With Intrusion / cv313 remixes.

Her 1968 masterwork, arranged by Jean-Claude Vannier, originally released on Saravah. Approved by Brigitte, this expanded edition features the original album, newly remastered from the original tapes, along with a second LP of demos, instrumentals, and a live rendition of Il Pleut recorded for France Inter/ORTF. With a twenty-page bilingual booklet, including an introduction by Laetitia Sadier, plus full lyrics and rare archival photos.

Remastered direct from the original master tapes, with previously unreleased outtakes and rarities — including Patti’s 1975 RCA audition tape.

Single-sided.

‘This work has accompanied me like a secret, an almost silent meditation on what the viola means in my life. Through it I have experienced how much this instrument connects me to listening, to patience, to inwardness. Here Morton Feldman is not composing in order to shine, but so as to make us hear the infinitesimal, the unspeakable – that is what has touched me profoundly, and I want to share it with the listeners.’
Antoine Tamestit

Last of PU’s cheeky threesome of early-seventies soundtracks for the noirish erotica of Luigi Scattini, with lots of electric piano, wah wah and vocalese, drama, melancholia and sleaze, shot through with spaced-out jazz, true Umiliani style.

The ‘un-muting’ or ‘sonic restitution’ of African instruments held in Western museum collections, this project began with a recording session in October 2023 at the British Museum in London, when Hoyt was granted access to instruments from the Department of Africa, Oceania, and the Americas. These recordings were then developed in his studio, blending in African and Western instruments from his own collection.

‘This record is not an album but a diagram, a blackground score for a people who have never stopped dancing. Instruments exiled into the vitrines of empire, their voices stilled by taxonomic theft, now murmur and hum again. This is restitution by vibration, and the sounds you hear refuse to be forgotten, to be fixed, to refuse to die. You won’t find Western time signatures here; you’ll find time folding, spilling, catching fire. His compositions bespeak an afro-sonic-philo-sophy, more drastic than gnostic. These desperate times call for desperate pleasures.’

From 1971, A Guitar in the Foreground is Rosinha’s best record. Classic, chilled Bossa shot through with her scintillating guitar-playing.
Check this version of Summertime for her instrumental virtuosity. (Tyler, the Creator burglarised it for Tomorrow, on Chromakopia.)