For the time being we are unable to get to the post but if you order now your item will be posted as soon as things return to normal. Thank you for your support. The third release in a series of collaborations between Honest Jon's Records and Incus: a reissue of Derek Bailey & Han Bennink, originally released in 1972. The tussling vegetables in Mal Dean's cover-sketch somehow befit perfectly this extraordinary duo of Bailey and the great Dutch drummer Han Bennink. Recorded in London in 1972, Incus 9 was their second record (after an Instant Composers Pool in 1969), becoming a blueprint and inspiration for generations of free-improvisers. It is paired here with a brilliant session from the following year, with the same power and friendly combativeness, and oodles of creativity, technique, and humor. It's obvious how much they loved playing together. Newly transferred from tape at Abbey Road, and remastered by Rashad Becker. Available exclusively for download here.    --- Derek Bailey / guitar, voice Han Bennink / percussion, saw, reeds, brass, strings, voice --- Engineered by Bob Woolford (tracks: A.1.-B.3.). Mastered by Rashad Becker. Cover by Mal Dean ---

For the time being we are unable to get to the post but if you order now your item will be posted as soon as things return to normal. Thank you for your support. Kicking off a series of collaborations between Honest Jon's Records and Incus: Solo Guitar Volume 1, a reissue of Derek Bailey's Solo Guitar release on Incus in 1971, with additional tracks included on previous reissues and a performance at York University in 1972. Recorded in 1971, this was Bailey's first solo album. Its cover is an iconic montage of photos taken in the guitar shop where he worked. He and the photographer piled up the instruments whilst the proprietor was at lunch, with Bailey promptly sacked on his return. The LP was issued in two versions over the years -- Incus 2 and 2R -- with different groupings of free improvisations paired with Bailey's performances of notated pieces by his friends Misha Mengelberg, Gavin Bryars, and Willem Breuker. All this music is here, plus a superb solo performance at York University in 1972, a welcome shock at the end of an evening of notated music. It's a striking demonstration of the way Bailey rewrote the language of the guitar with endless inventiveness, intelligence, and wit. As throughout the series, the recordings are newly transferred from tape at Abbey Road, remastered by Rashad Becker, and available for download exclusively here. --- Derek Bailey / guitar, synthesizer — Tracks 1-13 recorded by Bob Woolford and Hugh Davies. Photographs by Roberto Masotti. Mastered by Rashad Becker.

  The second release in a series of collaborations between Honest Jon's Records and Incus: three double-LPs of the legendary free-improvising guitarist Derek Bailey, solo (HJR 200LP) and in duos with Anthony Braxton and Han Bennink(HJR 202LP), augmenting the original releases with marvelous, previously unissued music. Recorded in 1974, at the Royal Hotel in Luton, with Braxton playing soprano and alto saxophones, and Bb and contrabass clarinets. Two volumes were planned; only one was issued, till now. This was an early transatlantic meeting between the leading free improvisers. Many of Braxton's signature techniques and ideas were gestated in such sessions. It still brims with inquisitive musical creativity and knockabout jazzbo allusiveness. Newly transferred from tape at Abbey Road, and remastered by Rashad Becker. Available exclusively for download here.  --- Derek Bailey / electric guitar Anthony Braxton / saxophones, clarinets --- Recorded during a concert played at the Royal Hotel, Luton, England on July 2, 1974. Sides 1 and 2 were issued as Royal Volume 1 in 1984; 3 and 4 are released here for the first time by Honest Jons. Thanks to Karen Brookman-Bailey and Tim Fletcher. 

"Quite simply, Company produced some of the most stimulating improvised music you will ever hear." - John Eyles 1982 line-up of Company. Keith Tippett, Fred Frith and George Lewis are joined by concert pianist Ursula Oppens and composer & harpist Anne LeBaron. After playing more frrequently in Japan in the late seventies, Bailey had also invited Motoharu Yoshizawa on bass and Akio Suzuki on assorted instruments like glass harmonica.  --- Derek Bailey / guitarJulie Tippetts / guitar, voice, fluteMoto Yoshizawa / bassFred Frith / electric guitar, electronics, percussionAkio Suzuki / glass harmonica, spring gong, kikkokiririkiAnne LeBaron / harpKeith Tippett / pianoUrsula Opens / pianoGeorge Lewis / trombonePhil Wachsmann / violin, electronics --- Recorded by Jean-Marc Foussat. Produced by Derek Bailey & Evan Parker. Design by Karen Brookman. Financial assistance by The Arts Council.  

For the time being we are unable to get to the post but if you order now your item will be posted as soon as things return to normal. Thank you for your support. Originally released by Incus in 1974. Recorded at a private house in Catford, south-east London, the side-long title track is a masterwork: a twenty-two-minute, starkly personal, freely expressive, itchily searching re-casting of orders of rhythm and sound into a new, quicksilver kind of affective and musical polyphony. Never mind the guitarist’s championing of ‘non-idiomatic improvisation’, the poet Peter Riley gets the ball rolling in his identification of the various hauntings of Bailey’s playing at this time: ‘mandolins & balalaikas strumming in the distance, George Formby’s banjo, Leadbelly’s steel 12-string, koto, lute, classical guitar… and others quite outside the field of the plucked string.’  The five pieces on side two were recorded back home in Hackney around the same time — with the exception of Improvisation 104(b), from the year before (and issued by Incus in its TAPS series of mini reel-to-reel tapes) — opening with ventriloquised guitar feedback, and taking in some cod banter about colleagues like Mervyn Parker, Siegfried Brotzmann and Harry Bentink. Crucial. "In 1974, when Derek Bailey was planning his second solo LP on Incus, he decided to include a side-long solo using his stereo electro-acoustic set-up. Unfortunately, he never seemed to have a 20-minute stretch of time free of interruptions in his home, so he asked if he could record it at my place. After a fairly lengthy drive across London on the arranged date, he discovered that he had brought all his gear except the actual guitar. So he had a cup of tea and a chat, then drove home again. He came again about a week later, on May 13th, this time with everything. I set the level too high for the first two takes, not quite allowing for his enormous dynamic range (which really was not suitable for analogue recording and reproduction equipment). The result was too much distortion for his liking. The level was corrected for the third take which was the one used as the title track on the LP, even though he preferred the music on the earlier takes. All but one of the short pieces on the second side of the LP were recorded by Bob Woolford around the same time, probably at Derek's home. (The exception, 'Improvisation 104(b),' was recorded the previous year and originally released on one of the Incus TAPs -- mini reel-to-reel tapes that were an attempt to bypass the technical problems of going from tape to vinyl. They were reissued by Organ of Corti.) 'Pain In The Chest' and 'In Joke (Take 2)' feature the unamplified 19-string (approx) guitar, which was probably the only instrument that Derek modified -- he otherwise used standard guitars. There was a shortage of good vinyl at the time, making it difficult to get decent pressings. (The original pressing of the solo Steve Lacy Emanem LP sounded as though it had been recorded in a hail-storm.) We were recommended to go to a pressing plant that specialized in 'classical' music. (At the same time that Derek was trying to get Lot 74 pressed, I was also working on his duo album with Anthony Braxton.) The first test pressing of Lot 74 was very muffled, and we discovered that the cutting engineer had played the tape up-side-down, so that the music had been filtered through the tape backing (used on professional tapes to reduce print-through). The cutting was subsequently redone correctly, resulting in an acceptable test pressing. However, the plant manager was completely incredulous and perplexed, as he was used to checking pressings using his library of scores of Beethoven sonatas and the like. How could he tell if the vocal and feedback howls at the start of side two ('Together') were correct? Over thirty years later, advances in technology have eliminated most of the technical problems we had then, so that this magnificent music can be heard sounding better than ever. Every so often, I get someone asking me to issue things on vinyl -- my response is usually not very polite." Martin Davidson --- Please note the LP available is the 2018 Honest Jons reissue

Honest Jon's reissue of this classic Incus record.  "Multi-reedist Tony Coe was born in 1934, four years after guitarist Derek Bailey. He cut his teeth as a career jazzman with Humphrey Lyttleton, before an extended stint with the Kenny Clarke/Francy Boland Big Band. On this rare 1979 duo outing, he sticks to clarinet. And though that instrument has an illustrious jazz pedigree, Coe’s playing here is something else. It’s worth noting that the clarinettist has also played under the baton of arch-modernist Pierre Boulez, the kind of composer Derek Bailey enjoyed taking to task in his book Improvisation. You might think the Frenchman’s uncompromising serialism and the free playing Bailey defended with such passion all his life would have little in common, yet both men were hugely influenced by Anton Webern. It’s an influence you can hear right through Bailey’s career in his obsessive exploration of tight parcels of registrally-fixed pitches, notably those trademark ringing harmonics. Meanwhile, Coe’s meandering semitones and sinuous arabesques here recall both Boulez’s clarinet writing in Domaines, and the harmonic world of Boulez’s own teacher Olivier Messiaen. Still, no traditional classical musical notation could ever render the extraordinary rhythmic subtlety and timbral complexity of this music. It’s at one and the same time dazzlingly virtuosic — Coe and Bailey are on stellar form throughout, and have enough sense to, yes, accompany each other where needs be — and supremely lyrical and spacious.  An absolute delight." - Honest Jon's

  "Since leaving Rio, Cyro has been accepted as one of the world's leading Brazillian percussionists, recording with Paquita de Rivera, Ruben Blades, Astrud Gilberto and lots of people like that. We met in New York while I was living there in the winter of 1982 and first played together at the Ear Inn on Spring St. In the following months we played all kinds of places, occasions which figured prominently among the many musical pleasures I enjoyed during that period. One such occasion, thanks to Bill Laswell, was this recording." - Derek Bailey.  --- Derek Bailey / guitar Cyro Baptista / percussion --- Tracklisting: 1. Toca Joga - 5:32 2. Quanto Tempo - 3:53 3. Polvo - 4:53 4. Rio Branco - 5:21 5. Joca Toca - 3:26 6. Que Horas - 5:02 7. Tondo - 7:04 8. Batida - 4:36 --- Recorded by Martin Bisi in October  1982, New York City. Produced by Adam Skeaping and John Haddon. Design by Karen Brookman. Photos by Eleonora Alberto and Karen Brookman.  

Alex Ward's debut release, out on Derek Bailey's Incus! Having first played together at Derek's Company Week in the late 80s, the pair clicked on a punk tip, recorded this, and went on to found trio N.E.W. with with John Edwards, who have also enjoyed fantastic releases on Bo'Weavil & Dancing Wayang.  ---  Tracklisting: 1. 8th & HOW - 6:51 2. 6th & WHY - 6:15 3. 4th & WHO - 5:35 4. DOUBLE TROUBLE - 6:09 5. SHAKIN TONGUES - 10:50 6. SAW & CLARINET - 4:17 7. 1/4 TO 3 - 2:44 8. YA BOO, REEL & RUMBLE - 7:43 9. FIN - 5:23 --- Alex Ward / clarinet, alto saxophone Steve Noble / percussion --- Produced by Derek Bailey & Steve Noble. Post Production by John Haddon. Design by Steve Noble & Karen Brookman. Photos by Anne Clvin & Gerald Wright. Tracks 1 to 3 recorded at HOW studio, 11 March 1989; tracks 4 to 9 recorded at PING PONG studio 1 July 1990.

First two days of Company Week 1991 where musicians came together for five days improvisation - most of them meeting for the first time. --- Alexander Balanescu / violin Vanessa Maskness / voice Yves Robert / trombone Derek Bailey / guitar Paul Lovens / percussion Paul Rogers / bass Pat Thomas / electronics & keyboard Buckethead / guitar John Zorn / alto saxophone --- Recorded by Paul Wilson & Matt Saunders. Produced by Derek Bailey. Post production by John Haddon. Artwork & design by Karen Brookman. Photos by Martin L McGain. Made with the assistance of the British Library Sound Archive. 

Oxley's experimental electronics album. Anyone who has heard Pat Thomas do Black Top will hear Pat in this - high end keys, spoken word samples, worked with Matt Wand on drum machine and percussion, rather than Orphy Robinson.  In fact, Derek and Tony sit out and let them record "Duo MP" - a sparse, alien affair with fantastic tape loops. The following "TD Duo" is Bailey and Bevan all skittering and brittle, just as you'd imagine. Overall it's the quartet that really works, and you can tell how much fun they're having. A natural foreground to Derek's exeriments on Limescale, and again, Pat Thomas's work on Re-rectangle's And (with Steve Noble and Derek Bailey) and later his duo Black Top.  --- Matt Wand / drum machine, electronics, tapesDerek Bailey / electric guitarPat Thomas / electronics, keyboardTony Oxley / percussion --- Recorded on 8th April 1992 at WDR, Cologne, by Werner Srasser & Peter Eichenseher. Edited by Ulrich Kurth. Design by Karen Brookman. Painting ‘The Singer’ by Tony Oxley. Photography by Max Lautenschlager. Post Production by John Haddon. 

Arguably the historic birthing of British Free Music. Derek Bailey, Evan Parker, Hugh Davies, and percussionist Jamie Muir formed the Music Improvisation Company in 1968 after Parker and Bailey met had met in Spontaneous Music Ensemble earlier. Essential.  --- Hugh Davies / electronics, organDerek Bailey / guitarJamie Muir / PercussionEvan Parker / soprano saxophone, amplified autoharp --- Tracks 1-4 were recorded, in mono, 4/7/69 in London; 5 & 6 were recorded, in stereo, 18/6/70 in London. Previously issued on Incus LP 17 in 1976. Recorded by Bob Wolford. Post Production by John Haddon. Layout by Karen Brookman. Painting by Jamie Muir.  ---

On the phone: What you doing Han? I'm practising. Of course.  Me too.  Listen Han, why don't you record something, post it and I'll play with it and I'll record something and you play with that and we'll see what we've got.  Yes! Great!  And this is what we got. --- Derek Bailey / acoustic & electric guitar Han Bennink / percussion --- Tracklisting: 1. 4'08 2. 1'00 3. 1'19 4. 1'21 5. 2'57 6. 3'14 7. 2.45 8. 1'31 9. 5'57 10. 5'51 11. 4'29 12. 6'49 13. 4'29 --- Recording & artwork uncredited. Han's notes from the CD insert below.  ---

"Reissue of Derek Bailey and Tristan Honsinger Duo, originally released by Incus in 1976. Born in Burlington, Vermont, and conservatory-trained in the US, the cellist Tristan Honsinger moved from Montreal to Amsterdam in 1974, quickly linking with Han Bennink and Misha Mengelberg and opening a long and fruitful musical relationship with Derek Bailey. Recorded in 1976, Duo displays a performative musical approach already characterized by the lack of inhibition which would later endear him to The Pop Group: he is knockabout, exclamatory, explosively rhythmic; burping Bach and folk melodies with spasmodic lyricism, in amongst the garrulous textures and accents of his scraping, bowing, and plucking, and gibbering like a monkey; throwing out his arms and stamping the floor, grappling with his instrument like an expert clown, always tripping himself up. You can hear Bailey reveling in the company, as he ranges between scrabbling solidarity and an askance skewering of his partner's antics, on prepared (nineteen-string) and standard electric guitars -- and a Waisvisz Crackle-box, for the garbled, quizzical, cross-species natter which closes "The Shadow". Throughout, the spirited interplay between laconic, analytic wit, and guttural, sometimes slapstick physicality is consistently droll, often laugh-out-loud funny; vigorously alert, alive, and gripping.” --- Tristan Honsigner / cello, voice Derek Bailey / electric guitar, crackle box --- Recorded at Verity's Place 7th February 1976, except for A1 and B2 which were recorded at Tangent Studio 6th February 1976.

"Duo between Zorn and one of most representative guitarist of improvisational music - Fred Frith. Both are in excellent form and the album is great evidence how fruitful and interesting improvisational jazz can sound when played by two masters. Only Frith's guitar and Zorn's alto sax sounds (plus some minimalistic tapes loops) build aural picture of thousand nuances. Not as extremely freaky as Zorn's early experimental works, this music contains one of the best interplays in both musicians history. And - this release is great example how good improvisational sax player John Zorn is ( during last decade or even more he doesn't demonstrate his virtuosity too often).Far not an easy listening, but one of great "classical" Zorn's avant-garde jazz works, must have album for every serious Zorn's music fan or researcher." - Jazz Music Archives --- John Zorn / alto sax Fred Frith / guitar --- Recorded by Fred Frith + John Zorn for Incus Records. Cover designed by Arai Yasunori.

"Oxley and Bailey first played together in 1963. Although they come from the same city and share the same kind of background their meeting was, in a way, coincidental. Bailey - 10 years older than Oxley - after some years working away from their hometown, returned for what was initially intended to be a brief family visit. The musical situation he found there persuaded him to stay. Oxley and Bailey then worked together, continuously and intensively, for the next three years and developed, with Gavin Bryars who was then a bass player, their own particular approach to free improvisation. Since 1966, their working relationship, although intermittent, has continued in a multitude of different playing situations. Initially, during the late 60's and early 70's, much of it was in the context of Tony Oxley's small groups - quartet, quintet and sextet. From the late 70's on, it would sometimes be within Derek Bailey's improvisor's ensemble, Company. Throughout, and increasingly in the 1990's, they have played in duo. These recordings, a London studio recording made in 1977, and a concert recorded in New York 1995, are testament to the remarkable richness and sustained variety of their musical relationship." - Simon Kelly --- Derek Bailey / electric & acoustic guitars Tony Oxley / acoustic & electric percussion, violin --- Tracks 1-4: Recorded in Soho, London in February 1977 by Kevin Spencer. Tracks 5-10: Recorded at the Knitting Factory, NYC in September 1995 by James Mclean. PPhotographs of Derek Bailey &  Tony Oxley in concert (France, May, 1997) by Franz-Heinrich Busch. Post Production & design by Karen Brookman.

The Bailey/Gaines duo collides head-on with the IST string trio; the groups fracture & reform in a myriad fascinating ways. "Features a little-league superstar line-up joined by the veteran American hoofer Will Gaines. Some fascinating interplay between guitar, bass, cello, harp and Gaines’s amazing, Duracell-powered feet." Stewart Lee, Sunday Times --- Will Gaines / danse claquettes Mark Wastell / cello Rhodri Davies / harp Derek Bailey / guitar Simon H. Fell/ double bass  --- Recorded on January 13 & 14th, 1999 at the Théâtre des Bernadines, Marseille. Artwork & design by Karen Brookman. Photos by Mark Wastell.

Incredible ensemble for Company Week in '97. Twenty-six minute opening track sees the whole collective scrambling into full-blown ecstatic chaos,follwed by two mega duos from Anthony Braxton and Steve Lacy. --- Maarten Altena / bass Tristan Honsinger / cello Anthony Braxton / clarinet, flute, alto saxophone, soprano saxophoneDerek Bailey / guitar Wadada Leo Smith / trumpet, fluteEvan Parker / soprano saxophone, tenor saxophoneSteve Lacy / soprano saxophone --- Recorded By Nick Glennie-Smith at The ICA London by Riverside on Thursday 26 May during the 1977 Company Week. Artwork by Iain Patterson. Typography by Nicolette Amettte.

Recorded back in November 1996 at Moat Studios in London during the same sessions which brought about some of the Tokuma releases (Drawing Close, Attuning - The Respective Signs Of Order And Chaos), apparently. Features Bailey on electric guitar and Haino on vocals only. The two share a passion for the atonal, and a sense of humour - they called this record "Songs" after all.  --- Derek Bailey / electric guitar Keiji Haino / vocals --- Recorded November 1996. Recording and post-production at Moat Studios, London. Artwork by Haino. Design & layout by Karen Brookman.