The Squid's Ear
Recently @ Squidco:

John Butcher / John Edwards:
This Is Not Speculation (Listen! Foundation (Fundacja Sluchaj!))

A remarkable live recording from Einstein Kultur in Munich, reuniting British free improvisation masters John Butcher on saxophones and John Edwards on double bass in four expansive, detailed, and often breathtaking duets, exploring abstract soundscapes with razor-sharp interplay, extended techniques, and an uncompromising sense of sonic exploration. ... Click to View


Jerome Deupree / Sylvie Courvoisier / Lester St. Louis / Joe Morris:
Canyon [2 CDs] (Listen! Foundation (Fundacja Sluchaj!))

Recorded at Firehouse 12 Studios, Canyon brings together four exceptional improvisers — drummer Jerome Deupree, pianist Sylvie Courvoisier, bassist Joe Morris, and cellist Lester St. Louis — for a double album of fluid, high-stakes interaction, balancing volatility and restraint as they carve out richly detailed sonic terrain with spontaneous precision. ... Click to View


Izumi Kimura / Lina Andonovska / Dominique Pifarely:
Seven Dreams (Listen! Foundation (Fundacja Sluchaj!))

Recorded live at Dublin's National Concert Hall, the trio of Izumi Kimura (piano), Lina Andonovska (flutes), and Dominique Pifarély (violin) weave a poetic and deeply intuitive improvisational performance, blending extended techniques and refined sensitivity into a dreamlike suite of tactile, intimate, and emotionally resonant sound worlds. ... Click to View


Lava Quartet feat. Almut Kuhne / Jordina Milla / Goncalo Almeida / Wieland Moller:
Ethereal Chant (Listen! Foundation (Fundacja Sluchaj!))

The debut from the international Lava Quartet — Almut Kühne (voice), Jordina Milla (piano), Gonçalo Almeida (bass), and Wieland Möller (percussion) — capturing the ensemble's dynamic interplay and fearless improvisation across two European venues, blending extended techniques, expressive freedom, and unconventional sonic textures in a deeply creative and spontaneous journey. ... Click to View


Joe McPhee / Susanna Gartmayer / John Edwards / Maria Portugal:
Monster (Klanggalerie)

Recorded live at the 2023 Music Unlimited Festival in Wels, Austria, this powerhouse quartet of Joe McPhee, Susanna Gartmayer, John Edwards, and Maria Portugal delivers an electrifying set of spontaneous composition, blending fierce improvisation, commanding technique, and bold interplay in a dynamic performance brimming with vitality and creative approaches to improv. ... Click to View


Kim Jae Jung:
Shamanism (Relative Pitch)

A powerful and ritualistic session from South Korea's free improvisation scene, with tenor and soprano saxophones (Jung-Jae Kim & Sunjae Lee) and dual drum kits (Junyoung Song & Sunki Kim) channeling ancestral Korean shamanic ceremony through raw, primal energy, breath-driven phrasing, and a spiritual aesthetic that bridges indigenous tradition and contemporary free jazz expression. ... Click to View


Signe Emmeluth / Ingebrigt Haker-Flaten / Axel Filip:
Hyperboreal Trio (Relative Pitch)

Drawing on deep collaborative history and shared risk-taking instincts, the trio of alto saxophonist Signe Emmeluth, bassist Ingebrigt Håker Flaten, and drummer Axel Filip deliver a debut of fierce, textural improvisation, recorded in Trondheim and shaped by dynamic interplay, shifting atmospheres, and a fearless drive to chart new sonic terrain. ... Click to View


Amy Cimini:
See You When I Get There (Relative Pitch)

The first solo album from West Coast violist Amy Cimini, blending amplified distortion, percussive textures, and spacious effects into a deeply personal and genre-blurring performance that channels experimental noise, tuneful abstraction, and the spirit of feminist rock and protest music into a resonant and evocative sonic journey. ... Click to View


Makoto Kawashima :
arteria (Relative Pitch)

A wild solo performance recorded at GOKsound in Tokyo by Japanese alto saxophonist Makoto Kawashima, whose intense and introspective improvisations balance fierce tonal expression with fragile silences, drawing from the lineage of Abe and Shiraishi while establishing his own haunting and highly individual voice in the realm of free improvisation. ... Click to View


Marco Eneidi Quintet (w / Johnston / Finkbelner / Smith / Anderson):
Wheat Fields of Kleylehof (Balance Point Acoustics)

A fiery and tightly woven 2004 quintet session led by alto saxophonist and composer Marco Eneidi, recorded before his move to Europe, with trumpeter Darren Johnston, guitarist John Finkbeiner, bassist Damon Smith, and drummer Vijay Anderson performing dynamic, sharply articulated compositions that balance exuberant improvisation with finely honed structure. ... Click to View


Eric Shorter:
Shorter Bendian Shields (577 Records)

A dynamic debut from multi-talented saxophonist Eric Shorter, joined by pianist David Shields and percussionist Gregg Bendian in a spirited trio session that replaces the traditional bass role with open, aleatoric freedom, creating an engaging interplay of spontaneous composition, expressive lyricism, and inventive harmonic exploration. ... Click to View


Ernesto Rodrigues / Ana Albino / Hernani Faustino / Carlos Santos:
A Glimpse To An End Of A Cycle (Creative Sources)

Recorded live in Lisbon in 2025, this quietly immersive quartet session from Ernesto Rodrigues, Ana Albino, Hernani Faustino, and Carlos Santos unfolds as a single extended movement of enigmatic timbral interplay, blending modular synth, electric guitar, viola and bass in a sparse, introspective soundscape shaped by mystery, fluidity, and subtle dynamic shifts. ... Click to View


Paula Sanchez:
Pressure Sensitive (Relative Pitch)

Recorded in Switzerland in 2021, Argentinian cellist and interdisciplinary artist Paula Sanchez pushes the cello to its sonic limits through six radical performances that merge acoustic and processed sound, combining cello, cellophane, and ring modulation to evoke a visceral, poetic, and at times merciless exploration of embodied sound and ephemeral transformation. ... Click to View


Camila Nebbia / Kit Downes / Andrew Lisle:
Exhaust (Relative Pitch)

Recorded live in Berlin, the debut from Camila Nebbia's working trio with Kit Downes and Andrew Lisle captures six dynamic, unrestrained pieces that navigate shifting textures and rhythms, fractured lyricism, and tightly woven interplay, avoiding individual soloing as the group explores contrast and transformation through raw energy, deep listening, and collective momentum. ... Click to View


Le Vice Anglais (Pires / Parrinha):
vas-y (4DaRecord)

A fiercely expressive debut from Portuguese duo Ricardo Guerra Pires and Bruno Parrinha, blending electric guitar, alto saxophone, subtle electronics, and noise-infused improvisation into a raw yet controlled exploration of sonic extremes, channeling the spirit of free jazz, punk energy, and avant-garde texture into six powerful and provocative pieces. ... Click to View


Marc Baron / Eric La Casa:
Contrefacons (Swarming)

Exploring the fragility of recorded memory and the processes of cinematic restoration, Marc Baron and Eric La Casa capture, manipulate, and recontextualize sounds from the Hiventy film laboratories, transforming them through analogue treatments and dynamic re-recording into a compelling meditation on representation, decay, and the shifting nature of perception. ... Click to View


Francisco Lopez :
Untitled (2021-2022) [2 CDs] (Bu Lang Tribute Cake)

A double CD of composed environmental sound works from Francisco López, assembling raw field recordings from locations including Tenerife, Eswatini, Israel, Georgia, Chile, and the southwestern USA, along with a film soundtrack and a collaboration with Felipe Otondo, creating immersive, abstract electroacoustic pieces with intentional silences and textural extremes. ... Click to View


Eventless Plot | Haarvol:
The Subliminal Paths [CASSETTE + DOWNLOAD] (Innovo Editions)

An intimate, restrained electroacoustic collaboration between Eventless Plot and Haarvöl, unfolding in two extended, meditative movements that explore a nuanced dialogue between piano, field recordings, tapes, and electronic expression, gradually revealing layered sonic detail and immersive depth through spacious, dramatic momentum. ... Click to View


Eternities:
Rides Again [CASSETTE] (Sacred Realism)

The duo of Katie Porter on bass clarinet and Bob Bellerue on electronics, zither, and feedback create rich, multidimensional drones through live performance, blending harmonic wind tones with resonant feedback and overtone manipulation in two expansive recordings from Berlin and NYC that explore the porous boundary between intention and indeterminacy. ... Click to View


Elka Bong (Margolis / Wright / Bouchard):
Without Walls (Love Earth Music)

Integrating live coding, field recordings, IFM synthesis, and an array of electroacoustic instrumentation, the trio of Al Margolis, Walter Wright, and Sara Bouchard craft an unbounded and exploratory work that embraces technological transformation and sensory disruption, channeling Marshall McLuhan's insights into a richly layered and prophetic sonic landscape. ... Click to View


Karl Evangelista Quintet feat. Bobby Bradford and William Roper:
Solace Angles (Asian Improv)

A heartfelt tribute to Los Angeles and its resilient creative community, guitarist Karl Evangelista leads a stellar quintet with Bobby Bradford on cornet and William Roper on tuba, blending both lyrical and eclectic improvisation, deep-rooted West Coast traditions, and a spirit of resistance into an evocative and deeply personal album that honors place, legacy, and the power of collective expression. ... Click to View


Sleep Of Reason Produces Monsters, The (Rasmussen / Mitelli / Rezaei / Koenig):
The Sleep Of Reason Produces Monsters (Corbett vs. Dempsey)

An electrifying session of genre-defying free improvisation from the international quartet of Gabriele Mitelli (trumpet & electronics), Mette Rasmussen (sax), Mariam Rezaei (turntables), and Lukas Koenig (drums & bass synth), delivering an explosive, high-energy album that blurs the lines between noise, jazz, and avant-electronic intensity with visceral spontaneity and tightly channeled chaos. ... Click to View


Akmee:
Sacrum Profanum (Nakama Records)

Recorded in Oslo's Toyen Kirke, this spiritually resonant second album from the Norwegian quartet Akmee explores acoustic possibilities with lyrical counterpoint, trance-like repetition, and intuitive improvisation, as trumpeter Erik Kimestad Pedersen, pianist Kjetil Jerve, bassist Erlend Olderskog Albertsen, and drummer Andreas Wildhagen stretch melody and rhythm into expressive, otherworldly forms. ... Click to View


Ernesto Rodrigues / Guilherme Rodrigues / Maximilian Glass:
Beyond The Mist And The Unforeseen Encounters (Creative Sources)

An intimate, texturally rich trio session recorded in Berlin between Ernesto Rodrigues on viola & crackle box, Guilherme Rodrigues on cello, and Maximilian Glass on percussion, navigating misty lowercase atmospheres, glitch-box coloration, and finely balanced interactions that unveil subtle surprise and collective improvisation within a tight, exploratory sound world. ... Click to View


Sveio:
Latent Imprints (577 Records)

A fascinating exploration of human-machine collaboration from UK trio Sveio — James Mainwaring on saxophone, Federico Reuben on laptop improvisation and live coding, and Emil Karlsen on drums — using AI in real-time to generate uncanny textures and forms, resulting in a spontaneously composed and constantly evolving electroacoustic sound world. ... Click to View


Kommun:
Kalpa (thanatosis produktion)

Expanding to a sextet, Swedish guitarist Finn Loxbo's Kommun deepens its exploration of cyclical time and collective improvisation, weaving acoustic steel-string guitar, piano, strings, and percussion into evolving, harmonically rich phrases that merge individual lines into fluid, slow-burning forms — meditative, intricate, and poised between structure and dissolution. ... Click to View


Various Artists:
Archipelago (Bathysphere Records)

A benefit compilation in support of marine restoration through ORAI, this diverse collection features 13 experimental and ambient works — including evocative soundscapes by Scott Solter, Cristina Cano, and others — each track a donation from artists celebrating the sea’s mystery, fragility, and power through deeply personal sonic reflections. ... Click to View


Mat Watson:
Reflective Hits (Eternal Music Projects)

Extracted from archival sessions at Imaginary Sound Fields in Melbourne, Australian synthesist Mat Watson assembles a limited-edition set of vivid modular compositions — ranging from library-inspired cues to exploratory electronic abstractions — capturing the tactile nuance of a Eurorack modular as he sculpts asymmetrical, colorful soundscapes that blur nostalgia, experimentation, and inner space. ... Click to View


Unredeemable (Tracy Lisk / Andrea Pensado):
Preverbal (Love Earth Music)

A dynamic, spontaneous duo collaboration by percussionist Tracy-Lisk and multi-disciplinary performer Andrea-Pensado, this LEM-347 release unfolds through drumming, cymbal washes, voice and live electronics into a fluid, improvisatory dialogue that balances rhythmic sensitivity and textural exploration within an intimate, acutely reactive sound world. ... Click to View


+DOG+:
Our Beloved..... (Love Earth Music)

A fierce and immersive set of three extended noise pieces from the six-member experimental collective of Steve Davis, Bobby Almon, Chuck Foster, Edward Giles, LOB, and Mackenzie Kourie, recorded in multiple locations, blending dense textures, static-laced improvisation, and electroacoustic intensity into a raw and unapologetically visceral listening experience. ... Click to View



  •  •  •     Join Our Mailing List!



The Squid's Ear
Facebook: Squidco Sales

Instrumentals
We've asked a number of musicians to write about their instruments of choice, taking a view that is either personal, historical or, in some cases, just unusual. The results are to be found in these pages.


  The Clarinet (& Chi)  


By Perry Robinson 2002-12-11

Perry Robinson
Perry Robinson    [Photo by Peter Gannushkin]
The clarinet is a very interesting instrument. Whereas the sax starts thin at the neck and gets broader at the bell, the clarinet is straight, and that makes a big difference between the clarinet and the sax's sound. Of all the instruments, the clarinet has the biggest difference between the lowest and highest sound, and that's what makes it unique. The clarinet has such a broad range that sometimes you need two mics to get a good recording, one to get the low register and another to get the high. It's also harder to play than the sax because on the sax if you want to play the same note an octave higher you just press an octave key with your thumb, but to go an octave higher on the clarinet you have to completely change your fingering. So that's probably one of the reasons the clarinet has a reputation for being difficult to learn.

Your sound definitely comes from your personality, and it's also the shape of your body, your embouchure and your breathing. Style is a fascinating thing to analyze. Two people can play the same instrument and get a totally different sound, like Coltrane and Sonny Rollins both playing tenor sax. Playing clarinet is a process of finding what's right for you in terms of your breathing, reeds and mouthpiece, but I would say that it's mostly breathing. All playing and singing comes from the diaphragm, which is the seat of life, of chi. Tony Scott's stomach was huge; it was full of chi, which is the main reason he got that huge sound. We should all develop our diaphragms, and we should all breathe from there. It's something that I worked on, and now I breathe that way almost without thinking. I don't do circular breathing when I play; I don't think I need it with my style of playing. It's good for certain things, like playing long lines without stopping, but I just take a deep breath for whatever I'm doing. Breathing deeply like that is good because you develop your lungs.

Mouth and throat techniques are also important. As I've discussed, I play using the double embouchure, which isn't done so often in jazz. You can also roll your "R"s while you play, which creates a certain sound. It's like a guttural "R" sound but not quite, it's more a "th" sound. If you want a raspy sound you make a rasping "Rrrrr" in your throat. The old players like Pee Wee Russell did a lot of that. The early vocabulary of jazz is very rich and emotional, it's full of people talking and yelling. If you think how people talk when they say something like, "Yeah, I'm gonna get you," it's that same kind of guttural voice. And there's a whole technique where you sing through your throat at the same time as playing. You sing a melody with yourself, which creates a double voice; many horn players have developed this to a high degree. There's also ways to create an overtone, which is another way of getting two sounds at once. It only works with the lowest fingering, but if you tighten your embouchure in a certain way you can do it.

Mouthpieces are important as well. Some horn players get obsessed, and they go through thousands of mouthpieces searching for the perfect one; it's like trying to find the holy grail of mouthpieces, or like looking for that perfect person. I didn't go that far, although I tried a lot of different products. In the old days instrument stores had boxes of old mouthpieces; you'd search through a box and find one you liked. Some didn't even have a brand on them, but they were cheap and you could find a good mouthpiece that way. I also tried a glass mouthpiece. Part of Tony Scott's early sound came from using a glass mouthpiece; it gives a different sound, and the feeling of glass is a whole other experience. Over the years I've gone through many mouthpieces. You find one you like, but then they break or you lose them or something else happens. Once in the mid-1990s at a place in New Jersey called Nature's Friends Farm somebody accidentally knocked my horn over and danced on it, and they split my mouthpiece. After that I got the one I use now, which is an old one I found at a store.

Reeds are also a big concern with horn players. Reeds are from cane, then they're machined so they're soft or hard. They're numbered one and up, with one being the softest. A student who's just starting plays 11/2, then as you get stronger you move up. Guys like Tony and Buddy would use 5 or 6, and that was part of their sound. Reeds are tricky; in a box of twenty-five you might find only three good ones. You fix them by sanding or molding, but that's an art in itself which I never got into. One trick I learned was that you can break in a reed by soaking it in milk, and I've told people that over the years. There are also reeds made out of synthetic materials, and lately I've been using a clear plastic one that I like a lot. The plastic ones come in soft, medium and hard, and I use the soft.

Then there's different combinations of reeds and mouthpieces. You can experiment using a hard reed with a closed mouthpiece or a soft reed with an open one. Coltrane was a great experimenter this way; he tried all kinds of combinations. In general I'd say that the harder the reed the more pressure it takes, so then you have to have a mouthpiece to compensate. There's lots of ways you can do it; you just try everything you can to get the right combination of sounds.

It's also important to find a repairman you trust. An instrument is like a person, and your repairman is like your doctor. Instruments are so delicate and technical; there's all these little springs and levers and tiny parts, and a good repairman really has to know what he's doing. I use Alex Kolpakchi, a wonderful guy who has a store at 701 7th Avenue in New York. He's a clarinet and sax player from Russia who came to America and got work as a repairman. I used to take my horn to another store on 48th Street, but I liked talking to Alex and started using him forrepairs. I bring my horns in for an overhaul or to fix something, and he sees other little technical problems that I didn't even notice. He's very good.

Alex also sells horns, and I got all my horns through him except my little one. All of my instruments are old. I always look for vintage horns because there are certain models that aren't made any more, and they made them so great in those days. A horn from the 1930s is just as good as one from today because the basics are the same, plus the old ones have a different quality that I prefer.

I have four horns: three B-flats and one E-flat. I have a beautiful old wooden horn from the 1950s, a Selmer Centertone. The funny thing about wood clarinets is that black is not the real color; it's really an uneven brown-white, the black is just a dye that became the standard color. Wood has a great sound, but the problem with wood is that if it gets wet it cracks. If a saxophone gets wet it's not that bad, but if a wood clarinet gets wet or too cold it cracks. That's why you see musicians cleaning their instruments all the time; you have to clean after you play because if the instrument stays wet and you go into another temperature the wood will crack. But cracks can be fixed. In the old days it was like surgery on a person, but now they have a very sophisticated method and it works well.

I also have a plastic clarinet, an Evette, which is the student model of Buffet. Every major instrument company has student models, and they're less expensive because they're plastic. There's a special soul feeling with wood, no doubt about it, but you really can't tell the difference between wood and plastic, and that's because companies like Buffet and Selmer use the same shape and mechanism in their plastic student models as their wooden models. My plastic clarinet is my all-purpose one; no one believes it, but I used it when I recorded Call to the Stars. It's the exact kind kids use in school marching bands, and I can take it out in any weather.

My silver clarinet is the one I use most professionally. In the early 1990s I saw it on a stand in Alex's store and I said, "What the hell is that? That's out." I tried it out, and I loved it. It's unique because the metal covers wood, which creates a special alchemy. People say it has a larger sound, a heavier sound like a soprano saxophone. There are very few of these in the world; it's a Selmer, but it must have been an experiment because nobody has ever seen one like it. We can't even find out what year it was made because the serial and model number are covered with metal. We know it's very old, though, because it's cracked and worn. I always take my silver clarinet on tour with me, and I always use it at recording sessions. People know about it; it's a signature thing. My other clarinets are beautiful too, and they're equally good in their way, but this one is unique.

There's a funny story about that clarinet. I had a benefit at the Hoboken High School with Gary Schneider and Gene Turonis, and I wanted to use it. Alex had fixed it, but the middle part was loose and it needed just that slight adjustment. He didn't think I should use it, but it was new and I really wanted to so he said, "Okay, just be aware of the loose part." Then right before I was about to go on the whole bottom of my clarinet fell, and I lost one of the five joints. When those things happen you go, "Oy! Oy gevalt!" I put the bottom back on, and luckily it was okay for the rest of the night.

Those are my three instruments of the soprano clarinet family. Then I have the E-flatsopranino that I got from Eckhard Kolterman. It's a Noblet, which is a subsidiary of LeBlanc. I love it; it's a mini-replica, a one-piece teeny-weeny. It's much more expensive than the others because the work is so delicate, and because it's a different size it has its own special sound. I use it for specific gigs, like when I playwith Dave, Perry, and Rande.

I have other instruments as well. I collect them because I like to have different little instruments around the house. I have a whole collection of flutes, both wood and plastic. My favorites are a wooden flute that my dad and mom brought me from Czechoslovakia, and a wooden Hawaiian flute called the Xaphoon. I had seen the Xaphoon advertised in Down Beat; it's known as the bamboo saxophone because although it's a flute it has a mouthpiece like a sax. The sound is so out; I use it with the group Cosmosis on some of our out music. I also have a few ocarinas, which are little clay instruments with four or so holes. You can hear me playing an ocarina on "Wahaila" on Angelology. I get them from an arts and crafts stand in Pike's Market in Seattle. Most of them come with a booklet that explains the fingering you're supposed to use, but I always throw those booklets out. That kind of fingering is good if you want to play "Yankee Doodle" or "Mary Had a Little Lamb," but it's more interesting to fool with the instruments, to make up your own fingerings and get sounds that way. You learn by playing, it's a Zen thing; you try everything, you go crazy and flip out and make all kinds of sounds.






reprinted from The Traveler by Perry Robinson and Florence Wetzel available at Squidco




Previous Instrumental Articles:
The Accordion (& the Outsider) - Pauline Oliveros
The Guitar (& Why) - Derek Bailey
The Banjo (& guitarist Johnny PayCheck) - Eugene Chadbourne
The Violin (& The Infidel) - Jon Rose


The Squid's Ear presents
reviews about releases
sold at Squidco.com
written by
independent writers.

Squidco

Recent Selections @ Squidco:


Kim Jae Jung:
Shamanism
(Relative Pitch)



Joe McPhee/
Susanna Gartmayer/
John Edwards/
Maria Portugal:
Monster
(Klanggalerie)



Signe Emmeluth/
Ingebrigt Haker-Flaten/
Axel Filip:
Hyperboreal Trio
(Relative Pitch)



John Butcher/
John Edwards:
This Is
Not Speculation
(Listen! Foundation (
Fundacja Sluchaj!))



Izumi Kimura/
Lina Andonovska/
Dominique Pifarely:
Seven Dreams
(Listen! Foundation (
Fundacja Sluchaj!))



Jerome Deupree/
Sylvie Courvoisier/
Lester St. Louis/
Joe Morris:
Canyon
[2 CDs]
(Listen! Foundation (
Fundacja Sluchaj!))



Marc Baron/
Eric La Casa:
Contrefacons
(Swarming)



Francisco Lopez:
Untitled (
2021-2022)
[2 CDs]
(Bu Lang Tribute Cake)



Eventless Plot |
Haarvol:
The Subliminal Paths
[CASSETTE + DOWNLOAD]
(Innovo Editions)



Akmee:
Sacrum Profanum
(Nakama Records)



Karl Evangelista Quintet
feat. Bobby Bradford and
William Roper:
Solace Angles
(Asian Improv)



Sveio:
Latent Imprints
(577 Records)



The Sleep Of Reason
Produces Monsters (
Rasmussen/
Mitelli/
Rezaei/
Koenig):
The Sleep Of Reason
Produces Monsters
(Corbett vs. Dempsey)



Dan Brown/
Dan Reynolds:
Live At
The Grange Hall
[unauthorized][CASSETTE]
(Sacred Realism)



Matt Mitchell:
Sacrosanctity
(Obliquity)



Das B (
Mazen Kerbaj/
Mike Majkowski/
Magda Mayas/
Tony Buck):
Love
(thanatosis produktion/
Corbett Vs Dempsey)



Das B (
Mazen Kerbaj/
Mike Majkowski/
Magda Mayas/
Tony Buck):
Love
[VINYL]
(thanatosis produktion/
Corbett Vs Dempsey)



Mary Halvorson Septet:
Illusionary Sea
[2 LPS]
(Firehouse 12 Records)



Darius Jones:
Legend of e'Boi (
The Hypervigilant Eye)
[VINYL + DOWNLOAD]
(Aum Fidelity)



Irene Schweizer/
Rudiger Carl/
Johnny Dyani/
Han Bennink:
Irenes Hot Four
(Intakt)







Squidco
Click here to
advertise with
The Squid's Ear






The Squid's Ear pays its writers.
Interested in becoming a reviewer?




The Squid's Ear is the companion magazine to the online music shop Squidco !


  Copyright © Squidco. All rights reserved. Trademarks. (12878)