All sorts of jazz, free jazz and improv. Never for money, always for love.
This hybrid piece, where for the first time the musician has agreed to play the problematic role and function of ‘composer’, can be read both as a form of achievement and as a founding act.
Indeed, ‘composing’, as she makes it clear here, with the structure constantly generating and encouraging individual expression, is nothing else for her than a transposition to ‘another stage’ of the improviser’s gesture and a transfusion into a band’s plural entity of the complex spread of a thought both intimate and collective, made even more unique by its will to be shared. […] Because she constantly feeds all her experience as an improviser into her writing, Léandre has clearly created, with "Can You Hear Me?", a major milestone in her already illustrious career.
( from Stéphane Ollivier’s liner notes )
Sarah Murcia presents “Never Mind the Future”, a variation on the Sex Pistols’ “Never Mind the Bollocks” album. In dissecting and reinterpreting each song, it is not a simple exercise in covering tunes but a will to actually feed on the music of the Sex Pistols in order to express hers. A music that blends jazz, rock and song, where Sarah Murcia is accompanied by her band ‘Caroline’, with the addition of pianist Benoît Delbecq and dancer/crooner Mark Tompkins. It is also a way to return to a mythical group and to a worship album that, as a listener, I myself started listening to when I was 8 years old... I guess it was just the right time for Sarah and I to meet one another and go forward with this project.
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Founded in 2000 in Sweden by Jan Ström and Åke Bjurhamn, Ayler Records has gained recognition among free jazz fans over the years by releasing both archive and contemporary recordings from artists as diverse as Jimmy Lyons, Noah Howard, Peter Brötzmann, William Parker or Charles Gayle, as well as documenting the Scandinavian free jazz scene.
In 2009, Ayler Records moved to France where it is now operated by Stéphane Berland who had joined the label in 2005, bringing with him the will to open the catalogue to forms of improvised music in less direct relationship with the free jazz history, while remaining faithful to the original spirit.