frahm Graz LP (Vinyl)

& lt;header & gt; & lt;p & gt; & lt;strong & gt;Nils Frahm's 2009 Erased Tapes Debut Released On Vinyl LP! & lt;/strong & gt; & lt;/p & gt; & lt;/header & gt; & lt;p & gt; & lt;strong & gt;Piano Day 2021 & lt;/strong & gt; sees & lt;strong & gt;Nils Frahm & lt;/strong & gt; surprise the world with his Erased Tapes debut. Wait, what? How? Anyone who has seen the trailblazing sonic pioneer live will know Nils likes to deadpan a joke. Graz is in fact the first studio album he recorded for the label back in 2009, that somehow remained a secret... until now. & lt;/p & gt; & lt;p & gt;Nils Frahm has quietly changed the musical landscape, reincarnating the centuries old figure of a pianist-composer for a new generation of music fans. As Nils' word-of-mouth popularity grew and grew, so did the pop-culture profile of his instrument. He founded Piano Day with a team of like-minded friends in 2015 to help that process, some years releasing an album of piano recordings to celebrate one of humankind's greatest inventions. Graz is one such record; an unheard snapshot of a young Nils recorded at Mumuth, the University of Music and Performing Arts Graz, in 2009 as part of the thesis & lt;i & gt;Conversations for Piano and Room & lt;/i & gt; produced by Thomas Geiger, which received an award in the Classical Surround Recording category at the 127th AES Convention in New York. & lt;/p & gt; & lt;p & gt;Whilst at the time it was decided to keep the grand piano recordings from the Graz sessions locked away and instead focus on his close-mic'ed, dampened piano explorations which would become his acclaimed studio album & lt;strong & gt;Felt & lt;/strong & gt; in 2011, two of the pieces - most notably & lt;i & gt;Hammers & lt;/i & gt; - lived on as part of his live set, and were expanded on and re-recorded as part of his breakthrough 2013 record & lt;strong & gt;Spaces & lt;/strong & gt; (a collage of field recordings from concerts which broke the Fourth Wall and included audience coughs). Over his mercurial career, Nils has pushed and pulled at the boundaries and parameters of his prolific work like that. He's physically changed his piano (the softened prepared strings of Felt), played with a modified body ( & lt;strong & gt;Screws & lt;/strong & gt; recorded with 9 fingers and a broken thumb), played with scale ( & lt;strong & gt;Solo & lt;/strong & gt; recorded on the 3.7 metre high Klavins M370) and with the different layers of formats (last year's & lt;strong & gt;Tripping With Nils Frahm & lt;/strong & gt; nested his studio setup inside a live performance, concert film and live album). Now with Graz he has found the final frontier for play: time itself and his own discography. & lt;/p & gt; & lt;p & gt;Graz is a moment of time at the very beginning of Nils' quiet revolution. The essential genius is already evident; the harmonic language of classical, and the immediacy of jazz. Nils seems to pull down each idea moment by moment, gently, to not scare away the muse. & lt;/p & gt; & lt;p & gt; & lt;strong & gt; & quot;A grand piano is a particular kind of beast to play, which will only sound refined and beautiful if you command a strong control over the keyboard. Each slight change in touch results in a different timbre, which will be rewarded when used wisely and will be your trapdoor when you fail to hold the horses. I remember how I had to squeeze the music out of the grand piano in the Graz sessions, and while I enjoy listening to it now, I kept these recordings secret for a good while - they sound like a much younger version of myself to me, and a lot of the musical expressions from that time would be impossible for me to replicate today. Close friends whom I had shared the record with reminded me of it once in a while, and some of the pieces got released in other versions on the album Spaces in the meantime. But somehow, any piece of music you create wants to get out there in order to find you, which is why I'm glad to share this beast with you and do hope you enjoy listening to it too! Love, Nils & quot; & lt;/strong & gt; & lt;/p & gt; & lt;section id= & quot;features & quot; & gt; & lt;h3 & gt;Features & lt;/h3 & gt; & lt;ul & gt; & lt;li & gt;Vinyl LP & lt;/li & gt; & lt;li & gt;Vinyl cut by Andreas Kauffelt at Schnittstelle & lt;/li & gt; & lt;li & gt;Tip-on sleeve debossed to frame attached black & amp; white print & lt;/li & gt; & lt;li & gt;Insert & lt;/li & gt; & lt;li & gt;Made in the EU & lt;/li & gt; & lt;/ul & gt; & lt;/section & gt; & lt;section id= & quot;selections & quot; & gt; & lt;h3 & gt;Selections & lt;/h3 & gt; & lt;h4 & gt;Side A: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;Lighter & lt;/li & gt; & lt;li & gt;O I End & lt;/li & gt; & lt;li & gt;Because This Must Be & lt;/li & gt; & lt;li & gt;Kurzum & lt;/li & gt; & lt;/ol & gt; & lt;h4 & gt;Side B: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;And Om & lt;/li & gt; & lt;li & gt;Hammers & lt;/li & gt; & lt;li & gt;Crossings & lt;/li & gt; & lt;li & gt;About Coming And Leaving & lt;/li & gt; & lt;li & gt;Went Missing & lt;/li & gt; & lt;/ol & gt; & lt;/section & gt;

The Art Ensemble Of Chicago We Are On The Edge 4LP Box Set (Vinyl)

& lt;header & gt; & lt;p & gt; & lt;strong & gt;Expanded Limited Edition 50th Anniversary Celebratory Album On 4LP! & lt;/strong & gt; & lt;/p & gt; & lt;/header & gt; & lt;p & gt;Iconic, innovative and internationally renowned force in avant-garde music The Art Ensemble of Chicago released their 50th anniversary celebratory album We Are On The Edge in 2019, and Erased Tapes are honored to announce the vinyl edition of this exceptional body of work. & lt;/p & gt; & lt;p & gt;Led by surviving founding members & lt;strong & gt;Roscoe Mitchell & lt;/strong & gt; and drummer & lt;strong & gt;Famoudou Don Moye & lt;/strong & gt;, these brand new recordings involve a staggering array of contemporary artists ranging from across the jazz, experimental and improvised music spheres; from the visionary poet and musician & lt;strong & gt;Moor Mother & lt;/strong & gt;, trumpeters & lt;strong & gt;Fred Berry and Hugh Ragin & lt;/strong & gt;, who have performed with Mitchell for over five and four decades, to bassist & lt;strong & gt;Jaribu Shahid & lt;/strong & gt;, supreme cellist & lt;strong & gt;Tomeka Reid & lt;/strong & gt;, celebrated flute virtuoso & lt;strong & gt;Nicole Mitchell & lt;/strong & gt; and the extraordinary voice of & lt;strong & gt;Rodolfo Cordova-Lebron. & lt;/strong & gt; & lt;/p & gt; & lt;p & gt;The release features a meticulous studio session of the newly assembled group of musicians, combining re-recordings of works spanning the last 50 years, some never before recorded, as well as new compositions. The 4-LP special edition also includes their live set recorded at Edgefest, the annual experimental jazz and creative new music festival in Ann Arbor, Michigan. & lt;/p & gt; & lt;p & gt;The sheer breadth of the ensemble's collective expression is staggering, ranging from Mitchell's art songs and through-composed pieces, Moye's percussion workouts, and, of course, collective improvisation. Particularly powerful is the contribution of Moor Mother (Camae Ayewa), who, to prepare for the recording, was given nothing more than some old Art Ensemble recordings to listen to and the directive from Mitchell to & quot;just be you & quot;. Mitchell and Moye are now 78 and 72, respectively, but one would never guess by their outlook. There is, of course some wistfulness when looking back, particularly with the passing of Joseph Jarman earlier in 2019, but the overwhelming feeling is anticipation of what is coming next or, as Moye always says, & quot;focus and forward motion & quot;. It's a clarion statement that Mitchell and Moye are intent on ushering The Art Ensemble of Chicago forcefully into its sixth decade. As Moor Mother declares: & lt;strong & gt; & quot;We are on the edge! & quot; & lt;/strong & gt; & lt;/p & gt; & lt;section id= & quot;features & quot; & gt; & lt;h3 & gt;Features & lt;/h3 & gt; & lt;ul & gt; & lt;li & gt;Expanded Limited Edition & lt;/li & gt; & lt;li & gt;4LP Box Set & lt;/li & gt; & lt;li & gt;Includes live recordings not found on the standard 2LP & lt;/li & gt; & lt;li & gt;Lift-off lid with embossed text & lt;/li & gt; & lt;/ul & gt; & lt;/section & gt; & lt;section id= & quot;selections & quot; & gt; & lt;h3 & gt;Selections & lt;/h3 & gt; & lt;ol & gt; & lt;li & gt;Bell Song & lt;/li & gt; & lt;li & gt;We Are On The Edge & lt;/li & gt; & lt;li & gt;I Greet You With Open Arms & lt;/li & gt; & lt;li & gt;Chi-Congo 50 & lt;/li & gt; & lt;li & gt;Jamaican Farewell Part I & lt;/li & gt; & lt;li & gt;Villa Tiamo & lt;/li & gt; & lt;li & gt;Saturday Morning & lt;/li & gt; & lt;li & gt;Jamaican Farewell Part II & lt;/li & gt; & lt;li & gt;Mama Koko & lt;/li & gt; & lt;li & gt;Fanfare And Bell & lt;/li & gt; & lt;li & gt;Variations And Sketches From The Bamboo Terrace & lt;/li & gt; & lt;li & gt;Oasis At Dusk & lt;/li & gt; & lt;li & gt;We Are On The Edge/Cards (Live) & lt;/li & gt; & lt;li & gt;Oasis At Dusk (Live) & lt;/li & gt; & lt;li & gt;Chi-Congo 50 (Live) & lt;/li & gt; & lt;li & gt;Tutankhamun (Live) & lt;/li & gt; & lt;li & gt;Mama Koko (Live) & lt;/li & gt; & lt;li & gt;Saturday Morning (Live) & lt;/li & gt; & lt;li & gt;Odwalla/The Theme (Live) & lt;/li & gt; & lt;/section & gt;