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DMG Newsletter for September 9th, 2016

Summer’s Almost Gone & Fall is About to Begin
Here Comes Another Newsletter, So It’s Time to Dig In
And Check Out the Great Sounds with Many Discs to Spin
The Key to the Magic Treasure of Special Sounds is Found Within:

King Crimson 2016: Radical Action 3 CD+ Set! Albert Ayler - Spirits Rejoice T-Shirts! Kris Davis Duos: Bill Frisell/Tim Berne/Julian Lage/Craig Taborn/Angelica Sanchez/Don Byron..! Nicole Mitchell Black Earth Ensemble! Henry Kaiser/Alan Licht Qt! Miroslav Vitous Tribute to Weather Report! Three from Aram Bajakian! Ben Wendel!

Elew: Eric Lewis/Reginald Veal/Jeff “Tain” Watts! Alvin Curran LP! Sam Shalabi & Alan Bishop LP! Plus Historic Recordings from: Captain Beefheart & the Magic Band! Third Ear Band & Roberto Musci! Wayne Kramer & Pink Fairies! Manuel Gottsching! MX-80 Sound & Mars! Plus a Big Nel Cline & Cryptogramophone CD Sale!


The DMG FREE Weekly In-Store Concert Series Continues With:

Sunday, September 11th:
6pm: CAMILO ANGELES - Flutist from Peru / CHRIS PITSIOKOS - Alto sax / BRANDON LOPEZ - Contrabass!

Sunday, September 18th: DMG Welcomes Two New Tenor Saxists to Town:
6pm: ABRAHAM MENNEN & DAN KURFIRST - Tenor Sax & Drums!
7pm: ALEC HARPER - Solo Tenor Sax!

Sunday, September 25th:
7pm: STEVE SWELL & DIDRIK INVALDSEN - Trombone & Trumpet Duo!

Sunday, October 2nd:

Sunday, October 9th:

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!


Rejoice! There is a new KING CRIMSON Box-Set Here to Check Out:

KING CRIMSON [ROBERT FRIPP/JAKKO JAKSZYK/MEL COLLINS/TONY LEVIN/PAT MASTELOTTO/BILL RIEFLIN/GAVIN HARRISON] - Radical Action To Unseat The Hold of Monkey Mind (DGM ; UK) 'This is King' - Robert Fripp, June 2016. “It has been stated many times that King Crimson is not so much a band as it is “a way of doing things”. Less frequently stated but equally true, is the fact that the band inevitably seeks different ways of doing things. The current incarnation of the band, 2014 – the present day, has already released two taster sets in the form of 2015’s Live at the Orpheum mini-album and the vinyl picture disc EP that accompanied the 2015 tours of Canada and Japan, while the full raw concert performance from a single night in Toronto in 2015 was presented as a 2CD set earlier this year to great acclaim. Now, with the release of Radical Action comes the most fully realised audio and visual statement from this band to date, running to three themed CDs and a Blu-Ray disc offering the filmed content along with an audio only option in lossless high resolution stereo and surround sound.
The set includes at least one performance of every song/piece of music played by King Crimson in 2015, some pieces originally composed in 1969 the year of the band’s inception, others composed/initially performed at a variety of points since, some new to the tour, all arranged for this specific line-up. Indeed it is characteristic of this King Crimson – in direct contrast to all other post 1970s line-ups - to feature a broad range of material from the 1969 - 1974 era, performed in such a manner as to maintain much of what made the music so arresting when first issued, while arranged for fresh interpretation by the seven piece line-up of today. As Fripp put it (when asked what the title of the album meant to him): “What I like about this band is, that what it is actually doing is not what it appears to be doing...”. The idea of King Crimson re-imagined, that the music as presented is new, irrespective of when originally composed, is the key element in this band’s makeup.
Audio: Three themed CDs of material recorded in 2015, each forming a separate discrete performance with audio selected from a variety of shows and fully mixed from multi-track tapes by Chris Porter, Robert Fripp and David Singleton. As no audience is audible between tracks, this allows for a “virtual studio album” effect. (The current King Crimson line-up was deliberately conceived as a performing band rather than as a band concerned with making full studio recordings).
Video: Among the problems most associated with filming live performance, perhaps the key problems are those of the film-makers’ cameras intruding on the audience’s capacity to enjoy the show without interruption and the intrusion of the cameras on the band’s performance. In effect, both performance and audience response must be misrepresented to approximate a live show for later consumption. In order to record the performances more accurately, a series of Japanese concerts was captured via a number of discreet cameras in a “video vérité” style – with neither band nor audience disturbed by filming – by Trevor Wilkins who also edited and assembled the footage.
Audio/Video: Blu-Ray features the concert film in high-resolution [24/48] stereo and 5.1 surround sound with additional ‘video off’ mode allowing for high-resolution audio only playback in stereo and surround sound. In essence the music can be experienced in a number of different ways – as continuous uninterrupted audio on CD, as a viewable concert performance in stereo or 5.1 surround, or in high-resolution, lossless audio stereo or 5.1 surround without pictures on the Blu-Ray
Presentation: 2 x gatefold mini-vinyl style card sleeves containing the 4 discs plus booklet containing photos and audio notes housed in an exterior slip case.”
The set will be released to coincide with King Crimson’s most extensive European tour since 1974, with performances slated to include, for the first time ever, material from all seven of King Crimson’s 1969 – 1974 iconic studio albums.
3 CD+1 Blu-Ray Set $36 (1st week sale until 9/16/16)

ALBERT AYLER - Spirits Rejoice - T-Shirts (ESP-Disk; USA) Black & white, all sizes available. We just got these in earlier this week and they look great! There will be a picture of yours truly wearing one on the website shortly. The picture is from the original version Ayler’s classic ’Spirits Rejoice’ album cover with two great images of Mr. Ayler playing his sax. If you google that album title, you will see that picture. Look cool soon and order your copy today. - BLG
T-Shirt $18 (all sizes available)

KRIS DAVIS With BILL FRISELL / TIM BERNE / JULIAN LAGE / CRAIG TABORN / ANGELICA SANCHEZ / DON BYRON / MARCUS GILMORE / BILLY DRUMMOND - Duopoly (Pyroclastic Records 01/02; USA) This ambitious CD + DVD set features pianist Kris davis in duets with: Bill Frisell & Julian Lage on guitars, Craig Taborn & Angelica Sanchez on piano, Tim Berne on alto sax, Don Byron on clarinet and Billy Drummond & Marcus Gilmore on drums. Disc One features eight duos performing songs written by Ms. Davis, as well as a couple standards by Thelonious Monk and Duke Ellington. The second disc is a DVD/film of eight freely improvised duets with Ms. Davis and all of the participants. Over the past few years Kris Davis has evolved into an extraordinary pianist who circle of collaborators keeps expanding: Mary Halvorson, Ingrid Laubrock, Eric Revis and Tony Malaby, as well several of Ms. Davis own bands keep her pretty busy. This 2 disc set is a culmination of Ms. Davis’ ever-expanding palette of serous collaborators, most of whom she hadn’t worked with previously. Ms. Davis has also been working more inside the piano, muting certain strings, always exploring and getting better at doing it. The composed pieces are well-selected and give each duo something to work with. “Prairie Eyes” kicks things off just right as a duo with Bill Frisell, solemn and hypnotic. Those muted strings give off a restrained yet disorienting vibe which compliments Julian Lage’s swift, yet subtle acoustic guitar. Craig Taborn is another extraordinary pianist who keeps pushing himself in new situations. I love the way he and Kris weave their lines from slow to full steam, it is hard to tell who is who as the piece grows. Angelica Sanchez contributed a song called, “Beneath the Leaves”, for her duo with Kris. The piece is eerie, with various levels of suspense. I like the way Ms. Davis plays Monk’s “Eronel” increasing the tempo and then twisting it into knots, while Mr. Drummond plays an ongoing dialogue underneath. “Dig & Dump” with Marcus Gilmore has the duo playing a more explosive spirit, coming close to boiling point. Like Ms. Davis, longtime Downtown reeds wiz, Tim Berne, has also been expanding his pool of collaborators. The duo here has Tim bending his sax sound into a shrill double-reed-like landing point while Kris adds some dark, yet majestic chords, from rambunctious to a fine, calm conclusion. Disc One ends with a splendid version of Ellington’s gem, “Prelude to a Kiss”, which features to enchanting clarinet of Don Byron, an original Downtowner who we don’t hear from very often nowadays. The CD also includes all of improvised pieces as well in the opposite order of the first half of this disc. It is here where the duets take off and push each other further out. These sous are more of a dialog or conversation, with ideas tossed around and expanded upon. Each piece seems complete.
The DVD is a pleasant surprise, especially for those of you who don’t make it to New York or get to check out many of these musicians in concert. I've only watched about half of this DVD but I am quite impressed nonetheless.It does capture a certain moment in time when we can witness a scene as it evolves and involves a number of Downtown's finest players, but young and not so... - Bruce Lee Gallanter, DMG
2 Disc CD + DVD Set $18

NICOLE MITCHELLS’ BLACK EARTH ENSEMBLE & ENSEMBLE LABORINTUS [With DAVID BOYKIN / RENEE BAKER / ARUN ORTIZ / HELENE BRESCHAND / BENJAMIN DUBOC / SYLVAIN KASSAP / ANAS MOREAU / CESAR CARCOPINO] - Moments Of Fatherhood (RogueArt 68; France) Featuring: Nicole Mitchell (composition, flutes), Renee Baker (violin), David Boykin (tenor sax, clarinet), Sylvain Kassap (clarinets), Arun Ortiz (piano), Helene Breschand (harp), Anas Moreau (cello), Benjamin Duboc (double bass) and Cesar Carcopino (drums, vibes). A collision of aesthetics, an uproar of creativity! Inspired by W. E. B. Dubois 1900 World's Exhibition photographs. This is the sixth release from Nicole Mitchell’s Black Earth Ensemble and each of the previous one have been extraordinary so grab this disc right now! Review soon when we get that promo.
CD $16

HENRY KAISER / ALAN LICHT / MIKKO BIFFLE / RICK WALKER - Skip to the Solo (Public Eyesore 135; USA) Featuring Henry Kaiser, Alan Licht & Mikko Biffle on electric guitars & basses and Rick Walker on drums. Earlier this Summer (2016), West Coast guitar great, Henry Kaiser, sent us four new discs, each with different personnel and each one extraordinary! I should’ve been too surprised when this disc showed up last week. I’ve known guitarist & author, Alan Licht, for many years, having seen/heard him in several bands (Love Child & Run On), as well as in solo, duos & trios sets with Loren Mazzacane, Aki Onda and Michael Snow. I didn’t recognize the names of the other two members of this quartet, although googling them provides some impressive resumes. Both Mikko Biffle and Rick Walker hail from Santa Cruz, which is where this disc was recorded. The liner notes mention that both Mr. Kaiser and Mr. Licht enjoying listening and jamming to modal rock vamps so that is what we get here. Each piece features a great rock groove with a series of inspired solos from both or all three guitarists. The opening solo on “More or Less Cowbell” by Kaiser kicks off our journey/jam just right. That wonderful fuzz/wah-wah tone just makes me smile and feel better. Quite a joyous lift-off! When things slow down a bit on “Where are They Now?”, that cerebral, laid back riff sounds so fine with yet another great sustained psych guitar solo to take us all away. Rather than fading away, the songs mutate into one another and are chopped up so that one groove slides right into another, keeping us on our toes throughout. The quartet break into a great reggae groove on “Variations on the Jerry Garcia Secret Chord Progression”, which includes guest bassist Michael Manring. For those of you who might enjoy some swell rock jamming without any singing, this is indeed a treasure chest great vibes and impressive solos, without having to skip over anything unnecessary. - Bruce Lee Gallanter, DMG
CD $12

MIROSLAV VITOUS With GARY CAMPBELL / ROBERTO BONISOLO / AYDIN ESEN / GERALD CLEAVER / NASHEET WAITS - Music of Weather Report (ECM 2364; Germany) “Bassist Miroslav Vitous was a founding member of Weather Report, making him one of the architects of the highly improvisational approach taken by the original band. On his earlier album Remembering Weather Report (ECM, 2009) he evoked the spirit of the old band and its collective improvisational style (characterized by keyboardist Joe Zawinul as "No one solos, everyone solos"). This time he works directly with Weather Report repertoire (plus a few brief new compositions). Both the instrumentation and the stylistic approach recall not only early Weather Report, but also the revolutionary Miles Davis fusion records that preceded it, especially Bitches Brew's (Columbia, 1970) dense textures with multiple drums, basses and keyboards. The rhythmic foundation is provided by dual drummers Gerald Cleaver (returning from Remembering) and Nasheet Waits, plus the leader on bass. Vitous' distinctive arco bass playing often shares the foreground with dual saxophonists Gary Campbell (also returning from the previous album) and Roberto Bonisolo. Keyboardist Aydin Esen provides mainly electronic atmospheres and harmonic textures. Two of the covers come from Vitous' contributions to the debut album Weather Report (Columbia, 1971). "Seventh Arrow" has a fast bebop-flavored theme (which Vitous reprises at the end of "Acrobat Issues" here). The new arrangement starts out very close to the original, then goes off into freer territory. "Morning Lake" closes the album in an atmospheric note (literally: it includes the sound of a thunderstorm at the end), with wah wah prominent on the bass—another period-authentic sound. "Scarlet Woman Variations" comes from Mysterious Traveller (Columbia, 1974), the last Weather Report album with Vitous as a contributor. Odd that he didn't choose "American Tango" (which he co-wrote with Zawinul, and is the only track he played on), but the dramatic theme is well-suited to this larger group. "Birdland Variations" takes the hit from Heavy Weather (Columbia, 1977), reorders its thematic sequence, and places it in a free rhythmic setting, the two drummers each playing in a different time signature. It's a frequently dreamlike effect: maybe it should have been titled "Birdland Fantasy" instead. "Pinocchio" takes the arrangement of Wayne Shorter's earlier tune from Mr. Gone (Columbia, 1978) as its point of departure, but once again goes into more abstract areas (although there's some frenetic playing as well). The three "Multi Dimension Blues" selections serve as atmospheric blues interludes. The multi dimensions of the title refers to the juxtaposition of two different tempos, which are not mathematically even. They're a simpler, more compact version of the approach taken to the Weather Report material. With Music of Weather Report Miroslav Vitous does justice to his old band, evoking the sound and the spirit while also taking the arrangements into fresh new areas.” - Mark Sullivan, AllAboutJazz
CD $18

Three Gems from Guitar Great Aram Bajakian:

ARAM BAJAKIAN With SHAHZAD ISMAILY / JEROME JENNINGS - there were flowers in hell (Sanasar Records 125; USA) Featuring Aram Bajakian on guitars, Shahzad Ismaily on bass and Jerome Jennings on drums. Aram Bajakian is a Queens based guitarist with a couple of fine discs out on Tzadik as well as being a member of Shanir Blumenkranz’ Abraxas (2 more discs on Tzadik) and Sean Noonan’s Brewed by Noon (8 discs on several labels). In the notes, Mr. Bajakian set out to make a blues record but decide that there were too many of those already. Instead, he put together a formidable power trio that isn’t bound to one style or genre. I didn’t know the drummer before this but bassist Shahzad Ismailly plays with just about everyone: Marc Ribot, Carla Kihlstedt and Fred Frith. The trio is both loose and tight simultaneously, jamming, taking their time to hit their stride. On “Lou Tone”, while Shahzad hits that repeating line over & over, Aram cuts loose with a powerful, sustain-tone guitar solo. The distortion at the end of the song sounds similar to the way Crazy Horse ended their songs in a haze of wailing feedback with Neil Young during the Arc/Weld tour. You that musician is onto something when you can’t place what he is doing within any established borders or genres. “Orbisonian” is somewhere between post-surf, psych (Yardbirds? Link Wray?), hard rock and tribal rhythms. I dig the way Aram layers several guitars on “Rent Party”, from a happy-go-lucky to some scrunchiness later on. Like Marc Ribot, Mr. Bajakian does a fine job of creating quiet, spooky moods before he hurls off into more troubled waters. Italian spaghetti western soundtrack music excursions, anyone? Shahzad Ismaily is the secret weapon here as he plays a couple of twisted bass solos adding some spooky diversions. A few of these pieces features sections of just electric guitar by itself, creating a spooky mood like slow moving ghosts in a foggy graveyard. It is pretty rare to instrumental rock music that evokes so many images and moods without having to resort to any unnecessary vocals. - Bruce Lee Gallanter, DMG
CD $14

ARAM BAJAKIAN - Music Inspired by the Color of the Pomegranates (Sanasar Records; USA) This is a most impressive solo guitars disc that was inspired by the film ‘The Color of Pomegranates’ by the Armenian director Sergei Parajnov. Mr. Bajakian says the the film is the most beautiful he has ever seen. Mr. Bajakian decided to create his own soundtrack and that is what we have here. Starting with several stark layers of acoustic and semi-acoustic guitars, dreamy and hypnotic, with one guitar adding some taut bent-note spice. Since I haven’t seen the film, I don’t know how well this music fits but I do know that what I hear does sound like a sad yet touching soundtrack. Mr. Bajakian uses an e-bow on his acoustic guitar, to give it a rather Fripp-like sustained tone. Each of the 21 short pieces creates a mood or vibe, at times I felt I was in a desert or in a forest with somewhat spooky spirits lurking not far from what we can see. There are a few recurring themes that come back a few times, making feel uneasy at times. The muted cover art animation evokes some solemn religious themes as well, just another part of the puzzle which slowly unfolds as we listen to some whirling dervishes cut free. Time to check out this film and see how well Aram Bajakian pulled it off on his own. Quite well I would imagine. The music itself stands on its own. - Bruce Lee Gallanter, DMG
CD $14

DALAVA [ARAM BAJAKIAN / JULIA ULEHLA / SKYE STEELE / TOM SWAFFORD / SHANIR BLUMENKRANZ] - dalava (Sanasar Records; USA) Dalava is Julia Ulehla on vocals, Aram Bajakian on guitars & glockenspiel, Tom Wafford & Skye Steele on violins and Shanir Blumenkranz on bass & gimbri. Each project that Mr. Bajakian works on deals with different inspiration and hence shows that Bajakian is nearly impossible to pin down or pigeonhole. For this project, Bajakian decided to work with Moravian (Czech) folk melodies which were transcribed more than 100 years ago. Mr. Bajakian organized an acoustic quintet which features his wife Julia Ulehla on vocals. himself on guitars, two violinists and the great bassist Shanir Blumenkranz (from Abraxas, Satlah and Rashanim). Shanir also doubles on gimbri, a North African bass-like instrument with three strings. The lyrics to all of the songs are printed in the liner notes in both Czech and English. I was reminded of the infectious charm of Iva Bittova, who also sings in Czech and plays violin. This is mostly acoustic music and the sound is warm, hypnotic and often touching. The two violins often sound like a wheezing accordion, breathing in and out, occasionally riveting but more often mesmerizing. Ms. Ulehla has a strong, compelling voice that reaches out to pull at our heartstrings. Starting with a song called “Hory Huca”, Mr. Bajakian switches to electric guitar(s), giving the music a more righteous, rocking edge that sounds great. Although the melodies here sound ancient, they way they are played and sung sound consistently sincere. Immensely charming throughout! - Bruce Lee Gallanter, DMG
CD $14

BEN WENDEL With GERALD CLAYTON / JOE SANDERS / HENRY COLE - What We Bring (Motema 190; USA) “Sometimes in jazz, a melody is an excuse. It gets played once at the start and again at the end, becoming a suggestive frame upon which to improvise; sometimes it might as well be dispensed with entirely. That can be liberating and dazzling and creatively rich. But sometimes a melody deserves much more. Sometimes it is more essential; even if its mass feels relatively light, its gravity remains immense. Sometimes it demands a whole song to express itself.
The latter is one tactic deployed by Ben Wendel, a saxophonist who leads his own band on an upcoming record called What We Bring. He's a noted composer who understands the many ways a melody functions, and he's also part of the band Kneebody, which is somewhere between jazz and everything else. In the video premiered above, he's chosen to read the song "Doubt," written by — well, we'll get to that. For a "jazz" performance, there's a notable lack of extended solo improvisation: really only one run through the full form, and even much of that hews close to the contours of the tune. Then, as the earliest jazz performers did before the music had uneasily settled upon its name, Wendel continues to embellish the melody over and over. (The album take on this tune, heard in the audio-only version, is a little more compacted.) He vamps on the last phrase, raising and lowering the intensity, flood and ebb.
"Doubt" is a song by Jenn Wasner of the two-person band Wye Oak, and of the solo project Flock of Dimes. Confusingly, Wasner originally recorded "Doubt" under the Wye Oak moniker, but without her bandmate — just her voice and guitar. That makes Wendel's cover an act of expansion. The regular beat negates a bit of the original's "I'll give you my next note when I'm damn well ready to" rubato magnetism. But it also adds vibrant, saturated color: Drummers Henry Cole and Nate Wood both summon the clangs and tinkles of sundry metallic noisemakers, while pianist Gerald Clayton and bassist Joe Sanders suggest some of the many harmonic implications.
Most significantly, Wendel's version preserves that devastating melody. Strip that melody from its context and it feels somehow less substantial — just a repetitive form of ascending and descending, with not many notes in the first place. But you can't hear the platonic form of a melody, and you wouldn't wish to. Music like this is about a melody's interpretation, about bringing out its potential for deeper impact in new ways. Along the way it can be "hip," or "impressive," or "surprising." More importantly, its aim is to be beautiful. - Patrick Jarenwattananon/NPR
CD $15

Three New Discs from Sunnyside:

ELEW With ERIC LEWIS / REGINALD VEAL / JEFF “TAIN” WATTS - And to the Republic (Sunnyside 1460; USA) Eric Lewis a/k/a ELEW has found himself in a new world where the crossover potential of his creation opened doors for him in fields beyond jazz and beyond music. He has collaborated with world-renowned popular artists like Lil Wayne and found a partnership with the Complexions Contemporary Ballet as Composer in Residence. ELEW has also begun a foray into screenwriting and directing.
After years of distancing himself from the jazz world, ELEW has decided to make a return in a remarkable triumvirate featuring bassist Reginald Veal and drummer Jeff “Tain” Watts. His new recording, And To The Republic, features the forceful pianist’s fantastic prowess expressed in the genre that he first caught the attention of the listening public with, mainstream jazz. The recording is a sincere olive branch to jazz purists and the jazz community that he had spurned earlier.
The choice to return wasn’t one of necessity. ELEW has been successful throughout his career, which continues to branch into many streams. His intention in releasing this new recording is to reengage with the world that inspired him initially, to play with masters of the craft and to pay homage to his heroes, especially his former employer, drum legend Elvin Jones.
Who better to fill the role on drums that the great Jeff “Tain” Watts? He is a true disciple of Elvin Jones and has the power, drive and knowledge within the full scope of jazz, having been part of the Young Lion generation led by Wynton and Branford Marsalis. The fantastic Veal has just as distinguished a résumé, being another Marsalis alumni and Elvin Jones protégé.
The recording begins with the laidback yet playful “Medicine Man,” a tribute to a physician friend, which is followed by the energetic and spontaneous “Ornette,” a tribute to the legendary Ornette Coleman, who had passed on the day of recording. “Lil Luba,” named for Lewis’s nickname for his girlfriend (Luba is her mother’s name), is a gutbucket blues, featuring percussionist Ricky “Dirty Red” Gordon. The surging “Tones for Elvin Jones,” written while on tour with the song’s namesake, is an evocative tribute to the master drummer and a showcase for Watts, a drummer who proudly carries Jones’s torch.
The incredible reinterpretation of Swedish electronic duo The Knife’s “Heartbeats” is a tremendous example of ELEW’s mastery of the keyboard and modern influence. The propulsive “Quirkwork” utilizes the rhythm changes to Gershwin’s “I Got Rhythm” and highlights the trio’s dynamically charged relationship. Named for a short chance encounter, “Jamaica Girl” is a beautiful ballad with a hint of dance hall beat. The startling “And To The Republic” finds the great actor Harry Lennix reciting Mark Antony’s speech from Shakespeare’s Julius Caesar over a tense improvised background.
Thelonious Monk was obviously the inspiration for “Monk,” a compelling composition utilizing some of the unanticipated stylings of the master pianist. A radical take on the Rodgers and Hammerstein classic “My Favorite Things” was played to emulate the Coltrane “sheets of sound” playing style. The recording closes with ELEW revisiting his “Philly Groove,” a laid back yet declamatory piece full of swagger.
Presenting a program of music that highlights all of his strengths, ELEW has returned to the world of modern jazz on his new And To The Republic. Reunited with the incredible rhythm section of Veal and Watts, ELEW’s trio is equal parts bombast and control, frenzy and smooth, proving that though he might have left for other musical spheres, ELEW’s still a heavy hitter in his first language, where he has found his own way.
CD $15

SCOTT TIXIER With CHRIS POTTER / GLENN ZALESKI / et al - Cosmic Adventure (Sunnyside 1446; USA) Performing on an instrument that has become a rarity in contemporary jazz, violinist Scott Tixier has put his individuality to his advantage. There have been ups and downs on the way to where he is, which is natural on all of life’s paths. Overall, he has enjoyed and wants to share the bounty of his Cosmic Adventure. The electrifying new band that Tixier showcases on his recording is made up of some of the leading lights of this new jazz generation. Having played with Tixier since he and Tixier were teenagers, harmonica virtuoso Yvonnick Prene is the perfect foil for Tixier’s violin. Pianist Glenn Zaleski is a friend and neighbor, not to mention one of the best emerging pianists in New York. The varied and instinctual playing of bassist Luques Curtis matches his tremendous tone, while the incredible ability and maturity of Justin Brown’s drumming is suited perfectly for the ensemble, because he can deliver energy and dynamics without overpowering the violin.
CD $15

SHACHAR ELNATAN With AVISHAI COHEN / DANIEL DOR / et al - One World (Sunnyside 4617; USA) Mid 2016 will see the release of the guitarist, composer and band leader, Shachar Elnatan’s debut album titled One World. This release features compositions assembled over the past six years and emphasises his musical journey as a jazz musician growing up in Israel and living in New York.
“I feel that every tune on this album reflects a strong moment; a feeling, a dance, an inspiration. Combined, these reflections paint a perspective of my own world.”
Shachar’s ability to combine sounds from different cultural backgrounds, brings something fresh, new and exciting to the table; the opening track ‘At Distance’ showcases his take on an 11/8 Moroccan groove, highlighting electronic and modern sounds; the title track ‘One World’ strongly resonates with Middle Eastern and Yemenite music, yet features a triplet oriented melody and rhythm, highly influenced by Irish music.
‘Josa’, written several years ago, holds a strong narrative through its harmony and melody; a fantasy vision as a child, of a small and calm village, made real several years later whilst travelling to the Spanish Pyrenees. Shachar discovered such a place called ‘Josa’, where people were playing music and celebrating through the night.
Shachar highlights and presents the great talent coming out of the Israeli Jazz scene today, by leading a brilliant group of musicians, including: Gadi Lehavi (piano), Avri Borochov (bass), Ofri Nehemya (drums), and special guests; Avishai Cohen (bass), Daniel Dor (drums) and Itay Morchi (drums) and Dana Herz (vocals).
CD $15

TERUYUKI NOBUCHIKA - Still Air (Oktaf 013; Germany) Still Air is the third solo album by Japanese electronic musician and soundtrack composer Teruyuki Nobuchika. Nobuchika released Morceau in 2009 and Sonorité in 2011. The eight track album on German label Oktaf Records features electronic abstractions and classic sensitivity influences in a minimal ambient music context.
CD $17

FROM SCRATCH - Five Rhythm Works (EM Records 1150; Japan) Includes insert. Beginning in 1974 and based in New Zealand, the sound-performance group From Scratch used an evolving array of percussion instruments -- including found and repurposed objects as well as custom-made percussion instruments -- to create a distinctive rhythmic music, texturally rich and tonally sumptuous. The music has a sophisticated, fluid, and intelligent polyrhythmic drive and prominently features pitched percussion, using microtunings and just intonation in tightly structured pieces that evolve and mutate around intricately interlocking melodic and rhythmic elements. Given their Pacific identity, one can find similarities with a number of Asian Pacific musics; their music will appeal to open-eared listeners interested in such musics, and it will also intrigue admirers of the early work of Steve Reich and Terry Riley. Formed by Phil Dadson upon his return to New Zealand following his late-'60s involvement in the UK with Cornelius Cardew's Scratch Orchestra, Auckland's From Scratch embraced an egalitarian ethic, focusing on cooperation, integration, and the union of opposites. These principles are clearly heard in the music here, with all the players interlocking and with the music exploring and exploding the polarities of melody/rhythm, local/global, group/individual, minimal/maximal. These four tracks, ranging from 1974 to 1982, are propulsive and yet serene; percussive and yet sweetly tonal; and toe-tappingly alert, forming an immersive and distinctive soundworld. All tracks here are newly remastered from the original master tapes; "Passage" was the group's first recording and is previously unissued. Includes English liner notes by Andrew Clifford and rare photos.
CD $18

Last month we listed three CDs from two different bands from Buenos Aires: Nicotina Os Primavera, led by flutist Camilo Angeles and Sales de Bano, led by Carlos Quebrada. All three of these discs were/are fantastic progressive efforts and we sold out immediately. Mr. Angeles has returned and brought us more copies of the two discs listed below. They will not last very long so get these while you can. Camilo Angeles will also play here at DMG this coming Sunday (9/11/16 at 6pm) with Chris Pitsiokos and Brandon Lopez!

NICOTINA OS PRIMAVERA - Animal Ceramico (Buh Records 77; Peru) Featuring Camilo Angeles on flutes, Juan Olivera on trumpet, Violeta Garcia on cello, Pia Hernandez on piano, Carlos Quebrada on bass, Fermin Merio on vibes and Nicolas Del Aquila on drums. Argentinian flutist Camilo Angeles stopped by this past weekend and left us with three CDs. Mr. Angeles is the main composer on this disc which goes under the group name: Animal Ceramico (ceramic animal). This is a seven piece mostly acoustic band and the sound is warm and superbly recorded. The music has a rich, progressive rock like sound, Henry Cow-like at times but with flute as the occasional lead instrument. There are three long pieces here which go through different sections. Extraordinary solos from the trumpet, cello and plano, together and apart, are just one of the riches found here. There are sections where the flute and cello will play a duo, pushing each other through extended-technique experiments which never go too far out yet remain edge-of-your-seat fascinating. This disc is like a long-long prog gem which seemed to have come out of nowhere but which is incredible nonetheless. Hard to believe that this is as amazing as it is considering none of us have heard of these musicians before this. We just got a half dozen and we need to get more ASAP, if we can. Order quickly, please. - Bruce Lee Gallanter, DMG
CD $10

SALE’S DE BANO - Horror Vacui (Viajero Inmovil 066; Argentina) Featuring Mariano Cepeda on electric guitar & effects, Camilo Angeles on flute, Agustin Zuanigh on trumpet & flugelhorn, Andres Marino on piano & Fender Rhodes, Carlos Quebrada on electric bass & compositions and Federico Isasti on drums. This is the second disc from Sales de Bano (“bath salts”) that we just in from Argentinian flutist & composer Camilo Angeles and it was released earlier this year (2016). The personnel for this sextet is the same as their previous disc, although there are a few guests like Juan Olivera (trumpet) who is from Animal Ceramico, another Argentinian band whose great disc I just reviewed as well.
Two years after there last disc (‘Estrangulado el Mundo”) and Sales de Bano have grown even stronger, more spirited more inventive and more exuberant! Things begin quietly, slowly building from a more modest intro. The pieces here are just named with number in Spanish. The music blends progressive rock, chamber jazz and modern classical elements and does’t quite sound like any other band I’ve heard. Each piece goes through a series of sections which utilize the talents of all six members without resorting to very many solos. There are a few amazing solos nonetheless: guitarist Mariano Cepeda takes a long, expressive, story-like solo on “Cuatro”. “Seis” actually comes close to King Crimson-like power, with a swell, lumbering oft-kilter groove and a great mix of electric piano, electric guitar and trumpet. These pieces are extremely diverse and draw from a wealth of influences or ideas. There are so many surprising twists and turns it is hard to believe that this is just one band and not several.
CD $10

Archival Recordings:

CAPTAIN BEEFHEART & THE MAGIC BAND - Live at the Country Club, Reseda, California 1981 [2 CD Set] (Gonzo 109; UK) Autumn 1980 through January 1981 captain Beefheart and the Magic Band promoted their latest album, ‘Doc at the Radar Station’, with a tour in Europe and the States. However, as don hadn’t performed live for well over a year and a half, it took a while before he found the right groove. After a terrible first week, the group came into shape (also because last-minute member Richard Snyder ‘fell in place’) and when the band returned to the USA in late november it was tight. One of the last concerts of what would turn out to be Beefheart’s last tour, took place on 29.01.81 in one of the many towns surrounding Los Angeles.
2 CD Set $25

THIRD EAR BAND & ROBERTO MUSCI - Mosaic (Gonzo 411; UK) “As a long time Fan of the Third Ear Band I am always hoping for some new music from the band, and when this as described 'tribute' album cam up I was intrigued, so in for a penny etc.. What we get instead is a tribute with a difference a re-imagination of the music of the third Ear band using the music of the third ear band. Roberto Musci has taken the 'plunder-phonics' approach and taken bits of music re-arranged reshaped and generally re-jigged things and has come up with an album that does not sound like the mess it could be but retains the essence of the Third Ear band while tearing apart songs and reshaping them, 'Druid One', 'Fleance' & 'Ghetto Raga' sounding very different despite the original building blocks
Its like a new album but sound like an old album, I like it purists may not but in the absence of more quality re-issues (That cupboard may well be bare now with Gonzo's recent Third Ear Band releases this will fit the bill.)” - Ghetto Raga
CD $17

WAYNE KRAMER & THE PINK FAIRIES - Cocaine Blues (Gonzo 376; UK) “Although this is billed to "Wayne Kramer & the Pink Fairies", in fact only four of the ten cuts were done with the Pink Fairies. This is more properly viewed as a collection of odds and ends from Kramer's 1970s work, none of it too exciting, but not without its merit and historical value. The first four songs were recorded live at Dingwall's in London in 1978, with Kramer, only recently out of jail, fronting the Pink Fairies. In imperfect but listenable fidelity, Kramer runs through Mose Allison's "If You're Going to the City," Bob Seger's "Heavy Music" (into which he wittily inserts a bit from James Brown's "There Was a Time," adapting the lyrics to refer to Detroit), the nine-minute "Cocaine Blues" (an interesting, autobiographical, mostly spoken account of the events leading to his mid-'70s prison term), and "Kick Out the Jams." Next are four run-of-the-mill hard rock studio tracks, also done in London in 1978, including covers of "Do You Love Me" and Jimmy Cliff's "The Harder They Come," along with a couple of originals (one co-written with Mick Farren). Paul Carrack, presumably that Paul Carrack from Squeeze/Ace/Mike & the Mechanics/Roxy Music, is on piano. Finishing the disc off are two 1974 studio cuts, done in Detroit: "Get Some" is another Farren/Kramer collaboration (with lumpy, boxy bottom-end sound), and "Ramblin' Rose" was of course first done by Kramer with the MC5. This material has more heart than much 1970s hard rock, but is still almost exclusively for the MC5 completist. “ - Richie Unterberger, AllMusicGuide
CD $17

MANUEL GOTTSCHING - E2-E4 (35th Anniversary Edition)(Mg.Art 424; Germany) In celebration of the 2016 35th anniversary of the December 12, 1981, recording of Manuel Göttsching's legendary E2-E4, one of electronic music's most influential recordings, Göttsching's MG.ART label presents an official reissue, carefully overseen by the master himself. Includes six-page booklet with notes and pictures.
"As the story is sometimes told, Göttsching stopped in the studio for a couple of hours in 1981 and invented techno. E2-E4 is the most compelling argument that techno came from Germany-- more so than any single Kraftwerk album, anyway. The sleeve credits the former Ash Ra Tempel leader with 'guitar and electronics', but few could stretch that meager toolkit like Göttsching. Over a heavenly two-chord synth vamp and simple sequenced drum and bass, Göttsching played his guitar like a percussion instrument, creating music that defines the word 'hypnotic' over the sixty minutes ... A key piece in the electronic music puzzle that's been name-checked, reworked and expanded upon countless times." - Mark Richardson, Pitchfork
CD $17

NELS CLINE & Other Great Discs from the Cryptogramophone Label Finally Restocked at Lower Prices; Check out More of My Reviews at

BB&C [TIM BERNE/JIM BLACK/NELS CLINE] - The Veil: Live At The Stone (Cryptogramophone; USA) Those who've seen BB&C live know that the trio's aural roles are reflected physically, with big Berne standing like sculpture, little Black roiling in constant motion, and lanky Cline rocking like a deckhand between jolts of electric shock. For all the energy they expend, though, the three find their greatest virtue in the ability to take a fresh breath -- the concluding "Tiny Moment," 12 minutes of sheer beauty, is a glowing example. The sound, recorded by Joseph Branchiforte, rages with appropriate force and humidity. And the legendary Cryptogramophone packaging values hold true: Cline, who collaborated with label head Jeff Gauthier on production and design, says that Carole Kim's mysterious cover image tuned in precisely to the music's vibe and captured the essence of the album's title. Though musicians such as Berne, Black and Cline can write when they need to, BB&C possess enough of an cask-aged blend that they can just step up and bring the magic. Black says they began with only three guidelines: Play loud; play your ass off; take no prisoners. Got it.
CD $14

NELS CLINE With BILL BARRETT/DEVON HOFF/SCOTT AMENDOLA/DANNY FRANKEL/ et al - Dirty Baby [2 CD + 3 Books Box Set](Cryptogramophone 144; USA)
2 CD + 3 Books Box Set $20

NELS CLINE With BOBBY BRADFORD/BEN GOLDBERG/ANDREA PARKINS/SCOTT AMENDOLA et al//ANDREW HILL - New Monastery: A View Into The Music Of Andrew Hill (Cryptogramophone 130; USA) Excerpt review, “"Compulsion" is the title tune from one Mr. Hill's classic Blue Note dates and it closes this disc with an intense rockin' commencement. Andrea's sizzling accordion & Nels' noisy guitar ride those waves of powerful rhythm until Bobby Bradford takes another splendid cornet solo and Nels' brother Alex just the right amount of percussion to the burning spirits churning throughout and eventually moving into a trio with bass clarinet and both percussion heroes. A grand conclusion to one of the year's best discs.” - BLG
CD $14

NELS CLINE SINGERS With DEVIN HOFF/SCOTT AMENDOLA + JON BRION - The Giant Pin (Cryptogramophone 120; USA) This is by far the best "guitar/power trio" effort of the year, at least until that new Scorch Trio comes out. - BLG
CD $14

NELS CLINE SINGERS With DEVIN HOFF/SCOTT AMENDOLA - Instrumentals (Cryptogramophone 113; USA) Jazz Times has called Nels Cline "the world's most dangerous guitarist." This new album by his power trio called the Nels Cline Singers takes off where his last few albums left shreds. Of course there are no singers in this group - just guitar, bass & drums, the perfect setting to showcase Nels' jaw-dropping technique & distinctive compositions. Features drummer Scott Amendola & bassist Devin Hoff. Don't worry, there's no singing on this!
CD $14

NELS CLINE - Coward (Cryptogramophone 141; USA) Over the last few years Nels' has garnered some well-deserved recognition since joining the popular American roots-rock band Wilco. It would seem the time is right for him to put out this amazing guitar(s) epic, which transcends categories and will impress adventurous listeners and guitar freaks world-wide, as well as many new listeners to this music. - Bruce Lee Gallanter, Downtown Music Gallery
CD $14

NELS CLINE With MARK DRESSER / ZEENA PARKINS / BILLY MINTZ - The Inkling (Cryptogramophone 105; USA) Both Zeena and Nels combine their warped and eerie sounds in a bizarre tapestry on "spider wisdom", the rhythm team also providing a cosmic cushion underneath. Nels builds his solo on "sunken song" to a swirling, hard strumming and dramatic conclusion while Dresser also bursts open on his contrabass. The long acoustic odyssey of "alstromeria" shows the quartet to blending melodic fragments into a slowly evolving mystical excursion, while "moth song" has the trio (without Zeena) performing an unexpectedly beautiful, sad and soft sort-of jazz ballad. The only other long piece is "queen of angels" where the acoustic quartet spins a weird web of free-flowing notes which Nels & Zeena eventually turn into mutant electric clouds. 'the inkling' ends with "lullaby for ian" - a somber bed-time saga of glowing embers and a hushed, suspense filled aura. Nels Cline's new quartet will perform their New York debut at the Knit's Jazz Fest this Saturday June 3rd at 8pm, they are a force to be reckoned with - BLG
CD $14

NELS CLINE SINGERS With DEVIN HOFF/SCOTT AMENDOLA - Initiate: Studio/Live [2 CD set](Cryptogramophone 143; USA) From one extreme to the next, somber to explosive, everything on this disc fits just right. The live disc is even longer (71+ minutes) and is even more intense and well-balanced. This is where we find great versions of Carla Bley's "And Now the Queen" and Weather Report's "Boogie Woogie Waltz". Without any doubt, this is the incredible guitar trio effort of the year! - Bruce Lee Gallanter, Downtown Music Gallery
2 CD Set $18

MYRA MELFORD'S BE BREAD With BRANDON ROSS/CUONG VU/STOMU TAKEISHI/ELLIOT HUMBERTO KAVEE - The Image Of Your Body (Cryptogramophone 131; USA) On the title track there is an enchanting blend of banjo and harmonium swirling sublimely together. The harmonium and banjo again work so well as they spin their lines together on "Be Bread" and again reach for skies. Brandon Ross unleashes one of those grand electric guitar solos on "If You've Not Been Fed", bending those notes like screaming spirits being set free. Like the calm after a storm, "Your Face Arrives in the Redbud Trees" begins quietly with throbbing bass, delicate piano, skeletal trumpet sounds and fleeting drums. The forces are building as they escalate, with Cuong Vu's layers of trumpets buzzing. This entire disc is like some cosmic salve, helping to bring us all together and make us smile. - Excerpt from review by BLG/DMG
CD $14

BEN GOLDBERG QUINTET With CARLA KIHLSTEDT / ROB SUDDUTH / DEVIN HOFF / CHES SMITH - The Door, The Hat, The Chair, The Fact (Cryptogramophone 126; USA) Some of these pieces are like seem like collections of fragmented ideas, yet the more I listen, the more the connections become apparent. Ben Goldberg's music hovers between opposite ideas or approaches: spacious, quirky, unexpected twists and turns, shifting dynamics, well thought out and still free in sections, delicate and occasionally dark. It sounds like no one else's, but Ben himself. - BLG
CD $14

LP Only Section:

ALVIN CURRAN - Natural History (Black Truffle 022; Australia) Black Truffle present the first-ever vinyl issue of Alvin Curran's Natural History, originally released on cassette by Edition Giannozzo Berlin in 1983. A founding member of the radical electronic improvising group Musica Elettronica Viva, since the early 1970s Curran has developed an idiosyncratic body of solo work that occupies a unique position in the post-Cageian experimental tradition. Singularly undogmatic, Curran's work takes the Cageian experience as the starting point for a radical openness to all forms of music and sound. Refusing to abstract music from its human functions, his work draws on existing musical genres, cutting-edge electronics and environmental recordings to craft compositions that mimic the hazy texture of everyday life, moving from the abstract to the referential, from the observational to the emotive, from the structured to the random. As he reflects in the liner notes written especially for this edition: "This infinite stream of sound became my life and my music all at once". Curran's other classic solo works of the 1970s and 1980s, such as Songs and Views of the Magnetic Garden (1975) and Canti Illuminati (1982) are elaborate collages that combine keyboard and voice improvisation and composition with field-recorded environments. Natural History consists entirely of field recordings from Curran's archive, arranged as a series of "still lifes", sometimes layered, but without any additional processing. Sounds recorded over the course of nearly twenty years, at Curran's home in Rome or while traveling: constructions sites, insects, children's toys, a piano being tuned, foghorns, familiar to admirers of Curran masterful Maritime Rites (2004), lovemaking, a singing neighbor. It is, as Curran says, an attempt to "put the sound of the entire world on a cassette tape". Heard against the backdrop of the increasing prevalence of field recordings in contemporary music over the last few years, Natural History is like a refreshing breeze, suffused with the joy of discovery. Gatefold sleeve with liner notes and photos by Alvin Curran and design by Stephen O'Malley. Vinyl cut by Rashad Becker at Dubplates.
LP $25

COSMIC MACHINE THE SEQUEL - A Voyage Across French Cosmic & Electronic Avant-garde (70s-80s)(Because Music Bec 5156603; France) This sequel to the acclaimed Cosmic Machine compilation released in 2013 is another fantastic journey through time and space. At the time musicians were trying to capture the sounds of meteorites entering the terrestrial atmosphere thanks to machines developed by NASA engineers, a new generation of analog synthesizers enabled electronic music composers to take over the charts. It seemed the machines were definitely made to serve a radical avant-garde, and many years later, we're glad to be able to listen with this perspective, and most of all -- to dance to it. While moving your feet to Cosmic Machine The Sequel, you might identify Francis Lay, recognized as one of the best music composers in France, as well as Rosebud, who had the audacity to remix the main theme from the movie More, created by Pink Floyd. You'll also find "Les Soucoupes Volantes Vertes" from Heldon, the band led by electronic music visionary Richard Pinhas. Pascal Comelade, a friend of his, and worthy heir of the American minimalism also appears on this record, with a cold electronic sound called "Mouvement Décomposé d'Un Coup de Marteau." Arpadys, for their part, make an appearance with a more tribal and spatial track that will make you turn the volume up. Christophe's "Harp Odyssey," a track influenced by his collaborations with electronic master Jean-Michel Jarre. The father of electroacoustic music, Pierre Schaeffer used to head the Group of Musical Researches, a real musical laboratory in which both artists have worked together, trying to experiment with new sounds. Finally, the legendary "Pop Corn" instrumental from Anarchic System will bring some nice memories to the surface. Each and every one of the artists present on this compilation has dreamt of getting his one-way ticket to the moon. Some of them have managed to tread upon the land of our satellite, but one thing is for sure: all have participated in the spatial conquest on board of the Cosmic Machine. You have the right to get on it. Also includes tracks by Stereo, Queen Samantha, Nicolas Peyrac, Roger Roger, Video Liszt, Pierre Porte, Grand Prix, The Peppers, Joel Fajerman & Jan Yrssen, Moon Birds, Araxis, Georges Rodi, and Michel Magne.
2 LP+CD $28

SAM SHALABI / ALAN BISHOP - Mother Of All Sinners (Puppet On A String) (Unrock 007; Germany) Unrock's Saraswati Series is mostly string orientated, zigzagging between the lines where underground and high-art performance overlap. Out jumps the first part of their actively anti-Western sub-series: Mother Of All Sinners, a part of the "Puppet on a String" twin albums. Osama Shalabi, a born Egyptian (best known for his work with Shalabi Effect & Land Of Kush), is an expert playing the oud. He's a traveler between the Eastern and Western worlds and long-time contributor to the Montreal scene. Sam - who spent the last few years home in Cairo - breathes his own sense of space and time through the epic "Tamara", an 18 minute long melodic, delightful improvisation. The other story, "Faith Of Our Fathers", starts in Agouza, Cairo, where Sam Shalabi and Alan Bishop spent some time jamming. They'd run free, lose form, find intensity, and wound up creating a contemporary version of oriental psychedelic free form. A mind-blowing, wild, never mellow Cairo night, now documented here. It's getting intense: A north-African sand storm. Mother Of All Sinners will be released as a one-time limited run pressing on 140 gram vinyl. It has an extra heavy deluxe cover and a solid printed inlay.
LP $26

Rare & Historic LP Only Releases from the Fab Folks at the Feeding Tube Records Label:

MX-80 SOUND - So Funny (Feeding Tube 250; USA) "Depending on how you count, So Funny is either the ninth or tenth album, MX-80 Sound has released. Regardless, it's their first LP since the classic Crowd Control back in 1981, and it's a pretty goddamn amazing spin. The core of the band -- Bruce Anderson, Dale Sophiea and Rich Stim -- has been more or less stable for the better part of the last four decades, despite the fact they've never had any real commercial success. They've all pursued various different paths during that time, but they've also continued the bizarre communal creation process that began back in Bloomington Indiana in 1974, and was codified once they relocated to the Bay Area in the late '70s. Bruce's guitar lines may have 'matured' a bit, drawing back a tad from the savage blunderbuss angularity that drove MX's early work. Similarly, Rich's vocals and lyrics may have tamped down some of the relentless wise-ass pith of their first few records. But Dale's bass still pushes its persistent prog program, with melodic and rhythmic highlighting that recalls Oréjon's work on Clear Spot (1972). Meanwhile, new drummer, Nico Sophiea has a lovely way of playing straight rock fills, and guitarist Jim Hrabetin (who'd already played on some MX related sessions) adds nice density and edge. Old drummer Mark Weinstein even turns up to do vocals on 'No Nukes,' which is one of the songs on here so immediately identifiable as MX-80 Sound that it's wild. The way the band balances riff progression, vocal miniaturization and avant rock textural sound remains as unique and beautiful as ever. Meaning, So Funny is yet another excellent MX-80 Sound album. In 2016, how cool is that?" -Byron Coley, 2016.
LP $19

MARS - Mars Archives Volume Two: 11000 Volts to Tunnel (Feeding Tube FTR 274; USA) "The second amazing volume (of three), compiled by Mark Cunningham after culling every known live tape of Mars, documents the band in its first fully-matured form. Recorded at CBGB and Max's in the early months of 1978, this captures the sound of Mars around the time their first single, '3E/11000 Volts,' was released by the French Rebel label (a precursor of ZE). They're still playing their early songs, and working out the material that would be on No New York (LR 102CD/LP). Two of the tracks ('Cairo' and 'RTMT') were never released in any form back in the day, and the whole album surges along like one of the weirdest rock rides anybody has ever imagined. There are still small tendrils of the more formal approach Mars took in their earliest days, but the function of the material is on its way to becoming utterly alien. Even though I saw the band around this time, the incredible strangeness of their approach is astonishing. Words fail me. No one else has ever created anything quite like the wall of sound they managed. On the second side, as an added bonus, the audience source tape is full of hooting and hollering by people like Lydia Lunch, Bradley Field, Kristian Hoffman, and various other reprobates with whom they were sharing rehearsal space at the time. Package looks great, too. Grainy, just the way it should be. Has an insert with brief notes by Mark, a couple of pics and handwritten lyrics that read better than I'd ever imagined them to be. Essential stuff." -- Byron Coley, 2016. Edition of 500.
LP $19

BLOOD QUARTET - Deep Red (Feeding Tube 283; USA) "Debut LP, following a cassette, by Mark Cunningham's latest unit, Blood Quartet. Based in Barcelona, the mostly-instrumental band plays insanely great avant garde rock music, with Mark's electro-Miles trumpet spread across the top like brass icing. Cunningham has been based in Spain for many years now, and his groups there (Raeo, Bestia Ferida, etc.) have been excellent, but Blood Quartet seems like the apex of a musical quest he started with Don King, following the dissolution of his legendary NYC band, Mars. The music they play has a similar cinematic scope to the material Mark composed for his 1997 solo album, Blood River Dusk (FTR 098LP). But where that album created an ominous soundtrack for living, Blood Quartet makes an explosive syncretic fusion. Angular no wave guitar lines weave through bass-heavy rhythms, and Mark's trumpet achieves something akin to what Chet Baker might have done if he'd flipped out and gotten into the French acid scene in '68. Light, strangely wound tones that really don't sound like anyone else I can name. Candid Coll's post-tongue vocals, and the synth work by both Kike Bela and Lluis Rueda completely flesh everything out in a spectacular way. The music on Deep Red starts off sounding subtle, but it grows in power with every spin, and will eventually suck you down into its magnificent vortex. Bitchen." -- Byron Coley, 2016. Edition of 500.
LP $19

ALVARO - Mums Milk Not Powder (Feeding Tube FTR 227; USA) "First vinyl reissue of the second LP released by Alavaro Pena originally released in 1979 following the runaway success of his debut album, Drinkin My Own Sperm (FTR 174LP, 1977). Although recorded in Germany, Alvaro again employed his regular drummer, Antonio Narvaez, with a few assists on the second side from Hilde Schneider, Alvaro's then-wife. The first side was recorded by a German engineer, Olaf Dung, who carried his rig around with him in his briefcase. How this exactly worked is unclear, but the music is great and includes some of Alvaro's most classically catchy tunes. Lili Dwight is a long-time fan of 'Honey,' which she often sings aloud at apiary gatherings. Ted Lee does the same when crashing La Leche League outings to the strains of 'Mums Milk Not Powder.' And so on. Alvaro's second album is just the sort of thing you'll be happy to use for a personal soundtrack, regardless of your politics or trajectory. Apparently, however, Alvaro and Mr. Dung had a falling out before the album's second side was completed, which meant there are some ad hoc compositions added to finish out the record. Primary among these are 'Brown Loaf,' something of a baking tutorial conducted whilst Drinkin My Own Sperm plays on a nearby radio, and 'Washindishes,' which is one of the few tracks to ever document extended nose flute improvisations." -- Byron Coley, 2016. "Alvaro rides again." -- Sounds, London, 1980. "A fabulous collection of musicals and unmusicals, includes a recipe." -- Time Out, London, 1980. Another classic piece of the mysterious puzzle that is Alvaro. Miss it at your own extreme personal peril. Edition of 400.
LP $19


Bruce Lee Gallanter’s Recommended Gig List for September of 2016:

THE STONE is located at the NW corner of Avenue C & East 2nd Sts.

AUG 30 – SEPT 25 - A full month of performances in celebration of Steve Coleman’s 60th birthday!

9/9 Friday
8 and 10 pm - Steve Coleman and Five Elements - Steve Coleman (alto sax) Miles Okazaki (guitar) Anthony Tidd (bass) Sean Rickman (drums)

9/10 Saturday
8 and 10 pm - Steve Coleman and Five Elements - Steve Coleman (alto sax) Jonathan Finlayson (trumpet) Miles Okazaki (guitar) Anthony Tidd (bass) Sean Rickman (drums)

9/11 Sunday
8 and 10 pm - Steve Coleman and Five Elements - Steve Coleman (alto sax) Jonathan Finlayson (trumpet) Miles Okazaki (guitar) Anthony Tidd (bass) Sean Rickman (drums)

9/13 Tuesday
8 and 10 pm - Steve Coleman and Five Elements - Steve Coleman (alto sax) Jonathan Finlayson (trumpet) Anthony Tidd (bass) Sean Rickman (drums)

9/14 Wednesday
8 and 10 pm - Steve Coleman and Five Elements - Steve Coleman (alto sax) Jonathan Finlayson (trumpet) Miles Okazaki (guitar) Anthony Tidd (bass) Sean Rickman (drums)

9/15 Thursday
8 and 10 pm - Steve Coleman and Five Elements - Steve Coleman (alto sax) Jonathan Finlayson (trumpet) Miles Okazaki (guitar) Anthony Tidd (bass) Sean Rickman (drums)

9/16 Friday
8 and 10 pm - Steve Coleman and Five Elements - Steve Coleman (alto sax) Jonathan Finlayson (trumpet) Miles Okazaki (guitar) Anthony Tidd (bass) Sean Rickman (drums)

9/17 Saturday
8 and 10 pm - Steve Coleman and Five Elements - Steve Coleman (alto sax) Maria Grand (tenor sax) Jonathan Finlayson (trumpet) Miles Okazaki (guitar) Thomas Morgan (bass) Neeraj Mehta (percussion)

9/18 Sunday
8 and 10 pm - Steve Coleman and Five Elements - Steve Coleman (alto sax) Maria Grand (tenor sax) Jonathan Finlayson (trumpet), Thomas Morgan (bass) Matt Mitchell (piano) Neeraj Mehta (percussion)

There are no refreshments or merchandise at The Stone.
Only music. All ages are welcome.
Cash Only at the door. There is no phone.
There is no food or beverage served or allowed
just a serious listening environment.
The Stone is booked purely on a curatorial basis.


The CORNELIA STREET CAFE - 212-989-9319
29 Cornelia St in the heart of the West Greenwich Village, NYC

Friday Sep 09
9:00PM & 10:30PM MARTIN NEVIN GROUP - Roman Filiu, alto sax; Kyle Wilson, tenor sax; Sam Harris, piano; Martin Nevin, bass; Craig Weinrib, drums

Saturday Sep 10
9:00PM & 10:30PM ARI HOENIG & CHICO PINHEIRO TRIO - Chico Pinheiro, guitar; Eduardo Belo, bass; Ari Hoenig, drums

Sunday Sep 11
6:00PM REMEMBRANCES OF 9 11 - Robin Hirsch; Edith Lettner, saxophone, duduk
8:35PM MOSTLY OTHER PEOPLE DO THE KILLING SEPTET - Steven Bernstein, trumpet; Bryan Murray, sax; Dave Taylor, trombone; Terry McMannus, guitar; Ron Stabinsky, piano; Moppa Elliott, bass; Kevin Shea, drums

Mon Sept 12th:
Amanda Bloom; Carol Flamm; Karen Goldfeder; Dori Levine; Alexis Parsons; Cheryl Richards; Kendra Shank; Andrea Wolper and Jay Clayton, vocals; special guest Ken Filiano, bass

Tuesday Sep 13
8:00PM CALEB MASON - Caleb Mason, trombone; Oskar Stenmark, trumpet; Eitan Gofman, saxophone; Asher Kurtaz, guitar; Adrian Moring, bass; Julius Rodriguez, piano; Tim Rachback, drums
9:30PM MARTA SANCHEZ QUINTET - Jerome Sabbagh, tenor sax; Roman Filiu, alto sax; Marta Sanchez, piano; Rick Rosato, bass; Gerald Cleaver, drums

Wed Sept 14th:
8:00PM SAM TRAPCHAK QUARTET - Sam Trapchak, bass, comp.; Rich Perry, tenor sax; Mathew Fries, piano; Jeff Hirschfield, drums
9:30PM PAUL JONES GROUP - Paul Jones, tenor sax; Alex LoRe, alto sax; Matt Davis, guitar; Chris Ziemba, piano; Johannes Felscher, bass; Allan Mednard, drums

Thursday Sep 15
8:00PM IGOR LUMPERT & INNERTEXTURES - Igor Lumpert, tenor, soprano sax, Jacob Sacks - piano, Chris Tordini - bass and Tom Rainey - drums
9:30PM CHET DOXAS TRIO - Chet Doxas, tenor sax; Jacob Sacks, piano; Vinnie Sperrazza, drums

Friday Sep 16
6:00PM TRAVEL DIARIES - Edith Lettner, alto, soprano sax; Beate Reiermann, guitar
9:00PM TOM RAINEY'S POOL SCHOOL - Tom Rainey, drums; Mary Halvorson, guitar; Ingrid Laubrock, tenor sax
10:30PM SEAN CONLY'S TRUE NORTH - Jacob Sacks, piano; Sean Conly, bass; Tom Rainey, drums Sean Conly's True North image

Saturday Sep 17
9:00PM & 10:30PM JACOB SACKS QUINTET - Jacob Sacks, piano; Jacob Garchik, trombone; Ben Gerstein, trombone; Eivind Opsvik, bass; Dan Weiss, drums

Sunday Sep 18
8:30PM ISRAELI JAZZ SPOTLIGHT: OFRI NEHEMYA GROUP - Shachar Elnatan, guitar; Gadi Lehavi, piano; Tal Mashiach, bass; Ofri Nehemya, drums, comp.


I-Beam Presents - September, 2016 Schedule:

Thursday, September 15th 8:30 PM
Brian Drye – Trombone
Mike McGinnis – Clarinet
Ben Perowsky (special guest) – Drums

Friday, September 16th 8:30 PM
Past Present – Night 1
The Norwegian duo Past Present + Andrew D’Angelo

Saturday, September 17th 8:30 PM
Past Present – Night 2
Duo15 - The Norwegian Duo Past Present + Andrew D’Angelo

Sunday, September 18th 8:30 PM
Susan Alcorn Quartet:
Nate Wooley – Trumpet
Susan Alcorn – Pedal Steel
Mary Halvorson – Guitar
Ryan Sawyer – Drums

Wednesday, September 21st 8:30 PM
Gordon Grdina Quartet
Gordon Grdina – Guitar
Russ lossing – Piano
Oscar Noriega – Alto + Clarinet
Satoshi Takeishi – 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.


Shapeshifter September Schedule:

Sept 9
8pm: Tribecastan - May All the Gods Smile
John Kruth – Mandolin, Mandocello, Flutes, Banjo, Portuguese Guitar, Harmonica, Sitar,
Jeff Greene – Yayli Tambur, Nyckleharpa, Ukulele, Marimba, Double Flutes…
Boris Kinberg – Timbales, Congas, Bongos, Marracas
Kenny Margolis – Accordion, Organ
Chris Morrow – Trombone
Premik Russell Tubbs – Lap Steel, Guitar, Alto Sax, Clarinet…
Kirk Driscoll – Drums
John Turner – Trumpet
Ray Peterson – Bass

Sept 10
7pm: The Gentle Ben Quartet
Gentle Ben -trombone
Jonathan Thomas- piano
Malik McLaurine- bass
Drummer- tba

Sept 11pm- FREE
Digital and Acoustic Sessions Part VI
Free Workshop 6:30 - 8
Performances: 8:30 - 11

Sept 12
8:15: HAY-LIEBIG DUO & Sara Schoenbeck Double bill

Sept 13
8pm: Bryan and the Aardvarks
Bryan Copeland on Bass and compositions
Joe Nero on Drums
Chris Dingman-vibes
Jesse Lewis-guitar
Fabian Almazan on Piano
Camila Meza Voice
9:30pm: Novas Trio
Carlos Vera L. Vibes
Jeff Miles on Guitar
Rodrigo Recabarren Drums
Special Guest Dayna Stephens EWI and Saxophone

Sept 14
8:15pm: Key Lime Pie

Sept 15
7pm: Hear here! - Free

Sept 18
7-9:30pm - The Diverse Comedy Show
Shane Morrison
Martha Cipolla
Sam Haft
Andrew Castertano
Mercer Morrison
Stewie Vill

Shapeshifter is located at
18 Whitwell Place in Brooklyn, NY
R train to Union stop


Sound It Out series @ Greenwich House
Concerts, Sept-Dec 2016

Saturday, September 10, 8:00 p.m. – Fifth-Anniversary Season Kickoff!!
Tim Berne & John Hébert
Tim Berne, alto saxophone; John Hébert, double-bass

Friday, September 16, 8:00 p.m. – New All-Star Ensemble!
Angelica Sanchez Nonet : Angelica Sanchez, piano; Thomas Heberer, trumpet; Kirk Knuffke, cornet; Chris Speed, tenor saxophone; Michael Attias, alto saxophone; Ben Goldberg, clarinets; Omar Tamez, guitar; John Hébert, double-bass; Sam Ospovat, drums

Thursday, October 6, 8:00 p.m. – Altoissimo!
Roman Filiu Quartet: Roman Filiu, alto saxophone; Ralph Alessi, trumpet; Thomas Morgan, double-bass; Billy Hart, drums

Saturday, October 15, 8:00 p.m. – Strings and Things!
Hank Roberts Sextet: Hank Roberts, cello; Dana Lyn, violin; Mike McGinnis; reeds; Brian Drye, trombone; Jacob Sacks, piano; Vinnie Sperrazza, drums

Wednesday, October 19, 8:00 p.m. – From the Windy City Scene!
Jason Stein’s Hearts & Minds: Jason Stein, bass clarinet; Paul Giallorenzo, synthesizer, pianet; Chad Taylor drums

Thursday, November 3, 8:00 p.m. – Hot New Trio!
Anna Webber’s Simple Trio - Anna Webber, saxophones; Matt Mitchell, piano; John Hollenbeck, drums

Friday, November 4, 8:00 p.m. – Beautiful New Ensemble!
Oded Lev-Ari Group: Oded Lev-Ari, conductor; full band lineup, TBA

Saturday, November 12, 8:00 p.m. – In Praise of Ornette!
Fay Victor’s In Praise of Ornette: Fay Victor, voice, arrangements, text; Darius Jones, alto saxophone; Kenny Wessel, electric guitar; Sean Conly, double-bass

Wednesday, November 30, 7:30 p.m. – Guitar Double-Bill!
Mike Baggetta Trio + Anders Nilsson Trio: Mike Baggetta, guitar; Jerome Harris, bass; Billy Mintz, drums; Anders Nilsson, guitar; Michaël Attias, alto saxophone; Ken Filiano, double-bass

Friday, December 2, 8:00 p.m. – Great Quintet!
Dave Scott Quintet: Dave Scott, trumpet; Rich Perry, tenor saxophone; Gary Versace, piano; John Hébert, double-bass; Satoshi Takeishi, drums

Thursday, December 15, 8:00 p.m. – Powerhouse Double-Bill!
Mara Rosenbloom Trio + Sean Conly’s Re: Action+1
Mara Rosenbloom, piano; Sean Conly, double-bass; Chad Taylor, drums
Sean Conly, double-bass; Michaël Attias & Tony Malaby, saxes; Kris Davis, piano; Gerald Cleaver, drums

Greenwich House Music School:
46 Barrow Street, just west of 7th Avenue South in New York City’s West Village; /, 212-242-4770


Tuesday, September 13th, 8pm
The Klinker, - 244 West 54th, Suite 602

Vauxhall Pleasure Gardens
(Miguel Frasconi: glass, Stephen Flinn: percussion, Viv Corringham: voice)
David Watson: guitar
Al Margolis/If Bwana: strings and things & Steve Roe: poetic explorations


Al Margolis and the Making of Cassette Culture
Solo Performance & Book Signing
Saturday, September 17th at 7pm
At Academy Records - 12 West 18th St (west of 5th Ave), NYC

Please join us for a free performance and book-signing by Al Margolis whose experimental tape label Sound of Pig did much to promote the nascent cassette network of home-grown avant-gardism in the 1980s. Al will perform a solo set for violin and contact mic and sign copies of a new book cataloging the cut-and-paste aesthetics of SOP cassette art being published by C&B Productions. Call 212-242-3000 or e-mail: for further info