DMG Newsletter for September 8th, 2017
Hurricane Harry and Hurricane Irma
Natural Disasters Destroying Terra Firma
Is Our World Coming to an End?
Is Climate Change Denial just another Trend?
No One is Certain
But it is Time to Draw the Curtain
And Say Goodbye to the Comforts of the Past
And Say Hello to the Unpredictable Future
The One Thing We can Count on is Creative Music
To Help Inspire and Lift Our Spirits… with Special sounds from…
Tim Berne’s Snakeoil: Oscar Noreiga / Matt Mitchell / Ryan Ferreira / Ches Smith! Roscoe Mitchell Orchestra! George Lewis / Ensemble Dal Niente! Two from Sam Newsome: Solo & Duo with Jean-Michel Pilc! Kenny Warren Quartet! Leap of Faith!
Three from Cold Blue: Larry Polansky! Daniel Lentz! Stephen Whittington! Sun Ra’s ‘My Brother the Wind’! Charlemagne Palestine 3 CD Set! Penny Rimbaud! John Stevens’ Away! Two from Mike Westbrook: 1969 and 1972 Live! The Residents and even more!
THE DMG 26TH ANNIVERSARY SERIES OF SONIC CELEBRATIONS Continue with:
Sunday, September 10th:
6pm: THOMAS HELTON & MICHAEL BISIO - ContraBass Duo!
7pm: DOU B 2: LISA MEZZACAPPA / JOSH SINTON / AARON NOVIK / JASON LEVIS -
Two Bass Clarinets / Acoustic Bass / Drums!
Sunday, September 17th: No in-store...
Bruce up at Guelph Jazz Festival!
Sunday, September 24th:
6pm: KYOKO KITAMURA / KEN FILIANO / DAYEON SEOK - Vocals / ContraBass / Percussion
7pm: IRENE KEPL and DAVID GROLLMAN - Violin and Snare Drum
Sunday, October 1st:
6pm: JEREMY CARLSTEDT & RICK PARKER - Drums & Trombone/Electronics
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
* TIM BERNE'S SNAKEOIL With OSCAR NORIEGA / RYAN FERREIRA / MATT MITCHELL / CHES SMITH DAVID TORN - Incidentals (ECM 2579; Germany) TIM BERNE'S SNAKEOIL With OSCAR NORIEGA / RYAN FERREIRA / MATT MITCHELL / CHES SMITH DAVID TORN - Incidentals (ECM 2579; Germany) Featuring Tim Berne on alto sax & compositions, Oscar Noreiga on clarinets, Ryan Ferreira on electgric guitar, Matt Mitchell on piano & electronics and Ches Smith on drums, percussion & vibes plus guest David Torn - producer & guitar.
This is the fourth disc from Tim Berne’s Snakeoil and again something special is in store for those who appreciate Mr. Berne’s longtime commitment to this unique Downtown ensemble. Snakeoil have continued to evolve, losing a layer of skin (like a real snake), but adding or expanding upon some inner spirit or force that makes their sound identifiable yet also unpredictable. What I find most intriguing is the way Mr. Berne has chosen each member of this band, all leaders, players and composers in their own right, and somehow getting the best out of each one. The sum is even greater than the parts. Since recording for ECM instead of his own label, Mr. Berne has been freed up and able to concentrate on leading, composing and molding this band into his a distinctive, singular force. “Hora Feliz” opens with an almost orchestral sounding intro, just synth, reeds and percussion. Soon enough the quintet breaks into one of those Berne-like circular, repeating patterns. Since their is no bassist involved, the drums are other at the center being doubled by Berne’s furious alto sax and/or Ferreira’s electric guitar. The other interlocking force here is Mr. Noreiga’s clarinets and Matt Mitchell’s piano or synth, playing their oft frenzied lines together or around one another, always as one tight wave. Making this band even more special or unique are these two members: the ubiquitous Matt Mitchell on electronics/synth and Ches Smith on percussion, vibes and timpani. Both add an unpredictable chamber quality to things, selecting each instrument or sound most carefully. Now that there is not really a unified progressive scene going on here or anywhere else, there is still a number of disparate bands who continue to evolve with a variety of progressive ideas. Composers and bandleaders like Tim Berne, Steve Coleman, Mary Halvorson and others all seem to be pushing forward and coming up with challenging results. Snakeoil is riding that wave higher and higher, catch them while you can. - Bruce Lee Gallanter, DMG
* Tim Bern’e Snakeoil will play a CD Release set at the Jazz Standard (116 E 27th St.) on Wednesday, September 13th at 7:30 & 9:30
ROSCOE MITCHELL With JAMES FEI / WILLIAM WINANT / JORDAN GLENN / et al - Discussions (Wide Hive 339; USA) "Roscoe Mitchell’s ‘Discussions’ is an orchestral masterpiece. Four original improvisations, taken from 'Conversations,' his second release on Wide Hive Records, have been transcribed and performed by a twenty piece orchestra, complete with two orchestral improvisations and two duets with Roscoe Mitchell and mesmerizing flutist Wilfredo Terrazas.
Referred to an as 'American Iconoclast' by the New York Times, Roscoe Mitchell is an internationally recognized saxophonist, composer, and founder of the Art Ensemble of Chicago. Discussions Orchestra is derived from several musical improvisations found on Roscoe Mitchell's Conversations with Kikanju Baku and Craig Taborn. The songs have been transcribed and performed by a twenty piece orchestra."
GEORGE LEWIS // ENSEMBLE DAL NIENTE - Assemblage (New World Records 80792; USA) “George Lewis (b. 1952) combines an astonishing level of creativity with trenchant critiques of many traditional conceptions about experimental music. The four compositions on this album reference a wide range of ideas, from rhetoric in Ancient Rome to actor network theory, and the album’s eponymous composition finds its grounding in the concept of the “assemblage,” (or agencement in French) a pragmatic, material, non-teleological approach to composition.
Among the album’s compositions, Mnemosis (2012) and Hexis (2013) foreground repetition, and feature hypnotic patterns with striking sonic surfaces. Mnemosis, scored for flute, clarinet, violin, viola, cello, piano, and a percussionist, features repeated cells of dissonant interlocking lines that take shape as elaborate, even baroque loops. The overall impression is one of a clock with several hands turning unpredictably in different directions, triggering an oddball circus of sounds, recurring asynchronously, sometimes raucously. Hexis (2013) appears as something of a slightly smaller and shorter sequel to Mnemosis, and is scored for the same band of instruments, but without viola.
By comparison with Hexis and Mnemosis, Assemblage (2013) is more energetic, even chaotic. Written for a 9-piece version of Ensemble Dal Niente, Lewis describes Assemblage as having a feeling of pushing ahead all the time, “or turning a wheel.” It can give the impression of an urban crowd bustling in every direction. Or a rising and falling activity of bouncing against the interior of a box that nonetheless manages to contain a certain sense of entropy.
The unpredictable interplay between human and material agencies is an explicit theme of the piano and violin duo, The Mangle of Practice (2014). It explores how practical relationships, decisions, and mediations structurally disfigure the elements in a given situation. Over the course of minutes, one hears episodes of internally consistent materials that are set in motion like windup toys, until a cut occurs, and a new sonic palette unfolds. It gives the impression of a single sonic object with over a dozen sides, being gradually flipped from one side to the next.”
SAM NEWSOME - Sopranoville: New Works for Prepared and Non-Prepared Saxophone (SopranoSaxTalk 15182; USA) Featuring Sam Newsome on prepared and unprepared soprano saxes. One saxist Sam Newsome sold his tenor sax and picked up the soprano, he became a man on a mission to explore the depths of playing solo soprano sax. This is Mr. Newsome’s fifth disc of solo soprano sax and one might think that he is running out of ideas but this is far from the case. Actually, Mr. Newsome has gone even further this time by experimenting on several levels: overdubbing numerous soprano saxes and altering the sopranos with varied manipulations: aluminum foil, scotch tape, making reeds out of straws and adding chimes or other percussive effects. There are some 22 pieces here and each one explores the soprano(s) in many different ways. Starting with, “The Quiet Before the Storm”, a stark, hypnotic, solemn intro for lone soprano with soft chimes, a great way to begin our journey. “The Doppler Effect” is for three soprano saxes in circular motion, spinning together in a most mesmerizing way. Even better is “Horns of Plenty” for 15 sopranos, interlocking in strong rhythmic patterns. The aptly titled “Hiss and Kiss” is for three mouthpieces, bending and twisting their sounds just right. For Mr. Newsome’s previous CD, ‘The Straight Horn of Africa’, Sam worked on setting up African rhythms by tapping on the keys of the sax. He continues to experiment with similar rhythms here, creating shifting patterns with one of more saxes, interlinking their lines. in “Micro-Suite for Fifteen Sopranos”, Newsome layers a number of slightly bent notes in a most fascinating way, the haze of notes being somewhat disorienting. The are only two songs covered in this collection: one is John Coltrane’s “Giant Steps” for three sopranos played into a piano for resonance, all saxes swirling around one another until they play in unison near the end, all to great effect. Newsome has obviously worked hard at exploring a good deal of extended technique sounds, like using this odd flutter-tongue sounds which have been more common in recent years yet still sound fresh if one goes beyond their superficial use. I dig the way Newsome stacks up layers of bent note lines on “Soprano-ology”, combining alien sounds with something somehow familiar to those who enjoy taking chances, never knowing where things will end up. Sam Newsome has worked hard and created his own sonic world. well-with exploring. - Bruce Lee Gallanter, DMG
SAM NEWSOME / JEAN-MICHEL PILC - Magic Circle (SopranoSaxTalk 62449; USA) Featuring Sam Newsome on soprano sax and Jean-Michel Pilc on piano. After five discs of solo soprano sax (!?!), Sam Newsome decided to try something different so he organized a duo session with French ex-pat pianist Jean-Michel Pilc. It turns out that Mr. Newsome and Mr. Pilc have been collaborating for a while with Newsome being a member of Pilc’s quartet (CD on Dreyfus). The duo cover seven well-known standards (Ellington, Monk & Coltrane) but do them in a unique way. Most of the songs are first (and only) takes, hence they sound fresh. “Autumn Leaves” has been covered by just about everyone, but I must admit that I dig this version since the duo seem to jump in and out of the stream, leaving space for the listener to add his or her own central current/flow (ongoing melody or structure). The music is exquisite, without too much embellishment or too many notes when a few will do. After concentrating on playing soprano sax exclusively for a number of years, Mr. Newsome has a wealth of ways to play and alter his approach, coming up with novel sounds for his special sax. He often bends and stretches his notes out, notes expanding and contracting in completely distinctive ways. Their version of Ellington, “In a Sentimental Mood” is sparse and filled with suspense, using as few notes as possible yet somehow most effective. Mr. Pilc spins a thick web of lines on “Giant Steps” when it begins while Mr. Newsome softly adds spiraling notes on top, the tempo increasing as it evolves. Pilc mutes a few of the strings, giving them a slightly bent yet playful quality on “In a Mellow Tone”. At times it sounds as if the duo are heading in opposite directions yet end up back together when we least expect it, especially the two pieces which are freely improvised and move in odd directions. Even when the duo play a bebop standard like “Out of Nowhere”, they seem to spin it in their own way. Mr. Plic does a marvelous job of playing two separate themes with each hand while Mr. Newsome plays those twisted notes on top. Considering that this discs features merely a duo, these two master musicians have found ways to reinvent the many different ways that they can work together in a fascinating, surprising dialogue. Excellent! - Bruce Lee Gallanter, DMG
KENNY WARREN QUARTET With JP SCHLEGELMILCH / NOAH GARABEDIAN / SATOSHI TAKEISHI - Thank You for Coming to LIFE (Whirlwind 4202; US) Featuring Kenny Warren on trumpet & compositions, JP Schlegelmilch on piano, Noah Garabedian on bass and Satoshi Takeishi on drums. The FONT Fest (Festival of New Trumpet) is coming up and will start with a couple of night at the New Stone on September 8th & 9th (2017). Although DMG is not participating this year, we still feature a number of important up & coming trumpeters. Last Sunday (9/3/17), we had Kenny Warren play here at DMG with a trio and I was much impressed by his playing. I have been checking Mr. Warren out of the past few years through his recordings with Nashaz, Myk Freedman, Ben Stapp and Sanda Weiss. A few months ago, Mr. Warren left us with a new CD which has been on the constant playlist at DMG. Warren’s quartet includes keyboardist JP Schegelmilch from Old Time Musketry (great local roots/jazz/rock band), bassist Noah Garabedian and ubiquitous percussionist Satoshi Takeishi (Michael Attias, Erik Friedlander & Ned Rothenberg).
Starting off with “Stones Change”, the quartet break into one of those difficult, M-Base-like repeating pattern circular lines, the trumpet and piano locking into those tight swirling lines. For “Huge Knees”, the quartet keeps shifting several parts, the rhythm team balancing between the trumpet led lines and piano led currents underneath. Things start off busy, at a quick pace before they shift down to sparse laid back section. There is a most majestic section midway for the piano which seems to come out of somewhere else like one of those swell discs by Old Time Musketry. What amazes me here is that Mr. Warren mostly solos throughout this long (12 minute) piece, changing his sound throughout, remaining creative without dealing with any extended techniques or unnecessary showboating. Mr. Warren actually sounds most expressive at the more slower paced parts of this disc, making each note count, taking his time and telling modest stories. Another highlight here is the consistently strong, diverse playing by drummer Satoshi Takeishi. Mr. Takeishi is often at the center of the storm, spinning several lines simultaneously, connecting with all members of this quartet as the currents shift around him. The best thing about this disc is the composing of Mr. Warren, which is most unpredictable. Many of the pieces start one way only to suddenly shift in tempo or swing hard for one section and then end up somewhere else completely. What makes this disc so great is that ever time I listen to it, some other marvelous idea shows up if you listen closely enough and are not distracted by whatever erupts in front of us. - Bruce Lee Gallanter, DMG
LEAP OF FAITH With PEK / GLYNIS LOMON / DAMON SMITH / SILVAIN CASTELLANO / YURI ZBITNOV - Domains (Evil Clown 9153; USA) Featuring Dave PEK on tenor & bass saxes, clarinets, double-reeds, daxophone & percussion, Glynis Lomon on cello & auqasonic, Damon Smith & Silvain Castellano on contrabasses and Yuri Zbitnov on drums & percussion. Recorded at the Outpost in August of 2017 (last month). I dig the smaller versions of Leap of Faith since we get a chance to concentrate on the core members (PEK, Lomon & Zbitnov), who have been an integral part of this ongoing ensemble for many years. The other great thing here is the addition of bassists, an instrument not always common at LoF gigs. Bassist Castellano has been turning up at more recent gigs and ambitious bassist Damon Smith (Bay area to Texas to Boston) is the newest member to enter the picture. Mr. Smith, currently based in Boston, has been coming to NY recently and has a number of current discs with Joe McPhee, Alvin Fielder, Henry Kaiser and Weasel Walter.
As with most Leap of Faith discs, things begin quietly with ritualistic solemnity. PEK concentrates on one reeds at a time, playing what sounds like bass sax in the early section with low end drones, bowed and plucked, by both bassists and the cello. All of the members of the quintet get a chance to stretch out at length, taking their time to play longs solos, duos, trio and focused group improvs. Unlike most of the other discs by Leap of Faith, except for PEK, none of the other members switch off on other instruments very much so it easier to hear each individual part. As is often the case with LoF, drummer Yuri Zbitnov is often at the center of the storm navigating the rapids through dense, fast and slow, sparse sections. Parts of this disc are quite restrained and even calm, something we don’t often associate with Leap of Faith, yet the balance feels just right. Damon Smith, one of the finest improvising bassists around, has worked with many greats. Mr. Smith sounds especially inspired here, whipping up a storm and erupting when the energy level hits those soaring highs. If you don’t already own some discs by Leap of Faith, this is a perfect place to begin. - Bruce Lee Gallanter, DMG
Three Splendid Discs from the Cold Blue Label Now in Stock & Recommended:
LARRY POLANSKY - freeHorn (Cold Blue 0049; USA) FreeHorn features Giacomo Fiore & Larry Polansky on electric guitars, David Kant on tenor sax & computer, Krystyna Bobrowski on horn, Tom Dambly on trumpet, Amy Beal on piano, David Dunn on electric violin and Monica Scott on cello. California-based composer, Larry Polansky has at least a half dozen discs on the New World, Artifact and Cold Blue labels, all of which I’ve heard and enjoy. The title piece here deals with “a continuous modulation between three different harmonic series”. This means very little to me (as a non-musician or composer) although I found the music here no less fascinating. When I was listening to this CD in the store recently, a customer asked if it was some sort of religious music, like from a church service. Hmmmmm, I don’t think so. The title piece, “freeHorn” has layers of reverberating drones, seesawing, breathing together slowly, calmly at first. As some of layers expand or drift, certain elements or instruments become somewhat disorienting. Each instrument seems to vibrating in a slightly different way. Although there appears to be sense of calm at the center, this piece makes me feel uneasy, as something bad or dark is about to take place but nothing bad did happen. The last piece, “minmmaj” is an arrangement of a piece by well-respected composer Carl Ruggles. This version is for two electric guitars and sounds delicate yet somehow fractured, bent notes hanging in the air waiting for some resolution. At around 31 minutes in length, this is more like an EP yet feels just long enough to make fascinating impressive nonetheless. - Bruce Lee Gallanter, DMG
DANIEL LENTZ - River of 1,000 Streams (Cold Blue 0050; USA) “By intriguing his listeners at the same time he wreathes them in smiles, Lentz always comes up with something listenable and worthwhile.”— Gramophone
"River of 1,000 Streams is a dense, slowly evolving virtuosic piano piece in which a live/solo part is expanded by the addition of hundreds of “cascading echoes” (reappearing fragments of music) that appear kaleidoscopically in up to 11 simultaneous layers, creating thick clouds of (primarily) tremolos that gradually gain in density and volume as rich, drifting harmonies climb, in a great arc, from the very bottom to the top of the keyboard. River is performed by one of Los Angeles’s most prominent pianists, Vicki Ray, a Grammy-nominated new-music champion and a founding member of the California EAR Unit and Piano Spheres."
STEPHEN WHITTINGTON - Windmill (Cold Blue 0048; USA) “If Australia has produced a classic piece of musical minimalism, this is it.” — Graham Strahle, The Australian
"This new CD presents two of Australian composer Stephen Whittington’s stunningly beautiful string quartets: his elegant, eclectic seven-movement …from a thatched hut, which embraces, sometimes obliquely, the composer’s deep interest in Chinese poetry and his frequent travels in China, and his evocative, haunting Windmill, which draws sonic references to the small metal windmills commonly found in rural areas of Australia (“pump[ing] up life-giving water in the often desolate landscape,” the composer notes) and much of the rest of the world. Both works are performed by Australia’s celebrated Zephyr Quartet, the group that recorded Whittington’s earlier Cold Blue release, Music for Airport Furniture"
SUN RA With JOHN GILMORE / MARSHALL ALLEN / DANNY DAVIS - My Brother the Wind (Cosmic Myth; USA) MY BROTHER THE WIND, recorded in 1969 and released by Sun Ra in 1970 is one of several albums that showcase Sun Ra's initial reckonings with the then-recently introduced Moog synthesizer. Within a few years this chapter of Ra's legacy included My Brother the Wind Vol. 2, The Night of the Purple Moon, Space Probe, and The Solar-Myth Approach, Vol. 2. Although the Astro Infinity Arkestra is credited on most copies of the original LP sleeve for My Brother the Wind, in fact only three sidemen were on the session—Marshall Allen, John Gilmore, and Danny Davis, with Moog performance pioneer Gershon Kingsley serving as synth programmer and technical consultant.
The original My Brother the Wind LP on Saturn (catalog 521) featured four tracks, properly sequenced here on as tracks 1–4. For this expanded release, tracks 5–7 feature three complete session takes of "The Perfect Man." The third and final complete take was issued in 1974 on Side B of Saturn 45 rpm single ES 537, reissued in 1983 on Saturn 9/7474, and included on the Evidence 2-CD set The Singles in September 1996. The alternate takes have not been previously issued.
Track 8 features the monumental "Space Probe," a solo Moog work recorded around the same time—and possibly performed on a Minimoog. This track was originally released in 1974 on the Saturn LP Space Probe, which appeared in a number of hybrid configurations during the 1970s. On at least one iteration, taped to the generic back cover was a typewritten card which claimed "Space Probe," described as a "moog [sic] solo," had been "recorded in Chicago, 1960's"— a fanciful claim at best.
The LP and CD editions include liner notes by Moog historian Brian Kehew. Historical and technical liner notes are provided by noted jazz historian Ben Young, who restored and remastered the album with his Triple Point Records partner Joe Lizzi. Both men have been recognized for their production work on HOLY GHOST, the Grammy-nominated ALBERT AYLER boxed set released on John Fahey’s Revenant Records in 2005.
CHARLEMAGNE PALESTINE - The Lower Depths (Alga Marghen 151; Italy) Alga Marghen introduce a historical event, the publication of The Lower Depths, a three-CD set of previously unreleased unique piano sonorities by Charlemagne Palestine. In 1977, Charlemagne Palestine was regularly performing in his red and gold loft on North Moore Street in Tribeca, down the street from Magoos bar where all the local artists hung out back then. He was working on a trilogy called The Lower Depths, a work conceived during the crucial moment when he experienced one of the peaks of his creative power. The trilogy takes its name from the potentials of his Bösendorfer weapon which had lower notes than any other piano. The first section starts in the middle of the piano keyboard and the second section two octaves below, while the third section arrives till the very bottom of the instrument. It's a deep, thunderous, rumbling world that we experience. An extreme immersion in the depths of the dark side of strumming music. The Lower Depths is a central work within the history of musical minimalism, stretching and expanding what is understood and expected of an already singular voice. Edition of 300 (numbered).
3 CD Set $56
PENNY RIMBAUD - Kernschmelze II: Cantata For Improvised Voice (Cold Spring 239; UK) Kernschmelze: "the dying gasps of the Age of Enlightenment". Kernschmelze II is a cantata for voices, in this case the voice of Crass songstress Eve Libertine, processed by Charles Webber to almost choral proportions. Working on Kernschmelze II alongside Eve Libertine, Penny Rimbaud has been able to produce a classic album on par with their 1984 album Acts Of Love released by Crass Records. Libertine's sparse, vulnerable poetics counter the almost Wagnerian scale of the work, challenging preconceptions of what music should be and making strong suggestions as to what it might yet become. Extreme electronics sourced solely from vocal sounds to create noise music of an intense and highly demanding nature. Comes in an ecopak with artwork by Gee Vaucher.
ASTRID & RACHEL GRIMES - Through The Sparkle (Gizeh Records 073; UK) Through The Sparkle is a collaboration between French ensemble Astrïd and American pianist and composer Rachel Grimes. Rachel Grimes is best known for her chamber music project Rachel's, a hugely influential group formed in 1991 in Louisville, Kentucky, releasing six studio albums between 1995 and 2005. She has also released a string of contemporary classical works in recent years on labels such as Temporary Residence. Astrïd is a collective of four musicians based in Nantes, releasing records on Rune Grammofon and Home Normal. After years of mail and email back and forth over the ocean, from Nantes to Kentucky, Astrïd invited Rachel to come for a residency to make music together and play shows in France. They gathered for a few days, here and there, in 2012 and 2013 to write songs in Cyril and Vanina's home studio in the countryside. The compositions found on Through The Sparkle glow with a unique, connected energy and a pure, instinctive musical understanding. Considered contributions from all sides allow the pieces to unfurl naturally. Each note and phrase feels like it simply couldn't be placed anywhere else in the album. Charming, gentle, and cinematic sounds are found here in abundance. Melodies circle and reveal themselves without force, allowing the listener to focus and explore the depths of what is on offer. Musically, Through The Sparkle is an expansive and evocative album. There is a presence to be felt throughout, from Cyril Secq's emotive tremelo'd guitars of "M5" to the darker, more haunting mood of "The Theme", to the tension in "Mossgrove & Seaweed". Strings and woodwind coalesce around intricate piano and guitar movements creating a wealth of harmony and melancholy. Through The Sparkle is a record of miniature symphonies, of elegant restraint. A gracious and generous offering from a group of musicians at one with each other and at the top of their game. Artwork by SmilingPaperGhosts.
INVENCIONES - La Otra Vanguardia Musical En Latinoamerica 1976-1988 (Munster Records 369; Spain) The artists on Invenciones: La Otra Vanguardia Musical En Latinoamerica 1976-1988 come from an intermediate period between the high-point of diverse artistic currents influenced by the hippie movement and the advent of punk -- a watershed between the expansion of the industry and the emergence of a new DIY distribution system. They also belong to an intermediate period in terms of the development of electroacoustic music labs and the arrival of synthesizers and samples available for mass audiences. They hail from that decisive stage of technological socialization, when small studios and home recording studios were set up. Above all, what these artists have in common is that they are Latin Americans and as such, share the difficulties of belonging to a time in history when ideological polarization resulting from the Cold War was rife, when they would witness complex social processes, military coups, dictatorships, and radicalization, and when the legitimacy of music that spoke about the territory was also disputed. It was a time when native sounds were introduced, either linked to the use of poor or austere technologies or to the local context. Many of the artists on this record have acquired cult status and are key figures in regards to understanding the cultural periods they belong to in their respective countries, but as such they have also been atypical figures and reflect a sensibility that was spreading across Latin America back then: a spirit of experimentation that was redefining musical directions in the region. More than a movement, it was a group of individuals who worked on counterculture projects. Notwithstanding this mosaic of different sounds, several trends can be identified: free use of folk, open compositions, explorations of the boundaries of rock and experimentation with technology. However, imagination is perhaps what connects the artists brought together here for the first time the most. Because all of them needed to imagine a new space, where they could forge a new scene that punk and technology would go on to consolidate. All these artists did things for the first time. They represent the breaking point between clearly defined periods, despite the difficulties and isolation that many suffered when creating their compositions. Features: Manongo Mujica, Banda Dispersa De La Madre Selva, Miguel Flores, Amauta, Autoperro, Malalche, Decibel, Jorge Reyes, Grupo Um, Carlos Da Silveira, Musikautomatika, Quum, Vía Láctea, and Miguel Noya. Includes booklet with liner notes by Luis Alvarado and artist photos.
2 CD Set $26
GEORGES APERGHIS - Musica Viva 28 (Neos 11728; Germany) Performed by Symphonieorchester des Bayerischen Rundfunks Georges Aperghis is one of the most important representatives of contemporary music theater in France. Born in 1945 in Athens as the son of a sculptor and a painter, he moved to Paris in 1963. Following initial autodidactic studies, encounters with the conductor Konstantin Simonovitch, the Ensemble Instrumental Paris and the actress Edith Scob, whom he married in 1965, brought him into contact with Parisian musical circles and the theatrical world there. Especially influential were the works of Pierre Schaeffer, Pierre Henry, Iannis Xenakis, John Cage, and Mauricio Kagel. In 1976, he founded the theatrical group Atelier Théâtre et Musique (ATEM), with which he created and performed over twenty of his own pieces by 1997. He is equally interested in solos and in chamber, orchestral, and vocal ensembles. Georges Aperghis has received numerous prizes and awards, including the Mauricio Kagel Music Prize of the NRW Art Foundation in 2011 as well as the Prize "Frontiers of Knowledge" of the Fundación BBVA in 2015. Performed by Symphonieorchester des Bayerischen Rundfunks featuring Emilio Pomàrico as conductor and Teodoro Anzellotti on accordion.
WOLFGANG AMADE MOZART / MATTHIAS MUELLER - Piccolo Concerto Grosso (Neos 21704; Germany) Matthias Mueller, born in 1966 in Basle, studied clarinet, composition, and piano at the Basle Music Academy. He has been a Professor at the Zurich Academy of the Arts (ZHdK) since 1996. Matthias Mueller is internationally active as a composer, soloist, chamber musician, improviser, producer, pedagogue, researcher, and entrepreneur. As a composer, his oeuvre consists of chamber music, orchestral works, music theater, and electronic music. As an interpreter, he performs the entire clarinet literature and has performed over 100 world premieres in collaboration with composers from all over the world. His research project SABRE, pursued since 2000, has resulted in a company for music technology specializing in sensor technology in the interface between acoustic music and digital technology. Alongside hardware, SABRE also produces software for live-electronics. Michael Collins's dazzling virtuosity and sensitive musicianship have earned him recognition as one of today's most distinguished artists and a leading exponent of his instrument.
CD $16In recent seasons Collins has become increasingly highly regarded as a conductor and in September 2010 took the position of Principal Conductor of the City of London Sinfonia. In 2007, Collins received the "Royal Philharmonic Society's Instrumentalist of the Year Award", placing him amongst past recipients of the award such as Itzhak Perlman, Mitsuko Uchida, Murray Perahia, and András Schiff. In great demand as a chamber musician, Collins performs with musical colleagues such as the Belcea and Takács Quartets, Martha Argerich, Stephen Hough, Mikhail Pletnev, Lars Vogt, Joshua Bell, and Steven Isserlis. At Wigmore Hall he performed with András Schiff, Piers Lane, and the Endellion String Quartet. Features the world premiere recording Piccolo Concerto Grosso for two basset clarinets and orchestra (2016/17). Personnel: Matthias Mueller - basset clarinet; Michael Collins, basset clarinet; Zurich Chamber Orchestra with Willy Zimmermann as concertmaster.
JOHN STEVENS’ AWAY - Away / Somewhere in Between / Mazin Ennit (BGO 1198; UK) “This is a real treat. Drummer John Stevens is best known for his pioneering work performing and championing non-idiomatic free music. But he was an excellent drummer with voracious musical interests and he worked in many types of ensembles. Away was his electric, somewhat harmolodic-style band that he led throughout the 70s in addition to his free work. The band made three excellent albums of thorny, unique electric jazz for Vertigo between 1975-1977. None of the three albums has ever appeared on CD before until this package, which gives you all three albums in complete bonus!”
2 CD Set $28
MIKE WESTBROOK With GARY BOYLE / GEORGE KHAN / BUTCH POTTER / ALAN JACKSON - Live 1972 (Hux 151; UK) Featuring Gary Boyle (from Isotope) on guitar, George Kahn (from Battered Ornaments & Robert Wyatt’s ‘Ruth is Stranger Than Richard’ LP) on tenor & electric sax, Mike Westbrook on electric piano & compositions, Butch Potter on bass guitar and Alan Jackson on drums.
“For more than 50 years, Mike Westbrook has been composing and releasing albums of his unique take on 'jazz'. An exemplary and distinctive composer, he is one of the true pillars of what we consider the 'Brit-jazz' sound and he is still going strong and releasing good work!
He was also one of the earliest of the British jazz composers to embrace and explore electric instruments and the mixtures possible between jazz and rock. This is a quite obscure live album from 1972; obscure enough that until it actually arrived that I thought it was all completely previously unreleased. It isn't, but there's 20' of previously unreleased material added onto an album that I feel quite certain that very few of you know anyway! Recommended, early, electric jazz & dig the great personnel and listen to Gary Boyle from slay!!”
MIKE WESTBROOK CONCERT BAND With JOHN SURMAN/MIKE OSBORNE/KENNY WHEELER/MICHAEL GIBBS/HARRY MILLER/ et al - Marching Song - Vol. 1, Vol. 2 Plus Bonus (Cherry Red 500; UK) Following the successful release on RPM of the Turtle Records box set in 2016, chronicling producer Peter Eden's early 1970's modern jazz label, we're pleased to announce a new series of modern jazz releases on the relaunched Turtle Records label. We begin with one of the most highly respected and collectable modern jazz figures today; composer, musician and band-leader Mike Westbrook. A pioneer of British Jazz since the early 1960s and still creating today. Our first release is a box set of Mike's 1969 work Marching Song. Underlining his collectable status, the original Deram LP of Marching Song is currently worth around £80. Ironically, the only previous CD reissue is just as expensive!Marching Song began as a one-off nine minute composition for a shelved album, recorded by Mike with a Sextet in 1966, previously unissued, it is included here as a bonus track on Disc 3. An expanded 15 piece Concert Band performance of the composition, by then developed into a 2 hour anti-war epic, first took place in 1967 at Plymouth's Athenaeum. The full piece was finally recorded in early 1969 and released by Decca Records in the UK on their Deram imprint on two separate single LP volumes. In 1970 the LPs were combined for a 2-LP release in the US. The recordings were produced by Peter Eden, then in the prime of his modern jazz producing tenure with Deram, capturing the cream of the British Jazz scene which had steadily risen from the mid 1960's onwards. This box set also features on Disc 3 both sides of a single produced by Peter of Mike's Concert Band with Norma Winstone for a one-off single in 1970, never before reissued. Two further bonus tracks are on disc 3, a 16 minute piece entitled 'When Young' and a ten minute piece called 'But It Must Get Better', both recorded as the Mike Westbrook Quartet in 1970, and previously unreleased. This box set of the two remastered Marching Song volumes, plus the bonus material mastered from the analogue tapes in Mike's archive, are packaged with a booklet containing rare photographs from the 60's live performances plus a major essay on Mike, and these compositions, by noted jazz critic and writer Duncan Heining. The recording career of Mike Westbrook between 1967-1975, with 12 albums released, is detailed in a major Record Collector magazine article by Colin Harper published in April 2017.
3 CD Set $25
THE RESIDENTS - Snakey Wake (Secret 009; USA) Recorded in 1987 in tribute to their lost friend and collaborator Philip 'Snakefinger' Lithman who died of a heart attack while on tour with his band, The Vestal Virgins. This piece was performed live one time, at a Snakefinger wake in San Francisco. The studio version was originally released as a fan club only, limited edition CD. This LP includes both the studio version and the live version and has been remastered for vinyl. This is a limited edition of only 300 copies on cyan blue vinyl."
MIDORI TAKADA & MASAHIKO SATOH With KAZUTOKI UMEZU / HARUOMI HOSONO - Lunar Cruise (WRWTFWW 020; Switzerland) LP version. Marks the title's first ever vinyl release; Cut at Emil Berliner Studios; Housed in a 350 gsm sleeve; Includes CD with all ten tracks. We Release Whatever The Fuck We Want Records present a reissue of Midori Takada and Masahiko Satoh's Lunar Cruise, originally released in 1990. Following the successful reissue of Midori Takada's Through The Looking Glass (WRWTFWW 018LP/WRWTFWW 019CD/LP), WRWTFWW Records present another release from the legendary Japanese percussionist: 1990's Lunar Cruise, her superb collaboration with jazz pianist, synth master, composer, and arranger Masahiko Satoh. Arguably the best kept secret in Midori Takada's fascinating discography, Lunar Cruise is an under-the-radar masterpiece that captures Takada (on marimba and minimal percussion set-up) and Satoh (on Korg M1 and Yamaha DX7II synths, Ensoniq EPS sampler, and acoustic piano) vibrantly fusing traditional African and Asian percussion with jazz, ambient, and minimalism. The album also features the great Haruomi Hosono (Yellow Magic Orchestra, Happy End) and Kazutoki Umezu (alto sax & clarinet).
LP CD $25
Bruce Lee Gallanter’s Recommended Gig List for September of 2017
THE STONE RESIDENCIES - CRAIG TABORN - SEPT 5-10
THE STONE AT THE NEW SCHOOL—55 WEST 13TH STREET
FESTIVAL OF NEW TRUMPET - FRIDAY AND SATURDAY NIGHTS SEPTEMBER 8-9 AT 830PM
FRIDAY SEPT 8—High and Mighty Brass Band and Slavic Soul Party: The Festival opens on Friday, September 8, when curators Stephanie Richards and Gabe Medd present a night of Brass Bands with High and Mighty Brass Band and Slavic Soul Party that celebrates groove based brass band music from around the world. This program embraces music old and new.
SATURDAY SEPT 9—Multi trumpet celebration of our 15th season hosted by Dave Douglas with trumpeters Stephanie Richards, Jeremy Pelt, Nate Wooley, and David Adewumi with Brad Jones on bass and Gerald Cleaver on drums. Don’t miss. One time only special event.
830 pm - Heroics Quartet - Dave King (drums) Chris Speed (sax) Chris Lightcap (bass) Craig Taborn (piano)
830 pm - Farmers By Nature - William Parker (bass) Gerald Cleaver (drums) Craig Taborn
830 pm - Craig Taborn Solo (piano)
THE STONE RESIDENCIES - MARK DRESSER - SEPT 12-17
8:30 pm - Mark Dresser 7 - Nicole Mitchell (flutes) Marty Ehrlich (clarinets) David Morales Boroff (violin) Michael Dessen (trombone) Joshua White (piano) Jim Black (drums) Mark Dresser (bass, compositions)
8:30 pm - Craig Taborn, Peter Evans, Earl Howard, Mark Dresser - Peter Evans (trumpet) Earl Howard (live electronics, sax) Mark Dresser (bass)
8:30 pm - Deep Tones for Peace Bass Ensemble- Rufus Reid , Mark Helias, Linda Oh, Jorge Roedee, Ratzo Harris, Ken Filiano, Lisa Mezzacappa, Trevor Dunn, Dave Phillips, Thomas Helton (basses) Sarah Weaver (conductor) Mark Dresser (bass, composition)
THE STONE AT THE NEW SCHOOL—55 WEST 13TH STREET - URI CAINE
FRIDAY AND SATURDAY NIGHTS SEPTEMBER 15-16 AT 830PM
FRIDAY SEPT 15—URI CAINE TRIO: Uri Caine (piano) Mark Helias (bass) Ben Perowsky (drums)
SATURDAY SEPT 16—DUO: Uri Caine (piano) Jonathan Finlayson (trumpet)
830 pm - Jane Ira Bloom (soprano sax) Denman Maroney (piano) Michael Sarin (drums); Mark Dresser (bass, compositions)
830 pm - Mark Feldman (violin) Sylvie Courvoisseur (piano) Ned Rothenber (reeds) Mark Dresser (bass)
830 pm - Hafez Modirzadeh (reeds) Diane Moser (piano) Vijay Anderson (drums) Mark Dresser (bass); Compositions by all the players.
830 pm - Sehnaoui/Atoui/Sharp/Chase/Coltun - Sharif Sehnaoui (guitar) Jad Atoui (electronics) Eliott Sharp (guitar) Brian Chase (drums) Michael Coltun (bass); A rare improv set with Eliott Sharp, Jad Atoui, Brian Chase, Michael Coltun and Sharif Sehnaoui, virtuoso guitarist and founder of “Irtijal” the oldest music festival in Beirut.
All Sets 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. 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 Sep 08
8:35PM GUALICHU - Leo Genovese, piano; Tony Malaby, tenor sax; Juini Booth, bass; Francisco Mela, drums
Saturday Sep 09
8:35PM BEN MONDER TRIO - Ben Monder, guitar; Tony Malaby, tenor sax; Andrew Cyrille, drums
Sunday Sep 10
8:00PM MALNOIA TRIO - Jorn Swart, piano, comp.; Benni von Gutzeit, viola; Lucas Pino, bass clarinet
9:30PM NATHAN BROWN TRIO - Félix Lemerle, guitar; Nathan Brown, bass; Peter Traunmueller, drums
Tues, Sept 12th:
8:00PM ANDREW HARTMAN: COMPASS, CD RELEASE SHOW - Chris Cheek, tenor sax; Andrew Hartman, guitar; Ike Sturm, bass; Mark Ferber, drums
9:30PM LOGAN STROSAHL QUINTET - Logan Strosahl, sax; Jessica Pavone, viola; Aquiles Navarro, trumpet; Lim Yang, bass; Allan Mednard, drums
Wed Sept 13th:
8:01PM MOSTLY OTHER PEOPLE DO THE KILLING - Ron Stabinsky, piano; Moppa Elliott, bass; Kevin Shea, drums
Thursday Sep 14
8:01PM YOTAM SILBERSTEIN & LA FAMILIA - Yotam Silberstein, guitar, comp.; Rick Rosato, bass; Ofri Nehemya, drums; Sam Yahel, piano
Friday Sep 15
8:35PM MICHAËL ATTIAS QUINTET - Michaël Attias, alto sax; Ralph Alessi, trumpet; Aruàn Ortiz, piano; Sean Conly, bass; Francisco Mela, drums
Saturday Sep 16
8:35PM DAYNA STEPHENS QUARTET - Dayna Stephens, tenor sax; Philip Dizack, trumpet; Aidan Carroll, bass; Kendrick Scott, drums
Sunday Sep 17
8:01PM NEW BRAZILIAN PERSPECTIVES: CHICO PINHEIRO - Billy Newman, host
Chico Pinheiro, guitar, voice; Helio Alves, piano; Eduardo Belo, bass; Ari Hoenig, drums
DOUBLE FEATURE: 3 3
Thursday, September 21st 8:30 PM
8:30PM Mara Rosenbloom Trio (w/ special guest Michael Wimberly)
Sean Conly Bass
Michael Wimberly Drums
Mara Rosenbloom Piano & Composition
9:30PM Sean Conly Trio
Michael Attias Alto Saxophone
Jeff Davis Drums
Sean Conly Bass & Composition
Friday, September 22nd 8:30 PM $15 Suggested Donation
Javier Moreno: Bass and compositions
Michael Attias: Alto sax
Hery Paz: Tenor Sax, clarinet, flute
Santiago Leibson: Piano
Eden Bareket: Bass Clarinet, baritone Sax
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.
* New Revolution Arts
Saturday, September 16
8 pm--Devin Gray, Matt Nelson, Henry Fraser
8:30 pm--Lindsey Wilson and the Human Hearts Trio with special guest Daniel Carter
9 pm--Dan Kurfirst, Ras Moshe, Alexis Marcelo, On Kaa Davis, Nick Lyons, Jochem van Dijk
9:30 pm--Jamara Wakefield
10 pm--Aimee Allen & Francois Moutin
New Revolution Arts
7 Stanhope Street
* New Revolution Arts is run by Cisco Bradley and this series is one of the best things happening in Bushwick as far as being a home for Creative Music and other Arts. This will be the last one in a series which will take a break for a while or perhaps forever, it still has to be determined. I urge you to check it out. thanks, BLG at DMG
THE FESTIVAL OF NEW TRUMPET MUSIC [FONT] returns with Impact: Celebrating 15 Years of Boundary - Breaking Music
From September 8 through 14, 2017, New York’s award winning Festival of New Trumpet Music returns with Impact: Celebrating 15 Years of Boundary-Breaking Music!
Co-Curators Dave Douglas, Keyon Harrold, Stephanie Richards, and John Blevins Present A Broad Spectrum of Styles And Sensibilities
2017 FONT Music Award of Recognition Goes To Jazz Trumpet Legend Charles Tolliver From September 8 through 14, 2017, New York's award winning Festival of New Trumpet Music
Since 2003, FONT Music, directed by trumpeter and composer Dave Douglas, has presented exceptional programs of new trumpet music across genres. Along with trumpeters and longtime FONT Music collaborator Stephanie Richards , Douglas and his core team have this year invited a community of brass players to "co-curate" the festival. Trumpeters Keyon Harrold, Stephanie Richards, and John Blevins all contribute their unique visions to this year's extraordinary program.
The theme for the 2017 Festival is Impact. Impact is not only the title of an album by trumpeter Charles Tolliver 's Music Inc. and Orchestra, who is being honored at the Festival this year, it is also a celebration of the new music being created by the strong community of brass players FONT Music has helped build over the last 15 years in New York and beyond.
“For 15 years FONT has been working to create meaningful social and musical experiences for the trumpet community and beyond, and we've celebrated ideas that are new, different, in and out, for every step of the way. For this year, Impact 2017 highlights the importance of coming together in these times. Our program draws on progressive artists from circles that overlap in exciting and unexpected ways. FONT 2017 celebrates the new, the different and the future.” - Stephanie Richards
Support the Roy Campbell, Jr. Commissioning Project for new music by Keyon Harrold - campaign ends Sept. 9th!