Too Busy Thinking About the State of the World
To Spend Time Dwelling on Things We Can’t Change
Better to Reflect and Think of the Things that Make us Smile
Every Day is a Celebration of Life so…
Listen to the Sounds that will Help Heal Us Once More
Another Week’s Worth of Treasures…
So Hear What’s in store:
Keith Tippett/Tom Jackson/Benedict Taylor/Ashley John Long LTD Edition CD! Harris Eisenstadt With Anna Webber/Sara Schoenbeck/Nate Wooley/Brandon Seabrook..! Johannes Bauer & Peter Brotzmann! Ken Vandermark’s DEK Trio! Trio 3: Andrew Cyrille/Oliver Lake/Reggie Workman! Satoko Fujii Solo Piano 2 CD Set! Two Great Franklin Kiermyer Quartets! Spunk Return!
Axel Dorner/Dominic Lash/Roger Turner! Andrea Parkins & Brain Chase! Rich & Carson Halley! Julie Slick’s EchoTest! Two from Tim Motzer! Sun Ra Definitive Singles Collection! Bulent Arel! More Restocks from the Lovely Music label! Lightnin’ Hopkins! Michael Hurley! The Velvet Underground and More//!
The FREE DMG Weekly New Music In-Store Series Continues on Sundays with:
Sunday, March 12th: CD Release Set for Rob Price’s New Trio!
6pm: ROB PRICE / BEN GALLINA / ANDY O'NEILL - Guitar / Bass / Drums
7pm: NICOLAS LETMAN-BURTONOVIC / NICK JOSWIAK / ZACH SWANSON BASS TRIO
Sunday, March 19th:
6pm: JULIAN KIRSHNER / DAN FANDINO / SAM WEINBERG / GERRIT HATCHER
7pm: JEFF PLATZ / DMITRY ISHENKO / DALIUS NAUJOKAITIS
Sunday, March 26th Triple Header with:
6pm: NLH - Solo Guitar!
SEAN ALI - Solo Contrabass!
VLAD LUCHANSKY & DAVID GROLLMAN!
Sunday, April 2nd, 2017:
6pm: LEAP OF FAITH Return!
7pm: MOPPA ELLIOTT - Solo Bass
8pm: LEAP OF FAITH & MOPPA ELLIOTT
Sunday, April 9th:
6pm: GIANT DWARF: MARTIN PHILADELPHY & JEREMY CARLSTEDT!
DMG is located at 13 Monroe St. (between Catherine & Market Sts) in a basement below a former Buddhist temple & beauty salon. 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 Cosy
Yesterday Legendary Saxist Thomas Chapin would’ve turned Sixty!
Let’s Celebrate with three events:
A MILESTONE SHOWING OF THE THOMAS CHAPIN FILM!
FRI., MARCH 10, 7 pm, FREE. Jazz at Lincoln Center, 60th St. and Broadway. The all-new 96 mins. version will have its NYC premiere and showing. Be there with all of us! Tell others to join and help us fill the hall with Thomas-love!
Film's Premiere in Queens!
Sat., April 1, 7 pm, FREE, Flushing Town Hall, 137-35 Northern Blvd., Queens.
Live Music Tribute-Concert in May
Sat., May 6, 7:30, A CONCERT FOR THOMAS CHAPIN with many musicians who played with Thomas. Brooklyn Conservatory of Music. $15. To be a stellar evening! Musicians will include Mario Pavone, Michael sarin, Marty Ehrlich & Ned Rothenberg!
Todays’s Treasures starts off with a True Jewel from DMG’s Favorite Pianist:
KEITH TIPPETT / TOM JACKSON / BENEDICT TAYLOR / ASHLEY JOHN LONG - Four Quartets (Confront ccs 68; UK) Featuring Keith Tippett on piano, acoustic effects & music box, Tom Jackson on clarinet & bass clarinet, Benedict Taylor on viola and Ashley John Long on prepared & unprepared double bass. Recorded at Fieldgate Studio in July of 2014. Ever since hearing Keith Tippett take a short, frenetic piano solo on King Crimson’s “Catfood” in 1970, I’ve been fan-addict, ever searching for any recording he has done. Considering that Mr. Tippett has played in New York once (the Knit in the early nineties), I’ve traveled long distance to hear him live (3 times to the Victo Fest in Quebec & a more recent solo set at Cafe Oto in London). When the legendary UK jazz drummer Tony Levin passed away in 2011, this brought an end to Tippett’s longtime quartet Mujician. Since then it seems that live performances and recordings are very infrequent. Perhaps one recording every year or two.
In January of this year (2017), Confront Recordings presented what looked to be an incredible double bill: a duo with Julie Tippetts (voice) & Mark Wastell (cello) and this, the Jackson/Taylor/Long/Tippett Quartet. Wish I could’ve been there! Over the past decade, there appears to be a new generation of jazz-folks & improvisers, hailing from various parts of the UK and playing in places like the Vortex and Cafe Oto. Thanks to labels like FMR as well as British sax colossus Paul Dunmall, a host of newer musicians to reckon with is happening. Bassist Ashley John Long recently recorded with Mr. Dunmall while violist Benedict Taylor has worked with Alex Ward and a fine solo viola CD out.
This disc is very long, some 72 minutes and superbly recorded. This is a marvelous quartet where each member holds his own, having a spirited conversation, weaving a magic tapestry. Violist Benedict Taylor occasionally reminds me of Mat Maneri as he carefully bends those notes, keeping things both off-balanced yet somehow focused. When things start to heat up, the level of intensity increases, bristling and eventually boiling. There are a number of incredibly heating interactions going on hear, an edge-of-your-seat thrill. There is a section where Mr. Tippett uses a small block of wood to mute the strings while he plays several quick lines of notes with harp-like flourishes. This is the third time I am listening to this disc in its entirety and I can’t wait to play it again. Absolutely extraordinary! - Bruce Lee Gallanter, DMG
HARRIS EISENSTADT With ANNA WEBBER / SARA SCHOENBECK / NATE WOOLEY / JEB BISHOP / DAN PECK / BRANDON SEABROOK / HANK ROBERTS / EIVIND OPSVIK - Recent Developments (Songlines 1620; Canada) "Recent Developments is the latest project from NY composer, percussionist, and bandleader Harris Eisenstadt. A quirky nonet that includes many of Brooklyn's most esteemed creative musicians, the project marks the 20th album of Eisenstadt's career as a bandleader (including five previous releases on Songlines) alongside over 40 recording credits as a collaborator. Recent Developments is the fifth installment in Eisenstadt's music for medium-sized ensembles, which also includes Fight or Fight (2003), The All Seeing Eye Octets (2006), Woodblock Prints (2010), and Canada Day Octet (2012). The compositions explore a range of polyphonic/polyrhythmic textures and emphasize the unique instrumentation's rich timbral variety. Its unique and inspired aggregate of musical personalities includes Anna Webber on flute (John Hollenbeck, Matt Mitchell), Sara Schoenbeck on bassoon (Roscoe Mitchell, Wayne Horvitz), Nate Wooley on trumpet (Evan Parker, Anthony Braxton), Jeb Bishop on trombone (Ken Vandermark, Alexander Schlippenbach), Dan Peck on tuba (Steve Lehman, Tony Malaby). Brandon Seabrook on banjo (Alison Miller, Ben Allison), Eivind Opsvik on bass (David Binney, Kris Davis), and Hank Roberts on cello (Bill Frisell, Tim Berne). Eisenstadt sketched all the music in nine hours on a transatlantic flight home to Brooklyn at the end of a tour. Two months of intense revisions followed, drawing on influences including Jane Jacobs' The Death and Life of Great American Cities, David Chase's The Sopranos, Beni Ourain-style rug weaving of the Berbers from the Atlas mountains in Morocco, and the mid-sized ensemble compositional strategies of Henry Threadgill, Dave Douglas, and John Zorn. The form of Recent Developments is divided into fourteen parts: six ensemble sections and eight discreet transitional sections of varied instrumentation in which snapshots of the material from the six ensemble sections are re-imagined and interpreted freely in sub-ensembles of varied instrumentation."
JOHANNES BAUER / PETER BROTZMANN -Blue City (Live At Blue City Osaka / Japan 16. October 1997)(Trost 155; Austria) Following the death of German trombonist Johannes Bauer in May 2016, Peter Brötzmann decided to pay tribute to the many years of comradery and collaboration he and Bauer shared, from Globe Unity in the '70s to the Peter Brötzmann Group and the Chicago Tentet. This disc presents a previously unreleased recording of a beautiful live duo performance from Osaka, 1997, which had been waiting in Brötzmann's archives for a release. Peter Brötzmann: tenor and alto saxophones, tárogató, B-flat clarinet; Johannes Bauer: trombone.
DEK TRIO With KEN VANDERMARK/ELISABETH HARNIK/DIDI KERN -Burning Below Zero (Trost 139; Austria) DEK Trio is a new improvised music trio that features Austrians Elisabeth Harnik (piano) and Didi Kern (drums), and American Ken Vandermark (reeds), who have been performing together since September of 2014, both in Europe and in the United States. In 2016 they were featured as part of Vandermark's residency at the Stone in New York City. Their music has a wide range of influences, coming from sources based in Harnik's work as an internationally acclaimed new music composer, Kern's profile on European rock scene, and Vandermark's two decades of work at both home and abroad, touring, recording, and collaborating with dozens of world renowned musicians as diverse as Getachew Mekuria and John Tilbury. The end result of these backgrounds and the open ended musical curiosity of the group is an extraordinary group aesthetic, inclusive and expressive and instantaneous.
TRIO 3 [OLIVER LAKE / REGGIE WORKMAN / ANDREW CYRILLE] - Visiting Texture (Intakt 282; Switzerland) “Among other things, Visiting Texture illustrates the principle of addition by subtraction. It’s the first studio album by Trio 3 as an actual trio – with Oliver Lake on alto saxophone, Reggie Workman on bass and Andrew Cyrille on drums – in more than a decade, since the excellent Time Being in 2006 (Intakt CD 106). The intervening years have seen the group work powerfully with some serious guest pianists: notably Geri Allen, Irène Schweizer, Vijay Iyer and Jason Moran. But there’s a specific character to the group’s trilateral rapport, which finds full expression here. The working history among these musicians stretches back several decades, rooted in an ideal of collectivity and intuition: their motto has long been “a group where music is the leader.” “Improvisation to a large degree is always having an element of surprise,” Cyrille reflects. “Even if we’re playing something that’s arranged, we want to spark it so that there’s always a certain magic happening as the music is being developed.” The entirety of ‘Visiting Texture’ adheres to that conviction, bound by a spirit of real-time discovery.” - Nat Chinen
CD $18 (In stock shortly)
SATOKO FUJII - Invisible Hand [2 CD Set] (Cortez Sound 0001/0002; Japan) Featuring Satoko Fujii on solo piano. Considering that the immensely prolific pianist has more than sixty CDs as a leader or co-leader, her solo efforts are few (three?) and far between. This makes her new double disc set, an even more rare treat. This disc was recorded in a club called Cortez in the small city of Mito in Japan. Ms Fujii was asked to perform there earlier, but had to wait until the club got a grand piano since she does play inside the piano, manipulating the strings. You can from the beginning that Ms. Fujii is taking her time and exploring ideas on the piano, a few at a time. “Thought” opens and is most elegant, dreamy, calm with Ms. Fujii occasionally muting certain notes with an object inside the piano. Ms. Fujii’s playing is quite lyrical at times and closer to classical music than jazz, not that those terms mean much to those who want to swept away nonetheless. By the second piece, “Increase”, the tension and tempo does increase more and more. There is a section in the second half in which Satoko plays those quick Cecil Taylor/Don Pullen-like flurries, holding down the sustain pedal at times, adding hypnotic ambiance. For the long title track, “Invisible Hand”, Ms. Fujii experiments by rubbing the strings with certain objects and creating a spacious, suspense-filled vibe. “Floating” is even more miminal, spacious, with each note surrounded by silence, cautiously tapped out. Ms. Fujii selectively mutes or alters certain notes adding a sly, other-worldly quality which I find most enchanting. Those muted notes sound quite like a gamelan ensemble, yet it is played by just one person. I listened to several great solo piano offering over the past month (Joel Futterman & Matt Mitchell). Satoko Fujii’s offering is perhaps the most balanced, drawing from several streams both inside and outside of the mainstream. I am reaching for the second disc now, more rich rewards are in store for me and you, DMG’s faithful listeners. - Bruce Lee Gallanter, DMG
2 CD Set $16 (Sale price for next week - 3/9 - 3/19/17)
FRANKLIN KIERMYER With LAWRENCE CLARK / DAVIS WHITFIELD / OTTO GARDNER - Closer to the Sun (Mobility 11016; USA) Featuring Lawrence Clark on tenor sax, Davis Whitfield on piano, Otto Gardner on bass and Franklin Kiermyer on drums & direction. For more than twenty years, master drummer & bandleader, Franklin Kiermyer has led a series of quartets, each one inspired by and with the same instrumentation as the classic John Coltrane Quartet. This is the fifth quartet disc since 1994 and the tenor players have included Pharoah Sanders, Sam Rivers, Michael Stuart and Azar Lawrence. An impressive list of tenor sax greats! Mr. Kiermyer’s new disc is another fine quartet with Lawrence Clark in the tenor chair. I know Mr. Clark from several strong discs from the Rashied Ali Quintet, as well as turning up with trumpeter Josh Evans, who works with Oliver Lake and has a couple of fine discs out of his own. I hadn’t heard of the pianist or bassist here, although they sound equally impressive. The first thing I noticed when this disc opened with, “Greetings to Pharaoh”, is how well it is recorded, the sound so splendid and spiritual sounding. The classic Coltrane Quartet’s song started short and slowly go longer and longer throughout their live sets. None of the 13 songs here are very long, yet the intensity remains the same: close to boiling point. Legendary drummer Elvin Jones was an integral part of the Coltrane Quartet, his playing immensely powerful and completely unique. Mr. Kiermyer seems to be one of the few drummers who plays with similar power and creative spirit, yet he doesn’t really copy Jones, as much pick up where Mr. Jones left off. I found every song on this disc to me uplifting, inspiring and often with those modal-like melodies that stay with us long after the disc is over. Pianist, Davis Whitfield sounds especially superb on “Grace”, playing those magical, McCoyish waves. Much of the music here has a calm, peaceful center, like floating in a dreamworld where the usual anxiety of life has faded away. Eventually, the quartet erupts on “Emancipation Proclamation”, the power and the fury reaching higher and higher. Although none of the 13 songs are longer than eight minutes, the quartet still reach for that inner fire, burning no matter how long or short… By the way, Mr. Kiermyer currently lives in Oslo, Norway (after spending many years in the Woodstock area), so I see him perhaps once in a year or two or three. Hence, when we run out of both new discs it might be while to get them back, so… order quick! - Bruce Lee Gallanter, DMG
FRANKLIN KIERMYER With AZAR LAWRENCE/BENITO GONZALEZ/JUINI BOOTH - Further (Mobility Music 20131; USA) “The drummer whose time playing with the legendary Pharoah Sanders on 1994's Solomon's Daughter hearkens back to that same vibe with his latest album, which he's releasing digitally only and for free at his Further website in mp3 (as well as in WAV format for donation in addition to the usual digital sales routes of iTunes and Amazon).
This album is the sound of incense burning, the extract of vinyl distilled bit and bytes. It's a recording of a captured moment-- the quartet of Kiermyer on drums, the general consensus Coltrane successor Azar Lawrence on saxophone, Benito Gonzalez on piano, and Juini Booth on bass spoke little about the music and some direction but essentially melded their energies together for a few spirited days in a studio in Norway. If Kiermyer was seriously shooting for the same vibe as John Coltrane's A Love Supreme, he certainly pulled it off in spades.
Three of the album's seven tracks are recorded live and somehow, this does make an impact. As musicians are won't to do, Kiermyer's quartet explore these songs... well... further. It's live, there's a moment happening, there's an energy in the crowd. (You know how it goes.) This isn't to say the group doesn't carry this same ethereal energy all the way throughout the album, but the middle third of it does show a kind of restraint (for what it's worth).
If anything, this album is a time machine. It's the kind of album true veteran musicians make-- the kinds of musicians who've played with Pharoah Sanders and McCoy Tyner and Miles Davis and Tony Williams and Masabumi Kikuchi in the past and have all intents to still make trippy, spacey, soulful music in the future. These guys bring it and those of us with ears, all throughout heaven and earth, are blessed to receive these sounds.” - Anthony Dean-Harris
SPUNK - Still Eating Ginger Bread For Breakfast (Rune Grammofon 2188; Norway) Formed in 1995, Spunk comprises four of Norway's most innovative musicians: Kristin Andersen - trumpet and recorders; Hild Sofie Tafjord - french horn, toys, live processing and sampling; Maja S. K. Ratkje - voice, theremin, oscillators, live processing and sampling; Lene Grenager - cello. For their 20th anniversary concert in December 2015, they moved to the exotic concert sites of Oslo's Nasjonal Jazzscene, home of the most interesting local and international jazz and improvisation concerts in the capital. Still Eating Ginger Bread For Breakfast is a recording of that concert - divided into two sets - as on the evening. It is also Spunk's ninth album since their 1999 debut Det Eneste Jeg Vet Er At Det Ikke Er En Støvsuger, all on Rune Grammofon. "Last time I heard Spunk was phenomenal! They are among the most exciting improvising groups in the world right now." - Fred Frith.
AXEL DORNER / DOMINIC LASH / ROGER TURNER - Tin (Confront ccs 73; UK) Featuring Axel Dorner on trumpet, Dominic Lash on double bass and Roger Turner on drums. This disc was three recorded at live gigs in the UK (including Cafe Oto), in April of 2015. What is interesting about this trio is that each member comes from different scene, embracing several strand of improv: free/jazz, lower case and hyper (intense & quick moving) improv as well. Trumpet wiz, Axel Dorner is a perfect example or erasing boundaries: playing Monk with Alex von Schlippenbach, as well as playing with Phil Minton, Ken Vandermark and Barry Guy. UK contrabassist, Dominic Lash, is a ember of half-Brit/half NY quartet called the Convergence Quartet and has played with Tony Bevan, Pat Thomas, Denman Maroney and with the Wandelweiser Collective. Drummer Roger Turner is the the elder musician here, having worked with Lol Coxhill, Konk Pack and Phil Minton. Diverse resumes all around.
Things start off with lower case-like restraint: a hissing radiator, sped up static and skeletal percussion or rubbed surface sounds. The Confront label, which is run by cellist Mark Wastell from Ist, seems like the perfect home for this trio. When the trio stripps things down to small sonic fractures, we feel the need to listen more closely. The rich blend of sounds are especially compelling yet doesn’t quite sound like what we think of as music (no recognizable melodies). There are a series of drones which expand and contract and are stretched in odd ways. Each rubbed or bowed surface or string evokes a different vibration or family of related sounds. I can’t quite convey the depths of sonic exploration here, but remained transfixed throughout. Less is more, less is more is the lesson here. - Bruce Lee Gallanter, DMG
BRIAN CHASE & ANDREA PARKINS - Avalanche of Routes (Confront ccs 67; UK) Featuring Andrea Parkins on accordion, electronics, amplified objects and processing and Brian Chase on drums & electronics. The first few times I heard drummer Brian Case play, both live and on record, I had no clue he was a member of a famous rock group called the Yeah Yeah Yeahs (Grammy winners & filled large rooms like the Barclays Center!?!). Mr. Chase has had a parallel career playing with a number of diverse players: Jeremiah Cymerman, Thollem McDonas and Alan Licht. Accordionist and electronics player, Andrea Parkins, is a longtime part of the Downtown network, having been a part of a great trio with Ellery Eskelin & Jim Black, as well as working with Nels Cline, Briggan Krauss and Ches Smith (in These Arches). Last I heard, Ms. Parkins was living and teaching in Berlin, but recent word is she is teaching elsewhere as well. Hence, their diverse backgrounds make for an unpredictable outcome. After nearly a dozen diverse & unique releases from the Eskelin/Parkins/Black trio, Ms. Parkins has evolved as a gifted, risk-taking improviser/sonic explorer. The duo here deal with textures cautiously, wheezing accordion into strange electronics and early Knitting factory-like quirkiness meets John Stevens small kit percussion. While some electronics sound academic or alienating, Ms. Parkins knows how to balance the acoustic & electronic elements just right, never going into the extreme end too far. The music sounds or feels like a comfortable journey into space. At times, this veers close to space rock (like early Pink Floyd or Gong), but doesn’t get to that druggy excess haze that might bother the more clear-minded listeners. There is a section on the title track, “Avalanche of Routes”, where it sounds like we are traveling in a submarine with the radar blipping. One of the things I like most about this is that Ms. Parkins is using analogue-sounding synths, which sound friendlier than usual. Still, there are moments of cosmic drones which are rather enchanting. I did see/hear this duo live at The Stone a while ago and I would suggest that you don’t miss them live if you get the opportunity. In the meantime, treat yourself to this strange and wonderful treasure. - Bruce Lee Gallanter, DMG
Back in Stock, after couple of years:
THOLLEM McDONAS / BRIAN CHASE - Dub Narcotic Session (New Atlantis 016; USA) “Dub Narcotic Session, from vanguard pianist Thollem McDonas, and master drummer Brian Chase (a veteran of New York's creative music underground, and indie rock stalwarts, Yeah Yeah Yeahs). Forging allusions to the blues, punk rock, honky tonk, and folk with abstract maximalism and raw technical integrity. Thollem and Brian first met in New York City during the summer of 2012, performing as a trio with bassist James Ilgenfritz. The following year saw the release of The Whistling Joy Jumpers, a collaboration between Thollem, Brian, and the legendary Jad Fair (of Half Japanese). In the summer of 2013, Thollem and Brian traveled to Olympia, Washington, to record a session at K Records' storied Dub Narcotic studio. During the first day of the session, their guitarist fell ill, leaving Thollem and Brian with a day in the studio. The fittingly titled Dub Narcotic Session is the free-ranging result, defying handy categorization, set in spontaneously unfolding linear landscapes of sonic terrain. Mind Control Free For All is charged with a kinetic punk undercurrent, blossoming into swaths of explosive energy. The lyrical Where We Come From evokes the modal excursions of Sonny Sharrock and Alice Coltrane, underpinning a reverence for tonality and the blues with an expertly shifting rhythmic foundation. By contrast, Dis-Mis-Education erupts with scatter-shot, stagger-stepped free improvisation from the outset, unfaltering through the track's close.”
RICH HALLEY / CARSON HALLEY - The Wild (Pine Eagle 010; USA) Featuring Rich Halley on tenor sax & wood flute and Carson Halley on drums. This is a father (Rich) and son (Carson) team that have played together regularly for nearly twenty years, with some ten discs of recorded material. They’ve played & recorded together as mostly a quartet, with an occasional trio or quintet date. This is their first duo recording. Rich Halley mentions in the liner notes that on pretty much all of the previous dates with the quartets, most pieces with composed and/or directly by him. This date was completely improvised so both players are equally involved in the direction they go. “Wild Lands” kicks rings open with a rather more restrained ‘Interstellar Space’ (Trane & Rashied Ali) like sound. The older Mr. Halley, who has playing for several decades with more than two dozen discs under his belt, keeps things centered here as if he is playing certain themes which were created over time. There is a strong balance here, the current running back and forth organically. At one point Carson sounds like he is playing a march mixed with folk melody on the drums, the repeating pattern is hypnotic and most enticing. On “Flat Plane of the Sky”, the duo complete lay back and play quietly, with calming restraint. “The Stroll” seems to mix a funky groove with some bebop-like riffs, it has most joyous vibe. “Cursorial” has more of that less frenzied ‘Interstellar Space’ like sound. Earlier this week (early March of 2017), I asked one of Downtown jazz scholar buddies if he had any idea who this was for a quick blindfold test. He replied, “Charles Gayle?”. Hmmmm. Good guess. This is one of the better duo discs I’ve heard recently, since both father and son sound like they have been playing together for a very long time. A strong connection for serious listeners as well. - Bruce Lee Gallanter, DMG
ECHOTEST [JULIE SLICK / MARCO MAEHERA / ALESSANDO INOLTI] - From Two Balconies (1K Recordings; USA) Echotest is an amazing power/prog trio from Philly featuring on Julie Slick on bass V1, Mareo Maehera on 5-string electric bass V & vocals and Alessandro Inolti on drums. Guests include Tim Motzer on guitars and Pat Mastelotto on percussion & samples. Some of you should recognize bass goddess, Julie Slick, from her work with the Adrian Belew Trio over the past few years. The Belew Trio has toured with another swell Crimson offshoot trio known as the Stick Men. For these dates, both trios play impressive sets by themselves with a third combined sextet set last which usually features awesome versions of Crimson covers to make us progheads smile! I caught one of those double trio sets a couple of years back and was especially impressed by the electric bass playing of Julie Slick. She was just incredible. So, I was thrilled when Tim Motzer of 1K records left us with Echotest, Julie Slick’s incredible trio.
As a longtime fanatic for many progressive bands, from 1969 onwards, I am always searching for the next great prog outfit. Considering that prog-rock will reach its 50th anniversary in two years (2019), there is a wealth of great music to consider when you think about its long history/journey. There are a few labels that still specialize in this music (Cuneiform & MoonJune being two), so it takes some research to find out about certain bands that have fallen beneath the radar. Cuneiform recently released what might just be the prog disc of the year so far: Thinking Plague’s ‘Hoping Against Hope’.
In the meantime, the search goes on for us progheads. Which brings us to EchoTest, a new disc from bass goddess Julie Slick’s new trio. This is the third release from Ms. Slick and again she has delivered the goods in a grand style! Lead vocals are handled by second bassist Mareo Maehera who has a charming voice, perhaps a bit Adrian Belew-like at times. Both Julie and Mareo play 5-string electric basses, yet they often sound like that Belew-like stun-gun guitar work. I dig the tribal drumming at the center of “Rack & Ruin” towards the end as well as that Frippish guitar. “The Mystical Connected Us” features some ancient Beatles-like psych in the swirling layers of guitars and swell nasal vocal. I like the way the bass guitars change their sound on each piece, with several layers selectively stacked up. What I like most about this disc is how modest or effortless it sounds without resulting on any chops displays. According to a blurb on on the NoTreble website, there is a story or concept here but it will take some time to figure that out. With each listening to this disc I hear another unexpected gem buried in the arrangements. Each song sounds like a great deal of preparation went into the composing and recording, There are way too many great moments, great ideas throughout this work. At times I am reminded of those great albums from Eno in the mid-seventies like ‘Another Green World’ perhaps. Strong contender for under-recognized prog gem of the year. - Bruce Lee Gallanter, DMG
ORION TANGO [TIM MOTZER / BARRY MEEHAN / JEREMY CARLSTEDT] - self/titled (1K 028; USA) Featuring Tim Motzer on guitars & electronics, Barry Meehan on bass and Jeremy Carlstedt on drums. Philly guitarist Tim Motzer runs this the 1K label and works with Pat Mastelotto (from King Crimson), Markus Reuter (Stick Men), Julie Slick (Adrian Belew Trio) and Theo Travis (Soft Machine Legacy & duo CDs with Robert Fripp). I don’t mush about bassist Barry Meehan although he does appear on several discs from the 1K label. Downtown drummer, Jeremy Carlstedt studied & played with Chico Hamilton as well as collaborating with Martin Philadelphy and Brian Settles. Hence their collective resumes embrace progressive, jazz and rock ideas. Commencing with “Find Your Happy Face”, the trio get into a slow , spicy groove, somewhere between funk, dub and rock. Motzler uses several devices to alter his guitar, to give it that soft, somewhat ominous, Frippish-like sustain. Under-recognized drummer, Jeremy Carlstedt, is often at the center of trio’s groove, slamming out those infectious elastic beats. He and bassist Meehan work well together, giving Motzer a lean, mean space-rocking, boogie riffs to surf upon. Some of this reminds me of Guru Guru, the great Krautrock power trio jazz/rocking unit from the seventies. On each of the five long tracks, Mr. Motzer alters the sound of his guitar with different devices, to give it an impressive edge. One of the best prog-rocking trios on this side of the Atlantic ocean. - Bruce Lee Gallanter, DMG
TIM MOTZER - Live from Stars End (1K 024; USA) “Guitarist Tim Motzer has carved out a prominent place in the Philadelphia music scene in ensembles and as a solo artist, ranging from straight-up funk to atmospheric dance accompaniment and Spacemusic soundscapes. Experiencing his many projects we hear a common thread or voice. A rhythmic feel runs through playing he describes as a "Philly Soul-Funk Thing", tinted by a certain grittiness that captures the life force, struggle, and fight that is ever-present within the City of Brotherly Love.
Another identifiable component of Motzer's music is that of the ethereal - which presents itself through the use of sustain and looping effects, E-Bow and cavernous reverberation. But Motzer shows no concern over his diverse musical identity. Going with the flow of each playing situation his goal is to just enjoy the immersive, constant challenge each project represents. Pursuing so many different paths keeps wide open the number of projects he is available for and has participated in. Yet with so many growth experiences to his credit Motzer points out that creating textural/atmospheric music is always the least limiting. His purpose here is to evolve the genre (and the listener) from a zone of no thought - where ideas are flowing through.” - Starsend.org
A Couple More from the Those Crazy Leap of Faith Offshoot bands:
STRING THEORY With PEK / GLYNIS LOMON / DEI XHRIST / TONY LEVA / SILVAIN CASTELLANO - Cosmological Constants (Evil Clown 9129; USA) Featuring Dave PEK on clarinets, sopranino & tenor saxes, double reeds, daxophone, percussion, etc; Glynis Lomon on cello, aquasonic & voice, Tony Leva & Sylvain Castellano on basses and Dei Xhrist on voice. This is the second disc from String Theory, Leap of Faith offshoot unit with just two core members: PEK and Glynis Lomon. I don’t recognize the names of the other two musicians although vocalist Dei Xhrist does appear on another recent LoF disc. What makes this different from most Leap of Faith discs is that there is no percussionist and the instrumentation is tripped down to just PEK’s reeds, three strings and voice. The two bowed cellos and PEK’s low-end reeds (clarinets, bassoon & oboe work quite well together. PEK does plays some metal percussion in one section. The sound is often subdued yet sting exploring textures. Vocals are also minimal yet fit as a member of the quintet without ever taking over. Ms. Lomon adds a bit of her own weird vocals yet again, they a used selectively like occasional sonic seasoning. This disc sounds less ritualistic, less intense that most Leap of Faith sessions, yet it forces us to listen closer since things are not as explosive as usual. The flow of ideas seems slower yet their some rich, thoughtful interaction work moves in waves, from calm to more agitated in part. This disc was recorded live at the Outpost in Cambridge, MA in January of 2017 just less than two months ago. - Bruce Lee Gallanter, DMG
Listed Last Month but that was the LP Version, CD Version has Finally Arrived:
JON IRABAGON, JOHN HEGRE & NILS ARE DRONEN - Axis (Rune Grammofon 2190; Norway) Filipino-American Jon Irabagon has topped both the Rising Star Alto Saxophone and the Rising Star Tenor Saxophone categories in Down Beat's critics polls and been named one of Time Out New York's 25 New York City Jazz Icons. A founding member of Mostly Other People Do The Killing, he is also an integral member of the Mary Halvorson Quintet, Dave Douglas Quintet, and Barry Altschul's 3Dom Factor. John Hegre is a musician, songwriter, sound engineer, and a pioneer of the Norwegian noise music scene. He founded Jazzkammer with Lasse Marhaug in 1998, releasing their debut album Timex (RCD 2014CD) on Rune Grammofon the year after. He has been involved with close to 50 releases on various labels. Nils Are Drønen has been a player on the fertile music scene in Bergen since teaming up with Hegre 20 years ago. He is part of several constellations, including The Last Hurrah!!, playing on their The Beauty Of Fake album (RCD 2145CD/RLP 3145/RLP 3145LTD-LP, 2013) and The Great Gig In Disguise 10" (REP 2121EP, 2011). With Jazzkamer he has recorded six albums and toured Europe, Asia, and America.
SUN RA - Singles - The Definitive 45’s Collection [3 CD Set] (Strut 148; UK) “How do you pin down Sun Ra? The cosmic jazzman laid down so much music it would take a warehouse of full-time historians working round-the-clock hours to figure it all out. Albums were often hastily assembled from his prolific sessions, packaged with DIY artwork and sold at gigs for quick cash. Thousands of hours of unheard recordings are rumored to exist. Maybe he stacked boxes of magnetic tape on far-away planets too, such was his connection to the stars. If it’s even possible to traverse the vast Sun Ra universe on board a single starship, then Strut Records’ new compilation Singles: The Definitive 45s Collection offers a compellingly sturdy vessel. It’s a 65-track set of 7-inch fragments of the celestial god, sent to earth to help us map out details of his galaxy that the albums could not. There are no wasted motions here: Each flat, wax disc represented another bright star in the constellation Ra. The name of his birth certificate read Herman Poole Blount. Born in Alabama in 1914, the mysterious musician showed up in Chicago in 1946 with little more to his name than a jail record picked up for refusing to fight in World War II for ethical reasons. The jazz scene was primed for revolution and Blount moved to a different beat, driven by a journey to Saturn he claimed he made years earlier while in deep spiritual concentration. The star man would later take up the name Sun Ra, form his ever-changing band the Arkestra, and spend a lifetime teaching the world Afrofuturism, a complex ideology of Black nationalism, Egyptian myth, scientific discovery, science fiction movies and the other-worldly fashion choices he’d flaunt on-stage. Forget “Disco 2000”; Sun Ra was envisioning to the paranoid blips and beeps of “Disco 2021” some 30 years before Pulp showed up. He mastered the electro squiggles of “Planet Rock” prior to the birth of hip-hop, and forged his own form of analogue cyberpunk as Philip K. Dick sat as his typewriter laying out his own dark vision of the future. Singles preserves all that for future generations. It’s said when you watch classic movies like Citizen Kane today, it’s important to bare in mind that these movies were writing the rules of filmmaking that we now take for granted. Sun Ra’s music somehow doesn’t require that kind of explanation. As soon as the needle drops, it sounds like scripture—a key testament that formed a building block of a half-century of music. Everyone from George Clinton to OutKast read from The Book of Ra. And yet, on paper the project seems an odd prospect. Sun Ra was a lot of things—pianist, bluesman, bandleader, arranger, interstellar poet, multiverse traveller—but he’s never been accused of being a singles artist. Because of the format, Singles eschews his lengthier wigouts for shorter vignettes. You might not get the 20-minute avant-garde virtuosity of “Space Is the Place,” but you do get jaunty holiday jingle “It’s Christmas Time.” That might seem less crucial, but when grappling with Ra’s slippery legacy, nothing here feels disposable. For the fanatics, Singles will offer little they’ve not heard before. While the original 45 versions of a lot of these songs, many of which were released on Ra’s own El Saturn Records, are rare (or, in some cases, completely lost), they’ve all cropped up in other places, including a similar-but-less-expansive compilation put out by Evidence Records in 1996. Still, there’s undoubted power in hearing Ra’s career laid out like this. Arranged chronologically (or as close to it as possible—Ra wasn’t exactly pedantic when it came to labeling his sessions) and with about half the songs recorded during his 1950s Chicago period, Singles captures the genesis of his forward-thinking space-bop. Fittingly, the opening two tracks, “I Am an Instrument” and “I Am Strange,” both spoken-word numbers, predict his metaphysical interests. “I belong to one who is more than a musician/He is an artist,” he says on the former. His voice is tuned low and grave, as though foreshadowing a seismic event. Whether he’s envisioning a playful, pamphlet-utopian version of the city on the Lieber-Stoller-esque “Chicago USA” or mixing experimental rhythms with dense and fractured chants on “Spaceship Lullaby” (both recorded with the Nu Sounds, an important precursor to the Arkestra), it’s thrilling to hear Ra connect Chicago’s timeless jazz scene to his increasingly wild tinkerings. Even the earliest material on Singles is the sound of a bandleader confidently wielding his arsenal for maximum purpose. It’s not just Ra that gets shine. Singles captures The Arkestra at their finest. John Gilmore, a chief lieutenant in the group for almost 40 years, blusters with his tenor saxophone on the peppy “Soft Talk,” recorded in his first few years alongside Ra. The gentle horn riff of “Space Loneliness”—from 1960, Ra’s final year in Chicago—pulls you towards the void of the outer cosmos before blissful and delicate solos from Phil Cohran (cornet) and Marshall Allen (alto sax) chime in. Given the nature of the format, Singles also showcases Ra’s pop instincts. Whether it’s the smooth doo-wop of “Daddy’s Gonna Tell You Know Lie” (of which there are two versions), the wild-man energy of singer Yochanan on blistering R&B number “Hot Skillet Momma,” or Hattie Randolph’s sweet rendition of jazz standard “Round Midnight,” it’s a thrill to hear Ra carve out lean jukebox jams. On “Bye Bye,” the sweet harmonies of the Cosmic Rays are drowned out by short, sharp skewering of double bass that tears through the final few seconds. Recorded a decade before George Martin was doing that sort of thing, it confirms that even in the pop realm, Ra was a daring futurist. The later work sees Ra fully exploring the outer realms of his own talent. “Disco 2021” sounds like an android’s fever dream. A doomed but dinky organ holds hands with a Gilmore-led wind quartet on the ugly-beautiful “Outer Space Plateau.” Ra incorporates a Moog synth into “The Perfect Man”; probably recorded in mid-1973, he deploys a bluesy horn riff as the bedrock before running wild with the synthetic instrument. It’s a strange mismatch, but “The Perfect Man” feels like a rare link between dapper nightclub blues and the space-bound sounds of new wave, disco and early hip-hop. The song encapsulates Sun Ra’s freewheeling, alien brilliance. The London-based Strut Records has long been prolific in unearthing and reissuing old music and has gotten pretty damn good at it. The three-disc CD and LP releases of Singles: The Definitive 45s Collection includes a lot of the trimmings you might expect: rare photos, artwork, sleeve notes and an interview with El Saturn Records founder Alton Abraham. There’s also detailed track-by-track and session notes by project compiler Paul Griffiths that you’ll open up a lot as you grapple with this set. Strut is experienced in dusting off old recordings, so the remasters sound crisp—particularly when played back-to-back with versions that cropped up on other compilations—but without suffocating that rich 45rpm flavor. In addition to the CD and digital releases, Strut is putting out 20 cuts from the collection in two 45s box sets (Volume 1 released this month, Volume 2 released in March 2017) in a limited 500 copies run for the dedicated looking to fully immerse in the spirit of their original releases. For newcomers here for spiritual guidance, broaching Sun Ra’s seismic life work can be daunting. To penetrate the outer atmosphere and splash down into an unknown world; to crawl into a mind of a man with the power to transport his consciousness across our solar system. Singles offers a wide-ranging but accessible route to his unearthly sounds.” - Dean Van Nguyen, Pitchfork
3 CD Set $27
LAURIE ALTMAN - Sonic Migrations: Music of Laurie Altman (Neos 11614-15; Germany) Performed by Manhattan String Quartet; Clipper Erickson - piano. Laurie Altman's musical compositions on Sonic Migrations represent, in some way, a passage: A passage through places (globally), history and events, words, sonic environments, people's lives and their mutual emotions. The pieces are the by-product of a time span of some 25 years, encompassing diverse ensembles and sonic frameworks, far-flung influences, textures, and feelings. There are some outstanding artists playing, like Clipper Erickson (piano), or the Manhattan String Quartet, to name a few. And there is a technical innovation: The Sensor Augmented Bass Clarinet (SABRE) is a bass clarinet, playable in the customary way, and equipped with various sensors with which a computer can be controlled. The original qualities of the instrument are retained, and through the connection to the computer a whole new field of possibilities and areas of application is opened up. With the SABRE, a musical instrument is available for the first time with which a direct connection between acoustic music and the digital world can be realized. The musician on stage can directly control this with his/her instrument, thus spontaneously placing the electronic music into a musical context. Moreover, other media such as visuals, light or video games can be controlled. "No Hay Olvido (Sonata)" features a poem by Pablo Neruda; "Laments of the Homeless Women" features apoem by David Sten Herrstrom. Personnel: Laurie Altman - piano; Randy Bauer - piano; Kuang-Hao Huang - piano; Clipper Erickson - piano; Patrice Michaels - soprano; Matthias Mueller - clarinet, SABRE; John Bruce Yeh - clarinet; Andrew Rathbun - saxophone; Cavatina Duo (Eugenia Moliner - flute; Denis Azabagic - guitar) and Manhattan String Quartet.
2 CD Set $30
BULENT AREL - Electronic Music 1960-1973 (Sub Rosa 431; Belgium) Bülent Arel's (1919-1990) work occupies a special place in the history of electronic music, with one thing being certain: Arel's work is still fresh, groundbreaking, and it always look outs for the next adventure in sound. Sub Rosa present a collection of his works here as part of their Early Electronic series. Bülent Arel was a Turkish-born American composer of electronic and contemporary classical music. He was also a devoted teacher, a sculptor, and a painter. From 1940 to 1947, Arel studied composition, piano, and 20th century classical music at the Ankara Conservatory. In 1959, Arel came to the US on a grant by the Rockefeller Foundation to work at the Columbia-Princeton Electronic Music Center. By that time the center had just started out under its director Vladimir Ussachevsky. During Arel's work in Princeton he also met Edgard Varèse, with whom in 1962 he worked on the electronic sections of Varèse's Déserts. Frank Zappa lists Arel as a key influence. Today's electronic music - whether it is Autechre's Confield (2001), Aphex Twin's Selected Ambient Works Vol. II (1999), or Squarepusher's Do You Know Squarepusher (2001) - builds upon a solid foundation which Bülent Arel helped to pave.
CATHERINE GRAINDORGE / HUGO RACE - Long Distance Operators (Sub Rosa 442; Belgium) Long Distance Operators is a collaboration between the Australian musician Hugo Race and the Belgian violinist Catherine Graindorge. Hugo Race is a singer, songwriter, producer, and author, who has a long and wide-ranging history, from the trans-global Dirtmusic and his groups True Spirit and Fatalists, to his origins in the '80s Melbourne post-punk scene with Nick Cave & the Bad Seeds and The Wreckery. Catherine Graindorge is a Belgian violinist, composer, and actress, known for her work with the Belgian groups Monsoon and Nox, and more recently with Détroit (Bertrand Cantat and Pascal Humbert), John Parish or the German singer Andrea Schroeder. She also plays and composes for theater and cinema. Long Distance Operators is an intensely atmospheric dream-weave of violins, electronics and Hugo's darkly evocative voice. The duo explores metaphysical lyrics, experimental sounds and retro-baroque orchestrations in a romantic, song-based context. Comes with an eight-page booklet; Comes in a digipak sleeve.
NORMAN WESTBERG - Jasper Sits Out (Room40 473. Australia) From Lawrence English: "A few years ago, my dear friend and bandmate Jamie Stewart and I were talking about Swans. I started to mention how much I admired the utterly personal approach to guitar that Norman Westberg had developed on those early records and moreover how that had blossomed out so richly on this latest incarnation of the band. During the course of the conversation Jamie mentioned a CDR that Norman had passed to him, which collected a few pieces of solo work that Norman had been working on. I was instantly curious to hear these pieces and started to track down the recordings online. After some investigating I found Norman's CDRs available through an Etsy shop he had set up. I ordered one and a couple of weeks later, after I'd listened to that first CDR non-stop for a few days, I ordered all the others I could get my hands on. The first solo work I heard from Norman was this recording, Jasper Sits Out. I was instantly struck by the textural sensitivity he managed to create with nothing more than a guitar and some modest pedals. He managed to find a depth in what was a very limited palette and that impressed me greatly. The connections to his work with Swans was clear, in that his trademark relation to tonality was present. Instead of relying on volume to achieve this sonic state though, Norman's solo practice relied on a sense of swaying harmony and orbiting loops to create a tonally dense sound world that was very much personal, but overtly invitational to the listener. Jasper Sits Out, the title referencing the Westberg family mascot who has now sadly departed, reflects Norman's interest in minimal structures and the processes of iteration that are formed through the manipulation of looping fragments. Creating almost tidal surges across these pieces, Jasper Sits Out speaks to his abilities to contour sound in time. The lead track for example is truly oceanic in that is has a remarkable tidal flow of strumming textures that seem to sink below one another in an effortless wash of textural density. I could not be more pleased to be able to share this music through Room40. This edition comes completely remastered and features a bonus piece recorded exclusively for this edition. I encourage you to listen deeply."
LAWRENCE ENGLISH - Cruel Optimism (Room40 470; Australia) "Cruel Optimism is a record that considers power (present and absent). It meditates on how power consumes, augments, and ultimately shapes two subsequent human conditions: obsession and fragility. . . . This edition owes its title and its origins to the wonderful text of the same name by American theorist Lauren Berlant. . . . In Cruel Optimism, I found a number of critical readings around the issues that have fueled so much of the music I have been making recently. Beyond her keen analysis of the relations of attachment as they pertain to conditions of possibility in the everyday, it was particularly her writing around trauma I found deeply affecting. It was a jumping off point from which a plague of unsettling impressions of suffering, intolerance, and ignorance could be unpacked and utilized as fuel over and above pointless frustration. When I made Wilderness Of Mirrors (RM 460CD/LP, 2014) clouds of unease were overhead. As I have worked through Cruel Optimism, what seemed an unimaginable future just a few years prior, began to present as actual. Over the course of creating the record, we collectively bore witness to a new wave of humanitarian and refugee crisis (captured so succinctly in the photograph of Alan Kurdi's tiny body motionless on the shore), the Black Lives Matter movement, the widespread use of sonic weapons on civilians, increased drone strikes in Waziristan, Syria and elsewhere, and record low numbers of voting around Brexit and the US election cycle, suggesting a wider sense of disillusionment and powerlessness. Acutely for me and other Australians, we've faced dire intolerance concerning race and continued inequalities related to gender and sexuality. The storm has broken and feels utterly visceral. Cruel Optimism is a meditation on these challenges and an encouragement to press forward towards more profound futures. Beyond the motivations forging the record, the process by which this edition was created was unlike many of my other records. Having worked largely alone in recent years, I wanted to shift away from that approach. . . . I count myself exceptionally fortunate to have been able to call on so many fine musicians in the making of this album. . . . I couldn't be more pleased to share Cruel Optimism with you." - Lawrence English, October 2016 Contributions in various forms from: Mats Gustafsson, Mary Rapp, Tony Buck, Chris Abrahams, Werner Dafeldecker, Norman Westberg, Brodie McAllister, Australian Voices, Vanessa Tomlinson, Heinz Riegler, and Thor Harris.
Back in stock after several months:
AMAZONAS [With BIGGI VINKELOE / THOMAS GUSTAFSSON / ANDERS KJELLBERG / ANNIKA TORNQVIST] - Deep Talk (Soda Music 12; Sweden) Amazonas are/is Biggi Vinkeloe on alto sax & flute, Thomas Gustafsson on soprano sax, Annika Tornqvist on bass and Anders Kjellberg on drums. I’ve known Swedish saxist Biggi Vinkeloe for many years, both live in New York (here at DMG a couple of times), as well as on more than a dozen discs with other Europeans (Peter Kowald & Barre Phillips), Downtowners (Steve Swell & Ken Filiano) and Bay Area’s best (Donald Robinson & Damon Smith). The other members of this Swedish quartet I know less well but have worked with some names I recognize: Mr. Gustafsson (with Bengt Berger), Mr. Kjellberg (Don Cherry & Louis Sclavis). Bassist Annika Tornqvist is the only name I don’t recognize. The first time I listened to this disc a few weeks ago, I marveled at how strong it was/is. Starting off with Ms. Vinkeloe on flute, buzzing purposely at first with just the skeletal drums backing her. Slowly the bass and soprano sax enters, the spirit growing in levels of inventiveness and intensity. “The Snake” has a somewhat funky groove and sly sax from Ms. Vinkeloe, I like the way Biggi bends those notes inside-out, eventually the soprano comes in, both saxes weaving as the vibe calms down to a soft simmer. Both saxes work together, bending their notes around one another, playing long lines and finishing each others sentences. What makes this disc so good is the way everything unfolds, everyone listens and gets their chance to stretch out without stepping on one another. Sometimes the rhythm teams lays out so that the two reeds can play just by themselves as one. The quartet often sounds like they are having fun, spontaneously creating a web which connects all four members. One of the best improv dates I’ve heard recently! - Bruce Lee Gallanter, DMG
More from the Lovely Music Back Catalogue:
ROBERT ASHLEY - Foreign Experiences (Lovely Music 1008; USA) Foreign Experiences was commissioned by Performing Artservices, Inc. (1993) with funds from the Mary Flagler Cary Charitable Trust. The opera was premiered by the Robert Ashley Ensemble at the Festival d'Avignon in 1994. This realization is a duet version by Sam Ashley and Jacqueline Humbert. The pre-recorded voices of the Ashley ensemble are the background chorus. Robert Ashley's Now Eleanor's Idea is a quartet of short operas based on the notion of a sequence of events seen from four, different points of view. At the same time, each opera is an allegory, like Bunyan's Pilgrim's Progress (1678), for an individual's self-realization within the context of a major religion found in the United States. Improvement takes its imagery and plot from Judaism, Foreign Experiences from Pentecostal Evangelism, eL/Aficionado (LCD 1004CD) from Corporate Mysticism, and Now Eleanor's Idea (LCD 1009CD) from (Spanish) Catholicism. The inspiration for these works came specifically from four sources: the work of the historian, Frances A. Yates (1900-1983), whose specialty of interests included the influence of Kabbalistic mysticism on the birth of modernism and scientific philosophy in Italy in the 16th century (as a result of the expulsion of Jews from Spain during the Inquisition); the writings of Carlos Castaneda (and the arguments about him as a writer and about the intentions of his work); Low Rider Magazine, the fan-cult magazine of the Low Rider movement in the Southwestern United States; and finally, corporate vocabulary, what it sounds like and how it is used in popular publications, like The New York Times, The Wall Street Journal, or Fortune Magazine.
ROBERT ASHLEY - Dust (Lovely 1006; USA) ‘Dust’ is an opera by Robert Ashley and Yukihiro Yoshihara (video direction) whose imaginary setting is a street corner anywhere in the world, where those who live on the fringes of society gather to talk, to each other and to themselves, about life-changing events, missed opportunities, memory, loss, and regret. Five "street people" recount the memories and experiences of one of their group, a man who has lost his legs in some unnamed war. As part of the experience of losing his legs, he began a conversation with God, under the influence of the morphine he was given to ease his pain. Now he wishes that the conversation, which was interrupted when the morphine wore off, could be continued so that he could get the "secret word" that would stop all wars and suffering. Personnel: Robert Ashley, Sam Ashley, Thomas Buckner, Jacqueline Humbert, Joan La Barbara - Voices; "Blue" Gene Tyranny - synthesizer; Tom Hamilton - live mixing and sound processing; electronic orchestration by Robert Ashley, Tom Hamilton and "Blue" Gene Tyranny; sound effects for "Friends" composed by Tom Hamilton. Double CD comes in a jewel box and includes the 160-page libretto in a slipcase.
2 CD Set $24
ROBERT ASHLEY - Celestial Excursions (Lovely Music 1007; USA) Following the ground-breaking work, Dust (LCD 1006CD), godfather of experimental opera Robert Ashley returns with Celestial Excursions. Ashley's endeavor explores remarkably uncharted territory -- the kind of language that is common among "old" people who talk all the time or not at all, to anyone passing by or to themselves. The opera premiered at the Hebbel Theater in Berlin, before coming to The Kitchen for its U.S. premiere in April 2003. Celestial Excursions delves into the wild intermingling of reminiscence, regret, love, nightmare, old sayings, and songs on the radio -- all seemingly to no purpose, except for the operatic end of relentless speed and precision in ensemble singing and the possible stage magic inherent in illusion, hallucination, and a physically changed state of the senses. The opera's originality lies in a use of a new vocal technique Ashley has built over the last 20 years, which enables several stories to be heard at the same time. In an intricate vocal system, a principal voice is "chased" by other voices whose parts rotate in sequence in a given order. The result of this technique creates a complex jungle of voices, delivered with an extraordinary rhythmic intensity rarely heard in ensemble singing. As for all of Ashley's latest works, the orchestra music of Celestial Excursions was composed in the computer-synthesizer studio. All the voices and the orchestra (on multi-track tape or on disc) are processed again during the concert in order to match the sound of the opera to the performance space. And for this CD release, Ashley went back to the studio with live recordings to rework the piece, extending the orchestra in the final act. Personnel: Sam Ashley, Thomas Buckner, Jacqueline Humbert, Joan La Barbara, Robert Ashley - singers; Joan Jonas - choreography; Robert Ashley and Tom Hamilton - electronic orchestra; Tom Hamilton - mixing and live electronics; "Blue" Gene Tyranny - piano; David Moodey - lighting design; Cas Boumans - technical coordination/sound system engineer; Melanie Lipka - stage manager. Double CD comes in a jewel box and includes the 104-page libretto in slipcase.
2 CD Set $24
ROBERT ASHLEY - Now Eleanor's Idea (Lovely Music 1009; USA) Now Eleanor's Idea was made possible by grants from The Rockefeller Foundation (1984 and 1993), the National Endowment for the Arts' Opera Musical Theater Program (1985) and InterArts Program (1992). Robert Ashley's Now Eleanor's Idea is a quartet of short operas based on the notion of a sequence of events seen from four, different points of view. At the same time, each opera is an allegory, like Bunyan's Pilgrim's Progress (1678), for an individual's self-realization within the context of a major religion found in the United States. Improvement takes its imagery and plot from Judaism, Foreign Experiences (LCD 1008CD) from Pentecostal Evangelism, eL/Aficionado (LCD 1004CD) from Corporate Mysticism, and Now Eleanor's Idea from (Spanish) Catholicism. The inspiration for these works came specifically from four sources: the work of the historian, Frances A. Yates (1900-1983), whose specialty of interests included the influence of Kabbalistic mysticism on the birth of modernism and scientific philosophy in Italy in the 16th century (as a result of the expulsion of Jews from Spain during the Inquisition); the writings of Carlos Castaneda (and the arguments about him as a writer and about the intentions of his work); Low Rider Magazine, the fan-cult magazine of the Low Rider movement in the Southwestern United States; and finally, corporate vocabulary, what it sounds like and how it is used in popular publications, like The New York Times, The Wall Street Journal, or Fortune Magazine. While working at the bank, the title character, Now Eleanor, has a sort of "religious experience" that fills her with an "approach of the end of the world feeling." This feeling compels her to leave her job in the Midwest, move to New Mexico, and become a newscaster to try to discover the point where the religions of America -- Judaism, Protestantism, Business and Catholicism -- merge. But there is more in store for her than she realizes... Music and libretto by Robert Ashley. Featuring: Joan LaBarbara as Now Eleanor, Amy X Neuburg as Now Eleanor's Low Rider Double, Marghreta Cordero as Now Eleanor's Guardian Angel. Ensemble Voices: Robert Ashley, Sam Ashley, Thomas Buckner, Jacqueline Humbert. Mixing and electronics: Tom Hamilton.
2 CD Set $24
ROBERT ASHLEY - Concrete (Lovely Music 1010; USA) Concrete follows from Robert Ashley's preoccupation in two previous operas with the kind of speech that has not been explored in opera -- in Dust (LCD 1006CD), the speech of the homeless; in Celestial Excursions (LCD 1007CD), the speech of people living together in a home for old people. The three operas are not a "trilogy" in any sense, but they all come from this preoccupation with or fascination with special kinds of speech and special kinds of states of mind. "The characters I'm interested in," Ashley explains, "are marginal, because everybody is marginal compared to the stereotypes. I am interested in their profoundly good qualities, and I'm not interested at all in evil. The characters in my work are as bizarre and unreal as the characters in William Faulkner. They just happen to be ordinary people who are spiritually divine." Though in Concrete, it is not made explicit in any way, the libretto might be considered to be the "musings" of an old man alone. He thinks about strange questions and even as the questions are asked they are answered in various forms of sarcasm, indifference, questions about the questions and explanations. In other words, he is talking to himself. The opera takes the form of five "discussions" about matters he wonders about: Why do people keep secrets about themselves? Why do the buildings in the city all line up perfectly (vertically) when the surface of the planet is round? Why is it that so many things that people do as recreation are played counter-clockwise? What has happened to the many women friends ("lovers") he has had and "left behind" and why were they left behind? And, finally, the fact that he has recently seen a "flying carpet" (in his bedroom.) The five "internal" discussions alternate with four reminiscences about people the old man has worked with and loved. The reminiscences are short and detailed biographies of seemingly ordinary people who in the past did extraordinary things -- sometimes criminal, sometimes just brave in an unusual way -- but will never be recognized for what they did. The singers in the opera are not "characters" in any traditional way. They take part in the very fast "discussions" sections as voices in the old man's musings. Then each of the singers is given one of the "biographies" as a solo aria.
2 CD Set $24
ROSCOE MITCHELL With JOSEPH KUBERA / THOMAS BUCKNER / VARTAN MONOOGIAN - Pilgrimage (Lovely Music 2022; USA) His reassertion as the composer into what has traditionally been an improvisational form, has placed Roscoe Mitchell at the forefront of contemporary music for over twenty-five years. Pilgrimage features eight works (including one by Henry Threadgill) performed by the Roscoe Mitchell New Chamber Ensemble. Texts by Thulani Davis, Lord Byron, e. e. cummings, and Joseph Jarman. The Roscoe Mitchell New Chamber Ensemble: Roscoe Mitchell - saxophones, winds, percussion; Thomas Buckner - voice; Joseph Kubera - piano; Vartan Manoogian - violin.
ROSCOE MITCHELL - Four Compositions (Lovely Music 2012; USA) Pointillistic chamber compositions from Roscoe Mitchell: Nonaah, Duet for Wind and String, Cutouts, and Prelude. Delicate as to texture, dispassionate as to mood, these mostly notated woodwind, string, and piano chamber works are atonal, but collapse into tonal cadences. Personnel: Robert Cole - flute; Richard Lottridge - bassoon; Joan Wildman - piano; Vartan Manoogian - violin; Roscoe Mitchell - alto saxophone; Wingra Woodwind Quintet; Tom Buckner - voice; Roscoe Mitchell - bass saxophone; Gerald Oshita - contrabass sarrusophone; Brian Smith - triple contrabass viol. "Mitchell's atonal explorations here seem somehow earthier and more alive than most contemporary chamber music, perhaps a reflection of his cutting-edge jazz background." --Hayes, Capital Times, June 1992
JOHN CAGE - Music Of Changes (Lovely Music 2053; USA) John Holzaepfel on Music Of Changes: "Like the Pierre Boulez Sonata, Music Of Changes is a manifesto. It marks Cage's first comprehensive 'exploration of non-intention' through the systematic use of chance operations to create a complete, major work. Begun in May 1951 and completed on 13 December of that year, Music Of Changes was named in honor of the I Ching, or Book Of Changes, the ancient Chinese book of oracles that had become Cage's means of synthesizing chance with rigorous discipline. Cage's notation heralded a new concept of musical time, placing the performer in a new relation to the score, one in which orientation is to the occurrence of events rather than to the relations between them, which is to say to action rather than to memory. Performances of Music Of Changes have been rare since David Tudor ceased playing the work in the late 1950s; Herbert Henck and, more recently, Joseph Kubera are among the few pianists to have assayed the obstacles posed by its innovations. For all its prominence in the history of postwar music, Music Of Changes has remained more discussed than heard, more treatise than artwork." CD booklet includes John Holzaepfel's complete notes, as well as a memoir by Don Gillespie. Features Joseph Kubera on piano.
LIGHTNIN' HOPKINS - Live In Denver (Klondike 5052; UK) Lightnin' Hopkins live from Ebbet's Field, Denver, Colorado on April 25th, 1974. The Texas giant of blues makes a welcome return to Denver for another unique display of blues artistry. Having had his life committed to the big screen and having been backed by 13th Floor Elevators, Lightnin' was about to devour the next decade with the same righteous intent - stubborn, flashy, and damned inspirational. Klondike present the entire KCUV FM broadcast of Lightnin' Hopkins live from Ebbets Field, Denver, Colorado on April 25th, 1974. Professionally re-mastered original FM broadcast with interviews, background liners, and rare archival photos.
LORD HAVE MERCY - The Soulful Gospel of Checker Records (Playback Records 4401; Australia) "A hard-hitting collection of 27 funky, fantastic Gospel gems from the Checker catalog! Includes Gospel legends The Soul Stirrers, Salem Travelers, The Violinaires and many more, featuring beats, grooves and vocal performances that rival any of R&B recordings of the era -- the best of the label's rich heritage of music the church!" Also features: The William Singers, The Gospel Classics, Estella Burke, Charlie Brown, The Inspirational Singers, The Kindly Shepherds, Stevie Hawkins, The Messiahs Of Glory, The Meditation Singers, The Masonic Wonders, The East St. Louis Gospelettes, The Faithful Wonders, Rev. "Singing" Sammy Lewis, Meditations, Lucy Rodgers, The Jordan Singers, Gospel Six, The Gospel Hi-Lites, Martha Bass, and The Harmonizing Four.
MOGOLLAR - Mogollar (Pharaway Sounds 039; Spain) Pharaway Sounds present a reissue of Moğollar's self-titled album, originally released in 1976. Makam madness gives way to instrumental prog on this burned-out last album from Moğollar, Turkey's Anadolu pop heroes. Moğollar was the band that never had a singer attached for long, and yet even more than Baris Manco or Erkin Koray, they consciously highlighted what was different about the new sounds of the era. Incredible fusion of ancient Anatolian melodies and instruments with prog/psych with occasional, piercing fuzz guitar. RIYL: John Berberian, Devil's Anvil, and vintage Turkish psych. Remastered sound; Includes liner notes by Angela Sawyer.
DEAD SEA FRUIT - Dead Sea Fruit (Prog Temple 8069; UK) Prog Temple present Dead Sea Fruit's self-titled album, originally released in 1967.This good-humored British quintet have been likened to the Kinks, the Mothers of Invention, and the Bonzo Dog Doo-Dah Band. Based in France, they appeared on TV with Salvador Dali and performed in London venues including the legendary UFO, but made no commercial breakthrough and broke up in 1968, leaving behind one rare album. Originally released in April 1967, it makes its long overdue CD debut here, together with background notes and images.
BANTEAY AMPIL BAND - Cambodian Liberation Songs(Akuphone 1004; France) Cambodian Liberation Songs is a painful call from forgotten resistance fighters. It is a captivating and moving record, a touching testimony of Cambodian history, that brings to the world the breathless voice of the resistance members of the resistance from the Banteay Ampil Band. Released in 1983, Cambodian Liberation Songs is a mysterious and overwhelming record. As a genuine piece of history, this "eloquent sadness and fierce passion" runs the gamut of Cambodian music, from folk to rock, expressing their suffering and pain. On April 17, 1975, the Cambodian people, already crushed under national and international conflicts, were commanded by force to forget their own past; It was "Year 0" of the Khmer Rouge calendar. Almost four years of genocide would follow before the start of a war between the Vietnamese army and the Khmers Rouge. Resistance units engaged in the conflict against what they considered as a Vietnamese invasion. This record, produced by a resistance group, was given the reference number KHMER 001. It was undoubtedly the first record composed and performed by non-Khmer Cambodians after the tragic events of 1975-79. The refugee camp of Ampil, near the Thai border, witnessed the creation of the Banteay Ampil Band. Musicians and female singers, who had hidden their talents during the genocide, gathered around the composer and violinist Oum Dara to engage in a new struggle: the resistance. Oum Dara, who had been a composer for Sin Sisamouth and Ros Srey Sothea, among others, adapted several of his creations. It is therefore, with a poignant charm, that the Banteay Ampil Band binds together the golden age of Khmer music from the 1960s with the traditional repertoire and the context of their daily struggles. Violin, guitar and voices work together to produce melancholic and intense songs - the stirring tone of grief expressed by these resistant fighters. The band went to Singapore to record Cambodian Liberation Songs, the only record of the "Khmer People's National Liberation Front".
MERZBOW - Wildwood II (Dirter Promotions 126; UK) Merzbow's follow up vinyl album to 2016's Wildwood CD (DPROM 116CD). Two brand new tracks of psychedelic mayhem recorded, and to be played, at maximum volume. The perfect partner to the CD. The LP is packaged like a classic '60s vinyl, with a gloss front and matte back, complete with outside glue flaps. Edition of 500.
MICHAEL HURLEY - Redbirds At Folk City (Feeding Tube Records 240; USA) "Here's an expanded vinylization of a boss live show from Snock and his Vermont roustabouts, recorded at Folk City on July 17, 1976. Most of it was first issued back in '88, as side two of the Land of Lo Fi/Redbirds cassette on Bellemeade Phonics. But some new masters showed up subsequently, so there's an extra song and a half available for your listening pleasure. And pure pleasure is what it is. I always believed I had seen Hurley play somewhere in NYC before this. I thought maybe it was during the Unholy Modal Rounders' stint at Broadway Charly's, but Woodbill has continuously disabused me of this notion over the years. By his count, there were zero Manhattan Hurley shows until after the release of the acclaimed Have Moicy! album in 1976. And he oughta know. Consequently, this was probably the first time Hurley brought his band out of the hills. Guitar, bass, drums, piano and trumpet, all of them beautifully in sync and swinging like the rural hippie boogie band they were -- tested by long nights in halls filled with rowdy snowmobilers and the women who love them. Hurley & the Redbirds were more than ready to bowl over the city slickers who filled Folk City this hot mid-summer evening. Snock's voice is limber and strong, flipping easily into falsetto and yodels, and the music is faultless. Something like the Platonic ideal of what 'bar rock' can be. They only do one tune from Have Moicy!, but nobody could have minded. The music rolls out like the sweetest-ever guzzle of maple syrup laced with Mello Corn Whiskey. So loaded, so powerful, you're likely to shit the bed if you listen lying down. So hop right up, and let the music shuffle your feet around for you. You'll be glad you did. Besides the boss sounds, this issue includes liner notes by Snock recalling the scene around Fairfield Vermont back in the summer of '75. It's a very nice read. Count yourself lucky. Don't delay." - Byron Coley, 2017. Edition of 2000.
THE VELVET UNDERGROUND - The Legendary Guitar Amp Tapes Vol. 3 (Tummy 003; Spain) The third and final installment of the massive trilogy of The Legendary Guitar Amp Tapes. Recorded through a microphone jammed in the back of Lou Reed's amp right around the release of The Velvet Underground's third album (1969), The Legendary Guitar Amp Tapes are formidable in their unadulterated rock and roll fire and fury and a revelation for anyone who hasn't paid close attention to Reed's dynamic guitar playing which in this set is a monolithic roar, a pulverizing electronic kaiju (strange beast) grinding the whole universe into pebble and sand. Recorded at the Boston Tea Party on March 15, 1969. Paste-on covers. Edition of 500.
Bruce Lee Gallanter’s Recommended Gig List for February of 2017
THE STONE RESIDENCIES - JON IRABAGON - MAR 7–12
830 pm - Jon Irabagon Ensemble - Tim Hagans (trumpet) Jon Irabagon (sax) Hank Roberts (cello) Matt Mitchell (piano) Chris Lightcap (bass) Dan Weiss (drums)
830 pm - Sirius Quartet with Jon Irabagon and Myra Melford - Fung Chern Hwei (violin) Gregor Huebner (violin) Ron Lawrence (viola) Jeremy Harman (cello) Jon Irabagon (saxophone) Myra Melford (piano)
830 pm - Outright! - Tim Hagans (trumpet) Jon Irabagon (saxophone) Uri Caine (piano) Michael Formanek (bass) Tyshawn Sorey (drums)
THE STONE RESIDENCIES - DENMAN MARONEY - MAR 14 – 19
830 pm - Vocal Music: “Claudius Smith,” “In Eden, I”- Megan Schubert (soprano) Lisa Karrer (alto) Denman Maroney (piano) Ratzo Harris (bass) David Simons (drums)
830 pm - Piano Trio alt.time - Denman Maroney (piano) Ratzo Harris (bass) Bob Meyer (drums)
830 pm - Quintet: “Udentity” - Denman Maroney (piano) Nate Wooley (trumpet) Ned Rothenberg (reeds) Reuben Radding (bass) Michael Sarin (drums)
830 pm - Vocal Music - Denman Maroney (piano) Lisa Karrer (alto) Nate Wooley (trumpet) Arthur Kell (bass) David Simons (drums); “Music for Words, Perhaps” Denman Maroney (piano) Lisa Karrer (alto) “A Thought Revolved” Denman Maroney (piano) Lisa Karrer (alto) Nate Wooley (trumpet) Arthur Kell (bass) David Simons (drums)
830 pm - Duos - Denman Maroney (piano) Mark Dresser (bass) Hans Tammen (live processing)
830 pm - Piano Trio alt.times - Denman Maroney (piano) Ratzo Harris (bass) Bob Meyer (drums)
There are no refreshments or merchandise at The Stone.
Only music. All ages are welcome.
Cash Only at the door. There is no phone.
There is no food or beverage served or allowed
just 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 Mar 10
6:00PM COURTNEY CUTCHINS: GRUNGE TO GRACE - Courtney Cutchins, voice; Billy Test, piano; Gregg Belisle-Chi, guitar; Marty Kenney, bass; Robin Baytas, drums
9:00PM & 10:30PM PETER BRENDLER QUARTET - Peter Brendler, bass, comp.; Walt Weiskoph, sax; Zach Lapidus, piano; Billy Drummond , drums
Saturday Mar 11
9:00PM & 10:30PM MAT MANERI QUARTET - Mat Maneri, viola; Lucian Ban, piano; John Hebert, bass; Randy Peterson, drums
Sunday - Mar 12
6:00PM GLASSER/TAUBENHOUSE - Dave Glasser, alto sax; Yaniv Taubenhouse,
8:35PM MICHAEL BLANCO QUARTET - John Ellis, tenor sax; Kevin Hays, piano; Clarence Penn, drums; Michael Blanco, bass
Monday March 13
8:30PM THE SOUND TRAFFIC SERIES - Tempei Nakamura, piano; Hitomi Honda, piano; Erin Rogers, saxophone; Mio Kanahara, vocal
Tues March 14
8:30PM CNQ - Curtis Nowosad, drums; Duane Eubanks, trumpet; Andrew Renfroe, guitar; Michael King, piano; Barry Stephenson, bass
Wednesday Mar 15
8:01PM STEPHAN CRUMP'S RHOMBAL - Ellery Eskelin, tenor sax; Adam O'Farrill, trumpet; Tyshawn Sorey, drums; Stephan Crump, bass, comp.
Thursday Mar 16
8:01PM IGOR LUMPERT & INNERTEXTURES - Igor Lumpert, tenor sax, accordion; Jonathan Finlayson, trumpet; Chris Dingman, vibraphone; Drew Gress, bass; Kenny Grohowski, drums
Friday Mar 17
6:00PM THE DAVID LOPATO QUARTET - David Lopato, piano; Lucas Pino, saxes, clarinet; Ratzo Harris, string bass; Michael Sarin, drums
9:00PM SONG YI / VITOR / ROGERIO TRIO - Song Yi Jeon, voice; Vitor Gonçalves, piano; Rogerio Boccato, percussion, drums
10:30PM SONG YI JEON QUINTET - Song Yi Jeon, voice, comp.; Vitor Gonçalves, piano; Kenji Herbert, guitar; Rick Rosato, bass; Alex Wyatt, drums
Saturday Mar 18
6:00PM NIGHT IN THE NAKED CITY V: UMAMI NIGHTS - Steve Dalachinsky; Thomas Fucaloro; Aimee Herman; Matthew Hupert; Jane Lecroy; Puma Perl;George Wallace
9:00PM & 10:30PM MICHAËL ATTIAS QUARTET - Michaël Attias, alto sax; Aruán Ortiz, piano; John Hébert, bass; Nasheet Waits, drums
8:35PM KATHRYN CHRISTIE QUARTET, MUSIC OF DJAVAN - Kathryn Christie, vocals; Q Morrow, guitar; Matt Aronoff, bass; Ross Pederson, drums;Helio Alves, piano
FLYWAYS : 3 Birds : Maviel / Lane / Bloom
Friday, March 10th 8:00 PM
Anais Maviel Voice & Drum
Adam Lane Bass
Mara Rosenbloom Piano & Composition
8:00pm & 9:00pm Sets
Saturday, March 11th 7:30 PM
Barcelona meets Brooklyn Eva Novoa Trio Analog Sextet
7:30pm - Barcelona meets Brooklyn
Eva Novoa, piano
Manel Fortià, bass
8:30pm - Eva Novoa Trio
Eva Novoa, piano
Kim Cass, bass
Devin Gray, drums
9:30 - Analog Sextet
Sarah Bernstein, violin
Dave Scott, trumpet
Sean Sonderegger, tenor saxophone & bass clarinet
Eva Novoa, piano
Max Johnson, bass
Jeff Hirshfield, drums
Saturday, March 25th 8:30 PM
8:30 Zeena Parkins/Mary Halvorson
9:30 Zeena Parkins TBD
Saturday, April 8th 8:30 PM
Susan Alcorn & Sylvie Courvoisier
Susan Alcorn – Pedal Steel
Sylvie Courvoisier – Piano
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.
Shapeshifter March 2017:
8pm: Inarhyme Records Presents:
The Dale Wilson Big Band
With Special Guest Fiete Felsch of the Hamburg Radio Jazz Orchestra
7:30p - Garcon Management presents
"Encounter" - A Night of Worship - with Anne Garcon and NOW
Anne Garcon and NOW
Destiny Music Group
8:00p - Artyom Manukyan
7pm: Jan Sturiale Trio feat. Miha Koren and Klemens Marktl
Jan Sturiale: guitar
Miha Koren: bass
Klemens Marktl: drums
7pm 8:15p, 9:30p - Daryl Chen and Kevin Quinn Triple bill
7pm: ShapeShifter Presents: The 4 Korners Live
Tickets $10.00 adv $12.00 @door
The 4 Korners Live ( Headliner )
Special Guest The Flowdown
Shapeshifter is located at
18 Whitwell Place in Brooklyn, NY
R train to Union stop
New Revolution Arts
Saturday, March 11
8:45 pm--Jeremiah Cymerman Solo
9:15 pm--Margo Terry (poetry)
9:30--Shayna Dulberger & Anais Maviel
10 pm--Tashi Dorji Solo
7 Stanhope Street
$15 suggested donation / Artist special: $10 suggested donation to artists who have played the series before
Alt Guitar Summit 2017 Lineup:
March 10th at Le Poisson Rouge Celebrating Pat Metheny
Featuring Nels Cline, Rez Abbasi, Nir Felder, Joel Harrison String Choir, Mike Moreno, Camila Meza, Liberty Ellman, and Miles Okazaki Quartet. Also will include an interview with Pat Metheny!
Sat., March 11-Studio 151 / Nublu 151 Avenue C 8-11 pm: Solo Voices and Communal Raptures: Nels Cline Solo; John Schott Trio; Rafiq Bhatia Collective with Marcus Gilmore and Rahsaan Carter; Adam Rudolph’s Go Organic Guitar Orchestra: feat. Miles Okazaki, Nels Cline, Joel Harrison, David Gilmore, Damon Banks, Rez Abbasi, Kenny Wessel, Marco Cappelli and more
March 15th at National Sawdust: Guitars From Heaven and Hell
Featuring Steven Mackey, Dither Guitar Quartet, Joel Harrison’s Resophonic Guitar Orchestra w/ Elliott Sharp and Brandon Ross; Steven Bernstein Blue Campfire w/ Dave Tronzo, Steve Cardenas and special guest guitarist
GREENWICH HOUSE SOUND IT OUT SERIES:
Sound It Out series @ Greenwich House – Concerts, January-June 2017
Thursday, March 16, 7:30 p.m. – Double-bill of duos!
Sylvie Courvoisier Mary Halvorson & Mark Feldman
Sylvie Courvoisier, piano; Mary Halvorson, guitar; Mark Feldman, violin
Saturday, March 25, 7:30 p.m. – All-star double-bill!
Wadada Leo Smith & Angelica Sanchez Angelica Sanchez Trio w/ Michael Formanek & Tyshawn Sorey, Wadada Leo Smith, trumpet; Angelica Sanchez, piano
Friday, March 31, 7:30 p.m. – Cross-generational double-bill!
Ralph Alessi solo Alex Koo, Mark Turner & Ralph Alessi - trumpet
Alex Koo Derudder, piano; Mark Turner, tenor saxophone; Ralph Alessi, trumpet
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