Pat 💫

 

Pat Metheny began playing guitar at just 12 years old in Missouri, influenced by his trumpeter brother Mike. By 15, he was a prodigy: he was regularly playing with Kansas City's top jazz musicians, so much so that he won a scholarship to Down Beat at just 14.

His rise was meteoric:

At 18: He became the youngest teacher in the history of the University of Miami.

At 19: Gary Burton recruited him to his famous quartet.

At 21: He revolutionized jazz with his first album as a leader, Bright Size Life (recorded ECM 1976), accompanied by a very young Jaco Pastorius.

His unique sound, born from his innovative use of delay and a passion for academic jazz combined with folk influences, made him an instant legend. 

Soft Moustachism 💫

 

Ha, haaaaa!

 

78 rpm - to avoid this, do this!

 

Keith Tippett the Mujician 💫

 

PRE-ORDER Keith Tippett: Mujician - The authorised biography by Martin Phillips plus double CD of previously unreleased music

 

from Jazz In Britain

Book/Magazine

NOTE: THIS BOOK WILL BE PUBLISHED ON 15 MAY

Jazz In Britain is proud to announce the publication of Martin Phillips’ long-awaited biography of one of the pivotal figures in British jazz.

Title: Keith Tippett: Mujician – The authorised biography
Author: Martin Phillips
Publisher: ‎ Jazz In Britain (15 May 2026)
Language: ‎ English
Hardback: ‎ 328 pages
ISBN: 978-1-9163206-9-7
Dimensions: ‎ 15.6 x 1.5 x 23.4 cm

Limited edition hardback book with 13 black and white and 31 colour photographs. Only 1,000 copies available worldwide. The book includes a Foreword by renowned British writer Richard Williams and a double CD album of previously unreleased Keith Tippett recordings.

Keith Tippett (1947–2020), a policeman’s son from Bristol, grew up to be one of the most important pianists in the history of jazz music. From humble beginnings as a chorister alongside his father and brothers, Keith became one of Britain’s finest and most innovative pianists, both in jazz and on his forays into more ‘classical’ territory.

Described by none other than Cecil Taylor as “one of the most interesting and original European pianists in jazz and free music”, Keith collaborated with the cream of British, European and South African jazzers on his large scale works such as Septober Energy and Frames: Music for an imaginary film. But he was also equally at home as a solo performer, or in duets with the likes of Stan Tracey, Howard Riley and Louis Moholo-Moholo.

Martin Phillips’ beautifully crafted biography delivers the full story of a man for whom the music was everything. A consummate craftsman of his art whose output varied from delicate string quartets (Linückea) to the monumental majesty of the 50 piece Centipede, a feat achieved in his early twenties that most would have hesitated to attempt at any point in their career.

“Over the course of half a century, his rare combination of open-mindedness and firm focus created a body of work matching that of any British musician of his generation, its range – including wholly improvised solo piano recitals of staggering richness, ebullient works for vast jazz orchestras, and a finely wrought cantata – surely without rival.”
Richard Williams.

“At last, the complete story, of Keith Tippett, the complete musician.”
Nod Knowles, promoter, former President of Europe Jazz Network

“Martin Phillips has captured the very essence of Keith in this book which brought me to tears of both sadness and laughter. Incredibly true to Keith as the brother I knew and the musician he was. Keith would have been humbled and embarrassed at this tribute to him”.
Clive Tippetts.

“A wonderfully moving, perceptive and informative portrait of a man I was proud to call a friend for more than fifty years”
Larry Stabbins. Musician

“Keith was a totally outstanding pianist, musician and composer. I saw several of his solo concerts over the years and they always produced truly spiritual music. This book explores in full Keith’s musical mind and achievements.”
Paul Dunmall. Musician

“Keith Tippett is one of three musicians of my generation who continue to influence and guide my musical thinking. Keith’s music speaks for itself. Perhaps less well-known is Keith’s stature as an ethical musician, a good man. Gratitude to Martin Phillips for drawing attention to one of the finest players of his generation.”
Robert Fripp. Musician and producer.

“This is more than a biography. It is a book which takes you on a wonderful journey, allowing you to become friends with a remarkable man and a unique artist.”
Riccardo Bergerone. Promoter.


CONTENTS
Foreword by Richard Williams
Acknowledgements
Introduction
Prelude
1. 59 Pen Park Road
2. London Calling
3. Quiet Now
4. The South African Family
5. Beside The Tortworth Oak
6. The Difficult Second Decade
7. Alone
8. Now, About the Piano
9. Two’s Company
10. Couple In Spirit
11. Turn Up. Sound Check. Play
12. Back To Big
13. The Educator
14. Bristol Clubbing
15. An Englishman Abroad
16. Other Paths Taken
17. Last Dances
18. Nearing The End
Coda
Endword
Testimonies
Discography
Notes
Index

ACCOMPANYING CDS
A double CD album comprising two previously unreleased recordings accompanies the book. This album will not be available separately. 
Disc 1
Solo recital recorded at The White Lion , Exeter, UK, 10 March 1984
Keith Tippett, piano
1. Set 1
2. Set 2
Disc 2
Keith Tippett’s Ark, recorded at The 100 Club, London, UK, 24 May 1976
Keith Tippett, piano, leader; Elton Dean, alto sax; Chris Francis, alto sax; Larry Stabbins, tenor sax; Brian Smith, tenor sax; Mark Charig, cornet; Dick Pearce, trumpet; Nick Evans, trombone; Dave Amis, trombone; Harry Miller, bass; Louis Moholo, drums
1. Part 1
2. Part 2
3. Part 3
4. Part 4
5. Part 5
6. Part 6

ABOUT THE AUTHOR
Martin Phillips has published a musical memoir, Towards Abbey Road: Growing Up With The Beatles and a collection of short stories, Listening To Coloured Dreams. His semi-autobiographical short story about Stan Getz, A Nice Bunch of Guys, won the Yeovil International Short Story prize. He has an MA in Creative Writing from Birkbeck College, London University and lives in Devon.

Studio amp done right 💫

 

International Recording - Roma… with Western Electric and Stancor transformers and parts, made in USA 💫

It uses GM-70 tubes 🤟

The Bridge

 

A sought-after 4 tracks tape of Sonny Rollins’ classic.

💫

 

Maestro Herbert Von Karajan & 301

 

Annette Peacock 💫

 

And even more Annette Peacock in my memories, today.

Even in this photo, Annette Peacock looks years ahead of her time, in front of her electronic equipment.

Memories Annette Peacock will always get reposted when in my memories same for Pussy Riot and it's members.

Angie Bowie - "David came back from a radio station tour in the States and he came back full of Annette Peacock and the Velvet Underground"

Angie Bowie said to me the last time I spoke to her it is amazing we are still here, really amazing for me!

The wonderful Annette Peacock who gave me one of the most wonderful moments in my life sending me a dress and a very rare album. And meeting her at Cafe Oto was just amazing she introduced me to her daughter and kept hugging me, it was beautiful, and also meeting the lovely 

Kevin Hewick for the first time both of us chatting away to Annette, and Annette introduced me to her daughter, what an amazing night.

Thanks to Cindy Stern for the above first-hand memories.

🙏🤟💫

A Miles Davis’ mastertape 💫

 

🤟

A nice one on Windham Hill 💫

 

 

Truly pleasant and nicely played and recorded.

💫 

XTC

 

A signed by XTC’s members “English Settlement” 

💫

Easter 💫

 

Peace on Earth 

💫

Jürg Schopper’s new gem from ARA Archives: Pierre Fournier 💫

 

Will be available very soon the first ARA - ARMENIAN RADIO ARCHIVE Release as 2x45 RPM DLP cut in the fixed pitch Mode.

KILLER SOUND also available as REEL to REEL Tape Release from TRISTON MASTER RECORDINGS 🇨🇭

Please ask sandra@schopper.ch for your copy.

Audio Origami 💫

 

Pure Fidelity

Symphony Turntable

The Symphony turntable transcends playback to become an emotional experience, revealing music with breathtaking realism and refinement.

The Symphony was conceived to deliver the highest level of analog refinement, allowing listeners to connect deeply with their favourite recordings.

At its core is Pure Fidelity’s signature hybrid design, whose extraordinary balance yields a richly textured midrange, so natural and lifelike that instruments and vocals seem to appear before you.

An exceptionally low noise floor allows music to emerge from a velvety black backdrop, with delicate highs shimmering effortlessly above a foundation of taut, articulate bass.

To honour a component of such rare distinction, the Symphony incorporates Pure Fidelity’s most advanced technologies against vibration and resonance, preserving the purity of the signal.

Purpose-built for 12-inch Audio Origami tonearms, the Symphony finds its perfect partners in the PU7 and PU8, unlocking its full expressive power with unrivalled precision and musicality. Together, they create a synergy that transforms vinyl playback into an art form.

The Pure Fidelity Symphony is an instrument of timeless beauty and extraordinary distinction.

Oxyde fever

 

BASF and Agfa tapes ages very well - if compared with Ampex 😉 - but storage in unfriendly environment isn’t completely safe.

My trusty Telefunken M12 on duty with old battered pancakes.

Some Ampex and Scotch tapes didn’t survive the abuses of time and carelessness.

💫

Alice in wonderland 💫

 

A cool Garrard tweak from Hungary 💫

 

Turntable Power

Real sine wave power supply to drive turntable AC motors (Garrard, Dual, Lenco, Thorens, Linn, Rega, ect)

Product introduction

-Power supply for AC turntable motors. Sync (16-24pole) (1phase, optional real! 2 phase), Async.

-Selectable frequency for various speed: 50Hz, 67.5Hz or programable for any up to 130Hz with 0.05Hz steps. 

-Separate controlled strobe (50, 60Hz, 150, 300Hz)

-110-245V, real sine wave . 

-Real 90degree shifted 2nd phase in the 2phase model. Can be set in 0.5degree steps

-Is very feature rich!, See manual or specs.

WOW, Flutter, RPM

AC turntables motor suffer on wow, flutter or the absolute speed as it depends on the power grid frequency stability, which fluctuates roughly between +-0.2%. Also, the majority of stroboscopes operate from the grid, which adds speed(RPM) error while setting the 33 1/3 or 45 RPM. In world of high end audio, such failures should be not accepted. A temperature-compensated ultra-precise 0.1ppm@1Mhz oscillator creates an extraordinarily stable sinus timing, to forget failures sourced from grid. 

Vibration

Lowering voltage to the needed minimum reduces vibration (higher voltage, while spinning up). Also optimal to use higher frequencies, instead of mechanical gear switch, when turning from 33 1/3 to 45 or to 78RPM.

The 2 phase model reduces significantly vibrations on 2 phase AC motors caused by the run capacitor incorrect and distorted sine wave (16-24 pole stepper motor, which is/was very very common for year decades)

Feature rich

Turn off or dim the display, when not needed. Separate LED stroboscope source with support for multiple frequencies (45.11RPM to be real 45RPM at 50Hz). Setable strobe duty (time till it is lit on). Earth switch or independent output to optimize motor stray fields. 3 independetn programable memory button. True VRMS voltage measurement.

Some more product insights:

-Generator uses 2x Analog Devices AD9833. One for the sinus(limited to 45Hz-130Hz) one for the stroboscope LED (50Hz, 60Hz, 100Hz, 117Hz, 120Hz 195HZ, 300Hz and some others frquencies).

-The amplifier uses a digit amplifier, in which true Vrms voltage is monitored to avoid clipping due to the inductive load.

-The control is done via an Arduino/Atmega environment. Is feature rich: Display off, dim settings; 3 saved mode – 33, 45, 78; uniquely settable voltage and frequency for these modes with storing LED duty setting, 50-60Hz LED stroboscope where duty signal can be set from 99-70% in 8 steps to set optimum between sharp and bright; Voltage monitor; amplifier clipping detection and automated resolution of a possible issue;

-Switching protection earth side of the motor or having it isolated influences the magnetic radiation of the motor. You can select easily the optimum.

-Usage is designed to be very convenient. My wide summary may express the opposite, but in real life is simple to use even without reading.

-What it can’t: The RPM setting (via frequency) is to be set manually . So you set it to a given frequency and that’s it. With the stroboscope it can be validated or with a test LP of a known frequency and a frequency meter. Pyramid had a solution called “Phoenix Engineering Eagle PSU and RoadRunner Tachometer”, which could set the speed automatically. As this job is one time when you set the RPM via frequency, while it requires an optical or magnetical solution to detect the real speed of the plate, I think this is a hassle to modify the turntable by adding such sensors, cables, ect… 

The logo on the top picture is from my friend who owns 72audio company, is his brand, and actually on the picture it is the product owned by him. He allowed me to use his logo, but beyond our friendship, there is no other link to him. Since then I decided to use a simple sinus sine wave as logo, so this is what you can also get.

Single phase version supports async motor turntables:

practically everything which is run from 110V-245V 50-60Hz main supply):

Dual 1219, 1229, 1221, 1225, Garrard 301, Garrard 401,Lenco L75, L78

Supported sync turntables on 1 phase, with the factory default run capacitor. Also here practically everything which is run from 110V-245V 50-60Hz main supply. Dual CS 505-3, Roksan, Rega, Pink Triangle, Linn Sondek, System deck,…

Dual phase version

Support only 2-phase and 3phase sync motors. (run capacitor need to be removed, 2 phase wires directly to turntablepower, simliar for the 3 phase motors.)

Example: Dual Cs 505-3(2phase), Roksan, Rega, Elac Miraphon or Miracord hysteresis motors(3phase), Roksan, Rega, Pink Triangle, Linn Sondek, System deck, EMT 927 (3phase) ….

Thanks to György for above 

Ian Carr’s Music Outside - Contemporary Jazz in Britain (1973)

 

*2022 stock. Hardcover edition* This is the republication of a book first published in 1973, and as such—and without the benefit of rose-tinted nostalgia—it offers a snapshot of a British jazz scene that was extraordinarily vibrant and diverse. Trumpeter, bandleader and author Ian Carr was ideally placed to chronicle the events and personalities of the era, and his story reveals a scene that was creative despite, rather than because of, the artistic establishment of the day. Discussion of that broader picture falls outside the scope of this review; but what Carr's book emphasises is that the music was often the result of dogged persistence and determination on the part of certain individuals, battling against establishment indifference and/or hostility.

Carr's decision to focus on individuals was a wise one, as it allows the reader to get a grasp of just what was happening creatively at the time. The discography at the back of the book serves the same purpose, and also affords the chance to appreciate the extent to which the music was preserved on record. The fact that no more than roughly half of it has been reissued in the meantime is something other than a cause for celebration.

That said, the seeming prevalence of domestic public indifference throws into stark relief the fact that the music was released to start with. Time and again the issue of how much more work the musicians could get in mainland Europe offers no little insight into what might be called the British attitude. In particular, the chapter on pianist and composer Mike Westbrook has some pertinent points to make about the economics of bandleading, points which the passing of time has done little to alter.

In face of widespread indifference and philistinism, the herculean efforts of the likes of drummer John Stevensand saxophonists Evan Parker and Trevor Watts are thrown into even starker relief. At the time, all three musicians were mapping out the territory of free improvisation and the music they were making was already far outside any mainsteam understanding of what jazz was all about. Their desire for jazz to evolve was at the heart of the matter, and it's to Carr's credit that he gives space to the free improvisation movement despite the fact that he had little love for it himself.

That point is crucial to the book's value today. Carr seemed instinctively to know that partisanship had no place in the music—that it could be perceived as perpetually moving on, and indeed "outside" in more ways than one. Chapters on drummer Jon Hiseman, and on Carr and his band Nucleus, both then key harbingers of jazz-rock, further acknowledge this. Ultimately this book is a snapshot—but with a resonance far exceeding anything that description implies. The passing of time, and the relative immutability of things in the midst of its passing, have made it that way. On an equally profound level, the very chronicling of the book charts the course of a music that in Britain, at that time, was in the process of coming of age.

Thanks to Alun for suggesting this book…