He was a Friend of Mine
He was a friend of mine, he was a friend of mine
His killing had no purpose, no reason or rhyme
He was a friend of mine
Written and performed by the Byrds, December of 1965
The Unfortunate Passing of a Good Friend
Earlier this week, I got a call from my friend Eric Stern, who told me that our mutual friend, MIKE PANICO, had passed away on Monday evening, his body found on the shore near Citi Field in Queens. We were both stunned since we had just had brunch with Mike on the previous Sunday and he seemed to be fine.
I had grown close to Mike over the past decade plus, since meeting him at DMG and attending many shows together. We were both Grateful Dead fans so we went to several Dead-related shows like Furthur and the Dead for Obama show in PA. Mike worked for RCA as an archive specialist. RCA was later purchased by Columbia, so he ended up working at Columbia for Legacy, helping with hundreds of reissues and box sets. You can see his name of many of these items. He also helped out at DMG, working weekends, helping us with mail-order when we were located on the Bowery. We started having breakfast together on most weekends, often trying out new restaurants, often at his request. He was a pizza connoisseur so we checked out pizza places all over. Our weekly breakfast club ended up including Eric Stern and his wife Chris.
Mike always wanted to be more involved in the Downtown Scene & Creative Music in general, having befriended many musicians. He volunteered at The Stone for several years and ended up starting a label with Kevin Reilly called Relative Pitch. Although CD’s were selling less than ever, this label was the passion of both co-founders, with more than 50 CD’s released so far featuring an immensely diverse cast of creative musicians: Evan Parker, Bill Frisell, Mary Halvorson, Joey Baron, Ben Goldberg, Michael Foster, Paul Rogers, Vinny Golia, Matt Shipp, Michael Bisio, Kirk Knuffke, upward of 100. Over the past five years, Mike started taking music-based vacations to Amsterdam, London & Berlin. He often twisted my arm so I went along, as well as Eric and Chris. I am so glad he did as we had so many great experiences! These are my most cherished memories with Mike: going to the Douk Festival in Amsterdam (to check out members of ICP across the town), seeing the Schlippenbach Trio (w/ Evan Parker & Paul Lovens) on three nights of their December tour and going to London to see the Henry Cow Reunion, Robert Wyatt Discussion, John Stevens Tribute, Keith Tippett Solo and Paul Dunmall Trio all in a short period of time. Plus having a long meal with Evan Parker & Carolyn Forbes. Mike planned these vacations well and we will be forever in his debt.
Mike was always a positive force and inspiration to his many friends. Besides working at The Stone, Mike also volunteered for an organization which gave food to homeless folks and he had an anti-gun tattoo on his leg. We often had many political discussions and talked about what we could do to improve things in the US. He was often fed up with public transportation in NYC, which has screwed so many of us over the past few years. More recently, Eric, Chris & Mike took several vacations together, which I could’t attend due to finances. Mike (& Kevin Reilly) continued to become friends & supporters with musicians from around the world, so their label continued to expand and explore the cutting edge, often releasing discs that so few labels would even consider.
We are all stunned by Mike’s passing. It seems so hard to believe that he would commit suicide when he had so many things to look forward to, so many projects he was working up to the last day. Everyone that knew him well, loved him and cherished his positive spirit. He will be greatly missed by so many folks that he touched in so many ways. Myself and John Zorn will be organizing a memorial concert for him sometime soon, so stay tuned. Rest in peace, my brother, rest in peace. - Bruce Lee Gallanter, DMG
A Memorial for Mike Panico will be held by his family at
This Sunday, from 1-4pm at Claude R Boyd-Caratozzolo Funeral Home
1785 Deer Park Ave, Deer Park, NY , 11729
Condolence cards can be sent to the following: Leo and Anne Panico, 2 Regina Avenue, Dix Hills, NY 11746
New Music for October 5th, 2018:
Tyshawn Sorey 3 CD / 2 LP Set: Stephen Haynes/Ben Gerstein/Joe Morris/Todd Neufeld/Mark Helias/Carl Testa/Zach Rowden! Salim Washinton’s Dogon Revisited: Melanie Dyer/Hill Greene/Tyshawn Sorey! Christoph Erb & Michael Vatcher! Two from Krallice! PEK Solo! Four More from Sunnyside: Stu Mindeman w/ Greg Ward/Marquis Hill/Miguel Zenon..!
Miho Hazama Metrople Big Band Plays Monk! Mikkel Ploug & Mark Turner! Dave Mooney & Ko Omura! Plus Historic Discs from: Wes Montgomery! Joe Pass! Toots and the Maytals! Linda Perhacs! LP’s from Mike Cooper! Roberto Musci & Giovanni Venosta! Miles Davis & John Coltrane! Sonny Rollins Quartet! Horace Silver Quintet! Bob Dylan and More..!
Upcoming Sets at Downtown Music Gallery - FREE, every Sunday at 6pm
Sunday, October 7th:
6pm: SHANE PARISH and FRANK MEADOWS - Guitar and ContraBass
7pm: JESSE DULMAN Quartet: RAS MOSHE / DAVE SEWELSON / LEONID GALAGANOV
8pm: TOMBED VISIONS : DAVID McLEAN / LAUREN BOLGER / MICHAEL FOSTER / CARLO COSTA
Sunday, October 14th:
6pm: SEAN ALI / MICHAEL FOSTER / DEVIN GRAY - ContraBass / Saxes / Drums
7pm: LEONOR FALCON / JUANMA TRUJILLO - Violin & Guitar
8pm: GUILLERMO GREGORIO / LEONOR FALCON - Clarinet & Violin - Solo & Duo
Sunday, October 21st:
6pm: HANNA SCHöRKEN - Solo Experimental Vocalist from Cologne!
7pm: DAVE SEWELSON QUARTET - FMR CD Release Set!
Sunday, October 28h:
6pm: MAX KUTNER & GREGG BENDIAN - Guitarist from Evil Genius & Drummer from Mahavishnu Project
November 4th, 2018:
6pm: RADIO I-CHING DUO: ANDY HAAS & DON FIORINO
7pm: DAVID GROLLMAN / AL MARGOLIS / LUCAS BRODE
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
DMG NEEDS YOUR HELP! Help us to SURVIVE into the Future!
Last week, our ten year lease for our basement space on 13 Monroe St. in Chinatown, came to an end. We are now paying month-to-month, so are future is precarious although the landlord does like us. It is hard to believe that we’ve been here for nearly 10 years, especially when folks finally find their way here and say it is their first time at our “new” location. We moved here from the Bowery due to a large rent increase and during a recession. Since then, my former partner, Manny Maris, has retired, plus employees Chuck Bettis and Chris Pitsiokos have also moved on. Last week, longtime DMG Manager, Dave Miller left for better opportunities, he will be missed. Our mail-order, which was pretty strong on the Bowery, has slowly decreased ever since being here, as compact discs sell less than ever. Our Used vinyl sales have increased since we’ve acquired a few collections and we sell more on Discogs, which does take time and effort but helps us to survive, barely. Thanks to the help of some of our friends, our presence on social media (twitter & Instagram) has increased our visibility. So, we do get some new customers from time to time. The problem is that we have built up a substantial debt, we are paying off slowly. We are currently in the hole for around 50 grand. Jeeez. The good news is that attendance at our weekly Free concert series has increased over time. Check us out on Instagram.
Hence we need your help. Around 6,300 folks subscribe to our weekly newsletter, which is great, I am glad to provide info & opinion on creative music from around the world. The problem is that only around a hundred or so actually purchase things from us, making it increasingly harder to survive. If nearly everyone who got the DMG newsletter would just donate $10-$20, we could pay off our debts and concentrate on the future. We still get a lot of good response from customers, subscribers and musicians who love the DMG newsletter so we must be doing something right. Our goal at this point is continue until for around 2 years until our 30th anniversary. So, please help us to continue serve all serious listeners. You can contribute via credit cards, Paypal (firstname.lastname@example.org) or with checks. You can use this link if you wish: https://www.paypal.com/donate/?token=_qhBEl4pvwsf0BE6j20hpO8MJgVhLUPAq7SW_PZpltTh7NEkdp_E-lJLUi6r8hYocKYF2m&country.x=US&locale.x=US
or just go to the donate link at the bottom of our homepage. Thanks to all of you who do help us out!
There are Two JOHN ZORN Concerts this Weekend on Friday at the Frick Museum (6-9pm) and
On Sunday at the Village Vanguard at 3pm. The full schedule is further down in this newsletter
New Music This Week Begins with this:
The below CD & LP Sets will be here next week, pre-orders accepted now!
TYSHAWN SOREY With STEPHEN HAYNES / BEN GERSTEIN / TODD NEUFELD / JOE MORRIS / MARK HELIAS / CARL TESTA / ZACH ROWDEN - Pillars (Firehouse12 01-02-028; USA) “Renowned far and wide not only as a virtuoso multi-instrumentalist but as a composer-improviser of visionary gifts, Tyshawn Sorey presents his most ambitious recorded project to date with Pillars, a three-CD/two-LP epic that deals in ritual, drone and volatile atmosphere. To be released by the Firehouse 12 Records label on October 12, 2018, Pillars is a triptych of seamless composition and improvisation, performed by a top-flight electro-acoustic octet featuring Sorey (conductor, drum set, percussion, trombone, dungchen) alongside Stephen Haynes (trumpet, flugelhorn, cornet, alto horn, small percussion), Ben Gerstein (trombone, melodica), Todd Neufeld (electric and acoustic guitars), Joe Morris (electric guitar, double-bass), Carl Testa (double-bass, electronics), Mark Helias (double-bass) and Zach Rowden (double-bass). The multivalent sound world of Pillars is beyond category, as inspired by Tibetan ceremonial music as by the extended avant-jazz rituals of Roscoe Mitchell; the African-American experimentalism of Bill Dixon, Butch Morris and Anthony Braxton have also been a keen influence on Sorey, as have been the disparate, trans-Atlantic modernisms of Morton Feldman and Karlheinz Stockhausen. As The New Yorker recently noted, Sorey is “among the most formidable denizens of the in-between zone… An extraordinary talent who can see across the entire musical landscape.” Pillars will be released in full-length triple-CD and digital download versions, as well as in a different, re-edited edition for vinyl double-LP (titled Pillars IV).
‘Pillars’ begins with an extraordinarily scene-setting, three-and-a-half-minute-long drum roll from Sorey, followed by an intensely inward performance by Neufeld on acoustic guitar, accompanied by the composer with tolling percussion that suggests Tibetan ritual. Sorey explains that the creation of Pillars was steeped in concepts of Zen meditation: “This isn’t goal-oriented music – it has a gradually evolving, flowing quality. Different players lay out and join in as the piece evolves, and listeners can dip in and out of the record similarly, say, one disc at a time. I don’t necessarily expect someone to listen to all three parts in a go. Actually, I see the ideal experience as meditative, akin to how it works with ambient music, so that you’re almost ‘listening without listening’ – a Zen way of experiencing music.” In creating an electro-acoustic “mini-orchestra” with his ensemble, Sorey emphasized the low-end of the sonic spectrum by including four double-basses and various low horns – including the Tibetan dungchen, or long horn. “Low frequencies seem under-explored in improvised music,” he says. “But I wanted to go there, trying to achieve a physical depth of tone and a sense of hypnotic drone.”
Pillars resounds as a kind of sonic rite, its long span buttressed by structural intent. Yet the work is volatile with surprise, with mesmeric drones or spectral quiet erupting in episodes of virtuosic expressiveness; improvisations flow from the fabric of the composition, seeds embedded in every note on the page; the music moves and transforms like a living, breathing thing. In Part I, elements of the composition fit together like a mosaic, with massed arco bass and pealing brass to the fore; along with its shards of electric guitar, growling horns and otherworldly electronics, Part II has extended passages for percussion, marked by the chime of bells, the boom of drums; a roaring processional for three basses, guitars and trombone in Part III dissolves into a pool of quiet for acoustic guitar and bass. Underscoring the structure of Pillars, each of the approximately 75-minute panels of the triptych closes with the dungchen’s incantatory groan leading the way.
Reflecting on the structure of Pillars, Sorey says: “When Stockhausen talked about ‘polyvalent form,’ or ‘moment form,’ the term moment is seen as an independent section that is self-contained and then offset from other sections by discontinuity. Moment form is simply a mosaic of these moments. The concept of Pillars has to do with these ideas in the way it avoids a particular linear narrative – the music is more or less ‘non-directional’ in scope. This also underscores how the two formats of CD and vinyl for the album have a similar identity, although the moments are rearranged from one to the other. In other words, this is how I can take any of the moments of the recorded piece and reassemble them in a different order, and the resulting album – and differing CD and LP versions of it – still make sense, by design.”
With the project supported by the Shifting Foundation, Sorey initially developed Pillars in a residency at Roulette in Brooklyn, workshopping early quintet versions of the music. He eventually expanded the piece to its octet incarnation and unveiled the core of the work in a performance at Real Art Ways in Hartford, Connecticut, just before taking the ensemble into the Firehouse 12 studio there. “I feel at home in Firehouse 12 – and the atmosphere was really concentrated and focused over our two very long days working there,” he says. “We had the room packed with instruments – it took a U-Haul trailer just to get my percussion set-up there - and we took up all the inputs on the recording console. There’s a lot of subtle sonic information on this recording.”
About the Pillars band, Sorey says: “Having Stephen Haynes in the group was pivotal. I’ve had a long collaborative relationship with him, and his experience with b means a lot, as does his work with orchestras in avant-garde music. He not only can double on multiple instruments – he also knows the subtleties of them all, including the alto horn, which was a sound I wanted in the mix. Todd Neufeld is an original guy for me – he really knows my musical language. He has a special sound on both acoustic and electric guitars, eschewing cliché. He also has a sense of ritual that’s rare among guitarists. Ben Gerstein is another player who knows both sides of my music, the notated and the improvised, and he has a totally distinctive sound on the trombone. Most people know Joe Morris as a fantastic guitarist – and his guitar adds to the group’s orchestral sound – but he’s also a unique voice on the double-bass. To me, he’s the Derek Bailey of the bass. Joe suggested bringing in Zach Rowden, who has a lot of experience in the music of Scelsi and Feldman. He has a full range of extended techniques and has played a lot of drone music, which I’m deeply interested in. I’ve known Mark Helias for years and have such respect for his astute knowledge of the double-bass – all aspects of how the instrument works, all its possibilities and extended techniques, which helped with the long-held drones and harmonics. Carl Testa has a great knowledge of electronics with the bass, and that also added to the texture of this mini-orchestra.”
Sorey conducted the ensemble, with the prime goal of “getting the musicians in the room,” which is how Bill Dixon described getting a band into the space of the music, fully present in the moment,” Sorey explains. “The notation is the map, not the destination. It’s not dissimilar to John Coltrane’s extended works, in that it’s the dynamic flow that’s the most important thing. I think we achieved something special in the studio that we could never replicate live. To me, the recording is the piece.”
3 CD Set $35 (Pre-orders for $32 until 10/11/18)
2 LP [180 gram] Set $45 (Pre-orders for $42 until 10/11/18)
* TYSHAWN SOREY will be playing a three night residency at the Kitchen from October 21st-23rd. The music presented then will not include the music of the above listed ‘Pillars’ release.
SALIM WASHINGTON With MELANIE DYER / HILL GREENE / TYSHAWN SOREY - Dogon Revisited (Passin’ Thru 41237; USA) Featuring Salim Washington on tenor sax, flute, mbira, oboe & compositions, Melanie Dyer on viola (two tracks) & voice, Hill(iard) Greene on contrabass and Tyshawn Sorey on drums. Until recently, I didn’t know much about saxist Salim Washington, aside from appearing a dozen plus discs led by Ahmed Abdullah, Fred Ho Francisco Mora Catlett’s Afro Horn. Mr. Washington also has four previous discs as a leader on the Cadence, CimpOl, Accurate & Ujam labels. What I recently found out about Mr. Washington is that he was raised in Detroit, got a PhD at Harvard, taught at Brooklyn College and co-authored a book called, “Clawing at the Limits of Cool”, which focused on the collaborations between Miles Davis and John Coltrane. In the past Mr. Washington has used slightly different personnel on each disc with Frank Lacy (trombone) and Melanie Dyer (strings), being the only two who are several previous discs. I’ve caught Ms. Dyer play numerous times over the past few years at the Vision Fest and different Vision offshoot events and always dig what she does.
Salim Washington composed all but two songs on this disc, with a couple of select covers: Julius Hemphill’s classic “Dogon, A.D.” and Thelonious Monk’s “Four in One”. Right from the opening song, “To Know Yahweh”, there is a buoyant groove going on, a joyous, uplifting vibe. Ubiquitous drummer/composer Tyshawn Sorey is at the center with his drumming swirling majestically throughout the entire piece. Mr. Washington switches to an mbira (African thumb piano) on “New Invasion of Africa”, which adds an organic, ritualistic feeling, a perfect accompaniment to a short poem by the late Amiri Baraka. Things slow down to a calm simmer for the aptly titled, “Bitter Sweet”, with Mr. Washington’s tenor at its most tender, a most sublime tone. Although Yusef Lateef was the first popular jazz player to play oboe in the late fifties, it is still pretty rare to hear oboe in a jazz context. Mr. Washington’s plays oboe on “You Can Fly” and sounds wonderful doing so, balancing between middle-eastern and chamber-like streams. His solo is most extraordinary. “Jamila” is mostly a flute/bass/drums trio, with spirited playing from all three members of this trio. On “Uh Oh!”, Melanie Dyer takes a fine, jagged-note viola solo that kind of reminds of the late, great Billy Bang. Julius Hemphill’s debut album Dogon, AD’ was one of the most popular & influential avant-jazz records to emerge from the loft jazz scene of the mid-seventies. The title track has rarely been covered so it is a joy to hear this quartet play it here. The original had Abdul Wadud on cello, while this version features Ms. Dyer on viola. Her long solo is something else indeed, one of the many highlights of this great disc, along with Mr. Washington’s powerful tenor solo on the same song. This disc ends with a stirring version of Monk’s “Four in One”, which features superb solos from both the bass and drums. This entire disc is a true treasure from beginning to the end, one of this year’s best offerings. - Bruce Lee Gallanter, DMG
CD $15 [LTD Edition of 500 copies]
CHRISTOPH ERB / MICHAEL VATCHER - Yellow Live (Veto Records-Exchange 016; EEC) Featuring Christoph Erb on tenor & soprano saxes and Michael Vatcher on drums. Swiss saxist, Christoph Erb, is a relatively new name for me, having only had a couple of previous discs listed in the DMG database: a trio with Jim Baker & Frank Rosaly on Hatology and a more recent trio with Tomeka Reid & Keefe Jackson on the same label as this. American ex-pat drummer, Michael Vatcher, is now living in NYC after spending several decades in Amsterdam. Mr. Vatcher is one of my favorite drummers and has slowly becoming a part of the Downtown Scene, working with Darius Jones, Jaimie Branch and others.
This disc was recorded live in Luzern, Switzerland in April of 2016. Being able to watch Mr. Vatcher play live is always an interesting experience since his approach is so unique. He uses invented percussion objects like a tapestry wooden pegs tided together with rope. Right from the beginning Vatcher is taking his time and dealing with suspense and space, rubbing & tapping quietly on drumheads with his hands and assorted objects. mr. Erb also plays his tenor with immense restraint, unfurling lines in careful swirls, the intensity increasing a little at a time. Both men sound tightly linked weaving their lines around one another in a grand, expressive way. Things get stripped down on “Xanthophyll”, which is more focused on skeletal cymbals and subtle, ever-shifting, bent-note spirals. At times, Mr. Erb sounds like Evan Parker at times as he unleashes waves of circular notes at a slower pace than what Mr. Parker usually reels off. The balance of dynamics and the exchange of ideas is consistently solid here, a spirited conversation with ideas quickly tossed back and forth. Both of these superfine musicians are in extraordinary shape tossing off lines with mucho finesse. If you take the time to listen closely, you will be greatly rewarded for the shrewd dynamics. Bruce Lee Gallanter, DMG
CD $15 [LTD Edition]
KRALLICE With MICK BARR / COLIN MARSTEN / et al - Go Be Forgotten (Profound Lore; USA) Featuring Mick Barr on guitar & vocals, Colin Marston on guitar, keyboards & vocals, Nicholas McMaster on bass & vocals and Lev Weinstein on drums. Krallice released not just one album this year but two, the other titled "Loüm" and featuring Dave Edwardson of Neurosis on vocals. It's "Go Be Forgotten", however, that really stands out as Krallice's best album since 2012's "Years Past Matter", their career high-point. "Go Be Forgotten" sees the band returning to their black metal roots with one of their darkest, most atmospheric albums to date; it's frenetic and abrasive, distorted and unsettling black metal as only Krallice can deliver, but the sweeping atmospheric flourishes such as the 7-minute dark ambient synthesiser piece 'Quadripartite Mirror Realm' add so much to this album; it returns to the band a sense of wonder and splendour that they've lost in more recent years as they pursued their urge to push boundaries and experiment, and as the band return to their black metal roots they reaffirm the dark and chaotic spirit at the heart of the reason for why so many of us admire this band in the first place.” - Forfrosne, MetalVoid
KRALLICE - With DAVE EDWARDSON With MICK BARR / COLIN MARSTEN / et al - LOUM (Profound Lore; USA) Featuring Dave Edwardson on vocals, Mick Barr on guitar & vocals, Colin Marston on guitar, Nicholas McMaster on bass & vocals and Lev Weinstein on drums. “Krallice have more recently taken themselves to task as one of the more interesting bands exploring the ‘technical’ limits of black metal’s voice within complex arrangements. For most fans to be inoculated with Krallice is to admire Mick Barr and Co.’s commitment to both atmospherics and self-sealing style of guitar arrangement. These enveloping and twisting riffs have particularly amped up since the release of the transitional ‘Ygg Huur’ which shed some of their more lauded atmospheric black metal leanings for the sake of what I consider technical death metal riff structures. ‘Prelapsarian’ approached this sound and style in a such a bold way it polarized atmospheric black metal fans en masse, but I personally enjoyed the move away from cinematic filler. Loüm is primarily a continuation of that sound, but it doesn’t always feel like progress despite the heavy collaboration with Neurosis bassist Dave Edwardson.
I’m probably one of the most unabashed Neurosis fans out there, so seeing the guy who sang on ‘Word As Law’ collaborating with a random extreme metal band was a surprise. The implication for a lot of fans was that perhaps Krallice would include atmospheric sludge elements but that wouldn’t amount to much more than wishful thinking. The math-metal growl of the first track “Etemenanki” shows growth for Krallice but starts to resemble the noise-rocking clangor of Pyrrhon once Edwardson’s fatalist shouting kicks in. I’ve always loved his burly Discharge informed howls in the first half of Neurosis’ discography and they work to drive songs that are otherwise chaotically melodic and Cynic-esque in their balance of aggressive technical construction and momentary reprieve. If you can imagine Mithras‘ vocalist singing for Thantifaxath, and that clarity of muscular voicing set above whirling technical black metal that is essentially ‘Loüm’ in a nutshell, though Edwardson is more expressive in delivery.
If you’re expecting a sludge record, stop it. You’ll get Dave’s voice and some light undercurrents of angular, dissonant hardcore and noise rock influences but very little of the atmosphere you’d expect. This is a bit of progress towards Krallice’s interest in chaotic technical extreme metal that is often hesitant to place melody before complex composition. While I would have liked more melodic refrain, Krallice are future proofing themselves with this style. By including Edwardson’s voice and songwriting during their complete shift away from atmospheric black metal Krallice have realized an oddly warming dystopic vision of extreme metal where a booming voice can drive a spiraling hiss of post-modernist guitar rants. The songs co-written by Edwardson highlight his tendency to use bass voicing to double his vocal rhythms and this is perhaps why the collaboration works so well. Seeing Krallice adapt and accentuate Dave’s musical personality shows a brilliant set of musicians finding bursts of genius that allow both artists to enhance one another. It is exciting to think that they might collaborate again someday with greater familiarity. ‘Loüm’ is dark, complex, and challenging in it’s density so I would suggest giving it time to warm and spin within the gears of your mind. I found it daunting yet continually alluring.” - GrizzlyButts.com
PEK - Solo: Non-Local Causality (Evil Genius 9187; USA) Featuring PEK on contra-alto clarinet, tape echo and Moog. Considering that there are upwards of 100 releases from the Leap of Faith and their varied offshoot projects, Dave PEK solo discs are still relatively rare. And for this one, Mr. Peck plays just three instruments or devices, instead of his usual dozen plus axes. Contra-alto clarinets are also relatively rare but since Mr. Peck collects rare reeds, this isn’t so unusual for him. This unique clarinet is superbly recorded, with warm, carefully captured sound. PEK uses subtle delay at the beginning before the echo starts to get more thick and intense. Unlike many of the Leap of Faith sessions, things rarely get too dense or dark, although Mr. Peck does push the limits of exploring a full range of textures on the unwieldy instrument. PEK’s use of delay or echo adds an eerie vibe which enhances the sound on several levels simultaneously. At times the sound is somewhat disturbing (or otherworldly) yet tasteful in nuance. Like all of the discs on the Evil Clown label, this one is in a world of its own. - Bruce Lee Gallanter, DMG
STU MINDEMAN With GREG WARD / MIGUEL ZENON / MARQUIS HILL / MAKAYA McKRAVEN / et al - Woven Threads (Sunnyside 1520; USA) The Chicago based pianist and composer Stu Mindeman spent his toddler years in Chile. As an adult Mindeman revisited Chile, became tied to the culture, and decided to embark upon a project celebrating Chile’s musicians and legendary wordsmiths on his new recording, Woven Threads. // In 2017 Mindeman returned to Chile. He immediately became immersed in the modern Chilean music scene, where he met a number of like-minded musicians who use Chilean folk, jazz and other Latin music to express themselves. These musicians subsequently became the core of Mindeman’s upcoming project. The celebrated vocalist Francesca Ancarola stood out for her interest in jazz and Latin music. Bassist Milton Russell and drummer Carlos Cortez Diaz rounded out the rhythm section. // Completing a circle of sorts, Stu Mindeman returned to a source of inspiration he never quite fully grasped in his early home of Chile. On his recording, Woven Threads, the pianist/composer is able to reach out to old and new friends on two continents to create passionate music that speaks to the triumph of heart over the elements.
MIHO HAZAMA / METROPLE ORKEST BIG BAND/ORCHESTRA - The Monk: Live at Bimhuis (Sunnyside 1525; USA) In 2017, Hazama got a chance to write for the Metropole Orkest Big Band when her project to arrange original pieces and orchestrate solo pieces by the pianist Thelonious Monk, in his centennial year, was selected for the orchestra. This is the third release from Ms. Miho Hazama for the Sunnyside label, I did enjoy the previous two immensely. As a longtime fan for the music of Thelonious Monk, I have long searched out for Monk covers that are different from what we usually expect or get. The Metropole Orchestra have been around for many years, having worked with Bob Brookmeyer, Elvis Costello, Robert Fripp and Lee Konitz, which is quite a diverse cast! For this special project, Ms. Hazama chose seven Monk covers, which are done in consistently unique ways. Starting with “Thelonious”, has a unique way of stacking and blending several layers of lines. The sound is rather like a Third Stream concoction. Rather than use the off-kilter rhythms that Monk’s music often accentuates, Ms. Hamaza smoothes out the edges a bit yet still pens some fascinating arrangements. Ms. Hazama’s version of “Hackensack” reminds me of the Count Basie Big Band on the fifties, stripped down & bluesy yet still swinging hard effortlessly. I don’t recognize the names of any of the musicians here but there are a number of great solos throughout. Sometimes the Orchestra break down to just the horns, reminding me of Dixieland somewhat. Ms. Hazama often keeps the essence of the melody at the center while adding layers of thoughtful arrangements. I don’t think that I’ve ever heard a more enchanting version of “‘Round Midnight”, slowed down with hypnotic, lovely Gil Evans-like orchestration, consistently haunting. Considering that this is a I’ve recording, the sound is superb, perfectly captured, perhaps a bit on the bright side, yet still somehow infectious. It is hard to picture Monk’s music played without a piano at the center, but this is what Ms. Hazama does the best, adding rich harmonies to Monk’s unique melodies, something I’ve never heard before. Stunning! - Bruce Lee Gallanter, DMG
MIKKEL PLOUG & MARK TURNER - Faroe (Sunnyside 1509; USA) “While tenor saxophone heavy Mark Turner has toured with guitarist Mikkel Ploug's quartet for approximately a decade, the unique musical alliance developed between this pair has never before received such a high degree of attention. With Faroe, Ploug presents thirteen original compositions written or rearranged specifically to telescope their bond(s), explore the very essence of the melodic-harmonic communion, and artfully merge the precomposed and the improvised.
Opening with the title track, a number that finds Turner's matte-finish melodies riding over Ploug's steady yet morphing streams, this duo immediately establishes a fine line between patience and passion. Then comes "Neukölln," an older composition given a new lease on life in Turner's melodic tangents and Ploug's responsive undercurrents. It's a work that shares emotional characteristics with its precursor but distinguishes itself through its urgency and a less measurable sense of momentum.”
As the album moves forward and follows the aforementioned mission-oriented course(s), one absorbing narrative after another comes into view. "The Red Album" establishes its calm and collected demeanor through Ploug's acoustic introduction(s), later taking a turn toward the wistful; "Highland" brings an eerie and unsettled idealism into focus, using a lack of ballast to its advantage; the aptly named "Warmth" capitalizes on Turner's brilliant spontaneity, as the saxophonist only first encountered this mysterious charmer on the day of the recording session; and "Sailing" catches wind early on, gliding along calm waters and drawing on conversational currents.
"Ambiguity" sits at Faroe's midpoint, toying with its titular ideal without abandoning a sense of steadiness and structure, and the album's second half opens with a true outlier in the form of the breezy, bossa-esque "Como." The majority of the numbers that remain shift toward a more studied form of exploration and development: The dignified "Wagner" works with a cadence that the iconic German composer often utilized, "Steps" grows from a leaping exercise in sixths, the calmly delivered "Celeste" offers myriad emotions while tapping into Olivier Messiaen's methods, and the steadily strumming "Safari" takes a trip to African locales.
This pair's final statement—the gently waltzing "Sea Minor"—signals a change in tack, but their collective temperament remains unaltered as they say their goodbyes. Faroe stands as a testament to Mikkel Ploug's prowess with the pen, the art of the duo, and the relationship formed between this Danish guitarist and one of jazz's most celebrated saxophonists. It's a quiet stunner.” - Dan Bilawsky, AllAboutJazz
DAVE MOONEY & KO OMURA With JOHN ELLIS / GLENN ZALESKI / MATT CLOHESY - Benign Strangers (Sunnyside 1517; USA) The world is remarkable in that people from far off places and different walks of life can have an immediate, dramatic impact on each other after meeting just once. The notion of meeting a newcomer who embraces new people and ideas but also freely puts forth his own ideas is the theme of guitarist Davy Mooney and drummer Ko Omura’s new recording, Benign Strangers. // During the brutal cold of January 2018, Mooney and Omura met in New York City to record with a small ensemble. It was a warm, reunion-like atmosphere in the studio, as Mooney had long friendships with all involved. But apart from pianist Glenn Zaleski, it was the first time Omura had met the assembled cast, which included John Ellis, bassist Matt Clohesy and engineer Michael Perez-Cisneros.
WES MONTGOMERY - Live At The BBC Studios 1965 (Hi Hat 3119; UK) Wes Montgomery, live at The BBC Studios on March 25th, 1965. Although he was terrified of flying, Wes Montgomery finally left the USA to visit Europe in early 1965. By that time, he was recording in a smoother style, but in performance he remained as innovative as ever -- as this virtuoso set attests. Broadcast on BBC radio during the "Jazz 625" program on March 25th, the set captures a master at the peak of his powers. Digitally remastered, the entire broadcast is presented here together with background notes and images.
JOE PASS - Live In Vegas (Hi Hat 3118; UK) Joe Pass, live at the Four Queens Hotel, Las Vegas, 1988. By 1988, Joe Pass was internationally regarded as one of the most innovative and influential jazz guitarists of all time. He had won Grammy and Down Beat awards, recorded alone and with legends including Duke Ellington, Ella Fitzgerald, and Oscar Peterson, and performed all over the world. This superb set broadcast on National Public Radio is culled from a series of gigs he played in the French Quarter Lounge at the Four Queens Hotel in Las Vegas, and finds him at his fluent, lyrical best. Digitally remastered, the entire broadcast is presented here together with background notes and images.
TOOTS & THE MAYTALS - Ska Father (Burning Sounds BSR 932; UK) "CD reissue of Toots & The Maytals' ska heavy 1999 album. Includes three bonus songs not on the vinyl version. Wicked pacing and inspired playing and singing set this one as a high water mark in the Maytals' discography."
THE HUMAN BEAST - Volume One (Sunbeam Records 1010; UK) The music of this young Edinburgh trio was described in 1969 as "electro-flagellation," a phrase that aptly describes their vicious, Eastern-inflected guitar lines, pounding bass and frenetic percussion. Taped in a single twelve-hour stint in London that December and released in 1970 on Decca, their sole album stands as one of the most distinctive and unsettling pieces of rock music ever recorded. Issued here with their full participation, their story - an enigma for decades - is finally told for the first time in an accompanying 16-page booklet, packed with previously-unseen photographs, making it an essential purchase for all fans of heavy psychedelic rock and roll.
JUSTINE - Justine (Sunbeam Records 1011; UK) Recorded in London by a youthful Anglo-American quintet and originally released in June 1970, this lost classic was described in original promotional material as "rich, splendid bursts of colorful sound." A bewitching brew of dreamy pop and whimsical psychedelia, it features glorious vocal harmonies throughout and culminates with one of the era's greatest acid trips, the mind-blowing "Unknown Journey." This long-awaited reissue tells their story for the first time, and also includes both sides of their ultra-rare pre-LP single, making it an essential purchase for all fans of top-end progressive popsike.
LINDA PERHACS - Parallelograms (Sunbeam Records 1012; UK) Combining fragile and beautifully melodic acid folk with perfectly-rendered electronic effects, this remarkable album consists of what its creator describes as "visual music." First released in 1970, Parallelograms by California's Linda Perhacs has gone on to become one of the most legendary and well-loved recordings of its time. It's presented here with the full collaboration of its enigmatic creator, and features her own detailed liner notes, as well as rare illustrations and eight bonus tracks (including one previously-unheard out-take.
MIKE COOPER - Tropical Gothic (Discrepant 058; UK) It's 2018 and it's time for some new discoveries into Mike Cooper's limitless exploration in his collection of guitars. The title itself, Tropical Gothic references Cooper's beloved areas of "the South" with a Gothic, dark, remote interplay... he explains: ''Tropical Gothic includes, but is by no means limited to, a reflection on a region where European colonial powers fought intensively against indigenous populations and against each other for control of land and resources.'' On each side, Mike Cooper studies different approaches to his method of uniting guitar and field recordings into a constant stream of sound, where he delivers chaos and melody -- not necessarily in that order. Side A is composed of shorter pieces. Each of them offers a myriad of images and sensations, between the enigmatic and terror ("The Pit"), joy, happiness and freedom ("Running Naked") or pure contemplation ("Onibaba"). "Onibaba" runs as a fitting introduction to Side B and its 18th minute magical piece "Legong/Gods Of Bali". A mix of ambient exotica music, silent film soundtrack and distorted rhythms that dance around Mike's guitar. It keeps reinventing and transforming itself throughout those eighteen minutes, summing up the dexterity and muscle of Mike Cooper's music of the last two decades. With another grand collage artwork by Evan Crankshaw.
BHEKI MSELEK - Celebration (Matsuli 112; UK) "From the inheritor of John Coltrane's mouthpiece a re-integration of deep South African jazz roots with the Black Atlantic spiritual jazz continuum. Celebration's release trumpeted the emerging dawn of South Africa's epochal changes. Sainted and blessed, Bheki Mseleku appeared as the herald of a new era, a prophet of rebirth and reconnection. This is a work signalling change, a sign of a South African music that was properly reconnected with global currents. Recognizing Bheki as a kindred spirit to her late husband, Alice gave him the saxophone mouthpiece that John Coltrane had used during the recording of A Love Supreme. Coltrane was a permanent touchstone for the pianist, one of the few who Bheki felt had the same esoteric and spiritual focus as himself: 'the only musicians I know of who were deeply into this were Coltrane, and Pharoah and Sun Ra', he told an interviewer in 1992. While the idioms of post-Coltrane spirit jazz are certainly to the fore on Celebration, they are energized by a swift and original musical vision, quite specific to Bheki's music, in which whole musical systems -- the marabi and mbhaqanga jazz of the townships, American jazz, European classical, and more -- are seamlessly mended together by the pianist's quicksilver musical sensibility and legendary technical ability. Celebration was originally released on compact disc and cassette in the middle of 1992 by World Circuit. It was Bheki's first statement under his own name, and the first recorded presentation of his personal musical vision. This vision had been tempered across two decades which had combined intense professional playing with profound personal trials in both the spiritual and earthly domains, all set against the greater backdrop of South African political turmoil and exile in Europe. The band brought together musicians hailing from three signally important points within the interconnected, communicating spaces of the Black Atlantic continuum: North America, post-colonial Britain, and southern Africa. With them, Mseleku created the first major South African-led musical statement to be produced after the sufferance of exile was ended. The ultimate and most egregious remnant of the centuries-long colonial era, apartheid, was finally being dismantled as they played. At this critical point, Mseleku's musical spirit work, channeled from a higher source, spoke of a time to come where all divisions might be transcended by a greater unity."
2 LP Set $44
ROBERTO MUSCI / GIOVANNI VENOSTA - Noise, A Sound (Soave 019-020; Italy) Soave present a reissue of Roberto Musci and Giovanni Venosta's A Noise, A Sound, originally released in 1992. The third episode of the alchemical association between Roberto Musci and Giovanni Venosta, reprinted for the first time. This work seems to be even more enigmatic than the previous ones. The "plunderphonics" style of the compositional process, significant to allowing a technical experimentalism of inexhaustible variety of materials used (compendium of sounds, harmonies, ethnic timbres) and the infinite possibilities of assembly between non-sense and provocation, still remains. You might be almost stimulated to guess -- in the articulated sound architectures of the tracks -- every single fragment of popular or cultured music from every part of the world (Asia, Africa, Middle East, South America) related to the ad hoc inserts of polyphonic instrumentation distorted and dazed. The music expressed is basically a polyhedral pataphysical gaze on the complexity of the existing, an immersion in the contradictory forces of reality; the attentive listener will be able to recognize the tortuous and magical lines of a free and imaginative artistic creation, which is absolutely counter-current and unconventional. Comes in gatefold sleeve.
2 LP Set $40
MILES DAVIS & JOHN COLTRANE - Play Richard Rodgers (DAD 116; Italy) Down At Dawn present Miles Davis and John Coltrane's Play Richard Rodgers, originally issued in 1963. Play Richard Rodgers is a collection of some of the most beautiful songs by the great Broadway composer Richard Rodgers, interpreted by jazz giants Davis and Coltrane. Play Richard Rodgers is a stand-out set of classic tunes from the great American song tradition, performed by the two legends with sidemen including masters such as John Lewis, Red Garland, Tommy Flanagan, Paul Chambers, Percy Heath, Jimmy Cobb, Philly Joe Jones, and Roy Haynes. Edition of 300.
THE SONNY ROLLINS QUARTET - Worktime (DAD 111; Italy) Down At Dawn presents a reissue of Sonny Rollins's Worktime, originally released on Prestige in 1956. Worktime was the first Rollins album as a leader, following on from his historical two year collaboration with the maverick Clifford Brown/Max Roach quintet. One of the greatest tenor saxophone players in the history of jazz is caught here in top form, featuring a hard-swinging quartet with impeccable pianist Ray Bryant, bassist George Morrow, and drums colossus Max Roach. Edition of 300.
THE GIL EVANS ORCHESTRA - Great Jazz Standards Featuring John Coles (DAD 109; Italy) Down At Dawn presents a reissue of The Gil Evans Orchestra's Great Jazz Standards Featuring John Coles, originally released in 1959. This is a highly recommended set from the superb Gil Evans Orchestra, seeing the group playing stand-out arrangements of five jazz standards and a couple of originals. For this date, Evans recruited a 15-piece band including some great soloists such as trumpeter Johnny Coles, trombonist Curtis Fuller, the young soprano sax player Steve Lacy and last but not least a pair of differently great drummers in Denis Charles and Elvin Jones. Edition of 300.
HORACE SILVER QUINTET With HANK MOBLEY / ART FARMER / et al - The Stylings Of Silver (DAD 104; Italy) Down At Dawn presents a reissue of the Horace Silver Quintet's The Stylings Of Silver, originally issued on Blue Note in 1957. The Stylings Of Silver is one of the great and often-overlooked of Silver's mid-fifties Blue Note sessions, featuring a fine horn section with trumpeter Art Farmer and tenor sax great Hank Mobley, plus the hard driving rhythm section of Silver himself on piano, Teddy Kotik on bass and Louis Hayes on drums. A super swinging set, The Stylings Of Silver, includes gems like the opening essential "No Smoking" and the classic ballad "My One and Only Love". Edition of 300.
BOB DYLAN - The Karen Wallace Tape, May 1960 (Cornbread Records 16059; USA)
Minneapolis/St. Paul, May 1960: a young Bob Dylan, still known as Robert Zimmerman and not yet even 19 years old, decides to drop out of college to move to New York City and pursue a career in folk music. That same month he plays a small gathering at Karen Wallace's apartment in St. Paul -- Karen's sister, Terri, was an early fan and supporter of Dylan's -- mostly covering American folk and blues standards, which he'd become obsessed with since starting at the University. Still a few years before his self-titled debut, this tape is one of the earliest documents of early Dylan, and since Karen Wallace attempted to sell the tape for $10,000 in the 1970s and subsequently disappeared along with the tape, its life is another great story in the history of Bob Dylan, one of the most enigmatic and idiosyncratic celebrities of the 20th century. 180 gram vinyl.
BOB DYLAN - Come Back, Baby: Rare And Unreleased 1961 Sessions (Cornbread Records 16060; USA) Collecting several recordings from 1961, the year that a young Minnesotan became the epicenter of the nascent Greenwich Village folk scene, Come Back, Baby is a great view into the development of one of the greatest American songwriters ever. This great set features Bob Dylan's first ever radio performance, part of a 12-hour hootenanny on July 29th, two songs, and interviews for Oscar Brand's radio show, as well as alternate takes from Carolyn Hester's third album recording sessions, on which Bob plays harmonica. Mostly covering traditional folk and blues, this is a beautiful and crucial collection for any Dylan fan. 180 gram vinyl.
Bruce Lee Gallanter’s Recommended Gig List for October of 2018:
JOHN ZORN Festival at the Frick Museum Tomorrow, October 5th at 6pm:
AMBIENT PIECE - CLAVICLE OF SOLOMON
6:15pm - Garden Court
6:30pm - Oval Room
john zorn game calls
mike nicolas cello
sae hashimoto percussion
7pm - Music Room in the Round
SOLO SAX (10”)
7:30pm - West Gallery (Turner)
VIOLIN BAGATELLES (20”)
chris otto violin
mark feldman violin
8pm - East Gallery
EXTERMINATING ANGEL (18”)
sae hashimoto solo vibes
8:30pm - Music Room in the Round
chris otto violin
michael nicolas cello
steve gosling piano
The Frick Museum is located at 1 East 70th St at 5th Ave.
Sunday, October 7th at the Village Vanguard at 3pm:
The ANGELS QUARTET Plays JOHN ZORN’S MASADA
JOHN ZORN - Alto Sax & Compositions
JULIAN LAGE - Electric Guitar
JORGE ROEDER - Bass
KENNY WOLLESEN - Drums
The Village Vanguard is located at 178 7th Ave South
THE STONE RESIDENCIES - SUSIE IBARRA - OCT 2–6
8:30 pm - Talking Gong - Alex Peh (piano, percussion) Phyllis Chen (compositions, piano, toy piano, electronics) Susie Ibarra (compositions, drums, percussion); An evening of compositions inspired by gong chime music.
8:30 pm - DreamTime Ensemble - Claudia Acuña (vocals) Jennifer Choi (violin) Yves Dharamraj (cello) Jake Landau (guitar, piano, keyboards) Yuka Honda (electronics) Susie Ibarra (drumset, percussion)
MONDAY OCTOBER 8 AT 830PM—CD RELEASE CONCERT FOR "OUTSPOKEN" ON TZADIK
BRIAN MARSELLA, CHRISTIAN MCBRIDE AND ANWAR MARSHALL PLAY THE MUSIC OF THE LEGENDARY HASAAN - Three masters from Philly pay tribute to the legendary Philly pianist Hasaan Ibn Ali! - Brian Marsella (piano) Christian McBride (bass) Anwar Marshall (drums)
THE STONE RESIDENCIES - ERIK FRIEDLANDER - OCT 9–13
8:30 pm - Black Phebe - Shoko Nagai (piano, accordion) Satoshi Takeishi (percussion) Erik Friedlander (cello) - Performing New works inspired by Isamu Noguchi and pieces from Rings their most recent release.
8:30 pm - Coil - Erik Friedlander (solo cello with electronics) - Playing the music of Britney Spears, Hildegard von Bingen, June Carter Cash & others.
8:30 pm - Notorious - Erik Friedlander (cello) Sara Shoenbeck (bassoon) Sara Serpa, (vox) Curtis Hasselbring, (guitar, trombone) and others. A night of Improv. Come and see the fireworks.
8:30 pm - Oscalypso - Michael Blake (sax) Kirsten Lamb (bass) Michael Sarin (drums) Erik Friedlander (cello); Music by or inspired by Oscar Pettiford, the extraordinary bassist who turned a broken arm into a remarkable career also playing the cello.
8:30 pm - Throw a Glass - Uri Caine (piano) Ches Smith (drums) Mark Helias (bass) Erik Friedlander (cello)
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
Friday Oct 05
6:00PM THE OCTOBER MONTHLY - Mark Kostabi, piano; Davey Patterson, guitar
8:35PM JOHN RAYMOND & REAL FEELS - John Raymond, flugelhorn; Gilad Hekselman, guitar; Colin Stranahan, drums
Saturday Oct 06
8:35PM MONDER, MALABY, WAITS - Ben Monder, guitar; Tony Malaby, tenor sax; Nasheet Waits, drums
Sun Oct 7th:
8:01PM DJANGO AT CORNELIA STREET: ULTRAFAUX - Michael Joseph Harris, guitar; Sami Arefin, guitar; Zack Serleth, bass
Mon Oct 8th:
8:30PM ANA CHOIRED TASTE SINGS ZANK FRAPPA AND MORE - Lee Tomboulian, music director; Lauren Lee; Marty Elkins; Susan Tobocman; Mary Foster Conklin; John McMahon; Dorian Devins; Raphael D’Lugoff; Mark Tolleson; and the L Trio, Lee, Ratzo Harris, and Colin Hinton
Tues Oct 9th:
8:00PM JESSE BYROM-CARTER SEPTET - Alina Engibaryan, voice; Alex Sipiagin, trumpet; Azat Bayazitov, tenor sax; Paul JuBong Lee, guitar; Santiago Leibson, piano; Jesse Byrom-Carter, bass; Paul Shaw, drums 9:30PM SEBASTIEN AMMANN QUARTET - Michaël Attias, alto sax; Sebastien Ammann, piano, comp.; Noah Garabedian, bass; Devin Gray, drums
Wednesday Oct 10
8:01PM TOM CHANG QUARTET - Tom Chang, guitar, comp.; Quinsin Nachoff, tenor sax; Matt Clohesy, bass; Jerad Lippi, drums
Thursday Oct 11
6:00PM MIKE TROY QUARTET - Mike Troy, saxophone; Micah Thomas, piano; Tyrone Allen, bass; Kyle Benford, drums
8:01PM JOEL HARRISON, CD RELEASE: ANGEL BAND - Joel Harrison, guitar, voice; Jon Irabagon, tenor sax; Jon Cowherd, piano; Stephan Crump, bass; Brian Blade, drums; Alecia Chakour, voice
Friday Oct 12
6:00PM DAVID LOPATO QUARTET - Postponed!! David Lopato, piano; Lucas Pino, saxes, clarinet; Ratzo Harris, string bass; Rudy Royston, drums
8:35PM JOEL HARRISON, CD RELEASE: ANGEL BAND - Joel Harrison, guitar, voice; Jon Irabagon, tenor sax; Uri Caine, piano; Stephan Crump, bass; Brian Blade, drums
Saturday Oct 13
8:35PM KYLE NASSER SEXTET, "PERSISTENT FANCY" CD RELEASE - Roman Filiu, alto sax; Jeff Miles, guitar; Dov Manski, piano; Nick Jost, bass; Allan Mednard, drums; Kyle Nasser, tenor sax
Sunday Oct 14
8:00PM ISRAELI JAZZ SPOTLIGHT: ALMOG SHARVIT QUINTET - Gaya Feldheim Schorr, voice; David Leon, sax; Dierk Peters, vibraphone; Almog Sharvit, bass; Ben Silashi, drums
9:30PM ADI MEYERSON TRIO - Adi Meyerson, bass; Mike King, piano; Kush Abadey, drums
The Spectrum is Now Located in Brooklyn (address below)
Here’s the week’s schedule:
Friday 5 October
7 PM - Spectral Fridays #11, curated by Gabriel Zucker
Ethan Iverson, piano Special Guest TBA
Zucker | Malaby | Liberatore
Gabriel Zucker - piano
Tony Malaby - saxophone
Matteo Liberatore - guitar
live painting by Justin Neely
Saturday 6 October
7 PM - Pianist Jose Menor (London / Madrid) continues his ambitious Spectrum residency - “The piano music of Roberto Sierra (b. 1953)":
-Piezas Sueltas for piano (2017) *world premiere
-Toccata for piano (2008)
-Segundo álbum de Boleros for piano (2017)
-Estudios rítmicos y sonoros (2018) *world premiere
9 PM - Jazztopad Festival Presents:
The best of Polish Jazz Jazztopad Festival
Presents: The best of Polish Jazz
Contact: Piotr Turkiewicz
Sunday 7 October
3 PM - Viktor Lazarov, piano: Rhythm and Colors of the Balkans
Josip Slavenski (1896-1955) - Songs and Dances from the Balkans (excerpts): Serbian Song, Romanian Dance, Bulgarian Dance, Macedonian Dance,
Albanian Song, Serbian round dance, Slavic Dance
Svetlana Maksimović (1948-) Three Choreographic Etudes
7 PM - Pianist Jose Menor (London / Madrid) continues his ambitious Spectrum residency - “The Music of the Singularity", for piano and electronics (2018).
Music by José Menor and Sergi Casanelles.
Thursday 11 October
7 PM- Cool Spring: David Rothenberg, Bernhard Wöstheinrich and Jay Nicholas
David Rothenberg, clarinet, bass clarinet, contralto clarinet
Bernhard Wöstheinrich, keyboards and electronics
Jay Nicholas, bass
Thursday 11 October
8 PM - Elijah Shiffer: Genus Hallucigenia and Crown Heights Saxophone Quartet
Friday 12 October
7 PM - Michael Lytle (jazz / improvisation)
8 PM - Aurelia Trio
9 PM - Ten World Premieres for Social Justice
Lior Willinger, piano
Saturday 13 October
7 PM - Katie Procell / Bergamot Quartet, et al.
La Noche Pura (The Pure Night): Canciones Hispanas y Españolas
(Hispanic and Spanish Songs).
Alberto Ginastera: Cuarteto de Cuerdas No. 3 (String Quartet No. 3)
Peter Dayton: Si Solamente, 3 Canciones de Pablo Neruda
(If Only, 3 Songs on the Texts by Pablo Neruda)
I. A todos, a vosotros...
III. Me gustas cuando callas
Gabriela Lena Frank: Iberian Songs
Sunday 14 October
3 PM - Svjetlana Bukvich, vocalist and multi-instrumentalist.
7 PM - Pianist Matteo Ramon Arevalos (Italy)
PER PIANO - Works for piano by Fausto Razzi
concert presentation of the CD recorded at Area Sismica - Italy
published by ReR Megacorp UK
compositions by Matteo Ramon Arevalos for video prepared piano
Spectrum is located at 70 Flushing Ave, Garage A, Brooklyn, NY 11205
on Flushing Avenue, halfway between Carlton and Cumberland,
directly across from the Brooklyn Navy Yard
Transport: 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)
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
SATURDAY, OCTOBER 6, 2018
SIMON NABATOV, MAX JOHNSON, MICHAEL SARIN NOVOA/JOHNSON/HERTENSTEIN
8:00 PM - Simon Nabatov, Max Johnson, Michael Sarin
CD Release for "Free Reservoir"
Simon Nabatov - Piano
Max Johnson - Bass
Michael Sarin - Drums
9pm:Novoa/ Johnson/ Hertenstein 9pm
Eva Novoa, piano
Max Johnson, bass
Joe Hertenstein, drums
FRIDAY, OCTOBER 12, 2018
8:30 PM : Catherine Sikora - Tenor Sax
9:30 pm - Catherine Sikora - Tenor Sax
Mazz Swift - Violin
WEDNESDAY, OCTOBER 17, 2018
MARA ROSENBLOOM PRESENTS FLYWAYS
8 & 10pm: Anais Maviel - Voice & Surdo Drum
Adam Lane - Bass
Mara Rosenbloom - Piano & Composition
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.
The Bushwick Improvised Music Series
Monday October 8th 7pm Devin Brahja Waldman - alto saxophone Jarvis Earnshaw - sitar/tape loops Jeong Lim Yang - bass
8pm Stephen Gauci - tenor saxophone Adam Lane - bass
9pm Hampus Ohman Frolund - drums Sam Kulik - trombone Michael Coleman - keyboard 9:45pm Yoni Kretzmer - tenor saxophone John Hebert - bass Billy Mintz - drums 10:45pm Stephen Boeghold - drums Aaron Quinn - guitar David Leon - alto saxophone Yuma Uesaka - tenor saxophone
11:30pm Jessie Cox - drums Sam Yulsman - Piano/Synth
Downstairs @ Bushwick Public House
1288 Myrtle Avenue in Bushwick
(Across the street from M train Central Ave stop)
18 Whitwell Place
Brooklyn NY 11215
Shapeshifter is located at:
18 Whitwell Pl, Brooklyn, NY 11215
Sound It Out Series @ Greenwich House —
Concerts, September-December 2018
At the Greenwich House Music School: 46 Barrow Street, just west of 7th Avenue South in New York City’s West Village; www.greenwichhouse.org, 212-242-4770.
COMING ATTRACTIONS — 7th Season!
Friday Oct 5, 7:30pm — Sean Moran’s Sun Tiger the trio of Vinnie Sperrazza, Sam Newsome & Angelica Sanchez - Double-bill — Sean Moran’s Sun Tiger: Sean Moran, guitar; Hank Roberts, cello; Vinnie Sperrazza, drums Vinnie Sperrazza, drums; Sam Newsome, soprano sax; Angelica Sanchez, piano
Thursday Oct 25, 8pm — Michael Formanek’s Very Practical Trio w/ Tim Berne & Mary Halvorson - Michael Formanek, double-bass; Tim Berne, alto saxophone; Mary Halvorson, electric guitar
Saturday Oct 27, 8pm — Amanda Monaco & Friends - Amanda Monaco, guitar; Joe Fiedler, trombone; Sean Conly, double-bass; Jeff Davis, drums
Saturday Nov 10, 7:30pm — Josh Sinton’s Predicate Trio the trio of Avram Fefer, Sean Conly & Michael Wimberly - Double-bill — Josh Sinton’s Predicate Trio: Josh Sinton, baritone saxophone & bass clarinet; Chris Hoffman, cello; Tom Rainey, drums the trio of Avram Fefer, alto/tenor saxophones & bass clarinet; Sean Conly, double-bass; Michael Wimberly, drums
Thursday Nov 29, 7:30pm — Nick Millevoi’s Desertion Trio the duo of Anders Nilsson & Aaron Dugan - Double-bill — Nick Millevoi’s Desertion Trio: Nick Millevoi, electric guitar; Johnny DeBlase, bass guitar; Kevin Shea, drums the duo of Anders Nilsson, guitar & Aaron Dugan, guitar
Saturday Dec 1, 8pm — Devin Gray’s Dirigo Rataplan - Devin Gray, drums; Dave Ballou, trumpet; Ellery Eskelin, tenor saxophone; Michael Formanek, double-bass
Thursday Dec 6, 7:30pm — “The Afro-Cubism of Aruán Ortiz, from Avant-Jazz to Contemporary Chamber Music” - Aruán Ortiz, piano/composer
Jazz Habitat at El Barrio Artspace - PS 109
215 E 99th St (between 2nd & 3rd Aves)
9/30 - Sunday
7pm - Gaya Feldheim Schorr (voc), Charlotte Greve (sax), Florian Herzog (bass, comp), Stephen Boegehold (dr)
8pm - Welf Dorr (sax), Dave Ross (git), Dmitry Ishenko (bass), Joe Hertenstein (dr)
7pm - Kenny Warren (tr), Adam Hopkins (bass), Gerald Cleaver (dr)
8pm - Eric Plaks (piano), Andrew Hadro (bari sax & bass cl), Evan Crane (bass), Leonid Galaganov (dr)
7pm - Welf Dorr (sax), tba, Andrew Drury (dr)
8pm - Sana Nagano (violin), Kei Su Ke (guitar), Tyler Luppi (bass), Paolo Cantarella (dr)
October 7th, 2018
William Hooker, Chris Forbes, Eriq Robinson, Jeremy Carlstedt,
Faye Kilburn,Theodore Woodward, Richard Keene and more TBA
11am-1pm - Free admission
At Funkadelic Studios
“Let Music Be Your Brunch”
209 West 40 St. ,5th fl, NYC
*Discerning listeners are also invited
Tuesday, October 9 2018
Music Now! At The Brooklyn Commons
7pm "Music Now!"
with Ras Moshe-Reeds
8pm -“ Where's The Outrage?"
Trudy Silver Solo Piano
9pm - Zodiac Saxophone Quartet with
Charles Waters-Alto Sax
Lee Odom-Soprano Sax
Claire Daly-Baritone Sax
Ras Moshe Burnett-Tenor Sax
Food and refreshments available at The Commons Cafe.
The Brooklyn Commons - 388 Atlantic Ave (btwn Hoyt st. & Bond st.)
Downtown Brooklyn / www.thecommonsbrooklyn.org
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 -
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
Bill Laswell concerts
Oct. 26, 2018 (fri)
Jah Wobble & The Invaders of the Heart with special guest Bill Laswell
@ Elsewhere Hall, Brooklyn, NY
Oct. 30, 2018 (tue)
Artists at Noguchi - Hideo Yamaki & Bill Laswell
@ The Noguchi Museum, Long Island City, NY
Oct. 31, 2018 (wed)
Blue Buddha: Louie Belogenis, Dave Douglas, Bill Laswell, Michael Wimberly
@ The Stone, NYC - starts at 8:30 pm
Nov. 6, 2018 (tue)
KNOX OM PAX John Zorn & Bill Laswell
@ Teatro dal Verme, Milano, Italy
Nov. 11, 2018 (sun)
Nublu Jazz Festival
Peter Apfelbaum (keys, sax) Brandon Seabrook (gt) Bill Laswell (b)
Aaron Johnston (ds) @ Nublu, NYC
Uplift Europe tour
Dave Douglas (tp) Jon Irabagon (sax) Mary Halvorson (gt)
Rafiq Bhatia (gt) Bill Laswell (b) Ches Smith (ds)
Nov. 15 @ Centro Cultrual Vila Flor, Guimaraes, Portugal
Nov. 16 @ EFG London Jazz Festival, London, England
Nov. 17 @ Bielskie Centrum Kultury, Bielsko-Biala, Poland
Nov. 18 @ Teatro Victoria Eugenia Antzokia, San Sebastián, Spain
Nov. 19 @ De Bijloke Muziekcentrum, Gent, Belgium
Dec. 14, 2018 (fri)
Peter Apfelbaum (keys, sax) Brandon Seabrook (gt) Bill Laswell (b)
Mark Guiliana (ds) @ Nublu, NYC