Food for Thought from a Song fifty years old this year:
“We'll call you when you're six years old
And send you to the factory
To train your brain for eighteen years
With promise of security
But then you're free
And forty years you waste to chase the dollar sign
So you may die in Florida
At the pleasant age of sixty-nine.
You're free to speak your mind my friend
As long as you agree with me
Don't criticize the father land
Or those who shape your destiny
'Cause if you do
You'll lose your job your mind and all the friends you knew
We'll send out all our boys in blue
They'll find a way to silence you”
Lyrics excerpt from “The Ostrich” by Steppenwolf, 1968
The Passing of a Giant
Last week, as the DMG Newsletter was transmitted (04/05/18), we heard about the passing of piano master CECIL TAYLOR. Like myself and many of my friends, many of us are longtime fans of Mr. Taylor. Right from the beginning of my studies into the history of jazz at college (Glassboro State), I recall hearing a Cecil Taylor festival on WXPN-FM on Philly radio. Mr. Taylor’s music was then and remained uncompromising and it took some time to figure it out. For two semesters (1974/1975), Mr. Taylor taught a course at Glassboro State, which 2 of my roommates took and were mostly confused by. I did hear Mr. Taylor play in a trio with Jimmy Lyons and Andrew Cyrille at Glassboro in 1974, when it was finally starting to make sense to me. Since then, I’ve caught Cecil Taylor live around 50 times, solo and with his Units in places like: Five Spot, Town Hall, Whitney Museum, Carnegie Hall, Loeb Student Center, the Knitting Factory, Victoriaville Festival, Columbia University, Tonic, etc. Once you became a fan, you would go almost anywhere to hear Mr. Taylor play. Mr. Taylor’s music was always demanding and worthy of study. I had the great opportunity to talk with Mr. Taylor on a couple of occasions, once at Boomers with Archie Shepp & Stanley Crouch at the same table and once at the Victo fest where we both got tipsy and goofed on whoever came up to talk. Treasured memories indeed!
WKCR played many hours of Cecil Taylor’s music over the past week. Last Friday, we listed to the broadcast for the nearly six hours we were open. It felt great to celebrate his life and his music, which still remains challenging to avant music fans wherever they are. If you haven’t listened to any or very much of his music, I would advise that you start with that 5 CD set on Enlightenment (# 9018) called ‘The Complete Collection: 1956 - 1962’. - BLG/DMG
Here’s a list of my favorite Cecil Taylor records:
1.CECIL TAYLOR - Silent Tongues: Montreux Jazz Festival 1974 (Freedom) - Solo
2.CECIL TAYLOR With BILL DIXON/JIMMY LYONS/HENRY GRIMES/ALAN SILVA/ANDREW CYRILLE - Conquistador! (Blue Note)
3.CECIL TAYLOR With JIMMY LYONS/KEN McINTYRE/ALAN SILVA/HENRY GRIMES/ANDREW CYRILLE - Unit Structures (Blue Note)
4.CECIL TAYLOR With JIMMY LYONS/SUNNY MURRAY - Nefertiti, The Beautiful One Has Come/Innovations: The Complete Concert Live At The Cafe Montmartre 1962 (Revenant) 2 CD Set
5.CECIL TAYLOR - Air Above Mountains (Enja)
6.CECIL TAYLOR UNIT With JIMMY LYONS/DAVID S WARE/RAPHE MALIK/MARC EDWARDS - Dark To Themselves (Enja)
7.CECIL TAYLOR FEEL TRIO With WILLIAM PARKER/TONY OXLEY - 2 T's for a Lovely T (Codenza) - 10 CD Set
8.CECIL TAYLOR UNIT With JIMMY LYONS/RAPHE MALIK/RAMSEY AMEEN/SIRONE [NORRIS JONES]/RONALD SHANNON JACKSON - 3 Phases (New World Records)
9.CECIL TAYLOR UNIT With JIMMY LYONS/RAPHE MALIK/RAMSEY AMEEN/SIRONE [NORRIS JONES]/RONALD SHANNON JACKSON - One Too Many Salty Swift and Not Goodbye: Live June 14 1978 (Hat Art)
10.CECIL TAYLOR - Cecil Taylor In Berlin '88 (FMP LTD Edition)[Box Set 2 Books/11 CDs]
Here’s List of What’s New Today in the DMG Newsletter:
Globe Unity Orchestra - 50 Years! Anthony Braxton Quartet - Willisau 1991 Studio 2 CD Set! Matt Shipp Early Solo! Two from Ken Vandermark: Nate Wooley/Christof Kurzmann/C. Spencer Yeh/Mars Williams//! Two from Dave Rempis: Tim Daisy Duos: Steve Swell/Fred Lonberg-Holm/Larry Ochs/Darren Johnston! Roberto Zorzi/Michael Manring/Scott Amendola!
Three duos from Erstwhile! Leap of Faith Orchestra! Plus Historic Discs from Gordon Beck: Kenny Wheeler/Ray Warleigh/Stan Sulzmann..! Cal Tjader! Edgard Varese Complete! Brooklyn Raga Massive Plays Terry Riley! Plus Loads of Vinyl from: Ennio Morricone! Erkin Koray! John Duncan! Jean Dubuffet! And Much More!
Upcoming Sets at Downtown Music Gallery - FREE, every Sunday at 6pm
THE DMG 27TH ANNIVERSARY SERIES OF SONIC CELEBRATIONS Continue with:
Sunday, April 15th, 2018:
6pm: AARON SHRAGGE / ELI ASHER - Trumpet Duo
7pm: NICOLA HEIN / MIA ZABELKA Special Guest
Sunday, April 22nd:
6pm: NOAH BECKER and COLIN HINTON - Alto sax and Drums
7pm: SPEEDO: DAVID GROLLMAN and CORY O’BRIEN - Two Snare Drums
Sunday April 29th:
6pm: JESSE DULMAN QUARTET
7pm: NICOLAS LETMAN-BURTINOVIC / MICHAEL LYTLE - Contrabass & Bass Clarinet!
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
Starting Ogg This Week's Cavalcade of Delights with:
GLOBY UNITY ORCHESTRA With ALEXANDER VON SCHLIPPENBACH / EVAN PARKER / RUDI MAHALL / GERD DUDEK / MANFRED SCHOOF / AXEL DORNER / TOMASZ STANKO / JEAN-LUC CAPPOZO / ERNST-LUDWIG PETROWSKY / WOLTER WEIRBOS / PAUL LOVENS / PAUL LYTTON / et al - Globe Unity - 50 Years (Intakt 298; Switzerland) "The Globe Unity Orchestra is not just an ensemble of enormous historical importance to jazz but one which proves the continuing relevance of its self-imposed task. The present line-up, encompassing musicians of several generations and nationalities, lives up to the responsibility of producing genuinely new music, rejecting the commonplace and avoiding cliché, each time they play together. As if to contradict those who accuse the Globe Unity Orchestra (and free jazz in general) of predictability, the golden jubilee at the Jazzfest Berlin was characterized by extreme contrast and high drama, both musical and visual. The audience was drawn in and engaged to a degree that became obvious when the end of Evan Parker’s short unaccompanied soprano solo, almost midway through the 45 minutes, gave them a first chance to express their approval with a roar that can be clearly heard on the recording. At that moment, and others, they seemed unmistakably to be applauding not just individual contributions but the brilliance of the collective endeavour." - from the liner notes by Richard Williams
Two incredible, important Reissues from the Mighty Hatology Label:
ANTHONY BRAXTON QUARTET With MARILYN CRISPELL / MARK DRESSER / GERRY HEMINGWAY - (Willisau) 1991 Studio (Hatology 735; Switzerland) “This document of the final year of the famous Anthony Braxton Quartet shows exactly why that group finally split: They had reached a creative apex as a group that -- arguably -- could not be furthered. The music on the original collection features two live CDs and two studio CDs and gives a completely different picture of the same band who recorded for Black Saint on the Six Compositions (Quartet) 1984 record.” - Thom Jurek, AllMusicGuide
The original Braxton Quartet ‘Willisau’ release was a 4 CD set with two studio and two live CD’s. One recorded at the beginning of the tour and one recorded at the end. It remains a monumental effort on all counts and has been out of print for more than a decade. This quartet was together for around a decade and proved to be Mr. Braxton’s greatest interpreters of his complex, ever-evolving system/songbook. If you get one reissue this year, this is the one! - BLG/DMG
2 CD Set $27
MATTHEW SHIPP - Symbol Systems (Hatology 749; Switzerland) “ ‘Symbol Systems’ occupies a special place in Matthew Shipp’s discography. Originally issued in 1995 on the No More Records label, it was at the time his sixth release as a leader or co-leader, but significantly his first solo album, and as such provided us with the purest view to date of his multifaceted, indivisible improvisational/compositional concepts. Matthew Shipp was born in 1960 in Delaware. He began piano at 5 years old, and fell in love when jazz when he was 12. After moving to New York in 1984 he quickly became one of the leading lights in the New York Jazz Scene. Mr. Shipp has reached the holy grail of jazz in that he possesses a unique style on his instrument that is all his own- and he’s one of the few in jazz that can say so.”
The Chicago Creative Music Scene Continues to Expand:
KEN VANDERMARK With NATE WOOLEY / C. SPENCER YEH / CHRISTOF KURZMANN / JASPER STADHOUDERS / TIME DAISY MARS WILLIAMS / NICK MACRI / LOU MALLOZZI - Momentum 2: Brullt / Momentum 3: Monster Roster (Audiographic 011/12; USA) ‘Momentum 1: Stone’ was a 6 CD box set which was released onKen’s own Audiographic label, featuring sets from Mr. Vandermark’s week-long residency at The Old Stone venue, involving some 20 musicians. That residency in January of 2016, inspired Vandermark to choose varied musicians from New York, Europe and anywhere else to improvise in different combinations at each set. ‘Momentum 2 & 3’ is a 2 CD set and it features two sets with different musicians chosen and including Mr. Vandermark.
‘Momentum 2: Brult’ features a sextet: Nate Wooley on trumpet, C. Spencer Yeh on violin & electronics, Jasper Stadhouders on el. bass & el. guitar, Christof Kurzmann on ppooll (loops vis synth or sampler), Vandermark on reeds and Tim Daisy on drums. It was recorded in a Nashville studio in April of 2016. This disc starts with some strange vocals (C. Spencer Yeh?) being looped & layered. Slowly, each member of the sextet enters and adds to the collage. By ‘Part 2’, the sextet takes off into some tight, charted, frenzied jamming with Nate Wooley’s trumpet soaring on top, Vandermark’s bari sax erupting below and the rhythm team slamming underneath! The disc is a suite with written sections in between freer sections. The written parts are mostly played by both horns with the other musicians weaving tightly around them. Mr. Vandermark has chosen each just right so that the entire disc flows seamlessly from section to section and works as one grand set!
‘Momentum 3: Monster Roster’ features Ken Vandermark & Mars Williams on reeds, Lou Mallozzi on turntables, CD’s & mixer, Nick Macri on acoustic bass and Tim Barnes on drums. The one thing that we have to give Mr. Vandermark credit for is always giving a chance to new and under-recognized musicians. Two of the participants here, Nick Macri and Lou Mallozzi are both members of the Chicago underground/scene and can be found on labels like Clean Feed, Penumbra & Rossbin. Since moving out of New York, we haven’t heard much from former Downtown percussionist Tim Barnes, so it great to hear him again here. Another former early Downtowner, saxist Mars Williams, has been living in Chicago for many years and has become more visible over the past decade, working with Peter Brotzmann, Ken Vandermark and many others. Again, Vandermark has done a fine job of selecting a great crew and writing fascinating music to have them play. ‘Part 1’ begins with a great Braxtonian bent rhythm double sax theme over an ancient walking bassline with selective turntable samples weaving their way through. Again Mr. Vandermark has written a suite of themes which are linked by freer sections. The themes are mostly played by both reeds and are often kept short. It is in between those theme that Mr. Mallozzi inserts those sly, selective samples. Although this disc is relatively short (33 minutes), it is consistently strong, spirited and focused. Yet another winner from the ever ambitious Ken Vandermark stable! - Bruce Lee Gallanter, DMG
2 CD Set $22
MARKER With KEN VANDERMARK / ANDREW CLINKMAN / STEVE MARQUETTE / MACIE STEWART / PHIL SUDDERBERG - Wired for Sound (Audiographic 013; USA) Featuring Andrew Clinkman & Steve Marquette on guitars, Ken Vandermark on reeds & compositions, Macie Stewart keyboard & violin and Phil Sudderberg on drums. The Chicago creative music scene continues to evolve and often with reeds wiz/composer/multi-bandleader, Ken Vandermark, at the center. I hadn’t heard of any of the members of this quintet except for Mr. Vandermark before getting this disc. “Okinawa Bullfight” kicks things off with a sly, somewhat funky electric piano groove which is soon joined by a brain-melting over-the-top electric guitar explosion, whoa! While Ms. Stewart plays that infectious groove with one hand, she soon adds a great, rambunctious el. piano. Underneath Mr. Vandermark joins in on bari sax, he also taking an inspired solo. The piece evolves into a long, section of layered drones: violin, el. guitar, tenor sax and drums all swirling around one another which turn back into that infectious prog-like groove. At times, I ma reminded of The Ex, longtime Dutch post-punk band that Mr. Vandermark has & still works with. Except this band doesn’t rely of just one groove/rhythm for each piece. Although it reads as compositions by Ken Vandermark, it sounds more like the quintet employ a series on organic structured parts, with some unexpected twists and turns. On “Every Carnation”, Vandermark plays a long, old-fashioned clarinet solo while the rest of the band playfully add their own parts, some tighter, some looser. There are three long (20 minute) pieces here which move through different sections. From from freer and more spacious to a handful of somewhat infectious jazz/rock/funkish grooves. This disc doesn’t sound like anything else we’ve heard from Ken Vandermark in the past. It does sound like the band is having some fun and that does put the listener in a better mood. - Bruce Lee Gallanter, DMG
CD $16 [LTD Edition of 500; numbered]
DAVE REMPIS / TIM DAISY DUOS & GUESTS with STEVE SWELL / JASON ADASIEWICZ / JIM BAKER / FRED LONBERG-HOLM / KATIE YOUNG / AARON ZARZUTSKI - Dodecahedron (Aerophonic 017; USA) Featuring Dave Rempis on alto, tenor & bari saxes and Tom Daisy on drums with guests Jason Adasiewicz on vibes, Jim Baker on piano & electronics, Fred Lonberg-Holm on cello, Steve Swell on trombone, Katie Young on bassoon & electronics and AAaron Zutzinski on electronics. Longtime collaborators on the Chicago Scene, Dave Rempis and Tim Daisy have been playing together as a duo, in a percussion quartet & in the Engines as well as in numerous projects led by Ken Vandermark.
It is obvious that Mr. Rempis and Mr. Daisy have been playing together for a long time, since they sound completely connected. The opening track, “Eikosi”, features the duo and there is an organic flow going on from from somber to more explosive moments. There is a great section here for Rempis’ furious, expressive alto sax and and Daisy’s superb, rolling mallet-work, consistently tight and continuous. When they finally slow down in the last section of this long piece, Mr. Rempis concentrates on carefully stretching out each note, adding bits of swagger or grit to certain notes, like the way we hear certain notes in a long song/solo, and they speak directly to our hearts. The second disc is a series of duos with Dave Rempis and the other six musicians. Each duo shows another side to Mr. Rempis’ playing as each partner brings something different to the plate. A most extraordinary set of inspired duos. Got to listen again to this wealth of riches. - Bruce Lee Gallanter, DMG
2 CD Set $16
SPECTRAL With DAVE REMPIS / DARREN JOHNSTON / LARRY OCHS - Empty Castles (Aerophonic 016; USA) Featuring Dave Rempis on alto & bari saxes, Darren Johnston on trumpet and Larry Ochs on tenor & sopranino saxes. By now sax quartets are much more common (in jazz & new music) than they were when the Rova & World Sax Quartets started in the lid-to-late seventies. Ensembles with just horns have also become more common in recent years as well. Founding member of Rova Sax Quartet, Larry Ochs and trumpeter Darren Johnston, both based in the Bay area have worked together on s few previous projects. This is the second release from the same trio, the first was released in 2012. Whenever John Zorn does one of his monthly improv gigs and there are three or more horn players involved, he often has a section called a “horn web”. The horn web is usually of the highlights of these sets. This disc was recorded at the Mare Island Shoreline Heritage Preserve, which I guess is outdoors(?). The sound is especially well recorded and the horns sound very closely and carefully captured. There seems to be some natural echo, sounding as if one or more of the horns is reverberating in the distance. What I notice is that depending on how close to the mic one is or how far in the distance the other horn(s) are, the sound of the horn is as important to the notes or sounds they play. The trio often play slowly and sparely, bending notes around one another and together. This often sounds like modern chamber music, where each note or sound is carefully arranged. The natural reverb here gives the music a liquid or or organic sound, as if we are listening to fish or creatures of the sea, slowly, thoughtfully communicating. The title of this trio, Spectral, does seems most appropriate, like ’Spectral Music’. The sound of this trio is completely unique and takes some time to get used to. The rewards are great once we submerge in their soundworld. - Bruce Lee Gallanter, DMG
SCOTT AMENDOLA / MICHAEL MANRING / ROBERTO ZORZI - Facanapa & Umarells and the World Wide Crash (Kutmusic KEO 48; Italy) Featuring Roberto Zorzi on lo-fi guitars and Zorzerie, Micheal Manring on electric bass and Scott Amendola on drums. West coast guitarist Henry Kaiser wrote some short notes for this disc and has played with member of this trio. You recognize the names of the two rhythm team men, Michael Manring from his fretless bass discs on Windham Hill and work in Mr. Kaiser’s Yo Miles band and Scott Amendola from his drumming on several discs with Nels Cline & occasional discs as a leader. Italian guitarist, Roberto Zorzi, you might not recall unless you remember his playing with Italian progressive bands like LA 1919 (circa 1991-1992) and N.A.D. (record in 1988 & still together now). The title of this disc refers to this: Facanapa is the name of a music studio in Flambro, Italy, while “umarells” is an Italian slang term for old men who spend their time watching construction sites and offering unwanted advice.
Oddly enough, this disc starts off with a cover song, “Colors for Susan”, the last song on the second Country Joe & the Fish album from late 1967. A strange choice? Perhaps not since it is an instrumental and it is quietly psychedelic. Although the original was played on an acoustic guitar, the trio expand the sound with swirling electric guitar, liquid-like fretless bass and wave-like drums. The sympathetic production adds an appropriate amount of reverb, making the music most mesmerizing. There are two long traces here, both around 20 minutes. “La Ballata di Pipetta e Samo”, oozes a wonderful, underwater sense of calm and flow. Over a long period, the piece builds and the liquid element flows since we are swimming in its currents. Eventually the tempo and intensity increase soaring into a free-flowing space jam. The title piece is the last and the longest and has that Dead-like head jam which allows us to float in a dream-like state. This piece gets more intense as it goes, eventually erupting… Let’s take some advice from the Beatles, “relax and float upstream”. Go with the flow. - Bruce Lee Gallanter, DMG
New from the Erstwhile and Gravity Wave labels - In stock shortly, review next week:
CHRISTIAN WOLFF / ANTOINE BEUGER - Where Are We Going, Today (Erstwhile 083; USA) Personnel: Christian Wolff on piano, charango ( small Andean stringed instrument of the lute family), flute & objects and Antoine Bueger on voice, whistles & recording of Christian Wolff’s ’stones’. Christian Wolff was a founding member of the New York School(of composers), along with John Cage and Morton Feldman. Aside from being well-recorded composer for more than fifty years, Mr. Wolff is also a gifted improviser, who has collaborated with AMM and Christian Marclay. Antoine Beuger is the founder of the Wandelweiser composers collective and has also collaborated with Michael Pisaro and Dominic Lash.
Hushed, quiet, spaciousness, fragments of softly spoken words, minimal piano with strings plucked inside, a wheezing melodica, suspended single note percussion or objects and long silence carefully used. The plane flying in the distance is louder than some of the sounds on this disc and feels just as selectively placed. A rubbed surface, wind, a rattle, eau sound carefully placed on a nearly empty frame. There seems to be a script or perhaps a direction involved here. So I wait patiently for things to unfold and listen for the arc or story that is going. 69 minutes long. - Bruce Lee Gallanter, DMG
HONG CHULKI / WILL GUTHRIE - Mosquitoes and Crabs (Erstwhile 082; USA) Featuring Hong Chuiki on turntables, guitar & electronics and Will Guthrie drums, percussion & electronics. Hong Chulki is Korean and has worked with Otomo Yoshihide, Sachiko M & Choi Joonyong. Australian percussionist, Will Guthrie, has collaborated with Jean-Luc Guionnet, Jerome Noetinger and Anthony Pateras. This is the second disc of Erstwhile for both of these sonic manipulators. The soft yet uneasy hum of dentist drill mixed with quiet layers of electronics. All of the sounds are cautiously crafted, bending the electronics/static subtly, Will Guthrie is a mast percussionist and word is that his solo percussion CD from last year is pretty incredible. Guthrie is in fine form here, weaving layers of percussion, cymbals, etc. Working perfect;y with the stream of electronic sounds. When things calm down, the sound is more organic, blending the (acoustic) drums and electronics together seamlessly. A strong duo effort - Bruce Lee Gallanter,DMG
TOSHIYA TSUNODA / TAKU UNAMI - Wovenland (Erstwhile 084; USA) Taku Unami usually plays guitar & computer and has around 10 duos CD’s, mostly on the Erstwhile label. Toshiya Tsunoda is a sonic specialist with works with varied microphones and does field recordings. Each of the eleven pieces here deal with manipulated recordings which are briefly described in the liner notes. Listening closely, it often sounds as if the recordings have been placed under a audio microscope. We start to hear certain sounds more clearly and notice intricate nuances: children playing, birds, wind… Whatever manipulation is going on is often subtle yet effective. Sampled crickets are sped up, spliced and diced with other sonic fragments dropped in. Sometimes abruptly, other times gently. What I notice here is the way certain sounds affect us, calming or disorienting or the organic way that life unfolds. The shape of, the careful use or manipulation of certain sounds is what seems to touch us, whether we notice or not. This disc does a great job of helping us to focus on those ultra-subtle sounds which we often miss when we are stuck in our daily routines or habits. Why not take a break and check out these special sounds. - Bruce Lee Gallanter, DMG
MICHAEL PISARO - Étant donnés (Gravity Wave 014; USA) A six-track album based almost entirely on samples (from Curtis Mayfield to John Carpenter). "The really striking thing, though, is the kinship between Pisaro’s approach here and his other music. Many of his previous compositions have taken simple, granular sounds as raw materials, building blocks to be arranged into larger constructions through a combination of the composer’s parameters and the performer’s choices. On this album’s sister work, Shades of Eternal Night, piano chords played by Reinier van Houdt are sampled, electronically processed, and arranged into dense, reverberating clouds. As different as the two albums are in mood and style, hearing them together reinforces this continuity in Pisaro’s work. So many of his pieces revolve around a sublime tension: modular, piecemeal construction leading to music that flows and crests in waves of sounds, or in wave-like alternations of drone and silence. On Étant donnés, the modules are often blocks of sound borrowed from other artists, but the way Pisaro works with them, the primacy he gives to spatial relationships between sounds – even if, as here, they’re only artificial relationships conjured in a virtual electronic space – makes this disc fit comfortably with his other work.” - excerpt taken from Reddy Brown Objects review - https://www.soundohm.com/product/tant-donns/pid/31613
MICHAEL PISARO / REINIER VAN HOUDT - Shades of Eternal Night (Gravity Wave 015; USA) “The second of the new Gravity Wave releases is a single three-movement composition titled Shades of Eternal Night. Shades of Eternal Night is a collaboration with Dutch pianist Reinier van Houdt, who fans will remember from 2016's spectacular triple-disc The Earth and the Sky. Going into this, I was expecting something that might actually resemble a traditional piano composition, which this is very much not. In fact, we don't actually clearly hear a piano until a couple minutes into the second movement. Instead, what we get is a sort of electroacoustic / field recordings / electronically processed…thing. Well, whether it can easily be thrown under contemporary composition or not, Shades of Eternal Night is gorgeous, mysterious and moving. To explain what this is all about, allow me to dissect the three movements (which are all surprisingly distinct).” - excerpt of review by Velocifish - https://rateyourmusic.com/release/album/michael-pisaro-reinier-van-houdt/shades-of-eternal-night
A couple of Dynamite Discs from LEAP OF FAITH:
LEAP OF FAITH ORCHESTRA With PEK / GLYNIS LOMON / CHARLIE KOHLHASE / ERIC ZINMAN / YURI ZBITNOV / SYDNEY SMART / JOE HARTIGAN / et al - Super Clusters (Evil Clown 9164; USA) This is the fourth major work for the Leap of Faith Orchestra, all of which are based on Dave Peck’s Frame Notation scores. These pieces are not rehearsed since it would nearly impossible to do this, although Mr. Peck has found a way to use relatively simple directions for the many members of the orchestra. Each of the four large works have utilized compositional devices and symbols, adding new devices with each new score. As a longtime fan of big bands or large ensemble music, I am often fascinated by the way certain composers & bandleaders have organized & conducted their ensembles. From the Duke Ellington & Count Basie Orchestras through Stan Kenton, Frank Zappa’s Grand Wazoo and the Globe Unity Orchestra, I am always searching for more of this music to check out. Our newsletter (04/13/2018) started off with a new disc from the Globe Unity Orchestra, called ’50 Years’, a half century since their first recording. In a few years it will be a century since the beginning of the Duke Ellington Orchestra in the 1920’s!?!
As I listen to the new disc, ’SuperClusters’ by the Leap of Faith Orchestra, I am listening to how large ensemble music has evolved over nearly a century. Leap of Faith are less then a decade and have recorded every performance with upwards of 100 CD’s so far. There are 16 members for this session, which includes the core members like PEK, Glynis Lomon & Yuri Zbitnov plus occasional members like Eric Zinman on piano and Sydney Smart on drums. This disc was recorded live at Pickman Hall, outside of Boston, on December 1st of 2017. Oddly enough, this music is not that chaotic, yes it moves in spurts yet sounds often focused and directed. Considering how many musicians are involved here, there is quite a bit of balanced, thoughtful playing, with skeletal moments amongst the more frenzied sections which rarely last too long before they evolve into something else. Unless you live in the Boston area or perhaps find your way to DMG for a once a year set, you will most likely have a chance to check out Leap of Faith live/ So, you should check out their discs, perhaps 1 or 2 at a time. - Bruce Lee Gallanter, DMG
LEAP OF FAITH With PEK / GLYNIS LOMON / ERIC ZINMAN / YURI ZBITNOV - Gravitation (Evil Clown 9167; USA) Featuring: PEK on clarinets, saxes, bassoons, flute, sheng, guanzi, etc; Glynis Lomon on cello, aquasonic & voice; Eric Zinman on piano and Yuri Zbitnov on drums & percussion. This is a relative rarity out of the 100 or so discs from Leap of Faith, just a quartet with three founders (PEK, Ms Lomon & Mr. Zbitnov) plus pianist Eric Zinman. Mr. Zinman, is a Boston-based pianist who has worked with Linda Sharrock, Ted Daniel & Francois Tusques. Mr. Zinman is another one of those extraordinary free pianists who has under-recognized. Like most Leap of Faith discs, this one starts off modestly with some restraint from the quartet, slowly building as things unfold, sparsely at first. I like that the quartet takes their time to stretch out on each instrument. Mr. Zinman adds bits of fragmented melodies at times, raising ghosts long buried down below. What amazes me about this disc is that it is often restrained, and sounds like a modern jazz quartet at times. Yes, there are some occasional outburst of weirdness but overall it is a gem of creative music. - Bruce Lee Gallanter, DMG
GORDON BECK With KENNY WHEELER / RAY WARLEIGH / STAN SULZMANN / MICK HUTTON /CHRIS PYNE / FRANK RICOTTI / JEFF CLYNE / TONY OXLEY / et al - Jubilation! Trios, Quartets and Septets in Session - 1964-1984 (Cherry Red/Turbx 501; UK) The estate of Gordon Beck granted access to his own archive of analogue tape recordings which included various live performances over a 20 year period. None had been released before. Turtle Records is proud to present these excellent performances, now transferred and collated, which capture the group playing a variety of some well-known compositions plus a large number of Gordon Beck originals, which are surely a must for any serious modern jazz fan. They chronicle a peak period of creativity and performance by Gordon involving key lineups of his groups with musicians including a who's who of British Jazz: Jeff Clyne, Johnny Butts, Ron Mathewson, John McLaughlin, Tony Oxley, Kenny Wheeler, Ray Warleigh, Chris Pyne, Frank Ricotti.
3 CD Set $30
CAL TJADER With STAN GETZ / EDDIE DURAN / SCOTT LAFARO / BILLY HIGGINS / VINCE GUARALDI / et al - The Classic Fantasy Collection: 1953-1962 (Enlightenment 9135; EEC) "With a vibrant, eclectic career that spanned five decades, Cal Tjader was the most successful non-indigenous Latin musician of all time. Although working largely within the idioms of Latin American, Cuban and Caribbean music during his lifetime, he also explored many other jazz genres, and is often credited as influencing Latin rock and acid jazz. A multi-instrumentalist, Tjader was primarily known as a vibraphonist, but also excelled at piano, drums, bongos, congas and timpani. Having spent much of his early career as sideman to musicians from a variety of cultural backgrounds, Tjader's best work was displayed on albums on which he performed as bandleader and, of these, the records he made for Fantasy Records between 1953 and 1962 contain his finest work. This collection, spanning over five hours of music on four discs, collates nine of the finest records made by Cal Tjader during his initial stint with Fantasy Records. Faithfully remastered from the original recordings, this set will not only introduce a new generation to the musical skill and dexterity of Tjader, but will act too as a welcome reminder for those already familiar with the work of this legendary musician."
4 CD Set $18
EDGARD VARESE - Complete Works of Edgard Varese- Volume 1 (Cherry Red ACME 336; UK) A 3 disc box set anthology recordings of the compositions of the pioneering twentieth century avant-garde composer Edgard Varese, spanning a period of almost three decades - from the first recording of one of his compositions, the Nicolas Slonimsky conducted Ionisation, in 1933. Our presentation includes all of Robert Craft's celebrated Varèse recordings with the Columbia Symphony Orchestra and with an ensemble of woodwinds, brass and percussion; originally released as two separate volumes in 1960 and 1962; Leonard Bernstein's performance of Arcana with the New York Philharmonic from 1958, and Frederic Waldman's sessions with the New York Wind Ensemble and Juillard Percussion Orchestra which produced ferocious versions of Intégrales, Ionisation and Octandre, released in 1950 as 'Edgard Varèse Complete Works Volume 1'
3 CD Set $25
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TERRY RILEY // BROOKLYN RAGA MASSIVE With NEEL MURGAI / SAMEER GUPTA / AARON SHRAGGE / et al - Terry Riley In C (Northern Spy 094; USA) Brooklyn Raga Massive (BRM) is a collective of mostly Brooklyn-based musicians who have been playing a weekly concert series and jam session, as well as organizing an annual 24-hour Ragas Festival. This appears to be their third release, a previous one was a tribute to John Coltrane, which makes perfect sense since Coltrane was indeed greatly influenced by Indian music. For this disc, the ensemble is rather massive with some 18 members. They are led by Neel Murgai (on sitar), who used to play percussion for Haunted House, Loren Mazzacane’s old blues/rock quartet. Other members include Aaron Shragge (on Dragon Mouth trumpet), former FONT Fest organizer and Sameer Gupta (tabla), who has a fine duo CD out with our pal Ross Hammond, great guitarist from Sacramento, CA.
Beloved minimalist composer, Terry Riley’s most famous and influential work is/was “In C”, composed in 1964 and first released in 1968 by CBS Masterworks. “In C” has been recorded more than a dozen times, with varying instrumentation and ever-changing ensemble size. This piece remains a favorite of many New Music fans, myself included, so I do collect as many versions as I can find. This piece always seemed to be been influenced by Indian music so it makes sense that this ensemble would do a fine job. This piece is based on a pulse several repeating patterns. When it begins, it does sound like a raga and features sitar, bansuri flute, tabla, violin, trumpet and voice. There is something immensely hypnotic going on here as the those repeating patterns keep pulsating throughout. What keeps things interesting is the way several patterns overlap with various common pulse points that connects the different layers or sections. Unlike an actual raga usually for a small number of players, like sitar, tambura and tablas, things are not so paired down. The several rivers here are always shifting as different solo occur usually one at a time. I find this version to be completely enchanting and doing us a good job of providing a magic carpet ride for our minds and pulsating bodies. - Bruce Lee Gallanter, DMG
PIERLUIGI BILLONE - Mani (Sub Rosa 451; Belgium) Mani is the very first recordings of the new collection Contra Naturam, a collaboration between Ictus Ensemble and Sub Rosa. Mani is released as a double-CD; Includes 24-page booklet.
The concept of Contra Naturam: The "magic of the record" befits contemporary music, which starts by adhering to an open, flexible sonic space where magnetic bolts of lightning shoot through. In that respect, at least, it has always been pop. The record lifts the curtain on a virtual stage; it creates its own space time; it reports on a listening project. And home computing has changed the game: the digital kitchen doesn't intimidate anyone anymore: editing and mixing are now part of the performer's daily routine.
The composer: Italian composer Pierluigi Billone (1960) is known for works which often "reinvent" the performance techniques of the instruments involved. He studied under Salvatore Sciarrino and Helmut Lachenmann. He focuses on the nature of sound. He also draws on free jazz and non-European music for his research on sound matter. After a brief return to Italy in 2000, he decided to move to Vienna. His music has privileged performers such as the Klangforum Wien. It is broadcast by German and Austrian radio, is regularly scheduled in international festivals such as Donaueschingen.
The performer: Tom De Cock (1982) received his Master's degree in percussion at the Royal Conservatory of Brussels, as well as a Master's degree in contemporary music at the HFMDK Frankfurt am Main, Germany. Next to his position as percussion soloist at the Brussels Philharmonic orchestra, Tom has been working as a freelance musician in Europe: he played with Ensemble Modern, MusikFabrik, Radio Kamer Philharmonie, among others, and is a fixed member of the Ictus Ensemble, Tom has collaborated with Pierre Boulez, Peter Eötvös, Philippe Hurel, Bruno Mantovani, Philippe Manoury, Georges Aperghis, and many other prominent figures of international contemporary music.
2 CD Set $16
PALM UNIT - Hommage A Jef Gilson (Super-Sonic Jazz SSJ 003; Netherlands) Back in the day, French pianist, composer and all-round jazz superstar Jean-François Quiévreux, aka Jef Gilson, was up there alongside the likes of peers John Coltrane, Oscar Peterson, and Sun Ra. In a fitting homage to the decades-worth of sublime music, and his sad passing away in 2012, French quarter Palm Unit present a lively, honest tribute, upbeat, and contemporary re-interpretative vision of his legacy. Gilson has been noted for changing the face of bebop with free-jazz and Afro. Along the way, his big band featured the likes of Lloyd Miler, Bill Coleman, Michel Portal, and others. With his own recording studio and label Palm Records, Gilson released music from greats including Byard Lancaster, David S. Ware, François Jeanneau, and more. He also helped embed a more ethno style to the world of jazz, inspired by his visits to Madagascar, which resulted in the famous Malagasy jazz albums. Palm Unit, a wildly eclectic super-group of jazz greats, includes uKanDanZ's saxophonist Lionel Martin, keyboardist Fred Escoffier from Le Sacre du Tympan, drummer Philippe 'Pipon' Garcia whose mostly known from his worth with the Erik Truffaz Quartet, and special guest Del Rabenja -- who played alongside Gilson in Malagasy -- on the Madagascar valiha harp. Palm Unit plays Gilson's repertoire without any a priori, in a totally complex-free manner, reinventing it whilst preserving its original essence. The keyboards sound almost psychedelic (and often not that far from the style of Eddy Louiss on Jef Gilson's '60s albums), the sax scratches, mews, and wails, whilst the drums make the whole thing swing. Even Del Rabenja was surprised to rediscover the songs still sounding so modern, decades after they were created.
HASTINGS OF MALAWI - Visceral Underskinnings (Sub Rosa 449; Belgium) 35 years after the release of their critically acclaimed 1981 album, Vibrant Stapler Obscures Characteristic Growth (SR 428LP), the British dadaist group Hastings Of Malawi release their second album, an epic sound poem entitled Visceral Underskinnings. It is a 40-minute film without light that reflects on the human condition, on modern society, on the nature of telephony and electricity and an attempt to make sense of the world in which we live that provides no answers. It is a sound collage of diverse elements including the voices of George Washington Johnson ("the whistling coon", 1846-1914) and Dr Hastings Banda, the first president of Malawi. It includes randomly generated computer music, voice synthesis, recordings of cold war number stations, American military sound weaponry, and recordings of the some of the many sound sculptures produced by Hastings Of Malawi over the last 30 years. Hastings of Malawi produce sounds that sit in that grey area where sound art and music meet but they reject both labels and cannot be comfortably placed in either camp. This is not an easy album to listen to, but persevere and you may or may not be able to decipher its meaning. "Rarely has an album so consistently made me question what the actual fuck is going on," is how the Wire magazine described Hastings Of Malawi's first album Vibrant Stapler Obscures Characteristic Growth and the second album makes things no clearer. If you are a fan of the tedious, peurile, repetitive beats that populate the insipid sonic environment that is popular music today, you probably won't like this album. Assembled with no regard for musical convention, Hastings Of Malawi follow their own rules and have created another fascinating journey into their world which makes it no easier to understand our world. Apparently, the Chinese voice that starts the second side of the album translates as "the deaf mutes have so many intimate words they want to share with you" and this perhaps sums up what Hastings Of Malawi are trying to do with Visceral Underskinnings. Another musique concrète jewel created with the same peculiar, disjointed, uncommercial, and totally original Hastings Of Malawi aesthetic. Limited edition yellow vinyl.
BRUNO SPOERRI / MASSONIX - Hommage Au Fromage / Hollingsville (Disposable Music DIM 007; UK) The ongoing Disposable Music library subscription series is a series which pools some of the best emotive, comprehensive, previously unavailable instrumental music from the unmarked archives of experimental artists within the expanding Finders Keepers family and presents it as a series of limited uniformed archival vinyl discs. With unlimited entry to the archives belonging to names like Ciani, Spoerri, Rollin, Epple, Korzynski, and Massey, Disposable Music have taken the best in unadulterated, underexposed and unattached mood music and given these homeless compositions a place, purpose and time to thrive. Hommage Au Frommage is perhaps one of the best titles to have ever been in a dusty box of a quarter inch tape reel. However, without a crumb of irony the music that appears on this session also ranks highly in Finders Keepers list of archival triumphs. An early '70s conceptual jazz pop album combining dulcimers, harps, a Jew's harp and what sounds like a tap dancer instantly earns itself its own protective niche shared only by certain vintage recordings by Vladimir Cosma and The Roundtable -- but when accentuated by a heavy weight back beat and the added information that it was commissioned by the national Swiss Cheese Consortium this record commands further inspection and repeat listens. Starting with all the traits of a moody Morricone or Bruno Nicolai giallo soundtrack and breaking into a healthy cross section of modal jazz, tape manipulation, electronic grinds, Brazilian accordion, and (dare it be said) b-boy break beats, Hommage Au Frommage by Swiss electronic jazz pioneer Bruno Spoerri is a record quite unlike anything else. The music found on Graham Massey's Hollingsville record was originally created for a twelve-part radio series on Resonance 104.4 FM. The series, Hollingsville, was conceived and presented by writer Ken Hollings and would focus each week on a different aspect of man's historical relationship with technology. Informal discussions with a series of specially invited guests were accompanied by custom-built theme tunes by Massey, His approach was intentionally leaning toward the Bakelite and hot valve nostalgia of some forgotten Expo or World's Fair. The resulting Hollingsville soundtrack exercises Massey's authentic knowledge of original analog machines in their rawest form and triumphantly draws comparisons with the likes of Henk Badings, Oscar Sala, and Kid Balton from the pre-synth era of electric keyboards and tape manipulation. "Neptune" features Seaming To. 2013 release. Warehouse find.
ENNIO MORRICONE - Drammi Gotici (Rustblade RBL 020; Italy) "One of Ennio Morricone's most obscure soundtracks -- limited colored vinyl 499 copies. Drammi Gotici represents the true vanguard and experimentation that the Maestro has created for this soundtrack. Strident violins, terrifying vocalizations and disquieting choirs accompany you in a hallucinating trip into terror. One of the most important, obscure and experimental compositional apexes of Maestro Morricone, for sure. You cannot miss this limited release. for the first time on vinyl (499 copies only!) Painting cover By Lola Airaghi." Release date: 4/20/18
JEAN DUBUFFET - Musical Experiences (EtatsUnis 006; USA) "The legendary French painter and sculptor Jean Dubuffet exalted naivety and spontaneity in visual art, and his brazenly experimental recordings on Musical Experiences evince the same spirit through sound. He once reflected, 'Certain unexpected windfalls ... come of improvising on an instrument one doesn't really know how to use.' Dubuffet, who famously founded the art brut (or outsider art) movement, began making music in the early 1960s with avant-garde figure Asger Jorn. With no training, they played a range of instruments: saxophone, bassoon, detuned piano, hurdy-gurdy, cabrette, bombarde and so on. Soon, Dubuffet reserved a room in his home for making music and bought two tape-recorders in order to manually edit the results. He wrote fondly of the recordings' crudeness and the sense that they 'had no beginning and no end but were simply extracts taken haphazardly from a ceaseless and ever-flowing score.' Dubuffet's discography begins in 1961 with the release Expériences Musicales, a six 10-inch record set produced in an edition of fifty with original artwork and lithographed sleeves. Musical Experiences, compiled by composer Ilhan Mimaroglu and released in 1973 on his Finnadar imprint, collects eight of the twenty pieces on the much sought-after Expériences Musicales. First-time vinyl reissue. Limited edition of 500 numbered copies on clear vinyl."
JOHN DUNCAN - Organic (Etats-Unis 009; USA) "The inter-disciplinary maverick John Duncan emerged in 1970s Los Angeles as a confrontational performance artist and, as the decade progressed, aligned himself with the experimental-music collective Los Angeles Free Music Society. His sound art appeared on various self-released cassettes and alongside artists such as Jim Pomeroy and Yoshi Wada on the Los Angeles Institute of Contemporary Art's influential compilation Sound. Duncan's debut album, Organic, released in a tiny edition on the artist's own AQM imprint in 1979 and distributed through LAFMS, collects some of his earliest and most absorbing noise experiments. Recorded live, Organic is composed of two sidelong pieces: 'Broken Promise,' a patient, murky dirge featuring Duncan on tape and percussion, plus Michael Le Donne-Bhennet on bassoon; and 'Gala,' a kinetic, durational percussion piece featuring Duncan alone. The meditations on texture and unpredictability, realized with unconventional and found sounds, anticipate his later work with shortwave radio. First-time standalone reissue. Limited edition of 500 numbered copies on clear vinyl."
APICHATPONG WEERASETHAKUL - Metaphors: Selected Soundworks from the Cinema of Apichatpong Weerasethakul (Sub Rosa 448; Belgium) Includes color insert. Apichatpong Weerasethakul is recognized as one of the most original voices in contemporary cinema today. His seven feature films, short films, and installations have won him widespread international recognition and numerous awards, including the Cannes Palme d'Or in 2010 with Uncle Boonmee Who Can Recall His Past Lives. The compilation album Metaphors contains 14 sound works carefully selected from his past cinema and other visual works since 2003, which includes Uncle Boonmee Who Can Recall His Past Lives, Syndromes and a Century (2006), Fever Room (2016), and more. Weerasethakul has regularly worked with the same sound designers since 2003 and has always given importance to the personality of on-location sounds that give his films a sense of continuity. In post-production, he's fascinated by the manipulation of these "live" sounds in order to express "reality". This reality doesn't necessary represent the actual sound of the places, it's more of a representation of the world in layered memories. Similar to the way he treats images, Apichatpong sometimes calls attention to the physicality and the fragility of the audio (and its apparatus) and to the process of audio manipulation itself. In his cinema, Apichatpong prefers natural sound sources over music. Nevertheless, he often boldly incorporates popular songs that were persistent during the shooting. He doesn't shy away from using tunes that relate to his own personal memories. In this sense, Apichatpong values the spirit of authenticity much more than rigid manipulation of audio and weaves a complex and dreamlike soundscape in his cinematic repertoire. Born in Bangkok, Apichatpong grew up in Khon Kaen in north-eastern Thailand. He began making films and video shorts in 1994 and completed his first feature in 2000. He has also mounted exhibitions and installations in many countries since 1998 and is now recognized as a major international visual artist. His art prizes include the Sharjah Biennial Prize (2013) and the prestigious Prince Claus Award (2016). Lyrical and often fascinatingly mysterious, his film works are non-linear, dealing with memory and in subtle ways invoking personal politics and social issues. Metaphors is compiled by sound designers Akritchalerm Kalayanamitr and Koichi Shimizu.
2 LP Set $25
ERKIN KORAY - Arap Saci (Pharaway Sounds 008; Spain) Double LP version. Master of the fuzz saz, Turkey's answer to Eric Clapton brings his burly axe attacks to the snaky folk melodies of Anatolia. Long-proven to cause just the brain-rot you're looking for, here's a Koray collection of tracks taken from singles and LPs for your acid-drenched pleasure. The guitar slinger who was once stabbed for wearing his hair too long around the streets of Istanbul interweaves melodies as old as the ruins of Ephesus with the riffs of Black Sabbath and his own souped-up bağlama. Find out why they call him Erkin Baba. Originally released in 1976. Includes a booklet containing extensive liner notes.
2 LP Set $34
BARIS MANCO - Sakla Samani Gelir Zamani (Guerssen Records 112; Spain) In 1976, Barış Manço released his third album, which was actually also a compilation of songs previously released on 45s, as happened with his debut. For this LP release, and basically because of contractual reasons, Guerssen are presenting this compilation to you with a few changes: two of the original songs are not there, and instead they have added four new ones. So, what we get here is a scorchin' collection of funky psychedelics done the Turkish way that will knock you out. Big Barış beats them all, the King of Anadolu Pop. Remastered sound. Includes an insert with liner notes and photos. Pressed on 180 gram vinyl.
BARIS MANCO - Yeni Bir Gun (Guerssen Records 119; Spain) The late '70s found Turkey in an economic slump, and there was a huge rise in political violence. Bariş, who so often put out collections of singles, rose to the occasion by spending six months holed up with his long-time backing band the Kurtalan Ekspres. The result was this studio album of Anatolian bummer psychedelia, often unfairly overlooked because it came out in the rather un-cosmic year of 1979, but also considered his best work by many. Yep, there are still electrified versions of Turkish folk songs, and the spaceshot ARPs and Korgs of 2023 (GUESS 038CD/106LP) are here too, but don't expect a happy swing around the ceiling of a planetarium. The real star of the album is the keyboard player, whose name translates to "Sword Agent." Yeni Bir Gun is viciously funky and brilliantly arranged, with tidbits stolen out of the latest disco hits, and lean, mean synthesizers that emerge from the beats like carbonated bubbles. First time ever reissue, this release comes in the same gorgeous gatefold cover as the original, has a repro of the original poster as well, and includes an extra insert with extensive liner notes.
LP $26 / CD $17
THE FUNKEES - Dancing Time: The Best of Eastern Nigeria's Afro Rock Exponents 1973-77 (Soundway 039; UK) Repressed, originally released in 2012. Gatefold double-LP version; 180 gram vinyl. Dancing Time: The Best Of Eastern Nigeria's Afro Rock Exponents 1973-77 by The Funkees is the latest title on Soundway to mine the rich musical output of '60s and '70s Nigeria. For the five-year period this compilation spans, The Funkees' output crackled with dancefloor fire. Having featured on three of Soundway's most popular titles, across the definitive Nigeria Special compilation series, Soundway felt The Funkees' output deserved closer inspection. Presented here are 18 slices of funky Afro-rock grooves, hand-picked by Soundway's Miles Cleret from a selection of the band's 45s and two full-lengths. In the early 1970s, The Funkees were the #1 east Nigerian band and the only outfit to seriously challenge the popular Lagos-based rock combos MonoMono and BLO. It wasn't long before promoters in the UK came calling and The Funkees packed up their instruments and moved to London, where they quickly established a fierce reputation on the live circuit. Here, they recorded two seminal albums before finally breaking up in 1977 amidst some controversy. This collection features for the first time all of their Nigerian 45s alongside the best of their UK album material and is accompanied by a full interview with original member Sonny Akpan, who still lives in the capital.
2 LP Set $30
Bruce Lee Gallanter’s Recommended Gig List for March & April of 2018:
THE STONE RESIDENCIES - TOMAS FUJIWARA - APR 10–14
8:30 pm - Double Double - Bill Frisell, Mary Halvorson (guitars) Kendrick Scott (drums) Tomas Fujiwara (drums)
830 pm - Triple Double - Ralph Alessi (trumpet) Taylor Ho Bynum (cornet) Mary Halvorson (guitar) Ava Mendoza (guitar) Tom Rainey (drums) Tomas Fujiwara
THE STONE RESIDENCIES - DAVID BUCHBINDER - APR 17–21
8:30 pm - East - David Buchbinder (trumpet, flugelhorn) Michael Winograd (clarinet) Zoe Guigeno (bass)
8:30 pm - La Mer - David Buchbinder (trumpet, flugelhorn) Megan Gould (violin) Yoshie Fruchter (guitar, oud) Fima Ephron (bass) Philip Mayer (percussion)
8:30 pm - dBE I - David Buchbinder (trumpet, flugelhorn) Quinsin Nachoff (tenor sax, clarinet) Dave Restivo (piano) Mike Herrisey (bass) Richie Barshay (drums)
8:30 pm - Duo - David Buchbinder (trumpet, flugelhorn) Dave Restivo (piano) and special guests
8:30 pm - dBE II - David Buchbinder (trumpet, flugelhorn) Marty Ehrlich (reeds) Mario Forte (violin) Tomas Ulrich (cello) Dave Restivo (piano) Mike Herrisey (bass) Anthony Lewis (drums)
THE (NEW) STONE is located in The New School’s Glass Box Theatre
55 West 13th street - near 6th ave
All Sets at The New Stone start at 8:30pm Tickets: $20
There are no refreshments or merchandise at The Stone.
Only music. All ages are welcome.
Cash Only at the door. 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 Apr 13
6:00PM COLE DAVIS 3 - Cole Davis, bassist; Lex Korten, piano; Jongkuk Kim, drums; Vaughn Stoffey, guitar Cole Davis 3 image
8:30PM CIPHER DUO - Justin Aronson, voice; Sarah Goldfeather, violin, voice
10:00PM PASCAL LE BOEUF WITH STRINGS - Pascal Le Boeuf, piano, comp.; Sarah Goldfeather, violin; Andie Tanning Springer, violin; Jessica Meyer, viola; Dave Eggar, cello
Saturday Apr 14
8:35PM SARA SERPA TRIO, CD RELEASE: CLOSE UP - Sara Serpa, voice; Ingrid Laubrock, saxophones; Erik Friedlander, cello
Sunday Apr 15
8:01PM NEW BRAZILIAN PERSPECTIVES: HELIO ALVES QUARTET - Helio Alves, piano; tba, guitar; Edward Perez, bass; Alex Kautz, drums
Tuesday Apr 17
8:00PM DAN MCCARTHY QUARTET - Dan McCarthy, vibraphone; Randy Ingram, piano; Michael Bates, bass; Owen Howard, drums
9:30PM PABLO MASIS QUARTET - Pablo Masis, trumpet; David Juarez, guitar; Perrin Grace, bass; Eric Reeves, drums
Wed April 18:
8:01PM ANDREW HADRO, CD RELEASE: FOR US, THE LIVING - Ingrid Jensen, trumpet; Andrew Hadro, sax; Julian Shore, piano; Rogerio Boccato, percussion
Thursday Apr 19
8:00PM PETER SLAVOV QUARTET - Matt Marantz, saxophone; Nitzan Gavrieli, piano; Peter Slavov, bass; Colin Stranahan, drums
Peter Slavov Quartet image
9:30PM TOM GUARNA - Tom Guarna, guitar; Jon Cowherd , piano; Orlando Le Fleming, bass; Nate Smith, drums
Friday Apr 20
6:00PM THE PARHELION TRIO PRESENTS: ORBITS AND TRUMPET/CELLO - Sarah Carrier, flute; Ashleé Miller, clarinet; Nolan Tsang, trumpet; Jillian Blythe, cello
8:35PM DAVE KIKOSKI TRIO - Dave Kikoski, piano; Alex Claffy, bass; Colin Stranahan, drums
Saturday Apr 21
8:35PM IGOR LUMPERT & INNERTEXTURES - Greg Ward, alto sax; Igor Lumpert, tenor sax; Chris Tordini, bass; Kenny Grohowski, drums
Sunday Apr 22
8:00PM MATT DAVIS QUARTET - Matt Davis, guitar; Paul Jones, sax; Leon Boykins, bass; Peter Kronrief, drums
9:30PM BIXLER, COWHERD, SELICK, BOCCATO - David Bixler, alto sax; Robert Rodriguez, piano; Luke Selick, bass; Rogerio Boccato, percussion
Saturday, April 14th 8:30 PM $15 Suggested Donation
Aram Shelton (sax)
Harald Berg (drums).
Aram Shelton (sax)
Harald Berg (drums)
Jaimie Branch (trumpet)
Michael Coleman (keyboards)
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.
CISCO BRADLEY Presents:
At JACK - 505 Waverly Avenue, Brooklyn, near A/C/G trains
8 pm -- Don Dietrich & Camille Dietrich
9 pm -- Mike Pride Solo
8 pm -- Shayna Dulberger Solo
9 pm -- Samantha Riott with Michael Foster
Sponsored, in part, by New Revolution Arts.
Downstairs @ Bushwick Public House
1288 Myrtle Avenue , Bushwick
(Across the street from M train Central Ave stop)
Monday April 16th
7pm Aaron Rubinstein - guitar Ingrid Laubrock - alto saxophones Raf Vertessen- drums
8pm Stephen Gauci - tenor saxophone
Sandy Ewen - guitar/electronics
Adam Lane - bass Kevin Shea - drums
9pm Hampus Ohman-Frolund - drums Anders Nilsson - guitar Aaron Dugan - guitar
9:30pm Nick Lyons Quartet
10:30pm Hery Paz - tenor saxophone
Kenneth Jimenez - bass
Satoshi Takeishi - drums
11:15pm Welf Dorr - alto saxophone Aron Namenwirth - guitar Zach Swanson - bass John Loggia - drums
Monday April 23rd
7pm Dore Kalmar Quartet
8pm Stephen Gauci - tenor saxophone
Sandy Ewen - guitar/electronics
Adam Lane - bass Kevin Shea - drums
9pm Sandy Ewen - guitar Matteo Liberatore - guitar Mystery Guest Guitarist
9:30pm Jason Mears - saxophones Quentin Tolimieri - electric piano Ken Filiano - bass Andrew Drury - drums
10:30pm Adam Caine - guitar
Bob Lanzetti - guitar Adam Lane - bass Billy Mintz - drums
11:15pm Spencer Friedman - guitar/electronics Ryan Shreves - synthesizer/electronics