Featuring Sean Conly and Michäel Attias, this duo ebbs and flows, dips and dives, crashing and soaring thru space and time while creating melody rhythm and harmony out of thin air. Agile minds direct sounds out into the universe and in a millisecond, music is born, the speed of sound created at the speed of light. Fearless and adventurous these two musicians strive to find a limitless creativity in their sonic palate, while spiraling around each other in a constant evolution of their artistic endeavors.

• Sean Conly - Double Bass
• Michael Attias - Alto & Baritone Saxophone

The rhythm section of MiND operates in orthodox and unorthodox ways. Often it plays the traditional role of creating a rhythmic and harmonic foundation, but elsewhere it constructs analogous ambient foundations primarily through the use of color and texture.  And sometimes it abandons the traditional functions and lexicons altogether.  The ensemble attempts to embrace timbral variation and expansiveness on an equal footing with harmonic shading, and to do so fluidly and organically.

In addition to relatively familiar approaches to the piano and drumset, both Maroney and Drury employ an array of unorthodox techniques. Denman Maroney plays “hyperpiano,” using copper bars, rubber blocks, brass bowls, wood dowels, and other objects on the strings. Often the objects change the string length and therefore pitch (3, 4, 6, 8); sometimes they create a strumming or bowing effect (5, 7). These effects range from subtle changes in the sound to otherworldly soundscapes. Andrew Drury’s effects blend so seamlessly with Maroney’s that at times it is hard to distinguish one from the other.  Most of Drury’s techniques relate to his manipulation of the harmonic characteristics of drum membranes.  In this regard he employs bamboo skewer friction (1, 5), pressure and positioning of bells (1, 2, 5, 8), and vibrations resulting from bowing a dustpan and other objects (4, 6, 8). Drury also uses his breath: to inflate drums, to vibrate bells with air pressure, and to create noise and tones with the air flow, in and out of the drum (1, 5).

It is perhaps the bass that forms the strongest link between the shifting colors of the rhythm section and the melodic intrigue of the saxophone. Given the single-line nature of the two instruments, this relationship does make sense as a contrast to the multiplicity of textures created by the many strings and surfaces of the piano and drums. A tandem is created between Niescier's excited reed and Ilgenfritz's bowed strings, as a kaleidoscope of harmonic detail shifts around the fundamental pitches.

The ensemble nonetheless is a full entity, moving together, ebbing and flowing. The music is in some ways not unlike a jaunt throughNew Yorktraffic... albeit one that is infinitely more focused on mutual support and commonality of intent. There is constant shift of relationships and directionality, as sounds dart out from behind other sounds, and everyone ultimately gets somewhere-- but the ride is always as important as the destination.

• Denman Maroney - Piano
• Angelika Nescier - Alto Saxophone
• James Ilgenfritz - Double Bass
• Andrew Drury - Drums

9 Volt is began as an unlikely collaboration between 2 accomplished band leaders: trombonist andNew York Citynative, Rick Parker and Israeli guitarist Eyal Maoz. Combined, these two musician have released 9 CDʼs as leaders on such well renowned record labels as Tzadik, Fresh Sound New Talent, Piadrum and Ayler Records. Their own bands have performed at major venues including the Montreal Jazz Festival, Williamsburg Jazz Festival, Red Sea Jazz Festival, Somers Point Jazz Festival, Aguas calientes Mexico Jazz Festival, the Stone, 55 Bar and Blues Alley to name just a few. In addition, the two are in demand sidemen having performed along side the likes of John Zorn, Tim Berne, John Medeski and Frank Lacy.

9 Volt derives itʼs unique sound from Parkerʼs use of electronics with the trombone combined with Maozʼs unique approach to guitar and effects. Their unique sounds are incorporated into the compositions making a music that is a synthesis of electronic experimental, rock, jazz and neoclassical minimalism. The band is held together by Israeli born drummer Yonadav Halevy who is highly regarded in both funk/hip hop as well as jazz circles.

Since 2009, 9 Volt has honed itʼs sound performing at NYC venues and concert series and recently recorded itʼs debut CD with avant garde alto saxophone stalwart Tim Bern appearing on several compositions.

• Rick Parker - Trombone + Effects
• Eyal Maoz - Guitar + Effects
• Yonadav Halevy - Drums
• Tim Berne - Alto Saxophone (1, 2, 5, 7)

There’s Nothing Better to Do, is the result of a night stand in Tel Aviv.

One night that captured two musicians, playing together live for the first time ever, exploring each other’s playground. Teasing. Interplaying. Pushing and pulling.
Albert Beger (Saxophone) and Gerry Hemingway (Drums and percussion), walked the shared path together, carefully stepping on stones with bare feet, absorbing the heat of the sand and the freezing water.
There were no notes written prior to this encounter, nor a conversation between the two, but the two didn’t need any of them. When the firing gun was shot, they embarked their unique special road.

Hemingway is well experienced in working in duos. He’s been playing with legendary pianist Marlyn Crispell for many years,  with Ellery Eskelin, Terrence McManus, Jin Hi Kim and others.
Beger, probably the most influential figure in the Israeli free jazz scene, played couple of months prior to this recording with Hamid Drake in Tel Aviv, and he often plays in changing ensembles.

(Out in April 1st, preorder now)
Derived straight from the classic Sax-Bass-drum trio, Kretzmer's latest projects augments this standard setting with the addition of an extra double-bass, thus creating a different balance, sound, deepness and flavor yet still maintaining some of the esthetics and clarity that made the sax trio so popular in the first place. One might say this quartet's sound is obvious yet unfamiliar simultaneously.

Kretzmer's compositions, written specifically with these great bassists (Sean Conly and Reuben Radding) and drummer (Mike Pride) in mind, take full advantage of the profound, even haunting, sound a band of this instrumentation can create and act as a vague frame for further development and expression.

• Yoni Kretzmer - Tenor Saxophone
• Sean Conly - Double Bass
• Reuben Redding - Double Bass
• Mike Pride - Drums

Bursting melodies, poppy ballads and abstract lines are all part of this quartets day to day vocabulary.
Yoni Kretzmer's Tel Aviv group has been on the local scene for a couple of years now, providing their own interpretations to the modern era free jazz style.
This working band of close friends has been developing and (e)maturing and have finally released their first Studio CD.

• Yoni Kretzmer - Tenor Sax
• Nitai Levi - Bass Clarinet
• Shai Ran - Double Bass
• Haim Peskoff - Drums

[RIYL] Tim Berne, Cecil Taylor, Mats Gustafson, Evan Parker, Mathew Shipp

Cracked Song tells the story of the task of searching for a song.
This may seem strange, after all, what does free jazz and ‘songs’ have to do in common?
Well, both the song and the free improvisation evolve from the same sacred rooms of the heart, where feelings meet inspiration, and goes through the musician’s vocabulary, that shapes the combo of feelings/inspiration into a language. So the sounds and textures of the musicians who improvise create their own song of the moment.
Ido Bukelman’s quartet musical influences range from the grand papa Ornette Coleman, to the energetic experimentation of Jimi Hendrix, and of course, modern classical and free music.
All these elements are channeled towards the creation of a new lyrical sound.

• Ido Bukelman – electric & acoustic Guitars
• Yuval Mesner – Cello
• Assaf Hakimi - double bass
• Udi Shlomo – percussion

[RIYL] Eric Friedlander, John Abercrombie, Marc Ribot, Ornette Coleman
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Ido Bukelman plays music to the march of broken beats using dis-harmonized melodies and weird structures. It’s a free style, sometimes shapeless form of music.
In the album, the dominant sound is almost entirely Ido’s acoustic guitar, usually tuned down in couple of tones, but it also features some layers of feedbacks, swirled sounds and strange squeaks, made by Bukelman’s abuse of his poor little Martin.
Bukelman’s Solo album is his debut solo recording.

[RIYL] Derek Bailey, Marc Ribot, Marc Ducret, James "Blood" Ulmer, Evan Parker, Bill Orcutt
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Watching Cartoons with Eddie, is the culmination of nearly two decades of collaborative work between drummer-composer Ehran Elisha and trumpeter-composer Roy Campbell, both native New Yorkers who have been prominent on the Jazz and New Music scene for many years.

Though comprised of only two instrumentalists, the album's compositions, improvisations, and textures suggest an orchestral scope, and a panorama of stylistic ideas and aesthetics.
Along with their own creative concepts, Elisha and Campbell have created pieces that pay tribute to their inspirations, influences, and mentors, in works such as "For BD" (Bill Dixon) and the title track, a piece dedicated to the music and memory of the legendary drummer Ed Blackwell.

This album, recorded in Brooklyn, NY, in 2008, is a major statement in the art of the Jazz duet form between two kindred musical souls.

[RIYL] Ed Blackwell, Don Chery, Bill Dixon, Milford Graves, Rashied Ali
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Sages is the title that composer-improviser-percussionist Ehran Elisha called the final track on the album East of Jaffa.
That piece, a duet between Ehran's father Haim on piano and clarinetist Harold Rubin, brings together two musical sages in a stunning few minutes of empathy and dialogue.

Both in trio and varied duo settings, the music on this album involves total improvisation.
The astonishing results play out as if each piece was painstakingly considered and composed, yet with an air of joyous spontaneity, a testament to the big ears and collaborative spirits of Rubin and the Elishas.
The trio walked into a room in Tel Aviv in April of 2011, created this music, and then it was over.

It now belongs to the listener.

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EFT (Electro Free Trio) was formed at the Tel Aviv`s “October Jazz” festival, when the three members met for the first time, and played a free-improvised performance, seeking to find the fusion points between them.
The unique instrumentation combination (electronics, drums and guitar) and immediate mutual crash between the musicians, created a wonderful experience from the get go, and in no time, it was obvious that they have something going.

EFT’s music relays mainly on the unique improvisational language created by the interaction between the members of the trio. This language embodies elements of Noise, Improvised Music, Free Jazz and Rock, thus creating an immense sound and wild textures and layers.
This is the trio’s first studio recording.

• Ido Bukelman - Electric Guitar, Acoustic Guitar
• Ofer Bymel - Drums
• Daniel Davidovsky - Electronics

[RIYL] Food, John Zorn, Spring Heel Jack, Jimi Hendrix, Ikue Mori
[BUY] Digitally through Bandcamp or press the 'Add To Cart' button for a CD. Thanks for purchasing!