Post-Thanksgiving Blues/Celebration of the Music We Love and Need
Something to Help Us All Smile and Forget about the Daily News…
A Short Stack of Great Discs from: Thanksgiving Used CD/LP/DVD 25% Off Sale!
7 from Clean Feed: Evan Parker/Daunik Lazro/Joe McPhee! Mark Dresser Seven: Nicole Mitchell/Marty Ehrlich/Michael Dessen/Jim Black..! Ned Rothenberg/Mark Feldman/Sylvie Couvoisier! Steve Swell/Gebhard Ullmann/Fred Lonberg-Holm/Michael Zerang! Dre Hocevar/Sam Pluta/Metta Rasmussen/Lester St. Louis!
Eve Risser White Desert Orchestra! Motif with Michael Thieke/Havard Wiik..! More with Joe McPhee: Ingebrigt Haker Flaten/Raymon Boni/Andre Jaume! Kirk Knuffke & Jesse Stacken! Pierre Dorge New Jungle Orchestra! Dizzy Reece 5 CD Set! Back in stock A.D.D. Trio (Steve Arguelles/Robert Dick/Christy Doran! Plus Lots More Vinyl! Plus 482 Music Sale Continues!
The DMG FREE Weekly In-Store Concert Series Continues With:
Sunday, December 4th:
6pm: LOUISE D.E. JENSEN & ADAM CAINE
7pm: LOUISE DE JENSEN SAX TRIO With CHRIS PITSIOKOS & NICK LYONS
Rare Thursday, December 8th Event:
6pm Sharp: SHANE PARISH - Solo Acoustic Guitar & CHRIS PITSIOKOS - Solos & Duo
Sunday, December 11th: No In-Store During
Fred Frith Residency at The Stone!
Sunday, December 18th Double-Header:
6pm: VIV CORRINGHAM / MIA ZABELKA - Vocals / Violin
Sunday, December 25th is Christmas Day so there is no in-store
Sunday, January 1st, 2017 is New Years Day so there is also no in-store
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
Important Announcement for Rare JOHN ZORN Performance Next Week:
John Zorn: Music for Agnes Martin
Thursday, December 1 and Friday, December 2, 2016
Solomon R. Guggenheim Museum
Legendary composer John Zorn assembles a cast of musicians for an evening of music performed in the Guggenheim’s iconic rotunda. Zorn’s “Dark River” from his 1995 album ‘Redbird’ was inspired by Agnes Martin, and this program serves as the premiere of two brand-new compositions also inspired by her work, “Praise” and “Blue Stratagem.” The program concludes with an exhibition viewing of Agnes Martin.
Compositions and performers (in order of appearance)
Carol Emanuel, harp
Ikue Mori, electronics
William Winant, vibraphone/percussion
John Zorn, vibraphone/percussion
“Dark River” (1995)
William Winant, bass drums
Ches Smith, bass drums
“Curling” (1977), performed by Dither
James Moore, guitar
Gyan Riley, guitar
Taylor Levine, guitar
Josh Lopez, guitar
“Blue Stratagem” (2016), performed by the American Brass Quintet
Kevin Cobb, trumpet
Louis Hanzlik, trumpet
Eric Reed, horn
Michael Powell, trombone
John Rojak, bass trombone
THANKSGIVING WEEKEND Sale - Wednesday, November 23rd - Sunday, November 27th, 2016
25% Off any USED Item if you buy three or more!
This sale is for in-store, on-line and newsletter subscriber customers.
When you purchase three or more of any USED (or orange sticker) item CD, LP or DVD), you can take 25% off of the total price. Our database lists some 1,500 CDs and a few hundred LPs. There are even more inside the store if you can come on down, spend some time and look.
Seven Swell CDs from Clean Feed - Final CF Releases of the year!
EVAN PARKER / DAUNIK LAZRO / JOE McPHEE - Seven Pieces - Live at Willisau 1995 (Clean Feed 397)One of the good things happening in the Nineties was the circulation in some festivals of the incredible sax trio formed by Evan Parker, Daunik Lazro and Joe McPhee. Unfortunately, just one recording documented the partnership, a homonymous album released in 1996 by the French label Vand’Oeuvre. For those who’ve been mesmerized by the live encounters of these three giants of improvised saxophone only some “tête-a-tête” CDs served as good consolation, namely “Élan, Impulse”, uniting Lazro and McPhee (1991, In Situ), and the pair “Chicago Tenor Duets” (2002, Okka Disk) and “What If / They Both Could Fly” (2013, Rune Grammofon), with Parker and McPhee dueling. Now, thanks to Clean Feed, we can listen a second time to the three part equation in its entirety – “Seven Pieces” is the reproduction of what Parker, Lazro and McPhee did together at a venue in Willisau, in May 1995. The concert was recorded by the brothers Niklaus and Walter Troxler and found on cassette in a drawer all these years later. An expert in recovering old tapes, the electronic musician Jean-Marc Foussat did the editing, mixing and mastering of the music. For our collective happiness, because what you’ll find here goes deeper in the abstract lyricism testified by the previous and very hard to find release. The British, the French and the American guys were having a fantastic night, and history benefits from that.
MARK DRESSER SEVEN With NICOLE MITCHELL/MARTY EHRLICH/MICHAEL DESSEN /DAVID MORALES BOROFF/JOSHUA WHITE//JIM BLACK - Sedimental You (Clean Feed 387; Portugal) Mark Dresser makes music in a vast variety of settings and contexts, but the dauntingly prolific bassist always seeks to create space for the unpredictable play between form and freedom. On his new album Sedimental You, slated for release in early November, 2016, he’s assembled an astonishingly creative cast that embraces the intuitive and emotionally charged nature of his improvisational imperative. Riveting, playful and often revelatory, his compositions emerge out of a shifting matrix of specific musical personalities and the often dismaying swirl of current events.
Working with a supremely gifted septet, Dresser brings together emerging talent and revered veterans from East and West Coast scenes. In many ways, Sedimental You builds directly on orchestrational concepts he’s been exploring in smaller ensembles, and relationships he’s honed via telematic connections (which enable musicians in different locations to perform live in real time via high speed/high bandwidth links.)
None of the music is programmatic, but the porous nature of the compositions means that the world’s joys and woes seep in. Mocking denunciations and ache-filled reveries flow into open-hearted evocations of beloved colleagues, both departed and still very much with us. Dresser notes that he always writes with specific musicians in mind, “and I really had Marty’s clarinet sound in my ear. I’ve had lots of groups with Michael Dessen, who’s a virtuoso trombonist and an invaluable collaborator in my groups and telematic projects. And Jim Black is a force of nature, who I worked with most often in New York and on Japanese tours as the rhythm section for Satoko Fujii.”
Dresser started working with Nicole Mitchell after she joined the faculty up the road at UC Irvine, a relationship expanded by collaboration via telematics. He’s played several high profile concerts in her ensembles, and she’s become an important part of his West Coast quintet. “She’s a wonderfully open collaborator, a great soloist, with superb musicianship and a buoyant musical spirit.” Dresser says.
San Diego pianist Joshua White is a rapidly rising star who’s toured internationally with Rudresh Mahanthappa’s Bird Calls project. With a potent array of influences at his fingertips, from gospel and spirituals to free improvisation, he quickly fell in with Dresser after the bassist moved to town and discovered “an amazing talent with incredible ears and intuition,” Dresser says. “He’s a fearless improviser whose musical instincts I completely trust.”
The album’s wild card is violinist David Morales Boroff, the youngest player on the project. In a serendipitous connection, he’s the son of esteemed folk guitarist Phil Boroff, who happened to give Dresser’s mother guitar lessons back in the 1970s. “David’s got a freaky ear,” Dresser says. “I’d give him one of my tunes and he’d be at the piano reharmonizing it. He has a beautiful violin sound and a soulful lyricism that belies his age ”
The album opens with “Hobby Lobby Horse,” a tricky tune built from bass line up with a derisive hitch in the groove. The title track slyly refers to the 1932 Tommy Dorsey hit “I’m Getting Sentimental Over You.” Drawing on the cadences of the original, he recalibrated the harmony to evoke its sound and mood. The heart of the album is “Will Well (For Roswell Rudd),” a startlingly tender piece that Dresser conceived with the trombone legend (and frequent collaborator) in mind. He first played the tune in a trio with White and drummer Kjell Nordeson, but this extended version brings out everyone’s sumptuous lyricism, particularly when Mitchell’s throaty alto flute winds around Ehrlich’s woody bass clarinet. “It’s an incantation of sorts for Roswell,” Dresser says.
Dresser’s strikingly beautiful tribute “I Can Smell You Listening (for the late Alexandra Montano)” evokes the boundless spirit of the extraordinary mezzo-soprano who contributed memorably on the 2005 Dresser/Denman Maroney album Time Changes (Cryptogramophone). An extended melodic line that rises and falls, fades and reappears, the tune features some of Ehrlich’s most ravishing clarinet work. He offers a different kind of lament with “Newtown Char,” a piece he created in response to the unfathomable massacres in Connecticut and Charleston, SC. Structurally and emotionally, it’s the album’s centerpiece, a plaintive unfurling melody keyed to the thick, woody sound of Ehrlich’s bass clarinet. The album closes with the brief, elegiac theme “Two Handfuls of Peace (for Daniel Jackson),” a celebration of the revered San Diego tenor saxophonist who died in 2014 at 77.
Amidst a steady flow of recent albums, Sedimental You stands out as Dresser’s most ambitious work as a bandleader. April saw the release of The Moscow Improvisations by Jones Jones, a volatile collective trio with Russian percussionist Vladimir Tarasov and ROVA saxophonist Larry Ochs. And in March the talent laden SLM Ensemble released Source (Liminal Music), a large group project co-led and conducted by Sarah Weaver featuring masters such as vocalist Jen Shyu, flutist Robert Dick, percussionist Gerry Hemmingway, and saxophonists Jane Ira Bloom and Marty Ehrlich
“Saxophonist, clarinetist and shakuhachi flutist Ned Rothenberg. violinist Mark Feldman, and his wife pianist Sylvie Courvoisier are old musical friends and collaborators but this is their first trio recording. So the ground is seeded, but don’t let the solidity shown by the music from “In Cahoots” fool you: as a principle, they try to take their creativity further, exploring new ideas and new solutions. Nothing is obvious in these improvisations. Rothenberg has a very personal approach to the jazz tradition (and not only that – his shakuhachi is steeped in Japanese ancestral music), Feldman comes from folk and you feel that in his violin motives, and Courvoisier uses the European classical vocabulary to sublime effect. The mix of these individual characteristics results in something unique and especially beautiful, giving a different – and better – meaning to the word “virtuosity”. It’s not a question of technical exhibitionism anymore, but of surpassing the physical limitations of their respective instruments. In that, they’re absolute masters, and this means we have here a CD not to be missed. Who said everything was done already, and we’re condemned to variations of the same things? Well, someone who didn’t hear this yet. Give it to him or her.”
NED ROTHENBERG / MARK FELDMAN / SYLVIE COURVOISIER - In Cahoots (Clean Feed 394) “Saxophonist, clarinetist and shakuhachi flutist Ned Rothenberg. violinist Mark Feldman, and his wife pianist Sylvie Courvoisier are old musical friends and collaborators but this is their first trio recording. So the ground is seeded, but don’t let the solidity shown by the music from “In Cahoots” fool you: as a principle, they try to take their creativity further, exploring new ideas and new solutions. Nothing is obvious in these improvisations. Rothenberg has a very personal approach to the jazz tradition (and not only that – his shakuhachi is steeped in Japanese ancestral music), Feldman comes from folk and you feel that in his violin motives, and Courvoisier uses the European classical vocabulary to sublime effect. The mix of these individual characteristics results in something unique and especially beautiful, giving a different – and better – meaning to the word “virtuosity”. It’s not a question of technical exhibitionism anymore, but of surpassing the physical limitations of their respective instruments. In that, they’re absolute masters, and this means we have here a CD not to be missed. Who said everything was done already, and we’re condemned to variations of the same things? Well, someone who didn’t hear this yet. Give it to him or her.”
CHICAGO PLAN With STEVE SWELL / GEBHARD ULLMANN / FRED LONBERG-HOLM / MICHAEL ZERANG - Chicago Plan (Clean Feed 396; Portugal) More than 10 years of partnership between American trombonist, composer Steve Swell and German tenor saxophonist, bass clarinetist and composer Gebhard Ullmann after their successful first collaboration, The Ullmann/Swell Quartet featuring bassist Hill Greene and drum legend Barry Altschul continues now with a new version of the quartet featuring renowned Chicagoans, Michael Zerang, drums, percussion and Fred Lonberg-Holm, cello. This ensemble is appropriately named The Chicago Plan. The plan of course is to integrate the leaders’ fresh written material to inspire and be in the service of groundbreaking areas of improvisation that include world rhythms, universal textures and other worldly sound experiences.
All the accumulated experience of the members of The Chicago Plan forge a personal approach and vocabulary that is as natural as it is exhilarating. Their collective approach is loose and cool and is constantly full of life. That’s a good plan for any band whether the band is from Chicago or New York (Swell’s home), or Berlin (Ullmann’s home) or any other city in the world for that matter.
DRE HOCEVAR With SAM PLUTA/METTE RASMUSSEN/LESTER ST. LOUIS/HENRY FRASER/ et al - Transcendental within the Sphere of Indivisible Remainder (Clean Feed 393; Portugal) Voice of a new generation — what is anticipated by the listeners today? When one begins a personal voyage incited by the title “Transcendental Within the Sphere of Indivisible Remainder,” the first impressions may deceive. Composer and performer Dre Hocevar meets us with an evocative opening; once the electronics engulf his multidimensional percussive work, we can sense that there’s something unique reaching our minds. As a matter of course, it’s not the first time that jazz includes electronic instruments, however, only on a few occasions, the designation “electro-acoustic jazz” appeared so appropriate to refer to what is transpiring here. Music conceived within the depths of every moment — an investigatory attitude and a child-like capacity to marvel, render the framework for copious sonic installations. The result: near to 50 minutes of an immersive dreamscape that will alter your sense of reality.”
This is the third disc from Dre Hocevar, Downtown percussionist and bandleader, currently working with Nate Wooley. I only know of about half of the nine musicians involved here from previous situations: Sam Pluta (from his work with Peter Evans), Metta Rasmussen (from her duo CD with Chris Corsano), Lester St. Louis (with Jeff Shurdut) and Henry Fraser (from Chris Pitsiokos). Considering that there are some nine musicians involved, there sounds like there was some preparation or directing involved. Sam Pluta, who plays electronics and is involved with signal processing (with Evan Parker and Wet Ink Ensemble), is one of the best sonic manipulators I’ve heard. Hence the electronics and processing are completely focused and balanced. Much of this music has an ethereal, dream-like vibe like a series of floating phantoms dancing or sailing slowly. The music is closer to modern chamber music than jazz and equally fascinating. Actually it seems to be in between those categories and remains mysterious yet thoughtful and probing. - Bruce Lee Gallanter, DMG
EVE RISSER WHITE DESERT ORCHESTRA With SYLVAINE HELARY - Les Deux Versants Se Regardent (Clean Feed 399; Portugal) This music Is the result of a mystical experience lived by French pianist and composer Eve Risser when visiting Bryce Canyon, in Utah. The thousands of fairy chimneys reaching to the sky seamed to her «an enormous choir of singers ready to intone the most powerful of earthly songs», and that’s why she decided to had a choir to her 10-piece orchestra for this astonishing album. «The human voice is very good at transmitting vibrations. In that calm and empty country I could feel very strongly the force and ages of the earth», Risser explains. But that’s not the only uncommon factor you’ll find here. Even the White Desert Orchestra isn’t your average jazz ensemble. Part big band and part chamber orchestra, it combines aspects of two traditions, jazz and classical music, adding some aspects coming from rock (specially the energy) and other electric urban musical expressions (the large spectrum of colors). This includes the chosen instrumentation – you can expect saxophones, trumpet, trombone, guitar, bass and drums, but there’s also a bassoon, four flutes, two clarinets and… a prepared piano.
Eve Risser’s name is associated with the prepared piano, thanks to her solo CD “Des Pas sur la Neige”, considered by many worldwide critics as a masterpiece of the post-John Cage lineage of piano preparations, and also the one previously released in trio format, with Benjamin Duboc and Edward Perraud, “En Corps”. After five years of work with the National Jazz Orchestra of France (you may know the recording which is probably the most internationally recognized of this orchestra, “Around Robert Wyatt”), Risser felt the need to express herself with «a bigger sound», by creating her own large band and new music for it. For this young and particularly inventive artist it was a logical step: the White Desert project is «a form of orchestration of the piano», being this one already an «orchestra -instrument». «Ten fingers, ten musicians», she says. That’s the best phrase to define everything she does, alone or with all these people.
After presenting her orchestra on major creative jazz festivals in 2015 and 2016 (Jazzdor Strasbourg, Moers, Banlieues Bleues, Jazz in La Villette, Jazz em Augusto, Copenhagen Jazz) Eve Risser has been able to record this amazing music that we do present to you. No doubt that her work is going to receive a wide recognition…
MOTIF With MICHAEL THIEKE/EIVIND LONNING/ATLE NYMO/HAVARD WIIK/OLE MORTEN VAGAN/HAKON MJASET JOHNASEN - My Head is Listening (Clean Feed 395; Portugal) When you have a band mainly formed by Scandinavian musicians, natural is to find that they played, or play, with the top names of Nordic jazz, people like Jan Garbarek, Terje Rypdal, Bugge Wesseltoft, Sidsel Endresen, Trygve Seim and Bobo Stenson. But the members of Motif have a relevance which surpasses geographic and musical boundaries, and other lists of collaborations appear, from the american icons Lee Konitz, Kenny Wheeler, Chick Corea, Joe Lovano, Joshua Redman and Jason Moran to activists of experimental improvisation like Axel Dorner, Akira Sakata, Jim O´Rourke, Tobias Delius, Rudi Mahall and Tony Buck. This means the music isn’t local, but global, and crosses tendencies. In the case of this super-sextet the point of departure is a powerful and swinging hard bop, going through the most committed free jazz and entering in the fields of total improvisation. You’ll find aspects of all this in “My Head is Listening”: linear phrasings versus abstract textures, suggestive melodies versus acoustic noise and feet-agitating rhythms versus deconstructed pulsations, in disrespect of the divisions between mainstream and avant-garde. Nothing is forbidden, everything is possible.
Three More Great Discs with our Main Man JOE McPHEE*!
JOE McPHEE & RAYMOND BONI - Live From The Magic City (Birmingham, Alabama)(Trost 151; Austria) Joe McPhee and Raymond Boni at Hulsey Recital Hall on the University of Alabama at Birmingham (UAB) campus on April 20, 1985. Joe McPhee - soprano saxophone, electronics and voice; Raymond Boni - electric guitar and electronics. The complete was concert inspired by the words of Eric Dolphy: "When you hear music, After it's over, It's gone, In the air, You can never capture it again."
JOE McPHEE & INGEBRIGT HAKER FLATEN - Bricktop (Trost 157; Austria) Joe McPhee and Ingebrigt Haker Flaten at the Sugar Maple/Okka Fest on Saturday, June 6th, 2015. Joe McPhee - tenor and soprano saxophone. Ingebrigt Haker Flaten - double bass. Recorded live by Dave Zuchowski. Mastered by Martin Siewert in July/August 2016.
* JOE McPHEE & ANDRE JAUME - Nuclear Family (CorbettVsDempsey 031; USA)
CD $13 (On sale if you purchase any of the above Clean Feed CDs)
KIRK KNUFFKE & JESSE STACKEN - Satie (Steeplechase 31822; Denmark)The music of the early 20th century French Avant-gardist Erik Satie for a jazz album makes perfect sense when its interpreters/performers are cornetist Kirk Knuffke and his long-time partner pianist Jesse Stacken. They both share their musical background in unconventional new/free jazz as well as classical training. The Knuffke/Stacken duo has released a series of highly acclaimed albums with music by renowned composers of jazz.
PIERRE DORGE/NEW JUNGLE ORCHESTRA Featuring KIRK KNUFFKE - Obi Zaa (Steeplechase 31819; Denmark) Danish avant-garde, modern jazz guitarist/composer and most famously leader of “one of Europe’s most sophisticated bands” (Norman Weinstein) has always prided himself on the longevity (since 1980) of his constantly active New Jungle Orchestra. On this new live recording Dørge features his favorite American cornetist Kirk Knuffke and writes music with Kirk’s sound in mind. With the help of engaging audience in Copenhagen NJO delivers one amazing concert here. The NJO has a long history of inviting guests to join them: Ray Anderson, David Murray and John Tchicai. Downtown cornetist, Kirk Knuffke, appears to be a great choice as an extremely diverse and in-demand musician who has appeared more than a dozen discs in the last year or so. Knuffke is also a label mate for Steeplechase with some five duos with Jesse Stacken and a trio with Jamie Saft & Hamid Drake.
Bandleader & guitarist, Pierre Dorge, wrote all but three songs on this disc with two by their keyboardist Irene Becker. One thing to remember about the New Jungle Orchestra is that they are a mere octet on this recording, not really an orchestra. Mr. Dorge’s writing is no less impressive, sometimes stripping their sound down to the bare essentials, more impressionistic at times. The title track has a charming, effervescent vibe, slightly funky with infectious swirling guitar and horns on top. Ms. Becker’s “I May Remember” begins quietly and builds with majestic waves, Mr. Knuffke plays superbly on top. Much of the music here has a dreamy quality, unfolding in sublime layers, never in a rush to get anywhere with subtle spice often added below the surface if you take the time to look or listen closely. One of the highlights here is Ms. Becker’s “Song for Ornette”: which reminds me of a majestic version of “Song for Che”, which was written by Charlie Haden and first performed by the Liberation Music Orchestra in the late sixties. Mr Haden was of course, Mr. Coleman’s longtime bassist. Both Mr. Knuffke’s cornet and Mr. Dorge’s guitar are often sat the center of most of the songs, consistently playing elegance, craft and resourceful spirits. There are also the two reedmen, Jakob Mygind (on soprano & tenor sax) and Anders Banke (on tenor & clarinets) who also rise above and add their own superb playing throughout. My favorite piece is called, “The Enigmatic Reality of Time”, which sound free yet is somehow directed with astonishing grace from within like a chaotic symphony. I am a longtime fan of the New Jungle Orchestra, I dig all of their two dozen plus releases. This one might just be their greatest one yet! - Bruce Lee Gallanter, DMG
DIZZY REECE With TUBBY HAYES/PHIL SEAMEN/HARRY SOUTH/TONY CROMBIE /VICTOR FELDMAN/DONALD BYRD/HANK MOBLEY/WYNTON KELLY/WALTER BISHOP, JR./CECIL PAYNE/HANK JONES/PAUL CHAMBERS/ et al - The Complete Recordings 1954-62 (Acrobat 7502; UK) “Dizzy Reece was that rare beast in the 1950s - a London-based jazz musician who gained an international reputation. The trumpet player counted Miles Davis, Sonny Rollins and Art Blakey among his many American admirers and through the tireless promulgation of A&R man Tony Hall eventually landed a record contract with the prestigious Blue Note label. In 1959, after carving a controversial reputation on the London scene, he abandoned the UK for New York City, the very heart of the modern jazz scene. Featuring the contents of no less than six original LPs, various EP releases and tracks released on multi-artist compilations, this 5-CD set tells the whole story, including every recording Reece made under his own name between 1954 and 1962, on both sides of the Atlantic, together with performances made in collaboration with the great multi-instrumentalist Victor Feldman and as a member of the New Jazz Group. The leader's distinctive playing and composing - mixing early elements of exotic world music and pure Hard Bop - are complemented by a whole phalanx of modern jazz talent including saxophonists Hank Mobley, Joe Farrell, Tubby Hayes and Ronnie Scott, fellow trumpeter Donald Byrd, pianist Wynton Kelly and the legendary drummers Art Taylor and Phil Seamen. This release also features a comprehensive booklet essay by noted jazz saxophonist and writer Simon Spillett.”
5 CD Set $30
Back in stock, Both Out of Print and Well Worth Grabbing if you Don’t Already Have them:
A.D.D. TRIO [STEVE ARGUELLES/ROBERT DICK/CRISTY DORAN]- “Instinct” (Bellaphon 45104; Germany) A.D.D. stands for Steve Arguelles (on drums), Robert Dick (flutes) and Christy Doran (el. guitar w/ devices) and this is their first superb release from 1995. They are based in Switzerland where American flute wizard Robert Dick now lives. Both Robert and Christy have done their great tributes to Jimi Hendrix, an inspiration and common bond for these two virtuosos. Both of these fine players continue to dip into the wide palette of sounds that Hendrix help invent some 30 years ago, always expanding on the old psychedelic sounds and bringing them into the present. Most of this material is composed, not free improv, all three contribute pieces, and each comes up with a variety of genres/styles to work with. Both the guitar and flutes constantly challenge one another as well as the drummer into leaps through the fire, hairpin turns and an ever changing kaleidoscope of sounds. "Twists and Turns" is just that. On "Cerulean Blues," the trio due a fine job of getting an oriental sound, by bending their tones into a different area. It is a challenge for the listener as well, as pieces constantly shift from one genre or texture to another, we too must often shift gears to keep up with the ever-changing scenery. The pace actually slows down at times, and there are quite a few melodic inventions to behold also! A most impressive collection of pieces for the adventurous amongst us. - Bruce Lee Gallanter, DMG
A.D.D. TRIO [STEVE ARGUELLES/ROBERT DICK/CRISTY DORAN] - Sic Bisquitus Disintegrat [That's the Way the Cookie Crumbles](Enja 9361; Germany) This is the second outstanding release (2000) for the Swiss-based AAD Trio which features guitarist Christy Doran, American flute virtuoso Robert Dick and drummer Steve Arguelles. Each musician composes three pieces and there is a great deal of inspired improv as well. Since all three of these strong players have such diverse backgrounds and tastes, they cover a great deal of territory or genres. The first tune "Hopscotch" is a funky thing with some wah-wah guitar, but no bass - an odd but nifty way to begin. "Sic Bisquitus Disintegrat" (the title track translated) is freer and has much of those marvelous flute sounds that Robert spins so freely out - the el. guitar and percussion are also busy like insects building webs in restless activity. "Endless None" is tight, quick and playful - sort of rockin' with all three playing their lines as one force - a rather nervous punkish groove. Robert's "Photosynthesis" has a soft/strange groove while the flute and guitar play mysterious ghost-like phrases together - expanding and contracting and floating in the abyss. Robert seems to be speaking along with his flute on "Crinkum-Crankum" which is another strange fractured piece, difficult to tell where it will end up. Christy's "Der Grune Heinrich" has an enchanting and moody melody which rocks in a quaint sort-of way - the guitar is quick and busy yet still remains subdued while the flute creates swirling clouds on top. Steve's "Headjoint" features Robert's new slide-flute which has Robert bending these notes in all kinds of odd ways while the guitar and drums both play dreamy slightly twisted accompaniment. Most of us know what a whammy bar is - you know that metal bars attached to an electric guitar that one pushes or pulls on the bend notes - Jimi Hendrix was a master of it. The next track is called "Whammy Bar" and it is another funky sort-of tune, with Christy playing more laid back Hendrix-like bent notes. The final tune is Christy's "Three Characters" which has the guitar and flute playing some odd notes together and then around each other. The guitar finally explodes with flashes of thin yet twisted notes super-quick in spots. This engaging trio has been scheduled to tour here on more than one occasion, but still has yet to do it - we can only hope that they finally do - meanwhile check out this inspired work - Bruce Lee Gallanter, DMG
LADISLAV KUBIK - Flashes Of Light (Neos 11608; Germany) Performed by Hui-Ting Yang, Phyllis Pancella, Karen Bentley Pollick, Barb. Flashes Of Light, composed in 2014-15, connects the classical concept of a concerto with a provocatively unusual sound, made possible by the combination of brass and percussion instruments with four pianos. Historically, writings for multiple pianos have been very rare (i.e. works by Antheil, Glass, G.F. Haas, Reich, Spahlinger, Wyschnegradsky), and always originate from the composers's specific intent or stylistic concept. In Ladislav Kubík's work, the use of four pianos is for the multiplication of the piano's characteristics, including the ability to produce highly sophisticated inner textures and, of course, to substantially extend all technical possibilities of the instrument. Yet, despite existing within this atypical ensemble, the piano maintains its usual idiomatic character as it has absorbed three centuries of musical development. The piano section appears as a homogeneous body and presents a wide variety of musical possibilities, ranging anywhere from the lyrical cantilena to intense percussive passages. All individual instrumental parts are very demanding and their relative importance to the ensemble as a whole is well balanced. However, at the center of the composition is the first solo trumpet. Ladislav Kubík (born in 1946 in Prague, Czechoslovakia) studied composition and music theory at the Prague Academy of Music. Kubík has received many awards for his compositions including the Guggenheim Fellowship, distinctions at the International Rostrum of Composers UNESCO, the Intervision Prize, and the International Franz Kafka Prize. Commissioned by the prestigious organizations in Europe and America, his works have been performed in nearly 30 countries. He served as an adjudicator in major world music competitions and established his own "Ladislav Kubík International Prize in Composition". Ladislav Kubík resides in the United States where he is a professor of composition at Florida State University. As a sought-after pedagogue he appears yearly at the CASMI International Summer Courses in Prague. Personnel: Hui-Ting Yang - Piano; Phyllis Pancella - Mezzo-soprano; Karen Bentley Pollick - Violin; Barbara Butler, Christopher Moore - Trumpet soloists; Read Gainsford, Joel Hastings, David Kalhous, Heidi Louise Williams - Piano soloists; Javian Brabham, Judy Gaunt, Seth Johnson, John Kilgore, Eric Millard, Rebecca Walenz - Trumpet Ensemble; John McGovern, Mitchell Gribbroek, Peter Soroka, Ben Tomlinson - Percussion; Alexander Jiménez - Conductor.
BOHREN & DER CLUB OF GORE - Sunset Mission (Pias 39291812; Germany) Pias present a reissue of Sunset Mission, the 2000 album from Germany's doom jazz cult band Bohren & Der Club Of Gore. They are loved by musicians Mike Patton (Faith No More) and Stephen O'Malley (SunnO). For fans of SunnO, OM, Max Richter, Fennesz.
"The substance we are seeking here lies beyond the bare bones of fact, the when and the where (founded in 1988, Mülheim an der Ruhr) or personnel and instruments. The story is more than the sum of its facts. Mysteries may very well lurk here or there along the way. What keeps the final two founder members going after all this time? Do Morten Gass and Robin Rodenberg have skeletons locked in their closets? How dearly we would we love to know the answer to that one, alas the most beautiful puzzles tend to remain unsolved. Including their debut Gore Motel (1994), Bohren & Der Club Of Gore have amassed an impressive eight long players... Strange as it may seem, there is a uniform consistency to their reception. Whatever the band does, critiques are unfailingly positive, yet repetitious. Consider the arrival of Christoph Clöser in 1997, by way of illustration. When he joined the group, his saxophone replaced the departing Reiner Henseleit's guitar as one of the defining instruments in the band. This was arguably the sharpest break in their sound to this day and a significant marker in terms of the band's reverence for Dutch instrumentalists Gore (the clue is in the name), whose repetitive riffs paved the way for how the guitar would be deployed in a post-everything future... Similarly conspicuous by their absence in the Bohren chronicles are the numerous instruments which they added to the mix. The introduction of choirs at least had a clear visual impact. Since Thorsten Benning left at the end of 2015, the band has continued as a trio, sharing shifts on the drums. A decrease in personnel was conversely accompanied by quantum leaps forward in the group's musical development - or more precisely, minor adjustments triggered major effects. The music of Bohren & Der Club Of Gore opens up remarkable rooms of association, from a warm burrow to a pristine secret lodge, from a dusky woodland tavern to a smoky quayside dive... These sinister crackling songs are invitations to secrete oneself in darkness." - Lars Brinkman.
EINSTURZENDE NEUBAUTEN - Greatest Hits (Potomak 133952; Germany) Einstürzende Neubauten have discovered sounds beyond the pain barrier, the beauty of dissonance and the aesthetics of the scrapyard. They are regarded as the most important engines in the development of new musical strategies; Hardly another German band has characterized the music landscape as lastingly. Their influence on the music world was, and is, as great as their timeless character. Once fully set in motion - by West Berliners Blixa Bargeld, NU Unruh and Alexander Hacke in the early 1980s - Einstürzende Neubauten have pressed on regardless. Indeed since percussionist Rudolf Moser and former Die Haut guitarist Jochen Arbeit joined in 1997, the current Einstürzende Neubauten line-up has not only been their longest lasting; going on the evidence gathered here, it's arguably their broadest ranging and most fruitful partnership, with Rudi and Jochen always gamely responding to the musical challenges posed by NU Unruh's battery of invented instruments and devices. Along with multi-instrumentalist Alex Hacke, who took over bass after the departure of Mark Chung (after their 1992 album Tabula Rasa) and FM Einheit (during the recording of 1996's Ende Neu (POTOMAK 919821/919822)), they willingly switch between their chosen instruments and NU Unruh's inventions, sounding the depths, tapping, scratching and hammering out beats, or drawing haunting tones from the seemingly most unforgiving of source materials presented to them, invariably in the service of the song. The earliest track here is a newly mixed version of "Haus Der Lüge", the title track of their 1989 album Haus Der Lüge (POTOMAK 820001/820002); except it's now adorned with freshly recorded trombone and string parts, which the group wanted on the original but couldn't afford, so had to use synth simulations instead. Five tracks are taken from their 2000 album Silence Is Sexy (POTOMAK 957051/957052). During the 2000s, Einstürzende Neubauten's resourcefulness extended beyond the stage and the recording studio into the economics of alternative music practice. Two Greatest Hits tracks, "Dead Friends (Around The Corner)" and "Ein Leichtes Leises Säuseln", originated on their Supporters Album #1 (2003), which in publicly modified form became Perpetuum Mobile (Mute, 2004). Now as then as always, declares Greatest Hits's newest track "How Did I Die", "The difference makes the song".
CLUSTER - Kollektion 06: Cluster (1971-1981) Compiled and Assembled by John McEntire (Bureau B 242; Germany) Cluster's influence on the development of electronic music cannot be overstated. The original trio of Conrad Schnitzler, Hans-Joachim Roedelius and Dieter Moebius released two seminal albums as Kluster before Roedelius and Moebius replaced the 'K' with a 'C' and continued as a duo. They produced eight albums in their most innovative period between 1971 and 1981, two of them together with another pioneer of electronic music, Brian Eno. Cluster anticipated much of what would later emerge in such varied styles as industrial, ambient, electro and even synth-pop. Some call Cluster's music avant-garde, others krautrock or kosmische. Hence their first album, as a microcosm of their entire oeuvre, made the list of "100 Records That Set The World On Fire (While No One Was Listening)" in The Wire magazine. On Kollektion 06, John McEntire provides a collection of tracks spanning Cluster's first eight studio albums. John McEntire is a drummer/percussionist and recording engineer/producer. He is a founding and current member of Tortoise and The Sea & Cake; former contributing/touring member of Red Krayola and Gastr Del Sol. He has been the owner/operator of Soma Electronic Music Studios in Chicago, IL since 1995. Asmus Tietchens on Cluster: "Cluster's role in the development of new German electronic music went unnoticed for a long while. Cacophonous noise in the 1970s and 1980s masked the subtlety of Cluster aesthetics, diminishing their force of impact. Only since the 1990s, and all the more so today, have Cluster been identified and celebrated as pioneers. The somewhat hackneyed 'avant-garde' tag really amounts to nothing more than being ahead of one's time. And those who are ahead of their time often slip out of sight. Now, twenty, thirty years later, with so many new aural experiences on offer, listening habits have changed to such a great extent that we are better placed to assess Cluster's importance, their influence on subsequent generations of musicians. It has thus become easier to appreciate and enjoy their music... Cluster were no pedagogues, but their indirect influence on musicians and, more to the point, on listeners, resonates until today. Can a legacy be any more alive?" This collection features tracks from:Cluster 71 (BB 058CD/LP), Cluster II (LR 335LP), Zuckerzeit (LR 333LP), Sowiesoso (BB 039CD/LP), Cluster & Eno (BB 029CD/LP), After The Heat, Grosses Wasser (BB 026CD/LP), and Curiosum (BB 038CD/LP).
STEVE JANSEN - Tender Extinction (SJ Productions Headcount 037; UK) Double LP version. In 1978, Japan released their debut album Adolescent Sex and kick started a career that would span decades. With Steve Jansen on drums, the band enjoyed huge success whilst simultaneously creating a back catalogue of music that still inspires today. Fast forward to 2007 and after many years working and collaborating with artists such as Richard Barbieri, Yukihiro Takahashi, Ryuichi Sakamoto and Bernd Friedmann, Steve released his debut, solo album Slope. Steve Jansen's second solo album Tender Extinction is an evocative blend of songs and instrumentals enlisting some of the singer/songwriters that appeared on Jansen's previous solo work Slope, namely Tim Elsenburg (Sweet Billy Pilgrim) and Thomas Feiner (Anywhen), as well as featuring new collaborations with Perry Blake (Ireland), Melentini (Greece), Nicola Hitchcock (UK) and including some vocal performances by Jansen himself. Atmospheric sound design creates a bed of complex, often atonal qualities, with delicate synth and orchestral arrangements drifting throughout to produce a multi-layered, emotive and hauntingly intimate album. Some titles are punctuated with Jansen's characteristically minimal drum patterns and off-kilter time signatures while others are structured with more classical elements such as piano, cello and orchestral string arrangements. All music and arrangements are by Jansen with guests vocalists providing their own lyrics and vocal melodies on five of the tracks. Steve on the album: "I spent a long time with the material, honing it down to those elements that blend together well in an attempt to allow the dissonance that weaves throughout much of the music to settle into its own space and not overly distract from the more harmonious content. The album is somewhat reflective and subtly addresses aspects of transience and transformation and a romance in holding onto those things we think of as precious and that will inevitably cease to exist."
2 LP Set $30
MOR THIAM - Dini Safarrar (Drums Of Fire)(Jazzman Records 091; UK) Jazzman Records present the first reissue of Mor Thiam's Dini Safarrar (Drums Of Fire), originally released in small numbers as a custom pressing in 1973. The compelling Dini Safarrar by Senegalese drummer Mor Thiam has gained cult status around the world amongst enthusiasts of jazz, funk, hip hop and African music, and has achieved grail status among LP collectors. Faithful to the original and made with the blessing and cooperation of Mor Thiam himself, as well as his son Aliaume Thiam, otherwise known as hip hop and R&B superstar Akon. Mor Dogo Thiam (pronounced "Chahm") is a cultural historian, dedicated philanthropist and genius on the djembe. He began his career as a drummer while a young boy in his native Senegal before moving to St. Louis, Missouri in the early 1970s, where his unique musical skills earned him the respect of the local jazz community. A fusion of the traditions of his Senegalese upbringing and the funk and jazz sounds of his new environs, Dini Safarrar was entirely self-funded and was also conceived as a benefit album, with all the proceeds donated to famine relief in Africa. The subtitle and translation of Dini Safarrar is "Drums Of Fire", though it may be more aptly described as "Drums Of Krakatoa", such is the explosive intensity captured within the grooves. The multitude of pulsating percussive elements throughout each track creates an intense rhythmic dissonance, the musical equivalent of an erupting volcano. It can be no coincidence that the energy and passion of Akon's music was duly ignited by his father's very same Drums Of Fire. May the legacy continue, God bless Akon.
CD $15 or
THE APOSTLES - The Apostles (PMG 032; Germany) PMG present a reissue of The Apostles's self-titled album, originally released in 1976. "The Apostles were disciples of a heavy kind of psychedelic soul/rock fusion. After The Funkees left for London, they stepped into the breach to become the champions of East Nigeria's flourishing post-war music scene. Based in Aba, and led by guitarist and charismatic chancer Walton Arungwa, they laid down a couple of singles with the city's newly-formed BEN label. EMI liked what they heard and in 1976 they whisked the band to Lagos to record The Apostles with the legendary Emmanual Odenusi at the controls. A heavy mix of wailing guitar, swirling organ and James Brown-style vocals, it became a fixture in every east Nigerian home. 'Never Too Late' sets the stage with a scorching lead break that most believe was played by guitar-slinger-for-hire, Felix 'Feladay' Odey. Drummer Joel Madubuike and bass player Henry Tandu lay down the rock solid groove for Benji Davidson's righteous organ lines in 'Inflation' and 'Highway to Success.' And each is invested with an urgency from battle-hardened vocals of Chyke Fussion, a veteran of the Biafra war. Don't be fooled by the angelic white outfits worn on the cover of The Apostles. These guys were bad. And 'Never Too Late' could well be the best Afro rock song ever recorded." - Peter Moore.
FRIIMEN MUSIK COMPANY - We Can Get It On (PMG 033; Germany) PMG present a reissue of Friimen Muzik Company's We Can Get It On, originally released in 1978. "By the mid 1970's in Nigeria, the Biafran War was a distant memory and the music scene in the eastern city of Aba was booming again. Bands like The Funkees, The Wings and The Apostles grabbed the headlines, but the more interesting stuff was coming from smaller groups like The Friimen. The Friimen, or the Friimen Muzik Company to use their official name, were influenced as much by pre-Saturday Night Fever Bee Gees as Jimi Hendrix and James Brown. In Beni Tudumey they had the best keyboardist in the city, and in Dan Igbaji, Charlie Eze and Ken Okogbue its tightest rhythm section. Throw in Gbemi Saka Toju channeling his inner Barry Gibb and you had a band quite unlike any other in the country. The result is We Can Get It On, a hybrid of west coast ballads and dancefloor chuggers. One moment they are thanking God for making the mountains ('The Creator'), the next salaciously suggesting it's time to make the mountains move ('We Can Get It On'). Some of the songs simply state the obvious ('Music Makes You Move'.) However, it's the track 'Salt Sweet Style' that sums up the Friimen best: 'We have the salt. We have the sweet. We have the style.' It's all present and accounted for on We Can Get It On." - Peter Moore.
THE VISITORS - My Good Friends (PMG 036; Germany) PMG present a reissue of The Visitors's My Good Friends, originally released in 1977. "Set up by producer Ben Okonkwo in 1973, the BEN label, and its offshoot Clover Sounds, broke some of the biggest bands outside of Lagos. The Apostles, Akwassa, The Doves, Mary Afi Usuah and Aktion all got their start in the cramped studio in the commercial heart of Aba. The least known - and arguably one of the best bands on the label - was The Visitors. For a short, sweet time between 1975 and 1978, The Visitors were creating the most righteous sounds in the east. We're talking deep Afro-funk with generous dollops of rock, psych, fuzz, synth madness. My Good Friends, their second album, find them at the height of their powers. The musicianship throughout the album is extraordinary. Check out the synth and guitar wig out on 'Here We Come Brothers' and the searing guitar break that scorches the slinky groove of the title track. This album is impossibly hard to find and selling for high prices, one seller justified the high asking price by arguing that 'once you let this record in your bones, it's not coming back out.' Thanks to the good guys at PMG, your bones can now get the good stuff for considerably less." - Peter Moore.
JIMI LEE/MONA FINNIH & THE SENSATIONALS - A Stroll In The Moonlight (PMG 034; Germany) PMG present a reissue of Jimi Lee/Mona Finnih & The Sensationals's A Stroll In The Moonlight, originally released in 1980. "He [Jimi Lee] was Nigerian guitar God, famous for his incendiary lead breaks with Aktion and Monomono. She [Mona Finnih] was one of Nigeria's first female band leaders who went off to the US and became a big deal in the new jazz scene there. It should be no surprise then that when Jimi Lee and Monah Finnih got together in 1980 for A Stroll In The Moonlight, an Afro jazz cosmic funk masterpiece was born. Intricately arranged, beautifully produced and showcasing musicianship of the highest order, A Stroll In The Moonlight was a notch above anything else that was coming out of Nigeria at the time. 'I Love Myself' is the perfect amalgam of a tight, horn-driven Lagos groove with an American new jazz sheen. 'People Of The World' is pure Afro funk, brightened by Jimi Lee's sunny, twangy guitar. 'Son Of A Man' brings reggae to the table and 'Iya Alakara' is a Lijadu Sisters style cosmic paean to beefcakes and plantains. Taking a stroll with Nigerian music's oddest couple is a slinky, funky affair that comes highly recommended, but be warned: You'll work up a sweat." - Peter Moore.
CHOCOLATE SOUP FOR DIABETICS VOLUME 1-5 - 82 UK Psych Classics (Particles 004; UK) Finally gathered in one place, Particles presents all five volumes of Chocolate Soup For Diabetics, the groundbreaking series of British psych and freak-beat compilations. Boasting no fewer than 82 classic tracks, the set spans established classics by Tintern Abbey, Apple, The Tickle, The Smoke, Fleur De Lys and others, and gems by lesser-known artists such as Boo & The Boo-Boos, The Perishers, Graded Grains, The Australian Playboys and many more. Includes a lavish full-color 32-page booklet, offering discographies and histories of every act, as well as many rare photographs. This is one boxed set that no fan of classic British underground music can be without. Also features: The Voice, Nuchez's, One In A Million, The Misunderstood, Dantalian's Chariot, The Flies, The Fire, The Fresh Windows, Mike Stuart Span, Wimple Winch, Craig, The Score, Winston's Fumbs, Him & The Others, Big Boy Pete, The Syn, State Of Mickey & Tommy, Paper Blitz Tissue, The Factory, Felius Andromeda, The Accent, Chapter Four, The Poets, The Game, Chords Five, The Anteeeks, The Exceptions, The Rebel Rousers, Alan Avon & The Toy Shop, The Dodos, Roger Young, The Answers, Force Five, The Darwins Theory, The Transatlantics, The Longboatmen, Linda Van Dyck, Gary Walker, Caleb, The Trend, Family, Steve Aldo, The Peasants, The Original Roadrunners, The Quotations, The Ways And Means, The Moving Finger, The Authentics, The Mickey Finn, St. Louis Union,The Magic Lanterns, The Bad Boys, The Sons Of Fred, Mike Rabin, Wayne Gibson, The Petards, The J&B, King Size Taylor, and The Four Squares.
5 CD Box Set $34
More Vinyl Only Selections:
DNA [ARTO LINDSAY/IKUE MORI/TIM WRIGHT] - A Taste Of DNA (Superior Viaduct 099EP; USA) "New York's DNA have had a massive effect on alternative/indie rock around the world, despite the trio never releasing a full-length studio album during their four year tenure (1978-82). Various groups citing them as an influence have included Sonic Youth, Boredoms, Big Black and Blonde Redhead (the latter taking their name from DNA's most-famous song). While the band's explosive live performances captivated audiences, extant recordings captured DNA's dynamic sound and savage economy in songwriting. Originally released in 1981, A Taste Of DNA remains a primary source for No Wave archaeologists. Singer/guitarist Arto Lindsay and drummer Ikue Mori are joined by bassist and Pere Ubu founding-member Tim Wright. Across the EP's six anti-epic tracks, the band charges forward with jagged guitars and dislocated grooves, while Lindsay's guttural screams create a thoroughly personal semantics. As Marc Masters writes in the liner notes, 'A Taste Of DNA has a kind of sum-of-parts insanity, wherein every musical element sounds conventionally off, like puzzle pieces purposefully jammed together at the wrong ends.' This first-time vinyl reissue is recommended for fans of The Contortions' ‘Buy’.
KEIJI HAINO - 1973 Live - Milky Way (Black Truffle 026; Australia) Black Truffle present the first vinyl issue of Keiji Haino's Milky Way. Originally released as a limited CD in Japan by the short lived Mom 'N' Dad Productions in 1993, this release documents a blistering live performance recorded in Kyoto in 1973, five years before the formation of the first line-up of Fushitsusha, and eight years before Haino's first solo album. Working with a mysterious set-up including primitive electronics, homemade acoustic instruments, piano and voice, Haino lets loose a single 48-minute psychedelic maelstrom, marrying the immersive echo-fields of kosmische music to the rough and ready hands-on feel of classic 1960s live electronics à la MEV or Robert Ashley's Wolfman. Despite the absence of guitar, this recording clearly lays the groundwork for the epic blowouts which were to make Haino's name in years to come, building up to a point of almost unbearable intensity in its final minutes as Haino's voice wails over a wall of distorted DIY electronics. At times presaging the psychedelic noise of C.C.C.C., Milky Way shows Haino's singular intensity and ritualistic performance style already in full flower at this early date in his long career. Presented in raw and immediate room fidelity (complete with dramatic tape drop-out), this is both an essential historical document and a classic performance in its own right. Presented in a deluxe heavyweight sleeve with an inner sleeve featuring Haino's poetry in Japanese, with an English translation by Alan Cummings. Original design by Keiji Haino & Yasunori Arai. LP reissue design via Stephen O'Malley. Mastered and cut by Rashad Becker at D&M, Berlin June 2016.
CONRAD SCHNITZLER/SCHNEIDER TM - Con-Struct (Bureau B 252; Germany) Conrad Schnitzler (1937-2011), composer and concept artist, was one of the most important representatives of Germany's electronic music avant-garde. A student of Joseph Beuys, he founded Berlin's legendary Zodiak Free Arts Lab, a subculture club in 1967/68, was a member of Tangerine Dream (with Klaus Schulze and Edgar Froese) and Kluster (with Dieter Moebius and Hans-Joachim Roedelius) and also released countless solo albums. Schneider TM (Dirk Dresselhaus) has been involved in various musical fields since the late 1980s. Between 1989 and 1997 he played and sang in bands like Locust Fudge and Hip Young Things, before focusing more on electronic music from 1997 onwards, starting up his Schneider TM project. In 1999, Dresselhaus formed the duo Angel with Ilpo Väisänen. The Con-Struct series features Schnitzler's daily excursions through the sonic diversity of his synthesizers. He preserved these exceptional sounds for use in combination with each other in subsequent live performances, amassing a vast sound archive of his discoveries over time. When Jens Strüver, the producer of the Con-Struct series, was granted access to this audio library at the outset of the 2010 decade, he came up with the idea of constructing new compositions, not remixes, from the archived material. On completion of the first Con-Struct album, he decided to develop the concept into a series, with different electronic musicians invited into Schnitzler's unique world of sound. Schneider TM on his involvement: "I am very happy and honored to be invited to do an album for the Con-Struct series and wanted to do something special and genuine in this posthumous collaboration with Conrad Schnitzler. I wanted to get as close to his spirit as possible, so I created a musical situation as if we were actually collaborating together in the same room, with Conrad playing his pre-recorded sound-files or modular system and me dubbing and processing it live on the fly - almost as if it was a live-concert situation. Next to many other aspects of Schnitzler's vast oeuvre, I am fond of the noisy, poly-harmonic, poly-rhythmic and sometimes quite humorous minimalism of his music, as well as his way of using chance, which often leads to magical and raw beauty. There are no other sounds on this record except for ones created by Schnitzler, sent through my system and processed live. During the sessions I had the feeling of being in a conversation with him."
ENNIO MORRICONE - La Classe Operaia Va In Paradiso (Goodfellas 001; Italy) Goodfellas present a reissue of Ennio Morricone's soundtrack for La Classe Operaia Va In Paradiso, originally released in 1971. La Classe Operaia Va in Paradiso was another strike for maestro Ennio Morricone, one of the most in-demand composers and arrangers of the time. Avant-garde and slo-funk - with scary fuzz and wah-wah guitars - collide on the track "Metamorfosi" and before you know it, you are in the same vertigo generated by Gruppo D'improvvisazione Nuova Consonanza. Classical and lush orchestrations are found, while pounding rhythms are the main course for the original theme: a violin solo offers a dramatic view of the main score just before an aggressive guitar break enters the psych-o-rama. The movie directed by Elio Petri was a dramatic take on the main social issue of the early '70s, dealing with the heavy conditions of the working class. This is one of the most sought-after soundtracks of Morricone's experimental side, evident by the original tribute set by John Zorn for The Big Gundown in 1986 ("Metamorfosi" was then performed by a who's who cast of stars featuring Vernon Reid, Bob James and Diamanda Galas).
ASHTRAY NAVIGATIONS - To Make A Fool Ask, And You Are The First (Blackest Ever Black 056; UK) This album picks up where the nerve-damaged exotica of 2015's A Shimmering Replica left off - acerbic "surf" guitar and synthetic salt-breeze fit for the Tropic of Yorkshire. Instant immersion in a potent, pungent psychedelia that feels equal parts cosmic and aquatic. What Phil Todd wrenches out of his instrument these days is a language unto itself - a helical, grieving howl, a (super)natural efflorescence, beyond earthly description - ur-rock and post-everything. Equal emphasis is given here to pulsating machine rhythms and lush keyboard textures, with contributions by Mel O'Dubhshlaine. There were pre-echoes of all this in the recent Fluctuants (2015) and Aero Infinite (2014), but To Make A Fool feels like the fullest expression of something which was only glimpsed in those earlier works. The side-long "Spray Two" - gently eddying string-pads gradually slashed with fraught piano improvisations - is a masterpiece in its own right. At its delirious peak, the whole thing boils over into brooding, arpeggiated noir-techno - Michael Mann's steadicam roaming Leeds's B-roads, some kind of tangerine nightmare - before finally cooling into a bleary starfield of pure and sumptuous hypno-tone. This is a trip, in the most skull-splitting, soul-crinkling sense of the word, but it soothes and heals as well. A circular and transformative journey to the other side of the underneath, and a landmark recording from one of the most adept and visionary nodes in Britain's freak-out underground.
SPARKS - Sparks (1972 029; USA) "Sparks's eponymous 1971 debut presents the singular compositional, lyrical and singing voices of Ron and Russell Mael fully formed. Originally released under the moniker Halfnelson, Sparks's prescient debut prefigures Queen, power pop, and especially Southern California's late '70s skinny-tie explosion. It's a landmark of Todd Rungren's early production career, and clearly the backing band of brothers Earle and Jim Mankey brought Sparks's pop idiosyncrasies to their later work with The Dickies, The Quick and 20/20. Infectious, daring, and delightfully flaunting camp theatricality throughout, Sparks is the first installment in an unparalleled series of some of the decade's most classic albums. Careening melodies soar through space-detritus electronics on the strikingly original 'Roger,' which evokes the early solo work of Brian Eno, but the deranged art-rock closing track '(No More) Mr. Nice Guys' is the unequivocal classic of Sparks's early career and a staple of the band's live set ever since. Rundgren's restrained production wisely sets the Mael brothers at the fore of Sparks. With just subtly treated cymbal flourishes keeping the pace, album opener 'Wonder Girl' is pared down and mixed to showcase two things: Ron's twinkling piano trill and Russell's fluttering high-register. As Rundgren perceived, and a multi-decade career confirms since, their fraternal chemistry is a consummate force."
SRI LANKA - The Golden Era Of Sinhalese And Tamil Folk-Pop Music (Akuphone 1003; France) Double LP version. Sri Lanka still remained one of the rare South Asian countries whose folk-pop music from the 1960-70s had not yet been compiled abroad. This gap is now to be filled with Sri Lanka: The Golden Era Of Sinhalese And Tamil Folk-Pop Music. This compilation presents the diversity of Sri Lankan musical styles between 1967 and 1979 through 30 titles. It comes along with a booklet depicting the country's historical, cultural and musical context. Sri Lanka possesses a great variety of musical traditions and influences which have been shaped by centuries of regional and international exchanges. If Sri Lankan music is undeniably part of South Asian musical culture, its heritage is also a product of almost five centuries of European imperialism. Coming from an original form of creolization, as defined by Edouard Glissant, the baila bears the trace of both the African diaspora and the Iberian influences on the country. The Kaffirs - African slaves deported by the Portuguese - introduced African sounds, while the Portuguese brought their musical traditions and instruments (cavaquinho, mandolin, violin, tambourines). The baila, reminiscent of Caribbean calypso, became the ultimate popular music and dance. The sarala gee (also called light classical music) is a combination of Indian inspired music, either classical or close to Bollywood productions, with Sinhalese lyrics and a slight pop accent. In the early 1960s, the music label Sooriya Records, with founder Gerald Wickremesooriya, were determined to put into light proper Sri Lankan music. Wickremesooriya invented the "new sound of Ceylonese pop" and quickly, the label's hits were broadcasted on Radio Ceylon, the number one radio for a long time. Sooriya Records's catalog reflected the diversity of Sri Lankan musical styles of the times: Anglo-Saxon influenced Sinhalese pop stood next to the baila or the sarala gee. Traditional instrumental music, were also edited by the label. This selection, mainly constituted of titles from Sooriya Records's catalog, presents the most popular artists of the times.
2 LP Set $32
DELUXX FOLK IMPLOSION - Deluxx Folk Implosion (Witches Pickles Records 001; USA) Deluxx is Bob Fay (Sebadoh) and Mark Perretta; Folk Implosion were Lou Barlow (Dinosaur Jr., Sebadoh) and John Davis. The first collaboration between the four musicians was at a show in Providence, Rhode Island under the name The John Davis Folk Implosion. The "band" played a combination of off-the-cuff compositions John and Lou had hastily recorded a few months before and songs that would be later re-recorded by Sebadoh on Bakesale (1994). The show and the jams that followed solidified the collaboration. Deluxx Folk Implosion became its own entity, quickly morphing into an aggressive garage punk outfit: Nonsensical lyrics over twin guitar attacks and pounding drums rounding it out perfectly. Maybe it was the pressures surrounding the popularity of Sebadoh and Folk Implosion that made DFI a unique opportunity to focus on the immediate pleasures of a 90-second structured tantrum. Maybe DFI wanted to seize the moment, wear black turtlenecks and affect the pose of a forgotten '66 garage band. Maybe DFI just wanted to combine new wave angles, heavy metal chunks and punk scree. Fueled by headache, weed and the introduction of higher alcohol content beers, DFI push the levels of absurdity in the songs and energy in the delivery. After Folk Implosion's unexpected radio hit "Natural One" (1995), the Deluxx Folk Implosion played a handful of high profile shows in support of the record, since it was too much for John and Lou. DFI had two recording sessions. The first is represented in its entirety on this LP - 13 songs, many written as they were recorded in 1994. The second session was a single song re-recording of "Daddy Never Understood" that was included on the Kids soundtrack (1995). A 7" with some tunes from the initial session was released at the time. The reels for the 13 song session languished in Lou's basements and attics for 20 years. When Mark Perretta suggested a proper release, the reel tapes were restored and remixed (with Justin Pizzoferrato and Bob Fay at the controls).
ZAIMPH - Between The Infinite And The Finite (Yew Records 007; USA) Between The Infinite And The Finite is Zaimph's first solo studio recording. Three new improvisations capture field recordings of stolen conversations, live radio and echoes that shimmer in a reverberant magnetic darkness of empty corridors. Spectral spaces entwine with the corporeal, amplified strings blossom in explosions, repetition and ominous tones of destruction and decline, slowly sequenced into a fragile space of beauty. The instinctive activity seeps into our deepest subconscious. Zaimph is the solo project of Marcia Bassett (Double Leopards, Hototogisu, GHQ). Since the mid-90s, Bassett has been exploring free-form improvisational music and spontaneous sound in her collaborations and solo work. Between The Infinite And The Finite is comprised of three new works using analog and digital synthesizers, processed voice, field recordings, piano and amplified strings. Recorded in the intimacy of Brooklyn's Bunker Studios by Stephen Conover. A horror takes form in the living contradiction which exists in the clash between the infinite and the finite. Everything that's here exists. Artwork by Marcia Bassett. Edition of 300.
The 482 Music CD & LP Sale will continue for another couple of weeks (now - December 15th, 2016); Everything here is currently in stock. Most single CDs are now down to $10 each. except for a few LTD Edition (*) discs which will soon be gone for good
TOM ABBS & FREQUENCY RESPONSE - The Animated Adventures Of Knox [CD+DVD](482 Music 1039/40 )
2 CD Set $12
MATT BAUDER With FRED LONBERG-HOLM/JEB BISHOP/ROB MAZUREK et al - Weary Already of the Way (Document Chicago #4) (482 Music 1025)
ANTHONY BRAXTON/MATT BAUDER + ZACH WALLACE/AARON SIEGEL - 2 + 2 Compositions (482 Music 1034)
KYLE BRUCKMANN'S WRACK With JASON STEIN/JEN CLARE PAULSON/ANTON HATWICH/TIM DAISY - Intents & Purposes (482 Music 1050)
KYLE BRUCKMANN With KURT JOHNSON - Gasps and Fissures (482 1027)
GREG BURK TRIO - The Path Here (482 Music 482-1077)
JOHN BUTCHER/MIYA MASAOKA/GINO ROBAIR - Guerrilla Mosaics (482 Music 1013)
CONFERENCE CALL [GEBHARD ULLMANN/MICHAEL JEFRY STEVENS/JOE FONDA/GERRY HEMINGWAY] - Live At The Outpost Performance Space (482 Music 1045)
CONFERENCE CALL [GEBHARD ULLMANN/MICHAEL JEFRY STEVENS/JOE FONDA/GEORGE SCHULLER] - Spirals: The Berlin Concert (482 Music 1028)
JASON ADASIEWICZ/DAVE REMPIS/MATANA ROBERTS/JASON ROEBKE/JEFF PARKER/MIKE REED et al - Document Chicago 1: New Jazz And Improvisation (482 Music 1015)
HARRIS EISENSTADT CANADA DAY OCTET With NATE WOOLEY/RAY ANDERSON/MATT BAUDER/JASON MEARS - Canada Day Octet (482 Music 1080)
HARRIS EISENSTADT With JEB BISHOP/JEFF PARKER/JASON ROEBKE - The Soul And Gone (Document Chicago #10) (482 Music 1042)
MEMORIZE THE SKY [MATT BAUDER/ZACH WALLACE/AARON SEIGEL] - Memorize The Sky (482 Music 1053; USA)
TOMAS FUJIWARA THE HOOK UP With MARY HALVORSON/BRIAN SETTLES/JONATHAN FINLAYSON - Actionspeak
ROSCOE MITCHELL/MIKE REED - In Pursuit Of Magic (482 Music 1088 ,USA)
MODO TRIO + JAMIE SAFT - The Uninvited (482 1049)
MIKE REED'S LOOSE ASSEMBLY With ROSCOE MITCHELL/GREG WARD/JASON ADASIEWICZ/JOSH ABRAMS/TOMEKA REID - Empathetic Parts (482 Music 1074 ,USA)
MIKE REED'S LOOSE ASSEMBLY With NICOLE MARGARET MITCHELL/GREG WARD/JASON ADASIEWICZ/JOSH ABRAMS/TOMEKA REID - Speed Of Change (482 Music 1062 ,USA)
MIKE REED'S PEOPLE PLACES & THINGS With GREG WARD/CRAIG TABORN/JOSH BERMAN et al - Clean On The Corner (482 Music 1081)
MIKE REED'S PEOPLE PLACES & THINGS With GREG WARD/TIM HALDEMAN/JASON ROEBKE + MICHAEL MOORE/AB BAARS/JOOST BUIS - Second Cities Vol 1 (482 Music 1087)
MIKE REED'S PEOPLE PLACES & THINGS With GREG WARD/JASON ROEBKE/TIM HALDEMAN feat. MATTHEW SHIPP & MARQUIS HILL - A New Kind of Dance (482 Music 1092)
MIKE REED With NICOLE MARGARET MITCHELL/JEFF PARKER/JIM BAKER - In The Context Of: Duets (482 Music 1047)
MIKE REED'S LOOSE ASSEMBLY With GREG WARD/JASON ADASIEWICZ/JOSH ABRAMS/TOMEKA REID - Last Year's Ghost (482 Music 1055)
DAVE REMPIS PERCUSSION QUARTET With INGEBRIGT HAKER FLATEN/FRANK ROSALY/TIM DAISY - Montreal Parade (482 Music 1075)
DAVE REMPIS PERCUSSION QUARTET With ANTON HATWICH/FRANK ROSALY/TIM DAISY - Rip Tear Crunch (Document Chicago #11) (482 Music 1046)
DAVE REMPIS QUARTET With JIM BAKER/JASON ROEBKE/TIM DAISY - Out Of Season (Document Chicago #5) (482 Music 1021)
DAVE REMPIS PERCUSSION QUARTET With ANTON HATWICH/FRANK ROSALY/TIM DAISY - Hunter-Gatherers (Document Chicago #13) [2 CD Set] (482 Music 1056/57)
2 CD Set $12
DAVE REMPIS/FRANK ROSALY - Cyrillic (482 Music 1064)
* MATANA ROBERTS/JOSH ABRAMS/CHAD TAYLOR - Sticks and Stones (482 Music 1012)
CD $14 (let 5 copies left)
JASON ROEBKE With ARAM SHELTON/TIM DAISY - Rapid Croche (Document Chicago #2) (482 Music 1016)
GEORGE SCHULLER With MARK FELDMAN/TONY MALABY - JigSaw (482 Music 1026)
ARAM SHELTON'S ARRIVE With JASON ADASIEWICZ/JASON ROEBKE/TIM DAISY - Arrive (Document Chicago #9) (482 Music 1035)
* CHAD TAYLOR TRIO - Circle Down (482 Music 1065)
CD $12 (last handful of copies left)
Bruce Lee Gallanter’s Recommended Gig List for November of 2016:
THE STONE RESIDENCIES - CHRIS PITSIOKOS - NOV 22-27 Continues with:
8 pm - Chris Pitsiokos Solo (saxophone, piano)
8 pm - CP Unit - Chris Pitsiokos (alto saxophone) Brandon Seabrook (guitar) Tim Dahl (bass) Weasel Walter (drums) - TEN DOLLARS
10 pm - Chris Pitsiokos/Joe Morris/Tyshawn Sorey - Chris Pitsiokos (alto saxophone) Joe Morris (guitar) Tyshawn Sorey (drums, percussion, piano, trombone) - TEN DOLLARS
8 pm - Chris Pitsiokos Quartet - Chris Pitsiokos (alto saxophone) Andrew Smiley (guitar) Henry Fraser (bass) Connor Baker (drums) - TEN DOLLARS
THE STONE RESIDENCIES - MARC RIBOT - NOV 29-DEC 4
8 pm - SOLO IMPROVISATIONS - Marc Ribot (guitars)
10 pm - Marc Ribot (guitar) & Doug Weiselman (reeds, guitar)
8 pm - SOLO: PROTEST MUSIC - Marc Ribot (guitars)
10 pm - Marc Ribot (guitar) and Zeena Parkins (harp)
8 pm - SOLO IMPROVISATIONS - Marc Ribot (guitars)
10 pm - MARC RIBOT TRIO - Marc Ribot (guitars) Henry Grimes (bass) Chad Taylor (drums)
8 pm - SOLO: SONGS - Marc Ribot (guitars, voice)
10 pm - Susie Ibarra (drums) Dave Douglas (trumpet) Marc Ribot (guitar)
8 pm - SOLO IMPROVISATIONS - Marc Ribot (guitars)
10 pm - Milford Graves (drums) Shahzad Ismaily (bass) Marc Ribot (guitar)
TWENTY FIVE DOLLARS
8 pm - SOLO GUITAR RECITAL: CASSEUS/ZORN/CAGE - Marc Ribot (guitar)
10 pm - Ceramic Dog - Marc Ribot (guitar) Ches Smith (drums) Shahzad Ismaily
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 Nov 25
9:00PM & 10:30PM HUSH POINT - Jeremy Udden, alto sax; John McNeil, trumpet; Aryeh Kobrinsky, bass; Anthony Pinciotti, drums
Saturday Nov 26
9:00PM & 10:30PM HUSH POINT - Jeremy Udden, alto sax; John McNeil, trumpet; Aryeh Kobrinsky, bass; Anthony Pinciotti, drums
Sunday Nov 27
8:30PM ISRAELI JAZZ SPOTLIGHT: YOTAM SILBERSTEIN QUARTET - Yotam Silberstein, guitar; Vitor Gonćalves, piano; Or Bareket, bass; Daniel Dor
10:00PM ISRAELI JAZZ SPOTLIGHT: THE TAL MASHIACH STREET BAND - Victor Pablo, percussion; Yotam Ben-Or, harmonica; Jonathan Peled, trombone; Tal Mashiach, bass; David Jimenez, drums
Mon Dec 28th:
8:30PM SOUND TRAFFIC IN THE VILLAGE - Akio Mokuno; Howie Kenty; Craig Michael Davis; Linda Buckley; Matthew Gantt
Tuesday Nov 29
8:01PM STEVE SANDBERG QUARTET - Steve Sandberg, piano; Zach Brock, violin; Michael O'Brien, bass; Mauricio Zottarelli, drums
Wednesday Nov 30
8:00PM "ALL AT ONCENESS" - Randal Despommier, alto sax; Jason Yeager, piano; Aubrey Johnson, voice
9:30PM CYRUS VON H AND THE HAT MUSIC - Cyrus von Hochstetter, piano, comp.; Jay Rattman, clarinets, sax; Austin Becker, alto sax; Jim Fryer, trombone; Daan Kleijn, guitar; Carmen Rothwel, bass; Michael W. Davis, drums
Thursday Dec 01
8:01PM DAN WEISS TRIO - Dan Weiss, drums; Jacob Sacks, piano; Thomas Morgan, bass
Friday Dec 02
9:00PM & 10:30PM PETROS KLAMPANIS: ΒΡΑΖίΛ - Magda Giannikou, voice, accordion; Yotam Silberstein, guitar; Julian Shore, piano; Keita Ogawa, percussion; Roggerio Boccato, percussion; Petros Klampanis, bass, arr.; Gokce Erem, violin; Carrie Frey, viola; Adam Fisher, cello
9:00PM & 10:30PM PETROS KLAMPANIS QUINTET - Yotam Silberstein, guitar; Itai Kris, flute; Vitor Goncalves, accordion; Petros Klampanis, bass; John Hadfield, percussion
Sunday Dec 04
8:35PM DJANGO AT CORNELIA STREET: OLLI SOIKKELI - Olli Soikkeli, guitar, comp.; Julian Labro, accordion; Eduardo Belo, bass
Thursday, December 1st 8:00 PM
Kyoko Kitamura – Tidepool Fauna + Jeremy Udden
8:00 pm - Tidepool Fauna
Kyoko Kitamura (voice, compositions)
Ingrid Laubrock (tenor sax)
Ken Filiano (bass)
9:30 pm - Jeremy Udden + JC Sanford
Friday, December 9th 12:00 AM
Jacob Sacks + Orlando Hernandez
Jacob Sacks – Piano
Orlando Hernandez – Tap
Saturday, December 10th 8:30 PM
Jacob Sacks + Orlando Hernandez (Night 2)
Jacob Sacks – Piano
Orlando Hernandez – Tap
Saturday, December 17th 8:30 PM
Billy Martin – drums and percussion
Chris Cochrane – guitar and…
Kato Hideki – Bass
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 November Schedule:
8pm: An Evening Of Haitian Jazz Music
The Chardavoine Band
Gashford Guillaume &
Creole Fusion Ensemble
7pm: The Valentina Marino Trio presents In the Name of Love! - Valentina Marino - Voice, Nitzan Gavrieli - Piano, Cameron Brown - bass - and very special guests!
8:15p - The Black Lodge is:
John Ortega : strings & devices
Johnny Tango : atmospherics & skronk
bro’Dan Silverstone : kick & sticks
davidG : bass register
and Rick Ventura : special guest guitaristics
8:30p - ShapeShifter+ Presents: Sound of a Flower Suite #1
A Music and Dance Suite Featuring:
Majid Khaliq and Gelan Lambert
with the Sfumato Symphony Orchestra
9:30: Jentsch Group No Net
Topics in American History
Michel Gentile (fl, al fl)
Michael McGinnis (cl, bs cl)
Jason Rigby (sop sax, ten sax)
David Smith (tpt, flgl)
Brian Drye (trb)
Jacob Sacks (pno)
Chris Jentsch (e gtr, compositions)
Jim Whitney (dbl b)
Eric Halvorson (drums, perc)
JC Sanford (conductor)
8pm: Sharik Hasan Trio
Sharik Hasan - piano
Alexander L. J. Tóth - bass
Anthony A. Tóth - 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
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
3 ECM Concerts Upcoming in December, Not to Miss!
Saturday, December 3rd at 7pm
SUN OF GOLDFINGER;
TIM BERNE / DAVID TORN / CHES SMITH!
At National Sawdust in Brooklyn
80 North 6th St. (Take L train to Bedford)
tickets at www.nationalsawdust.org
Friday, December 9th at 7:30
DAVID VIRELLES ANTENNA - CD Release Concert
With MARCUS GILMORE, RAFIQ BHATIA & Others
Le Poisson Rouge - 158 Bleecker St, NYC
tickets at LPR.com
Tuesday, December 20th at 7pm
WADADA LEO SMITH / VIJAY IYER
At National Sawdust in Brooklyn
80 North 6th St. (Take L train to Bedford)
tickets at www.nationalsawdust.org
NY Forward Festival 2016
Brooklyn Dec 9th, 10th, 11th
375 Lorimer St
Brooklyn, New York 11206
Friday December 9th
MP Landis Paintings
6:00pm - Gene Moore + Daniel Moore + Gene Janas
Gene Moore (guitar)
Daniel Moore (electronics)
Gene Janas (bass)
6:45pm - Mary Anne Driscoll and Daniel Carter
Daniel Carter (winds)
Mary Anne Driscoll (piano)
7:30pm - Bichi - Tobias Wilner (solo electronics)
Adam Lane Trio
Darius Jones (alto saxophone)
Adam Lane (bass)
Vijay Anderson (drums)
8:45pm - Daniel Carter, Tobias Wilner, Djibril Toure, Federico Ughi
Daniel Carter (winds)
Tobias Wilner (electronics)
Djibril Toure (bass)
Federico Ughi (drums)
G Calvin Weston
Improv Messenger album release party
Grant Calvin Weston (drums and electronics)
Saturday December 10th
MP Landis Paintings
6:15pm - Hot Date
Chris Welcome (synthesizer)
Shayna Dulberger (tape collage)
7:00pm - Aella
Patrick Breiner (tenor saxophone)
Max Goldman (drums)
Daniel Carter, Patrick Holmes, Matthew Putman, Federico Ughi
Daniel Carter (winds)
Patrick Holmes (clarinet)
Matthew Putman (piano)
Federico Ughi (drums)
8:30pm - Maria Chavez
Solo turntable performance
9:15pm - Daniel Carter, Watson Jennison, William Parker, Federico Ughi
Daniel Carter (winds, piano)
Watson Jennison (winds, piano)
William Parker (bass)
Federico Ughi (drums)
Sunday December 11th
MP Landis Paintings
5:45pm - Gabriele Meirano (China)
New Vintage Sessions album release party
Andreas Günther (tenor saxophone, flute) (Germany)
Gabriele Meirano (piano)
6:30pm - Nick Lyons
Nick Lyons (alto saxophone)
Patrick Holmes (clarinet)
Kazzrie Jaxen (piano)
Adam Caine (guitar)
7:15pm - Ancestral Duo
Luke Stewart (bass, percussion, electronics)
Jamal Moore (woodwinds, percussion, electronics)
Heart Talk album release party
David Schnug (tenor saxophone)
Mike Irwin (trumpet)
Jeff Snyder (electronics)
Federico Ughi (drums)
8:45pm - Remembering Connie Crothers
Richard Tabnik (alto saxophone)
Harvey Diamond (piano)
Ken Filiano (bass)
Roger Mancuso (drums)
9:30pm - The Listening Group
Daniel Carter (winds)
Nick Lyons (alto saxophone)
Patrick Holmes (clarinet)
Claire de Brunner (bassoon)
Jeff Snyder (electronics)
Stelios Michas (guitar)
Jonah Rosenberg (piano)
Zach Swanson (bass)
Federico Ughi (drums)
577 RECORDS & FORWARD FESTIVAL
Independent music based in Brooklyn, New York