Bead records

The late 1960s/early 1970s were periods when improvised music was burgeoning, yet major record labels made a point of ignoring it. Because of this a group of independent imprints were founded. Some disappeared after a few releases, some thrived for years then gave up the struggle, and very few are celebrating their 50^th anniversary, like London-based Bead records.

The label, which over the years has recorded numerous innovators  has moved into middle age, still releasing CDs by musicians who have a similar vision and commitment to that of its founders including violinist Philipp Wachsmann. A concert in mid-December of last year at London’s Café Oto, celebrated the label’s five decades and Shadow Figures,  Bead’s 50th release, with sets by a trio with pianist Steve Beresford, vocalist Phil Minton and keyboardist Martin Hackett, and a solo by cellist Hannah Marshall. Although neither Marshall or Minton have recorded for Bead, the label hopes to rectify that omission soon.

Shadow Figures, is by Spaces Unfolding (flutist Neil Metcalfe, Wachsmann and drummer Emil Karlsen) plus electronic whiz Pierre Alexandre Tremblay. Karlsen as well as Wachsmann is now involved in Bead’s continued growth. Wachsmann who as part as the band Chamberpot was on Bead 2 and has played on 18 other of the labels discs since then, was for most of Bead’s existence the person who organized and coordinated the sessions. Norwegian drummer Emil, a longtime British resident, has now become the label’s administrator as well as recording for it.

Back in the 1970s, recalls Wachsmann “There was the emergence of amazing music which improvising musicians wanted to issue and control. A criteria for issuing an LP was that the musicians on it were convinced of its value uniqueness and importance. Bead responded to these developments, and was loosely a collective. We responded to each others’ proposals and the commitment and passions of the players. The aim was not to produce regularly to feed a market.”

Eventually other musicians who had initially participated in Bead’s organization fell away, with only the violinist and  pianist Hutchinson involved. “As each issue was owned by the players on it the label did not build up a financial float and it became vulnerable to financial circumstances in the world at large,” he adds “Much changed with the advent of CDs.” Besides other factors with which all labels had to cope, suddenly there were the challenge that cam with “recessions, downloading, pirate copy entrepreneurs, etc.,” he recalls. “So one had to adapt.”

Part of this adaptation was that that as the violinist neared the age of 80 –  he was born in 1944 – Wachsmann realized that someone else should help direct Bead. Enter Karlsen, with whom Wachsmann had already played in the London Improvisers Orchestra. In the course of creating a trio called Term, with Hackett and Wachsmann, says Karlsen picking up the story, the violinist “approached me about taking on a role with Bead. I remember him speaking about the changing landscape of recorded music and the need for Bead to adapt. I was thrilled by the opportunity and accepted without hesitation. In the summer of 2022 “Tern” released its debut album In Air, which marked my first project with Bead as a performer and administrator.”

Add Karlsen,: “The history of Bead continues to be a source of inspiration, not constraint. I have always valued the roots of this music and understanding the social and political landscape from which it emerged. Being able to build upon the rich back-catalogue is a true privilege, and I’m proud to play a part in the next chapter of Bead’s history. Philipp’s open and supportive attitude is something I admire, and has played a crucial role in the sense of freedom I feel working with Bead.”

Over the years Bead has released discs featuring the cream of improvisers from the UK, the continent and elsewhere including John Butcher, Wolfgang Fuchs, Evan Parker and Wolter Wierbos. One of its e more recent recruits is bass guitarist and electronics musician, Pierre Alexandre Tremblay, a Canadian, resident in the UK for 20 years, and now based in Switzerland. “My duet with [trumpeter] Alex Bonney, light.box, was recording its third album, and Alex suggested this young gifted free drummer from Leeds, a certain Emil,” he recalls. “I was blown away by his musicianship. Emil [Karlsen] then suggested that we might consider Bead as a label, which was great fit for the music. With such a legacy, and the new breath of releases it gave us a confidence that it was the best platform possible for our idiomatic improvised music.”

Tremblay’s third Bead album came out earlier this year and he would definitely record for it again. The attraction: “There was both a catalogue of fantastic works, which is always inspiring, and an horizon of fantastic new releases coming out. Recording was very slick and fresh, with high production value, and a dynamic energy that would enable the music to be heard and part of a living catalogue. In other words, it’s a community of music-making people I was proud to be associated with,” adds.

In its 50^th year Bead still remains the boutique label it has been in the past, with no set annual release schedule or limit as to what it will releases. “We only release music when we feel we have something important to say,” confirms Karlsen.

As for formats, although a few cassettes were released in the past and some original Bead LPs are still available for sale the focus now is on compact discs. “As much as I like LPs, CDs are still a much more cost effective way of producing works of the highest quality,” explains Karlsen. “We’re not consciously avoiding other formats but at the moment CDs seem to make the most sense. It depends on a lot of factors, all of which can change.” Summing up, Waschmann reiterates the label’s credo: “The respect for the commitment of participants remains and it is not about such things as repertoire duplication.”

–Ken Waxman