The late ’60s to early ’70s was a period when improvised music was burgeoning, yet major record labels made a point of ignoring the trend. As a result, several significant independent imprints were founded. Some disappeared after a few releases, some thrived for years then gave up the struggle, and very few continue to celebrate their long-term survival. One of these labels is London based Bead, which celebrated its 50th anniversary last year, moving into middle age but still thriving. Over the years Bead has recorded numerous innovators and is still releasing albums by musicians who have a similar vision and commitment to that of its founders, including violinist Philipp Wachsmann. A concert in mid-December 2024 at London’s Café Oto, celebrated the label’s five decades and Shadow Figures, the label’s 50th release, with sets by a trio of pianist Steve Beresford, keyboardist Martin Hackett and vocalist Phil Minton, plus a solo by cellist Hannah Marshall (though neither Marshall or Minton have recorded for Bead, the label hopes to rectify that omission soon).

Shadow Figures is the work of Spaces Unfolding (Neil Metcalfe-flute, Wachsmann-violin, Emil Karlsen drums and Pierre Alexandre Tremblay-electronics). Norwegian drummer-percussionist Karlsen is now also involved in Bead’s continued growth with Wachsmann, who as part as the band Chamberpot, was on Bead 2 and who has played on 18 other Bead releases. Wachsmann was, for most of the label’s existence, the person who organized and coordinated the sessions. Karlsen, a longtime UK resident, has now become the label’s administrator in addition to recording for it. Back in the ’70s, 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 other’s 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 Matthew Hutchinson remaining 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,” Wachsmann adds. “Much changed with the advent of CDs.” Besides other factors, with which all labels had to cope, there were suddenly the challenges that came with recessions, downloading and pirate copy entrepreneurs among other things. “So one had to adapt,” says Wachsmann. Part of this adaptation was that the violinist was nearing octogenarian status (he turned 80 last August), and so he 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 the Tern trio (with Hackett and Wachsmann), Karlsen relates that 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 the label 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 Karlsen’s first project with Bead as both performer and administrator. “The history of Bead continues to be a source of inspiration, not constraint,” Karlsen says. “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-catalog is a true privilege, and I’m proud to play a part in the next chapter of Bead’s history.” He adds that Wachsmann’s open and supportive attitude is something he not only admires, but an attribute that has played a crucial role in the sense of freedom he feels working with the label.

Over the years, Bead has released albums featuring cream of the crop improvisers from the UK, the European continent and beyond, including John Butcher, Wolfgang Fuchs, Evan Parker and Wolter Wierbos. One of its more recent recruits has been bass guitarist and electronics musician, Tremblay, the Switzerland-based Canadian who had been a UK resident for 20 years. Tremblay adds to the Bead story: “My duet: light.box, with (trumpeter) Alex Bonney was recording its third album, and Alex suggested this young gifted free drummer from Leeds: a certain Emil (Karlsen). I was blown away by his musicianship, and he then suggested that we might consider Bead as a label.” The label was such a great fit for the music, with its legacy and a new breadth of releases, it gave Tremblay the confidence that it was the best platform possible for the duo’s idiomatic improvised music. Earlier this year, Bead released light.box duo’s Eyre, featuring tenor saxophonist Tom Challenger. Says Tremblay, “There was both a catalog of fantastic works, which is always inspiring, and a horizon of fantastic new releases coming out. Recording was very slick and fresh, with high production values and a dynamic energy that would enable the music to be heard and be part of a living catalogue. In other words, it’s a community of music-making people I was proud to be associated with.” Now in its 51st year, Bead remains the boutique label it has been in the past, with no set annual release schedule or limit as to what it will put out. “We only release music when we feel we have something important to say,” says 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,” he explains. “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 of course change.” Summing up, Wachsmann reiterates Bead Records’ credo: “The respect for the commitment of participants remains—and it is not about such things as repertoire duplication.”