DMG Newsletter for JUNE 24th, 2016
Another Cornucopia of Great Music from These Great Musicians:
Fred Frith Trio! Sylvie Courvoisier/Mark Feldman/Evan Parker/Ikue Mori! Robert Dick Solo Contrabass Flute! Mari Kimura Performs Michael Harrison & Hannah Lash! The Claudia Quintet! Deus Ex Machina! Nate Wooley Seven Story Mountain Orchestra - V!
Merzbow/Haino Keji/Balazs Pandi! 7 from FMR: Paul Dunmall/Philip Gibbs/Ashley John Paul! Trevor Watts & Stephen Grew! Paul Lovens & Stefan Keune! Two from Frode Gjerstad’s Trip to South America! Fennesz & Jim O’Rourke! Acid Mothers Temple! Lydia Lunch & Marc Hurtado!
Plus Archival Discs from: John Surman/Terje Rypdal! Oregon! Thelonious Monk ’65! Klaus Schulze & Pete Namlook! Sun Ra Arkestra! Iggy Pop & David Bowie! Sonic Youth! Kate & Anna McGarrigle! Weather Report DVD! Jack Rose! And More & More..!
The DMG FREE Weekly In-Store Concert Series Continues With:
Sunday, June 26th:
6pm: TERRENCE McMANUS / JOHN HEBERT!
7pm: THOMAS HEBERER & JASON STEIN!
Sunday, July 3rd:
6pm: LOUISE JENSEN/TAMIO/RICARDO TRIO & DUO With ERICA DICKER
7pm: SUMARI: MATT LAVELLE/JACK DeSALVO/TOM CABRERA + Special Guest NICOLE JOHANNTGEN!
Sunday, July 10th:
6pm: DISSIPATED FACE 2016: Steve X Dream/Kurt Ralske/Daniel Carter/Will Dahl/Bill Milkowski/Michael Lublin/Jonathan Wood Vincent!
7pm: KEN ALDCROFT & WILLIAM PARKER!
Sunday, July 17th:
6pm: PAULA SHOCRON / DANIEL CARTER / PABLO DIAZ!
7pm: HOME OF EASY CREDIT: TOM BLANCARTE & LOUISE DE JENSEN!
Sunday, July 24th:
6pm: ROCCO JOHN IACOVONE/RICH ROSENTHAL/FRANCOIS GRILLOT/TOM CABRERA!
7pm: JEFF LEDERER & BROOKLYN BLOWHARDS!
Sunday, July 31st:
6pm: ALAN BJORKLAND / KIM CASS / SAM OSPOVAT - Trumpet/Bass/Drums!
Sunday, August 7th:
6pm: NICOLAS LETMAN-BURTINOVIC & KEN-YA KAWAGUCHI - Contrabass & Shakuhachi!
7pm: NICO's SPLIT CYCLE!
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 Music Always Free & the Vibes are Quite Cosy!
Two Amazing Discs from Ever-Incredible Intakt Label in Switzerland:
FRED FRITH TRIO With JASON HOOPES / JORDAN GLENN - Another Day in F*cking Paradise (Intakt 267; Switzerland) Frith returns to his deep roots in this improvising trio with the classic lineup of guitar, bass and drums. Playful, intimate and bound together by a dark and delicate interplay, the group reminds us what listening is all about. After a lifetime of experience across almost every field of musical endeavor, Fred stretches out in the company of two stalwarts of the vibrant Bay Area music scene who have their own stories to tell.
Fred Frith writes about his Trio: "When I proposed this trio I had nothing in mind beyond getting together with a couple of formidable musicians who I love and respect and seeing what would happen, which is pretty much the way things go in my world. We played a few gigs many months apart, always had a blast, invited a couple of awesome guests (Lotte Anker and Jessica Lurie) and didn't think much in conceptual or any other terms. It took playing night after night during our European tour of 2015 or some themes to start emerging. I appeared to be channeling some of my earliest rock and roll experiences – jamming with members of Pink Fairies in 1969, a couple of sad weeks in a band with Syd Barrett and attending Gong and Pink Floyd concerts where I had the chance to absorb the lessons of Daevid Allen and Dave Gilmour. Earlier my electric guitar heroes had been George Harrison and Pete Townsend, and then – as my horizons broadened – Muddy Waters and Sonny Sharrock. McLaughlin's playing in Tony Williams' Lifetime had been a revelation. On tour with the trio these voices all started clamoring for attention and Jason's stunning ability to wring every-thing there is to be wrung out of an electric bass was as liberating as Jordan's playful, irreverent, and absolute authority. Anything can happen. Really. It's a bloody great feeling. I think this record captures it quite well!"
After reviewing/promoting/playing in-store the great Sopko/Laswell/Pridgen earlier this month and reviewing the Haino/Merzbow/Pandi CD yesterday (also great!), I was in the mood to savor this, the new Fred Frith Trio CD today. Lo & behold, it is even better than I imagined! Fractured fairy tales anyone? After a series of gigs with Fred Frith’s Gravity project, the Frith/Hoopes/Glenn trio have been touring on their own and getting stronger as evolve. There always some surprises in store with any Frith endeavor so indeed we find some here: weird yet winning grumbled vocals on one track, the rhythm team twisting and turns things inside out so that Frith gets his chance to stretch beyond anything we might expect. Frith alters the sound of his guitar throughout this disc, creating all kinds of space/psych/noise sounds, never resting on one idea or sound for too long. This is the third amazing (power) trio CD I’ve heard this month! - Bruce Lee Gallanter, DMG
SYLVIE COURVOISIER / MARK FELDMAN / IKUE MORI / EVAN PARKER - Miller’s Tale (Intakt 270; Switzerland) Miller's Tale is the high point of the collaboration of the distinctive musicians Sylvie Courvoisier, Mark Feldman, Evan Parker and Ikue Mori. In September 2015, they recorded the fully improvised pieces for this album. The album's track sequencing of first four whole group pieces followed by five duo pieces offer multi-faced aural impressions and a rich listening experience. Henning Bolte writes in the liner notes: "Our ears usually first adhere to the known, the familiar. But they 'squint' to something thrilling, to beautifully disturbing things, something extra to enjoy as listeners. Its attractiveness is strongly related to the quality of the known/unknown interweaving in the music. The sensible pleasure of the four musicians in Miller's Tale offers numerous arousing moments to personally connect with the music."
Featuring Sylvie Courvoisier on piano, Mark Feldman on violin, Evan Parker on soprano & tenor sax and Ikue Mori on electronics. This quartet together once (in duos & trios) during an Evan Parker residency at The Stone and decided to record a quartet improv session in a studio one year later. The results are astonishing, half quartet pieces and half duos, all amazing. Ms. Courvoisier is a master of working her magic playing inside the piano and she is central to what makes this session so special. Both Sylvie and Ikue are sonic sorceresses, creating strange and marvelous sounds together. Mr. Parker on both saxes and Mr. Feldman on violin also weave their lines amongst the fascinating electro-acoustic blend. This is high end improv at its best and most compelling. Their sonic web casts a mysterious spell which can’t be denied. Superb! - Bruce Lee Gallanter, DMG
New from Tzadik:
ROBERT DICK - Our Cells Know (Tzadik 4015; USA) A true revolutionary, composer/performer/improviser Robert Dick has literally redefined the flute for our age. He has worked with a wide range of musicians from classical, jazz and improvised music backgrounds including Steve Lacy, Evan Parker, George Lewis and many others. Here he focuses in on the elusive contrabass flute, and uses a wide range of extended techniques including multiphonics, percussive effects, circular breathing and more! A unique and heartfelt CD of modern flute music unlike anything you have heard before!
MARI KIMURA//MICHAEL HARRISON/HANNAH LASH/ERIC CHASALOW/ et al - Harmonic Constellations (New World Records 80776; USA) Mari Kimura’s career is a measure of how violin virtuosity has changed over the last few centuries, and particularly in the last fifty years. By the middle of the 20th century, violinists and composers began to feel that the violin’s traditional technical arsenal required updating, lest the instrument continue to sound like the 16th-century technology it is, trapped in a quickly changing, increasingly high-tech modern world. One approach, mirrored closely in the world of woodwind instruments, has been to find the violin’s “extreme” technique, which would yield ways to twist the violin’s familiar timbre into something new.
One such technique was to exploit the violin’s harmonics—the glassy, high-pitched tones produced by bowing a string on which a finger was placed lightly, rather than pressed fully to the fingerboard. Kimura herself discovered a counterpart to traditional harmonics in the early 1990s. Expanding on a technique intended to bring an extra measure of presence to high notes that are not naturally resonant, she began experimenting with notes on the G string, and found that she was able to wrest sounds as much as an octave lower than violin’s lowest natural note, the G string’s open G. She spent several years perfecting the technique, which she calls subharmonics.
Ms. Kimura has taken an active role in the development of the repertoire of works that combine traditional instruments with electronic sounds, working with electronic scores of all kinds, including recorded tracks within which the violin line is tightly nestled, as well as interactive works, in which the live performance triggers events in the electronic score.
For Harmonic Constellations, Kimura has collected half a dozen works for violin and electronics, by a group of American composers each of whom has a distinctive compositional style, and who take different approaches to the challenge of composing for the violin and electronics. Of particular note is the premiere recording of the title track, a major new composition from Michael Harrison, which is scored for violin with 13 pre-recorded tracks and computer generated sine tones. The work is comprised of nine constellations of complex just intonation harmonies that gradually shift and evolve over time.
Two More Tzadik Reissues:
JAMIE SAFT TRIO + MIKE PATTON / ANTONY - Trouble: The Jamie Saft Trio Plays Bob Dylan (Tzadik 8111b; USA) Jamie Saft and his dynamic trio presents a sparkling interpretation of the work of Bob Dylan. A lifelong Dylan enthusiast, Saft is the perfect man to take on this challenging project and his choice of compositions, spanning over four decades of activity, is as creative as the arrangements themselves. Featuring several guest vocalists including Mike Patton and Antony, this is a deep and meaningful tribute to one of the world’s greatest living songwriters, a Jew whose influence resounds in the work of several generations of pop musicians. - A Tzadik Classic!
SYZYGYS [With SHIMIZU HITOMI/NISHIDA HIROMI] With IMAHORI TSUNEO/SHIINA TATSUTO] - Eyes on Green: Syzygys Live at Tokyo Inkstick 1988 (Tzadik 7236b; USA) With the cute innocence of Shonen Knife and the 43-tone organ of Harry Partch, Syzygys have been fashioning twisted and catchy pop songs since 1985. These performances capture the band live in 1988 and is so beautifully recorded it could have been a studio date. Accompanying the delightful duo is legendary guitarist Imahori Tsuneo playing everything from Bill Frisell to Arto Lindsay's skronk and bassist Shiina Tatsuto. Absolutely charming: somewhere Harry Partch is smiling. Microtonal pop for the 21st Century.
New from Cuneiform:
THE CLAUDIA QUINTET - Super-Petite (Cuneiform 427; USA) Featuring: John Hollenbeck – drums & percussion, Chris Speed – clarinet & tenor sax, Red Wierenga – accordion, Matt Moran – vibraphone and Drew Gress – acoustic bass. Short doesn’t necessarily mean simple. Drummer-composer John Hollenbeck acrobatically explores the dichotomy between brevity and complexity on Super Petite, the eighth release by the critically-acclaimed, proudly eccentric Claudia Quintet. The oxymoronic title of the new album, captures the essence of its ten new compositions, which pack all of the wit and virtuosity that listeners have come to expect from the Claudia Quintet into a shorter time-frame.
Hollenbeck’s uncategorizable music – which bridges the worlds of modern jazz and new music in surprising and inventive ways - is realized by Claudia’s longstanding line-up. Over the course of 19 years and 8 albums, the band has forged an astounding chemistry and become expert at juggling mind-boggling dexterity with inviting emotion and spirit.
The concept of shorter works was both a personal challenge for Hollenbeck as a composer always dealing with a wealth of ideas, but also a reaction to a tendency in modern music toward the epic. “I’m feeling things in the opposite direction,” the composer explains. “When tunes are longer, there tend to be moments when not a whole lot is happening. If you have a really short tune, the whole thing has to be compelling.”
I have always had a soft spot for the Claudia Quintet as John Hollenbeck obviously takes a great deal of time to construct each of their eight previous discs. Their unique sound and compositions are often modest and most subtle with a sly sense of humor buried beneath the surface. You must listen unobstructed several times for their magic to be revealed. Closer to modern chamber music than anything else, I love the blend of the simmering clarinet, vibes & accordion with the skeletal rhythm team support. Often the the accordion and vibes will play a rerating line while Mr. Speed solos on clarinet or tenor sax, sumptuous solos, warm and thoughtfully executed. Mr. Hollenbeck reminds me of minimalist composers like Steve Reich or Philip Glass without being so obvious formulaic or boring. Hollenbeck’s repeated phrases always shift in unexpected ways, keeping the band and listeners on their toes. This disc is another modest gem from a long line of swell discs from Mr. Hollenbeck and his great collaborators. - BLG/DMG
DEUS EX MACHINA - Devoto (Cuneiform 429; USA) Following an eight-year absence, the Italian rock/progressive group Deus Ex Machina bursts back onto the international scene with Devoto. Blazing into contemporary focus with their new album, Deus Ex Machina is poised to transcend the accomplishments of its past.
Devoto retains Deus Ex Machina’s distinctive blend of fiery, complexly designed music, passionate bel canto vocals, virtuosic instrumental performances and analogue-heavy textures. Here as before, DEM’s music combines both the energy and beauty of early Mahavishnu Orchestra and Larks' Tongues in Aspic-era King Crimson; classic 70s hard rock influences from Deep Purple and, most unmistakably, Led Zeppelin; hints of RIO-tinged avant-progressive; and the unmistakable Mediterranean vibe of fellow 'Rock Progressivo Italiano' combos like PFM. But just as each successive album has represented something different yet still unmistakably, unequivocally DEM, Devoto takes a more direct, immediate approach: a more hard-hitting, gut-punching, visceral Deus Ex Machina.
Devoto may have been a long time coming, but it's been more than worth the wait. Deus Ex Machina continues to prepare even more new material while rehearsing for upcoming live dates. Prepare yourself to revel in the gripping punch and the more direct - yet still compositionally dense and intense - music of Devoto; like every album in its remarkable career, both a consolidation of what has come before...and a clear signpost of things to come.
I.P.A. [MAGNUS BROO / ATLE NYMO / MATTIAS STAHL / INGEBRIGT HAKER FLATEN /HAKON MJASET JOHANSEN] - I Just Did Say Something (Cuneiform 422; USA) For a number of reasons, Scandinavia is currently one of the epicenters of vivid, forward-looking jazz, often marked by a tantalizing balance of form and freedom. Over the past decade, the quintet I.P.A. has come to embody the best of this volatile sensibility, which makes sense as the band draws its players from definitive Nordic ensembles such as Atomic, Motif, Trondheim Jazz Orchestra, and The Thing.
‘I Just Did Say Something’ is I.P.A.’s fourth release and is the quintet’s most exhilarating statement yet; it’s the work of a band fully alive to its own power, while eagerly investigating new directions.The group is strongly influenced by the seminal 1960s work of Don Cherry and Ornette Coleman. Harmonically unfettered, rhythmically unpredictable, and melodically unvarnished, the quintet thrives on live-wire interaction, with rapidly intersecting lines that swoop and collide, disentangle, divide and swing!
“We have melodies, but not really structured melodies,” says Nymo, one of the band’s primary composers. “We’re definitely influenced by Don Cherry. I see us as part of this Scandinavian jazz scene, but we’re open to influences from all over. We really cover a lot of ground.”
I.P.A.’s origins go back to 2007 when Nymo, Flaten and Johansen released their electrifying interpretation of Don Cherry's 1966 album Complete Communion. When Broo joined forces with the triumvirate the following year, I.P.A. was born. The quartet introduced itself with two albums released in 2009 and 2011. By their 3rd release in 2014, Ståhl had expanded the band to a quintet and All About Jazz proclaimed the ensemble, “one of the best kept secrets in the fertile Nordic musical scenery.” With I Just Did Say Something, the combo has staked a larger claim, capturing the full creative breadth of this all-star ensemble.
CD $15 (In stock next week & BLG will do his own review)
NATE WOOLEY With COLIN STETSON/JOSH SINTON/DAN PECK/RYAN SAWYER/BEN HALL/C. SPENCER YEH/BEN VIDA/MATT MORAN/TILT BRASS OCTET/ et al - Seven Story Mountain: V (Pleasure of the Text 1304; USA) This is the fifth version of Nate Wooley’s Seven Story Mountain, which has continued to expand in personnel, as well as in density & intensity. This version was recorded live last year (May of 2015) at the Abrons Art Center in Manhattan as part of the Tectonics New York Festival. For this version, the ensemble was expanded to some 18 musicians, a double ensemble (2 strings, 2 reeds, 2 brass, 2 vibes & 2 drummers) plus the Tilt Brass Octet. I have witnessed earlier versions of this work as well as attending the set from which this CD was taken and have been more impressed each time. This version was the most ambitious one yet. It begins with a majestic sounding brass fanfare: ancient, ritualistic and austere sounding. The music seems to breathe like a wheezing accordion, pumping in and out, in and out. Slowly other instruments enter as the piece expands and evolves. The piece eventually calms down as certain members provide eerie, haunting and more subdued drones. Minimal rubbed strings, percussion and hissing through horns, slowly building once again. The overall sound is quite hypnotic with a series of soft drones floating around one another like friends spirits or ghosts. Certain lines are being manipulated slowly, the effect is somewhat disorienting. Again, the piece evolves are more layers (strings, percussion and growling reeds) are added, usually one or two players at a time. Since some of the strings and horns are amplified, the sounds becomes unnerving at times, being unsure of who is playing what. Do I hear some voices screaming in the distance? In the second half, things get very intense and scary at times, as if things are about to explode. Too much! The work is nearly 50 minutes long and will take you along on a wonderful journey and quite an extraordinary one at that. - Bruce Lee Gallanter, DMG
MERZBOW / HAINO KEIJI / BALAZS PANDI - An Untroublesome Defencelessness (Rare Noise 061; UK) Featuring Merzbow on electronics, Haino Keiji on guitar & electronics and Balazs Pandi on drums. This is the third disc that Japanese noisemeister, Merzbow, and Polish drummer Balazs Pandi have done together. The two previous ones have included a different guest on each: Mats Gustafsson and Thurston Moore. For this session, Merzbow and Pandi have added another sonic extremist, multi-instrumentist Haino Keiji. Merzbow (Masami Akita) and Keiji have also played together live and have a duo CD out on the Victo label. This is a studio effort and has incredible sound: dense, powerful and awesome. Drummer Balazs Pandi, who has worked with just about everyone (Jamie daft, Joe Morris & Wadada Leo Smith), is in the center of the mix here and sounds most impressive, churning up a thick cushion of waves. Haino Keiji unleashes waves of sonic abuse on guitar as Merzbow matches him with pulsating electronic miasma. This is a massive powerful in the true sense, erupting and spewing forth tidal waves or molten magma, take your pick. Although this music sounds like sonic sludge at times with occasional dark metal guitar added, Merzbow keeps things interesting by varying his electronic sounds from piece to piece, bending and twisting the static into different characters or textures. Instead of bass, Merzbow provides a thick cushion throbbing low-end noise which balances the flow and interaction of the drums and guitar just right. What I dig most about this is how well, how tight and how spirited this trio plays together. One dynamic force united. The brutal truth! Wow, it feels like my brain is melting!! - Bruce Lee Gallanter, DMG
Seven Swell New Discs from FMR:
PAUL DUNMALL / PHILIP GIBBS / ASHLEY JOHN YOUNG - Now Has No Dimension (FMR 408; UK) Featuring Paul Dunmall on soprano & tenor saxes, Philip Gibbs on guitar and Ashley John Young on double bass. Now that UK sax colossus Paul Dunmall has put his own Duns label to rest (after 65 releases), there are only two labels who continue to release his discs, Slam and FMR. This new trio disc features the great guitarist, Philip Gibbs, who has recorded with Mr. Dunmall more than anyone else. They are joined by a bassist named Ashley John Young, someone I’ve never heard of before now. This set/disc was recorded live at Cardiff University School of Music and the sound is superb. Mr. Dunmall starts off on soprano sax, which is well matched by Mr. Gibbs electric guitar tuned down low while the interplay with the contrabassist is restrained yet frenzied. Dunmall’s and Gibbs’ long history of playing together shows that they are able to go anywhere and arrive at the same place together. Bassist Ashley seems like a great match as he bows and plucks and works his way perfectly matching wits with his feisty comrades. Dunmall’s rich, probing tone on tenor is featured on “Names and Shapes”, as he digs deep into his haunting bag of Trane-like flurries. There is a section midway where the bowed bass, soprano (with a bit of echo) and muted guitar all swirl together into a most magical concoction, similar to the way we feel in a dream when we don’t know where we are but things still feel somewhat familiar. This is tight-knit improv at its best, completely focused and consistently astonishing. - Bruce Lee Gallanter, DMG
TREVOR WATTS / STEPHEN GREW - Con Fluent (FMR 414; UK) Featuring Trevor Watts on soprano & alto saxes and Stephen Grew on piano. One of the greatest of all living British saxists, Trevor Watts remains active (at 77), releasing several discs every year, all consistently strong. Aside from his work with seminal bands like SME, Amalgam and the Moire Music Group, Mr. Watts has been involved in several duos over the past decade: (pianist) Veryan Weston, Jamie Harris (congas) and Peter Knight (violin). In the past few months, we seen two great discs released featuring Mr. Watts: ‘Cynosure’ from 1976 and Harry Miller’s ‘Different Times, Different Places - Vol.2’ from 1977-1982.
Although Mr. Watts has a half dozen duo discs out with Veryan Weston, this is his first with pianist Stephen Grew. You might recognize the name Stephen Grew from his discs on the Discus, PSI and Slam labels. Unlike most duo efforts, for this disc, the duo did not record together in one sitting. Instead, Mr. Grew recorded his piano live at a concert in Newcastle while Mr. Watts added his saxes in a studio in Hastings afterwards. Oddly enough, it is nearly impossible to detect this from listening to this disc as Mr. Watts and Mr. Grew work together extremely well. The interplay is often astonishing, swirling lines, cascading tightly around one another. Right from the opening piece, “Carriageway”, the duo are off and running, from fast and frenzied to a calm conclusion. Even on soprano, Mr. Watts is incredible, spinning quick lines with Mr. Grew’s equally impressive furious and fractured lines. The duo eventually slow down and do a fine job of criss-crossing lines together, concentrating on single notes of sparse yet compelling interaction. Mr. Grew plays inside the piano on “The Lit and Phil Chair”, while Watts spirals sly, intense soprano lines. This is truly a dynamic duo and it is impossible to tell that this wasn’t recorded together. - Bruce Lee Gallanter, DMG
FRODE GJERSTAD / LUIS CONDE / FABIANA GALANTE - Give and Take (FMR 410; UK) Featuring Frode Gjerstad on alto sax, B-flat clarinet & flute, Luis Conde on bass sax, digeridoo & B-flat clarinet and Fabiana Galante on prepared piano. While touring in South America in September of 2015, Norwegian reeds wiz, Frode Gjerstad, played with musicians from Chile and Buenos Aires, Argentina, where this trio was recorded. I don’t know much about the creative music scene in Argentina, although a number of musicians have moved to New York from there: Guillermo Gregorio and drummers: Juan Pablo Carletti and Damian Allegretti. I hadn’t heard of either Luis Conde or Fabiana Galante before this. The instrumentation of alto & bari saxes, one or two clarinets, prepared piano and digeridoo is a unique combination. This disc begins with more introspection, sparse, eerie improvisations. Ms. Galante selectively works inside the piano to create strange sounds by rubbing or banging strings with objects. The balance and interplay between the two reeds players changes section to section: bari sax & clarinet, flute & the other clarinet… Piece move in slow motion as sounds are explored, bent and manipulated ever so cautiously. The sparse, controlled playing sounds closer to modern chamber music than jazz. Eventually, things become more intense and less sparse.
FRODE GJERSTAD / RAMIRO MOLINA - Unseen Seas (FMR 412; UK) Featuring Frode Gjerstad on alto sax, clarinet & flute and Ramiro Molina on guitar. This disc was recorded in Santiago, Chile in September of 2015, while Norwegian saxist Frode Gjerstad was on tour. At 68, Mr. Gjerstad remains undaunted, playing with musicians from many scenes around the world. I rarely hear about creative music from Chile, but obviously a scene does exist as this guitarist’s bio shows. Guitarist Ramiro Molina mentions the work of Bill Frisell and Hilmar Jensson, as well a number of Downtown musicians. The duo start off quietly with Mr. Molina playing soft fractured sounds on his electric guitar. Mr. Molina sounds like he was influenced by both of those guitarists as well as Marc Ducret. The rubbing of strings or banging of strings with an object is often what we hear as well as a great deal of twisted notes from Gjerstad’s sax. What is interesting here is that much of this is low key and never loud or very boisterous. The interaction is still interesting but at a more restrained level. It is hard to tell that Molina is playing guitar at times since he uses some devices which give him some electronics-like sounds. Much of this is like an intimate conversation, occasionally warped yet still stimulating on a more restrained level. Once I became more patient, I started to he more interesting interplay without any bombs being dropped. - Bruce Lee Gallanter, DMG
PAUL LOVENS / STEFAN KEUNE - Live 2013 (FMR 407; UK) “The saxophone/drums duo might be the most intense and concentrated formation in improvised music, reduced to the absolutely necessary: melody and rhythm. Lots of players have used this constellation, from John Coltrane/Rashied Ali’s Interstellar Space (1967/released 1974) to Frank Wright/Muhammad Ali’s Adieu Little Man (1974) to Peter Brötzmann/Hamid Drake’s The Dried Rat-Dog (1995) and Ken Vandermark/Paal Nilssen-Love’s Lightning Over Water (2014) (this is just a random selection, of course), because like no other it offers the possibility to establish a symbiosis.
However, while the aforementioned duos often focus on raw energy, which is mostly created by deep and howling sounds, Stefan Keune and Paul Lovens concentrate on microscopic details, intimacy, and silence. This can be heard at “Munich, April 13th, 2013“, the second track on this album (the first one was recorded in Brussels the day after, the third one is the short Munich encore). Keune (sopranino, alto and baritone saxophones) carefully explores the higher registers of his instruments in meticulously staked areas of sounds, which he subjects to close scrutiny with restrained mercurial bursts, chirps and twitters, and harsh overblowing. He pushes them to such extremes that one might be afraid that he could get absorbed by his own universe. His highly specific sound, which reminds of Evan Parker and Swiss reedist Hans Koch, meets one of Europe’s free jazz veterans, Paul Lovens, on selected and unselected drums and cymbals - a distinction he likes to make, meaning that he uses material he has taken with him or which he is given on location. Lovens, who actually comes from a rather energetic approach in his early days with the Schlippenbach Trio, contributes to Keune’s sounds with very fiddly, dizzy and edgy intersperses, which must not be confused with agitated and hectic ones. In the middle of the piece the saxophone mumbles as if it was daydreaming so that it seems to get lost and almost disappears before Lovens actually pulls Keune back on track with a very resolute roll on the toms.
What makes the duo a real symbiosis is the fact that Lovens responds to Keune’s reed flutter with a high-pitched drum set and an increased use of cymbals and little gongs. If the album was released on vinyl you would check if you played it on 45 instead of 33 rpm. The result is an hour of exquisite music, full of microtonal expressiveness, concentrated fragility, and high-octane tension - where two musicians become one. Absolutely worth listening to.” - Martin Schray, FreeJazzBlog
ROB HALL & CHICK LYALL - Myth - The Music of Giannis Konstantinidis & Other Improvisations (FMR 413; UK) Featuring the Scottish duo of Rob Hall on e-flat, b-flat & bass clarinets and Chick Lyall on piano. This is the third disc on FMR form this duo, which includes Chuck Lyall who is also part of another duo on FMR called Green Room. Rob Hall also has three previous discs on FMR as a leader. 12 of the 25 pieces on this disc were written by a Greek composer named Giannis Konstantindis, who wrote popular songs, chamber music, orchestral works and operettas (from the 1920’s-1970’s). The other half of these pieces are short suites of improvisations. Mr. Hall has a rich, warm and often haunting tone on bass clarinet which works well with Mr. Lyall’s charming piano. Konstantindis’ “Greek Miniatures” are a bit more melodic but no less enchanting. Some of these songs sounds more like it is from an older pre-20th century classical tradition. The duo get to stretch out more on the improvisation pieces/suites. Some of the pieces are solo efforts as well, which balances out the program quite well since each piece sounds like it is part of an ongoing suite with certain themes being developed as they unfold. One of the highlights here is an amazing bass clarinet solo which is thoughtfully played without calling too much attention to itself. I like that this music is so well crafted and quietly inventive without ever resorting to the extremes of extended techniques. Being calm and crafty is not so easy to pull off so… - Bruce Lee Gallanter, DMG
JOHN BACON / JONATHAN GOLOVE / ESIN GUNDUZ / MICHAEL McNEILL - resAUnance Migration (FMR 411; UK) Featuring John Bacon on vibes & percussion, Jonathan Golove on electric cello, Esin Gunduz on voice and Michael McNeill on piano. This set was recorded live at the University of Buffalo, which where I believe these musicians live. I know a couple of these musicians previously: John Bacon from his discs with Paul Bley duo, Roswell Rudd Trio and a trio with Don Menza & Bobby Jones. Cellist Jonathn Golove once played at DMG and has recorded with Michael Vlatkovitch several times. I don’y know Ms. Gunduz but once reviewed a disc by a band called My Nada Brahma with Michael McNeill on harmonium. The songs here were written by two of the members (Mr. Bacon & Mr. McNeill plus two traditional songs from Thrace (southeastern Europe: involving parts of Greece, Turkey & Bulgaria), the area where Ms. Gunduz was born. Things begins inauspiciously with an old folk song, “Kizilciklar Oldu Mu”, a most enchanting piece featuring the charming vocals of Ms. Gunduz, an uplifting bittersweet melody and tasty cello. Mr. Bacon’s “Flame” recalls the band Oregon, another fine acoustic quartet who blended ethnic & jazz instruments with free and occasionally quaint written material. This piece is elegant and one part reminds me of Ralph Towner’s lovely song “Icarus”. Sublime, lovely. The same melancholy, exquisite vibe runs throughout this disc, kinda folky at times. Although it starts out more austere, it ends with a most uplifting and thoughtful second half. Unlike any other disc we’ve heard from FMR or from most other more extreme music labels. - Bruce Lee Gallanter, DMG
SIX-IN-ONE [PAUL DUNMALL/BRUCE COATES/MARK SANDERS/ et al] - Subjects and Structures (Slam 2102; UK) Featuring Paul Dunmall on tenor sax, Bruce Coates on sopranino, soprano & alto saxes, Corey Mwamba on vibes, Seth Bennett on bass and Mark Sanders & Walt Shaw on drums & percussion. Recorded live in the Artsmith Gallery in Derby, UK in August of 2015. The only members of this sextet that I am previous familiar are saxists Paul Dunmall and Bruce Coates, who have recorded several times before and UK drum wiz Mark Sanders who is ubiquitous, working with Evan Parker, Jah Wobble and many others. This is a long disc (71+ minutes) and two of the pieces take their time to unfold slowly and assuredly. Superbly recorded and balanced with a spirited interweaving of swirling saxes and vibes. Two of the members of the gallery, Shaw & Coates, have their collage-like artwork displayed on the front and insides of the CD cover. UK free/jazz or insect music? Perhaps some of both schools/styles. Closer to the spirited side of free/jazz with its organic unfolding building through blustery sections to more subdued areas. Saxist Bruce Coates is especially strong here, especially on soprano. Mr. Coates has only appeared on a four discs that I’ve reviewed in the past so it is great to hear him, Dunmall, Sanders land the rest of the sextet stretch out over a long period of time. Consistently engaging! - Bruce Lee Gallanter, DMG
CD $12 (listed here 2 weeks ago but not reviewed until now)
GLIMPSE TRIO [MIKE SOPKO / CHRIS LOPES / HAMIR ATWAL] - Glimpse Trio (Self-released; USA) The Glimpse Trio are Mike Sopko on guitar & vocals, Chris Lopes on bass and Hamir Atwal on drums plus a few guests. Earlier this month (June of 2016), we offered an amazing trio disc from Mike Sopko/Bill Laswell/Thomas Pridgen, that I discovered from UK’s Jazzwise magazine. I wasn’t familiar with guitarist Mike Sopko before this but was happy to finally hear, review and sell copies of the under-recognized gem. Earlier this week, Mr Sopko played a duo set here at DMG with Chris Pitsiokos and the next night at Roulette, sitting in with Bill Lswell’s Method of Defiance. Mr. Sopko left us with a couple of his own self-produced CDs to check out. The bassist here is also a member of the Jeff Parker Trio while the drummer was/is a member of the No Chordtet.
I really didn’t know what to expect since I know so little about Mr. Sopko’s background but I quite surprised nonetheless. This disc contains some 24 relatively short tracks, each pretty different. “First Thing” sounds like the drums were sped up, almost drum n’ bass like with super-quick, nervous guitar chords on top. Although the Sopko/Laswell/Pridgen CD was completely instrumental, this disc has Mr. Sopko singing on six songs. On “Gogan”, Mike sings “I wrote this song for you” and it is a most charming sentiment. each song is an inventive sketch of different quirky ideas. “Far Away” has a sorta bluegrass midsection while “Holiday” rocks hard in a most infectious way. Mr. Sopko’s twisted sense of humor is somewhere between Eugene Chadbourne and Adrian Belew with loads of unexpected, inventive snips from his ever-changing choice of guitar bits. Although Sopko changes the sound and approach on his guitar(s) on each song, it sounds sounds as if he is overdoing anything. There are a few silly moments here and there which makes me think that Sopko doesn’t take himself too seriously. In some ways, this reminds me of those long lost gems by R. Stevie Moore, where he would alter his voice and constantly switch styles from the long history of rock. Similar to the way Nick Soloman use to record those enchanting psych masterpieces in his bedroom for years, this disc has a similar endearing, quirky quality. Out-takes from the Beatles White Album, perhaps? If Tzadik still has a Lunatic Fringe Series, would this disc be found on it?!? Maybe so. Worth exploring only if you still have an odd sense of humor and love for silly weirdness. - Bruce Lee Gallanter, DMG
CHRISTIAN FENNESZ & JIM O'ROURKE - It's Hard For Me To Say I'm Sorry (Editions Mego 221; Austria) Despite decades of activity and having crossed paths in various collaborations, this release presents the first-ever duo recording from two of the most highly regarded citizens of planet experimental electronic. Individually, Jim O'Rourke and Christian Fennesz have been responsible for numerous legendary works that merge the traditional avant-garde with contemporary sensibilities. On It's Hard For Me To Say I'm Sorry these giants of experimental electronic practice come together for an immensely powerful sonic experience. The signatures of both O'Rourke and Fennesz cohabit this release, with O'Rourke's gurgling harmonies swimming among the shimmering frequencies and strummed melodies produced by Fennesz. The two tracks situate themselves as a warm electronic adventure; simultaneously radical and comforting, these works shift from gentle sonorities to fully distorted explosions, all of which reside within a template of tension between musical and non-music matter. Timeless in execution and presentation, It's Hard For Me To Say I'm Sorry is a deeply rewarding sonic experience from two of the most romantic gentlemen active in experimental music today. Recorded in Kobe, Kyoto, and Tokyo in September 2015. Photos by Jim O'Rourke. Layout by Shunichiro Okada.
STEVE MACLEAN - Ordinary Objects And Other Distractions (ReR RSM7; UK) "In this episode, a number of short recordings of household objects and curious instruments become the core thematic material for a range of exquisitely conceived and realised pieces in which the recordings are shaped, stretched, tuned, combined and otherwise manipulated before being folded into a variety of musical structures with additional elements or parts added. Much use is made of rhythms derived from gravity - that is, dropping and bouncing - embedded into microtonal, poly-rhythmic and deeply engaging structures. Steve has been a hard sell in some ways, like Jon Rose, Biota and Bob Drake. But we think that, in the end, quality will out."
ACID MOTHERS TEMPLE & THE MELTING PARAISO U.F.O. - Wake To A New Dawn Of Another Astro Era (Important 439; USA) With the departure of long time bass/drum duo Shimura Koji and Tsuyama Atsushi, AMT now have a new rhythm section featuring two young Japanese musicians, Satoshima Nani on drums and S/T on bass. Thus, Wake To A New Dawn of Another Astro Era is the first record in the second chapter of this legendary Japanese psychedelic rock group. Wake To A New Dawn Of Another Astro Era finds a rejuvenated Makoto Kawabata encompassing the best of what AMT has come to mean in the last twenty-one years. Deep ambient synth passages fade into deftly composed anthemic jams worthy of crowd favorite status like "La Novia" and "Pink Lady Lemonade". Makoto's guitar prowess reaches unfathomed apexes in epic crescendos while the new rhythm section holds down heavy Kraut-influenced repetition. Straddling the line between composition and improvisation, this is a legendary AMT record for sure. Features light show artwork by LiquidbiupiL. Acid Mothers Temple & The Melting Paraiso U.F.O. at the time of this recording were: Kawabata Makoto : electric guitar, acoustic guitar, fretless bass, bouzouki, electric saz, sitar, synthesizer, electronics, tape, short wave, voice, speed guru; Higashi Hiroshi : synthesizer, noodle king; Tabata Mitsuru: electric guitar, guitar-synthesizer, acoustic 12 strings guitar, tape, voice, maratab; Satoshima Nani : drums, another dimension; S/T : bass (on "Meridian Dimension ~ Lost Milky Way"), space & time. Produced and mixed by Makoto Kawabata.
LYDIA LUNCH & MARC HURTADO - My Lover The Killer (Munster Records 361; Spain) My Lover the Killer is the first full-length duo collaboration between Lydia Lunch and Marc Hurtado (Étant Donnés), who first worked together on the 1999 album Re-Up by Étant Donnés. My Lover the Killer features Terry Edwards (Gallon Drunk), Ian White (Gallon Drunk), Mark Cunningham, We Are Birds of Paradise, and David Lackner. Lydia Lunch on the album's origins: "What began as a loose musical concept in the summer of 2012 became a prophecy written in blood by November of the same year. My Lover the Killer is a late night noir confessional. Sinister, sexy and mysterious, the music slithers, erupts and caresses the seductive vocals as they relay twisted tales rife with innuendo, promises and threats. The text is based on the murder/suicide of an ex-lover whom I had recently contacted for the first time in over a decade. Caught in the early fall hurricane which leveled the East Coast of America while enroute to Los Angeles, I had sent an invitation proposing that we meet for drinks. Two days later, during a alcohol fueled fight with his girlfriend about whether or not he should come to see me, he shot and killed her, called the police, turned the gun on himself, and died the next day on his 55th birthday. A tragic event, which My Lover The Killer attempts to make sense of. Each song is a rumination on the frightening effects of a mad love spun out of control and the haunting remnants of a lover who still stalks from beyond the grave." Shape-shifting nomad Lydia Lunch, a musician, writer, photographer, and performer, burst onto the New York music scene in 1977 with her seminal no wave group Teenage Jesus and the Jerks. She has since worked with a wide variety of collaborators, including Karen Finley; Hubert Selby, Jr.; Nick Cave; and Virginie Despentes. Marc Hurtado is a musician, performer, poet, painter, and filmmaker who cofounded the French duo Étant Donnés with his brother Eric in 1977. Apart from this duo and his solo project Sol Ixent, he has collaborated with many cult figures including Alan Vega, Genesis P-Orridge, Michael Gira (Swans), Gabi Delgado (DAF), Z'EV, Philippe Grandrieux, and Vomir.
Last year a very nice couple from France stopped by at DMG and left us with three discs from friends of theirs: Yves Renaux on clarinet and David Catticin on piano, plus some electronics as well. Considering I hadn’t heard of either musician, I was most impressed by all of the discs they left. The couple made a short video of me praising the two musicians which they showed to the duo. Hence, a year later we got a package from these two musicians with some six different titles, three each. Since we don’t have very many to sell, I will try to do some short reviews to help sell what we have…
LES ENTREPRENEURS - Novembre 2014 (Self-released; France) Featuring Yves Renaux on clarinet and David Cattacin on piano. While the left hand on the piano plays quietly, the right hand sprints faster, spinning its lines around the clarinet. It sounds as if there are two pianists involved since each hand seems to play separate lines. The high end piano and clarinet seem to push each other into frenetic yet interplay which remains calm at the center. The clarinetist is quite extraordinary, playing furious lines, bending many notes without losing control. No matter how quickly the clarinet and piano play, they remain tight shadowing each other in a most exhilarating way. The interplay is most often tight and connected, lines within lines. This entire disc is one continuous piece which lasts some 43 minutes. No matter where or how far out these two go, they remain connected. Incredible considering I had never heard of either of them before last year. - BLG/DMG
CD $10 (3 copies only for now)
NORMAN WESTBERG - The All Most Quiet (Hallow Ground 1605; Switzerland) Anyone who has experienced Swans live on one of their recent tours will know who Norman Westberg is: the almost stoic, tall man, who coaxes rhythmic sounds from his guitar with an incomparably minimalist power and elegance. The play on words in the title can be applied to Westberg's own musical work, because whereas Swans are hard to surpass in terms of brute force, the artist's solo work is much more subtle, and therefore also quieter. The resulting juxtaposition between the dense metropolis of New York, where The All Most Quiet was recorded, and the album's minimalistic strains, open up virtual spaces for attentive listeners. The opening, nearly twenty-minute title track begins with a lucid echo-like and extensive sound that seems to expand spatially and then contract again. At the same time the piece is evocative of lighting effects: mostly the music is slightly cool but rather bright. Individual beams break open or darken the mood. The consistent subtlety of the collages provokes the increased attention of the listener and every sonic shift is consciously perceived. The track "Sound 2" begins with atonal and slightly bumpy delays, which become increasingly confused and develop an unpleasant undertow. It is a kind of clamorous minimalism combined with an ability to conjure up sounds from a guitar that hardly sounds like guitar that makes Norman Westberg's music so unique.
MYTHIC SUNSHIP - Ouroboros (El Paraiso Records 033; Denmark) Debut album from Copenhagen quartet, Mythic Sunship . The destination is transcendence alright, but the vehicle, ultimately, is assembled from decades of rock - where ferocious drum-pounding and thick, dark basslines adds fuel to an endless pyre of blazed-out dual fuzz guitar action. This stuff is wild. Spiritually, the band seems connected to present day So-Cal psych-rock, but listening to Ouroboros, also reveals the band's strong ties to the Copenhagen underground scene: members of the band brushing elbows with the avant-garde noise of the record label Posh Isolation as well as the Mayhem venue. There's plenty of blissed-out riff-worshipping here, but there's also something slightly unsettling in the band's skyward travels - perhaps a longing for spiritual redemption. Maybe the road to satori isn't necessarily pretty after all. File next to: Amon Düül II, Earthless, Guru Guru, Travellin' Flower Band.
OISEAUX-TEMPETE - Unworks & Rarities 2012-15 (Sub Rosa 424; Belgium) This is the volume one of Unworks & Rarities, a new series compiling unreleased and miscellaneous pieces by Oiseaux-Tempête. Following their two acclaimed first albums on Sub Rosa (Ütopiya?, 2015 (SR 396CD, SR 396LP) & Oiseaux-Tempête, 2013 (SR 381CD, SR 381LP)), Unworks & Rarities is putting up more than a collection of outtakes. Since 2012, French "free-rockers" Oiseaux-Tempête have been making instrumental and experimental rock that's heavy, provocative, and in no way intended for just a casual listen. The band, formed in Paris, is the core duo Frédéric D. Oberland & Stéphane Pigneul beside drummers Sylvain Joasson, Ben McConnell & Jean-Michel Pirès. Their music was initially made alongside photographer Stéphane C. in order to document the existential conflict caused by the political and economic upheavals in Greece. For Ütopiya? the travels moved to Istanbul and Sicily, the group expanded with the addition of G.W. Sok (The Ex's former vocalist) narrating Nazim Hikmet's poems and Gareth Davis on bass clarinet, providing the food for its urgent energy and indomitable drive; still free, more punk, pursuing their sonic odyssey around the Mediterranean Sea. Including the same previous guests, Unworks & Rarities features also unreleased cosmic sessions with ondes martenot's virtuoso Christine Ott. More than mere music, the heft behind this project translates directly into the sound. It's not always dark and brooding, but it's definitely always potent. The landscapes they create through their soundscapes are always rich, stirring, full of color and texture, and entirely cinematic. What's more, and what's most important, is that it feels so human. Using, at times, audio realia from the times of turmoil, the sounds and the music work together to shine a light and lift heads towards it. Commanding more than just your ears, from guts to gray matter, Oiseaux-Tempête will hijack your insides. Pushing new boundaries, this opus crystallizes precious moments of sonic bloom, from ambient soundscapes to free-noise and krautrock inflected improvisation.
AF URSIN - Aura Legato (Blackest Ever Black 012; UK) Presenting the first CD edition of Af Ursin's 2005 masterpiece Aura Legato. Af Ursin is the alter ego of Finnish autodidact composer/improviser Timo van Luijk. His work is rooted in the use of acoustic instruments (wind, percussion, strings), but his special sensitivity to the timbral qualities of each instrument, and his deft blurring of them, results in a sound-world that is mysterious, amorphous and hallucinatory, full of suggestive shadows, creaks and whispers. Van Luijk's process begins always with pure improvisation: music played in an intuitive, sensual way, without the employment of conscious technique. He performs and overdubs each instrumental component himself, and out of this process micro-structures and loose arrangements emerge: the piece becomes an improvised composition. Aura Legato is one of van Luijk's darker and more acutely psychedelic offerings: a work of profound interiority, but one that also conjures images of old Europe and fin-de-siècle decadence - dabblings in Thelema, the fog of the opium-den - and has earned comparisons to Third Ear Band, Nurse With Wound, Mirror and HNAS.
Historic, Archival & Reissued Recordings:
Two Essential John Surman Reissues:
JOHN SURMAN With TERJE RYPDAL/MALCOM GRIFFITHS/JOHN TAYLOR/CHRIS LAURENCE/JOHN MARSHALL - Morning Glory (Fledg’ling 310; UK) At the time of its original release in 1973, Morning Glory, seemed a surprising departure for saxophonist John Surman. It seemed to owe more to the music being made by Miles Davis, Weather Report and Tony Williams' Lifetime in the USA or Ian Carr's Nucleus and Soft Machine in the UK than it did to the often abstract, free but determinedly acoustic music that Surman had pioneered up to that point. Hindsight tells another story. Morning Glory stands as both a consolidation of his work to date and, like the solo Westering Home (FLED 3093CD), it offers a signpost for his work in subsequent years. Surman chose his partners for the recording very carefully, drawing from his friends and trusted collaborators. In particular, Terje Rypdal on electric guitar and John Taylor on both acoustic and electric pianos allows for an expanded musical palette. The rhythm section of Malcolm Griffiths on trombone, Chris Laurence on bass and John Marshall's chattering drums lay down a remarkably elastic rhythmic counterpoint. All of these musical signatures would become even more evident in his later recordings for ECM. Re-mastering from the original master tapes supervised by John Surman.
JOHN SURMAN - Westering Home (Fledg’ling 3093; UK) Originally released in 1972. John Surman plays everything on the album, drawing together many of the threads of his earlier recordings with the possibilities offered by technology (and his own prodigious musicality). "I took a break from being on the road. This was just around the time when mono had become stereo, and then - in a flash - multi-track recording became possible. I was fascinated by the possibilities of, say, three bass clarinets on different tracks improvising together. Plus I had a curiosity about 'radiophonics' and tape manipulation and Pierre Henry's musique concrete. So it was in that spirit that I started work on what was to become Westering Home." Surman was born in Tavistock, North Devon. He initially gained recognition playing baritone saxophone in the Mike Westbrook Band in the mid-1960s, and was soon heard regularly playing soprano saxophone and bass clarinet as well. Surman developed a fearsome reputation as a prolific collaborator and session musician, before recording a series of albums under his own name beginning with the eponymous John Surman in 1969. His relationship with ECM Records has been continuous from the late 1970s to the present; Surman has recorded prolifically for the label playing bass clarinet, recorders, soprano and baritone saxophones and using synthesizers, both solo and with a wide range of other musicians.
OREGON [RALPH TOWNER/PAUL McCANDLESS/GLEN MOORE/COLLIN WALCOTT] - Live In New Orleans (Hi Hat 3028; UK) Oregon, live in New Orleans, February 1978. Formed in 1971, this legendary quartet quickly established themselves as one of the leading improvisational groups of the decade, combining elements of jazz, folk, raga, classical and more to create their own unique, virtuoso hybrid. This superb February 1978 performance for National Public Radio's "Jazz Alive" was broadcast on WBUR Boston 90.9 FM, shortly before the release of their seminal Out Of The Woods album, and is presented here in its entirety, together with background notes and images.
THELONIOUS MONK With CHARLIE ROUSE/LARRY GALES/BEN RILEY - Montreal Jazz Festival '65 (Hi Hat 3062; UK) Thelonious Monk, live at the Montreal Jazz Festival, Palace Des Arts, Canada on the 21st of August, 1965. Following his move to Columbia Records in 1963 and his appearance on the cover of Time the following year, 1965 found Thelonious Monk at his commercial peak. This superb performance at Montreal Jazz Festival on 21st August 1965. This CBC radio broadcast features several of his most enduring compositions and it's presented here in excellent quality, together with background notes and images.
KLAUS SCHULZE & PETE NAMLOOK - The Dark Side of the Moog Vol. 5-8 (Made in Germany 1392; Germany) "Complex re-release of the most remarkable and worldwide sought after series The Dark Side Of The Moog by German electronic pioneers Klaus Schulze and Pete Namlook (aka Peter Kuhlmann) in three slip lid boxsets, each with 5 CDs, incl. bonus material and new linernotes. The second box contains Vol. 5 to Vol. 8 and a bonus-CD with Klaus Schulze-tracks exclusively remixed by Pete Namlook. The relationship between Klaus and Pete and the exchange of ideas was unorthodox from the beginning of their co-operation, in that they rarely met personally. The most remarkable contacts they had were outside of their studios, for instance their concert of April 1999 at the Jazz Festival in Hamburg, which was released as an edited version on Dark Side Of The Moog, Vol.8- the interplay and chemistry between them is clearly evident. The influence Namlook had on Klaus's music in the middle of the nineties should not be taken lightly, because although Klaus dearly loved those early-analogue elements from his own music, they had become, to an extent, lost. It was Pete who fortified him to go back to the analogue charm of his early albums and it was Pete who supported him in the modification of his analogue instruments, leading finally to the epoch-making Schulze album from 1996 - Are You Sequenced?. And so a legendary series of recordings was born. Dark Side Of The Moog grew more or less unplanned to a sprawling, stately-sized series of eleven volumes recorded between 1994 and 2008, only ending with the early, tragic death of Pete on November 8th 2012."
5 CD Set $36
Back in Print and/or in stock:
SUN RA & His ARKESTRA - Cosmo Sun Connection (ReR SR1; UK) Recorded live in 1984 at one of Sun Ra's many US concerts, this captures the Arkhestra in full big band mode, blowing up a storm that could probably be heard on Venus.' This is a good, solid, representative mid 80's show with very good sonics (by Ra standards) by the Arkestra.
SUN RA ARKESTRA - Jazz In Silhouette / Sun Sound Pleasure (Phoenix 131511; EEC) Jazz In Silhouette is a 1958 recording which features one of Ra's greatest hits, "Enlightenment," a tune that Ra and the Arkestra later popularized by chanting as they frolicked at the end of their shows. Tenor saxophonist John Gilmore (who was with Ra since the Arkestra's birth in 1956) has a number of inspired outings here, most notably in a stimulating exchange with the late bassist Ronnie Boykins on "Blues at Midnight." "Throughout their mid-to-late-'50s stay in Chicago, Sun Ra (piano) and his Arkestra established themselves as formidable purveyors of a new strain or sub-genre of jazz. Having evolved from elaborate reworkings of familiar standards, Jazz in Silhouette (1959) presents a collection of originals, building upon Ra's abilities as a consummate multi-tasker -- writing, arranging, scoring parts for his band, in addition to performing. He stretches the boundaries of the music to suit the Arkestra, simultaneously progressing his distinct sound. Seminal readings of the quick and complex "Saturn" and "Velvet" are offered with unmatchable dexterity and precision. The latter title comes off like a confused version of "Jeepers Creepers" as Hobart Dotson (trumpet) prominently displays his unquestionable tonality. "Ancient Aiethopia" is one of the more involved works, both in terms of length -- running over nine minutes -- and the Arkestra's capacity for Ra's compositions. "Blues at Midnight" is another expansive (nearly 12 minutes) outing that, by contrast, is for the soloists rather than full ensemble. John Gilmore (tenor sax), Ronnie Boykins (bass), Pat Patrick (baritone sax), and Marshall Allen (alto sax) all shine behind William Cochran's (drums) solid contributions. Equally significant is the running dialogue Ra maintains during other musicians' leads, directing the ebb and flow with an uncanny fusion of melody and rhythm. Undoubtedly, this is a factor in the freshness the material retains. It is also a prime example of Ra and company in a transitional phase, prior to their full-fledged explorations into the avant-garde." ~ Lindsay Planer, AMG
SUN RA - Live In Montreux (Inner City 1039; USA) "Live At Montreux, a two-CD reissue that features Ra's Arkestra coming up with their own versions of both swing standards and futuristic originals. “A truly exceptional live album from Sun Ra here. This is so full-on, it's just totally invigorating. This is a total noise-fest, but it's a lot more ordered than a lot of the wall of noise stuff these guys could create. This gig feels completely and utterly rehearsed and structured, even though a lot of it is total chaos. The whole of the A side is just pure white lightning and will literally leave you breathless. A truly essential Ra album, totally recommended.” - MH1000
2 CD set $20
BURNT SUGAR / 'BUTCH' MORRIS / PETE COSEY / MELVIN GIBBS - The Rites: Conduction Inspired By Stravinsky's Le Sacre Du Printemps (Avantgroid 301; USA) Third fantastic release from Greg Tate's incredible fifteen piece jazz/funk/rock ensemble, this Burnt Sugar special project involves Lawrence Butch Morris' "conduction", inspired by Stravinsky's classic "Rites of Spring", of an ensemble featuring very special guests Pete Cosey (Miles' main guitar wailer on 'Agartha' & 'Pangea') and electric bass god Melvin Gibbs, along with Rene Akan, Morgan Craft, James Lee, Jason Di Matteo, Mazz Swift, Okkyung Lee, Lisala Beatty, Justice Dilla-X, Qasim Naqvi, Trevor Holder, Lewis Flip Barnes, Satch Hoyt, and Latasha Nevada Diggs. Over the past couple of years and since his long stay teaching in Turkey, Butch Morris has been working closely with his own moderate sized ensemble, as well as this great local sensation called Burnt Sugar. Butch is an incredible conductor and has really refined both of these ensembles which overlap with a few players and their recent residencies at the Bowery Poetry Club, Tonic, the Knit and Joe's Pub, just keep getting better and better. 'The Rites' swirls with immense waves, an inner fire and free-flowing yet magically connected subliminal spirits. There are layers of interconnected lines which seem free at first, yet Butch's control or vision gives this a unique clarity. There are quotes from Stravinsky's classic piece which float through and occasionally punctuate things in a few sections. That familiar opening phrase from 'The Rites of Spring' get a sensuous, bluesy vibe in one section, almost as if Jimi Hendrix were jamming with the Gil Evans Orchestra. For those of you that need that lead guitar fix, Cosey doesn't kick in until section seven of the eight tracks. And he does kick in hard here, it sure do feel so good too! In any case, 'The Rites' works just right from beginning to the end as one motherf***ing sublime feast for the senses. - Bruce Lee Gallanterm DMG
IGGY POP & DAVID BOWIE - Mantra Studios Broadcast 1977 (Iconography 055; UK)
"By 1976, proto-punk pioneer Iggy Pop had hit a major rut. Drug problems had led to the collapse of The Stooges, the band with whom he made his name, and he had checked himself into UCLA's neuropsychiatric institute in an effort to get clean. David Bowie, seeing his friend and collaborator in desperate need of support and guidance, was one of Iggy's few visitors. Bowie would later invite Pop to accompany him as his companion on the Station To Station tour, the first time Iggy had witnessed an outing of such scale and magnitude. Impressed by the success of the tour and with Bowie's work ethic, the pair relocated to West Berlin in order to wean themselves off their respective addictions and take full advantage of the burgeoning music scene there. While Bowie began work on his now-legendary 'Berlin trilogy,' Iggy signed to Bowie's long term label, RCA, in 1977. With a new record deal in place, alongside the production skills, musicianship and songwriting assistance of David, Iggy was able to record and release what would become his two most acclaimed albums. In March '77 came art-pop masterpiece The Idiot, which produced the singles 'Nightclubbing' and 'China Girl.' Although certain purists would criticize the record for being a David Bowie album in disguise, The Idiot was a resounding success both critically and musically, becoming highly influential on the early industrial and post-punk scenes. On 29th August the same year Lust for Life appeared, a more typical affair for Pop, but ultimately his most successful album to date which spawned one of his signature tunes, 'The Passenger.' The two albums, in addition to the world tour Iggy undertook with Bowie as sideman the same year, would ultimately revitalize the waning performer's career, unleashing an energized Iggy Pop onto the music scene by the end of the decade."
SONIC YOUTH - Spinhead Sessions (Goofin’ 021; USA) "The slow-burn sounds of Sonic Youth's 1986 rehearsals to score Ken Friedman's spooky highway film Made In USA are yet another mile marker in the band's long and varied existence, now being issued as Spinhead Sessions (named for the North Hollywood studio used by SST label acts like Black Flag and Painted Willie). These jams were later built upon for a full-on (and quite different) soundtrack production, but the rough sketches here find the band taking time with truly new and introspective sound worlds. It was basically a brand new way of working for Sonic Youth, albeit a challenging one, under the auspices of major Hollywood film production overlords, routing their way into the world of soundtrack scoring. And it all comes at a key time and place. This newly born Spinhead Sessions release once again defines Sonic Youth in a raw and engaging state of discovery at a terrific time. Is it a missing link between the complex, crafted cavernosity of EVOL and the frayed-electric powerline sizzle of Sister? Yes and no. It's an entirely unique animal, a meditative album where you can soak in the template of tapping overtones, sedate explorations of new chords, even sounding at times like AMM trying to play the VU's Sweet Sister Ray bootleg or something similar. It's trademark Sonic Youth at the core, and in an unfettered, dreamy state and time, there and gone like smoke."
KATE & ANNA McGARRIGLE - Toronto, May '82 (Air Cuts 0025; UK) Kate & Anna McGarrigle, live at the University of Toronto, Canada on May 29th, 1982. On this CBC broadcast of a Toronto concert, Kate and Anna McGarrigle presented highlights of their first two critically-acclaimed albums, as well six songs from their most recent LP, Love Over and Over. The eclectic folk duo also performed a couple of traditional folk songs, "Johnny's Gone to Hilo" and "Dig My Grave," that would not appear on one of their albums for another fifteen years.
WEATHER REPORT - Morning Lake (Blueline 1142607; Germany) "It goes without saying that Weather Report were one of the most influential jazz rock bands of the 70s and 80s. Formed by keyboard player Joe Zawinul and saxophonist Wayne Shorter, both participants in Miles Davis' groundbreaking Bitches Brew, this DVD comprises an exciting previously unreleased live performance, recorded in 1972." Region 0 DVD.
JACK ROSE - Kensington Blues (VHF 092; USA) Repress. "Fourth full-length from Jack, an inspired mix of styles and sounds that brings his in-person mastery down to LP/CD scale. Kensington Blues is Jack's most diverse outing by far, with straight ragtime, heavy 12-string, and that sweet, sweet Weissenborn lap guitar all checking in. Honed during endless touring in 2004, the repertoire here is delivered with maximum authority in a series of first-take performances recorded in early 2005. 'Cathedral et Chartres' and 'Calais to Dover' are dense, brooding 12 string numbers, recalling the key tracks on 2004's Raag Manifestos CD. 'Calais' features a sequence of right hand picking furious enough to evoke a dream state ala Charlemagne Palestine's Strumming Music. 'Rappahanock River Rag' and 'Flirtin' With the Undertaker' are pure syncopated ragtime, while 'Kensington Blues' offers an almost regal take on the intersection of Anglo and American trad. The epic 'Now That I'm A Man Full Grown' was the signature piece of many of 2004's live shows, a display of mind-boggling slide invention that straddles the line of east and west ala 'Yaman Blues' from the Opium Musick LP. In something of a surprise inclusion, Jack's take on Fahey's 'Sunflower River Blues' (long a staple of Pelt and J.R. gigs but never included on a record) is subtle and expressive, with a wonderful rise and fall that perfectly accentuates Fahey's beautiful melody."
TERRY RILEY / DON CHERRY / KARL BERGER - Live In Koln February 23, 1975 (Modern Silence 006; Malta) A legendary recording that pairs Don Cherry's heavenly trumpet stylings, Terry Riley's psychedelic/minimalist organ work and the vibes of Karl Berger in a great live concert recorded in Koln in 1975. Riley is in stunning form playing the kind of endlessly rippling dosed organ drones with a sense of stasis in expansion that is uniquely brain-razzing. Cherry's playing is heart-stoppingly beautiful, curling slow, melancholy arcs and threading high angel tones through Riley's electronic matrix. A great document of a key moment in the history of minimalism music and a beautiful combination of great artists. 180 gram vinyl. Edition of 500.
PETER BROTZMANN/WILLIAM PARKER/HAMIS DRAKE - Song Sentimentale (Otoroku 016; UK) Song Sentimentale, featuring unique material on each format, was recorded on January 27-29, 2015, at Cafe OTO. Song Sentimentale, featuring unique material on each format, was recorded on January 27-29, 2015, at Cafe OTO. was recorded on January 27-29, 2015, at Cafe OTO. Outside of the 2CD release Never Too Late But Always Too Early (2003) there has been scant documentation of one of the most dynamic pairings in all free jazz. Song Sentimentale rectifies this anomaly with a full-blown audio account of the breathtaking communicative heights obtained by these three legends of the living. Over three nights in January 2015, the trio seduced a winter-worn crowd with the kind of organic interplay only these three can conjure. Warm and urgent, the material unveils a wide range of techniques and emotions. This is music on the edge of itself; a living, breathing and existing force documented for repeated visits. Peter Brötzmann - tenor saxophone, B flat clarinet, tarogato; William Parker - double bass, guembri, shakuhachi, shenai; Hamid Drake - drums, frame drum, voice. Recorded Live at Cafe OTO on the 27th, 28th and 29th of January 2015.
75 DOLLAR BILL [RICK BROWN/CHE CHEN] - Wood/Metal/Plastic/Pattern/Rhythm/Rock (Thin Wrist TW-J; USA) 75 Dollar Bill, a project by Che Chen and Rick Brown present Wood/Metal/Plastic/Pattern/Rhythm/Rock. "Che's interest in the Arabic modes of Mauritanian music has marked our sound quite a bit but I have brought some things, too. The plywood crate I play is a big factor, defining, by its positive qualities (a nice warm 'boom' sound) as well as by its simplicity, what we're likely to do in the percussion realm. Wood/Metal/Plastic/Pattern/Rhythm/Rock, this new record, differs quite a bit from the previous one, notably in the rhythmic 'tone.' Wooden Bag (2015) was all forward momentum, stomping and shaking, but the new record explores a long-standing interest of mine: odd and 'compound' meters. In most of my previous musical activities, I've convinced my partners to delve into this, but in 75 Dollar Bill it has just felt natural and I believe Che's modal investigations and melodic/harmonic tendencies enhance (and are enhanced by) this combination. The current record differs from the last in another big way: reinforcements! Over our few years together, Che and I have frequently had friends play with us at some of our gigs. There have been all sorts of permutations of instruments and some great friends/players who don't all appear on this record but here we are lucky to have a bunch of them: Cheryl Kingan (of The Scene Is Now) on baritone and alto saxes, Andrew Lafkas (of Todd Capp's Mystery Train) on contrabass, Karen Waltuch (of Zeke & Karen) on viola, Rolyn Hu (of True Primes) on trumpet and Carey Balch (of Knoxville's Give Thanks) on floor tom. Please enjoy Wood/Metal/Plastic/Pattern/Rhythm/Rock. 'Earth' saw is one of our earliest tunes and, I think, the first result of this 'compound meter' approach. It's a slow 9 beat phrase Che came up with for this odd groove. 'Beni Said' has no fixed rhythmic cycle but a roughly unison melodic phrase and a pulsing, loose feeling of 3s and 4s played using a box full of bottle caps. 'Cummins Falls' features Carey Balch on Diddley-beat floor tom and me reprising the maracas. 'I'm Not Trying To Wake Up' is another of our compound meter songs, this one using an 18 beat scheme." - Rick Brown
KID MILLIONS & JIM SAUTER - Million Dollar Band/Bull Run (Feeding Tube 228EP; USA) "The extreme sonic textures of Borbetomagus' Jim Sauter sounds bitchin' in this kind of compressed environment. Playing in duo with the multi-directional thumping of Kid Millions, the sound is just a blaze of energy that expands in many known directions. Jim's tone goes from pure saxophonic terror to something that sounds more like an over-amped guitar to synth-like shrieking. The pair throw down even harder than they have on previous sessions, and the world is a much more bruised place for their focus. Cover art is by the redoubtable Bill Nace" - Byron Coley (2016) Edition of 300.
7” Single $8
IGNATZ - The Drain (Feeding Tube 253; USA) "For the last decade, Belgian guitarist Bram Devens has been releasing solo recordings under the name Ignatz. A couple of cassettes have come out in the States, but most of his releases have been elusive imports. Thus, we have taken it upon ourselves to do a public service and release a domestic version of an LP that will appear on the (K-RAAK-K) label in Belgium. This must be something like the sixth or seventh studio album Ignatz has cut, and it's a remarkably solid slab of mysto-folk/blues invention. There are more vocals than noted on previous Ignatz slabs we've encountered, and they manage to remind us of everyone from early Townes Van Zandt ('The Watertower') to Karen Dalton covering 'Play with Fire' ('People in This Town'). The way Bram's voice lazily combines with the loose guitar playing sometimes makes the album sound like a mutant hybrid of early Jandek and mid-period Hurley. The rhythms and melodies go in and out of focus with a beautiful irregularity that demonstrate them to be the work of a true original. Playing what sounds like a mix of acoustic and lightly amped guitars, Ignatz hits Krazy Kat square in the bean with this one. And we all see stars. Tell Officer Pup the news." --Byron Coley, 2016. Limited edition of 500.
Bruce Lee Gallanter’s Recommended Gig List for June of 2016:
THE STONE is located at the NW corner of Avenue C & East 2nd Sts.
THE STONE RESIDENCIES - LOUIE BELOGENIS - JUNE 21 - JUNE 26
8 and 10 pm - Twice Told Tales - Tony Malaby (soprano & tenor saxes) Louie Belogenis (soprano & tenor saxes) Trevor Dunn (bass) Ryan Sawyer (drums)
8 and 10 pm - Blue Buddha- Dave Douglas (trumpet) Louie Belogenis (tenor sax) Bill Laswell (bass) Tyshawn Sorey (drums)
THE LAST OF THE BAGATELLES SUNDAY MATINEES!
JOHN ZORN’S BAGATELLES: MARK FELDMAN-CHRIS OTTO DUO
Mark Feldman (violin) Chris Otto (violin)
From March to May 2015, John Zorn composed 300 new tunes that he collected in a book of music called THE BAGATELLES. Concerts began July 2015 and ran every Sunday afternoon for a full year. In that year, almost all 300 Bagatelles were performed in 75 concerts by 40 different ensembles involving almost 100 musicians. COME ON DOWN AND CLOSE THE BOOK WITH THIS LAST SUNDAY BAGATELLES MATINEE! - NEXT STOP—THE VILLAGE VANGUARD AUGUST 9—14!
3 pm - JOHN ZORN’S BAGATELLES: MARK FELDMAN-CHRIS OTTO DUO
Mark Feldman (violin) Chris Otto (violin)
4:30—6:30 pm - The Jeremy Steig Memorial Gathering: Jamie Baum, Anders Bostrom, Andrea Brachfeld, Gene Coleman, Nick Gianni, John Kruth, Erik Lawrence, Sarpay "SharpEye" Özçağatay, Luke Penella, Cheryl Pyle, Sean Schulich, Steve Slagle, Dotti Anita Taylor (flutes) Roberta Piket (piano) Cameron Brown (bass) Gerry Gibbs (drums); Remembering Jeremy Steig—a tribute to the great flutist Jeremy Steig (September 23, 1942—April 13, 2016) featuring Memories and History by Francine Eisner abd Judy Joice and music performed by his friends and fans. FREE
8 pm - Ikue Mori (electronics) William Parker (bass) Louie Belogenis (soprano & tenor saxes) Ches Smith (drums)
10 pm - Daniel Carter (flute, clarinet, saxes, trumpet) Louie Belogenis (soprano and tenor saxes) Andrew Bemkey (piano) Dave Hofstra (bass) Lou Grassi (drums)
THE STONE RESIDENCIES - ANTHONY COLEMAN - JUNE 28 - JULY 3
8 pm - Anthony Coleman (piano) & Matt Wilson (drums)
10 pm - Anthony Coleman (piano) & Eli Keszler (drums, percussion)
8 pm - Anthony Coleman (piano) and Grant Calvin Weston (drums)
10 pm - Michael Attias' Without Autumn Sonata - Anthony Coleman (piano) Mike Pride (drums)
8 pm - Anthony Coleman (piano), Doug Wieselman (clarinet, guitar) & Billy Martin (drums, percussion)
10 pm - James Brandon Lewis (tenor sax) Anthony Coleman (piano) Brad Jones (bass) J.T. Lewis (drums)
8 pm - Kalmanovitch/Coleman/Reichman Trio - Tanya Kalmanovitch (viola) Anthony Coleman (piano) Ted Reichman (accordion)
10 pm - Survivors Breakfast Chamber Ensemble - Leo Hardman-Hill (trumpet) Alexandria Smith (trumpet) Sarah Hughes (alto sax) Travis Bliss, Dan Pencer (tenor saxes) Joanna Mattrey (viola) Abby Swidler (viola) Anthony Coleman (piano) Do Yeon Kim (gayageum) Henry Fraser (bass) Aaron Edgcomb (percussion, drums); Playing “Call 8” and “Flaubert/Sofa/Sentence.” Also, “Destiny Finds An Oneiric Something,” for solo trumpet!
8 pm - STONE IMPROV BENEFIT - Anthony Coleman (piano) John Zorn (sax) and many special guests
10 pm - Anthony Coleman Solo Piano
8 pm - Anthony Coleman (piano), TBA (bass) & Tyshawn Sorey (drums)
10 pm - Anthony Coleman (piano), TBA (bass) & Tyshawn Sorey (drums)
There are no refreshments or merchandise at The Stone.
Only music. All ages are welcome.
Cash Only at the door. There is no phone.
There is no food or beverage served or allowed
just a serious listening environment.
The Stone is booked purely on a curatorial basis.
The CORNELIA STREET CAFE - 212-989-9319
29 Cornelia St in the heart of the West Greenwich Village, NYC
Friday Jun 24
9:00PM & 10:30PM SCOTT DUBOIS QUARTET - Scott DuBois, guitar; Jon Irabagon, tenor, sopranino sax; Thomas Morgan, bass; Kresten Osgood, drums
Saturday Jun 25
6:00PM AN EVENING OF POETRY AND MUSI C- Barry Wallenstein, poetry; Alan Rosenthal, piano; Ken Filiano, bass; Jeremy Carlstedt, drums; Vincent Chancey, french horn; Rosi Hertlein, violin
9:00PM JAZZTOPAD FESTIVAL: PIOTR DAMASIEWICZ QUINTET - Tony Malaby , tenor sax; Maciej Obara, alto sax; Piotr Damasiewicz, trumpet; Dominik Wania, piano; Max Mucha, bass; Krzysztof Dziedzic, drums
10:30PM JAZZTOPAD FESTIVAL - Tony Malaby, tenor sax; Gerard Lebik, tenor sax; Artur Tuźnik, piano; Max Mucha, bass; Krzysztof Dziedzic , drums
Sunday Jun 26
8:35PM PATRICK CORNELIUS OCTET - Patrick Cornelius, alto sax; Matthew Jodrell, trumpet; Sam Sadigursky, tenor sax; Nick Vayenas, trombone; Alex Wintz, guitar; Fabian Almazan, piano; Thomson Kneeland, bass; Eric Doob, drums
Mon, June 27th:
8:30PM OSCAR PEREZ SPECIAL QUARTET - Oscar Perez, piano; Thomson Kneeland, bass; Darrell Green, drums; Stacy Dillard, tenor saxophone Oscar Perez
Tuesday Jun 28
8:00PM JONES/OSTLE GROUP - Paul Jones, tenor sax; Curtis Ostle, bass; David Berkman, piano; Eliot Zigmund, drums
9:30PM ALEX LORE 4 - Alex LoRe, alto sax; Nick Sanders, piano; Martin Nevin, bass; Mark Whitfield Jr, drums
Wednesday Jun 29
6:00PM DORIAN DEVINS VOCAL/ REEDTET - Dorian Devins, vocals;Tom Christensen, oboe, tenor sax, alto flute; Lou Rainone, piano; Tom Hubbard, bass, Dorian Devins Vocal
8:00PM ISRAELI JAZZ SPOTLIGHT: NOAM WIESENBERG - Will Vinson, alto sax; Ben Wendel, tenor sax; Jeff Miles, guitar; Shai Maestro, piano; Noam Wiesenberg, bass; Tommy Crane, drums
9:30PM ISRAELI JAZZ SPOTLIGHT: HAGGAI COHEN-MILO TRIO - Ben Wendel, tenor sax; Haggai Cohen-Milo, bass; Ziv Ravitz, drums
Thursday Jun 30
8:01PM MATT BREWER QUINTET - Matt Brewer, bass; Ben Wendel, tenor sax; Charles Altura, guitar; Gerald Clayton, piano; Tommy Crane, drums
Friday Jul 01
6:00PM SHUTAT-SHATTERED POETRY OF THE RESISTANCE - Diana Gitesha-Hernandez; Gordon Gilbert; Carmela Tal Baron; Anoek van Praag; Mahmoud S. Bitar; Michelle Palmer; and Rich Siegel
9:00PM & 10:30PM TOM RAINEY TRIO - Mary Halvorson, guitar; Ingrid Laubrock, tenor saxophone; Tom Rainey, drums
Saturday Jul 02
9:00PM & 10:30PM TOM CHANG QUINTET - Tom Chang, guitar, comp.; Jeremy Powell, tenor sax; Quinsin Nachoff, tenor sax; Matt Pavolka, bass; Kenny Grohowski, drums
Sunday Jul 03
8:35PM DJANGO AT CORNELIA STREET, DAN LEVINSON - Dan Levinson, clarinet; Koran Agan, guitar; Josh Kaye, guitar; Eduardo Belo, bass
Sound It Out series @ Greenwich House – Concerts, JUNE 2016
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, June 24, 8:00 p.m. – Star pianist with new band!
Aaron Parks & Little Big - Aaron Parks, piano/keyboards; Greg Tuohey, guitar; Immanuel Wilkins, alto sax/clarinet; Spencer Murphy, bass; Kush Abadey, drums
Tuesday, June 28, 7:30 p.m. – Hot double-bill!
Jesse Stacken Quartet + André Matos Trio - Jesse Stacken, piano; Tony Malaby, saxophones; Sean Conly, double-bass; Tom Rainey, drums
André Matos, guitar; Tony Malaby, saxophone; Billy Mintz, drums
Shapeshifter - June, 2016 Schedule:
7pm: Michael Sarian & The Chabones: Michael Sarian (trumpet/composition), Jim Piela (alto sax), Evan Francis (tenor sax), Christopher Misch-Bloxdorf (trombone), Michael Verselli (piano/keys), Brian Courage (bass), Josh Bailey (drums)
8:30p - Wayne Krantz, Gabriela Anders
7pm: DIALOGUE - Dan Davis- reeds / Cole McCormick - bass / Eli Marzano- drums
9:30p - Scott & Eric Reeves Quintet
Scott Reeves: Trombone & Alto Flugelhorn
Eric Reeves: Drums & Cymbals
Tim Armacost: Saxophones
Albert Marquès: Piano
Joseph Lepore: Bass
8:15p - ikiz cabin crew
Jonne Bentlöv - Trumpet, Moog & Electronics
Joel Lyssarides - Keyboards
ikiz - Drums & Percussion
8:15p - The D.R.U.M. FM/Burnt Sugar - Drum and Bass Conductions, featuring Marque “Inna Most” Gilmore and the Burnt Sugar Arkestra - Marque Gilmore, David Gilmore, Mikel Banks, Greg Tate, and many more Special Guests
7p - Schuyler Tsuda's Instrument Builder Series Part 2 - Schuyler Tsuda, Lea Bertucci with MV Carbon and Tommy Martinez, Aaron Moore
Shapeshifter is located at
18 Whitwell Place in Brooklyn, NY
R train to Union stop
I-Beam Presents - June 2016 Schedule:
Saturday, June 25th 8:30 PM
Brad Linde’s TEAM PLAYERS
Brad Linde – alto and tenor saxophone, clarinet, Hammond organ
Billy Wolfe – tenor saxophone, clarinet
Aaron Quinn – guitar
Deric Dickens – drums
Brad Linde – tenor saxophone
Caroline Davis – alto saxophone
Russ Lossing – piano
Deric Dickens – drums
Wednesday, June 29th 8:30 PM
Eva Novoa Ditmas Quartet Live Recording!
Michael Attias – Alto Saxophone
Eva Novoa – Piano
Max Johnson – Bass
Jeff Davis – Drums
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.
The Harlem Afternoon Jazz Series Presents:
KALI. Z. FASTEAU
Piano, Drum Set, Voice, Nai Flutes, Sanza & Mizmar
JOSEPH DALEY: Tuba & Piano
TOR SNYDER: Guitar
RON McBEE: African Percussion
Tuesday, June 28, 2016 - Noon - 1:45 pm
Rendall Presbyterian Church
59 West 137th Street, between Malcolm X Blvd. and 5th Avenue
Harlem, NY [2 or 3 trains to 135th Street, buses too]