DMG NEWSLETTER FOR FRIDAY, APRIL THE 13th, 2007

NEW DISCS from ECM: DAVID TORN/TIM BERNE/CRAIG TABORN/TOM RAINEY, JOHN ABERCROMBIE/MARK FELDMAN/MARC JOHNSON/JOEY BARON, FRED ANDERSON & HAMID DRAKE! JOHN TCHICAI & HOEG ENSEMBLE, MARTIN TETREAULT,

ANDREA CENTAZZO & HENRY KAISER..& CENTAZZO w/ TOM CORA & GUNTER HAMPEL! DAVID MURRAY & JAZZ/BALTICA ENSEMBLE! MARCIN OLES/CHRIS SPEED/SIMON NABATOV!

AMANDA MONACO 4! OPSVIK & JENNINGS! KAN MIKAMI'S OWN LABEL! CHRISTIAN LINDBERG//BERIO/XENAKIS/TURNAGE! ULLMANN/MALABY/GRESS/HAYNES!...AND MUCH MORE!!




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Dear DMG Newsletter Subscriber

IT IS IMPORTANT THAT YOU READ THE MESSAGE THAT FOLLOWS OUR INTRODUCTION.

It is extremely important that as many of you as humanly possible attend the below-mentioned demonstration and press conference to be held this SATURDAY APRIL 14th at TONIC, 107 Norfolk Street (between Delancey and Rivington Sts.) BEGINNING AT 11 AM

We know that a great number of you on this list are not geographically located in NYC; indeed, many of you are in other countries. But your help can also be invaluable in embarrassing and exposing the blindness of those whose inaction politically and financially have led to threatening the future well-being of what is known the world throughout as uniquely American contemporary musical forms. Musical forms which have attracted immense attention the globe over, filling large arenas - yet they will remain stillborn, without the places neccessary to perform it here in New York so that it may ultimately may be readied for showing an expectant and vastly interested world audience.

Make no mistake - this is a grassroots struggle, which by its very nature cannot be controlled or called off. Each and every one of you, everywhere, can help to pass this along: contact your journalists, broadcasters, ... and, yes, government officials. Write letters. Write e-mails. Make phone calls. If you have the ear of someone important, bend it to thee now. Anything short of crime must be employed to pierce the bubble of an otherwise indifferent public media and attention.

It is time for our own city's administration to realize that this amazing metropolis is a destination for world travelers precisely because they arrive here to experience what is uniquely NYC culture, so many artists with so many starkly different and uniquely creative outputs - and NOT to enjoy the NY retail outlet of some national brand, or the local station of Clear Channel. It is time for this city's leaders to stop championing the incidental and maudlin over the unique and vital!

It is time for our own city's administration to realize what the true meaning of the phrase 'Quality Of Life' means to its CITIZENS - and not to the NON-VOTING princely minority from other states and countries who buy 3rd home apartments in newly-built condos as amusements.
- it should NOT be a catchphrase for exterminating the culture of its inhabitants as though it were really a euphemism for a can of RAID.

"It doesn't pay a free market to have a socio-eco conscious unless it is embarrassed or penalized into it" - Annette Peacock

IT is definitely time to start embarrassing our government via our 'free' press - and penalizing our elected officials by removing them from office, those who have created this cultural hell in our own beloved city, in our own neighborhoods which they would never deign to spend a minute in either way!

-- Bruce, Mannylunch, Mikey IQ, Chuck, & DJ Jon Hall at DMG

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NEW MUSIC CULTURAL CRISIS:

Musicians and Friends:
It is time to Claim what is our Right!

COME to TONIC
Saturday April 14th
FROM 11 a.m. until...
107 Norfolk Street
(between Delancey and Rivington)

WE MUST DEMAND:
AN ADEQUATE, AFFORDABLE SPACE, CENTRALLY LOCATED IN THE LES! TONIC IS BEING HANDED OVER TO THE REALTORS.

WE ARE MAKING AN APPEAL TO THE CITY, TO EITHER GIVE US THIS SPACE OR ONE COMPARABLE IN SIZE FOR THE USE OF AVANTJAZZ/NEW MUSIC/INDIE COMMUNITY.

WE CAN NOT LOSE SUCH AN IMPORTANT HOME! YOUR PRESENCE - YOUR MUSIC- YOUR VOICE - YOUR ART - IS ESSENTIAL.

SHOW THE CITY YOU CARE ABOUT WHAT IS HAPPENING.

DON'T LET REALTORS DECIDE NEW YORK CITY'S CULTURAL FATE!

STOP THE LOSS OF IMPORTANT VENUES, ONE BY ONE FORCED TO CLOSE BY RENT INCREASES AT AN ALARMING RATE.

STOP THE DESTRUCTION OF THE L.E.S. AS A CENTER OF DIVERSE & VARIED & UNIQUE CULTURE.

Tonic is scheduled to close on Friday, April 13th, 2007.

On Saturday April 14th, the day after, we will gather to fight the eviction of this crucial venue, the diminishment of our livelihoods, and the destruction of our culture by peacefully resisting. Please join us.

For the last nine years Tonic has been at the center of NYC experimental music. When the tsunami of rent increases and mal-development engulfing the LES forces its closure, NYC will have lost the last avant-jazz/indie/new music club in Manhattan with a capacity over 90. A vibrant community of musicians and fans worked for years to maintain Tonic -- raising over 100,000 dollars through benefit concerts and donations to pay off debt, fund repairs, buy a sound system, and keep the club open in devastating times such as following 9/11/01.

We're taking action now to dramatize the market failure of which Tonic's closing is a symptom, and to ask that the city save this home for us or provide a minimum 200 capacity, centrally located venue for experimental jazz, indie, and new music.

We want for ourselves and the communities around us the right to stay around long enough to enjoy the culture we've created, not harassment and a bum's rush into eviction the minute real estate decides we've made the neighborhood 'safe' and 'cultured' enough for them to cash in.

This is where we tell the landlords, developers, and the city: Enough. Genucht. Basta ya!

Coming on the heels of the closing of CBGB's, Sin-e, Fez, The Continental, and numerous other varied downtown venues, the closing of Tonic represents the shutting down of NYC's most important live music experimental jazz, indie, and new music scene.

This wave of live music space closings constitutes a market failure. The downsized or geographically marginal venues arising in the wake of the established club closings are not generating enough to maintain the economic viability of this scene. If there is not immediate and sufficient PUBLIC INTERVENTION, either in the form of limiting rents, or supplying alternate space and funding - or both - New York City will lose an essential part of its heritage, culture, and economy.

"My band plays some of the biggest festivals in Europe...Meanwhile there's only one club I can play in New York and it's about to close."
Steven Bernstein, Trumpet player and leader of Sex Mob and the Millennial Territory Orchestra (NY Times)

According to Patricia Nicholson Parker, organizer of the Vision Festival: "We have come together to say we deserve a space and in essence, we have already paid for our space. Musicians contribute to the economy of this city every day with world class performances. In the case of Tonic, many musicians came together and invested in the space. Through benefits and organizing they raised significant sums of money (100+ grand) for the venue, Tonic. The city needs to acknowledge this. It is good for the city and good for the artists and their audiences that the city make available a musician-friendly community club/space which holds up to 200 audience members. It is important that it not be in the outer boroughs but be centrally located in the LES where this serious alternative music has been birthed and where it can be easily accessed by audiences."

The Mostly Mozart festival is a wonderful experience for many new yorkers. However, it is neither an export nor the type of music representing New York City's musical cultural abroad. europeans can travel to Salzburg or Vienna to hear Mozart. New York's indigenous forms, however, are being presented every night of the year in cities throughout europe, asia and around the world. new music/experimental indie/jazz has support abroad completely disproportionate with its profile in nyc, as even a brief visit to http://www.europejazz.net/ , the european jazz network website will confirm. And tourists from abroad can and do travel to new york to hear it in its local setting.

But all this depends on its having a local setting: including a viable new indie and experimental music nightly club scene. its not only culturally barbarous, but also incredibly short sighted economic policy that the internationally and critically recognized value of this music should be without an adequate, well advertised, and easily accessible showcase in its place of birth: one funded well enough to be able to both nurture new talent and present established musicians.


PLEASE CLICK HERE TO SIGN THE FOLLOWING PETITION

CULTURAL CRISIS PETITION

We: musicians, performing artists, presenters, and fans and supporters of new and experimental musics, are petitioning the City of New York to
A) Recognize the cultural and economic importance of new and experimental musics,
B)Recognize the market failure and cultural crisis brought on by the rise in rents and other factors, the symptoms of which include the closing of important venues like CBGB's and Tonic, and
C) Act now to prevent the further destruction of New York City's historical legacy, cultural assets, and future as a center of creative music.

We make the following three demands:
1. That the city council adopt a general principle similar to European cultural policy: that the arts should not be left to the mercy of market forces: so that new and experimental musical culture, which is a unique asset -- and an essential part of New York's history, economy, and identity -- will not be left without support.
2. That the city recognize the damage done to its cultural heritage and status as a 'cultural capital' by the displacement of venues central to experimental musics, and act now to protect those remaining venues from displacement -- either by providing funding sufficient to allow them to withstand the explosion of commercial rents, or by legislation forcing landlords to restrict rents of culturally valuable venues, or both.
3. That New York City intervenes to preserve 107 Norfolk Street as an experimental music venue, or make available a comparably sized and centrally located space for that purpose.

PLEASE CLICK HERE TO SIGN THE ABOVE PETITION

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In addition...

OPEN LETTER to the Musicians, Staff, and Fans of Tonic - PLEASE READ!

When Tonic closes today [Friday 13th 2007], we will have a lost a great club, and the last avant jazz/indie/new music club in manhattan with a capacity of over 90, presenting music on a nightly basis.

Tonic's closing is not an isolated event: Coming on the heals of the closing of CBGB's, Sine, The Fez, the Continental, this wave of club closings, downsizings, and displacements to Brooklyn constitutes a market failure.

But we don't have to accept the diminishment of our musical culture. We're organizing a response, and we intend to fight for the viability of new music/ indie/experimental jazz traditionally based in the LES. We don't intend to let Tonic's eviction pass without making some serious noise.

We hope you'll join us at Tonic on Saturday 14th April starting at 11 AM. If you'd like to help out or be kept informed of upcoming events, please sign up for the mailing list by sending an email to:

indy_music_action-subscribe@lists.riseup.net

and if you just want to keep up to date with what we're planning, you should go to:

http://www.takeittothebridge.com

We are an ad hoc coalition of musicians and audience/supporters of new/ experimental jazz/indie music. We represent a racially and culturally diverse community united in our desire to preserve the cultural legacy and future viability of the progressive jazz, experimental rock, and new music historically based in the LES.

Thank you,
Marc Ribot


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AND NOW FOR THE NEW DISCS:


DAVID TORN w/ TIM BERNE/CRAIG TABORN/TOM RAINEY - Prezens (ECM 1877; Germany) Featuring David Torn on guitars & live-sampling, Tim Berne on alto sax, Craig Taborn on Fender Rhodes, Hammond B3, mellotron & bent circuits and Tom Rainey on drums. Wow! We've been hearing about this disc for the past year and it has been well worth the wait! An outstanding offering and return to grand form from one of the best electric jazz/rock guitarists on the planet. Torn has chosen an awesome trio of cohorts here who have been working together on various Tim Berne projects for the past half dozen years. Nice to hear Craig Taborn groovin' on a Hammond B3 on the opener, "AK", a slow, sly, hypnotic tune with some selective heavy, greasy guitar. Torn does a great job of subtly sampling and manipulation sounds and twisting them into odd shapes. On "Structural Functions of Prezens", Berne plays some somber, bluesy alto sax as Torn's Frippish sustained guitar and Taborn's mellotron create suspenseful scenery, eventually erupting when Rainey's powerful drums come in. Throughout this entire long (73-minute) disc, Torn and Taborn work together with a magic combination of sounds, weaving their way around one another and creating textures that sound like one collective spirit/force. It is difficult to tell who is doing what, not that it matters when the music is this strong. Destined to be one this years' best treasures. You can get a chance to see this great quartet in action next Tuesday, April 17th at Joe's Pub on Lafayette near Astor Pl. in NYC. - BLG
CD $15 [special limited time price - normally $17]


JOHN ABERCROMBIE With MARK FELDMAN/MARC JOHNSON/JOEY BARON - The Third Quartet (ECM 1993; USA) Featuring John Abercrombie on electric & acoustic guitars, Mark Feldman on violin, Marc Johnson on double-bass and Joey Baron on drums. This is the third release by Mr. Abercrombie's great all-star quartet and it is another dynamic disc. Abercrombie composed all but two of these pieces with fine versions of Ornette's "Round Trip" and Bill Evans' "Epilogue". Opening with "Banshee", the quartet is up and sailing, both Abercrombie on electric guitar and Feldman on violin, soar together superbly swirling in waves above the amazing rhythm team. Joey Baron's cymbal work is just incredible, sublime, spirited and magical all at once. "Number 9" is an elegant, touching song with Abercrombie on gentle electric guitar. Mark Feldman shines on the equally poignant piece, "Vingt Six", with one of the most touching solos we've heard from that Masada String Trio master. Manfred Eicher's superb production captures this particular quartet perfectly with an excellent balance between all four members, not such an easy thing with electric and acoustic instruments together. What I am most reminded of is Abercrombie's old quartet with Richie Beirach, which was one of those great quartets that showed another more restrained and more melodic side of Abercrombie's playing, yet they were ignored by the fusion fans. Ornette's "Round Trip" is a jubilant song and this version reminds me of the way Pat Metheny has covered Ornette tunes in the past, with a joyous bounce. Both Bill Evans' "Epilogue" and a song called "Elvin" are luscious and laid back with some exquisite playing from John on acoustic & electric and tasty work from Feldman's violin. This is most sublime and quietly spirited work from a wonderful quartet. - BLG
CD $17


FRED ANDERSON & HAMID DRAKE w/ JEFF PARKER/HARRISON BANKHEAD/JOSH ABRAMS - From The River To The Ocean (Thrill Jockey 183; USA) Following up on their acclaimed Thrill Jockey 2004 CD Back Together Again, Drake and Anderson set out to show just how much they'd grown, how beautifully their work together has evolved. Drafting an all-star band consisting of fellow-Chicagoans, the twosome entered John McEntire's Soma Studios and proceeded to record their most relaxed, perfectly balanced date yet. In a discography that has gone from a handful of rare LPs fifteen years ago to a staggering number of discs on various labels today, it may seem hyperbolic to call From the River to the Ocean Fred Anderson's greatest album yet, but the empathy and cohesiveness of the ensemble, coupled with the saxophonist's brilliant, searching improvisations, makes it a ringer.
CD $16


ANDREA CENTAZZO/HENRY KAISER - Infinity Squared (Ictus 152; Italy) Live July 14th 2006 Cafe Metropole, L. A. and featuring Henry Kaiser on electric guitars and Andrea Centazzo on acoustic and digital percussion and sampling. The last time that Bay Area guitar wiz, Henry Kaiser, play with Mr. Centazzo was in 1978, some 28 years ago. Henry & Andrea both claim in the liner notes that the same magic connection that he and Andrea had nearly three decades ago is still there, although their gear (instruments & equipment) has changed. Superbly recorded and perfectly balanced. Henry seems to be dipping into the Dead bag and sprinkling some magic substance on the proceedings. Andrea works his magic by adding layers subtle yet cosmic samples, voices and other effluvia, as well as the odd percussive sounds and rhythmic threads. It is often difficult to tell who is doing what since Andrea plays a variety of odd percussion, mysterious samples and Henry often alters the tone of his guitar into all sorts of mystical sounds. What amazes me is that even at 70-minutes long, the duo keeps things fascinating as they weave their way through varied scenery, telling short stories and taking us on a great journey. There are a number of unexpected twists and turns like that infectious funk groove on "White (House) Madness" and a fabulous blues segment. Somewhere between early Pink Floyd and Live Grateful Dead is a common thread of psychedelicized space music that this duo also dips into just at the right time. - BLG
CD $17

ANDREA CENTAZZO With TOM CORA/CARLO ACTIS DATO/GUNTER HAMPEL - The Recollection (Ictus 149; Italy) [Never before released in any form!] Andrea Centazzo is a legendary percussionist from Italy who works in both improvised and modern classical forms and runs the Ictus label. Mr. Centazzo came to the U.S. in the late seventies, performed live and recorded with a number of early Downtown players like John Zorn, Eugene Chadbourne & Tom Cora, as well as with a number of West Coast's best like ROVA, Vinny Golia and John Carter. The Ictus label has documented a wealth of improvisations that Mr. Centazzo has done for the past thirty years throughout the US and in his homeland of Italy. 'The Recollection' features three different groups from different times and places. There are two duos with Andrea, one with Tom Cora on cello from Woodstock in 1980 and another duo with Carlo Actis Dato on bass clarinet & saxes in Bologna, Italy in 1986. There are also three sextet pieces featuring Gunter Hampel (bass clarinet & vibes), Thomas Keyserling (flute), Frederik Rambold (trumpet), Bruno Tommaso (bass), Martin Bues (drums) and Andrea (percussion). This international sextet sounds wonderful doing that great Euro free thing, spacious and well recorded. Their second piece starts out quietly, but soon spirals out into some great focused free area. The unstoppable Carlo Actis Dato always adds an element of humor and here sounds great spinning crazy lines of baritone madness. On Carlo's second duet, he plays two saxes at once and gets some fine melodic harmonies with himself and Andrea's spirited percussion. What is great about this disc is that although it was recorded in three different places, with different personnel and at different times, the entire discs flows together just right showing that master improvisers can work their magic anywhere under the right conditions. The one duo with the late legendary cellist, Tom Cora, is 21+ minutes long and has Tom playing some superb, haunting melodies with Andrea's equally eerie percussion. Tom Cora was always one of the best of all the early downtown musicians and sounds wonderful here. A full duo disc by Tom and Andrea would certainly be a most welcome one. We have just a handful in stock, but we are in the process of getting many more of the Ictus titles as soon as we can. - BLG
CD $17


MARTIN TETREAULT - Snipettes! (AM 150; Canada) Reissue of what was previously released as a limited edition cassette, and perhaps one of Tetreault's best works! 'Snipettes!' consists of 22 short pieces and 1 long piece (31+ minutes), all recorded between 1984 and 1990. These pieces come from early in the music career of Quebecois turntablist, Martin Tetreault. At this point, Martin was using two turntables, one mostly featured an album by Eddie Osborne called "Baldwin Organ & Bongos", the other turntable he samples records on modern classical and musique concrete. He also used tape recorders and a shortwave radio. The recorded voices include Russian cosmonaut, Yuri Gagrin, William Shatner & Leonard Nimoy in their Star Tek voices, plus a variety of French actors. Records by Varese, Luc Ferrari and the NY Jazz Quartet are utilized. Each piece gets a partial page in the enclosed booklet explaining where the sample is taken from and sometimes there is more info then the sounds we hear on the CD. What I find most charming about this is that it has disc is that it sounds like an artifact from a long lost ear when folks just used turntables & records, before there were samplers. - BLG
CD $14


JOHN TCHICAI With KRISTIAN HOEG ENSEMBLE - Hymme Til Sofia: Musica Sacra Nova (Calibrated 12; Denmark) This is quite a departure from anything we have come to expect from the great Danish/Congolese sax legend John Tchicai, who has come quite a long way from his work with the New York Jazz Quartet, free/jazz giants from the mid-sixties on the ESP label. Although the music to this piece, "Hymn to Sophia" was written by Mr. Tchicai, the concept and texts was written by Kristain Hoeg, an open-minded vicar from a church in Copenhagen. The texts were inspired by excerpts from the Bible and Old Testament. The music was performed by a choir, a small orchestra (percussion, marimba, violin, double-bass and two reed players) featuring John Tchicai on soprano and bass clarinet. The words are sung in Danish and translated into English for the enclosed booklet. I can't say that I've ever heard anything like this, but this choir is often lovely and the music magical in its own odd way. The CD ends with five pieces recorded at a sort of jam session and referred to as Musica Sacra Nova. It is a trio with Tchicai on tenor sax & percussion, Frederik Magle on organ and Peter Ole Jorgensen on percussion. It was recorded in a church, moves freely between free improv and secular music simultaneously. It doesn't really sound like anything else I've heard before, but it does work and evoke some strange spirits. John Tchicai continues to surprise with excursion into unknown worlds. - BLG
CD $16


AMANDA MONACO 4 - Intention (Innova 667; USA) Featuring Amanda on guitar & compositions, Jason Gillenwater on tenor sax, Fraser Hollins on acoustic bass and Jeff Davis on drums. For her second album (and Innova debut), New York City guitarist Amanda Monaco presents jazz that is stylistically eclectic yet compositionally whole. The shifts in feel and mood are dramatic - a Middle Eastern ballad morphs into a free-ish atonal romp followed by a hip hop-flavored tune in 5/4 for example - but the playing is sincere and spirited, inspired by the album's freedom, not cowed by it. The band has been together for over five years and has reached that enviable point of instantaneous reaction buoyed by constant surprise. Many composers either stick to what works or write about what they don't know; Monaco avoids both pitfalls. We like the road paved by this Intention. Amanda Monaco has studied with Ted Dunbar, Gene Bertoncini, and Wayne Krantz, all of whom are big influences on both her compositions and playing. Add to that the stylings of Jim Hall and John McLaughlin's "Extrapolation", and you get the idea. Time Out/New York calls her "a serious jazzbo with impressive chops and a penchant for adventure."
CD $14


OOIOO [YOSHIMI P-WE] - Eye Remix [CD-EP] (Thrill Jockey 171; USA) Hot on the heels of their latest record of hard-hitting polyrhythmic skree, OOIOO have unleashed fellow sonic cohort EYE from Boredoms to dismember and reassemble two of their songs. UMO and UMA get the remix treatment here, resulting in two long tracks that reinvent Yoshimi's jet-propelled psychedelic pep rallies as bass-driven dancefloor slammers. As Eye has shown us on recent Boredoms records, he has an uncanny knack for harnessing a groove and blowing it up to a previously unknown scale, and thats exactly what he does here. Available on CDEP and 12" vinyl single, both formats feature artwork by EYE. The CDEP comes in a full color digipak with deluxe spot-matte finishing and obi strip. The vinyl single comes in a full color sleeve with the same artwork and printing, and is strictly limited to 1,000 copies worldwide.
CD $10

OOIOO - OOHOHOO: Music Videos 1999-2007 [DVD] (Felicity 67/Shock City 11; Japan) This DVD features all of OOIOO's music videos. This is an import from Japan and is an NTSC Region 0 [all region]
DVD $28


JEFF ARNAL/DIETRICH EICHMANN - Live In Hamburg (BrokenResearch 17; USA) Jeff is a local drums and percussion wiz; Dietrich is from Old Berlin and studied with leading Euro avant/jazz piano great Alex von Schlippenbach , as well as composer Wolfgang Rihm, so he works with both improvising and composing and the combination of the two.
LP only $12

TRIPWIRE [LARS SCHERZBERG/JOHN HUGHES/JEFF ARNAL] - Looking In My Ear (Creative Sources 63; EEC) [special ltd time price!] Featuring Lars Scherzberg on alto sax, John Hughes on double bass and Jeff Arnal on drums & percussion.
Recorded November 13 & 14, 2004. "Trio interplay, this is a rather active group for Creative Sources, and one of the few named as a band rather than as a set of of individual improvisers. Tripwire's previous release on the Generate label documented their 2001 live and studio recording in Germany. Here the trio of American bassist Hughes and drummer Arnal with German saxophonist Scherzberg perform 10 tracks at the Phenomorphonic Festival in Hamburg, Germany. The pieces are a combination of active and atmospheric, a dense and creative set fueled by Arnal's impressive drumming and percussion, which appears to include an odd assortment of electronic percussive elements. Scherzberg is restrained with a distinctive and buzzy tone, using extended techniques in unusual dialog. Hughes alternates between plucking and bowing, an expressive and rich language that complements the action. A great mixture of reflective discussion and flurries of activity, dynamic, interesting and encompassing." - Squidco
CD $12


EIVIND OPSVIK & AARON JENNINGS - Commuter Anthems (Rune Grammofon 2062; Norway) This is the second full-length release from Eivind Opsvik (bass, drums, percussion, piano, organ, Theremin, vocals, software) and Aaron Jennings (guitars, lap steel, banjo, concertina, vocals, software), and their first on Rune Grammofon. Opsvik is from Oslo, Norway, but has lived in New York since 1998. He started out playing the drums at a very early age, but gradually switched to bass in his teens while also spending time experimenting with a 4-track tape recorder. In New York he now has his own band Eivind Opsvik Overseas and plays with a number of other experimental groups. Jennings is a guitarist and software enthusiast from Tulsa, Oklahoma, who moved to New York after college, where he began working in a variety of musical projects. Over the course of his career, Aaron has concentrated on free jazz and electronica, but these days he's mostly considered a musician that works somewhere in the realm of experimental pop music. As with much of the incomparable Rune Grammofon catalog, Commuter Anthems is difficult to categorize. Both players come from a jazz background, but that's only a small part of the picture. Folk and country influences provide the album with a rural, almost relaxed feeling as guitars, double bass, concertina, pump organ, lap steel, banjo, and various recording techniques and software manipulations create a filmatic musical story being played by a dreamy experimental pop orchestra.
CD $16


MUSICWORKS: EXPLORATIONS IN SOUND - Issue 97/Spring 2007 [Magazine + CD] (Canada) A most impressive Toronto-based new music digest with excellent, well written and provocative articles on James Tenney (from three of his fellow composers), Peter Mettler (experimental filmmaker who has collaborated w/ Fred Frith), contemporary percussionist Rick Sacks, Finnbogi Petursson (Icelandic installation artist), O+A (sound art duo), Sonic Geography of Bone Lake in Ontario and the Yukon. Plus well-written reviews of numerous New Music events, as well as interesting reviews of avant/jazz and New Music recordings. Also includes a fine compilation CD of the featured composers & musicians with an extraordinary duo featuring Peter Mettler and Fred Frith.
65-page Magazine & CD $12


MATT FERRARO With BOB STANDER - Up 'Til Now (self released; USA) Matt Ferraro soprano sax and percussion; Bob Stander guitar and bass. This is what used to be referred to as a new age disc, from what I've been told. As Bob plays calm, spacious fretless bass, Matt plays melodic, tranquil soprano sax and exotic percussion. On "Dream Dance", the vibe is a middle-eastern one with some snake-charming soprano sax and a fine groove of the hand percussion. "On the Money" features Matt's soft, yet soulful soprano while Bob plays somber space guitar in soft swirls. Bob eventually switches to a darker, Fripp-like sustained tone while Matt begins to erupt with some more aggressive lines. The more quaint and lyrical side of Matt's soprano comes through for the last half of this long piece. Bob's somewhat more ominous fretless bass holds down the bottom end of "Friday Evening", while Matt pushed his sly soprano though some more intense twists and turns. "Levitation" closes this dream-like work with shimmering percussion, spacey guitar and spirited soprano work. The soprano sax is bathed in ECM-like echo while the guitar weaves nimbly around the sax. When the percussionist gets into a good groove, you don't want it to stop. The soprano often seems to dance well upon the sly rhythm and somber waves of guitar swirls. - Guest review by Ecurb Eel Retnallag
CD $12




NEW FROM 'NOT TWO' & OTHER AFFILIATED POLISH JAZZ LABELS:

BASEMENT RESEARCH [GEBHARD ULLMANN/TONY MALABY/DREW GRESS/PHIL HAYNES] - Basement Research Live In Munster (Not Two 773; EEC) Featuring Gebhard Ullmann on tenor & soprano saxes & bass clarinet, Tony Malaby on tenor sax, Drew Gress on bass and Phil Haynes on drums. German reeds wiz and multi-bandleader, Gebhard Ullmann, is a restless spirit as he leads & co-leads various bands at the same time, from Conference Call to a Clarinet Trio to his big band and various projects with Joe Fonda. This is the second disc by Basement Research, the first featured Ellery Eskelin instead of Tony Malaby and was on Soul Note. Tony Malaby is the other ubiquitous saxist here as he is also on dozens of discs over the past decade. "Blaues Lied" is a long, sly, slow-moving bluesish piece with both tenor saxists playing righteous, laid back solos, so fine. Both saxists sound great together, swaggering and bending their notes just right. "Basement Research" is a short intro and features eerie bowed cymbals and soft, simmering saxes. "Kreuzberg Park East" shifts between a quick, intricate, sort of spastic theme and slower duo sections for some strong bass clarinet and tenor interplay. "Farbiges Lied" also features two saxes, soprano and tenor, playing their tight, difficult parts together while the rest of the quartet back them just right with an inspired bass solo from Drew Gress featured. One of the things that make this disc and quartet so special is the often warm and well-matched playing of both saxists. The other great quality is the consistently strong composing and spirited playing throughout. Well done. - BLG
CD $17

DAVID MURRAY DIRECTS THE JAZZBALTIC ENSEMBLE [w/ TOMASZ STANKO/HOWARD JOHNSON/SIMON NABATOV/ANDREAS VILLERS] - Live At The Kiel Opera, October 1992 (Gowi 5; EEC) This is a long and winding effort composed and directed by the great David Murray with is amazing 15-piece international ensemble featuring some of Europe's Europe's best: Vladimir Chekasin (from the Ganelin Trio) on alto sax, Tomasz Stanko & Thomas Herberer (from ICP Orchestra) on trumpets, Howard Johnson on tuba, Simon Nabatov on piano, Andreas Willers on guitar and Anders Jormin on bass. The piece is called 'Baltic Suite / Extensive Fragments". Each year the Baltic Jazz Festival utilizes another leader and composer to direct their ensemble and in 1992, it was David Murray. The music itself is rich in detail and varied moods with many inspired solos from David Murray on bass clarinet, Tomasz Stanko on trumpet, Vladimir Chekasin on alto sax and Simon Nabatov on piano, although most of the members get a chance to solo. This doesn't sound quite like anything I've ever heard from Mr. Murray, who has had a few big band discs. The suite includes some older pieces by Mr. Murray, some of which are familiar. Surprise, surprise, there few free blowing sections here, everything is often tightly wound and the band often swings hard. There are way too many great solos to list, although a few do really stand out: Chekasin, Jens Winther on trumpet, Simon Nabatov on piano and a number of inspired solos from David Murray. Considering how long this work is at 72 minutes, it is consistently spirited and well directed throughout. Do not let this buried treasure be ignored. - BLG
CD $17

JACEK KOCHAN With ADAM SIMMONS/FRANCOIS CORNELOUP/FRANZ HAUTZINGER/UCHIHASHI KAZUHISA - Yearning (Gowi 62; EEC) Until very recently, I had not heard of Polish drummer Jacek Kochan, which seems odd since appears to have some half dozen plus discs on the Gowi label, each with different personnel and a different approach. This particular sextet CD features an international ensemble with each member from a different place. This group features Adam Simmons (from Bucketrider in Australia) on soprano & tenor saxes, Francois Corneloup (found on two recent trio discs on Circum Girum from France) on bari sax, Franz Hautzinger (solo, duo w/ Derek Bailey & trio Keith Rowe & Axel Dorner) on quartertone trumpet, Uchihashi Kazuhisa (from Altered States & numerous solo & duo efforts w/ Shelley Hirsch from Japan) on guitar & daxophone, Slawek Jaskulke on Fender Rhodes e. piano and Jacek Kochan on drums, bass, samples & compositions. Quite an impressive crew considering they hadn't worked together before this date.
"Contingency Plan" has an electric Miles-like groove with some fine electric piano, funky bass, slamming drums and twisted trumpet from Hautzinger. Jacek does a good job setting up great grooves on drums and with bass samples, writing tight pieces for the saxes and trumpets to sail powerfully on top. There is amazing playing and inter play between the trumpet, Simmon's soprano and Corneloup's bari sax. Slawek's electric piano is also inspired and often spinning quickly underneath, reminding me of early Chick Corea electric piano. The group occasion break into some ultra tight and quick fusion episodes but not for very long. I like the way Jacek uses his sampler to selectively insert and twist certain sounds in the right places, setting the mood with oft-eerie sounds. Although many of these tunes feature a central groove, each of the horn gets a chance to stretch out at times and Jacek always writes strong parts for the horns and electric piano to play. Time to check out some of Mr. Kochan's other discs that feature the likes of John Abercrombie and Kenny Wheeler. - BLG
CD $17

JACEK KOCHAN With JOHN ABERCROMBIE - Standard Transmission (Gowi 41; EEC) Featuring John Abercrombie or guitar, Pat LaBarbera on tenor & soprano sax, Jim Vivian on bass and Jacek Kochan on drums.
CD $17

MARCIN OLES With CHRIS SPEED/SIMON NABATOV/BARTLOMIEJ BRAT OLES - Walk Songs (Fenommedia 06-004; EEC) This is the second disc by Polish bassist Marcin Oles as a leader and it features a fine cast with Chris Speed on tenor sax, Simon Nabatov on piano, Marcin Oles on contrabass and (all but two) compositions and his brother Barttomiej Brat Oles on drums. The Oles brothers have become perhaps the best new rhythm section to emerge from Poland over the past few years and can be heard working with David Murray, Ken Vandermark, Herb Robertson, Erik Friedlander and Theo Jorgensmann. They seem to choose some of the best musicians they can find for each project. For this quartet, Marcin has again chosen some giants with the ever in-demand Chris Speed (Pachora, Dave Douglas, Bloodcount, solo projects) and the equally impressive pianist Simon Nabatov, who has upwards of ten discs as a leader on the Leo and Hat labels.
"Evil's Eyes" opens with a swell slightly bent Monkish melody and a spirited two handed piano solo from Simon, which seems to move in two directions at once. Chris Speed takes the first of many solos with that warm, sumptuous tone of his that often recalls Dexter Gordon. If I didn't know better, I would think that this is some long lost Blue Note from the late sixties with Herbie Hancock on piano. Marcin writes consistently memorable melodies while both Chris and Simon each take rich solos, but never going too far out. Nabatov can be astonishing at times with the rhythm team pushing him through hoops of fire. Chris Speed begins "In Progress" with an exquisite unaccompanied solo that quite sublime and then Simon also takes a most elegant piano solo. I love the way Marcin's bass always rings true and provides the melodic center for each piece. "Wise Guy" has that dreamy, third stream sort of vibe that is certain help you relax and float away. "Q Square" has an amazingly intricate theme opening theme, yet slows down to a spacious mid-section. This is quite a departure from anything we've heard previously from Chris Speed or Simon Nabatov and ranks amongst one this year's most refined gems. - BLG
CD $17

NORTH QUARTET [PETER BROTZMANN/MIKOLAJ TRZASKA/PETER FRIIS NIELSEN/PEETER UUSKYLA] - Malamute (Kilogram 11; EEC) Recorded on April 2nd of 2005 at the Zak Club in Gdansk, Poland.
CD $17



A NEW KAN MIKAMI ON PSF..AND THE FIVE RELEASES ON HIS OWN LABEL!!!

KAN MIKAMI - Barking Practice///White Lines (PSF 8026; Japan) "Two new heavy-hitting blasts from Japan's indefatigable master of the psychedelic, surrealist blues. After a recent European tour and an hour-long special on Japanese television, the wonderfully titled Barking Practice /// White Lines finds Kan Mikami back in the studio in one-take guitar and vocal mode. There's a depth of song spirit on display here that beggars belief -- the guitar bites in all the right place, and Mikami's voice is tuned to a new pitch of hard-won soulfulness, in turns bristle-harsh, lush, fractured, deep as all hell. Staggering work. Includes English lyrics and some fabulously atmospheric photos by Paolo Patrizi."
CD $20

KAN MIKAMI - Kanryu: Debut Live in Korea 2006 (Mikami 005; Japan) "Kanryu: Debut Live in Korea 2006 sees Mikami reunited with the masterful Korean komungo player and vocalist Shin Heyon, who played together with him on the Fukon group release. Eight years on that epochal cross-cultural meeting, Mikami journeyed to Seoul for two nights of concerts. Shin's stringed komungo brings a thick and knotted presence to the overall sound, while Seoul resident Japanese musician Sato Yukie tosses in swirling metallic blats of electronics and guitar. There's a gorgeous languorous, slow-motion flow to the proceedings as Mikami revisits classics from the full span of his back catalog, including a spine-tingling version of 'Kid with a Gun,' his once-banned ode to teen-murderer-turned-death-row poet Nagayama Norio. Limited edition of 1000 in gatefold digipack."
CD $20

KAN MIKAMI - Hoi 1973-1992 (Mikami Komuten 04; Japan) "Hoi (Addendum) is another long-rumoured record that at last sees the light of day. It was originally scheduled to have been released by Mikami's fanclub as a follow-up to the 19 years 2 months 16th night DLP, but the project was shelved at the last minute. Now, ten years down the line, the world finally gets to hear this wonderful trawl through Mikami's deepest archives. Eighteen tracks, all previously unreleased, comprising live versions, outtakes and much more. Special card jacket, limited edition of 1000."
CD $20

KAN MIKAMI - Live In Kouch University 1972 (Mikami Komuten 03; Japan) A long-circulated set of intense early recordings from Mikami. "Kan Mikami's 1972 Kochi University Live has long circulated in fan circles and is whispered to be one of the most powerful dates the bald colossus ever played. Captured live at Kochi University in front of a crowd of hyped-up wannabe student revolutionaries, Mikami breathes raging white-heat into a set of lurid, rabble-rousing classics. Stunning cover painting by Kazuki Tomokawa. Special card jacket, limited edition of 1000."
CD $20

KAN MIKAMI - 19 Years 2 Months 16th Night [2 CD set] (Mikami Komuten 01/02; Japan) "A monster of a reissue -- by a long way the rarest item in Mikami's discography, a fanclub-only DLP released in an edition of 100. These are the very earliest recordings by surrealist folk legend Mikami, captured on tape in 1970 at the legendary Shibuya underground club and hangout, Station '70. The club used to host regular sessions by free-jazz heroes like Motoharu Yoshizawa and Kaoru Abe, while the cream of the city's avant-garde community rubbed shoulders with Japanese Red Army terrorists and Yukio Mishima's private army. Thrust into this ferment comes a nineteen year-old police academy dropout from the far north of Japan, armed with nothing but his guitar and a satchel full of coruscating, carnal songs of anger, lust and hate. This reissue isn't going to stick around for long either -- an edition of 777 copies, in a special card digipack." -- Alan Cummings.
CD $40



CHRISTIAN LINDBERG//BERIO/XENAKIS/TURNAGE - Dedicated To Christian Lindberg [H-SACD] (BIS 1638; EEC) "Starting with the disc The Virtuoso Trombone recorded in 1983, Christian Lindberg has been the main protagonist of some 35 discs on the BIS label. But the present disc is surely destined to count as one of the most important. It brings together three of more than 80 concertos that have been dedicated to Christian Lindberg during his unparalleled career. One of the first of these was actually 'Troorkh' (the title derived from trombone + orkhestra) by Xenakis, the result of an encounter in 1985 between the budding trombone soloist and the firmly established and highly regarded composer. Lindberg asked Xenakis for a concerto and got an emphatic 'No' for an answer -- only to receive the score 6 years later. (In order to perform the demanding work, Lindberg then had to undertake a rigorous stamina-building program lasting two years!) Berio's 'Solo' was the result of a collaboration between the composer and Lindberg which included a role especially written for Lindberg in the opera 'Cronaca del Luogo.' 'Solo' and 'Troorkh' are two of the works that Christian Lindberg has performed most frequently all over the world, but this is the first time he commits his interpretations of them to disc. The last piece on the program is 'Yet Another Set To' by Mark-Anthony Turnage, a work that fully exploits Lindberg's unique talents, requiring both virtuoso precision, the freedom of jazz delivery and a range of sounds from extrovert projection to intimate lyricism. Written in Turnage's highly personal and yet accessible idiom it is a work which Lindberg himself describes as 'one of the most electrifying works I have played'. Lindberg is partnered by the Oslo Philharmonic in fine shape, conducted by Peter Rundel, who collaborated with Lindberg in the first performance of the revised version of Turnage's concerto performed here." - C Lindberg/trombone
[this is a Hybrid SACD (H-SACD) which means it is playable on ordinary CD players as well]
CD $18


KRZYSZTOF PENDERECKI - Clarinet Concerto/Flute Concerto/Agnus Dei (Dux 559; EEC) Sinfonia Varsovia conducted by Penderecki
CD $17


VINCENT PERSICHETTI//LYDIAN STRING QUARTET - The Four String Quartets (Centaur 2833; USA) Since its formation in 1980, the Lydian String Quartet has inspired critical acclaim worldwide. The Quartets special flair for contemporary music as well as its interpretive mastery of standard repertoire has won the ensemble prizes at international competitions in Canada, France, England and in New York (the prestigious Naumburg Award for Chamber Music). Winners of a Chamber Music America/ASCAP Award for Adventurous Programming, the quartet has just received an Aaron Copland Foundation grant to record the four string quartets of Vincent Persichetti.
CD $16


LARRY AUSTIN - Ottuplo! The Eight Decade / CDCM Computer Music Series Volume 35 (Centaur 2830; USA) Adagio: Convolutions on a Theme by Mozart for clarinet and computer (2004-05) Roma Due, electronic music on tape (1965, rev. 1997); Tableaux: Convolutions on a Theme for alto saxophone & octophonic computer (2003-04) Art is a self-alteraton is Cage is... for solo contrabass and fifteen recorded contrabasses on tape (1982-83, rev. 1993) Threnos for bass clarinet, real and virtual, in memory of the victims of September 11, 2001 (2001-02) Les Flutes de Pan: Hommage ˆ Debussy for flute and octophonic computer music (2005-06) The Smith Quartet; F. Gerard Errante, clarinet; Stephen Duke, alto saxophone; Robert Black, contrabass; Michael Lowenstern, bass clarinet; Jacquiline Martelle, flute (piccolo) Larry Austin (b. 1930, Oklahoma), composer, was educated in Texas and California, studying with Canadian composer Violet Archer (University of North Texas), French composer Darius Milhaud (Mills College), and American composer Andrew Imbrie (University of California-Berkeley). He also enjoyed extended associations in California in the 'sixties with composers John Cage, Karlheinz Stockhausen and David Tudor.
CD $16


ROBERTO FABBRICIANI - Glaciers in Extinction (Col Legno 20254; Austria) "The famous Italian flautist and, with his hyperbass flute, much sought-after interpreter of new music has himself composed powerful and affecting music. Harmonics and the deepest staccato set the stage for a magical, secret world of sound, which we are reluctant to leave."
CD $20


FELIX WERDER - The Tempest -- Electronic Music (Pogus 21044; USA) "Felix Werder was born in Berlin in 1922. Possessed of an omnivorous musical curiosity, over the course of his career, he has explored many of the issues of concern in contemporary music, from serialism and aleatoric techniques, through opera, improvisation, graphic notation and electronics, always through the lens of his intense expressionist aesthetic. Werder was introduced to the use of electronics in the late 1960s by his friend Bruce Clarke, whose Jingle Workshop was the first commercial electronic music studio in Australia. He shortly thereafter acquired an EMS VCS3 analog synthesizer, and incorporated electronics into his performances. His group gave some of the earliest live electronic performances in Australia, two of which, 'Banker' and 'Oscussion,' are recorded on this CD. In 1974, he worked with the EMS Synthi 100, a large digitally-controlled analog synthesizer in the studio at the University of Melbourne, where he produced his electronic masterpiece, 'The Tempest' -- After Giorgione's 'Tempesta.' By the late 1970s, however, he had largely stopped working with electronics, as he devoted himself more and more to composing chamber works for his ensemble (and others) to perform. In the early '90s, with my urging and assistance, he made one foray into the world of computer music, with the contrapuntal fantasy 'V/Line.' He has not returned to the medium since then. His electronic work, then, forms a small but unique part of his output." --Warren Burt
CD $12



GIA DINH "BA PHO": Que Huong (Homeland) (Dunya Records 28107; Italy) "Marking an important new addition to the part of our catalog focusing on sounds from the Far East is a CD dedicated to the music of Vietnam, a country that though having lived for centuries under the yoke of colonialism, has managed not only to preserve, but to continually enrich its musical heritage, creatively incorporating foreign influences. Instruments employed by the ensemble include the over 3000 year-old dan da, a kind of stone xylophone of which there are fewer than twenty surviving examples, to the dan rung (bamboo xylophone); from the giay (a 36-string zither) to the bau (a one string instrument requiring a special playing technique) to the trong ( multi-drum membraphone) to the dan moi (a type of metal idiophone); from the loong no (bamboo aerophone) to the huan (vertical flute)."
CD $21

GNAWA BAMBARA - Sidi Mimoun (Dunya Records 28116; Italy) "Partly recorded in the studio and partly a live recording, Sidi Mimoun features a number of tracks chosen from Gnawa Bambara's vast repertoire and provides an opportunity for an authentic musical encounter with one of the most interesting and culturally and spiritually fertile North African traditions. Hailing from Casablanca, the Gnawa Bambara is one of the most important and esteemed brotherhoods in Morocco. Descended from black slaves from sub-Saharan West African countries such as Mauritania, Senegal, Mali and Guinea, they continue to perpetuate an ancient, deeply rooted tradition born from the union of their ancestral practices with Islam's most esoteric branch, Sufism. Founded on music and dance their rites and liturgy have what might be called therapeutic aims, serving to reintegrate and rebalance the human body's fundamental energies while at the same time reconciling and allying them with the spirits of possession through ascension to a plane of mystical ecstasy!"
CD $21



RESTOCKED DISCS FROM NOT TWO & ASSOCIATED LABELS:

ANTHONY BRAXTON/CHRIS DAHLGREN - ABCD (Not Two 768; EEC) Featuring Anthony Braxton on sopranino, soprano, Eb, F-alto, baritone & bass saxes & Bb clarinet and Chris Dahlgren on double bass, preparations & electronics. Both Mr. Braxton and Mr. Dahlgren contribute 4 pieces each, although what we really get is four versions of Braxton's "No. 316" and four versions of Dahlgren's "Penumbra for Woodwind(s) & Bass(es)". Mr. Braxton's latest compositional development, after his controversial "Ghost Trance" series, is called "Falling Rivers Musics" and it is included here as a part of all four versions of "No. 316". This disc was superbly recorded by Jon Rosenberg at Wesleyan University in CT., where Mr. Braxton has taught for the past decade. Closely miked and perfectly balanced so that we here each sound just right. Mr. Braxton shifts to another reed every few minutes as Mr. Dahlgren concentrates on mostly acoustic bass with occasional preparation: distortion and assorted electronics and/or manipulations. That bass sax has a sound so deep in its tone, it is both scary and hilarious simultaneously. There is a constant dialogue going on here, with both players matching wits and textures, tossing ideas back and forth and weaving some marvelous sounds together. Dahlgren's "Penumbra 4 + 2" version, has two reeds and two basses double tracked, giving the piece a slightly bent quartet vibe with some strange harmonies. on "No. 316 - Version b", Braxton concentrates on his own unique sound or distinctive vocabulary of reed sounds. He bends and twists notes in his own way, continuing to explore new textures, sometimes he began to do some forty years ago with discs like "For Alto", a pioneering double album of solo alto sax explorations. This duo continues to blur the lines between "new music" (or modern classical) and avant-jazz. For many of us, it no longer matters if it "swings", what does matter is if this music provides food for thought, a lifeline from the everyday bullshit that holds us all down. It does more than that, it provides us with hope, due to the many possibilities it uncovers along the way. - BLG
CD $17

3D [CHRISTOPHER DELL/CHRIS DAHLGREN/MAURICE DE MARTIN] - ...Actually It's Better Like This... (Not Two 756; EEC)
CD $17

DANIEL CARTER/SHANIR EZRA BLUMENKRANZ/KEVIN ZUBEK - Chinatown (Not Two 753; EEC) Featuring Daniel on tenor & soprano saxes, trumpet, flute & clarinet; Shanir on bass & oud and Kevin on drums & percussion. You just gotta love the unstoppable Daniel Carter for constant resourcefulness by playing more inspired and diverse musicians no matter what their background or genre is. Here Daniel goes head-to-head with one of the best young rhythm teams in NY - Shanir & Kevin from the great Israeli avant jazz trio - Satlah and also the Lemon juice Quartet. Shanir Blumenkranz plays both acoustic and electric basses (and oud!) and has become one of the most in-demand local heroes over the past five years, playing with giants like Anthony Braxton, John Zorn, Jon Madof, Louie Belogenis and more. This super studio date was recorded righteously by former Laswell engineer Martin Bisi and he has done a great job of capturing this splendid, spiritual, free-jazz trio in their perfectly balanced glory. There are some fine somber moments when Shanir bows his bass reflectively as Daniel's tenor drifts over Kevin's nimble percussion. "Sun Dou" opens with Shanir's eloquent and exotic oud playing, as Daniel's melancholy tenor once again floats dreamily on top. As with many projects that Daniel is involved with, there is no leader here, often the bass and occasionally the drums will start a piece and set the pace, as all three players listen closely, respond and consistently connect. This hour-long set is wonderfully inspired and free-flowing throughout. We look forward to hearing this great trio at the Sunday Night Free-Style Series at CB's Lounge in the not-to-distant future.
CD $17

THE COSMOSAMATICS [SONNY SIMMONS/MICHAEL MARCUS/MASA KAMAGUCHI/JAY ROSEN] - Reeds & Birds (Not Two 757; EEC) This version of The great Cosmosamatics features Sonny Simmons on alto sax, English horn & vocals, Michael Marcus on tenor sax, saxello & b-flat clarinet and Clifford Barbaro on drums for all but the last track in which they use Jay Rosen on drums. Legendary west coast sax great Sonny Simmons never fails to deliver the goods and with the marvelous Cosmosamatics, which features another former west coast sax hero Michael Michael, they both continue to push each other to further flights and heights with each tour and release. This is the sixth Cosmosamatics disc in less than five years and each has been an engaging gem. This is the trio version of this band, with no bassist. 'Reeds & Birds' features four songs by Bird (Charlie Parker), one by the band, one by Sonny and one by Michael. Both Sonny and Michael do a fine job of playing those unpopular horns like the English horn (bassoon-like double reed for Sonny) and the saxello (rare reed in between the size of a soprano and an alto sax & utilized by Elton Dean). What I dig about this Cosmosamatics offering is that it is more laid back than usual and still sounds very inspired. Sonny's sublime and exotic double reed (English horn) sounds as hypnotic as a snake charmers' musette, even when they are playing a ballad medley of "Autumn in New York" and "In a Sentimental Mood". The epic-length closing tune utilizes the talents of CIMP-house drummer Jay Rosen and was recorded live in Prague. Jay plays most impressively spinning quickly as both saxist soar together around him. Long solos and sax duos make this an event-filled delight. This and every Cosmosamatics release has been a true treasure. - BLG
CD $17

THE COSMOSAMATICS [SONNY SIMMONS/MICHAEL MARCUS/MASA KAMAGUCHI/JAY ROSEN] - Zetrons (Not Two 764; EEC) Featuring Sonny Simmons on alto sax & English horn, Michael Marcus on tenor sax & B-flat clarinet, Masa Kamaguchi on acoustic bass and Jay Rosen on drums. This is the 7th disc from the fabulous Cosmosamatics in less than five years and again, they deliver the gold. This was recorded live and in the studio while on tour at three locations in Poland, (The Bimhuis) Amsterdam and in Vienna in November of 2004. All of the pieces were composed by co-leaders Michael Marcus (6 pieces) or Sonny Simmons (2 pieces), with one cover by Eric Dolphy, someone who Sonny worked with in the early sixties. On the sublime opening piece, "Crossroads Out!", Sonny plays that double reed, the English horn, while Michael plays he B-flat clarinet. It has a wonderful, middle-eastern sort-of theme and both Sonny and Michael blend their sound perfect and take superb solos each. The rhythm team sounds just right as well. Both reeds players have written strong pieces that show off their playing, writing and combination of saxes, English horn or clarinet supremely. Although there is big different in age between Sonny and Michael, both are master players who love to toss ideas back and forth, you can tell they both respect each other's prowess at the horn. Eric Dolphy's sublime "Serene" is lovely ballad with a great Dolpy-esque solo by Mr. Simmons. Hats off to Michael Marcus, who wrote 6 of the 8 tunes here and produced this fine gem. The Cosmosamatics are about to embark yet another European tour as I type this up. You best not miss them, if you have the opportunity to do so. For all of us other hipsters, you can grab this gem for your own. - BLG
CD $17

HASIDIC NEW WAVE [FRANK LONDON/GREG WALL] - Live In Cracow (Not Two 706; EEC) Recorded live 6/30/98 with the killer lineup of London, Wall, Dave Fiuczynski, Fima Ephron, and Aaron Alexander! Really hard to come by - grab it now!
CD $17

MICHAEL MARCUS With DANIEL LEVIN/FRANCOIS GRILLOT - The Magic Door (Not Two 777; EEC) Featuring Michael Marcus on B-flat clarinet, Francois Grillot on bass and Jay Rosen on drums plus Daniel Levin on cello, Rashaan Carter & Eric Revis on bass & Newman Taylor-Baker on drums.
CD $17

SIRONE's CONCORD [NORRIS JONES] - Concord (Not Two 751; EEC) Sirone double bass, Ben Abarbanel-Wolff sax, Ulli Bartel violin, Maurice De Martin drums
CD $17

HARVEY SORGEN/STEVE RUST/MICHAEL JEFRY STEVENS - Decade (Not Two 762; EEC) Featuring Harvey Sorgen on drums, Steve Rust on acoustic bass and Michael J. Stevens on piano. This is the third album led by Harvey with this trio, one of which was augmented by Herb Robertson and Mark Feldman [on Drimala]. Michael Stevens and Harvey Sorgen have been playing together for many years, going all the way back to the Mosaic Sextet, which also included Dave Douglas & Mark Feldman. The (Joe) Fonda/Stevens Group has nine discs out, all of which include Harvey. Bassist, Steve Rust, can also be heard on a previous trio effort on Leo called 'Novella', as well as a great quintet date on Drimala with Mark Feldman and Herb Robertson. This fine date, 'Decade' was recorded at The Clubhouse in Rhinebeck, NY, not far from where Harvey Sorgen lives. Although it appears to be an all improvised date, it is difficult to tell, since this trio plays so well together. Everything moves with organic grace and that creative spirit. Harvey's consistently inspired drums often start off many of the pieces, presenting an idea that the bass and/or piano respond to and work with, flowing together, interacting and combining forces. What is interesting here is that all but one of these pieces is short, under six minutes, so the trio often play a few ideas, set a mood, never overdoing anything. This doesn't stop them from going too far out, as can be witnessed on "Trilectic", which begins with the mysterious sounds of eerie bowed bass and pluckings inside the piano, yet still sails freely together. Another wonderful thing about this disc is that many of the pieces are quite restrained, calm and spacious, so that we never know when those little eruptions will occur, if they at all. Steve Rust, a longtime compatriot of Harvey's [the trio of Harvey, Rust and Bob Windbiel made the very last of the original ESP albums, 'Outlet', more than twenty-five years ago], is pretty amazing throughout this disc, often bursting with ideas, buzzing or banging on the strings intensely at times. Michael J. Stevens is also one of those outstanding and under-recognized heroes of the piano - from his tender moments to his explosive ones, he covers it all. A perfect and well-balanced 'piano trio' date in more ways than one. - BLG
CD $17

OLUYEMI THOMAS With KENN THOMAS/EUGENE WILSON IV/HOWARD BYRDSONG - Nigeria (Not Two 771; EEC) Featuring West Coast mystery man, Oluyemi Thomas on bass clarinet, musette & bells, Kenn Thomas on piano & el. piano, Eugene Wilson IV on electric bass and Howard Byrdsong on drums. This is a departure for our favorite Oakland-based reeds hero, Oluyemi, who most often records with his wife Ijeoma in Positive Knowledge. This disc was recorded in Ann Arbor, Michigan, possibly where these other musicians are from. Except for Oluyemi improv disc on Recorded, he rarely plays with musicians using electric instruments. It sounds as if Kenn Thomas is playing synth on this disc with the electric bass of Mr. Wilson. No matter, this is strong, spiritual and free/jazz played most creatively. Oluyemi's incredible bass clarinet speaks in tongues as he tells his long story with swirling electric piano, (fretless?) electric bass and drums around him. This is a studio date with great well-balanced sound. The bassist is often pretty amazing spiraling lines of notes, matching the sheets that Oluyemi and the pianist unleash in waves. It is refreshing when the quartet move into a McCoy-like modal groove near the end of the first piece. When Oluyemi switches to musette, a snake-charming double reed, the rest of the quartet follow him freer terrain and they all ascend and soar together. Oluyemi always finds kindred spirits whenever he goes, so here too he has put together a great like-minded quartet that can follow him anywhere as well as help navigate the rapids with inspired results. Free and focused and pretty phenomenal. - BLG
CD $17

VANDERMARK 5 [KEN VANDERMARK/DAVE REMPIS/JEB BISHOP/KENT KESSLER/TIM DAISY] - Alchemia [12 CD box set] (Not Two 750; EEC) "I consider the five night stand by the Vandermark 5 at Alchemia in Krakow, Poland from March 15 -19, 2004, to be one of the highlights of my career. The fact that record producer / presenter, Marek Winiarski, documented the series and is now releasing the material as a box set is truly remarkable, and I am very thankful to him and everyone who was involved in realizing this project; particularly the musicians, Jeb Bishop, Tim Daisy, Kent Kessler, and Dave Rempis. As always, they worked extremely hard during this residency, which came at the end of a three week European tour.
During our concerts at Alchemia, the Vandermark 5 performed 2 different sets of music with at least one encore every night, a total of 55 pieces: 32 compositions from 8 different albums, including 3 world premiers - "Camera", "That Was Now" and "Pieces Of The Past". What you hear on this collection of recordings is the best available representation of how the band actually sounded and worked in this period, with one marked difference. For the first time we were able to live and play in one city for 5 days, which meant I was afforded the opportunity to compose in the morning and rehearse material with the band in the afternoon, then play this material at the evening concert, each and every day. As someone who has always idolized Duke Ellington's methods of creativity, I conceived of the Vandermark 5 from the beginning as an attempt to develop, as close as I could, a working band based on Ellington's example. The quintet was formed in the spring of 1996, and by the time these concerts occurred four of the members had been working together since 1997, and the fifth, Tim Daisy, had been with the band for more than 2 years. Over that stretch of time, the Vandermark 5 went from being a workshopping unit that performed every week during the late 1990's at the Empty Bottle in Chicago, to becoming an international touring ensemble whose concerts most often occurred on the road in North America or Europe. During its entire existence, however, the group has always focused on creating new material through consistent rehearsal and performance. The shifts in the aesthetics of the band caused by this work are well documented through the studio and live recordings available on Atavistic records.
12 CD box for $130

KEN VANDERMARK With MARCIN OLES/BARTLOMIEJ BRAT OLES - Ideas (Not Two 765; EEC) Our first contact with Ken Vandermark was just a handshake - at one of the concerts in Poland of the DKV formation. Marek Winiarski, the boss of NotTwo Records, introduced us to each other.
Some time passed until we had the chance to play together for the first time. When the Vandermark Five gave a concert, at the Cracow music club Alchemia,we got together after and jammed. The idea of recording an album together was with us before the evening had ended. We had prepared original compositions for the recording session, but we talked before going into the studio, and after Ken Vandermark's suggest we decided for the recording to be one of the free improvisation.
We normally work in different musical fields and despite that, or maybe just because of that, every meeting like this brings about a new experience, even a kind of journey into the unknown... - Marcin [double bass] & Bartlomiej Brat Oles [drums]
CD $17

GREG WALL & FRANK LONDON BAND - Birth And Rebirth (Not Two 709; EEC) '99 studio jazz project [from the leaders of Hasidic New Wave] with Josh Roseman, Ethan Iverson, Kenny Davis, Yoron Israel, and Karen Goldfedder guest vocalist on 1 cut. Another hard-to-get EEC item!
CD $17


MICHAEL URBANIAK - Polish Jazz Vol 9 (PN 32; EEC)
CD $17

KRZYSZTOF KOMEDA - Astigmatic (Polish Jazz Vol 5) (PN 536; EEC) Krzysztof Komeda (1931-1969) was an extraordinary talented self-taught composer and pianist, became after his tragic, untimely death, a legend and a cult hero of Polish jazz. His music reflects not the growing of jazz in our country in the '60-s, but echoes the big influences: Bill Evan's refinement, Eric Dolphy's free and even John Coltrane's abandon. On this disc his partners are two eminent Polish masters-: Tomasz Stanko and Zbigniew Namyslowski and two excelent rhythm men. Gunter Lenz and Rune Carlsson. The title piece "Astigmatic", except for the beginning, presents little of ensemble interaction. Rather, we hear exciting dialogues by trumpet and piano or trumpet and bass. Komeda's piano dictates the levels of tension: it emerges, grows insisting, fades away and emerges again. Namyslowski's alto takes up backed by bass and drums. Lenz's solo opens the way for the drummer and then piano reappears. After a sudden take-off by the whole ensemble the piece burns out in barely audible bass flageolets. "Kattorna" a disquieting music from the Danish movie by Carlssen (the title means Kittens), changes on this disc into real tour de force by Stanko, that reminds us of Mexican deguello from the siege of Alamo time. Komeda's exceptional illustrative talent made him the much valued composer of music to many movies and among them some by R. Polanski. "Svantetic", dedicated to Swedish poet Svante Forster, creates initially an impression of a dirge, but its main diatonic motif in d-minor (a Polish boy scouts song) is merely the nucleus of truly dramatic jazz development in which we hear much of Namyslowski's alto and also beautiful meditations by bass and piano. It seems to be the best piece by Komeda. However, structurally it has double ending: after the first, the drum solo leads to the reappearance of the initial theme that spans the whole, but the last sentence - not without the protest of others - belongs to the trumpet.
CD $17

KRZYSZTOF KOMEDA With TOMASZ STANKO/MICHAEL URBANIAK - Complete Komeda Box 1: Vols 1-19 [19 CD box set] (Polonia; EEC) His real name was Krzysztof Trzcinski but he changed his last name due to Communist disfavor with jazz music. Komeda was trained as an ear, nose and throat specialist. In 1956 he made his musical debut at a small jazz festival in Sopot, Poland. He first recorded in 1960 with Adam Skorupka and Andrzej Zielinski. The following year he began his relationship with Roman Polanski by writing the music for "Knife In The Water." He scored several other films, including "Rosemary's Baby" among several others for Polansky.
During the thirteen years that passed since his debut at the 1956 I Festival, forms dominating Komeda's means of expression changed, but the main feature of his personality remained unchanged in its substance. It only matured, grew and crystallised. It turned into poetry. Because in whatever he did, Christopher Komeda was above all a restless, ever searching poet. He found the individual expression of jazz in himself, in Slavic lyricism and in the traditions of Polish music. He was a master of a poetic atmosphere and knew how to conquer audiences better than most jazzmen did. It is impossible not to recognise his music: it has a unique sound. He created a new climate. The process of crystallizing, enriching and refining them did not take a year or two, it took years. From 1956 to 1962 Komeda improved his piano and appeared at consecutive domestic festivals with his own band, always with an ambitious programme. Those were also the years of his Moscow, Grenoble and Paris successes - his first abroad. He was also the author of the interesting 'Jazz and Poetry' show presented at Jazz Jamboree'60 and later at the Warsaw Philharmonic Hall, and started writing movie scores: Polanski's 'Knife in the Water', Wajda's 'Innocent Sorcerers', Nasfeter's 'My Dad' and Morgenstern's 'See You Tomorrow'.
The period that in Komeda's artistic biography could be called his period of maturing and building a musical language of his own was crowned by 'Ballet Etudes' performed at Jazz Jamboree'62. The domestic response to 'Etudes' was less than enthusiastic but it opened the gates of Europe to Christopher Komeda. In spring 1960 he arrived in Scandinavia and then came back every year. All his performances at the Stockholm 'Gyllene Cirkeln' and the Copenhagen 'Jazzhus Montmartre' clubs which had hosted America's most prominent jazz stars, were a genuine success. The 'Metronome' recording company issued an LP with his compositions played by an international quintet: Allan Botschinsky - trumpet, Jan 'Ptaszyn' Wroblewski - tenor sax, Christopher Komeda - piano, Roman 'Gucio' Dylag - bass, Rune Carlsson - drums. Renowned Danish film director Hennig Carlsen commissioned him to write and record music for three of his pictures: 'Hvad med os', 'Kattorna' and 'Sult' (based on Knut Hamsun's novel). Scandinavian successes were followed by other ones: at jazz festivals in Prague, Bled and Koenigsberg, during a tour of Bulgaria and both German republics. In May 1967 'Komeda Quartet' (Tomasz Stanko - trumpet, Roman Dylag - bass, Rune Carlsson - drums, plus Zbigniew Namyslowski - sax, replacing longtime member Michael Urbaniak) recorded 'Lirik und Jazz' for the West German 'Electrola' record company.
In January 1968 he went to the USA, where he worked on movie score to Polanski's 'Rosemary's Baby' and Kulik's 'The Riot'. In December, in Los Angeles he had a tragic accident. Brought to Poland by his wife Zofia he died on April 23rd, 1969 at the age of 38, and was buried in Powazki Cemetery in Warsaw. vol. 1 - Live in Copenhagen part 1; vol. 2 - Live in Copenhagen part 2; vol. 3 - Live at Jazz Jamboree; vol. 4 - Live at Jazz Jamboree; vol. 5 - Astigmatic Live; vol. 6 - Ballet Etudes; vol. 7 - Film Music (Knife in the Water, Jutro Premiera, Kraksa, Okolice Peronow); vol. 8 - Breakfast at Tiffany's; vol. 9 - Film Music (Prawo i Piesc, Sult, Rondo, Sztandar, Laternamagica); vol. 10 - Nightime, Daytime Requiem; vol. 11 - Film Music (Bariera, Niekochana, Pingwin); vol. 12 - Film Music (Wyrok); vol. 13 - Film Music (Knife in the Water, Cul-De-Sac); vol. 14 - Film Music (Kattorna, Klatki, Wiklinowy Kosz); vol. 15 - Film Music (Smarkula, Przerwany lot, Per?y idukaty); vol. 16 - Private Conversations; vol. 17 - Live at Jazz Jamboree 1962 & 1964; vol. 18 - Live at Jazz Jamboree 1962 & 1964; vol. 19 - Film Music (Rosemary's Baby, Vampire Killers)
19 CD BIG BOX SET - $180



A NEW JOHN CALE RELEASE!

JOHN CALE - Circus: Live [2 CD + 1 DVD set] (EMI; UK) 2007 three disc live set (two CD + PAL/Region 0 DVD) by former Velvet Underground member and the ringmaster of the avant-garde, Mr. John Cale. The album is virtually a career retrospective, recorded live on John's 2006 European tour. Cale felt like he'd finally found the personnel to interpret his songs with new twists, new dimensions and new emotions. None more so evident than the track 'Gun', originally appearing on 1974's Eno & Manzanera produced Fear but now sounding akin to a heavy arsenal of crunching weaponry. Inspired, Cale recorded the dates and the band began to tear up a 40-year musical history book, challenging and breathing new life into Cale's work. In full, confident stride they take in everything from 'Femme Fatale', the Warhol tribute 'Style It Takes', a capricious 'Pablo Picasso', the sweet groove of 'Hanky Panky Nohow' from 'Paris 1919', 'Look Horizon' & 'Zen' from 2003's 'Hobosapiens', the Neptunes inspired funk of 'Outta The Bag' and 'Hush' from 'black: Acetate', an impassioned take of Presley's 'Heartbreak Hotel' and the viola swathed VU masterpiece 'Venus In Furs'. This two CD + DVD comes beautifully packaged in a three disc box with 48 page color booklet. The DVD contains previously unreleased live rehearsal footage of John and the band shot in LA, plus the new animated promo video for Jumbo In Tha Modernworld. Also included ais a new mix of Grevel Drive from the black Acetate album, plus a 2007 rerecording of Big White Cloud, originally from the Vintage Violence album.
WARNING FOR OUR AMERICAN CUSTOMERS: This is a PAL DVD, which means you must have a multi-format DVD player to view it!
CD $30

and back in print...

JOHN CALE With BRIAN ENO/PHIL MANZANERA/CHRIS SPEDDING/PHIL COLLINS - The Island Years: Fear/Slow Dazzle/Helen Of Troy...plus [2CD Set] (Island; UK) Every '70s track John Cale recorded for the Island label including all of the cuts from the Fear, Slow Dazzle and (both versions of) Helen Of Troy albums, the title track from the compilation Guts, and all the non-LP singles cuts. Absolutely nothing missing! Prime classic Cale - arguably his best solo period all in one package. Brian Eno played on all 3 albums here, and the players found on this include Andy McKay, Phil Manzanera, Chris Thomas, Chris Spedding, Richard Thomas, Gerry Conway, Phil Collins, Fred Smith, et al!
2 CD Set $20


JACKIE McLEAN & GREAT JAZZ TRIO [HANK JONES/RON CARTER/TONY WILLIAMS] - New Wine In Old Bottles (441/Test Of Time 13; USA) Recorded on April 6 and 7, 1978 at Sound Ideas Studios in New York, this recording documents a unique pairing of hard-bop alto saxophonist Jackie McLean and The Great Jazz Trio - consisting of Hank Jones on piano, Ron Carter on bass, and Tony Williams on drums. Jackie McLean met Tony Williams for the first time in 1962 when they both played together at a club in Boston. Tony was only 17 years old at the time. Jackie encouraged Tony to relocate to New York and it was Jackie who introduced Tony Williams to Miles Davis, which led to Tony joining Miles' band in the spring of 1963. In a reunion of sorts with Tony, and backed by the excellent and extremely tight Great Jazz Trio the Hank Jones trio which at the time effectively had the rhythm section from Mile's quintet, Jackie McLean plays two of his well-known compositions, Little Melonae and Appointment in Ghana [the tracks listed appropriately with the word ...Again] added on. It is fitting that the album ends with Confirmation by Charlie Parker. Sadly, Jackie McLean passed away on March 31, 2006 at the age of 73. His recordings will continue to live on.
CD $15



MAGMA - Vol 2: Mythes et Legendes - 35 ans de Musique [DVD] (Seventh VD 5; France) [NTSC/all region] In May, 2005, Magma took over the wonderful Parisian club "Le Triton" for four weeks with an ambitious, over the top project; a retrospective of 35 years of Magma music, showcasing some of their best known pieces from 1970 to the present. The four sold-out weeks were a major success. This is the second of a series of four DVDs which capture the best of these performances for the world beyond Le Triton to enjoy them. The band here includes the current line-up of Magma (Christian Vander, Stella Vander, James Mac Gaw, Emmanuel Borghi, Philippe Bussonnet, Isabelle Feuillebois, Antoine Paganotti, Himiko Paganotti) with guest Klaus Blasquiz on vocals and very special guest - yes, really! - Jannick Top (bass). The emphasis here is on the very great and intense period 1973-1974. Tracks are: Wurdah Itah (almost 50'!), Mekanik Destruktiw Kommandoh, Suite for violincelle, Quadrivium, De Futura. Total time is just under two hours and this is beyond unbelievably wonderful. Highly recommended" - Steve Feigenbaum, Cuneiform
DVD $36

MAGMA - Vol 1: Mythes et Legendes - 35 ans de Musique [DVD] (Seventh VD 4; France) [NTSC/all region] "In May, 2005, Magma took over the Parisian club "Le Triton" for four weeks with an ambitious, over the top project; a retrospective of 35 years of Magma music, showcasing some of their best known pieces from 1970 to the present. The four sold-out weeks were a major success. This is the first of a series of four DVDs which capture the best of these performances for the world beyond Le Triton to enjoy them. The band here includes the current line-up of Magma (Christian Vander, Stella Vander, James Mac Gaw, Emmanuel Borghi and Philippe Bussonnet), special guest Klaus Blasquiz (vocals) and a 3-piece saxophone section. The emphasis here is on the period 1970-1972 (Kobaia, 1001 Degrees Centigrade & the earliest versions of MDK). Tracks are: Malaria, Stoah, "Iss" Lansei Doai, Aurae, Kobaia, Theusz Hamtaahk 1st movement, Sowiloi, KMX B12. Total time is over two hours and this is beyond unbelievably wonderful. Highly recommended" - Steve Feigenbaum, Cuneiform
DVD $36




WEATHER REPORT [WAYNE SHORTER/JOE ZAWINUL/JACO PASTORIUS] - Live At Montreux 1976 [DVD] (Eagle; USA) Weather Report was founded in 1970 by musicians who had met while playing with Miles Davis. This Montreux Festival show from 1976 follows on from the release of their album Black Market but features the line-up that would release their most famous and successful album Heavy Weather in 1977. This line-up features Joe Zawinul (keyboards), Wayne Shorter (saxophones), Jaco Pastorius (bass), Alex Acuna (drums) and Manolo Badrena (percussion). Previously only available as a bootleg of a TV broadcast, this new DVD release is fully authorized and has been restored to its full length.
DVD $15


BACK IN STOCKÉ

JUHANI AALTONEN TRIO With REGGIE WORKMAN/ANDREW CYRILLE + HENRIK OTTO DONNER/The AVANTI CHAMBER ORCHESTRA - Strings Revisited (TUM 003; Finland) Featuring Finnish jazz legend Juhani Aaltonen on tenor sax, Reggie Workman on bass and Andrew Cyrille on drums, with all compositions, arranging and conducting by Henrik Otto Donner. Juhani and Henrik have been working together since the mid-sixties, collaborating a variety of bands/projects ever since. Juhani, who turns 70 next year, has a strong, warm and enchanting tone on his tenor. Beginning with "Evolution Vamp" Henrik's serious strings surround Juhani's radiant sax thoughtfully, at times creating eerie waves around the skeletal trio sketches. The music has a solemn, melancholy quality with Juhani often playing with restrained fire and the rhythm team also relaxed, exquisitely paced and tastefully played. The strings create dark undercurrents on "Trains & Boats & Planes" (not a Bacharach cover), as the trio wanders like ghosts through the lonely landscape, the trio and chamber group getting more agitated as they erupt to an intense conclusion. The chamber group here is perfectly matched with the trio's suspenseful drifting and darkly enchanting musings. Extremely moody music for late night cognac sipping. - BLG
CD $18

JUHANI AALTONEN/REGGIE WORKMAN/ANDREW CYRILLE - Reflections (TUM 007; Finland) Featuring Juhani on tenor sax & flutes, Reggie on double bass & percussion and Andrew on drums. This is the third superb date from Swedish sax hero Juhani Aaltonen and the second date for his all-star trio for the new TUM label. The last trio date had an accompanying orchestra, while here we just three wonderful wizened spirits, as each is probably in their sixties. Johanen's tone is a righteous blend of Coltrane (Reggie did play with Trane more than forty years back) and his older inspirations. The trio does (only) one appropriate cover, Trane's "Selflessness" and they a marvelous job without pushing it too far out, the rhythm team burning brightly underneath Juhani's cascading flurry. Juhani plays some haunting flute of Andrew's old tune "The Navigator", which begins as a march and evolves through different sections as the bass and drums exchange roles. Juhani's "Effervesce" has more of his wonderful simmering, slow burning tenor with the rhythm section also smoking and pushing him higher and higher as he reaches for a few of those Trane-like screams. The title track has some smoldering flute, bowed bass and mallets, which flicker like gentle flames and warm spirits. The trio go for the gusto on the final piece, "Supplications", where Juhani's warm, glowing tone again sounds completely enchanting, directly from the heart. - BLG
CD $18



THE FIRST FOUR CLASSIC 'AREA' TITLES AVAILABLE ON CD AGAIN!

AREA - Crac! (Cramps/Artis; Italy) "Third album originally on Cramps. Their uncompromising blend of jazz-rock, ethnic folk, experimentation, and political philosophies made them a unique presence in Italy during the 70s. This is the best evidence of the band's crazy fusion: furious, mind-bending rhythms and melodies balanced with humor and the avant garde.
CD $15

AREA - Are(A)zione (Cramps/Artis; Italy) "Their fourth album (originally released in 1975 on Cramps) was a live recorded uncompromising blend of jazz-rock, ethnic folk, experimentation and political philosophies. The Area's unique sound combined the punch of rock and the frightening chaos of experimental music. The 'International POPular Group' was a fascinating band. This album contains one song from each of their previous records plus a 15-minute jam (the title song) and a free-jazz interpretation of 'L'Internazionale'.
CD $15

AREA - Arbeit Macht Frei (Cramps/Artis; Italy) "1st album originally released in 1973. This is the best Italian progressive band and one of the most unique bands ever. The voice of Demetrio Stratos is unforgettable. if you are into Soft Machine, Nucleus and National Health, this one is for you."
CD $15

AREA - Caution Radiation Area (Cramps/Artis; Italy) "2nd album originally released in 1974 for the massively influential Italian progressive group (lead by Demetrio Stratos) that with 'Caution Radiation Area' added increasing levels of fringe experimentation to their already weird recipe. Stratos' vocal comes off throughout as one-third Pavarotti, one-third haunted house, and one-third Diamanda Galas' long-lost brother. Primitive drums and electronics, intense dustbowl jams, ARP synthesizers, a blizzard of speaking voices, Fender Rhodes solos, wavering Middle Eastern hummingbird and modes, ghostly voices morphing into tortured cries.
CD $15


THE POP GROUP - Y (Warner Bros; EEC) New European CD edition of this classic 1979 UK release. Originally issued by Radarscope, this CD includes the A-side of their first single, "She Is Beyond Good And Evil" AND it's B-side "3.38"! The Pop Group were: Gareth Sager, Bruce Smith, Mark Stewart, Simond Underwood and John Waddington. Historic production handled by Dennis Bovell (ala the Slits debut album). "When The Pop Group first came onto the scene in late 1978 they were being hailed in the UK press as one of the saviours of rock and roll, and with good reason as the group's music made almost everything being created at the time seem old hat over night. The Pop Group's debut single 'She Is Beyond Good and Evil' released in 1979 was an instant classic and one of the landmark recordings of the 1970's, it was a seething tense piece of aggressive funk/punk/dub/free jazz that demanded attention. It sounded like nothing in the world at the time of it's release and gave me the same feeling as when I heard Public Image Ltd.'s first single, it seemed to hint at endless possibilties for rock and roll. After playing Y you wonder how the group ever hoped to top it, they never did, but their second album (We Are Time) was great as well but just not as good as Y, few albums are. The Pop Group finished in 1981 and splintered into groups like Rip, Rig and Panic, The New Age Steppers and most importantly Mark Stewart and Mafia; Stewart really carried the flame from the original Pop Group and much of his work with Mafia is on par with the best of The Pop Group yet his records have been totally ignored." -- Dave Furgess (from Julian Cope's Headheritage).
CD $22


PARISH HALL - Parish Hall (Fallout 2040; UK) Parish Hall was a superb power trio from the California Bay Area, recording only one album, which stands as one of the best of its kind. The band consisted of Gary Wagner (guitar, piano, vocals), John Haden (bass), and Steve Adams (drums). Specializing in a hard rock/blues rock sound, their album was originally released near the end of 1970 on a small local California record label. Reminiscent of the sound of another popular trio of the day, the Jimi Hendrix Experience, Parish Hall had begun to gain the recognition of some European collectors by the late 1990s, and originals have fetched high prices in collector's markets. All songs on this album are originals written by Wagner and hold up well when compared to other hard rock acts.
CD $16

THE GROUP IMAGE - A Mouth In The Clouds (Fallout 2041; UK) This eccentric New York hippie collective recorded only one album, which makes its CD debut here. A superb collection of psychedelia, touching on folk, jazz and electronica, it has been compared to Jefferson Airplane, the Mamas & the Papas and Tim Buckley, but ultimately has a sound of its own that makes it a treat for all fans of genuine acid rock.
CD $16



MORE VINYL REISSUES RARITIES FROM TAPESTRY

KHAN With STEVE HILLAGE/DAVE STEWART - Space Shanty [Ltd 500 copies] (Tapestry 232; EEC) Best known as the album that first brought the guitar playing talents of guitarist Steve Hillage to public prominence, Khan's sole album is a splendid example of a fusion of Canterbury flavoured rock combined with jazz and space rock influences. It was originally released in 1972 by Deram Records. Considering that the band included keyboard virtuoso Dave Stewart, then with Egg, Khan was a one-off with quite a pedigree. The music, which is a bluesier, harder rocking take on the basic Canterbury style, is mostly very good. The work itself is almost entirely composed by Hillage, and demonstrates some similarity to Fish Rising, his first solo album." 180 gram virgin vinyl, gatefold sleeve, limited edition of 500 copies.
LP $26
Also available, with extra cuts, on CD for $17

SOFT MACHINE [KEVIN AYERS/MIKE RATLEDGE/ROBERT WYATT] - The Soft Machine Volume One [1/First; Ltd 500 copies] (Tapestry 226; EEC) The original 1st album. "The Soft Machine deftly combine '60s psych-pop, jazz, and rock into a unique sound that stands up to repeated listenings more than most music today. The instrumentals are awesome -- interplay between organ, drums, bass and vocals make for intricate rockers with priceless moments. Wyatt's lispy voice is off-putting at first, but endearing on more listens, aided by his clever and often witty lyrics. Songs like 'A Certain Kind,' 'Save Yourself,' 'Lullabye Letter,' and 'Why Are We Sleeping' are great '60s psych-pop, with good hooks, but still original sounding." 180 gram virgin vinyl, gatefold sleeve, limited edition of 500 copies.
LP $26
Also available, combined with the 2nd album, on CD for $18

AARDVARK - Aardvark [Ltd 500 copies] (Tapestry 224; EEC) Stunning forgotten gem of UK rock from 1970, originally on Deram, this album stands out by virtue of having no guitars except a bass. The keyboards are working overtime here, and with the inclusion of some trippy electronic effects. Highlights include the marvelously monickered 'Once Upon A Hill/Put That In Your Pipe And Smoke It' which is a monster of a track spread over ten minutes and dominated by keyboard mayhem, this is a highly exceptional reissue." 180 gram virgin vinyl, limited edition of 500 copies.
LP $26

CAMEL - Camel [Ltd 500 copies] (Tapestry 227; EEC) "Camel's debut album is probably one of their best. It was a quite rough and unpolished product, but it still featured the two first classic Camel tracks with the beautiful 'Mystic Queen' and the catchy 'Never Let Go.' Both tracks demonstrated the group's ability to write very strong vocal-melodies combined with lengthy and tasty instrumental-passages. 'Never Let Go' also featured one of the few examples recorded of a mellotron solo. 'Separation' and the opener 'Slow Yourself Down' are both harder rock tracks where the latter one is the most complex and progressive, featuring some excellent solos from Latimer and Bardens." 180 gram virgin vinyl, limited edition of 500 copies.
LP $26

KEVIN COYNE - Case History [Ltd 500 copies] (Tapestry 229; EEC) "Coyne released his first LP in 1972, Case History, on John Peel's Dandelion label. With just a guitar, and a few of Siren's members here and there, Kevin stuns the listener with stories of love, anger, independence, and the psychiatric patients he had begun to work with, after dropping out of art school. After Case History, Kevin was phoned by Richard Branson, the soon to be multimillionaire media mogul. Richard was then starting Virgin Records, and was seeking acts. Kevin was part of the first signings to the label that included Mike Oldfield and Gong." 180 gram virgin vinyl, limited edition of 500 copies.
LP $26

FANTASY - Paint A Picture [Ltd 500 copies] (Tapestry 228; EEC) "Originally titled Virgin On The Ridiculous, Fantasy's Paint A Picture has long been hailed as a masterpiece of classically influenced, quintessentially English progressive rock, full of delightful twists and turns and instrumental prowess, coupled with an uncanny talent for songwriting, including 'The Award,' a tribute to their late guitarist Bob Vann. Also featured was the commercially inclined 'Politely Insane,' which was written and recorded on the same day. Brass was later added, and the track provided the label with the single they wanted." 180 gram virgin vinyl, gatefold sleeve, limited edition of 500 copies.
LP $26

IMPALA SYNDROME - Impala Syndrome [Ltd 500 copies] (Tapestry 231; EEC) "Having moved from Venezuela and having become Impala Syndrome from Los Impalas, the sound this band produces here is often compared to Cream's, both vocally and instrumentally, with some occasional muscular guitar/bass guitar/drum kit playing and some excellent riffs. In fact, 'For a Small Fee' sounds like a Cream cover. In general, it's fervent hippie jam rock-blues. The songs are all compact and commercially oriented, not much in the way of an acid rock edge and definitely more lightweight flower power sounding than Cream. Male vocals are in English, with excellent sound quality and a very sought after release." 180 gram virgin vinyl, limited edition of 500 copies.
LP $26

KALEIDOSCOPE - Faintly Blowing [Ltd 500 copies] (Tapestry 225; EEC) "Faintly Blowing, released by the Fontana label in 1969, was the second and last album Kaleidoscope made before signing to Vertigo and changing their name to Fairfield Parlour. Faintly Blowing falls right in the middle of the band's discography. For every acid-drenched rock song with overdriven guitar feedback, phased drums, and heavy organ, there's a folky ballad and a wonderfully orchestrated and whimsical psychedelic pop gem. This is the most diverse of all the band's releases, and fans of the Pretty Things, The Kinks, Blossom Toes, Tomorrow, and early Pink Floyd will find a whole lot to love among the album's 12 tracks." 180 gram virgin vinyl, gatefold sleeve, limited edition of 500 copies.
LP $26

SPIROGYRA - Bells, Boots and Shambles [Ltd 500 copies] (Tapestry 230; EEC) "This third album by Spirogyra is in many ways their most progressive/folk oriented -- flutes, trumpets, cellos, treated vocals, long instrumental sections -- and of course it features singer Barbara Gaskin, later of Hatfield and The North, National Health and the famed Dave Stewart/Barbara Gaskin juggernaut. All songs and male vocals are by Martin Cockerham, who writes very hummable tunes with biting lyrics. Some collectors fondly label it a 'lost classic,' since many people did re-discover it. Excellent!" 180 gram virgin vinyl, limited edition of 500 copies.
LP $26




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DMG RECOMMENDED GIG LIST FOR APRIL 13th, 2007 & BEYOND -



THE DOWNTOWN MUSIC GALLERY 'FREE IN-STORE MUSIC' CONTINUES:

This Sunday, April 15th -
6pm - TONY GEBALLE / LARAAJI / FRANK LONDON / PHEEROAN AKLAFF! Very rare set from four diverse masters!

Next Sunday, April 22nd -
6pm - CLIFTON HYDE & PAUL HARTSAW - guitar & sax!
7pm - MATT LAVELLE & FRANCOIS GRILLOT - trumpet/bass clarinet & contrabass!


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THE STONE is located at the NW corner of Avenue C & 2nd St.

April is curated by Alicia Svigals

4/13 Friday
8 pm - Lily White and Follicle w/ Lily White (saxes) Rob Garcia (drums) Greg Jones (bass); Crazy music from the mind of saxophonist Lily White in her most compact group yet. www.lilywhitemusic.com
10 pm - Cynthia Hilts & Lyric Fury - Cynthia Hilts (composer, piano, voice) James Zollar (trumpet) Lily White (tenor and alto sax) Lisa Parrott (baritone and soprano sax) Debra Weisz (trombone) Martha Colby (cello) Ratzo Harris (bass) Jun Saito (drums); New jazz that nods at the traditions, swings like hell and searches the deepest harmonic zones. Howls and lullabies, ice and predators are all in there, the perfect answer to a listener's natural raving desire for organic and furious lyricism.

4/14 Saturday
8 pm - Beth Bahia Cohen: Traditional Arabic Music w/ Beth Bahia Cohen (violin, rababa) Johnny Farraj (percussion) Nicole LeCorgne (percussion) Brian Prunker (oud) Anne Elise Thomas (qanun); Traditional folk and classical Arabic music from Egypt, Lebanon, Syria and Tunisia
10 pm - Midnight Prayer w/ Joel Rubin (clarinet) Pete Rushefsky (tsimbl/hammered dulcimer); World renowned klezmer clarinetist Joel Rubin gives a rare NY performance of duets with leading tsimbl revivalist Pete Rushefsky from their new CD Midnight Prayer (Traditional Crossroads).

4/15 Sunday
8 pm - Mimi Rabson and Bruno Raberg w/ Mimi Rabson (violin) Bruno Raberg (bass) Compositional Improvisation and Improvised Compositions
10 pm - The Ingrid Jensen Quartetw/ Ingrid Jensen (trumpet, effects) Allison Miller (drums) Enrique Haneine (piano) Carlo DeRosa (bass); Ingrid Jensen hosts an Agrazing Maze evening. A rare assembling of the edge-pushing quartet!

4/17 Tuesday
8 pm - Greg Wall's Later Prophets w/ Greg Wall (saxophones) Shai Bachar (keyboards) David Richards (bass) Aaron Alexander (drums)
Simultaneously Straddling the Gates of the Ancient and the Avant-garde... 10 pm - Quartetto Cui Bono - Art Bailey (accordion, piano) Peter Van Huffel (sax) Ernesto Cervini (drums) Michael Bates (bass) special guest Alicia Svigals (violin) An evening of new music.

4/18 Wednesday
8 pm - Mark Sganga and Friends - Acoustic improvisations with a Brazilian accent. www.marksganga.com
10 pm - Stephane Wrembel Acoustic w/ Stephane Wrembel (guitar) Jared Engel (bass) David Langlois (washboard); Monster Guitarist Stephane Wrembel and his band perform the music of Django Reinhardt in their own special way, blended with compositions and colors from India and Africa; each show is a different trip! http://www.stephanewrembel.com/

4/19 Thursday
8 pm - Michael Winograd Quintet w/ Michael Winograd (clarinet, alto clarinet) Kristin Slipp (voice) David Bryant (casio keyboards) Michael Bates (bass) Michael Evans (drums)
10 pm - Bangalore Breakdown w/ Uli Geissendoerfer (piano, keys, percussion) Premik Russel Tubbs (sax, flute, windsynth) Gino Sitson (vocals) Beat Kaestli (vocals) Steve Sandberg (leadsynth, vocals) Naren Budhakar (tabla) Gilad Dobrecky (percussion) Nathan Peck (bass) Lev Zhurbin (viola)

4/20 Friday
8 pm - Juanito Pascual and Friends w/ Jonathan "Juanito" Pascual (flamenco guitar) Rohan Gregory (violin) Stan Strickland (flute, soprano sax, vocals) Jerry Leake (world percussion). Flamenco guitar virtuoso Jonathan "Juanito" Pascual presents an evening of original flamenco music and beyond, with his quartet featuring 3 of the East Coast's finest improvisational and world-music players. "One of the hottest flamenco guitarists to emerge in recent years" -National Public Radio http://jpascual.com
10 pm - Stephane Wrembel Electric w/ Stephane Wrembel (guitar) Jared Engel (bass) Mathias Bublath (organ) Julien Augier (drums); Monster Guitarist Stephane Wrembel and his new electric band presents the music of Django Reinhardt and his compositions in a totally new way, blending their unique Gypsy jazz touch with a psychedelic world rock sound. http://www.stephanewrembel.com/

4/21 Saturday
8 pm - Jessica Lurie Ensemble w/ Jessica Lurie (sax, accordion, vocals) Erik Deutsch (piano, electric keyboard) Brandon Seabrook (banjo, guitar) Todd Sickafoose (bass) Marc Dalio (drums)
10 pm - AARON ALEXANDER'S MIDRASH MISH MOSH w/ Aaron Alexander (drums) David Licht (drums) Fima Ephron (bass) Jay Vilnai (guitar) Alex Kontorovich (clarinet) Greg Wall (tenor sax, clarinet) Rob Henke (trumpet) Curtis Hasselbring (trombone)

4/22 Sunday
8 pm - Susan Pereira and Sabor Brasil w/ Susan Pereira (vocals, piano, percussion), Vanderlei Pereira (drums), Rodrigo Ursaia (sax, flute), Cliff Korman (piano), Itaiguara (bass)
10 pm - Edison Woods - Strange, haunting, and romantic, Edison Woods revels in luscious, sad songs. Singer Julia Frodahl's heavenly vocals layered on the bands' moody chamber pop create "a beautiful cross between the sounds of Elysian Fields and the sentiments of David Lynch." Live, their musical passages, spoken word, and discreet gestures sweep the audience into their dreamlike world.
http://www.edisonwoods.net http://www.myspace.com/edisonwoods


Performances take place at 8 & 10 pm from Tuesday - Sunday nights, There are no advance tickets, first come, first served, there is no phone There is no food or beverage served, just a serious listening environment Admission for each set is $10, unless otherwise indicated Check out the website for The Stone at thestonenyc.com


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Dee Pop presents:
THE Freestyle MUSIC SERIES
"All types of creative music"
Every Sunday @ Jimmy's Restaurant
43 East 7th Street * NYC * 212-982-3006

April 15
7pm Eddie Gale, Dick Griffin, Ken FIliano, Dee Pop
8pm Matana Roberts Quartet

April 22
7pm FREQUENCY (CHICAGO) w/ NICOLE MITCHELL/ED WILKERSON /HARRISON BANKHEAD/AREELYA RA! - Not to be missed!
9pm - ANGIE SANCHEZ, TONY MALABY & TOM RAINEY!


www.freestylejazz.com / deepop@earthlink.net


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It seems Tonic, one of our favorite places, will be closing for good on April 15th, unless radical economic help is forthcoming. The is the final schedule at Tonic:


Fri, Apr 13 - - 7:30pm & 9pm
Tonic at: Tonic, 107 Norfolk Street between Delancey and Rivington Streets JOHN ZORN IMPROV NIGHT PARTY - LAST TONIC SHOW!! Donation $20
10pm - The Bunker - With DJ Spinoza & Derek Plaslaiko. A wild dance party with dark techno, house, and electro with the occasional aural curveball. Now in it's 4th year! [details ]

Sat, Apr 14
Tonic at: Abrons Arts Center, 466 Grand St. (at Pitt)
8pm - Tonic presents at Abrons Arts Center: JANDEK
Tickets still available at Tonic's box office and at Other Music, 15th E. 4th St. at Lafayette www.othermusic.com With a representative from Corwood Industries, guitar & vocal; Tim Foljahn (of Two Dollar Guitar, Int'l Shades, Boredoms, etc.) on bass, and Jim White (Dirty Three, Cat Power, etc.) on drums. We are very pleased to present Jandek in the wonderful and comfortable theatre setting, in only his second ever New York live appearance, despite a 30 year recording career which has yielded nearly 50 full-length releases.


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SOME OF THE GIGS THAT WERE SCHEDULED FOR TONIC IN APRIL ARE BEING RE-SCHEDULED AT THE SOTO CLEMENTE CENTER:

VISION TONIC
Sets at 7:30pm and 9:30pm
At The Clemente Soto Velez LES Gallery
107 Suffolk Street, New York, NY
F or J,M,Z to Delancey-Essex Street
$10 per set / one drink minimum
More Info: http://www.visionfestival.org>http://www.visionfestival.org or 212.696.6681

New York, NY - Arts for Art responds to the closing of Tonic with a concert series based on Tonic's cancellations. On seven nights in April and May, musicians who were scheduled to play at Tonic, will now be playing one block east, at the Clemente Soto Velez LES Gallery. The number of venues where this music is consistently presented in Manhattan is deteriorating to a dangerous low. Arts for Art and the Vision Festival will be working with CSV to address this issue by hosting these concerts, as well as seeking a way to continue to present this music on a regular basis. The April schedule follows, and the May concerts will be announced soon. It is imperative to have places where artists of this caliber can be heard in Manhattan on a regular basis.


Sunday April 15
7:30pm The Voltage Spooks Trio Keith Rowe, Michael Haleta and Rick Reed
9:30pm Zeena Parkins and Wobbly

Tuesday April 17
7:30pm THE THING w/ Mats Gustafsson, Ingebrigt Haker Flaten, Paal Nilssen-Love
9:30pm Desiring-Machines with special guests w/ Joe McPhee & Dominic Duval plus Clifton Hyde, Paul Hartsaw and Jerome Bryerton

Wednesday April 18
(no 7:30pm set)
9:30pm Oliver Lake and Eugene Chadbourne

Sunday April 22
7:30pm Nasheet Waits and Friends
9:30pm Steve Beresford with Aki Onda, Ellery Eskelin, Shelley Burgon and Shanir Blumenkranz


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This is from our friend LUKAS LIGETI - drummer, composer & Tzadik artist:

SUNDAY, APRIL 15 @ 10 PM @ SHARE (Reboot, 37 Ave. A between E. 2nd and E. 3rd Sts., Manhattan, http://www.share.dj):
MARTIN PHILADELPHY'S PAINT with Philadelphy, Tom Abbs, and LL


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ROULETTE presents
20 Greene St (between Canal and Grand St)
8:30 PM Admission $15 Students $10 MEMBERS FREE
TICKETS/RSVP: 212.219.8242

APRIL 2007 EVENTS [including the 'AVANT JAZZ - STILL MOVING' festival]

4/13: Marilyn Crispell with Lotte Anker [AJSM EVENT]
4/14: Terry Jenoure with Maria Mitchell [AJSM EVENT]
4/15: Tom Buckner, Jerome Bourdellon and Alain Kirili: 'Totem' [AJSM EVENT]
4/19: Laetitia Sonami & Sue Costabile: "I. C. You"
4/20: Rosi Hertlein with Howard Johnson [8 pm] / Monika Heidemann: The Monika H. Band [9:30 pm] [ASJM EVENTS]
4/21: Andrew Cyrille with Bob Stewart and Roy Campbell [AJSM EVENT]
4/22: Oliver Lake: The Oliver Lake Reunion Trio [AJSM EVENT]
4/26: Barton Workshop
4/27: Bern Nix with Francois Grillot & Jackson Krall [8 pm] / Brandon Ross: For Living Lovers [9:30 pm] [AJSM EVENTS]
4/28: William Hooker: 'Wind for Mind' [8 pm] / Fay Victor: The Fay Victor Ensemble [9:30 pm] [AJSM EVENTS]
4/29: Ayaka Nishina with Greg Osby

contact: press@roulette.org http://www.roulette.org/


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This comes from DMG's own Mikey IQ Jones:

I'll be making my debut live performance with Brown Wing Overdrive, the electro-acoustic/electronic music group I'm in with Chuck Bettis (All-Scars, Measles Mumps Rubella, etc) and Derek Morton (Mikroknytes etc) this Friday the 13th at Silent Barn in Brooklyn, kicking off a flurry of BWO activity which will include a performance on Brian Turner's radio show on WFMU and a performance in a giant maze inside of a midtown Manhattan art gallery at the end of May (details forthcoming).

BWO was previously a duo; they recently asked me to join them, and our combined efforts have recently fruited an album which will be out later this year. To quote Chuck, we "put blood into circuitry."

Come make an appearance and say hello. It's a Todd P thing with a bunch of other bands, so it should prove to be an all-around good time for whackjobs in all 5 boroughs.


Details, maestro:

[ SILENT BARN ] aka Raven's Den aka Club Krib

915 Wyckoff Ave @ Hancock | Ridgewood/Bushwick, QNS/BKLYN

L to Halsey or M to Myrtle/Wyckoff | 8pm | all ages | $6

Friday the 13th:

|| Skeletons and Kings of All Cities ->
http://myspace.com/skeletonsandthegirlfacedboys

|||| Brown Wing Overdrive --------------> Chuck Bettis-electronics & vocals, Mikey IQ Jones-electronics, voice & percussion, Derek Morton-electronics
w/ special guest John Coursey-electronics & violin

|||||| The Caution Curves ---->
http://thecautioncurves.com/

|||||||| Myo --------------------> http://myosound.com/

||||||||| Symble ---------------> mems Metalux, Sadjeljko,
Fashe, Shinkoyo Rekkids

...hope to see some familiar faces!


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