Label: Confront

記念すべき超名演が180グラム重量盤2枚組、ホワイトヴァイナルで再出版!!Derek Baileyと、ジャズベーシスト兼ポスト・シリアリスト作品の作曲家としても知られるSimon H. Fellが残した名作がLP化!!オリジナルは2013年にリリース、CD-Rフォーマットにも関わらず現在高値で取引されている[The Complete 15th August 2001]が、新たにタイトルを[At Sound 323]に変更、リマスター仕様でヴァイナル復刻したのが本作。Confrontのレーベル主が2002年にオープン、2013年まで営業していたレコードショップ兼ディストリビューター、アヴァンギャルド音楽の聖地"Sound 323"初の出版物であり、説明不要の歴史的名作。







Delux double 180g white vinyl LP set.

Derek Bailey - guitar
Simon H. Fell - double bass

Originally released by Confront in 2013 on compact disc as The Complete August 15th 2001. Now freshly remixed and remastered in 2023 for release on a delux double 180g white vinyl LP set and digital.

Recorded at Sound 323, London by Tim Fletcher on 15 August 2001

Remastered by Rupert Clervaux, September 2023

Cover design by Matthew Brandi
Photograph by Mark Wastell

Produced by Mark Wastell

"Radical Yorkshiremen Derek Bailey & Simon H. Fell duke it out on guitar and double bass in this 2001 recording, newly remixed and remastered for posthumous release by Rupert Clervaux and Confront’s Mark Wastell ‘At Sound 323’ showcases high grade, improvised fraggle tackle by mutant jazz-bluesman Derek Bailey (*Sheffield, 1930, † London, 2005) and jazz bassist and post-serialist composer, Simon H. Fell (*Dewsbury, 1959, † 2020), two legends of the English free music movement with shared roots in Yorkshire’s extraordinarily fertile experimental music scene. The recording captures them playing in that there London at Sound 323, a (now-defunct) record shop, distributor, and hub for avant-garde music established by Confront’s Mark Wastell in 2002, and which ran ’til 2013. This performance was the shop and label’s first release and a sort of mission statement, paying witness to the pair pre-, and post-tea (Yorkshire brew with a dash of Henderson’s, obvs) shredding t’ fuck out of their chosen strings. It’s a room recording - no fancy desk involved - and renders them in full flow, h’angry and grouching in the first half as they turn paradigms inside-out with a ravishing flourish, turning to extreme, dissonant shred and finger flay by end of the first half. Post tea they feel reenergised and more aggressive, before snapping into relatively conventional free jazz form (if that’s not an oxymoron), even dipping out to moments of beauty and bleating like wounded sheep, then letting it all collapse in gloriously nimble scree." (Boomkat)