{"title":"Reissues","description":null,"products":[{"product_id":"jeff-parker-suite-for-max-brown","title":"Jeff Parker - Suite for Max Brown","description":"\u003cp\u003e\u003cstrong\u003eAbout:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e“I’m always looking for ways to be surprised,” says composer and multi-instrumentalist Jeff Parker as he explains the process, and the thinking, behind his new album, Suite for Max Brown, released via a new partnership between the Chicago–based label International Anthem and Nonesuch Records. “If I sit down at the piano or with my guitar, with staff paper and a pencil, I’m eventually going to fall into writing patterns, into things I already know. So, when I make music, that’s what I’m trying to get away from—the things that I know.”\u003cbr\u003e\u003cbr\u003eParker himself is known to many fans as the longtime guitarist for the Chicago–based quintet Tortoise, one of the most critically revered, sonically adventurous groups to emerge from the American indie scene of the early nineties. The band’s often hypnotic, largely instrumental sound eludes easy definition, drawing freely from rock, jazz, electronic, and avant-garde music, and it has garnered a large following over the course of nearly thirty years. Aside from recording and touring with Tortoise, Parker has worked as a side man with many jazz greats, including Nonesuch labelmate Joshua Redman on his 2005 Momentum album; as a studio collaborator with other composer-musicians, including Makaya McCraven, Brian Blade, Meshell N’Degeocello, his longtime friend (and Chicago\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003eUnderground ensemble co-founder) Rob Mazurek; and as a solo artist. Suite for Max Brown is informally a companion piece to The New Breed, Parker’s 2016 album on International Anthem, which London’s Observer honored as the best jazz album of the year, declaring that “no other musician in the modern era has moved so seamlessly between rock and jazz like Jeff Parker. As guitarist for Chicago post-rock icons Tortoise, he’s taken the group in new and challenging directions that have kept them at the forefront of pop creativity for the last twenty years. As of late, however, Parker has established himself as one of the most formidable solo talents in modern jazz.”\u003cbr\u003e\u003cbr\u003eThough Parker collaborates with a coterie of musicians under the group name The New Breed, theirs is by no means a conventional “band” relationship. Parker is very much a solo artist on Suite for Max Brown. He constructs a digital bed of beats and samples; lays down tracks of his own on guitar, keyboards, bass, percussion, and occasionally voice; then invites his musician friends to play and improvise over his melodies. But unlike a traditional jazz session, Parker doesn’t assemble a full combo in the studio for a day or two of live takes. His accompanists are often working alone with Parker, reacting to what Parker has provided them, and then Parker uses those individual parts to layer and assemble into his final tracks. The process may be relatively solitary and cerebral, but the results feel like in-the-moment jams—warm-hearted, human, alive. Suite for Max Brown brims with personality, boasting the rhythmic flow of hip hop and the soulful swing of jazz.\u003cbr\u003e\u003cbr\u003e“In my own music I’ve always sought to deal with the intersection of improvisation and the digital era of making music, trying to merge these disparate elements into something cohesive,” Parker explains. “I became obsessed maybe ten or fifteen years ago with making music from samples. At first it was more an exercise in learning how to sample and edit audio. I was a big hip-hop fan all my life, but I never delved into the technical aspects of making that music. To keep myself busy, I started to sample music from my own library of recordings, to chop them up, make loops and beats. I would do it in my spare time. I could do it when I was on tour—in the van or on an airplane, at a soundcheck, whenever I had spare time I was working on this stuff. After a while, as you can imagine, I had hours and hours of samples I had made and I hadn’t really done anything with them\u003cbr\u003e\u003cbr\u003e“So I made The New Breed based off these old sample-based compositions and mixed them with improvising,” he continues. “There was a lot of editing, a lot of post-production work that went into that. That’s in a nutshell how I make a lot of my music; it’s a combination of sampling, editing, retriggering audio, and recording it, moving it around and trying to make it into something cohesive—and make it music that someone would enjoy listening to. With Max Brown, it’s evolved. I played a lot of the music myself. It’s me playing as many of the instruments as I could. I engineered most it myself at home or during a residency I did at the Headlands Center for the Arts [in Sausalito, California] about a year ago.”\u003cbr\u003e\u003cbr\u003eHis New Breed band-mates and fellow travelers on Max Brown include pianist-saxophonist Josh Johnson; bassist Paul Bryan, who co-produced and mixed the album with Parker; piccolo trumpet player Rob Mazurek, his frequent duo partner; trumpeter Nate Walcott, a veteran of Conor Oberst’s Bright Eyes; drummers Jamire Williams, Makaya McCraven, and Jay Bellerose, Parker’s Berklee School of Music classmate; cellist Katinka Klejin of the Chicago Symphony Orchestra; and even his seventeen-year-old daughter Ruby Parker, a student at the Chicago High School of the Arts, who contributes vocals to opening track, “Build A Nest.”\u003cbr\u003e\u003cbr\u003eRuby’s presence at the start is fitting, since Suite for Max Brown is a kind of family affair: “That’s my mother’s maiden name. Maxine Brown. Everybody calls her Max. I decided to call it Suite for Max Brown. The New Breed became a kind of tribute to my father because he passed away while I was making the album. The New Breed was a clothing store he owned when I was a kid, a store in Bridgeport, Connecticut, where I was born. I thought it would be nice this time to dedicate something to my mom while she’s still here to see it. I wish that my father could have been around to hear the tribute that I made for him. The picture on the cover of Max Brown is of my mom when she was nineteen.”\u003cbr\u003e\u003cbr\u003eThere is a multi-generational vibe to the music too, as Parker balances his contemporary digital explorations with excursions into older jazz. Along with original compositions, Parker includes “Gnarciss,” an interpretation of Joe Henderson’s “Black Narcissus” and John Coltrane’s “After the Rain” (from his 1963 Impressions album). Parker recalls, “I was drawn to jazz music as a kid. That was the first music that really resonated with me once I got heavily into music. When I was nine or ten years old, I immediately gravitated to jazz because there were so many unexpected things. Jazz led me into improvising, which led me into experimenting in a general way, into an experimental process of making music.”\u003cbr\u003e\u003cbr\u003eColtrane is a touchstone in Parker’s musical evolution. In fact, Parker recalls, he inadvertently found himself on a new musical path one night about fifteen years ago when he was deejaying at a Chicago bar and playing ‘Trane: “I used to deejay a lot when I lived in Chicago. This was before Serrato and people deejaying with computers. I had two records on two turntables and a mixer. I was spinning records one night and for about ten minutes I was able to perfectly synch up a Nobukazu Takemura record with the first movement of John Coltrane’s A Love Supreme and it had this free jazz, abstract jazz thing going on with a sequenced beat underneath. It sounded so good. That’s what I’m trying to do with Max Brown. It’s got a sequenced beat and there are musicians improvising on top or beneath the sequenced drum pattern. That’s what I was going for. Man vs machine.\u003cbr\u003e\u003cbr\u003e“It’s a lot of experimenting, a lot of trial and error,” he admits. “I like to pursue situations that take me outside myself, where the things I come up with are things I didn’t really know I could do. I always look at this process as patchwork quilting. You take this stuff and stitch it together until a tapestry forms.”\u003cbr\u003e\u003cbr\u003e—Michael Hill\u003c\/span\u003e\u003cspan\u003e \u003ca\u003e\u003c\/a\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003ch3 class=\"credits-label\"\u003e\u003cbr\u003e\u003c\/h3\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003ereleased January 24, 2020\u003cbr\u003e\u003cbr\u003eBuild a Nest (feat. Ruby Parker)\u003cbr\u003eJeff Parker - drums, vocals, piano, electric guitar, Korg MS20\u003cbr\u003eRuby Parker - vocals\u003cbr\u003e\u003cbr\u003eC’mon Now\u003cbr\u003eJeff Parker - sampling, editing\u003cbr\u003e\u003cbr\u003eFusion Swirl\u003cbr\u003eJeff Parker - electric guitar, bass guitar, samplers, percussion, vocals\u003cbr\u003e\u003cbr\u003eAfter the Rain\u003cbr\u003ePaul Bryan - bass guitar\u003cbr\u003eJosh Johnson - electric piano\u003cbr\u003eJeff Parker - electric guitar and percussion\u003cbr\u003eJamire Williams - drums\u003cbr\u003e\u003cbr\u003eMetamorphoses\u003cbr\u003eJeff Parker - glockenspiel, sequencer, sampler, Korg MS20\u003cbr\u003e\u003cbr\u003eGnarciss\u003cbr\u003ePaul Bryan - bass guitar\u003cbr\u003eJosh Johnson - alto saxophone\u003cbr\u003eKatinka Kleijn - cello\u003cbr\u003eRob Mazurek - piccolo trumpet\u003cbr\u003eMakaya McCraven - drums and sampler\u003cbr\u003eJeff Parker - electric guitar, JP-08, sampler, midi strings\u003cbr\u003e\u003cbr\u003eLydian, Etc\u003cbr\u003ePaul Bryan - bass guitar\u003cbr\u003eJeff Parker - electric guitar, pandeiro, midi programming, etc.\u003cbr\u003e\u003cbr\u003eDel Rio\u003cbr\u003ePaul Bryan - bass guitar\u003cbr\u003eJeff Parker - electric guitar, mbira, sampler, Korg MS20, drums, electric piano\u003cbr\u003e\u003cbr\u003e3 for L\u003cbr\u003eJay Bellerose - drums and percussion\u003cbr\u003eJeff Parker - electric guitar, Korg MS20\u003cbr\u003e\u003cbr\u003eGo Away\u003cbr\u003ePaul Bryan - bass guitar and vocals\u003cbr\u003eMakaya McCraven - drums\u003cbr\u003eJeff Parker - electric guitar, vocals and sampler\u003cbr\u003e\u003cbr\u003eMax Brown\u003cbr\u003ePaul Bryan - bass guitar\u003cbr\u003eJosh Johnson - alto saxophone\u003cbr\u003eJeff Parker - guitar, Korg MS20, JP-08\u003cbr\u003eNate Walcott - trumpet\u003cbr\u003eJamire Williams - drums\u003cbr\u003e\u003cbr\u003eAll songs composed by Jeff Parker (umjabuglafeesh music, BMI);\u003cbr\u003eexcept “After The Rain” by John Coltrane, and “Gnarciss” which contains elements of “Black Narcissus” by Joe Henderson.\u003cbr\u003e\u003cbr\u003e“C’mon Now” features samples from the Otis Redding recording “The Happy Song (Dum-Dum).\" Produced under license from Atlantic Recording Corp. By Arrangement with Rhino Entertainment Company, a Warner Music Group Company.\u003cbr\u003e\u003cbr\u003eAll arrangements by Jeff Parker.\u003cbr\u003e\u003cbr\u003eEngineered and edited by Jeff Parker at Headlands Center For The Arts, Sausalito, California and at home in Altadena, California.\u003cbr\u003e\u003cbr\u003eEngineered, edited and mixed by Paul Bryan in Pacific Palisades, California.\u003cbr\u003e\u003cbr\u003eMastered by Dave Cooley at Elysian Masters, Los Angeles, California.\u003cbr\u003e\u003cbr\u003eProduced by Paul Bryan and Jeff Parker.\u003cbr\u003e\u003cbr\u003eDesign \u0026amp; Layout by Craig Hansen.\u003c\/div\u003e\n\u003ch3 class=\"license-label\"\u003e\u003cbr\u003e\u003c\/h3\u003e\n\u003cdiv id=\"license\" class=\"info license\"\u003e\n\u003cspan class=\"cc-icons commercial\"\u003e\u003c\/span\u003eall rights reserved\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"International Anthem","offers":[{"title":"IARC0029 LP - Limited Edition Color Vinyl (2026 repress)","offer_id":52611532161298,"sku":"IARC0029LPX","price":28.0,"currency_code":"USD","in_stock":true},{"title":"IARC0029 LP - Classic Black Vinyl","offer_id":46870280241426,"sku":"IARC0029LPUS","price":24.0,"currency_code":"USD","in_stock":false},{"title":"IARC0029 LP - \"Fusion Swirl\" Colored Vinyl","offer_id":52121004212498,"sku":"IA-SFMB-IFSC","price":28.0,"currency_code":"USD","in_stock":false},{"title":"IARC0029 CD - Compact Disc","offer_id":52121004245266,"sku":"IA-IARC0029CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"IARC0029 Digital Download","offer_id":52121004278034,"sku":"IARC0029","price":9.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/6989\/0578\/files\/a0572868824_16.jpg?v=1773342541"},{"product_id":"ariel-kalma-jeremiah-chiu-marta-sofia-honer-the-closest-thing-to-silence","title":"Ariel Kalma, Jeremiah Chiu \u0026 Marta Sofia Honer - The Closest Thing to Silence","description":"\u003cdiv class=\"tralbumData tralbum-about\"\u003e\u003cstrong\u003eAbout:\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003eIn August 2022, Australia-based, French born fourth-world music legend Ariel Kalma was invited to participate in BBC Radio 3’s Late Junction series of special collaborations. The program pairs artists who have not previously worked together to create new music cooperatively.\u003cbr\u003e\u003cbr\u003eKalma was quick to suggest working with two musicians whom he had never met – International Anthem recording artists Jeremiah Chiu \u0026amp; Marta Sofia Honer, whose critically-acclaimed duo debut 'Recordings from the Åland Islands' had been released just a few months earlier. An invitation was sent to Chiu and Honer, which was received with great enthusiasm, as Chiu had long been a fan of Kalma’s work, even citing him as a major influence on his approach to electronic music composition.\u003cbr\u003e\u003cbr\u003eThe essential structure of the Late Junction collaboration was that the artists would work together to create around twenty minutes of music. They began passing music back and forth, some that Kalma had started, and some that Honer \u0026amp; Chiu had started, with each adding to or editing the track before returning it to the other. The music would only go back and forth a few times before being finalized.\u003cbr\u003e\u003cbr\u003eAfter meeting their twenty minute goal for the program\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003e(four pieces total), the three musicians were satisfied in what they would present and sent along their work to the producers of Late Junction. However, there was a nagging suspicion that this wasn’t the end of the story. There were several pieces that they had nearly completed but that weren’t sent for inclusion in the radio program, and there were many ideas for refining those pieces that had. With this in mind Kalma, Chiu and Honer agreed that they would continue to work together to try to push the music further. The freshly minted trio felt like there was much more to be said and more work to be done. The Late Junction program was broadcast in September of 2022. Simultaneously, Kalma, Chiu and Honer began expanding upon the music they had started for the purpose of the broadcast, working diligently on the music for several months.\u003cbr\u003e\u003cbr\u003eTheir collective approach to this work was born in improvisation and realized via collage-based editing. The end result brings several distinct musical moments — recorded sometimes decades apart — into conversation with one another, forming new narratives from building blocks of old ones. There are snippets of improvised playing from each musician, edited together with recordings that Kalma had made in the 70s at GRM, and even moments of audio notes — like Kalma explaining his ideas — that would make it into the final mixes.\u003cbr\u003e\u003cbr\u003eUltimately, the collection of music highlights the work of all three musicians, intertwining the contextual immersion heard on Chiu \u0026amp; Honer’s 'Recordings from the Åland Islands' with an intergenerational reverence for (and the undeniable presence of) Kalma’s decades-spanning body of work. It is work that has definitively enshrined him as one of the true, transcendent pioneers and sages of new age and fourth-world music. That reverence is affirmed by the album title chosen by the group — \"The Closest Thing to Silence\" — which is taken from a quote by Kalma included in a documentary by RVNG Intl (as part of their release of the 2014 compendium\/retrospective An Evolutionary Music). Perhaps coincidental, Kalma’s quote was a slight modulation of a legendary ECM Records motto, as he said: “Music is the closest thing to silence.”\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\n\u003cspan\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\u003cstrong\u003eReleased February 2, 2024\u003c\/strong\u003e\u003c\/div\u003e","brand":"International Anthem","offers":[{"title":"IARC0077  LP - Limited Edition “Mullumbimby Blue” Color Vinyl","offer_id":52611336470802,"sku":"IARC0077LPX","price":28.0,"currency_code":"USD","in_stock":true},{"title":"IARC0077 LP - Classic Black vinyl","offer_id":50256495902994,"sku":"IARC0077LP","price":24.0,"currency_code":"USD","in_stock":false},{"title":"IARC0077 LP - Limited Edition \"Silent Gray\" Color Vinyl","offer_id":52120909840658,"sku":"IARC0077LPI","price":29.0,"currency_code":"USD","in_stock":false},{"title":"IARC0077 CD - Compact Disc","offer_id":52120909873426,"sku":"IARC0077CD","price":15.0,"currency_code":"USD","in_stock":true},{"title":"IARC0077 Digital Download","offer_id":52120999067922,"sku":"IARC0077","price":9.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/6989\/0578\/files\/a3064571280_10.jpg?v=1773342339"},{"product_id":"jeremiah-chiu-in-electric-time","title":"Jeremiah Chiu - In Electric Time","description":"\u003cdiv class=\"tralbumData tralbum-about\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\u003cstrong\u003eAbout:\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003eOn June 29th, 2023, Jeremiah Chiu walked into the Vintage Synthesizer Museum (VSM) in Highland Park, Los Angeles, with no plan more specific than “let’s fire this stuff up and see what happens.” Exploring the VSM’s vast collection of classic, rare and staple synthesizers, he would sequence, trigger, and layer the machines together with help from VSM founder\/curator Lance Hill.\u003cbr\u003e\u003cbr\u003eHill recalls: \"Jeremiah arrived before the engineer showed up. We talked for maybe 5 minutes before he started programming a sound and sequence into the Gleeman Pentaphonic. By the time the engineer showed up, Jeremiah had built several other parts around the Gleeman that weren't synced by any control method but sounded like they were just calling and responding to each other. They plugged the Tascam 388 into the patch bay, and hit record. Jeremiah played with it, and that was it. First piece written and recorded in under an hour. It felt natural, fun and free. And that's pretty much how the rest of the session went. Constant ecstatic motion. It was the funnest non-HipHop session I've ever worked on.\"\u003cbr\u003e\u003cbr\u003eThe resulting album – In Electric Time - was recorded in just two days, and edited to completion in the two days following. It was captured fully analog by engineer Ben Lumsdaine, who\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003econtributes performances on a few tracks himself. Cooper Crain (of Bitchin Bajas) makes an appearance as well; but ultimately the collection is an intuitive expression of organic electronic music conceptualized and created in-context by Chiu alone, as he calls on a lifetime of work in sound synthesis to paint a fulgent, refreshingly undercut sequence of cinematic sketches and in-process themes. In some ways, In Electric Time reflects the directness of Raymond Scott’s electronic studio recordings — with sharp cuts and room chatter — and, in others, it conjures the in-the-moment magic of Harmonia.\u003cbr\u003e\u003cbr\u003eAbout the work, Chiu says: “The approach to the improvisations was to embrace the mixer setups at VSM — where a section of synthesizers are all routed to a single mixer\/patchbay — and to start at one end of the studio and work our way around the six different sections. I began with the synths I was most familiar with — or had spent years researching — and was fairly certain I could reign in quickly. When working with vintage gear, there's always a sweet spot where the instrument sings in a unique way. This may be the idiosyncrasies of its filter and how it resonates, the action of the keys, the ability to trigger and use control voltage to sequence, or the unique onboard features. I love finding the moments where a melody or rhythm appears in an unexpected way — at times feeling more like archaeology than sculpture. I was quite improvisatory with the editing as well, often pulling bits from distinctly different sections in dialogue with each other, in order to maintain the raw, spontaneous feeling. I loved hearing moments in the recordings when Ben started or stopped tape, so a take that was running long and beyond its moment would hit directly against a fresh idea.”\u003c\/span\u003e\u003cspan\u003e \u003ca\u003e\u003c\/a\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003ch3 class=\"credits-label\"\u003e\u003cbr\u003e\u003c\/h3\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003ereleased September 29, 2023\u003cbr\u003e\u003cbr\u003eImprovised \u0026amp; recorded direct to Tascam 388, without use of MIDI, at the Vintage Synthesizer Museum, Los Angeles, June 29th \u0026amp; 30th, 2023. Edited July 1st \u0026amp; 2nd, 2023.\u003cbr\u003e\u003cbr\u003eInstruments used: Elka Synthex, EML Electrocomp 101, EMS Vocoder 2000, Gleeman Pentaphonic, Oberheim 4-Voice, Korg [Mono\/Poly, MS10, MS20, MS50, PS3100, Trident MKII], Maestro Rhythm King, Roland [CR-8000, Juno– 60, Jupiter–6, Jupiter–8, JX–3P, RE–301 Space Echo, RS–505, SH–101, TR–606 (trigs only), TR–808 (trigs only)], Serge Modular I \u0026amp; II,\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"http:\/\/synthesizers.com\/\" rel=\"nofollow ugc\"\u003eSynthesizers.com\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003eModular, and Yamaha [CS01, CS30, CS70M, CS80].\u003cbr\u003e\u003cbr\u003eAll compositions by Jeremiah Chiu;\u003cbr\u003eexcept “Rococco Rondo” by Jeff Cain and Charles Cohen.\u003cbr\u003e\u003cbr\u003ePerformed \u0026amp; Edited by Jeremiah Chiu;\u003cbr\u003ewith additional performances by Ben Lumsdaine (Tracks 2, 4, 10, 11, 12) and Cooper Crain (Track 1).\u003cbr\u003e\u003cbr\u003ePatch assistance \u0026amp; additional engineering by Lance Hill.\u003cbr\u003eRecorded by Ben Lumsdaine.\u003cbr\u003eMixed by Jeremiah Chiu \u0026amp; Dave Vettraino.\u003cbr\u003eMastered by David Allen.\u003cbr\u003ePhotography by Scott McNiece.\u003cbr\u003eDesign \u0026amp; Layout by Jeremiah Chiu.\u003cbr\u003eProduced by Scott McNiece.\u003cbr\u003e\u003cbr\u003eThank you Scottie, Lance, Marta, Chicago synth family.\u003c\/div\u003e\n\u003ch3 class=\"license-label\"\u003e\u003cbr\u003e\u003c\/h3\u003e\n\u003cdiv id=\"license\" class=\"info license\"\u003e\n\u003cspan class=\"cc-icons commercial\"\u003e\u003c\/span\u003eall rights reserved\u003c\/div\u003e\n\u003c\/div\u003e","brand":"International Anthem","offers":[{"title":"IARC0074 LP - Classic Black vinyl (2026 Repress)","offer_id":52611445293330,"sku":"IARC0074LPX","price":26.0,"currency_code":"USD","in_stock":true},{"title":"IARC0074  LP - Classic Black vinyl","offer_id":50256927555858,"sku":"IARC0074LP","price":24.0,"currency_code":"USD","in_stock":false},{"title":"IARC0074  LP - Limited Edition *Modular Mint* color vinyl","offer_id":52121004540178,"sku":"IARC0074LPI","price":29.0,"currency_code":"USD","in_stock":false},{"title":"IARC0074 Cassette","offer_id":52121004572946,"sku":"IARC0074CS","price":14.0,"currency_code":"USD","in_stock":false},{"title":"IARC0074 Digital Download","offer_id":52121004605714,"sku":"IARC0074","price":9.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/6989\/0578\/files\/a2752947119_10.jpg?v=1773342160"},{"product_id":"daniel-villarreal-lados-b","title":"Daniel Villarreal - Lados B","description":"\u003cdiv class=\"tralbumData tralbum-about\"\u003e\u003cstrong\u003eDescription:\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003eOn October 15th and 16th, 2020, drummer Daniel Villarreal was joined by guitarist Jeff Parker and bassist Anna Butterss for two afternoons of recording in the backyard of Chicali Outpost in Los Angeles. For all three musicians, it was the first ensemble recording session they’d done in-person since the pandemic locked the world down just seven months prior. Some choice moments from these sessions made it onto Villarreal’s critically-acclaimed 2022 album Panamá 77, but most of the music remained unreleased.\u003cbr\u003e\u003cbr\u003eLados B is a deep dive into the high-level spontaneous music made by Villarreal, Parker, and Butterss across those two days in 2020. Villarreal is heard leading the group through various rhythmic modes and structures for improvisation – flow as informed by the Latin funk of Fania Records as it is by the otherworldly humanity trance of Brain Records – while Parker and Butterss draw on their extensive experience playing free together (as heard on Parker's recently-released Mondays at the Enfield Tennis Academy, and the LA side of Makaya McCraven's 2018 LP Universal Beings) to build harmonic buoys for their spontaneous melodicism. The result is a beautifully vivid illustration of context, creativity, and collective composition from a particularly rich moment in history.\u003c\/div\u003e\n\u003ch3 class=\"credits-label\"\u003e\u003cbr\u003e\u003c\/h3\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003ereleased October 6, 2023\u003cbr\u003e\u003cbr\u003eDaniel Villarreal – drums, percussion\u003cbr\u003eJeff Parker – guitar\u003cbr\u003eAnna Butterss – double bass, electric bass\u003cbr\u003e\u003cbr\u003eRhodes piano on “Salute” by Neal Francis.\u003cbr\u003e\u003cbr\u003eRecorded by Ben Lumsdaine, October 15-16, 2020,\u003cbr\u003eat Chicali Outpost, Los Angeles CA.\u003cbr\u003eAdditional Recording by Dave Vettraino.\u003cbr\u003eMixed by Dave Vettraino and Daniel Villarreal.\u003cbr\u003eMastered by David Allen.\u003cbr\u003e\u003cbr\u003eProduced by Daniel Villarreal, Dave Vettraino, and Scott McNiece.\u003cbr\u003ePhotos by Carolina Sánchez.\u003cbr\u003eTitles by Natalie Miller.\u003cbr\u003eDesign by Craig Hansen.\u003c\/div\u003e\n\u003ch3 class=\"license-label\"\u003e\u003cbr\u003e\u003c\/h3\u003e\n\u003cdiv id=\"license\" class=\"info license\"\u003e\n\u003cspan class=\"cc-icons commercial\"\u003e\u003c\/span\u003eall rights reserved\u003c\/div\u003e","brand":"International Anthem","offers":[{"title":"IARC0071 LP - Limited Edition \"Expired Film Orange\" color vinyl","offer_id":52611381330194,"sku":"IARC0071LPX","price":28.0,"currency_code":"USD","in_stock":true},{"title":"IARC0071 LP - Classic Black vinyl","offer_id":50256957309202,"sku":"IARC0071LP","price":24.0,"currency_code":"USD","in_stock":false},{"title":"IARC0071 LP - Limited Edition ''Cigar Smoke'' color vinyl","offer_id":52121000673554,"sku":"IARC0071LPI","price":29.0,"currency_code":"USD","in_stock":false},{"title":"IARC0071 CD - Compact Disc","offer_id":52121000706322,"sku":"IARC0071CD","price":15.0,"currency_code":"USD","in_stock":true},{"title":"IARC0071 Digital Download","offer_id":52121000739090,"sku":"IARC0071","price":9.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/6989\/0578\/files\/a4049990247_10.jpg?v=1773342134"},{"product_id":"anna-butterss-mighty-vertebrate","title":"Anna Butterss - Mighty Vertebrate","description":"\u003cdiv class=\"tralbumData tralbum-about\"\u003e\u003cstrong\u003eAbout:\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e'Mighty Vertebrate' is the International Anthem leader debut from Adelaide, Australia-born bassist and composer Anna Butterss.\u003cbr\u003e\u003cbr\u003eButterss has steadily become a first-call for tour and studio work since moving to Los Angeles (after a stint in Bloomington, Indiana) in 2014. They’ve racked up credits with notables across the indie, jazz, and pop worlds alike – including Makaya McCraven, Phoebe Bridgers, Jason Isbell, Andrew Bird, and Daniel Villarreal – but their most notable contributions to the burgeoning West Coast creative music scene have been as a core member of both Jeff Parker’s ETA IVtet and rising proto-trance supergroup SML, who Pitchfork says “represents the thrilling next phase of a vibrant L.A. community.”\u003cbr\u003e\u003cbr\u003eTheir first solo album, 'Activities', was similarly hailed by Pitchfork as \"one of the most exciting, undersung jazz releases of 2022,\" but the improvise-edit-reconstruct method used on that record couldn’t be further from the foundation of 'Mighty Vertebrate', which began amid the very real challenge of threading solo work into the dense calendrical web of an in-demand collaborator.\u003cbr\u003e\u003cbr\u003e“I had just gotten off of a bunch of touring at the end of 2022 and just wanted to write music,” says Butterss. “The best way for me to do that, I’ve found, is to set myself a discrete and focused\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003etask.\"\u003cbr\u003e\u003cbr\u003e- I’m going to make a song where the bass doesn’t function in the role of a bass.\u003cbr\u003e- I’m going to work on this for an hour and then I’m going to stop.\u003cbr\u003e- I’m going to make a song that uses groups of three-bar phrasing.\u003cbr\u003e- I want to sample something and make it into a song.\u003cbr\u003e- I’m going to start with a drum machine.\u003cbr\u003e\u003cbr\u003e“Every song was like that,” they continue. “Then once I got started I just followed where my mind wanted to go. It was very structured.”\u003cbr\u003e\u003cbr\u003eThe music itself reflects that structure beautifully, with the material being tightly composed and melodically realized by Butterss well in advance of production concerns. They eventually migrated the operation to Chris Schlarb’s Long Beach hideaway BIG EGO to track a selection of full band material. With Schlarb at the controls they reconvene a group of trusted longtime collaborators to bring their compositions to fruition: Josh Johnson (sax), Gregory Uhlmann (guitar), and Ben Lumsdaine (drums, guitar, production).\u003cbr\u003e\u003cbr\u003e“I am definitely hearing this group when I’m writing the music or thinking of how it’s going to be played live,” Butterss notes. “I’m hearing these specific people. They’re going to understand what this is supposed to feel like. We’re not going to have to talk about it much. It’s just going to feel very natural, which it was.”\u003cbr\u003e\u003cbr\u003eThe results speak to the natural quality of those interactions, and their breadth and scope might have been difficult to achieve otherwise. From the Robbie-Shakespeare-in-groove-mode intro to the album opener “Bishop” to the spacious cinematic doom of “Seeing You”, there is a lot to wrangle into one cohesive concept. It’s the bedrock of the lineup which keeps the circle unbroken. Butterss’ deep rooted musical relationship with the album’s co-producer, multi-instrumentalist and IARC labelmate Ben Lumsdaine, is also an undeniable factor in the cohesion. The duo have played together since meeting as teens in music school, and worked closely with one another on every aspect of the ten tracks that make up 'Mighty Vertebrate'. That comfort level extends the confident and natural feeling of the sessions to post production, granting the internal arc of each piece the same tidy-yet-adventurous quality found in the compositions themselves.\u003cbr\u003e\u003cbr\u003eFor instance, “Dance Steve” opens with overlapping samples expanding, contracting, and quickly focusing into a rhythm blended with a lo-fi bedroom beat just before the sonic scope is widened with a tuff-and-crunchy guitar riff over a straight boom bap 808 rhythm. Synth repetitions chirp dizzily while chorused guitars soften the scene and the subtly dense percussive layers build and unbuild. The song’s halfway mark finds the listener cooling down as the melodies retreat and the rhythm settles into ambient-trance mode. It’s only a chance to catch a breath, it turns out, as the last third of the track is the big reveal. Enter Jeff Parker (the album’s lone featured guest) on electric guitar along with Lumsdaine in a deep-pocket tambourine-accompanied groove. All synths, samples, and guitars have brightened and been rendered percussive – a web of tiny pulsing rhythms – and Parker uses the moment to lay down a classic JP solo. Butterss steers the ship with a dubby bass groove threaded between the beats. It’s as if the shades have been thrown open to greet the sun, but most importantly it’s a complete story. A narrative arc in under five minutes.\u003cbr\u003e\u003cbr\u003eJeff Parker’s impact is hard to miss when discussing any forward-thinking, groove-oriented jazz and experimental music. Perhaps even more accurate in the case of 'Mighty Vertebrate' is the influence of Tortoise, the long running post-genre group of which Parker is a member. Butterss’ “Pokemans” echoes the band’s excellent 2001 album 'Standards' as much as it does Four Tet or any of Junichi Masuda’s 8-bit school bus classics; but this is more than just inspiration, influence, or some detached version of a musical continuum. Butterss has played with Jeff Parker for years; Tortoise’s John Herndon did the cover art for 'Mighty Vertebrate'; these artists exist within the same close-knit community. Here Butterss finds themself firmly in the protégé-to-peer pipeline.\u003cbr\u003e\u003cbr\u003eUltimately, each track on 'Mighty Vertebrate' could be excavated and studied or simply taken at face value. It’s a solid, mature, and endlessly fun glimpse into the world of an artist whose potential for growth is seemingly unlimited.\u003c\/span\u003e\u003cspan\u003e \u003ca\u003e\u003c\/a\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003ch3 class=\"credits-label\"\u003e\u003cbr\u003e\u003c\/h3\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003eReleased October 4, 2024\u003c\/div\u003e","brand":"International Anthem","offers":[{"title":"IARC0086 LP - Limited Edition \"Skull\" Color vinyl","offer_id":52611374907666,"sku":"IARC0086LPX","price":28.0,"currency_code":"USD","in_stock":true},{"title":"IARC0086 LP - Classic Black vinyl","offer_id":52120909414674,"sku":"IARC0086LP","price":24.0,"currency_code":"USD","in_stock":false},{"title":"IARC0086 LP - Limited Edition ''Fossilized Chartreuse'' Color vinyl","offer_id":52120909447442,"sku":"IARC0086LPI","price":29.0,"currency_code":"USD","in_stock":false},{"title":"IARC0086 CD - Compact Disc","offer_id":52120909480210,"sku":"IARC0086CD","price":15.0,"currency_code":"USD","in_stock":true},{"title":"IARC0086 Digital Download","offer_id":52120998904082,"sku":"IARC0086","price":9.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/6989\/0578\/files\/a3475189898_10.jpg?v=1773624111"},{"product_id":"jeff-parker-the-new-breed-ia11-edition","title":"Jeff Parker - The New Breed (IA11 Edition)","description":"\u003cdiv class=\"tralbumData tralbum-about\"\u003e\u003cstrong\u003eAbout: \u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003eJeff Parker’s 2016 album The New Breed was a turning point for both Parker and International Anthem, changing the trajectory of his solo career as well as drawing an abundance of attention to our fresh imprint despite our then very limited catalog. Most importantly though, the album is the first to give voice to Parker’s wholly unique take on sample-based beat construction augmented by improvisation and live instrumentation (performed in this case by the high-level crew of Paul Bryan on bass, Josh Johnson on alto saxophone and keys, Jamire Williams and Jay Bellerose on drums, Parker's daughter Ruby on vocals, and Parker himself on guitar, synths, and other instruments).\u003cbr\u003e\u003cbr\u003eWhat began as Jeff’s interest in understanding his own idea of hip-hop processes (and how they related to his work in jazz) expanded into a blueprint for much of his work since then. (Hear also: The New Breed’s expansive followup Suite For Max Brown, the gentle deconstructionist solo guitar of Forfolks, and the long-form slow bloom improvisation of The Way Out of Easy.)\u003cbr\u003e\u003cbr\u003eThe IA11 Edition LP features our IARC 2025 obi strip, plus a new 16-page 11x11\" insert booklet with unpublished session photos, new liner notes by album co-producer Paul Bryan, and an in-depth conversation between Jeff Parker and IARC co-founder Scott McNiece.\u003c\/div\u003e\n\u003ch3 class=\"credits-label\"\u003e\u003cbr\u003e\u003c\/h3\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003ereleased June 27, 2025\u003cbr\u003e\u003cbr\u003eProduced by Paul Bryan and Jeff Parker\u003cbr\u003e\u003cbr\u003eJeff Parker - electric guitar, Korg MS20, Wurlitzer electric piano, Mellotron, loops and samplers, MIDI and drum programming\u003cbr\u003eJosh Johnson - alto saxophone, flute, clarinet, Wurlitzer electric piano, Mellotron\u003cbr\u003ePaul Bryan - electric bass guitar\u003cbr\u003eJamire Williams - drums\u003cbr\u003eJay Bellerose - drums and percussion (“Visions” only)\u003cbr\u003eRuby Parker - vocals\u003cbr\u003e\u003cbr\u003eEngineered, edited and mixed by Paul Bryan intermittently from February to December, 2015 in Santa Monica CA. Vocals recorded by John McEntire at SOMA E.M.S., Chicago. Mastered by Dave Cooley at Elysian Masters, Los Angeles.\u003cbr\u003e\u003cbr\u003eAll songs and lyrics composed and arranged by Jeff Parker (umjabuglafeesh music, BMI), except “Visions” by Bobby Hutcherson\u003c\/div\u003e\n\u003ch3 class=\"license-label\"\u003e\u003cbr\u003e\u003c\/h3\u003e\n\u003cdiv class=\"info license\" id=\"license\"\u003e\n\u003cspan class=\"cc-icons commercial\"\u003e\u003c\/span\u003eall rights reserved\u003c\/div\u003e","brand":"International Anthem","offers":[{"title":"IARC0009 CD - Compact Disc (IA11 Edition)","offer_id":52611547693330,"sku":"IARC0009CD11","price":16.0,"currency_code":"USD","in_stock":true},{"title":"IARC0009 LP - Classic Black vinyl (IA11 Edition)","offer_id":52121004409106,"sku":"IARC0009LP11","price":23.0,"currency_code":"USD","in_stock":false},{"title":"IARC0009 Digital Download","offer_id":52121004441874,"sku":null,"price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/6989\/0578\/files\/a2865319863_10.jpg?v=1773956708"}],"url":"https:\/\/shop.intlanthem.com\/collections\/back-in-print.oembed","provider":"International Anthem (US)","version":"1.0","type":"link"}