Happy Jewish New Year 5779
A Time for Celebration and A Time for Reflection
Rosh Hashanah began last Sunday Night
We Celebrated with the DMG Free Weekly Music Series
The Music was Extraordinary as it Almost Always Is
Special Thanks to Sandy Ewen & Sam Weiberg, Josh Sinton & Guillermeo Gregorio!
One Minute Clips are Transmitted through our Instagram feed so Please see & hear what's been happening!!
Get Inspired and Check Out This New Music from:
Chris Lightcap Superette: Nels Cine & John Medeski! Robbie Lee & Mary Halvorson! Michael Gibbs & Gary Burton 69: John Surman / Alan Skidmore / Mike Osborne / Chris Spedding! Two from Erstwhile: Lucio Capece & Marc Baron! Matthew Revert & Vanessa Rossetto!
Alberto Cavenati/Ralph Alessi Quintet! Havard Wiik / Michael Thieke Trio! Hungry March Band! Leap of Faith Orchestra! Plus Historic Discs from: Erroll Garner! Bobby Naughton / Leo Smith / Perry Robinson! Cassettes from Michael Foster & Ben Bennett Josh Sinton Trio!
LP’s from Alvin Lucier! Karlheinz Stockhausen! Pierre Henry! G.I. Gurdjieff! Maya Deren! Arve Henriksen! Miles Davis Original Quintet 1955! Allison Statton & Spike and Much More..!
Upcoming Sets at Downtown Music Gallery - FREE, every Sunday at 6pm
Sunday, September 16th:
6pm: RED RAINBOW with ANNE RHODES
7pm: THOMAS HEBERER / JOHN HEBERT / MICHAEL SARIN
8pm: JAMISON WILLIAMS / SAM WEINBERG
Sunday, September 23rd:
6pm: TEAM PLAYERS QUARTET: BRAD LINDE / BILLY WOLFE / AARON QUINN /
DERIC DICKENS - Two Saxes / Guitar / Drums
7pm: DEVIN BRAHJA WALDMAN and DEVIN GRAY - Sax and Drums
Sunday, September 30th:
6pm: HANS TAMMEN and CHRISTOPH IRMER - Buchla Synth and Violin
7pm: LIOR MILLIGER / HILLIARD GREENE / JOE HERTENSTEIN - Sax / Bass / Drums
Sunday, October 7th:
6pm: SHANE PARRISH & FRANK MEADOWS - Guitar & ContraBass
7pm: JESSE DULMAN QT: RAS MOSHE / DAVE SEWELSON / LEONID GALAGANOV
DMG is located at 13 Monroe St. (between Catherine & Market Sts) in a basement below a small gallery. Take the F train to East Broadway or the 6 train to Canal or the B or D to Grand, or the M-15 bus to Madison & Catherine. Come on Down, the Sunday Music Series is Always Free & the Vibes are Always Cosy. You can check the weekly in-store sets through our Instagram feed
This Week's Dynamite Discs Begin with this Treasure:
CHRIS LIGHTCAP With NELS CLINE / JOHN MEDESKI / CURTIS HASSELBRING / JONATHAN GOLDBERGER / DAN REISER - Superette (Royal Potato Family; USA) “As much as bassist, composer and bandleader Chris Lightcap had often tugged at the limits of jazz with compositions and arrangements that often went in modern, avant-garde and fusion directions, he usually managed to stay tethered to a post-bop sensibility. His Bigmouth supergroup was his vehicle for that creative outlet of his and that project has recently reaped him some well-deserved accolades. But with Superette, jazz — as well as his acoustic bass — is pretty much tossed out of the window for something completely different.
For starters, you wouldn’t expect to cue up a Lightcap album and the first song you hear is a three-minute tune that sounds like it could have come from the Ventures (“Selector”), but that’s only the opening salvo in showing other sides of Lightcap.
Lightcap put together a new ensemble for his new adventure, one featuring two guitarists — Curtis Hasselbring and Jonathan Goldberger — with Dan Rieser on drums and the leader solely on electric bass guitar. Together, they run through a fare of mostly originals from Lightcap and Hasselbring, incorporating elements of surf, psy trance, even harmolodics.
Often evoking the laid back, psychedelic jams of the late 60s as much as the surf guitar of Link Wray, slowly percolating tracks like “While You Were Out” and “Calling On Cars” take its time riding on the groove. Hasselbring and Goldberger engage in some funky back and forth on the former’s “Frozen Bread” on a rhythm locked down tight by Lightcap and Rieser. With his Superette band, one thing Lightcap does carry over from his jazz projects is his balance of looseness and concordance: for “She Walked In” he cooked up tricky lead lines he plays in unison with the guitars and later, a Wurlitzer organ solos away but concludes it by sharing a pattern with Goldberger.
Did I mention there was an organ player on that song? Why, yes: About half the tracks are adorned with guest organ from John Medeski and/or a third guitar from Nels Cline, two well-known characters who are comfortable in any imaginable setting. The two are first heard together on “Far Away Planet,” a simple, three chord riff with a thumping backbeat and a cacophony of three guitars and organ engaging in an all-out jam. Cline also joins Hasselbring and Goldberger for some Mali trance on “Djali” (streamed above), where the attraction is the tightly interwoven lead lines and the shimmering strums. It’s hard to ignore that pumping Lightcap/Rieser rhythm section, though.
“Ace Of Spades” goes about its business in the normal way of other tunes on this record until Cline steps in with a wiggly solo that brings the song to a crash ending. His final contribution comes in the form of a rare turn at lap steel guitar, on “Light Trails,” where Medeski pours on a soulful slab of Hammond B3.
The album concludes with Neil Young’s gorgeous ballad “Bird,” using Hasselbring’s and Goldberger’s twangy guitars to tease out more of the country aspect of the song that was only implied in the original, and then surprisingly, Lightcap uncorks a fuzz bass that’s suggestive of Young’s Crazy Horse side.” - S. Victor Aaron, SomethingElseReviews
CHRIS LIGHTCAP’S SUPETTE will perform a CD release set this Saturday, September 15th at Le Poisson Rouge (158 Bleecker St) at 7pm!
* ROBBIE LEE & MARY HALVORSON - Seed Triangular (New Amsterdam 103; USA) Considering that Mr. Halvorson was on the cover of Downbeat & the Wire magazines earlier this year, she certainly needs no introduction to anyone who reads the DMG newsletter. Robbie Lee, on the other hand, is a bit more mysterious. Robbie Lee collects and plays a large number of Renaissance stringed and woodwind instruments, playing in a variety of folk, rock, psych and improv situations, over the past decade. Check out his work with Che Chen, Jozef Van Wissem or Norbert Rodenkirchen, you will be surprised by his diversity. Mr. Lee is an old friend and has been talking about putting out this duo for years. While Ms. Halvorson certainly has a unique style/sound on electric guitar, here she plays a few odd acoustic instruments like a harp-guitar (1899) and a 1988 6-string banjo, hence she sounds much different than usual. Mr. Lee plays Baroque & other odd flutes, a Renaissance clarinet (chalumeau), a melodica and a soprillo (rare 12” straight sax, smallest one known).
What I like most about this disc is the way these two blend so many different influences or styles. Both of these two musicians have listened to jazz, folk, psych, classical, ethnic music from diverse eras. When Ms. Halvorson dips into ethnic, folk-rock, jazz stream, Mr. Lee adds unexpected flute(s), clarinet or even bent-note melodica to ever-mesmerizing blend. I have always dug the melodica so it is indeed interesting to hear it played in a more creative situation than is usually the case. On each piece, the instrumentation changes, as does the way the duo interacts. Ms. Halvorson has been involved in several duos throughout the years: Jessica Pavone, Kevin Shea (People) and recently with Bill Frisell. She is a shrewd, demanding partner who often pushes her partners into unexpected places. This particular duo a most impressive one, since they match wits so well and end up in some new places, with unique combinations of sounds. I have always been a big fan of Pentangle, who combined folk, jazz & rock elements so seamlessly in the 1960’s as well as the the bluegrass/jazz scene that erupted in the seventies (like David Grisman’s Dawg music). The music on this disc shows that those ideas, experiments are still worth exploring. - Bruce Lee Gallanter, DMG
* ROBBIE LEE & MARY HALVORSON play a CD release concert at Le Poisson Rouge next Monday, September 17th at 7pm. Also on the bill will be the Mary Halvorson/Bill Frisell Duo
Two Great Discs from The Erstwhile Empire:
LUCIO CAPECE / MARC BARON - My Trust in You (Erstwhile 086; USA) Featuring Lucio Capece on bass clarinet, slide sax, analog synth & field recordings and Marc Baron on tape decks, field recordings & analog devices. Lucio Capece hails from Argentina and has worked a diverse cast of players: Chris Abrahams (from the Necks), Axel Dorner, Mika Vaino (from Pan Sonic) and Toshimaru Nakamura. In the past, French saxist Marc Baron has worked with Vincent Courtois, Louis Sclavis and has organized his own sax quartet. For this duo CD, Mr. Baron plays no sax whatsoever, a selection of pre-recorded sounds & manipulations. It is interesting to consider that these two musicians are mainly using field recordings, tapes & other analog devices, all older devices. The sounds here are especially well-crafted: layers of voices (slowed down & sped up), tape hiss, static, drones, feedback, assorted samples, a clock ticking or a record clicking, some sounds in the distance while others are upfront in the mix… Each sound is very carefully manipulated and places within the stream. Using taped sounds definitely gives this a more ancient vibe, like when many were using cassette decks in the seventies and eighties. There several sections where the rhythmic groove of a static/noise sample is repeated over & over and slowly manipulated until it turns into a hypnotic device. Most effective and cerebral. I found each piece to be consistently fascinating and evocative of different places or spaces. I opened the window in my kitchen to let the sound of the rain enter, this fit perfectly with the other sounds coming from the two speakers. A righteous blend. - Bruce Lee Gallanter, DMG
MATTHEW REVERT / VANESSA ROSSETTO - Everyone Needs a Plan (Erstwhile 087; USA) Like many discs on Erstwhile, this one does not list the instrumentation, which keeps us guessing and pushes us not to prejudge based on not knowing what is exactly going. This is the second disc with Matthew Revert on it that I’ve reviewed so I know very little about him. All I can find out is that he has recorded as a singer/songwriter and works with field recordings. “Vanessa Rossetto is an American composer, improviser and painter. She uses primarily chamber instrumentation, field recordings, electronics and a wide array of different objects exploring them through extended and traditional techniques and other methods of her own devising." - Penultimate Press
This is the second disc from this duo and like the first one, the cover art looks more like a children’s fairytale: two children riding in a flying wooden shoe, a sly crescent moon floating in the distance. It was designed by Mr. Revert who is also a novelist. The results are a slow moving, carefully unfolding movie or story: soft voices, rumbling sounds, eerie sounds: restrained yet some how disorienting… Since much of this is restrained, it take some patience to listen to the way it unfolds, with subtle changes or manipulated sounds tastefully utilized. The sounds create a certain ambience of mood which changes very slowly as it evolves. The voices talk reflectively about different things, sometimes you hear what they are saying, sometimes you just feel from the tone of their voice, so we listen in closer to get the drift. If we turn up the volume a bit, we hear several layers of sound in an ongoing stream. What I believe works so well is that all of the sounds seem to a part of an unfolding story or soundtrack. Like riding on a train with our eyes closed and just listening to way life evolves without watching the changes as they occur. This sharpens out listening abilities since it forces us to listen more deeply since it starts to make more sense. Although this disc is pretty long at 75 minutes, I did as if I was on a fascinating journey to someone else. - Bruce Lee Gallanter, DMG
MICHAEL GIBBS & GARY BURTON QUARTET With ALAN SKIDMORE / JOHN SURMAN / MIKE OSBORNE / CHRIS SPEDDING / KENNY WHEELER / HENRY LOWTHER / FRANK RICOTTI / JACK BRUCE / et al - Festival 69 (Turtle 503; UK) Michael Gibbs is a composer, conductor, arranger and producer as well as a trombonist and keyboardist, known for his collaborations with Gary Burton, and for his ability to utilize rock elements in orchestral jazz. Festival '69 is an historic concert performance, previously unreleased, providing unique insight into Gibbs' artistry prior to his recording career proper (debut album released in 1970). Assembling a big band boasting the cream of contemporary British Jazz, Gibbs connected for this one concert with pioneering vibraphonist Gary Burton and his Quartet. The concert recording, over 90 minutes long, captures the Gary Burton Quartet performing classic original compositions by Gibbs, Burton and the Quartet's Steve Swallow at the mainstream music festival held in Belfast, November 1969 (1967's headliner was Jimi Hendrix). Gibbs' band for the festival featured Chris Pyne, Kenny Wheeler, Trevor Barber, Alan Skidmore, Ray Warleigh, Tony Roberts and Chris Spedding. As a bonus Turtle Records is able to offer from Gibbs' own archive a 55 - minute recording of his Big Band earlier the same year at Lancaster University. Here, the band line-up comprised John Surman , Mike Osborne, Alan Skidmore, Henry Lowther, Roderick Toal, Chris Pyne, Dick Hart, Frank Ricotti, Mike Pyne, Phillip Lee, Jack Bruce and John Marshall. While the Lancaster recording circulated online in MP3 form in the 90s, this audio has been carefully mastered from non-compressed files and restored for the first time, under Mike Gibbs' supervision, to its original speed and at the original pitch. This package further boasts a major essay on Gibbs' early career, by John McLaughlin biographer Colin Harper, with fresh interview material from Gibbs enhanced with photos from Gibbs' own archive and contemporary cuttings.
3 CD Set $24
Earlier this year, In April of 2018, we received a box of six titles from a guitarist named Alberto Cavenati. There was no note inside so I wasn’t able to thank Mr. Cavenati for sending us these gems. I reviewed each one sold through them all. Now, six months later Mr. Cavenati send us another box with four discs from the last batch and two more titles. All six are listed below, the first two listed for the first time at DMG. This time there was a note inside, so I contacted Mr. Cavenati so we can hopefully do some future orders. Here are the two new titles first, the older titles are listed down below...
ALBERTO CAVENATI with RALPH ALESSI / GUIDO BOMBARIERI / MATTEO LORITO / VITTORIO MARINONI - Lo Spazio Margini (Unit 4394; Switzerland) Featuring Alberto Cavenati on electric & acoustic guitars & electronics, Ralph Alessi on trumpet, Guido Bombardieri on alto sax & clarinets, Matteo Lorito on double bass and Vittorio Marinoni on drums. It turns that Italian guitarist, Alberto Cavenati, currently lives in East Berlin and is involved with the Trouble in the East label. This disc, perhaps his only one as a leader, was released in 2013 and features mostly Italian musicians, most of whom I previously know little about. The drummer, Vittorio Martinoni, did work with the great pianist Giorgio Gaslini. The guest here is Downtown trumpeter Ralph Alessi, who has kept a high profile in recent years working with Tim Berne, Tomas Fujiwara’s Triple Double, Tom Rainey Obbligato plus a couple of great discs on ECM.
Mr. Cavenati wrote all but two pieces here. The opening is somber duo for trumpet and quietly fractured acoustic guitar, the vibe is uneasy. The muted mood continues with some superb, sublime soloing from Mr. Alessi while Mr. Cavenati plays in soft, spastic flourishes underneath. Cavenati does a great job of leading the tight, complex rhythm team while the trumpet or reeds (clarinets or alto sax) swirl tightly together up front. Cavenati’s guitar keeps shifting rhythmically, dynamically, adding spice with different yet minimal effects. Both horns take separate strong solos or even solo together at times. Mr. Cavenati plays acoustic on several songs, often strumming moody melodies underneath the waves created by the horn players above. One of the things that makes this music special is that it is often stripped down & spacious without anyone ever playing too many notes. While the rhythm team plays skeletally underneath, both horns take their time to play quirky, inventive solos at a low volume. There are a number of unexpected surprises here, like when the guitar plays those spiky, jazz/rock lines in the middle of “Margen” or the M-Base-like way that the quintet often has two lines or themes moving together at the same time, connected by a central rhythmic scheme. According to Mr. Cavenati, this quintet no longer exists which is unfortunate but they did leave this superb disc which we can dig into time and again. Six copies left (9/12/18) as I write it up. - Bruce Lee Gallanter, DMG
CONCURRENCES: HAVARD WIIK / MICHAEL THIEKE / ANTONIO BORGHINI - Der Lange Schatten (Trouble in East 007; EEC) Concurrences is a unique international trio consisting of Havard Wiik (from Norway) on piano, Michael Thieke (Germany) on clarinet and Antonio Borghini (Italy) on bass. Pianist, Havard Wiik’s name should be familiar since he is a longtime member of Atomic, as well as with several projects with Ken Vandermark and a duo with Francois Houle. Clarinetist Michael Thieke can be heard on some 2 dozen discs with Gebhard Ullmann’s Clarinet Trio plus bands like the International Nothing and the Magic I.D. Bassist, Antonio Borghini, has worked with Wadada Leo Smith, Gunter ‘Baby’ Summer, Alex Von Schlippenbach and Anthony Braxton. A varied lot, indeed. Each of the three members contributed two pieces. This is the second disc in a week with the same instrumentation: clarinet, piano & bass (Ab Baars Trio on RP was last week). This one sounds much more like the Jimmy Giuffre Trio, whose recordings from the early 1960’s showed a rare side of what would become known as chamber jazz or third stream. “Serenata Maledetta” begins quietly before it takes off with the piano and clarinet interweaving several tight orbital lines together, the bass keeping the central pulse. On, “Drunk Octopus wants to Fight”, the music solidifies,become more spirited and wonderfully written (Tristano-like), even swinging in a more ebullient way. On “Stendahl Syndromes”, the bassist keeps busy while the piano and clarinet erupt abruptly around him, extraordinary! The piece evolves into a spacious work with different sparse and explosive episodes. What I like most about this trio is that they seem to jump between freer and tightly sketched sections with ease, hard to tell where one begins and the other ends outside a few obvious themes. This is a most incredible trio, in which all three exchange roles time and again, tossing off bursts of notes and then switching direction at a moments notice. Although all three members of the trio are integral to its brilliance, this is the second disc this month to show off the many talents os clarinetist Michael Thieke. Check out the recent duo disc with Biliana Voutchkova on the Elsewhere label, it also rules! - Bruce Lee Gallanter, DMG
Back in stock, another great disc(s) from clarinetist Michael Thieke:
BILIANA VOUTCHKOVA / MICHAEL THIEKE - Blurred Music (Elsewhere 001-3; USA) “The Berlin-based Bulgarian violinist Biliana Voutchkova and German clarinetist Michael Thieke have worked together intensely within both compositional and improvisational duo and group projects in Berlin since 2011. You should recognize Mr. Thieke’s work from his varied projects: Clarinet Trio, the Magic I.D. and the International Nothing. In their current project “Blurred Music”, the duo works with musical structures that create a blur; improvised parts alternate with fields of pre-structured material in which digital recordings of the duo are duplicated by live performance. Virtually identical fragments of the live performance synchronize simultaneously with the playback, unavoidably giving rise to blur in the temporal dimension, in the rhythmic, timbral, and motivic variations, and in the microtonal interpretation of individual pitches. The triple CD 'Blurred Music' features three of the duo's live performances, recorded in Chicago, Philadelphia and New York during their USA tour in December 2016. These three live recordings are all very differently structured, factoring in the conditions and the atmosphere of each venue as well as the musicians' own perspective and mindset. This series of three concerts, all occurring within a nine day period, showcase the very wide range of this duo, so all three recordings combine to form a saga of their peak. Using their highly trained virtuosic skills and intense concentration, the duo carefully deconstructs the conventional tones of instruments into fine particles in an organic flow, to create a completely new world of music on their own, somewhere between tonality and atonality, and will hopefully be recognized as one of the most mature accomplishments of improvisational/compositional works of this era.” As I listen to each of these three discs for the second time, I noticed that overall sound/balance is different at each performance. The sound in the room, placement of mic’s and subtle playing of each of the two musicians all factor into the distinctive results. I had to turn up the volume at times to hear the subtle textures and manipulations. On Disc 1, I hear mostly acoustic clarinet and violin weaving their way together in waves or fragments. I am currently reading the thick new book about Keith Rowe, written by journalist Brian Olewnick. This is most appropriate since guitarist & composer, Keith Rowe, is a guiding light for the Erstwhile and now Elsewhere labels. The clarinet and violin sound perfect together since both have a certain warm, wooden sound and often create careful drones, making it hard to tell who is playing which sound. I know there are some written parts here which make it hard to tell where the improv ends and the written parts begin. The vibe or flow has a mysterious sense of synchronicity, a current that runs throughout, which can be felt by those sympathetic to the magic forces within. There is quite a bit more going on here that one might imagine. The duo slowly yet consistently shift through many different layers, melodic and abstract fragments are in constant motion, making the results both fascinating and unpredictable. I am currently on Disc 2 and remain transfixed. A grand toast to Yuko Zama for her inspired efforts. - Bruce Lee Gallanter, DMG
3 CD Set $30
These are the three older titles that we recently got from the Trouble in the East label, reviewed six months ago when we first got them in stock:
REICH DURCH JAZZ With RUDI MAHALL / GERHARD GSCHLOESSL / JOHANNES FINK / JAN RODER / MICHAEL GREINER - Reich Durch Jazz (Trouble in the East 003; EEC) Featuring Rudi Mahal on clarinet, Gerhard Gschloessl on trombone, Johannes Fink on cello, Jan Roder on bass and Michael Griener on drums. Most often known for playing bass clarinet, Rudi Mahall, is one of the most prolific European musicians in the past decade or so… playing in Die Enttauschung (with Jan Roder), as well as working with Alex Von Schlippenbach and Aki Takase. All five members can be found on dozens of discs on these labels: JazzWerkStatt, Clean Feed and Intakt. Each of the fourteen songs here are originals by four of the five members of the quintet. Starting with the title track, written by Mr. Mahall, there is a playful quality going on here with some laid back interplay from the frontline of clarinet, trombone and cello. This reminds me of sly, infectious humor that has long been an integral ingredient in the ICP Orchestra. On each piece, the quintet explore of variety of styles, many not very avant you always creatively arranged and played. By midway, things get somewhat more adventurous and we get some unexpected twists and turns. What I like about this is that the music is most modest, carefully arranged without ever going too far out yet there is a certain quirkiness that feels free of darker impulses of modern times. - BLG/DMG
MARC SCHMOLLING / GERHARD GSCHLOESSL - Madness & Arrogance (Trouble in the East 006; EEC) Featuring Marc Schmolling on Fender Rhodes & Wurlitzer pianos and Gerhard Gschloessl on trombone & sousaphone (tuba-like instrument usually found in marching bands). We recently got in six discs from the Trouble in the East label, run by German trombonist Gerhard Schloessl. You might recognize Mr. Schloessl’s name from the dozen disc he appears on the JazzWerkStatt and El Gallo Rojo labels. It turns that keyboardist Marc Schmolling also has a disc out as a leader on the JazzWerkStatt label as well. This disc was recorded in a studio in Berlin in April of 2017. Both the electric piano(s) and trombone have a similar, warm, round sound and work together quite well. On each piece, the duo work with a different vibe or terrain, taking their time to exchange lines, building things up in layers. Mr. Schmolling’s electric piano often creates some Sun Ra-like suspense, spacious and dream-like. It takes w hill before the duo start to simmer and then boil and soar together. - BLG/DMG - CD
GERHARD GSCHLOESSL / ALBERTO CAVENATI / SUNK POSCHL - Bitte! (Trouble in the East 001; EEC) Featuring Gerhard Gschloessl on trombone & sousaphone, Alberto Cavenati on guitars and Sunk Poschl on drums & percussion. Italian guitarist Alberto Cavenati recently left us with a half dozen discs from the Trouble in the East label, run by German trombonist Gerhard Gschloessl. Thanks to the JazzWerkStatt & El Gallo Rojo labels, we’ve been introduced to this fine trombone player. The other two members of this trio are new names for me. This session was recorded in a Berlin studio in September of 2014 and appears to be an all improvised affair. Although this disc starts off quietly, by the second piece, the trio erupts: intense, free and filled with frantic interplay. On each piece the trio find a way of weaving their lines together, the interaction moves from tight to loose to explosive to contemplative, blurring any lines that keep it from staying in any one place for very long. This is high end improv at it best so dig in now! - BLG/DMG
HUNGRY MARCH BAND - Running Though with the Sadness (Imaginator Records 004; USA) This is the third full length release from NYC’s Hungry March Band and their first studio record in a decade. It is produced once again by our pal, Jason Candler, who is a longtime member of Gary Lucas’ Gods & Monsters. This disc is a bit different from the first two: there are no covers (like Sun Ra, Mingus & Ellington), only originals plus the large ensemble has slimmed down a bit to 22 members: 6 reeds, 4 trumpets, 3 trombones, 2 sousaphones and 7 percussionists. Since this band is known for playing live events like marches, protests and street parties, they maintain a certain exuberant, uplifting vibe. Starting with “Ghost Puppy”, the sousaphones (tuba-like brass) keep that fat bass groove pumping while the rest of the band makes us want to jump and dance. Since all of the sections have from 3 to 6 members, many of section members play chorus like harmonies back by a consistently joyous, sly and funky groove. Although solos are often kept short, just enough time get the infectious vibe going. The Hungry March Band often sounds like a well oiled machine with several interlocking rhythms circulating simultaneously. What amazes me about this is this: the arrangements are consistently well thought out and well-executed and there is no cheesiness whatsoever, no silly cliches to ignore. The production is extremely well done, thoughtfully balanced and executed. If you listen closely you will some unexpected gems buried below the surface, like that rip-roaring out tenor sax solo on “Zombie Dog” or the great sped up ending on “Off the Hook”. The HMB have a diverse stack of influences from varied cultures to draw from. They do their version of a calypso song called “Eclipso Calypso”, which is most infectious. The title track sounds like the band is on speed and moves along at a furious pace, the entire band is super-tight and on the verge of going over the cliff! It is pretty rare that music that is as much fun to listen to as this, is also so well written and captured. This is the best tasting sonic medicine I’ve imbibed in recent memory. Got a festive event coming up? Why not hire the Hungry March Band! - Bruce Lee Gallanter, DMG
LP $20 [LTD Edition of 200 free 7” single & DL code]
More from LEAP OF FAITH and their Offshoot Projects:
LEAP OF FAITH ORCHESTRA With PEK / GLYNIS LOMON / YURI ZBITNOV / JANE WANG / ERIC ZINMAN / SYD SMART / et al - Cosmological Horizons (Evil Clown 9183; USA) This is the 10th disc from the Leap of Faith Orchestra, Dave PEK’s ongoing large ensemble that only plays a couple of times per year, just on rare occasions. This is a 24 member version and it was recorded at Killian Hall at MIT in June of 2018. Throughout the rest of the year, Mr. Peck , organizes different versions of Leap of Faith, as well as several offshoot projects like the Metal Chaos Ensemble, String Theory and Turbulence. Mr. Peck records his many projects frequently both live in the Boston area, as well as at home, in the Evil Headquarters Studio. There are than 100 discs of recordings made over the past decade.
Whereas practically everything performed & recorded by Leap Of Faith & the offshoots is improvised, Mr. Pck spends several months preparing for his orchestra concerts. A thorough explanation of the score is explained in the extensive liner notes, as well as pictures of the scores and musicians involved. Unlike earlier Evil Clown discs (which are CD-R’s), this one is a real CD in a lovely digipak with a thick booklet. Most impressive on many levels. As someone who genuinely appreciates large ensemble/big band music, I am awed by how much work Mr. Peck has put into this serious piece. The piece starts off somewhat chaotically, yet somehow there sounds like certain subgroups are being directed. Chattering reeds & horns, seesawing strings, layers of percussion erupting, colliding and interwoven thoughtfully, explosive Cecil Taylor-like piano… Considering how many musicians are involved here (24 by my count), it is amazing at how focused, engaging and thoughtfully balanced this is. No one really solos at length although there are bursts of well-placed solo bits: synth, piano, assorted reeds, double reeds & brass, strings and a plethora of percussion. Mr. Peck has also mastered the art of recording so that we can hear the entire orchestra clearly throughout, no easy feat. It is actually hard to believe that this is so a large an ensemble since certain sections are actually sparse in part. An outstanding effort on all fronts so grab your copy today. - Bruce Lee Gallanter, DMG
METAL CHAOS ENSEMBLE With PEK / BOB MOORES / ERIC WOODS / JOEL SIMCHES / YURI ZBITNOV - Blast Furnace (Evil Clown 9175; USA) Featuring Pek on clarinets, tenor & bass saxes, musette, tarogato, English horn, dax & percussion, Bob Moores on trumpet, guitar & electric cello, Eric Woods on analog synth and Yuri Zbitnov on drums, balafon & assorted percussion plus Joel Simches on processing. Recorded at the Evil Clown Headquarters in April of 2018. Leap of Faith and their various offshoot projects record prolifically. The Metal Chaos Ensemble are just one of several subgroups and have more than a dozen discs out. Each version of Metal Chaos has longtime LoF members Pek & Yuri Zbitnov, plus Bob Moores & Eric Woods, the special guest here is Joel Simches who processes their sound as it is created. The name of the band refers to the fact that all or most members play (metal) percussion at some point. Certain sounds or instruments are difficult to tell apart: guitar or analog synth or both at the beginning of this session? Haunting echoed sounds and soft metal percussion is what we hear in the first section. Like all LoF discs, this is well-recorded and balanced. PEK switches between more than a dozen instruments, mostly reeds, some obscure, some not, often concentrating on one at a time. PEK and Bob Moores (on trumpet, el. guitar & cello), are upfront, taking their time soloing apart and together while the synth & percussion create a mysterious cushion underneath. Things here unfold slowly and build organically, rarely getting too dense. There are some minimal weird vocals midway which don’t last for very long, otherwise this is one of most restrained and still engaging on other levels… There is one rather tribal sections with some great drumming from the ever—great Yuri Zbitnov pounding it out powerfully along with some hypnotic synth. Still, consistently spirited throughout! - Bruce Lee Gallanter, DMG
ERROLL GARNER - The Classic Albums Collection (Enlightenment 9152; EEC) Esteemed American jazz pianist and composer Erroll Garner, known for his early swing playing, his ballads - his best-known composition, 'Misty', has become a jazz standard - and later his experimentations, particularly his re-interpretations of musical theatre scores, was, in the words of AllMusicGuide’s Scott Yarrow; "one of the most distinctive of all pianists" and, "a brilliant virtuoso." Garner received a star on the Hollywood Walk of Fame at the height of his career in 1960. Born in 1923 in Pittsburgh, Pennsylvania, to an African-American family, the infant was a twin with brother Ernest. Erroll began learning piano at the age of three, while his elder siblings were taught by one Miss Bowman, and from an early age Erroll would sit and play anything she had demonstrated, He attended George Westinghouse High School, as did fellow pianists Billy Strayhorn and Ahmad Jamal. Garner was self-taught and remained an "ear player" all his life - he never learned to read music. At the age of seven, he began appearing on radio station KDKA in Pittsburgh with a group called the Candy Kids, and by 11, he was playing on the Allegheny riverboats. At age 14 in 1937, he formed a duo with local saxophonist Leroy Brown. This collection brings together eight original albums from the more contemporary period in the career of Erroll Garner, recorded between 1955 and 1961 for the Columbia Records label. An era which, according to fans and critics alike, witnessed much of his most interesting work, this set functions as an ideal starting point for those new to Garner's music, and a welcome reminder of the man's genius for the already well versed.
4 CD Set $18 (In stock early next week)
Back in Stock, Six Essential Discs from the Fabulous NoBusiness Label:
BOBBY NAUGHTON / LEO SMITH / PERRY ROBINSON - The Haunt (NoBusiness 105; Lithuania) Recorded April 21, 1976, Blue Rock Studio, NYC. This is a reissue of the rare album, ‘The Haunt’ (Otic 1005). Includes a nearly 7 minute bonus track not found on original LP. Featuring Bobby Naughton on vibes & compositions, (Wadada) Leo Smith on trumpet and Perry Robinson on clarinet. Recorded April 21, 1976, Blue Rock Studio, NYC. This is a reissue of the rare album, ‘The Haunt’ (Otic 1005). Includes a nearly 7 minute bonus track not found on original LP. The title of this disc, ‘The Haunt’ seems most appropriate since the music is most haunting. The final piece, which is also a bonus track and an alternate take of an earlier piece is perhaps the best one one s the trio take off and increase the level of intensity, spinning more quickly, the level of ingenuity, a marvel to behold. This will take some time to fully absorb since it appears to me a unique gem outside of its time. - Bruce Lee Gallanter, DMG
ALEXANDER VON SCHLIPPENBACH / AKI TAKASE - Live at Cafe Amores (NoBusiness 106; Lithuania)This, their third piano duo disc, was recorded in 1995 in Japan. What is most interesting about this CD/set is who they cover: Frank Zappa, Charles Mingus, two Thelonious Monk’s, an old standard (“Lulu’s Back in Town”, as well as a few originals. Starting with “Jackhammer” which was written by Mr. Schlippenbach and appears on BCJO ‘Live in Japan’ release. It is a solo feature for Schlippenbach and it is a powerful intro with some intense, steamrolling piano, which goes through a variety of sections. For the second piece, “Na na na its das der Weg”, both pianists are sitting at one piano with Alex in the lower register and Aki in the higher one. I like the way they exchange lines and bounce ideas back and forth, building, crisscrossing, the tempo increasing to a colossal stream and then back to minimal ripples. I am not so sure why the duo covered a later period Zappa song, “You are What You Is”, but it is a lot of fun and does have a most memorable somewhat goofy melody which stops before it ends. One of the highlights here a medley of Charles Mingus and Duke Ellington themes in which both pianist insert unexpected lines amongst the more recognizable melodies, like “Boogie Stop Shuffle”. Both Ms. Takase and Mr. Schlippenbach have covered songs by Mingus with their own bands. Here they take, “Misterioso”, “Evidence” and “Skippy”, alter them in odd ways, with several overlapping themes, twisting them in unexpected ways. The last piece, “The Morlocks”, is more experimental with the couple put various utensils inside the piano, rubbing the strings and coaxing out some strange sounds. The piece is long, very intense and does a fine job of creating a more mysterious soundscape which both disorienting and ultimately fascinating. Bravo to both pianists! Bruce Lee Gallanter, DMG
KANG TAE HWAN - Live at Cafe Amores (NoBusiness 104; Lithuania) “In Orson Scott Card’s short story “Unaccompanied Sonata”, state officials forcefully shield a prodigy from tainting influences like J.S. Bach so his music will remain utterly original. One can imagine similar isolation for South Korean alto saxophonist Kang Tae Hwan, if only because he doesn’t sound quite like anyone else. On Live at Café Amores, recorded in 1995 in Hōfu, Japan, he improvises five extended pieces replete with circular breathing and multiphonic techniques, similar to those used by more exuberant players in the free milieu, but appearing here with singular austerity. Often based on five- or six-note F minor scales, executed with a calm yet relentless airstream, each track is a deep meditation on changing timbres: gravelly burrs; overblown chords; hiccuping or galloping figures; low open tones set against high polyphonic blushes.” - Tom Greenland, NY City Jazz Records
ITARU OKI / NOBUYOSHI INO / CHOI SUN BA - Kami Fusen (NoBusiness 100; Lithuania) “This is an interesting and deeply emotional album of subtle and spacious music created by Itaru Oki on trumpet and bamboo flute, Nobuyoshi Ino on bass and Choi Sun Bae on trumpet. The lack of drums and a chordal instrument makes for a very wide open sound stage for brass and bass and allows the musicians to explore both experimental music and creative exploration of a few jazz standards making for a well rounded recording. The first four performances on this album consist of original compositions and free improvisations, in an exciting setting for double brass and bass. Ino's role as the bassist is very interesting as he acts as a fulcrum for the music, but also unmoors himself to create solo and collective statements of his own. The trumpet players are very expressive in a wide range of settings and when Oki switches to his bamboo flute, he opens up a whole new dimension for the music to travel in. It is interesting to hear the trio shift gears from free and abstract improvisation into playing a jazz standard "I Remember Clifford" and a medley of American popular songbook tunes "Old Folks / Tea For Two." What is most impressive is that the band is able to maintain their focus on exploration during these performances, beginning with the Benny Golson composition which is dedicated to the great trumpeter Clifford Brown who died far too young. The two trumpet players on this album use that familiar melody and their clear familiarity with Brown's playing to create an honest and powerful performance of this tune that is poignant and thoughtful. This deep melodic sensibility continues in the medley that closes the album, where the musicians are able to incorporate the themes of these familiar standards into an improvisation which shows their ability as improvisers as well as there ability as interpreters. This was a fine album, the musicians are very talented and patient, carefully letting their sound develop and broaden to encompass a wide range of feelings and emotions. Fans of creative improvised music will find a lot to like on this album.” - Tim Niland, JazzandBlues.Blogspot
CHOI SUN BAE QUARTET with JUNJI HIROSE / MOTOHARU YOSHIZAWA / KIM DAE HWAN - Arirang Fantasy (NoBusiness 108; Lithuania) According to the liner notes, when the Kang Tae-HwanSaxist Trio came to Japan to play at Tokyo Meeting in 1985, they were a shock to those who knew about the Japanese Free/Jazz scene & history. The Kang Tae-Hwan Trio consisted of Mr. Hwan on alto sax, Choi Sun-Bae on trumpet and Kim Dae-Hwan on drums & percussion. The members of Mr. Hwan’s Trio began collaborating with established Japanese musicians like Masahiko Satoh, Motoharu Yoshizawa and Kazutoki Umezu. Ten years after this first meeting with the Korean & Japanese musicians, this concert was recorded at Romanisches Cafe in Roppongi, Tokyo. The quartet is half Korean, Sun Bae and Dae Hwan, and half Japanese: Junji Hirose and Motorharu Yoshizawa. You should recognize the name Motoharu Yoshizawa fro his work with Derek Bailey, Steve Lacy and Evan Parker. Saxist Junji Hirose has worked in Ground Zero, as well as with Masahiko Togashi (drums) and Kasuhisa Uchihashi (guitar & daxophone). The long opening piece is for trumpet and 5-string bass. Trumpeter, Choi Sun Bae, is off and soaring quickly, his playing pretty intense and creative. The liner notes which were written by the owner of the cafe where this was recorded states that since there are so few musicians in Korea that play free music, the musicians must invent their own language, based in part from Korean folk melodies. There are series and duos and trio sections here, giving each of there four musicians time to stretch out, experiment and interact on several levels. In the first long section, Mr. Sun Bae’s trumpet and Mr. Yoshizawa’a bowed bass quietly interact and then build in intensity as the piece evolves. It times, Sun Bae reminds me of Nate Wooley as he works his way through different extended or odd sounds and pulls off those crazed blasts that Toshinori Kondo used to do in the 1980’s. This is following by an extraordinary tenor sax and trumpet duo, fire music, free/jazz nirvana eventually calming down to a more cerebral conclusion. Kim Dae Hwan’s percussion is featured next and we can see a picture of his unique set-up in the booklet: two cymbals and two drums, one a traditional Korean drums of some sort. Mr. Hwan’s solo sounds like it comes from the traditional Kodo style. There is another section where the trumpet and soprano sax start exchanging lines at an astonishing pace, making it hard to tell who is who. Mr. Yoshizawa sounds especially fine creating dark drones underneath bowing slowly and adding some electronics to make things a bit murky, a great cushion what the fireworks above. What is amazing about this disc, this quartet is how well these four musicians work together. An incredible international alliance which crosses borders and is united in spirits. - Bruce Lee Gallanter, DMG
KANG TAE HWAN / MIDORI TAKADA / MASAHIKO SATOH - Ton-Klami - Prophecy of Nue (NoBusiness 102; Lithuania) “Another installment in the No Business Records series of unreleased Chap Chap label recordings licensed from Japan provides a fascinating glimpse of an unfamiliar soundworld. Prophecy Of Nue features the long lived group Ton-Klami live in concert in 1995. The band member best known in the West might be pianist Masahiko Satoh, who has recorded with reedmen Peter Brötzmann, Steve Lacy and Ned Rothenberg among others, but his colleagues percussionist Midori Takada and Korean saxophonist Kang Tae Hwan also merit attention. The three lengthy improvisations are selections from a 90-minute performance and present the trio in a variety of guises. At the heart of the collaboration lies the contrast between the percussive sensibilities of Satoh and Takada versus the continuous outpourings of Hwan. The Korean demonstrates his mindboggling control of the overblown upper register in the first few minutes of the title track, as his other worldly alto whistle skates above an icy landscape of cymbal splashes and piano droplets. Bolstered by circular breathing his siren cry takes on an electronic quality, even as the accompaniment moves from processional to martial. Some of the most exciting passages come as the intensity increases. Towards the end of the opener, Satoh and Hwan intermingle their twin unfurling lines, only for the pressure to grow yet further as Takada throws fuel on the fire. They conjure yet more high energy on "Incantation" through an exuberant combination of staccato yelping alto, flailing piano and taiko-like drum bursts. Takada asserts her grace and elegance with a prancing marimba dance during "Manifestation," while Satoh ramps up the tension with one of those repeated figures which begs the questions: When will it stop? What happens then? The answer is an unexpected return to a delicate and mournful atmosphere of isolated sounds. That unpredictability sums up the attraction of this disc.” - John Sharpe, AllAboutJazz
A Couple of Cassette Offerings:
MICHAEL FOSTER BEN BENNETT - Lives (Anti Causal Systems; USA) Featuring Michael Foster on saxes & objects and Ben Bennett on drums & percussion. Recorded at two locations: Ess in Chicago (3/26/18) and Avant Garden in Houston, Texas (12/4/17). A few weeks ago here at DMG (9/2/18), our night began with Charmaine Lee on vocals & Ben Bennett on percussion. Although it was rather short, it was an amazing set (check out the DMG Instagram transmission). Young Mr. Bennett, hails from Philly, and played here earlier in a trio with David Grollman & Michael Foster. Mr. Bennett’s playing wit that duo was something else entirely, one of the oddest, most unique sounding percussionists I’ve heard in a long time. Over the past few years, saxist Michael Foster has played at DMG at least a half dozen times, each set with different personnel and each set impressing me more and more.
Considering that I don’t often review cassettes, the sound on this disc is superb, more real, more dynamic and closer to the sound of what went down than any CD release. Mr. Bennett is actually playing a drum set here, unlike his store set playing mainly pieces of metal (like a dust pan). Mr. Bennett plays a long solo on trap drums and sounds wonderful, a propulsive drummer with energy to spare. There is a quieter section here that really sounds great, with Mr. Foster playing a mouthpiece and other fractured sound on his sax while Mr. Bennett responds with equally intricate, bent percussion sounds. Whether more restrained or occasionally over the top, this entire cassette is solid throughout. - Bruce Lee Gallanter, DMG
THE INTERNAL COMBUSTION TRIO With JOSH SINTON / ARYEH KOBRINSKY / SADHU-BHAV-TONY FALCO - Glacial Potholes (SBR 012; USA) The Internal Combustion Trio are Josh Sinton on bari sax & bass clarinet, Aryeh Kobrinsky on bass and Tony Falco (Sadhu-Bhav) on drums. Last Sunday (9/9/18), reedsman, Josh Sinton, played a duo set here with fellow clarinetist, Guillermo Gregorio, and it was mighty fine. Check out the Instagram snip through DMG. Mr. Sinton left us with a cassette of a trio he is in, which was recorded in Mt. Vernon, NY in August of 2014. Both bassist Aryeh Kobrinsky and drummer Tony Falco have worked (and probably studied) with Rakalam Bob Moses. Kobrinsky is also a member of Hush Point with John McNeil & Jeremy Udden. And Tony Falco has work with guitar god, Tisziji Munoz. Like the other cassette reviewed to day by Michael Foster & Ben Bennett, the sound here is quite dynamic, especially the bass, which is larger than life and powerful. This is a most formidable trio, with Mr. Sinton blistering on bari sax when the tape first kicks off. The trio slowly winds down to more restrained simmering with somber, eerie, dreamy results. The sound on this disc is what makes it so fine, so real and engaging. Mr. Sinton switches to bass clarinet midway and sounds like he is telling a story with his solo. A consistently solid, compelling trio session which flows organically throughout. - Bruce Lee Gallanter, DMG
ALVIN LUCIER - Illuminated By The Moon (Black Truffle BT 043; Australia) Black Truffle together with Bernhard Rietbrock and ZHDK present Illuminated By the Moon, a stunning box set celebrating Alvin Lucier's 85th birthday celebrations which took place in Zurich, 2013. Alvin Lucier is one of most important figures in more than a half century of avant-garde and experimental sound practice; he has no equivalent. He is among America's most important composers, a towering pillar of intellect, creativity, and beauty realized through sound. His singular body of work is focused around acoustic phenomena and auditory perception includes, among others, the groundbreaking Bird And Person Dyning, 1980's Music On a Long Thin Wire (LCD 1011CD), and 1981's I Am Sitting In a Room (LCD 1013CD), each quietly shifting the understanding of what music could be with deceptively discrete gestures, laying their mark on history and the expectations of nearly everything to come, while radically expanding the field. It is such a life, defined by such striking accomplishment, which Illuminated By the Moon, celebrates across four LPs, a CD, and book. Recorded in October of 2016 at the Alvin Lucier 85th Birthday Festival at the Zurich University of the Arts, the box gathers a remarkable range of performances of works from Lucier's life in music, from the iconic to the lesser known. It begins with wonderful stagings of "I Am Sitting In a Room" and "Music for Solo Performer" performed by the composer, before presenting the work "Charles Curtis" performed by the cellist for whom it was composed, and "Double Rainbow", a recent work, performed by the incredible Joan La Barbara. Over the course of the set's many discs, one encounters a range of works performed by Oren Ambarchi, Stephen O'Malley, Charles Curtis, and Gary Schmalzl, with further contributions by many others involved in Lucier's life and work. The collection, by offering an expanse of material otherwise unavailable in the composer's discography, opens a rare window into the breadth and range of territory which he has approached, as well as into the unique humor which has quietly bubbled through his entire career. It is a singular recording event, the likes of which are unlikely to be repeated. A worthy tribute to one of the last century's most important composers. Mastered and cut by Helmut Erler at Dubplates & Mastering, Berlin. 180 gram vinyl. Includes CD and 12x12", 120-page book with unseen images and various essays; Includes download code; Edition of 500.
4LP BOX / CD / Book $175
KARLHEINZ STOCKHAUSEN - Originale (Cyakume & Argonzer 047; Italy) A documentation of a music happening recorded at Judson Hall, NYC. Sept 8-9, 11-13, 1964 with a stellar line-up that includes James Tenney on piano, David Behrman, Max Neuhaus, Alvin Lucier, Allan Kaprow, Nam June Paik, Allen Ginsberg, and Jackson Mac Low. The idea, Allan Kaprow director explained, is "a collage of music and action". The music was electronic, but the action was clearly electrifying as Karlheinz Stockhausen's Originale was presented as the top event of Manhattan's Second Annual Avant-Garde Festival. from the program original notes: the artist got on a ladder and, from a height, dropped eggs, paprika and stuff on a sheet of plastic, making a wonderful action painting. In the background was the electronic music. Of course there was Allen Ginsberg, who recited a poem, using a few phrases that caused nervous giggles from some young ladies in the audience. Allen Ginsberg was dressed in his usual formal dress for concert work: blue jeans, red shirt open at the neck, a jacket of sorts, even shoes. The evening was a triumph of organization. lest you think that the whole is not greater than the parts, consider how the following materials were so cannily used: live musicians (saxophone and percussion, the latter ending up undressed save for red leotards), a walkie‐talkie, a film sequence, a piano decorated with flowers, and stuff in its innards, a clothes-rack, pillows, hi‐fi equipment, a newspaper boy, kids erecting constructions from wooden blocks, a big clock, newspaper obits, a scaffolding, the audience itself, apples thrown around, a monologue in Greek, one from Shakespeare, insane laughter. Silk screened cover art, with xerox insert reproducing Time Magazine review of the performance - published 9/18/64. Includes photo of Charlotte Moorman stripping.
BEN PATTERSON - The Lost Tape & The Three Required Musics (Edition Telemark 785-06LP; Germany) "Radiophonic minutes of the search for a probably lost tape piece, and a reconstruction thereof with real instruments." Produced by Hessischer Rundfunk (Hessian Broadcasting Corporation), Germany, in 2015. When future Fluxus artist Ben Patterson (1934-2016) traveled to Germany in 1960 in order to study with Karlheinz Stockhausen, he brought along a tape piece that he had produced in Hugh Le Caine's electronic studio in Canada and that he wanted to show to Stockhausen. They met briefly in the context of the World Music Days of the International Society for Contemporary Music (ISCM) in Cologne, but Patterson immediately sensed that their aesthetic ambitions and viewpoints differed too much, and in the end, he didn't even present him his piece. Instead, his attention was drawn to the Contre Festival at Mary Bauermeister's studio, a counter event to the ISCM festival presenting works by George Brecht, La Monte Young, John Cage, amongst others. Virtually overnight, Patterson's aesthetic thinking changed radically, and the cornerstone was laid for his coming role within the Fluxus movement. In 2013, Stefan Fricke, editor for new music at Hessischer Rundfunk, approached Patterson about a broadcast of that old tape piece. Patterson didn't know its whereabouts, so Fricke and him together with Cologne-based composer hans w. koch set out for a journey through Patterson's large collection of tapes, some labeled, some unlabeled, sometimes the labels not matching the contents. The journey was recorded with Patterson inserting and ejecting various cassettes, always commenting on what was being heard. In the end, the electronic piece couldn't be found, so it was decided to re-record it using various toys, instruments, and small devices. For the new recording, Patterson brought a score titled "The Three Required Musics" which he considered to be related to the tape piece and which required preparatory work in the form of cutting out colored pieces of paper and pasting them into a time grid. This LP contains the recording of the search on side A and the new recording of the score on side B. It is presented in a full-color sleeve showing a detail of hans w. koch's paper time grid, with liner notes by Stefan Fricke and hans w. koch, and two inserts: the first containing the original score "The Three Required Musics" with new notes by Ben Patterson, the other reproducing koch's complete paper score in A2 format. Edition of 300.
HANS W. KOCH - The O. Theorem (Edition Telemark 785-07LP; Germany) Hans W. Koch (b. 1962) is a Cologne-based composer, performer, and sound artist. His work encompasses pieces for chamber and large orchestra, experimental scores for instruments, computers and everyday objects, sound installations, electronic music, etc. He summarizes his art as being about sculpting thoughts in diverse material and prefers conceptual approaches: "more thought, less material". koch studied composition with Johannes Fritsch and currently is professor for sound at the Academy of Media Arts Cologne. Since the 1980s, koch has been concerning himself with the concept of "total harmony" (harmonie totale) introduced by Russian composer Nikolai Obouhow (1892-1954) where all twelve tones of the Western tonal system -- in different octave ranges -- are stacked into chord complexes, thus articulating the idea of a vertical twelve-tone music, as opposed to the horizontal twelve-tone music after Schönberg. Less than the mystical connotations expressed by Obouhow, koch is interested in the conceptual potential of this approach: a self-contained harmonic system in which every chord is an inversion of every other. koch has made several works relating to total harmony and calls this work group "the O. theorem". This LP presents two pieces within this group: "stele fuer n.o." for large orchestra (2010) was premiered at the festival MaerzMusik in Berlin in 2010 with the Konzerthausorchester Berlin. "clock of fifths [totensonntag]" (2017) is an electronic piece where a field recording of church bells is filtered through a smartphone app developed by koch: The microphone signal is divided into twelve tone pitches that are heard in accordance with a timer that moves through the circle of fifths shown on the smartphone display. Full-color sleeve; includes printed inner sleeve with liner notes by Volker Straebel and hans w. koch. Edition of 300.
PIERRE HENRY - Orphee Ballet (Fantome Phonographique OME 1008; Italy) Fantôme Phonographique present a reissue of Pierre Henry's Orphée Ballet, originally released in 1964. Scored for Maurice Béjart's choreography to the Orphée Ballet, based on the Greek god, Orpheus, this is one of Pierre Henry's finest works of musique concrète, the genre in which Henry was an early innovator and to which he devoted his career. After years working for the French national radio (RTF) and honing his studio chops on radio spots and editing/composition, Henry formed his own studio in 1958 and began working on modern dance and ballet and soundtrack work. Incorporating percussion, industrial soundscapes, nature sounds, spoken French narrative, and synthesized tones, Orphée Ballet is a beautiful piece that while less known than what is perhaps his most famous work, also for Béjart's ballet production, 1967's Les Jerks Électroniques De La Messe Pour Le Temps Présent Et Musiques Concrètes Pour Maurice Béjart, is equally compelling and groundbreaking. Following his passing in 2017 at age 89, Henry's work has found renewed interest, and this is a welcome reissue of one of his rarest and finest works. Truly brilliant. Comes in a heavy sleeve with a hand-numbered sticker.
G.I. GURDJIEFF - Improvisations (Fantome Phonographique 1009; Italy) Fantôme Phonographique present a reissue of G.I. Gurdjieff's Improvisations. G.I. Gurdjieff was an Armenian and Greek philosopher, spiritual teacher, and musician, whose teachings of The Fourth Way influenced thousands worldwide and created communities that still exist to this day. His goal was to teach humans to reach a higher consciousness out of the "waking sleep" he considered most to be living in. Music was an important part of his teachings and these brilliant harmonium improvisations were recorded in 1949 in Paris, just a short time before his death. Droning and ethereal, these beautiful pieces mark a pinnacle in the work of a legend of human spirituality. Comes in a heavy sleeve with a hand-numbered sticker.
MAYA DEREN - Divine Horsemen: Voodoo Gods of Haiti (PSR 021; USA) "Maya Deren journeyed to Haiti to make a film of ritual dances, instead, she came to be accepted as a Voudoun initiate, whose devotees commune with the cosmic powers through invocation, offerings, song and dance of the Voudoun pantheon of deities, or Loa, whom are witnessed as being living gods and goddesses, actually taking possession of their devotees. Deren describes the relationship between magic, science and religion bringing a uniquely lyrical voice to her narrative. This paints a multi-textured, infinitely complex portrait of a spiritual tradition with roots stretching back to the very dawn of humanity. Joseph Campbell calls Divine Horsemen 'the most illuminating introduction that has yet been rendered to the whole marvel of the Haitian mysteries as 'facts of the mind.'' Included in this album are some of the first recordings ever made during religious ceremonies near Croix de Missions and Petionville featuring selections that serve as a soundtrack to the film she shot documenting Voodoo ceremonies and festivals conveying the incantatory power of the ritual drumming and singing. One can hear the sounds of nature while processions begin across the landscape further giving the effect of an audio memoir. For the first time in almost 40 years, this long out-of-print cult classic is now available in a limited edition featuring a beautiful screen printed cover by Grant Corum, risograph insert with liner notes by Cherel Ito, original cover art by Teiji Ito and mastered for the first time by Timothy Stollenwerk."
ARVE HENRIKSEN - The Height Of The Reeds (Rune Grammofon RLP 3201; Norway) The Height Of The Reeds started as a commissioned work to the city of Hull, Great Britain´s cultural capital 2017. Composed by Arve Henriksen, Eivind Aarset and Jan Bang, the work celebrates the longstanding seafaring relationship between Hull and Scandinavia. It was originally the musical companion to a sound walk that took place in April, May and June 2017. Those who took part could listen to the music on headphones while crossing the Humber Bridge. Initially intended for April only, the arrangement proved so popular it ended up selling out three months. Only minor adjustments have been done to justify the transition from sound walk to album. Other than Henriksen, Aarset and Bang, the work includes important contributions from Hull sound artist Jez Riley French, providing field recordings from the bridge itself: the river below, the noise of engines, the creaking of steel wires, wheels against asphalt and the song of the reeds in the wind. Opera North´s choir and orchestra provides the necessary musical space for the soloists, and two actors and a child read from translated poems by Norwegian poet Nils Christian Moe-Repstad.
LP CD $24
MILES DAVIS With JOHN COLTRANE / RED GARLAND / PAUL CHAMBERS / PHILLY JOE JONES - The Original Quintet (First Recording)(Down at Dawn 105; Italy) Down At Dawn present a reissue of Miles Davis's The Original Quintet (First Recording) , originally released on Prestige in 1963. In 1955, Davis played a beautifully received set at the Newport Jazz Festival and was offered a contract with Columbia Records if he could get a steady group together. In order to record for Columbia, Davis would first have to settle an obligation to Prestige and so he put together the now legendary quintet with John Coltrane, Red Garland, Paul Chambers, and Philly Joe Jones. It was under these conditions, in a desire to churn out as many records as possible to change labels, that Davis recorded some of the most celebrated music of his entire career. This group, in the span of several months released a half-dozen LPs including this one and the great Cookin' (1957), Workin' (1959), and more. This title, originally recorded in 1955 features a great Duke Ellington piece, "Just Squeeze Me", the brilliant Davis original "The Theme", and several other great tunes, but most importantly it is the introduction to a group that features two towering giants of jazz together on some of the fieriest playing of either's career. Edition of 300.
ALISON STATTON & SPIKE - Bimini Twist (Tiny Global Prod PICI 012; Hungary) Limited LP version with download card. After Young Marble Giants's breakup, singer Alison Statton started Weekend with Spike and Simon Booth, a project which saw chart success and the birth of a nouveau-retro style as individualistic as YMG's, one later co-opted by lesser acts. Weekend, too, split after their debut album. Despite Weekend having become Alison's second big act, Rough Trade passed on her next project with Spike. Vinyl Japan stepped in to release the duo's debut, Tidal Blues and other releases followed, but as real life, jobs, and children beckoned, both Alison and Spike stepped away from music for more than twenty years. Their return is unexpected. Bimini Twist is the work of the two alone. Apart from some vocal tracking in a local studio to best capture Alison's still wondrous voice -- everything was recorded in their homes, much of it "live," and these new songs show the duo's charm and diversity, featuring Alison's most personal lyrics and Spike's peculiar musical genius.
LP $24 / CD (soon) $15
Bruce Lee Gallanter’s Recommended Gig List for August of 2018:
THE STONE RESIDENCIES - MATT MITCHELL - SEPT 11–15
8:30 pm - Quartet - Matt Mitchell (piano) Chris Speed (tenor sax, clarinet) Chris Tordini (bass) Dan Weiss (drums)
8:30 pm - DISDAIN - Matt Mitchell (piano, modular synth, prophet 6) Kim Cass (bass) Kate Gentile (drums) Wendy Eisenberg (electric guitar) Jon Irabagon (sopranino and tenor saxes) Ed Rosenberg (tenor and bass saxes)
THE STONE RESIDENCIES - HARRIS EISENSTADT - SEPT 18–22
8:30 pm - Duo - Graham Haynes (cornet, electronics) Harris Eisenstadt (drumset, bata drums)
8:30 pm - Poschiavo 50 - Kaoru Watanabe (flute, fue) Jason Mears (clarinet) Sara Schoenbeck (bassoon) Graham Haynes (cornet) Vincent Chancey (french horn) Curtis Fowlkes (trombone) Sam Bardfeld, Erica Dicker (violins) Jessica Pavone (viola) Adam Hopkins (acoustic bass) Jonathan Goldberger (electric guitar) Emery Damon, David Font Navarette, David Ambrosio (bata drums) Harris Eisenstadt (conductor, composer)
8:30 pm - Poschiavo 50 - Sara Schoenbeck (bassoon) Erik Friedlander (cello) Harris Eisenstadt (drums, compositions)
8:30 pm - Poschiavo 50 - Sara Schoenbeck (bassoon) Ikue Mori (electronics) Dan Peck (tuba) Harris Eisenstadt (drums, compositions)
8:30 pm - Aberikula - David Ambrosio, Emery Damon, Javier Diaz, David Font Navarette, Sebastian Lopez (bata drums, coro)
THE (NEW) STONE is located in The New School’s Glass Box Theatre
55 West 13th street - near 6th ave
All Sets at The New Stone start at 8:30pm Tickets: $20
There are no refreshments or merchandise at The Stone.
Only music. All ages are welcome. Cash Only at the door.
A serious listening environment.
The Stone is booked purely on a curatorial basis
The CORNELIA STREET CAFE - 212-989-9319
29 Cornelia St in the heart of the West Greenwich Village, NYC
Fri Sept 14th:
8:35PM RYAN KEBERLE & CATHARSIS - Ryan Keberle, trombone, keys; Camila Meza, voice, guitar; Scott Robinson, trumpet, tenor sax; Jorge Roeder, bass; Eric Doob , drums
Saturday Sep 15
6:00PM JEFF KROL QUINTET - Ethan Helm, alto saxophone; Christian Li , piano; Juanma Trujillo, guitar; Dan Pappalardo, bass; Jeff Krol, drums
8:35PM JACOB SACKS & FRIENDS - Jacob Sacks, piano; Ellery Eskelin, tenor sax; Tony Malaby, tenor sax; Michael Formanek, bass; Dan Weiss, drums
Sunday Sep 16
8:30PM JANE IRA BLOOM TRIO/EARLY AMERICANS - Jane Ira Bloom, soprano sax; Mark Helias, bass; Bobby Previte, drums
Monday Sep 17
8:30PM HANNAH REIMANN'S WOMAN OF HEART & MIND THE MUSIC OF JONI MITCHELL 1967-1974 - Hannah Reimann, vocals, piano
Tuesday Sep 18
6:00PM STEVE WILLIAMS TRIO - Steve Williams, bass; Cat Toren, piano; Connor Parks, drums
8:00PM LOGAN STROSAHL SPEC OPS - Logan Strosahl, saxophone; Henry Fraser, bass; Allan Mednard, drums
9:30PM EDITH LETTNER JAZZ HEART - Edith Lettner, alto, soprano sax, duduk; Zach Lapidus, piano; Julian Smith, bass; Rodrigo Recabarren, drums
Wed Sept 19th:
6:00PM BRIAN KROCK’S LIDDLE - Brian Krock, alto saxophone, clarinet, bass clarinet; Olli Hirvonen, guitar; Marty Kenney, bass; Devin Gray, drum set
8:00PM TAREK YAMANI TRIO - Tarek Yamani, piano; Sam Minaie, bass; John Davis, drums
9:30PM MATT DAVIS QUARTET - Matt Davis, guitar; Paul Jones, tenor sax; Leon Boykins, bass; Peter Kronreif, drums
Thursday Sep 20
8:00PM DAN MCCARTHY QUARTET - Dan McCarthy, vibraphone; Mark Feldman, violin; Eivind Opsvik, bass; Tom Rainey, drums
9:30PM OSCAR PEREZ TRIO FEATURING DON BRADEN - Don Braden, tenor sax; Oscar Perez, piano; Endea Owens, bass; Alvester Garnett, drums
Friday Sep 21
6:00PM AN EVENING OF SONG, POETRY, AND MUSIC - Barry Wallenstein, poetry; Alan Rosenthal, piano; Ken Filiano, bass; KaORi Yamada-Lategano, drums; Jeffrey Cyphers Wright, guest poet
8:35PM TOM GUARNA TRIO WITH SPECIAL GUEST PETER BERNSTEIN - Tom Guarna, guitar; Peter Bernstein, guitar; Joe Martin, bass; Chris Smith, drums
Saturday Sep 22
6:00PM ALBERT MARQUES TRIO FEAT. ARI HOENIG - Albert Marques, piano; Pablo Menares, bass; Ari Hoenig, drums
8:35PM JOCHEN RUECKERT QUARTET "GUITAR CENTER" EDITION - Mike Moreno, guitar; Lage Lund, guitar; Joe Martin, bass; Jochen Rueckert, drums
Sunday Sep 23
8:00PM NEW BRAZILIAN PERSPECTIVES: RUBENS SALLES - Rubens Salles, piano; John Clark, french horn; Michel Gentile, flute; Leco Reis, bass; Kenny Grohowski, drums
9:00PM & 10:30PM NEW BRAZILIAN PERSPECTIVES, KAVITA SHAH "LUSOPHONE MUSIC PROJECT" - Kavita Shah, voice; Felipe Viegas, piano; Juancho Herrera, guitar; Eduardo Belo, bass; Yayo Serka, drums
The Spectrum is Now Located in Brooklyn (address below)
Here’s the week’s schedule:
Friday 14 September
8 PM - Fridays on the Spectrum, curated by Gabriel Zucker
Sunday 16 September
3 PM - Clare Longendyke, pianist - Program:
Maurice Ravel, Miroirs (1905), excerpts TBD
Vivian Fung, Glimpses (2006, rev. 2016)
Amy Williams, Cineshape 4 (2015)
Sunday 16 September
7 PM - Stuart Breczinski: Title Pending
Monday 17 September
7 PM - Gaya Feldheim Schorr Septet // Ganglion
Gaya Feldheim Schorr – voice
Rachel Therrien – trumpet
Blake Opper - tenor sax
Micha Gilad – piano
Tal Yahalom – guitar
Eva Lawitts – bass
Stephen Boegehold - drums
Michaël Attias - alto saxophone
Jessica Ackerley - guitar
Florian Herzog - bass
Stephen Boegehold - drums
Thursday 20 September
7 PM - Joseph Block (piano), Dylan Band (saxophone)
Friday 21 September
7 PM - Katherine Petersen, piano music of the 20th and 21st Centuries
In a Landscape by John Cage (10’)
Sonata No.3 “Proust Among the Nations” (2014) by Mohammed Fairouz (28’)
~Intermission~ Piano Sonata (1939-41) Aaron Copland (26’)
Saturday 22 September
8 PM - Jose Menor, piano
Messiaen: "Vingt Regards sur l'enfant-Jésus"
Please see the 7 PM Saturday September 8 entry for Mr. Menor’s biography.
Spectrum is located on Flushing Avenue, halfway between Carlton and Cumberland, directly across from the Brooklyn Navy Yard: address:
70 Flushing Ave, Garage A, Brooklyn, NY 11205
York Street stop on the F Train
DeKalb Avenue stop on the B, D and Q trains
B57 and B69 Buses:
Flushing Av/Cumberland St (westbound)
Flushing Av/N Portland Av (eastbound)
Friday, September 14th 9:00 PM $
Eva Novoa, piano
Drew Gress, bass
Devin Gray, drums
SATURDAY, September 29, 2018
8:30 PM 10:30 PM
SATOKO FUJI TRIO
Kappa Maki - trumpet
Satoko Fujii - piano
Yoshi Shutto - drums
CD Release for “1538” concert.
FISH DREAMS DESSEN/HARNIK/VICTOR
FRIDAY, OCTOBER 5, 2018
Greene Ave Music Presents...
8:00 FISH DREAMS
Jochem van Dijk - bass guitar
Michael Dessen - trombone
Elisabeth Harnik - piano
Fay Victor - voice
I-Beam is located at 168 7th Street in Brooklyn, NY 11215 - Directions: SUBWAY: Take the F or R trains to 4th Ave & 9th Street. Walk down 4th ave to 7th street. Make a left on 7th and walk past 3rd ave. We are located on the ground floor, the grey doors to the right of the stairs of #168.
3pm - Friends of Alec Wilder (FOAW) presents: 2018 Annual Wilder Concert
Selected American Popular Songs and Jazz works by Alec Wilder
Featuring: The Michael Kanan Trio and Brian Carpenter’s Ghost Train
8:15p - The Delphian Orchestra
Justin Mullens - french horn
Dave Smith - trumpet
Sam Hoyt - trumpet
Ben Holmes - trumpet
Brian Drye - trombone
Michael Fahie - trombone
Eli Chalmer - trombone
Max Seigel - bass trombone
Andrew Gould - alto
Pat Tucker - alto
Peter Hess - tenor
Peyton Pleninger - tenor
Jeremy Powell - tenor
Dimitri Moderbacher - bari
Dan Pugach - drums
George Rush - bass
Peter Thompson - guitar
7pm - "Surface Tension" Album Release Show
Matthew De Ver: Lead Vocals & Rhodes
Peter Kronreif: Drums
Martin Nevin: Upright Bass
Omar Little: Trumpet
Ben Tyree: Guitar
Arin Maya: Backing Vocals
8:15pm - Francesca Prihasti / Nic Vardanega
Francesca Prihasti (piano)
Nic Vardanega (guitar)
Jonathan Gardner (double bass)
Kazuhiro Odagiri (drums)
Shapeshifter is located at:
18 Whitwell Pl, Brooklyn, NY 11215
The Bushwick Improvised Music Series
Monday September 17th
7pm Rich Rosenthal - guitar , Nick Gianni - tenor sax & flute, Ken Filiano - bass , Leonid Galaganov - drums
8pm Stephen Gauci - tenor saxophone , Adam Lane - bass & Kevin Shea - drums
9pm Judi Silvano - vocals, Bruce Arnold - guitar/electronics
9:45pm Colin Hinton - drums , Tony Malaby - saxes, Todd Neufeld - guitar, Eivind Opsvik - bass
10:45pm Dave Sewelson - baritone saxophone, David Hofstra - bass , Bobby Kapp - drums
11:30pm John Baylies - tuba/electronics ,Uran Kamper - saxophone/electronics, Hanol Kim - keyboard/synth & David Baylies - trumpet/electronics
Downstairs @ Bushwick Public House
1288 Myrtle Avenue in Bushwick
(Across the street from M train Central Ave stop)
HIGH ZERO Festival (New York edition)
509 Atlantic Ave., Brooklyn, NY, 11217 / roulette.org/calendar/
8pm - $18 for each night
Thurday, September 19th
Tom Boram (synthesizer, computer, harpsichord)
Ikue Mori (electronics)
C Spencer Yeh (voice, violin)
Owen Gardner (guitar, cello)
Shelly Purdy (percussion)
Margaret Schedel (violoncello, electronics)
Andrew Bernstein (saxophone)
Jeff Carey (computer, lights)
Jamal Moore (reeds)
Ras Moshe (sax)
JD Parran (woodwinds)
Lea Bertucci (bass clarinet, alto sax, electronics)
Samuel Burt (daxophone, bass clarinet
Michael Evans (percussion, theremin)
Friday, September 20th
Bonnie Jones (electronics)
Laura Ortman (amplified violin)
Rose Hammer Burt (reeds)
Sandy Ewen (guitar)
M.C. Schmidt (electronics, balloon)
CK Barlow (electronics, sampling)
John Berndt (reeds, computer, invented instruments)
Tom Hamilton (electronics)
Amirtha Kidambi (voice)
Chuck Bettis (electronics, vocals)
Jaimie Branch (trumpet)
Stewart Mostofsky (electronics)
Friday, September 14, 2018 -
Sets at 8:30 PM 10:00 PM
Michael Musillami Trio 2
Michael Musillami, guitar,composer
Joe Fonda, bass
George Schuller, drums
Kirk Knuffke, cornet
Jason Robinson, saxophones, flutes
45 Crown Street
New Haven Ct. - 203 785 0468
Saturday, September 15, 2018
Sets at 8:00 & 9:15
The Bing Arts Center
716 Sumner Avenue
Springfield, MA - 413 731 9730
Fridman Gallery 5th Anniversary Festival
at Fridayman Gallery
287 Spring St., NY, NY 10013
September 17-25, 2018 - 8pm doors
$20 each night
Co-curated with Daniel Neumann
Each night: Victoria Keddie, new videos.
Mon Sep 17
Red Desert play Lucier, Oliveros, Wolff
Charmaine Lee, Ben Bennett
Tue Sep 18
Wed Sep 19
Thu Sep 20
Tamar Ettun, Miya Masaoka
Fri Sep 21
John Driscoll, Cecilia Lopez
Lea Bertucci, Seth Cluett, Phil Edelstein
Sat Sep 22
MV Carbon, Maria Chavez, Lesley Flanigan
Nino Cais, Carla Chaim
Sun Sep 23
Yvette Janine Jackson, Abigail Levine
Mon Sep 24
Octophonic performances:: Ed Bear, Chuck Bettis, Richard Garet, Daniel Neumann
Tue Sep 25
THE KARUNA TRIO:
HAMID DRAKE / RALPH M. JONES / ADAM RUDOLPH
CD Release Celebration!
Saturday, September 22nd from 8pm til 11:55
At the Art Cafe Bar
884-886 Pacific St, New York
Brooklyn NY 11238
On Thurs. Sept. 27th,
Guitar virtuoso, Grammy-nominated songwriter and composer
GARY LUCAS - Multimedia One-man Show
“AN EVENING WITH GARY LUCAS: FROM BEEFHEART TO BUCKLEY AND BEYOND”
Live at The Cutting Room NYC at 9:30pm.
The Cutting Room is located at 44 East 32nd St.
For tickets and more info: /bit.ly/2OxjBFg
October 7th, 2018
11am-1pm - Free admission
At Funkadelic Studios
“Let Music Be Your Brunch”
209 West 40 St. ,5th fl, NYC
Musicians attending will be:
William Hooker, Chris Forbes, Eriq Robinson, Jeremy Carlstedt, Faye Kilburn,Theodore Woodward, Richard Keene and more TBA
*Discerning listeners are also invited
THE SUN RA ARKESTRA INTERGALACTIC TOUR CONTINUES ON EARTH HERE:
Tuesday, October 16, 2018 - Music Box, 1148 Main Ave., Cleveland, OH - Doors 5:30 pm & Show 7:30 pm
Wednesday, October 17, 2018 - El Club, 4114 Vernor Hwy, Detroit, MI - Show 8:00 pm
Thursday, October 25, 2018 - Rhodes College, 2000 North Parkway, Memphis, TN - Showtime TBA
Wednesday, October 31, 2018 - Philadelphia, PA - Venue & Showtime TBA
The Sun Ra Arkestra Directed by Marshall Allen has four CD recordings. Two are El Ra Records releases "A Song for the Sun" and "Music for the 21st Century" and the other two are In Out Record label releases "Live at the Paradox" and "Babylon Live".
For additional information about Sun Ra Arkestra Directed by Marshall Allen performances, including venue weblinks, please click on the "Tourdates" tab of the Sun Ra Arkestra website. Booking information for the Sun Ra Arkestra Directed by Marshall Allen is available by clicking on the "Info" tab of the Sun Ra Arkestra website, which is located at: www.sunraarkestra.com