The World of Wonders Continues to Expand
With New Sonic Adventures throughout Our Great Land
The More We Seek, The More We will Find
So Keep Your Eye and Ear on the DMG Newsletter
It is the Only One of Its Kind
Which Features Dozens of Treasures Every Week…
From these Musicians & Magicians:
Rova/Orkestrova Tribute to Butch Morris! Andrew Cyrille QT: Bill Frisell/Richard Teitlebaum/Ben Street! Jonathan Finlayson & Sicilian Defense: Miles Okazaki/Matt Mitchell/John Hebert/Carl Weinrib! Duck Baker Trio: Alex Ward & John Edwards! Omar Tamez/Angelica Sanchez Qt! 2 from Frank Zappa (Legit) Road Tapes Venue #2 + 200 Motels DVD!
Plus Rare Restocks & Reissues from Don Cherry! Cecil Taylor! Michael Mantler & Jazz Composers Orchestra! Butch Morris Conduction # 70! Tim Berne & Hank Roberts! Cosmosamatics! Vinny Golia Quintet! Ran Blake Solo! Steve Lacy & Michael Smith! And a Healthy Dose of LP-Only Items!
The DMG FREE Weekly In-Store Concert Series Continues With:
Sunday, October 9th:
6pm: T A TRIO Plays STEVE LACY: TITUS ABBOTT - Soprano Sax / NICOLAS LETMAN-BURTINOVIC - Bass / PETER KRONREIF - Drums
Rare Thursday, October 13th:
6:30pm: NATE WOOLEY / JEREMIAH CYMERMAN - Trumpet / Clarinet Duo
Plus LOGAN HONE - Solo Alto Sax & Bass Clarinet
Sunday, October 16th Double-Header:
6pm: HARVEY VALDES / MARCO OPPEDISANO / DARIO ISCARO - 3 Guitarists
7pm: JEREMY CARLSTEDT / ANDERS NILSSON / FRANCOIS GRILLOT
Sunday, October 23rd Double-Header:
6pm: THOMAS HELTON / TONY MALABY / JOE HERTENSTEIN
7pm: DAMON SMITH & NICOLAS LETMAN-BURTINOVIC Contrabass Duo
DMG is located at 13 Monroe St. (between Catherine & Market Sts) in a basement below a former Buddhist temple & beauty salon. Take the F train to East Broadway or the 6 train to Canal or the B or D to Grand, or the M-15 bus to Madison & Catherine. Come on Down, the Sunday Music Series is Always Free & the Vibes are Cosy
ROVA / ORKESTROVA - No Favorites! (For Lawrence “Butch“ Morris) (New World Records 80782; USA) Featuring: Rova Sax Quartet: Bruce Ackley; soprano sax; Steve Adams, alto sax; Larry Ochs, tenor sax; Jon Raskin, baritone sax + Tara Flandreau, viola; Christina Stanley, violin; Alex Kelly, cello; Scott Walton, acoustic bass; John Shiurba, electric guitar; Jason Hoopes, electric bass; Jordan Glenn, drums; Gino Robair, conduction.
“‘No Favorites‘ pays homage to one of the most original creators in improvised music, Lawrence “Butch” Morris (1947–2013), inventor of Conduction, a method for organizing large-ensemble improvisation that he took to the world. The program represents a working relationship that Rova began with Morris in 1988 and also reflects parallel working processes reaching back to the mid-1970s.
Rova do more than simply pay tribute. The quartet’s members build on their own work in structured improvisation, incorporate other methods of organization—from graphic scores to conventional notation—and expand their palette from the saxophone quartet to include a string quartet and an electric power trio. Extending the possibilities of large-ensemble improvisation, the combined groups create music of both depth and an ever changing surface, the fruit of both intense commitment and a highly creative, heterodox methodology. Like previous Rova expansions, it achieves complex music that both requires and rewards active listening.
Each of the three extended pieces here includes a high degree of improvisation while embodying different compositional principles, the first and third (Nothing Stopped / But a Future and Contours of the Glass Head) employing conduction, the second graphic notation and simultaneity.”
I’ve caught dozens of conductions from the late Butch Morris over more than three decades, each one different and often fascinating in its own way. Mr. Morris had a number of residencies at different clubs on the lower east side in the past decade, as well as workshops in different countries. This allowed him to work with certain musicians at length and over periods time, which often allowed certain ensembles to evolve and get better. I have also seen Rova play more than a dozen times since the early eighties and have watched them progress as well. They have also been using hand signals/conduction techniques for nearly as long as Mr. Morris. At a first listen/glance this music sounds free, but the more closely I listen the more I hear several connected layers of complex tapestry. The results on this disc are extraordinary, the balance or blend of different ideas and/or personalities is something to marvel at. Butch Morris’ first conduction took place at the Kitchen in 1985, when it was released as an album, it was entitled, ‘Current Trends in Racism in Modern America’. That title was as appropriate and thought-provoking then as it is today. Long live Lawrence Butch Morris and those who continue to embrace his vision and spirit! - Bruce Lee Gallanter, DMG
ANDREW CYRILLE QUARTET With BILL FRISELL / RICHARD TEITELBAUM / BEN STREET - The Declaration of Musical Independence (ECM ; Germany) The great avant-jazz drummer Andrew Cyrille – whose associations have ranged from a long, vintage collaboration with Cecil Taylor to co-leading current all-star collective Trio 3 with Oliver Lake and Reggie Workman – makes his ECM leader debut with The Declaration of Musical Independence. Featuring a quartet with guitar luminary Bill Frisell, keyboardist Richard Teitelbaum and bassist Ben Street, the album kicks off with an artfully oblique interpretation of John Coltrane’s “Coltrane Time,” led by Cyrille’s solo drum intro. The disc then features a sequence of sonically arresting originals, including Street’s luminous “Say…” and Frisell’s deeply felt “Kaddish” and “Song for Andrew,” with Frisell’s guitar alternately cutting and billowing, the edge evoking some of his most illustrious past ECM performances. There are three atmospheric spontaneous compositions by the band – including the dynamic soundscape “Dazzling (Perchordally Yours)” - that highlight Cyrille’s individual sense of percussive drama. Cyrille appeared on classic ECM and WATT LPs by the likes of Marion Brown, Carla Bley and the Jazz Composer’s Orchestra, but this album puts a deserved spotlight on an icon of jazz drumming.
JONATHAN FINLAYSON & SICILIAN DEFENSE With MILES OKAZAKI/MATT MITCHELL/JOHN HEBERT/CRAIG WEINRIB - Moving Still (Pi Recordings 67; USA) “If the title of trumpeter-composer Jonathan Finlayson's sophomore outing doesn't fully express his keenness in balancing conceptual grounding and rigor with fly-to-the-outer-limits expressiveness, the music certainly does. Moving Still—the highly anticipated follow up to ‘Moment And The Message} (Pi Recordings, 2013), finds Finlayson doing what he does best: offsetting intricate lines and latticework with episodes of openness, tweaking thoughts in real time, and slicing through his own architectural creations to penetrating effect. It's a work of grand design and artistic authority, completely in keeping with his debut yet a sizeable step beyond it.
The latest incarnation of Sicilian Defense—Finlayson's chess-inspired band—almost wipes the slate clean in terms of returning personnel. Guitarist Miles Okazaki is the only holdover from Moment And The Message. The newcomers—pianist Matt Mitchell, bassist John Hébert, and drummer Craig Weinrib—bring a fresh viewpoint to Finlayson's canvases without altering his general outlook or compositional voice. All three have plenty of experience treading, swimming, and churning in deep waters, so it's not really surprising that they fit in so well here. All five of these musicians make the most out of these experiences, whether soloing, acting as a cog in the wheel, or throwing an artfully-aimed wrench in the gears.
While Finlayson clearly has his own sound, which manifests itself through his horn and his band, there's no one-size-fits-all method to his music. In one instance, an African influenced idea may usher in the slow unfurling of a dark meditation ("Between Moves"); in another, a pure-hearted melody with an unconventional substructure serves as the soloists guide and leads everybody down a path that ends at a whirlpool of thought and action ("Folk Song"); and in a third, three voices build one moving line, as Finlayson, Okazaki, and Mitchell show their quick reflexes and chemistry ("Flank And Center").
With Jonathan Finlayson, you know that you don't know what you're going to get. That's just part of the magic here. Moving Still is simply astounding. It's action, reaction, deliberation, and impulse rolled into one.” - Dan Bilawsky, All About Jazz
DUCK BAKER TRIO [With ALEX WARD/JOHN EDWARDS] - Deja Vouty (Fulica Records 101; UK) Featuring Duck Baker on acoustic guitar, Alex Ward on clarinet and John Edwards on contrabass. I caught two sets by acoustic guitar wizard Duck Baker earlier this week (10/3/16) and was blown away by his playing, mixing standards by Herbie Nichols, Thelonius Monk, Duke Ellington and Bill Strayhorn with his equally demanding originals. I have not heard anyone play jazz on acoustic guitar as well or as refreshingly thoughtful as Mr. Baker in many years.
This is the third disc by Duck Baker’s trio, which has been together for a decade while Duck has been living in England. The ever-amazing clarinetist Alex Ward remains while bass duties have switched to John Edwards, one of the most in demand bassists in the UK today: Evan Parker, Peter Brotzmann, Paul Dunmall and Louis Moholo, to name a few collaborators. Mr. Baker composed all of the songs here although many were influenced by a variety of bebop songs as well as standards by Hank Mobley, Benny Carter and Ellington & Strayhorn. What is interesting here is that all of these songs sound like jazz standards, familiar and uplifting sounding. Although clarinetist Alex ward is still relatively young (born 1974), he often sounds as if he has studied the entire history of jazz clarinet. Both Alex and Duck show are exemplary players, balancing lyricism, complexities, warm and tasteful with surprising twists and turns. Bassist John Edwards is also superb, holding down the center with both rhythm team parts under his fingers: buoyant, swinging, often effervescent with the occasional inspired solo as another highlight. I often found myself snapping my fingers to this music, making me feel better do to the groove or vibe. This music is often deceptive and sounds effortless at times. There is a great deal of inventiveness going on both in the interplay and exceptional solos by all three members of the trio. A refreshing breath of cool air on a hot day is the only I can compare it to. Quite exceptional and somehow quaint in its own way. - Bruce Lee Gallanter, DMG
Back in stock in limited quantities:
DUCK BAKER - Everything that Rises Must Converge (Mighty Quinn 1117; USA) From 2009; I caught acoustic finger-style guitar master Duck Baker playing solo at The Stone earlier in July 0f 2009 and he continues to astound me. Besides the fact the Duck has worked his way through playing the music of Thelonius Monk & Herbie Nichols, which is no easy feat, he is also a jazz historian and journalist. He also has his own style and approach to this acoustic guitar which blends the older jazz styles with freer elements to come up with something fresh and fascinating. With more than a dozen releases under his belt, Duck has been threatening to release a "free jazz" disc for many years and has finally done just that. - BLG
DUCK BAKER TRIO With ALEX WARD / JOE WILLIAMSON - Amnesia in Transverse (Les Cousins 014; UK) From 2011; Featuring Duck Baker on acoustic guitar, Alex Ward on clarinet and Joe Williamson on bass. As a longtime fan of fingerstyle guitarist Duck Baker, I can appreciate the fact that Duck embraces a variety of styles, genres and situations, putting a his own spin on the connection between tradition and free expression. Each of Duck's discs are different and often surprising. I often think that I know what to expect but then there is something lurking below the surface that takes a bit searching to expose. This is the second disc from Mr. Baker's London-based trio with Alex Ward on clarinet and Joe Williamson on bass. Alex Ward is another character who moves in mysterious ways playing with a diverse cast like Derek Bailey, Lol Coxhill, Simon Fell & Joe Morris. I recall bassist Joe Williamson from his time with Kletka Red, although he has since done many sessions with Tobias Delius, Eddie Prevost and is a member of Trapist. Duck wrote all but one of these songs here. "Opening the Eyes of Love" opens this disc with a lovely, laid back melody that I could easily whistle along to. "Ode to Jo" swings furiously and has a some superb solos for the clarinet and guitar. Each melody that Duck has written here is a memorable one, making me want to go back again until I could recall each of the gems he has presented. The one cover is Monk's classic "Jackie-Ing" which sounds like an especially smart choice since both Duck and Alex capture the angularity and playfulness perfectly. I love the way the trio strips these songs down to their barest essentials, never wasting a note. The conciseness of the playing makes this an especially pleasurable experience all the way through. Alex Ward, who is at least a generation younger than Mr. Baker, swings his tush off on each and every solo, sounding righteous and wise beyond his years. With no drummer in sight, Mr. Williamson also does a splendid of providing all of the rhythm section support from the center of the trio. For those who can appreciate a more inside yet no less inventive date from a great acoustic trio that sounds like no one else. - Bruce Lee Gallanter, Downtown Music Gallery
DUCK BAKER TRIO With ALEX WARD / JOE WILLIAMSON - The Waltz Lesson (Les Cousins 011; UK) From 2009; Featuring Duck Baker on acoustic guitar, Alex Ward on clarinet and Joe Williamson on bass. Duck Baker is often considered to be a favorite of other great guitarists since Duck's playing is so strong, distinctive and wide-ranging. There are few guitarists with his grasp of jazz's long and thorny history, hence his playing draws from the early swing, blues and ragtime players through Monk & Herbie Nichols to the free zone of the sixties and beyond. Duck plays exclusively acoustic and mostly finger-style guitar. The majority of his recordings are either solo or occasionally duo efforts. After living in the Bay area, Duck moved to England where is still based, hence working with clarinetist Alex Ward. We know Alex Ward from his fine work with Derek Bailey, Joe Morris and Tony Bevin. Bassist Joe Williamson has worked with an equally diverse cast of players like Alex von Schlippenbach, Han Bennink, Tristan Honsinger and Kletka Red. For this disc, the trio plays eight originals by Duck Baker and two covers, John Coltrane's "Mr. Syms" and a song called "Sweet & Lovely". The opening piece, "Waltz with Mary's Smile" is a pure delight with a lovely melody played sublimely by the trio. What is interesting is hearing Alex Ward who is a gifted improviser and a master of outside clarinet play so melodically here. Both Alex's and Duck's solos are superb. To me, Duck's songs sound like standards with memorable melodies, yet are rarely as simple as they sound. Alex's swell clarinet on "Friday" sounds so gleeful, it is as if his clarinet is laughing. Trane's "Mr. Syms" has a sly, bluesy theme that is just rings true in its own exquisite way. Everything about this trio is just right, they swing they asses off and every solo is inspired and crafty. "Left & Me" recalls in a scene in an old silent movie where someone is sitting and waiting for an olden style haircut from a barber. Duck's music seems to dig into a variety of older styles with a refreshingly positive outlook to each song. Nice to hear some music that is endlessly inventive without being really avant-garde. - Bruce Lee Gallanter, Downtown Music Gallery
OMAR TAMEZ With ANGELICA SANCHEZ / PETER MACK / HARVEY SORGEN - From the Heart (Self-released; USA) Personnel: Omar Tamez on electric & acoustic guitars, cuica, mbira & percussion, Angelica Sanchez on piano, Peter Mack on bass and Harvey Sorgen on drums. Over the past few years Mexican guitarist Omar Tamez has played here at DMG a half dozen times, often in duos or trios with Angelica Sanchez. Mr. Tamez always leaves us with a new CD or two whenever he plays here, often with varying personnel. While all of the in-store gigs and many of his won discs have been mainly free in form, Tamez organized a fine quartet to play select standards and a few originals. While I wasn‘t familiar with the bassist, Peter Mack before now, I do know drummer Harvey Sorgen very well from his lengthy work with Joe Fonda & Michael J Stevens, as well as being a member of the reunited Hot Tuna. The cover songs here are a varied bunch: Charles Mingus, Ron Carter, Charlie Haden and Carla Bley.
Commencing with Mingus’s “Nostalgia in Times Square”, the groove is just right, swinging elegantly with a superb solo from Mr. Tamez. The quartet play an eloquent version of Ron Carter’s “Little Waltz”, laid back, bluesy, sublime with a fine solos from bassist Peter Mack and Ms. Sanchez on piano. There is something magical going on during an original called “Caramuela from the Heart”, the mbira (thumb piano), drums & guitar create this dream-like haze which cast a spell over all who listen. Another sublime gem is Charlie Haden’s “For Turiya” which was written for Alice Coltrane. Once again, the vibe is exquisite, like viewing an enchanting apparition at the bottom of the sea. Mr. Tamez closes out this disc with a cover of a rarely heard song by Carla Bley, “Utviklingssang”, which means “development song” in Norwegian. This version is especially stark, solemn to the point of a hushed reverie, as if we are waiting for the grand conclusion to take place but the view fades to black and leaves us hanging. Omar Tamez does a splendid job of a series creating moods without ever playing too many notes so that each one counts. Calm down and float on his raft is a an ocean of haunted dreamscapes. - Bruce Lee Gallanter, DMG
FRANK ZAPPA - Road Tapes, Venue #2 (Zappa Records 20131; USA) Road Tapes, Venue #2 takes us back to August '73 in Helsinki, Finland. The performances, compiled from 3 shows at Finlandia Hall, are recorded by engineer Kerry McNabb while on his first tour with FZ. There are songs from three concerts, all of them held in August 1973. This collection, with a duration of more than two hours, gives the experience of a full concert. This band consists of a lineup that is often regarded as one of FZ's finest. It featured Frank Zappa (guitar & vocals), Jean-Luc Ponty (el. violin), Ian Underwood (woodwinds & synth), Bruce Fowler (trombone), George Duke (keyboards & vocals), Ruth Underwood (percussion), Tom Fowler (el. bass) and Ralph Humphrey (drums). Out of the dozen or so Frank Zappa/Mothers of Invention gigs that I attended, this was the best Zappa band I heard live… ever! This is an official release so those bean-checkers can kiss my tush! - BLG
2 CD Set $25
FRANK ZAPPA - 200 Motels (Allied/MGM 29664; USA) Frank Zappa's '200 Motels' is a cult classic. The story, scattered with performances by Mothers of Invention and the Royal Symphony Orchestra, is a twisted yet accurate and hilarious tale of life on the road for touring musicians. Originally shot on video and restored here, '200 Motels' is a surrealistic nonstop visual extravaganza starring Frank Zappa and the Mothers, Ringo Starr, Who drummer Keith Moon and Theodore Bikel. I caught this film tripping with some close friends from college, Ed O’Donnell & Mike Rice, way back when and have never fully recovered from this fantastic, bizarre and ridiculous experience/masterwork. - BLG
DVD $15 (final sale copies have just arrived)
Hard to Find Copies of Rarities and/or Limited Quantity Discs Recently Found:
DON CHERRY With FRANK LOWE/CHARLIE HADEN/HAKIM JAMI/BILLY HIGGINS/ et al - Brown Rice (A&M 397001; EEC) Super-classic recording from '76 with Billy Higgins, Charlie Haden, Frank Lowe, Hakim Jamil [aka Hakim Jami], and Ricky Cherry and Moki. CD reissue of this 1975 album from jazz trumpeter Don Cherry, originally titled Don Cherry. Certainly one of his best releases during the '70s, Brown Rice is an album that takes the tripped-out spacey jazz sound he was working on, and adds some nice electric moments, with occasional slight touches of funkiness. It has a cool vibe and a tightness that only adds more to his great playing. "If Eternal Rhythm was Don Cherry's world fusion masterpiece of the '60s, then Brown Rice is its equivalent for the '70s. But where Eternal Rhythm set global influences in a free jazz framework, Brown Rice's core sound is substantially different, wedding Indian, African, and Arabic music to Miles Davis' electrified jazz-rock innovations. And although purists will likely react here the same way they did to post-Bitches Brew Davis, Brown Rice is a stunning success by any other standard. By turns hypnotic and exhilarating, the record sounds utterly otherworldly: the polyrhythmic grooves are deep and driving, the soloing spiritual and free, and the plentiful recording effects trippy and mysterious. The various ethnic influences lift the album's already mystical atmosphere to a whole new plane, plus Cherry adds mostly non-English vocals on three of the four tracks, whispering cryptic incantations that make the pieces resemble rituals of some alien shaman. The title cut has since become an acid jazz/rare-groove classic, filtering Charlie Haden's acoustic bass through a wah-wah pedal and melding it with psychedelic electric piano riffs, electric bongos, wordless female vocals, short snippets of tenor saxophonist Frank Lowe's free jazz screeching, and, of course, Cherry's whispers and trumpet. Closer "Degi-Degi" works a similarly mind-bending mixture, but the middle two pieces ("Malkauns" and "Chenrezig") are lengthy explorations where Cherry's languid trumpet solos echo off into infinity. Of all his world fusion efforts, Brown Rice is the most accessible entry point into Cherry's borderless ideal, jelling into a personal, unique, and seamless vision that's at once primitive and futuristic in the best possible senses of both words. While Cherry would record a great deal of fine work in the years to come, he would never quite reach this level of wild invention again." - Steven Huey, AMG /“4000 Thumbs UP!" - MannyLunch
DON CHERRY With PHAROAH SANDERS/GATO BARBIERI/HENRY GRIMES/ED BLACKWELL/ et al - Symphony of the Improvisors (Blue Note 63823; USA) RVG series; “For his second album, Symphony for Improvisers, Don Cherry expanded his Complete Communion quartet - tenor saxophonist Gato Barbieri, bassist Henry Grimes, and drummer Ed Blackwell -- to a septet, adding vibraphonist Karl Berger, bassist Jean François Jenny-Clark, and tenor saxophonist Pharoah Sanders (who frequently plays piccolo here). The lineup has a real international flavor, since Barbieri was from Argentina, Berger from Germany, and Jenny-Clark from France; Cherry had gigged regularly with all three during his 1964-1965 sojourn in Europe, and brought them to New York to record. With all the added firepower, it's remarkable that Symphony for Improvisers has the same sense of shared space and controlled intelligence as its predecessor, even when things are at their most heated. Once again, Cherry sets up the album as two continuous medleys that fuse four compositions apiece, which allows the group's improvisational energy and momentum to carry straight through the entire program. The "Symphony for Improvisers" suite is the most raucous part of Cherry's Blue Note repertoire, and the "Manhattan Cry" suite pulls off the widest mood shifts Cherry had yet attempted in that format. Even though the album is full of passionate fireworks, there's also a great deal of subtlety -- the flavors added to the ensemble by Berger's vibes and Sanders' piccolo, for example, or the way other instrumental voices often support and complement a solo statement. Feverish but well-channeled, this larger-group session is probably Cherry's most gratifying for Blue Note.” - Steve Huey, AMG
CECIL TAYLOR CECIL TAYLOR With BILL DIXON/JIMMY LYONS/HENRY GRIMES/ALAN SILVA/ANDREW CYRILLE - Conquistador! (Blue Note 90840; USA) New 2004 RVG remaster with extra 20 minute take of "With (Exit)" For the second of Cecil Taylor's two Blue Note albums (following Unit Structures), the innovative pianist utilized a sextet comprised of trumpeter Bill Dixon, altoist Jimmy Lyons, both Henry Grimes and Alan Silva on basses and drummer Andrew Cyrille. During the two lengthy pieces, Lyons' passionate solos contrast with Dixon's quieter ruminations while the music in general is unremittingly intense. Both of the Taylor Blue Notes are quite historic and near-classics but, despite this important documentation, Cecil Taylor (other than a pair of Paris concerts) would not appear on records again until 1973. - Scott Yanow
MICHAEL MANTLER/JAZZ COMPOSER'S ORCHESTRA With CECIL TAYLOR/DON CHERRY/PHAROAH SANDERS/ROSWELL RUDD/GATO BARBIERI/LARRY CORYELL/ et al - The Jazz Composers Orchestra (ECM/JCOA Watt 1801; Germany) Soloists: Cecil Taylor piano; Don Cherry cornet; Roswell Rudd trombone; Pharoah Sanders tenor saxophone; Larry Coryell guitar; Gato Barbieri tenor saxophone Orchestra members: Steve Lacy, Al Gibbons, Jimmy Lyons, Steve Marcus Gene Hull, Frank Wess, Bob Donovan, Lew Tabackin, George Barrow, Charles Davis, Lloyd Michels, Stephen Furtado, Randy Brecker, Bob Northern, Julius Watkins, Jimmy Knepper, Jack Jeffers, Howard Johnson, Carla Bley, Eddie Gomez, Kent Carter, Steve Swallow, Ron Carter, Richard Davis, Charlie Haden, Alan Silva, Reggie Workman, Bob Cunningham, Reggie Johnson, Andrew Cyrille, Beaver Harris. "German-born composer/trumpeter Michael Mantler and his then-wife Carla Bley were instrumental in developing within jazz the idea of self-sufficiency and independence from established record companies. Their creation of the Jazz Composer's Orchestra, whose first recording Communication [that included the Mantler pieces Communications #s 4 and 5] was on Phillips (1965), followed afterwords by releases on their own JCOA label, each spearheaded by a different avant-jazzist [Don Cherry, Roswell Rudd, Grachan Moncur III, Leroy Jenkins, Clifford Thornton, Michael Mantler], was the culmination of this endeavor. This first JCOA release (1968), with Mantler at the helm as composer of further pieces in his Communications series [#s 8, 9, 10, and 11], was one of the masterpieces of creative music in the '60s.” - Brian Olewnick, AMG
LAWRENCE "BUTCH" MORRIS With HANS KOCH/GUNTER MULLER/MARTIN SCHUTZ/FREDY STUDER/STEPHAN WITTWER/ et al - Conduction #70: Tit for Tat (For 4 Ears 927; Switzerland) “Recorded in abandoned watch factory in Zurich, after an of musicians from a jazz festival were assembled by saxophonist Hans Koch, Conduction #70 is one of the most provocative and strange works ever issued by Butch Morris. Working with 15 other musicians, many of whom he had never worked with before, Morris's cryptic batch of instructions for conducted improvisation were ingested whole by people like Jim O'Rourke, Fredy Studer, Koch, Stephan Wittwer, Martin Schütz, Günther Mülller, and many others. Morris unfolds the piece as a sonic construction first, with whisks of air coming through the horns and microphonic exercises. This is followed by a long, slowly developing series of short breathy phrases by the entire horn section and underscored by the guitars before becoming highlighted and accented by electronics and percussion. There are long pauses where silence comes to play as part of a tension-building device. The cycle starts over with a new group of instruments, strings this time, creating a body of notes, nuances, and monosyllabic vocal utterances before being joined by the rest of the instruments in the orchestra. This is ghost music, highly intuitive heat moving around as a subtle energy body through sound. Morris knows exactly what he's doing; his penchant for gradually developing dynamics and a slowly crafted harmonic infrastructure are uncanny.” - Thom Jurek, AMG
TIM BERNE & HANK ROBERTS - Cause & Reflect (Level Green 22004; USA) After a flurry of activity in the 80's & early 90's-culminating with two outstanding jazz/funk/rock gems as a leader ('Birds of Prey' in '90, both on JMT & both out-of-print), monster cellist-Hank Roberts seemed to have disappeared upstate during the first half of this decade. Hank has returned in full force with three fine releases in the last few years-'22 Years from Now' for solo cello, 'I'll Always Remember' for cello trio and now an excellent duo recording with his long-time friend and musical partner-Tim Berne on alto & baritone saxes. Hank & Tim have been playing together in various settings for over 20 years and it shows in how well they weave their sounds and explorations into one well-knit yarn after another. This is an all improv journey that often shows the lyrical and hushed beauty of this dynamic duo. And sometimes they go for it: stratuspheric, gnarly, out there, even explosive-but always following the same muse, arriving at the same destination together! Watch out, they just might knock you out! - BLG
EKKEHARD JOST With PETER BROTZMANN/FRANK GRATKOWSKI/GUNTER 'BABY' SOMMER/VINKO GLOBOKAR / Et al - Some Other Tapes (Fish Music 009/010; EEC) This is an extraordinary collection nearly two dozen sessions of improvised and otherwise composed music spanning a decade (1987-1997) and involving some twenty musicians known and little known. I only recognize about five of these musicians previously: Brotzmann, Tony Oxley (1 track each), Vinko Globokar, Frank Gratkowski, Dieter Manderscheid and Gunter Sommer. Mr. Jost plays bari sax and is an author of a book on ‘Free Jazz’. A surprisingly consistent and varied compilation of undiscovered gems from mostly German avant/jazzers.
2 CD Set $36
COSMOSAMATICS [SONNY SIMMONS/MICHAEL MARCUS/TARUS MATEEN/ANDREW CYRILLE] - Live at Banilieues Bleues (Bleu Regard 1963; France) Last copies of this gem!
VINNY GOLIA QUINTET With NELS CLINE/ROB BLAKESLEE/KEN FILIANO/BILLY MINTZ - Against the Grain (Nine Winds 159; USA) From 1993. Featuring: Vinny Golia (woodwinds), Rob Blakeslee (trumpet), Nels Cline (guitar), Ken Filiano (bass)and Billy Mintz (drums). Great sessions with a healthy dose of improvised music often go off and develop a character of their own. It's his first quintet outing in some time and the compositions fall in his more abstract vein with a heavy emphasis on avant-chamber textures. Against The Grain, indeed!
RAN BLAKE - Breakthru (IAI 123842; Italy) The unique pianist Ran Blake is heard on this album performing brief versions (all but one of the fourteen songs are under four minutes) of a colorful variety of standards and originals. Blake's emotional playing (which emphasizes the contrast between silence and explosive sounds) is both witty and unpredictable. Among the many short sketches are versions of "You Stepped Out of a Dream," "If Dreams Come True," "Drop Me Off in Harlem," "All About Ronnie," "Tea for Two" and even "Spinning Wheel." Intriguing music. - Scott Yanow, AMG
STEVE LACY / MICHAEL SMITH - Sidelines (IAI 123847; Italy) Soprano saxophonist Steve Lacy and the obscure pianist Michael Smith performed seven of their originals (five by Lacy and two from Smith) for this Improvising Artists set which has recently been reissued on CD. The music is explorative, thoughtful and a bit dry. It may take listeners a few listens to get into these deliberate collaborations. - Scott Yanow, AMG
PERRY ROBINSON / NANA VASCONCELOS / BADAL ROY - Kundalini (IAI 123856; Italy) Clarinetist Perry Robinson is heard at his best on "Shenandoah," an original duet with Badal Roy on tablas that finds Robinson looking backwards toward the New Orleans clarinet tradition while also playing quite adventurous. A second duo, "Kundalini," is more Indian-oriented while the lengthy "Always Backwards," a trio with Roy and percussionist Nana Vasconcelos, wanders a bit but is generally colorful. This CD reissue has less than 33 minutes of music, which in a way keeps it from being essential, but it is one of the few Perry Robinson sets currently available. - Scott Yanow / AMG
We listed the following three discs in August when a flutist/composer named Camilo Angeles (Peru-born)came to visit us. We quickly sold out of all three discs. Both bands are based in Buenos Aires, both are progressive and all three discs are highly recommended. We just got them back in stock so grab yours quick if you didn’t order them earlier. The first group was incorrectly named last time, their name is actually Nicotina Os Primavera.
NICOTINA OS PRIMAVERA - Animal Ceramico (Buh Records 77; Peru) Featuring Camilo Angeles* on flutes, Juan Olivera on trumpet, Violeta Garcia on cello, Pia Hernandez on piano, Carlos Quebrada on bass, Fermin Merio on vibes and Nicolas Del Aquila on drums. Argentinian flutist Camilo Angeles stopped by this past weekend and left us with three CDs. Mr. Angeles is the main composer on this disc which goes under the group name: Animal Ceramico (ceramic animal). This is a seven piece mostly acoustic band and the sound is warm and superbly recorded. The music has a rich, progressive rock like sound, Henry Cow-like at times but with flute as the occasional lead instrument. There are three long pieces here which go through different sections. Extraordinary solos from the trumpet, cello and plano, together and apart, are just one of the riches found here. There are sections where the flute and cello will play a duo, pushing each other through extended-technique experiments which never go too far out yet remain edge-of-your-seat fascinating. This disc is like a long-long prog gem which seemed to have come out of nowhere but which is incredible nonetheless. Hard to believe that this is as amazing as it is considering none of us have heard of these musicians before this. - Bruce Lee Gallanter, DMG
SALES DE BANO - Horror Vacui (Viajero Inmovil 066; Argentina) Featuring Mariano Cepeda on electric guitar & effects, Camilo Angeles on flute, Agustin Zuanigh on trumpet & flugelhorn, Andres Marino on piano & Fender Rhodes, Carlos Quebrada on electric bass & compositions and Federico Isasti on drums. This is the second disc from Sales de Bano (“bath salts”) that we just in from Argentinian flutist & composer Camilo Angeles and it was released earlier this year (2016). The personnel for this sextet is the same as their previous disc, although there are a few guests like Juan Olivera (trumpet) who is from Animal Ceramico, another Argentinian band whose great disc I just reviewed as well.
Two years after there last disc (‘Estrangulado el Mundo”) and Sales de Bano have grown even stronger, more spirited more inventive and more exuberant! Things begin quietly, slowly building from a more modest intro. The pieces here are just named with number in Spanish. The music blends progressive rock, chamber jazz and modern classical elements and does’t quite sound like any other band I’ve heard. Each piece goes through a series of sections which utilize the talents of all six members without resorting to very many solos. There are a few amazing solos nonetheless: guitarist Mariano Cepeda takes a long, expressive, story-like solo on “Cuatro”. “Seis” actually comes close to King Crimson-like power, with a swell, lumbering oft-kilter groove and a great mix of electric piano, electric guitar and trumpet. These pieces are extremely diverse and draw from a wealth of influences or ideas. There are so many surprising twists and turns it is hard to believe that this is just one band and not several.
SALES DE BANO - Estrangulado el Mundo (Kuai Music; Argentina) Featuring Mariano Cepeda on electric guitar & effects, Camilo Angeles on flute, Agustin Zuanigh on trumpet & flugelhorn, Andres Marino on piano & Fender Rhodes, Carlos Quebrada on electric bass & compositions and Federico Isasti on drums. Argentinian flutist & composer Camilo Angeles recently came to visit DMG and left us with three CDs from two bands. This disc was recorded in a studio in Buenos Argentina in 2013. I had not heard of any of these musicians before getting these discs but CD by Animal Ceramico turned out to be one of those unknown progressive gems that we all seek. Animal Ceramico are a septet and share a couple of members with Sales de Bano (Mr. Angeles & Mr. Quebrada), who are a sextet. And like Animal Cermanico, Sales de Bano are an impressive progressive band. After an opening theme tightly played by the flute and trumpet, things calm down to a more relaxed yet elegant nature, somewhere between chamber jazz and rock. There is a long, inventive electric guitar solo which is the highlight of “Zoro Astro”, which concludes with some fine trumpet playing as well. While the electric piano plays a hypnotic pattern on “30”, the trumpet and flute add their own layer, the currents slowly shifting. The flute solo by Mr. Angeles is superb, adding just enough subtle electronic spice to give it a more dreamy resonance. What makes this disc so special is the way it remains calm at the center yet has inventive chamber-like elements throughout. Things finally erupt on “Los Mayores Rios se Deslizan…”, which seems to balance the more feisty trumpet solo section with a restrained flute & piano chamber part. Each piece involves several interlocking parts, flute & trumpet, piano & guitar with a thoughtful rhythm team. Even the occasional solos are modest yet consistently inventive without any unnecessary flash. This is yet another undiscovered gem waiting to be savored by the more discerning members of the DMG faithful. - Bruce Lee Gallanter, DMG
LP Only Section:
SCORCH TRIO With RAOUL BJORKENHEM/INGEBRIGT HAKER FLATEN/PAAL NILSSON-LOVE - XXX (Rune Grammofon 2187; Norway) XXX is a four LP collection featuring Scorch Trio's recordings. It includes Scorch Trio (2002), Luggumt (2004), Brolt (2008) and a radio session entitled Oval. In Norway, Scorch Trio was greeted with 6/6 reviews in the two biggest newspapers and The Wire said "the scope of their improvisational ideas is breathtaking", in spirit comparing the album to The Mahavishnu Orchestra's The Inner Mounting Flame (1971). Four years after Luggumt, Brolt was to become the final album with Paal Nilssen-Love behind the drums. Following in the tradition of the previous albums, this is a masterful example of passionate improvisation and breathtaking interplay. The joker in this collection is Oval, a radio session done for Yle, the Finnish broadcasting company, two years before their debut album was released. Why this recording has been left on a shelf for so long is anyone's guess because this is quite a remarkable recording, showing off a new group brimming with energy and new ideas. Paal Nilssen-Love was only 25 at the time, but he and Ingebrigt Håker Flaten already had a reputation as one of the most energetic and creative rhythm sections in Scandinavia. Here the Finnish guitar phenomenon Raoul Björkenheim had found the perfect partners for his new group. Oval is previously unreleased in any form. Scorch Trio has only been available on CD until now, while both Luggumt and Brolt have long been out of print on vinyl.
4 LP Set for $75
CAMBERWELL NOW - The Ghost Trade (Modern Classics 921; USA) "Camberwell, in South London, pops up infrequently in pop culture. Perhaps you know it from the Camberwell Carrot, the heroically sized joint smoked in cult movie Withnail & I, or perhaps -- if you're attuned to experimental music -- you know of Camberwell Now. The group formed from the ashes of This Heat, the art-noise group whose catalog was reissued on Modern Classics Recordings in early 2016. Not so much a supersession as a continuation of that group, Camberwell Now featured This Heat's vocalist / drummer Charles Hayward, who assembled an unusual line-up comprising Stephen Rickard, a former BBC sound engineer, on field recordings and tape manipulation and Trefor Goronwy on bass, vocals and ukulele. 'We had a very specific set of skills,' says Hayward, in new liner notes compiled for this long overdue reissue, 'and it wasn't immediately clear to us how best to bring them together so that we could play live.' Arriving in 1986, The Ghost Trade, the group's sole full-length LP, was what existed at the confluence of live performance and studio experimentation. Similar to This Heat's process, the group spent two years in Cold Storage experimenting with the studio and assembling finished songs from vast quantities of tapes. Their two EPs, re-issued as The EP Collection, were borne of a similar process but each with unique yields. The tracks that eventually formed The Ghost Trade were songs forged in the bleak beauty of Thatcher's London. 'To me, the sounds invoked humanity trapped behind and inside a world constructed of glass, steel, and concrete, frozen inside the textures like prisoners of the twilight zone, humanity haunting a landscape it had made for itself,' says Hayward. First vinyl re-issue, includes bonus track 'Daddy Needs A Throne'. Official re-issue in collaboration with original members. 24 bit/96 kHz re-master from original analog tapes. Restored art, expanded to a gatefold tip-on jacket. Includes download card, 8 page booklet with track notes by the artists, lyrics and archival photos."
THE POISON GIRLS - Where's the Pleasure (Water Wing 016; USA) "First released in September 1982 on their own Xntrix Records label, Where's The Pleasure was described by Johnny Waller in Sounds as 'The last great punk record'. The record came out of a period of change for Poison Girls. A new house, a new bass player, a completely new set, and, with it, a determination to challenge the expectations of their audience. What resulted is an outstanding collection of songs. Vi Subversa's lyrics seamlessly make the personal political, and the political relevant to everyday life. The music bristles with inventiveness. What we hear is a band at the top of their game, exploring different styles and enjoying themselves in the process. It is Poison Girls flexing their musical muscles, rediscovering their roots, and connecting with the true spirit of punk, which is of course, unbridled, messy and adventurous creativity. Where's The Pleasure is a truly wonderful achievement by a truly unique band."
JUNGLE NAUSEA - Jungle Nausea (Water Wing 014; USA) "Jungle Nausea formed at the dawn of the '80s when some members of SMEGMA recruited other Portland new-music enthusiasts (including poster artist Mike King) for a project that would combine punk, new wave, American roots music, and a sense of humor. They weren't much like the other local bands of the era, but that wasn't what they were going for. Instead they found their own twisted path, playing the heck out of their mix of conventional and homemade instruments and getting unintended sounds out of their rhythm machine. The live shows were few, but incredibly memorable. This release combines their 1982 EP in its entirety, and a whole side of unreleased live and studio tracks. All tracks engineered by the legendary Mike Lastra of SMEGMA."
LUCIO BATTISTI - Amore E Non Amore (Light in the Attic 144; USA) "If Lucio Battisti was Italy's answer to France's Serge Gainsbourg, then Amore E Non Amore is his own Histoire De Melody Nelson, a concept album that's widely regarded as a formative artistic achievement (if far from the most hit packed album) of his respective career. Both albums were released in 1971. For Battisti, the concept came from that dichotomous title: there's a rocky 'non-love' side of the album, which has songs about obsession and adultery, and a 'love' side of dreamy, prog-rock instrumentals. The album saw Battisti working with lyricist Giulio 'Mogol' Rapetti, with whom he'd collaborated closely since 1965, enjoying huge hits with the likes of '29 Settembre' and 'Sognando La California,' an Italian version of 'California Dreamin''. It was Mogol who first convinced Battisti to perform his own songs, and who conceived the idea for this record. Mogol supplied the inspiration, the title and the titles of its songs, many of them evocative sentences that flesh out the visual picture where lyrics are absent. Take, for example, 'Davanti Ad Un Distributore Automatico Di Fiori Dell'aereoporto Di Bruxelles Anch'io Chiuso In Una Bolla Di Vetro,' which translates as 'In Front Of A Flowers Vending Machine In Brussels Airport I Am Closed In A Glass Bowl Too'. In an incredibly rare English language interview accompanying this lavish reissue, Mogol speaks of the album's conception. 'I had an understanding that Lucio was a great musician, a great composer,' he says, 'And in my opinion, I felt bad that he was limited exclusively to a pop genre. I wanted him to become a musician; I was really hoping, I had said to him, that he would become an orchestra conductor, a star who would make his own songs, and so I tried to convince him to make songs without lyrics.' Amore E Non Amore was to be a watershed moment for Battisti. His label considered it to be too experimental and advanced for the Italian audience, and refused to release it. They were wrong: it instead set Battisti on a liberating course of artistic freedom and widespread success, and gifted the world one of Italy's greatest musical exports. Officially licensed reissue. Remastered from the original tapes. Liner notes interviewing lyricist Giulio 'Mogol' Rapetti. Deluxe gatefold 'tip-on' Stoughton jacket. 180-gram vinyl."
BLIND OWL WILSON - Blind Owl Wilson (Mississippi Records 082; USA) "Blind Owl Wilson was a truly great guitarist and vocalist whose deep well of psychedelic blues songs were buried amongst the catalog of major label rockin' blues band Canned Heat. Blind Owl served as Canned Heat's guitarist and would chip in a song here and there as a front man. A couple of those songs became huge hits in the 60's - 'Going Up The Country' and 'On The Road Again'. Blind Owl's songs for Canned Heat stood in stark contrast to the bands blustery blues rock - his was a gentle and nuanced voice and the themes of his song were all about personal heartbreak, grasping for cosmic understanding, and ecological justice. Here we have an LP of Blind Owl's songs from Canned Heat's records - left to sit alone and take you somewhere unexpected. Blind Owl's personal vision quest can be heard throughout these songs. 'Poor Moon' tells the tale of Alan's heartbreak as he watches the moon being misguidedly bombed by man, 'My Time Ain't Long' confronts death, 'Parthenogen In 3 Blind Owls' and 'Parthenogen Childs End' take you to the psychedelic limits, and oh yes, we have the hit tunes on here too. Co-release with Sutro Park records. A true psychedelic masterpiece!"
ROBERTO MUSCI - Tower Of Silence (Music from Memory 014; Netherlands) Music From Memory present Tower Of Silence from Roberto Musci. Traveling extensively across Asia and Africa between 1974 and 1985 to study music, Roberto made many field recordings and collected many instruments on his travels which he would then combine with synthesizers and electronics back in Italy.
2 LP Set $30
DAVID MARANHA ENSEMBLE - Salt, Ashes, Goat Skin (Roaratorio 043; USA) " 'In an everlasting process that continuously repositions and reevaluates infinity as a consciously unachievable but ultimately rewarding goal since the early '90s, David Maranha's music has been riding that arc with ferocity and aplomb. A unique vision that has been translating the eternal in a sprawling language through countless performances, approaches and records like Marches of the New World and the Roaratorio released classic Antarctica. Always the unsettled mind, Maranha conveys his spiraling vision towards its core with this new ensemble. Comprised of Diana Combo on drums, Filipe Felizardo on electric guitar and David himself on organ and violin, they are a speculative tour de force around sensory principles of movement, stillness and reaction. Long drawn-out semi-riffs feedback along the drifting textures of the violin and the organ like rock's ultimate coda stretched into nowhere. Drums plodding in restraint, sustaining the drone-like vortex of electricity without ever reaching any sort of conclusion in four pieces that inhabit their own universe continually. As it should.” - Bruno Silva
Bruce Lee Gallanter’s Recommended Gig List for September of 2016:
THE STONE is located at the NW corner of Avenue C & East 2nd Sts.
THE STONE RESIDENCIES - DAVID KRAKAUER - OCT 4–9
8 pm - Ancestral Groove - David Krakauer (clarinet) Sheryl Bailey (guitar) Keepalive (sampler) Jerome Harris (bass) Michael Sarin (drums)
8 pm - Breath and Hammer: Clarinet, Piano, Electronics - David Krakauer (clarinet) Kathleen Tagg (piano)
10 pm - John Schott—Actual Trio - John Schott (guitar) Dan Seamans (bass) John Hanes (drums) - A RARE & SPECIAL NY PERFORMANCE BY THIS FAB BAY AREA TRIO!!
8 pm - Acoustic Klezmer Quartet - David Krakauer (clarinet) Will Holshouser (accordion) Jerome Harris (bass) Michael Sarin (drums)
THE STONE RESIDENCIES = BRIAN MARSELLA - OCT 11–16
8 pm - The Flail - Brian Marsella (piano) Dan Blankinship (trumpet) Reid Taylor (bass) Charles Goold (drums)
10 pm - Trio - Brian Marsella (piano) Jason Fraticelli (bass) Anwar Marshall (drums)
8 pm - UB313 - Marshall Allen (alto sax, EWI) Brian Marsella (keys) Elliott Levin (saxes, flute, poetry) Dave Hotep (guitar) Ed Watkins (drums)
10 pm - Crazidelphia - Brian Marsella (conductor, keys) Marshall Allen (alto sax, EWI) Elliott Levin (saxes, flute) Matt Hollenberg (guitar) Dave Hotep (guitar) Tom Spiker (bass) Ed Watkins (percussion) G Calvin Weston (drums)
8 pm - Marsella, Dunn, Sorey play Zorn's BAGATELLES - Brian Marsella (piano) Trevor Dunn (bass) Tyshawn Sorey (drums)
Playing a collection of John Zorn’s Bagatelles=
10 pm - The Modulators - Brian Marsella (keys) Reid Taylor (electric bass) Jason Loewenstein (drums); A new trio playing surf, garage rock & Twin Peaks inspired songs
8 and 10 pm - iMAGiNARiUM - Brian Marsella (piano, keys) Rich Stein (percussion) Yoni Halevy (drums) Jason Fraticelli (acoustic bass) Shanir Blumenkranz (electric bass, oud, gimbri) John Lee (guitar) Meg Okura (violin) Dan Blankinship (trumpet) Mark Allen (baritone sax, clarinet, flute) Jessica Lurie (alto sax, flute); Official NYC CD-release concert for chapter one: THE CLOCKS HAVE GONE MAD on Red Palace Records
8 and 10 pm - Banquet of the Spirits - Cyro Baptista (percussion) Brian Marsella (piano, keys,) Shanir Blumenkranz (bass, oud, gimbri) John Lee (guitars) Gil Oliveira (drums, percussion)
8 pm An Evening of Duos - Brian Marsella (piano, keys) Cyro Baptista (perc) Erik Friedlander (cello) Eyal Maoz (guitar) Sam Newsome (soprano sax)
10 pm - Brian Marsella Solo (piano) - Playing a mix of original compositions and Zorn Bagatelles.
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.
Music Dance Poetry Justice - In GARDENS Series 2016
In Gardens 2016 presented by Arts for Art
Saturday 10/8 @ FIRST STREET GREEN “An Un-Columbus Celebration”
2 pm: Bern Nix Trio: Bern Nix - guitar / Reggie Sylvester - drums / Francois Grillot- bass
3 pm: Jason Jordan / PNP / Omar Tamez - guitar / Zak Sherzad - cello
3:45: New AfroHORN: Sam Newsome - soprano saxophone / Roman Diaz - percussion, Francisco Mora-Catlett - drums
4:45: The Andrew Lamb Equation - Andrew Lamb - sax, flute, clarinet / Larry Roland - bass, poetry, Warren Smith - drums, percussion / Jose Abreu - percussion
Sunday 10/9 @ FIRST STREET GREEN “An Un-Columbus Celebration”
1:30 pm: Ben Cohen - tenor sax / Dave Miller - drums / Eli Wallace Keys
2:15 pm: Yoni Kretzmer - tenor sax / Federico Ughi - drums
3 pm: Djassi DaCosta Johnson - dance / Shayna Dulberger - bass
3:45: Brandon Lopez Trio: Brandon Lopez - bass / Alejandro Florez - guitar / Carlo Costa -
4:45: Fay Victor Trio: Fay Victor - voice / Sam Newsome - soprano sax / William Parker - bass
The CORNELIA STREET CAFE - 212-989-9319
29 Cornelia St in the heart of the West Greenwich Village, NYC
Friday Oct 07
9:00PM & 10:30PM TYSHAWN SOREY TRIO - Tyshawn Sorey, drums, comp.; Cory Smythe, piano; Chris Tordini, bass
Saturday Oct 08
9:00PM & 10:30PM TYSHAWN SOREY TRIO - Tyshawn Sorey, drums, comp.; Cory Smythe, piano; Chris Tordini, bass
Sunday Oct 09
8:35PM MICHAEL BLANCO, CD RELEASE: SPIRIT FORWARD - John Ellis, tenor sax; Lage Lund, guitar; Clarence Penn, drums; Michael Blanco, bass
Tues Oct 11th:
8:00PM NICK SANDERS, LOGAN STROSHAL DUO, CD RELEASE: JANUS - Logan Strosahl, piano; Nick Sanders, saxophone
9:30PM MAREIKE WIENING- CROSSWALK - Andrew Gould, saxophone; Alex Goodman, guitar; Glenn Zaleski, piano; Johannes Felscher, bass; Mareike Wiening, drums
Wed Oct 12th:
8:01PM - ROGERIO SOUZA - EDINHO GERBER - BILLY NEWMAN - Rogerio Souza, 7 string guitar, comp.; Edinho Gerber, guitar; Billy Newman, guitar, comp.; Evan Francis, flute
Thursday Oct 13
8:01PM FRANK CARLBERG’S WORD CIRCUS, CD RELEASE: NO MONEY IN ART - Christine Correa, voice; Noah Preminger, tenor sax; Frank Carlberg, piano; Kim Cass, bass; Richie Barshay, drums
Friday Oct 14
9:00PM & 10:30PM MICHAËL ATTIAS' ELECTRIC NOON - Michaël Attias , alto sax; Matt Mitchell, piano, analog synth; Christopher Hoffman, cello; Kim Cass, bass; Gerald Cleaver, drums
Saturday Oct 15
6:00PM AUDREY SILVER CD RELEASE—JAZZ STANDARDS, ORIGINALS, AND CONTEMPORARY SONGS - Audrey Silver, vocals; Bruce Barth, piano; Steve LaSpina, bass; Alex Norris, trumpet; Tony Jefferson, drums
Sunday Oct 16
6:00PM THE FRIKATIV QUARTET - Sarah Bernstein, violin/composition; Scott Tixier, violin/composition; Leonor Falcon, viola; Tomeka Reid, cello
8:35PM NEW BRAZILIAN PERSPECTIVES: ARTHUR KAMPELA - Arthur Kampela, voice, guitar; Denise Puricelli, keys, piano; Vasko Dukovski, bass clarinet; José Moura, bass
Saturday, October 8th 8:00 PM
Birgitta Flick & Friends
Birgitta Flick . tenor sax
Daro Behroozi . tenor sax
Virg Dzurinko . piano
Mareike Weining . drums
Saturday, October 15th 8:30 PM
8:30pm – Half Bandits
Peyton Pleninger – tenor sax
Michel Maurer – drums
9:30pm – Augmented Triad
Aaron Rubinstein – guitar
Jonathan Milberger – tenor sax
Wednesday, October 19th 8:30 PM
Russ Lossing’s KING VULTURE
Adam Kolker, tenor,sop. saxes, bass clarinet
Matt Pavolka, bass
Dayeon Seok, drums
Russ Lossing, piano, compositions
Saturday, November 5th 8:00 PM
Nate Wooley + Joe Morris
Zack Clarke Trio,
Dre Hocevar Surface of Inscription
1st set: Nate Wooley — Joe Morris
2nd set: Zack Clarke Trio
3rd set: Dre Hocevar Surface of Inscription
Michael Foster, saxophones
Weston Olencki, trombone
Charmaine Lee, voice
Dre Hocevar, drums
Elias Stemeseder, piano
Bernardo Barros, electronics
I-Beam is located at 168 7th Street in Brooklyn, NY 11215 - Directions: SUBWAY: Take the F or R trains to 4th Ave & 9th Street. Walk down 4th ave to 7th street. Make a left on 7th and walk past 3rd ave. We are located on the ground floor, the grey doors to the right of the stairs of #168.
Shapeshifter September Schedule:
Oct 9 -
6pm: Kiyohime on Sado Island
Kojima Chieko with Kaoru Watanabe Ensemble
7p - Daniel Arthur Trio
8:15pm: Tony Grey | Galactic Duo featuring Ian Maciak
Tony Grey (bass) and Ian Maciak (drums)
8:15p - Jihye Lee Orchestra
Flute Haruna Fukazawa
Alto Alex LoRe, Mercedes Beckman
Tenor Lukas Gabric
Bari Andrew Gutanskas
Trumpet David Smith
Trombone James Burton lll, Nick Finzer, Eric Miller, Becca Patterson
Piano Eunhye Oh
Bass Evan Gregor
Drums Kazuhiro Odagiri
The Vibe Theory Triple Bill
7p - Broca's Area
- Royal Khaoz
- The Vibe Theory
Rob Reddy's Bechet: Our Contemporary
8:30p doors / 9:00p show
Rob Reddy – soprano saxophone; John Carlson – trumpet; Josh Roseman – trombone; Charlie Burnham – violin; Christopher Hoffman – cello; Marvin Sewell – guitars; Dom Richards – double bass; Pheeroan akLaff – drums.
Shapeshifter is located at
18 Whitwell Place in Brooklyn, NY
R train to Union stop
Sound It Out series @ Greenwich House
Concerts, Sept-Dec 2016
Saturday, October 15, 8:00 p.m. – Strings and Things!
Hank Roberts Sextet: Hank Roberts, cello; Dana Lyn, violin; Mike McGinnis; reeds; Brian Drye, trombone; Jacob Sacks, piano; Vinnie Sperrazza, drums
Wednesday, October 19, 8:00 p.m. – From the Windy City Scene!
Jason Stein’s Hearts & Minds: Jason Stein, bass clarinet; Paul Giallorenzo, synthesizer, pianet; Chad Taylor drums
Thursday, November 3, 8:00 p.m. – Hot New Trio!
Anna Webber’s Simple Trio - Anna Webber, saxophones; Matt Mitchell, piano; John Hollenbeck, drums
Friday, November 4, 8:00 p.m. – Beautiful New Ensemble!
Oded Lev-Ari Group: Oded Lev-Ari, conductor; full band lineup, TBA
Saturday, November 12, 8:00 p.m. – In Praise of Ornette!
Fay Victor’s In Praise of Ornette: Fay Victor, voice, arrangements, text; Darius Jones, alto saxophone; Kenny Wessel, electric guitar; Sean Conly, double-bass
Wednesday, November 30, 7:30 p.m. – Guitar Double-Bill!
Mike Baggetta Trio + Anders Nilsson Trio: Mike Baggetta, guitar; Jerome Harris, bass; Billy Mintz, drums; Anders Nilsson, guitar; Michaël Attias, alto saxophone; Ken Filiano, double-bass
Friday, December 2, 8:00 p.m. – Great Quintet!
Dave Scott Quintet: Dave Scott, trumpet; Rich Perry, tenor saxophone; Gary Versace, piano; John Hébert, double-bass; Satoshi Takeishi, drums
Thursday, December 15, 8:00 p.m. – Powerhouse Double-Bill!
Mara Rosenbloom Trio + Sean Conly’s Re: Action+1
Mara Rosenbloom, piano; Sean Conly, double-bass; Chad Taylor, drums
Sean Conly, double-bass; Michaël Attias & Tony Malaby, saxes; Kris Davis, piano; Gerald Cleaver, drums
Greenwich House Music School:
46 Barrow Street, just west of 7th Avenue South in New York City’s West Village; / www.greenwichhouse.org, 212-242-4770
Friday 7 October
7 PM - Aquiles Hadjis L. (Tokyo), guitar and electronics
Aquiles Hadjis (Maracaibo, 1981)
8:30 PM - New [Complexity] British Invasion: Pianist Jacob Rhodebeck performs Michael Finnissy’s “Folklore,” an ambitious work 80 minutes in length.
Event 1 of 3 of the New [Complexity] British Invasion Festival
Saturday 8 October
7 PM - David Whitwell / Xenophobia Quartet (Berlin / NYC)
The Xenophobia Quartet was formed in 2015 in New York City and Dresden, Germany. Pianist Marius Moritz, percussionist Steffen Roth, saxophonist Jonathan Strauch and trombonist David Whitwell came together in New York City firstly to create a new anti xenophobia . . .
Saturday 8 October
9 PM - New [Complexity] British Invasion: Gleb Kanasevich, Clarinet (two world premieres)
Gleb Kanasevich - Subtraction (2016) world premiere
James Erber - Strange Moments of Intimacy (1999-2001) U.S. premiere
Rahilia Hasanova - Agog (1994)
Nigel McBride - new work (2016) world premiere
Event 2 of 3 of the New [Complexity] British Invasion Festival
Sunday 9 October
3 PM - Yukiko Sekino, piano
Prelude #16, “Mind the Gap” (2012)
Prelude #17, “Mind the Gap” (2012, world premiere)
Prelude # 19, “Mind the Gap” (2012, world premiere)
Aaron Copland - Piano Variations
Dai Fujikura - Two Little Piano Pieces: seksek and AYATORI (2011)
Piano Studies: Deepened Arc and Frozen Heat (1998)
Alexander Scriabin - Piano Sonata No. 10, Op. 70
Monday 10 October
7 PM - Stephane Ginsburg, piano (Brussels); Residence Performance 1
Tuesday 11 October
7 PM - Stephane Ginsburg, piano (Brussels); Residence Performance 2 - improvisational session with Special Guests
Thursday 13 October
7 PM - Stephane Ginsburg, piano (Brussels); Residence Performance 3: Stefan Prinz' "Piano Hero"
Thursday 13 October
9 PM - New [Complexity] British Invasion:
Pianist Augustus Arnone performs Michael Finnissy
Program: Brahms Lieder (2015) **written for Augustus Arnone
Le démon de l’analogie (2000) (from “The History Of Photography in Sound”)
Event 3 of 3 of the New [Complexity] British Invasion Festival
Friday 14 October
7 PM - Kris Wettstein and Andrew Jameson
"Solo piano sets reimagining the tradition of Gospel music."
Saturday 15 October
8:30 - Acoustic Frontiers: Michael Lytle, Robert Dick and James Ilgenfritz
Robert Dick — low flutes (and high)
Michael Lytle — bass clarinet
James Ilgenfritz — bass
Sunday 16 October
3 PM - Teodora Stepancic
Tom Johnson: Networks
Stepančić.Gidron duo: piano, keyboards, sine tones
121 Ludlow #2
New York, NY 10002
JOHN ZORN’s Music & Performances October, 2016
OCT 20 - COMPOSER PORTRAIT AT MILLER THEATRE - 8pm - 5 Premiers!
OCT 22 - BAGATELLES SHUFFLE CONCERT AT NATIONAL SAWDUST - 20 BANDS!!!
BAGATELLES QUARTET: JOHN ZORN / DAVE DOUGLAS / TREVOR DUNN / KENNY WOLLESEN
JULIAN LAGE-GYAN RILEY
JIM BLACK TRIO
CRAIG TABORN SOLO
CHRIS OTTO-MARK FELDMAN
MATT HOLLENBERG QUARTET
MARY HALVORSON QUARTET
ERIK FRIEDLANDER-MICHAEL NICOLAS
JAMIE SAFT TRIO
SYLVIE COURVOISIER AND MARK FELDMAN
JIM BLACK GUITAR QUARTET
HARRIS EISENSTADT TRIO
OCT 23 - 24 - COMMEDIA DELL’ARTE AT THE GUGGENHEIM
1. HARLEQUIN (2014) 6’00
Tara O'Connor - flute
Josh Rubin - clarinet, bass clarinet
Rebekah Heller - bassoon
Kyle Armbrust - viola
2. COLOMBINA (2015) 6’00
Sarah Brailey - voice
Eliza Bagg - voice
Rachel Calloway - voice
Kirsten Sollek - voice
3. SCARAMOUCHE (2015) 6’00
Steve Gosling - piano
Shanir Blumenkranz - bass
Tyshawn Sorey - drums
4. PULCINELLA (2015) 5’30"
American Brass Quintet
Kevin Cobb - trumpet
Louis Hanzlik - trumpet
Eric Reed - horn
Michael Powell - trombone
John D. Rojak - bass trombone
5. PIERROT (2015) 6'30
Jay Campbell - cello
Mike Nicolas - cello
Jeff Zeigler - cello
Mihai Marica - cello