I'm not the one to tell this world
How to get along
I only know the peace will come
When all hate is gone
I've been searching
For the dolphins in the sea
And sometimes I wonder
Do you ever think of me?
You know sometimes I think about
Saturday's child
And all about the time
When we were running wild
I've been searching
For the dolphins in the sea
And sometimes I wonder
Do you ever think of me?
Ah this old world may never change
This world may never change
This world may never change
Florida-based songwriter, Fred Neil, moved to New York sometime in the late 1950's / early 1960's and lived here for some/most of the decade. He was considered to be the guru of folksingers/songwriters and recorded five seminal albums between 1964 and 1971. Mr. Neil was the MC at the Cafe Wha in 1961 and gave Bob Dylan his first performance playing harmonica on stage in July of that year. I've become a Fred Neil freak over the past couple of decades and savor each of his albums. A number of his more popular songs were made famous when they were covered by others: "Everybody's Talkin'" (cover by Nilsson), "Other Side of this Life" (Lovin' Spoonful & Jefferson Airplane), plus cult figure/singer Karen Dalton & the band H.P. Lovecraft covered several of his songs. For me, the above song, "The Dolphins" is his masterpiece and it is well loved by many others. Once you hear it, you will know why: just read the words and listen to Fred's deep, dark haunting voice. This song has been covered by Linda Ronstadt, Tim Buckley, Richie Havens and more recently by The Third Mind. Fred Neil retired from performing and recording in the 1970's and became a mysterious figure with most folks never knowing where he was. He was involved in dolphin research for many years and lived in the Florida keys until his death from cancer in 2001. In essence, he was always searching for the dolphins. Will this old world ever change? Only you can answer that for yourself. - Bruce Lee Gallanter, DMG
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THE DMG 34th ANNIVERSARY IN-STORE CONCERT CELEBRATION CONTINUES with:
Saturday, April 26th, The GAUCI-MUSIC SERIES Continues with:
6:30: RAS MOSHE-BURNETT - Tenor Sax - Flute / TOR SNYDER & DAVE ROSS - Guitars
7:30: STEPHEN GAUCI - Tenor Sax - Clarinet / JEONG LIM YANG - Contrabass / KEVIN SHEA - Drums
8:30: SANA NAGANO - Violin / KIRSTIN CAREY - Guitar - Vocal
Tuesday, April 29th:
6:30: VIV CORRINGHAM / AL MARGOLIS / SANDY GORDON
7:30: DAN KURFIRST - Drums / RAS MOSHE - Tenor Sax
8:30: MARC EDWARDS & SLIPSTREAM TIME TRAVEL: TOR SNYDER, GIAN PEREZ, DYLAN DELGIUDICE, NATHAN CHAMBERLAIN - Guitars / AYUMI ISHITO - Tenor Sax / TAKUMA KANAIWA & MARIO FONTES - Basses / MARC EDWARDS - Drums
Tuesday, May 6th:
6:30: SPIRIT CLARINET ORCHESTRA: DR. PAUL AUSTERLITZ / JAMES ELMORE III / STEPHEN GAUCI / RAS MOSHE / RANDOLPH MURPHY / FRED ROSENBERG / DON SLATOFF / ZIZI SLEPOVITCH / DAVID STOKES - Clarinets
7:30: GIAN PEREZ - Guitar / KYLE JESSEN - Sax / PHILL SMITH - Drums
8:30: patrick brennan's SKETCHBOOK SERIES #9: BOB HOLMAN - Poetry / ON KA'A DAVIS - Guitar / DAFNA NAPHTALI - Electronics / SARA SCHOENBECK - Bassoon / patrick brennan - Alto Sax!
9:30: BEN GOLDBERG - Clarinet / MICHALE COLEMAN - Keyboard / HAMIR ATWAL - Drums
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GOOD NEW DEPARTMENT! Upcoming titles from our Fave Music Heroes:
Next week we will be getting 50 copies of a new, rare book of JOHN ZORN's 'Hermetic Cartography', a wonderful book of his artwork from his current 3 month exhibition at the Drawing Center. The art work and texts are phenomenal! This is a limited edition book and we are only getting 50, that's it. Also next week, we are getting in on CD 'Quantum Blues' from Tisziji Munoz, Paul Shaffer, Jamaaladeen Tacuma & Will Calhoun. Word is that this disc is amazing and you know how much we love the playing of Guitar God Tisziji Munoz. You can hear a sample on the Ropeadope homepage: https://ropeadope.com/. We did pretty well with our CD Cut Out/Budget sale 3 weeks ago so we are sending a new list out on Monday so get ready for some more inexpensive gems! - BLG
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THIS WEEK'S ESSENTIAL GROOVY DISCS BEGIN WITH:
* AYAKO KANDA / ELLIOTT SHARP - Hi-Gengo (Eroto Tox Decodings 067; Asheville, NC, USA) Featuring Ayako Kanda on vocals and Elliott Sharp baritone guitar & electronics. Over the past decade there has been a number of experimental vocalists that either live here or play live here from time to time. Here's a short list, many of whom have played here at DMG: Viv Corringham, Dafna Naphtali, Charmaine Lee, Kyoko Kitamura, Yoon Sun Choi and Hannah Schorken. I don't know much about Tokyo-based vocalist Ayako Kanda, although she has a couple of rare discs out on the Glitch and Nomart labels. Ms. Kanda will be playing here at DMG on May 10th of this year (2025) for the GauciMusic Series.
For this disc Elliott Sharp plays a baritone guitar, which has a longer scale length and is deeper in tone. Electric baritone guitars became more popular in the late 1950's due to their use in surf music and on spaghetti western soundtracks. Right from the first note or sound, Ms. Kanda is digging deep and using her voice to unleash a variety of strange vocal sounds. Mr. Sharp often sounds like he is playing a bass guitar, tapping quickly on the strings and matching the stream of strange vocal sounds that Ms. Kanda unleashes often at a furious pace. It is often difficult to tell which gender Ms. Kanda is since her voice is stretched out encompassing a wide variety of characters and sounds. On "Fukai Kaiwa" things get a bit scary as E# rubs the strings quickly while Ms. Kanda sounds like she is going mad, creating some strange and occasionally scary vocal sounds. The thing that seems to be most obvious is what a great match this is, as the duo keep pushing each other beyond any limits. Mr. Sharp also adds some occasional electronic effects/sounds like select sonic seasoning. Ms. Kanda sounds like crazed cartoon characters or someone talking in baby language. At times it seems as if Ms. Kanda is singing with a bluesy voice but without any lyrics involved. The feeling is the same due to the way she bends certain notes. Oddly enough, the label here (Eroto Toc Decodings is from Ashville, NC and has released more than 60 discs from musicians like Steven Severin (from the Banshees), Franck Vigroux, Henry Kaiser and Faust. An odd label, indeed. Overall I am most impressed by the way this duo keeps digging deeply into their bags of experimental explorations and coming up with fascinating results. - Bruce Lee Gallanter, BMG
CD $14
* AYAKO KANDA will be singing here at DMG for the GauciMusic Series on May 10th at 6:30
THE ATTIC and EVE RISSER with RODRIGO AMADO / GONCALO ALMEIDA / ONNO GOVAERT - La Grande Crue (NoBusiness Records NBCD 170; Lithuania) Featuring Rodrigo Amado on tenor sax, Eve Risser on piano, Goncalo Ameida on contrabass and Onno Govaert on drums. Of the numerous Portuguese creative musicians that I've known through their work with the Clean Feed label, tenor saxist Rodrigo Amado remains on the top of the heap of great Free Jazz sax heroes. With more than 50 releases as a leader or a co-leader since the early aughts, I've come to rely on his ability to rise to occasion no matter who is working with. This is the second disc from the Attic, a Portuguese-based trio and their guest here is French pianist Eve Risser. I am also a big fan of Ms. Risser, a wonderful pianist who has worked with Pascal Niggenkemper, Kaja Draksler, as well as with her own Red Desert Orchestra. Both rhythm team members can also be found on numerous recordings.
Things begin with just throbbing bass and suspense-filled drums. Soon the tenor and piano enter playing in a hushed and haunting way. The quartet takes their time as the four long pieces unfold. There is quite a bit of thoughtful interaction between the tenor sax and piano and rhythm team. There are quite a bit of restrained, laid back sections in between some of the more explosive parts. Ms. Risser kicks off "Phrase" with an extraordinary solo, muting several strings inside the piano with her hands (most likely). Soon Mr. Rodrigo enters with the rest of the quartet, all starting to burn intensely together. The quartet is burning together as they ascend higher. Drummer Onno Govaert takes a short yet inspired solo here while the flow of energy continues to build like navigating the rapids in a canoe. Bassist Almeida takes a long bowed solo here which I really dug with the drummer also playing tightly with him. When Mr. Amado finally re-enters, he takes a long thoughtful solo which launches into fireworks after a fine build up. This piece escalates intensely over time, giving the quartet a chance to move into a Trane Quartet-like sound. Overall, I must admit that I really dig this entire disc as the quartet certainly have their own focused, intense and consistently creative sound and power. A true Spirit Jazz gem! - Bruce Lee Gallanter, DMG
CD $16
RA KALAM BOB MOSES / FRANKLIN KIERMYER - Radiant Sky Drumming (Ra Kalam Records 037; USA) Featuring Ra Kalam Bob Moses on drums, congas, djembe, gongs & vocals and Franklin Kiermyer on drums, cowbells & shakers. Both of these percussionists are master musicians and both have recorded with Spirit/Jazz Guitarist Tisziji Munoz. Although Mr. Kiermyer can be found on just two of Munoz's discs (with Moses as well), Ra Kalam has been recording with Munoz for many years with dozens of recordings that both Tisziji and Ra Kalam are/were involved in. This disc was recorded live at Molde Kultureskole's Black Box Theatre in Norway in September of 2024. There is something beautiful going on here, from the gitgo we can hear both percussionists united as one force, a dreamworld of organic percussion. If you've ever heard any of Mr. Kiermyer's dozen or so quartet records, you know he plays like Elvin Jones with the Coltrane Quartet. This is something different. Starting with "Dance of the Hubrew Shamans", whose title makes sense since both of these musicians are Jewish elders. This is Cosmic Groove music, organic, enchanting, warm, cleanly recorded and consistently transcendent. What makes this recording so fine is that both musicians play both rhythmically and melodically at the same time. There is a wonderful give and take going on here, a cosmic flow which runs throughout, like a rhythmic/melodic stream which is washing over all of us like Mother Nature herself. On "Gong Beyond Gong", we hear mostly haunting gongs, solemn low-end malletwork, an eerie aura of hypnotic sound waves. In the late sixties through the seventies too many drum solos became chops fests with drummers showing off their over-the-tops talents. This disc is the complete opposite: both drummers working together at creating a magic dialogue which expands and contracts, builds and flows in a similar to the way our blood flows throughout our bodies, embodying life itself. This duo does a fine job of casting a lovely spell over anyone wise enough to listen closely to what they are doing. - Bruce Lee Gallanter, DMG
CD $14
NEW FROM RELATIVE PITCH:
JIM DENLEY / PETER FARRAR / DALE GORFINKEL - Vents (Relative Pitch Records 1210; USA) Featuring Jim Denley flutes, Oeter Farrar on hot plates, orbeez (water beads) & submerged tiles and Dale Gorfinkel on airdrums. Recorded at Tempe Jets on unceded Gadigal lands in Sydney, Australia. I am quite familiar with Australian reeds experimental improviser Jim Denley for several decades through his work with Machines for Making Sense, Mural, Magda Mayas and Chris Abrahams (from The Necks). Mr. Denley has played here at DMG several times over many years from a duo with Stevie Wishart in the mid-1990's to a sublime set with Mural and a more recent set of solo bass flute from the past few years. I haven't heard much about the other two players here although Mr. Denley once left us with two discs with Mr. Gorfinkel working with Denley and Robbie Aveniam (once of Phlegm). Since Mr. Denley was part of the lower case scene (minimal music popular in the early aughts), it makes sense that he would work with musicians who play off instruments like hot plates, orbeez and airdrums. No idea what these instruments are, although there is a tradition of certain lower case improvisers (like Mark Wastell or Gino Robair) who evolve from their original instruments and move into odd things like activated surfaces and other unorthodox instruments. Since I haven't listened to much lower-case music inna while aside from erstwhile titles, I have to get used to this level of subtley. When things begin on "vent 1", we hear a flute, breathy and close mic'd. The other sounds are eerie and rather electronic sounding or perhaps just closely mic'd percussion or something similar. The overall sound is most fascinating although I don't recognize any of the sounds other than the flute(s). It sounds as if we are being submerged in a vat of a jello-like substance. Sounds are slowed down and stretched out. Some of these sounds could be Mr. Denley tapping on the flute or flute pads. I recall that the last time Mr. Denley played here, he played solo bass flute with a small handheld fan hanging from the ceiling above him to tap on the flute as he played. Denley also sounds like he is singing or whispering through his flute at times. I assume that most or all of these sounds are acoustic-based although it is hard to tell exactly what is going on here most of the time. One of the things which makes this most fascinating is that we can't tell what instruments or non-instruments are being played here. The air escaping from a balloon or radiator? Gurgling sounds of sorts? There is an explanation in the liner notes which reveals how some of these sounds were created. This disc is consistently mesmerizing no matter what items are being used to generate the sounds we hear here. - Bruce Lee Gallanter, DMG
CD $13
DIETRICHS with CAMILLE and DON DIETRICH - No Bahdu (Relative Pitch RPR 1226; USA) Featuring Camille Dietrich on cello and Don Dietrich on tenor sax. Recorded on 2/08/2023. With the passing of experimental guitarist Donald Miller in October of 2024, the legendary Borbetomagus (free jazz/noise) are most likely gone for good. After Donald Miller moved to New Orleans (in 2001), the other two saxists from Borbeto worked on a handful of their own projects. Saxist Don Dietrich now has around ten of his own solo, duo & trio projects with recordings of each. This is the second disc from the Dietrichs which consists of Don (tenor sax) and his daughter Camille (on cello). Ever since cellists like Abdul Wadud and Tom Cora pushed the limits of what could be done on the cello, there has been an ongoing exploration and evolution of other cellists also pushing those barriers ahead. Check out Tomeka Reid, Erik Friedlander, Hank Roberts and Fred Lonberg-Holm for some of those recent developments. Right from the opening, we can hear that Camille Dietrich is also her cello playing into new and intense areas. This disc erupts right from the opening with Ms. Dietrich bowing those strings into some scary areas as Mr. Dietrich also bends, twists and shrieks on his sax. Brutal improv at its most intense! At times it is hard to tell which is the cello and which is the sax, since they often sound similar in their tonal range and abrupt textures. Borbetomagus (2 saxes & one el guitar with a file) were known for the extreme, loud, brutal and beyond intense free form explorations. This duo also creates a similar brutal sound which some will dig and others will run away from. I myself really dig this noise/sound/aesthetic, although it does take some time to adjust to. Scary at times and transcendent simultaneously. - Bruce Lee Gallanter, DMG
CD $13
* ICONOCLAST with JULIE JOSLYN / LEO CIESA - Cobalt Confidential (Fang Records IC-989-25; USA) Iconoclast features Julie Joslyn on alto sax, violin, electronics, handclaps & vocals and Leo Ciesa on drums, keyboards, grand piano, Rhodes electric piano & vocals. The Iconoclast duo have been around since 1990 and have self-released a dozen discs in 35 years. You most likely know of drummer Leo Ciesa from Dr. Nerve, the oldest surviving progressive band from NYC. I've always dug this band since they embrace many unexpected directions. "Noise of Assumption" features an odd (clavinet-like) electric keyboard and drums duo. The keyboard has that ancient Sun Ra-like space journey-like sound with Ms. Joslyn's echoplexed alto sax erupting as well. For "Where the Blooming Shadows Roam", Julie swiches to a noisy postpunk-like electric violin which sounds closer to a no-wave-ish electric guitar. Ms. Joslyn plays her alto sax on "Memory Park" with a lovely tone which is almost drowned out by some strange electronics. It is an odd pairing of opposites yet it works in a rather nightmarish way. "On a Slow Ferry" has a twisted bo diddely-like beat with Ms. Joslyn playing her noisy, bent & intense violin on top of Mr. Ciesa's sprawling drums. Ciesa's strong proggish drums are featured on the title song with Joslyn's haunting, somewhat poignant alto sax. "The Spy Upstairs" features another intense electric violin and drums duo with brutal, punk or nowave-ish violin and throttling prog/metal drumming. Ciesa's drums are featured on the title track, spinning in waves around the drumset with Joslyn's sax playing a slow, haunting solo on top. "The Horseless Maiden" features Ms. Joslyn's spooky whispered voice over some dark piano chords. Joslyn also lets out her inner-Diamanda Galas voice on "Comfort Me" for a short bit. The long track here is called "The Secret Code" and it shows a more cerebral, thoughtful side to the sax & drums duo, so solemn and rather hypnotic. I really dig this duo especially since each track captures a different vibe, kinda like walking through scenes in an ongoing novel which moves from the 70's through the 90's. - Bruce Lee Gallanter, DMG
CD $12
* ICONOCLAST will be playing on May 17th at Michiko Studios (15 W 39th St, 7th floor) at 8pm
STAN ZENKOV / PATRICK HOLMES / DAVE MILLER - More Trio (Soundholes #122; USA) Featuring Patrick Holmes on clarinet, Stan Zenkov on clarinet & bass clarinet and Dave Miller on drums. This trio played here at DMG a week ago (on 4/15/25) and played a fine set of improv. Stan Zenkov plays multiple clarinets and has played the store a half dozen plus times with different personnel on each set. Although clarinetist Patrick Holmes is a longtime member of the Downtown Scene, he has only played here on two occasions and can be heard on a dozen discs with Daniel Carter, Todd Capp and Susan Alcorn. Drummer Dave Miller used to be a manager here at DMG and has worked with Italian Surf Academy and Pet Bottle Ningen. He plays here at DMG a few times a year and each of his sets are inspired since he has a special way of providing direction to whomever he is playing with.
Considering that this release is on cassette only, it does have an older, non-digital sound, closer to the way we do hear music live. While Dave Miller plays a robust central groove, both clarinets provide different lines. While Patrick Holmes plays some oddly klez-like lines on his clarinet, Mr. Zenkov plays bass clarinet often in counterpoint with whatever is the rhythmic pulse provided by the drums and/or other clarinet. Things slow down for "Painting (for Wilton Crawley)" with both clarinets playing their own solemn, haunting lines while Mr. Miller plays restrained gongs and other hand percussion. The sparse percussion gives the clarinets a chance to play thoughtful notes or tones which are stretched out into drone-like sounds. "Glass Half" begins very quietly with sparse gong(s) and hushed clarinet(s). Patrick Holmes sounds like he has an older, more cerebral sound on clarinet, taking his time as the piece unfolds. Mr. Zenkov often plays his lines at a slow pace, his tone rather quaint and different from Mr. Holmes'. For the last piece, "Ariffmythuque II", it sounds like the trio are playing a (partially) written work with a solid central drum groove and both clarinets playing in tight orbits together and around one another. The repeating riff reminds me of Monk by way of Braxton (Ghost Trance era). It is rare to hear two clarinets fronting any band or project and here we have two very different clarinetists who do work well together. A modest yet stimulating endeavor overall. - Bruce Lee Gallanter, DMG
Cassette $10
CHRIS CUNDY - Of All The Common Flowers (ear to the ground ETG 212; UK) Featuring Chris Cundy on solo bass clarinet. I know of British clarinetist Chris Cundy from a handful of records he's done on the Discus, Slam, FMR and Edition Wandelweiser labels going back to 2009. Although there are quite a number of musicians who play the bass clarinet as their lead or 2nd instrument, solo bass clarinet recordings are pretty rare. Offhand, I can think of just Jason Stein who has a recording of solo bass clarinet.
This disc was recorded in a studio in Gloucestershire in the UK in April of 2019. This disc is clean and warmly recorded. Starting with "Violet Meadow" Mr. Cundy plays his bass clarinet in somber, well-measured phrases, each note carefully placed. For "Song of the Yarrow", it sounds like Cundy is playing part of a klez-like melody, his tone austere and enchanting. On each piece, Cundy takes a melodic fragment or line and then improvises with the theme. There are few New Music-like bent notes or shrieks. Cundy expands his palette on each piece, pushing things a bit further out as this disc unfolds. Occasionally a melody (or portion of) sounds somewhat familiar. Cundy does a fine job of expanding these lines, toying with them, keeping things in a calm midrange without pushing the limits (high or low) too much so that this music is easy to swallow and never sounds indulgent or too challenging. There are some folks (DMG customers) who rarely buy solo efforts from us for some odd reason. This disc has its own charm, so I would recommend it to anyone who digs New Music / Avant-garde music which still keeps a melodic thread which runs throughout. - Bruce Lee Gallanter, DMG
CD $12
JAAP BLONK - Ursonate (CvsD 118CD; USA) Corbett vs. Dempsey presents Jaap Blonk's Ursonate, featuring the complete text-sound work by artist Kurt Schwitters. Blonk first recorded the canonical Dada poetry piece in 1986, released as an LP on BVHAAST, Willem Breuker's label. He has returned to the work multiple times over the ensuing decades, and this incredible new recording shows his deepening understanding of the pioneering work. Blonk writes in the liner notes: "Kurt Schwitters (1887-1948) wrote his Ursonate or Sonate in Urlauten ('Primordial Sonata' or 'Sonata in Primordial Sounds') over ten years, from 1922 to 1932. During that period Schwitters tried out many preliminary parts in public poetry readings. It became a 30-page work in invented words, which he later considered one of his two masterpieces (the other being the Merzbau in his house in Hannover, destroyed in 1944). The Ursonate has a structure similar to that of a classical sonata or symphony. It consists of four movements: 'Erster Teil' ('first part'), 'Largo,' 'Scherzo,' and 'Presto.' After a short introduction, the first movement opens with an exposition of its four main themes (subjects), each of which is subsequently 'developed' (development in the sense it is used in classical sonata form), leading to a coda. It is note- worthy that the theme exposition returns as a reprise before each new development but the last one. Both the Largo and the Scherzo have a centered (A-B-A) construction in which the middle part contrasts with the two identical outer parts. The Presto has a strict rhythm broken only by a few interjections from the first movement and the Scherzo. Like the first movement, it follows the sonata form: exposition (repeated immediately in this case), development, and recapitulation. Next is the Kadenz, leaving the reciter free to choose between the written version and his own. However, in his written instructions for future performers of the piece, Schwitters says that he wrote his cadenza only for those among them who 'had no imagination.' In my performances of the Ursonate, I always create an improvised cadenza on the basis of the sonata's thematic material. Only on the recordings I have issued, for reasons of completeness, a recording of the written cadenza is included as a separate track." - Jaap Blonk, December 2024
CD $15
BACK IN STOCK:
SEAN BERGIN'S MOB MOBIEL With AB BAARS / TOBIAS DELIUS / JOOST BUIS / WOLTER WIERBOS / STEVE SWELL /TRISTAN HONSINGER / MARY OLIVER / ALEX MAGUIRE / URSEL SCHLICHT / ERNST GLERUM / HAN BENNINK / et al - Mob Mobiel (Data 32 SBT; Netherlands) Live at BIMhuis in Amsterdam in March of 2002 and featuring a large cast of players: Sean Bergin, Ab Baars, Tobias Delius & Jan Willem van der Ham on reeds; Eric Boeren, Joost Buis, Walter Weirbos & Steve Swell on the brass; Mary Oliver & Tristan Honsinger on strings; Franky Douglas on guitar, Alex Maguire & Ursel Schlicht on piano; Ernst Glerum & Jacko Schoonderwoerd on bass and Han Bennink, Victor de Boo & Alan Purves on drums & percussion. Considering we have 5 members of the ICP Orchestra involved, this does have that nice blend of the in and the out, the silly and the serious side as well. Sean Bergin composed all but two pieces and seems to keep a tighter reign on the band than Misha Mengelberg does with the ICO Orch, I dig the way certain solos sail above the controlled chaos below, el. guitar, clarinet and violin dancing creatively on top. This appears to be the fourth in-print release from Sean's 10 or 11 piece MOB unit, each one has been a rare Dutch treat so far and this one is also superb. Nice to see/hear two downtowners involved in this fine project - Ursel Schlicht and Steve Swell.
CD $16
MARIO RECHTERN / WEASEL WALTER / ERIC ZINMAN - Sirens and Mermaids Know (Studio234 0020; USA) Featuring Mario Rechtern on alto, baritone & sopranino saxes & flute, Eric Zinman on piano and Weasel Walter on drums. Both saxist Mario Rechtern and pianist Eric Zinman live in the Boston area and are longtime legends of Free Music from New England. I had been hearing about Eric Zinman for many years due to his recordings with Francois Tusques, Linda Sharrock and Ted Daniel, as well as more recently playing with several Evil Clown projects . Saxist Mario Rechtern I know of less well, although he has worked with Linda Sharrock, Weasel Walter and Blaise Siwula. Drum wizard, Weasel Walter, you should no doubt know about, since he has worked with many of the elders of avant/jazz like Hal Russell, Henry Kaiser, Vinny Golia and many others. I caught Mr. Lechtern with Linda Sharrock at the Victo Fest a few years back. I haven'st heard Mr. Zinamn in concert yet. To me, this sounds like Free Jazz played well-seasoned players who have been doing this for a long time. After starting out on alto sax, Mr. Rechtern switches to baritone midway, bending and twisting his notes inside-out. Mr. Zinman plays furiously free, whipping up several storms of notes with Mr. Walter tightly connecting in wave after wave. Things evolve organically, with long sections of quieter free improv which are focused, intense and consistently spirited. Zinman sounds like he is fanning the strings inside the piano at times, while Weasel plays with much restraint. At times Mr. Rechtern reminds me of Roscoe Mitchell when both are playing the sopranino, getting a keening, high end, bent note, nasal sound, almost like a double reed pushed to its extreme. Once we become adjusted to the language or sound of this music, I start to hear an ongoing dialogue or conversation, which sounds like a series of short stories unfolding. Zinman on piano and Walter on drums work quite well together as they navigate the furious rapids they are moving through. Inside the booklet contains a series of strange words, prose or poetry or something equally weird, hard to tell but worth thinking about. The second piece, “When Seas Go High, starts quietly yet soon erupts with bristling intensity, the tempo speeds up, slows down, becomes dense and then has a few spacious sections. Rechtern stays in the high register, spewing out a torrent of bent notes which has a scary effect at points. Someone who hasn't listened to much Free Jazz, might think that this is boring or predictable yet there is much more going on here as things consistently change and different combinations of sounds are always morphing into something else. At almost 74 minutes, this is quite a bit to take in at one sitting yet I found myself at the edge of my seat throughout. - Bruce Lee Gallanter, DMG
CD $15
LOUIS PHILIPPE & THE NIGHT MAIL - The Road To The Sea (Tapete Records 578CD; Germany) Louis Philippe and The Night Mail return with a new captivating record where the songs are once again faultless. Carrying on the journey away from the classic towards the unexpected with new synths and hand claps adding a sense of the abrupt and, with voices calling from the wings, a sense of play and a lack of fear. Philippe Auclair aka Louis Philippe, Anglo-French singer-songwriter extraordinaire, has been an admired fixture for the past four decades, from his beginnings as protagonist and house producer at Mike Alway's fabled él Records label through his forays into the Shibuya sound and collaborations with the likes of Bertrand Burgalat, XTC's Dave Gregory, High Llamas' Sean O'Hagan and Young Marble Giants' Stuart Moxham right up to his more recent adventures with The Night Mail -- a loose ensemble around bassist/sometime acid jazz artist/encyclopedian of sound Andy Lewis, ex-Death in Vegas guitarist/head of heads at Papernut Cambridge/legacy indie's favorite live and session drummer Ian Button and guitarist/Viennese pop ambassador to Canterbury Robert Rotifer. When Louis Philippe & The Night Mail met again at Rimshot Studio in rural Kent in the spring of 2023 to tackle album number two, the same extended line-up was assembled. Work on The Road to the Sea began with just four days' intense recording under Rimshot's oakwood eaves followed by extensive extra sessions in Andy Lewis' hideaway studio somewhere up in deepest Bassetlaw. As the core duo of obsessives, Lewis/Philippe immersed themselves in the material, adding voices, instruments and effects, interrupted only once by Robert Rotifer visiting to throw in a few more touches of Telecaster. Their mission was to fully realize the sonic and harmonic potential of songs as varied as the partly portentous, partly (deceptively) jaunty opener "The Road to Somewhere", the catchy, XTC-flavoured "Pictures of Anna", the breezy-yet-apocalyptic space age groove of "Where Did We Go Wrong" or the piano-led Francophone waltz of "Une maison sans toit". It all adds up to a colorful mix of delicate textures, subtly sculpted reverb, melodic mellotron madness, Wilsonesque layered vocal harmonies, and the sort of long lost, very English whimsy it would take an anglophile Frenchman to evoke. And yet, in its transparent spaciousness dotted with charming detail, The Road To The Sea also brings to mind the sound of Summer Dancing, Andy Lewis' acclaimed 2017 collaboration with the late, great Judy Dyble.
CD $18
NURSE WITH WOUND - Salt Marie Celeste - Salt (United Dirter Dprom 162CD; UK) A welcome re-release, as an expanded version, of one of Nurse With Wound's most notable albums. Originally recorded in 2002 by Steven Stapleton and Colin Potter, the piece "Salt" was a limited-edition release to accompany an exhibition of Stapleton's artwork at The Horse Hospital in London. The following year Salt Marie Celeste was released as a single 61-minute-long piece of droning atmospheric sound that manages to be both minimal and maximal at the same time. A parade of strange, often unlikely, sounds appear and disappear during the voyage from Z to A. Described by many as being one of the most unsettling and/or engaging NWW recordings, it went on to feature in many "albums of the year" lists of 2003. This new edition comes in a six-panel digipack with stunning all-new artwork by Babs Santini.
2 CD Set $17
HANS NIESWANDT - Fluoreszent (Bureau B 453CD; Germany) Fluoreszent is the new solo album by Cologne based artist Hans Nieswandt and his third for Hamburg's Bureau B label. Hans Nieswandt is a long standing and highly respected key figure in the music scene of Cologne, of Germany and beyond. As a pioneering DJ since the mid-eighties, as writer and editor for the mighty Spex magazine in the early nineties, and as a music producer, solo and with his group Whirlpool Productions, he helped shape the Sound Of Cologne from the mid-nineties onward. A lot of his musical work at that time took place in the studio owned by legendary band CAN. With his 12-year-running, weekly radio mix show 'Elektronische Melodien' on WDR (the Cologne radio station that built the first studio for electronic music in the 1950s) he suffused generations of listeners with cutting edge electronic music both old and new. Having left Germany to live in Seoul in late 2019, Hans Nieswandt suddenly found a lot of time to check back and immerse himself in all the forms of music that shaped him ever since he was a little glam rock kid in the early seventies -- before becoming a hippie boy, then a punk, then a house head. Now he is all these things rolled into one and the time has come for a proper, new solo album having released mainly collections of remixes, edits and cover versions over the last 20 years. Recorded in 2024 in Seoul, you will find on Fluoreszent ten shiny, fresh, joyous songs taking you to many wonderful places; from Kraut to goth, synth wave to art pop, cosmic to comic -- and all the way to the end of the rainbow. Important contributions came from unexpected sides: legendary German krautrock drummer Wolfgang Seidel gave him permission to use a lot of his beat recordings, a connection was made by Seoul-based German free music pioneer Alfred Harth, (who also took the album cover photo), more drums came from Philipp Janzen of the band Von Spar (who also did the final mix of the album) and the mastering is by Jörg Burger, another living legend of the Cologne electronic music scene. Housed in a cover designed by top illustrator Felix Reidenbach, Fluoreszent marks the happy return of one of Cologne's finest to the international stage.
CD $18
LP SECTION:
DETAIL with FRODE GJERSTAD / KENT CARTER / JOHN STEVENS - Detail 90 (NoBusiness NBLP 143; Lithuania) Recorded 41 years ago this month, Detail-90 (available as LP or download) presents two side-long improvisations from the seminal free jazz unit: Norwegian alto saxophonist Frode Gjerstad, expat American bassist Kent Carter and British drummer John Stevens (who died in 1994). By this stage the group was eight years old, with the only significant change being the passing of original member South African bassist Johnny Dyani in 1986. However the shift in personnel didn’t alter the trio’s essential character and it remained a pioneering co-operative thriving in the fertile soil between jazz and abstraction. Stevens looms large in the outfit’s triangulations here, with a firm hand on tiller, steering the interplay and dynamics from behind his kit. Even his choice of when not to play proves decisive in calibrating the overall trajectory while his prompting and cajoling act as a fulcrum around which saxophone and bass pivot. He often lays down a regular pulse, pitching the exchanges towards freebop (indeed Stevens maintained a band of that name for several years), with Carter walking propulsively and Gjerstad unfurling bright Ornette Coleman-inspired dancing lines in response. At other times Gjerstad adopts a querulous raw-edged tone, embellished with dissonance and multiphonics, presaging his later approach. Carter (who cut his teeth in the ‘60s with the Jazz Composers Orchestra and Paul Bley, then was part of Steve Lacy’s groups in the ‘70s) moves in resonant parallel to Gjerstad, switching easily between bow and fingers. Interaction between the pair reaches a high on the second side, with Gjerstad gradually running repeated phrases together in swinging style as Carter fashions a buoyant counterpoint, before they peak with sustained notes from alto and arco bass pleasingly intertwined. With much of the band’s discography out of print, this flowing set makes a fine addition, particularly timeless in all senses of the word when they strike out into the unknown. - John Sharpe, New York City Jazz Record
LP $20
MASAYUKI JOJO TAKAYANAGI / NOBUYOSHI INO / MASABUMI PUU KIKUCHI - Live at Jazz Inn Lovely 1990 (NoBusiness NBLP 148; Lithuania) Flash forward 15 years and more instances of first generation Japanese free music are on Live at Jazz Inn Lovely 1990 (NoBusiness NBCD 135 nobusinessrecords.com). In one way it was a reunion between two pioneering improvisers, guitarist Masayuki Jojo Takayanagi (1932-1991), who began mixing noise emphasis and free improvisation in the mid-1960s with in-your-face groups featuring the likes of saxophonist Kaoru Abe and pianist Masabumi Puu Kikuchi (1939-2015). Kikuchi evolved a quieter style after moving to the US in the late 1980s and this was the first time the guitarist and pianist played together since 1972. Problem was that this was a Takayanagi duo gig with longtime bassist Nobuyoshi Ino until Kikuchi decided to sit in, creating some understandable friction. Agitation simmers beneath the surface adding increased tautness to the already astringent sounds. This is especially obvious on the trio selections when the guitarist’s metallic single lines become even chillier and rawer. Initially more reserved, Kikuchi’s playing soon accelerates to percussive comping, then key clangs and clips, especially on the concluding Trio II. For his part, Ino serves as a bemused second to these sound duelists, joining an authoritative walking bass line and subtly advancing swing to that final selection. On the duo tracks, he and the guitarist display extrasensory connectivity. He preserves chromatic motion with buzzing stops or the occasional cello-register arco sweep. Meanwhile with a minimum of notes, Takayanagi expresses singular broken chord motion or with slurred fingers interjects brief quotes from forgotten pop tunes. On Duo II as well, Ino’s string rubs move the theme in one direction while Takayanagi challenges it with a counterclockwise pattern. Still, fascination rests in the piano-guitar challenges with Kikuchi’s keyboard motion arpeggio-rich or sometime almost funky, while Takayanagi’s converse strategies take in fluid twangs, cadenced strumming and angled flanges. - Ken Waxman, The Whole Note
LP $20
SEISHIN with MOTOTERU TAKAGI / KIM DAE HWAN / CHOI SUN BAE - Seido (NoBusiness NBLP 151; Lithuania) Seishin-Seido documents a meeting between two branches of Asian free jazz, the Korean and the Japanese, captured during a 1995 visit to Japan by late drummer Kim Dae Wan (62 at the time) and trumpeter Choi Sun Bae (then 55). They are heard here with tenor saxophonist Mototeru Takagi (who died in December 2002 at ~60) in a performance from Café Amores in Hofu City (where a number of Chap-Chap albums were recorded). Each has a strongly developed instrumental voice and the performance gives free rein to a duet and solo pieces.
The opening title track is a dovetailing duet by Choi and Takagi, whose stylistic compatibility is immediately evident, though their personalities tend to invert the usual free jazz balance of tenor saxophone and trumpet. Takagi has a strong Albert Ayler influence in his wandering, vocalic lines, but with a slightly muffled, personal sound; he may be the gentlest of post-Ayler tenor saxophonists. Choi, for his part, is as aggressive as a free jazz trumpeter can get, with whistling, bending runs descending from the upper register, a genuine wake-up call.
There then follows a series of three solo pieces that take up approximately half of the 67-minute running time. The first and longest is Kim’s 14-minute “Natural Sound”, a masterpiece of rhythm, timbre and mood, which makes the most of his unusual kit: played standing, on the evidence of booklet photographs, and employing what appears to be a horizontal bass drum, another resembling a shallow timpani and a large cymbal played with sticks and mallets in each hand. At other points in the performance, he shows his flexibility by employing woodblocks as a principal instrument. The solos by Takagi and Choi are similarly rich: each has a keen formal sense near his expressive core.
The full trio eventually arrives with “Ethyopia” and it is a genuinely interesting ensemble, the absence of bass or keyboard giving it a kind of expressionist minimalism matched to an air of necessity, something that emphasizes further the Ayler connection and also a corresponding sense of traditional New Orleans bands. The concluding “Step by Step” develops with short echoing horn phrases over turbulent, complex percussion, with saxophone approaching trumpet’s intensity. There is, however, a sustained and shifting upper-register wail in which trumpet fully enters the complex, flexible range of a reed instrument. The performance appears to have been sufficiently inspiring for Takagi later to play with Choi and others in Korea. - Stuart Broomer, New York City Jazz Record
LP $20
MOTOTERU TAKAGI / SUSUMU KONGO / NAO TAKEUCHI / SHOTA KOYAMA - Live At Little John, Yokohama 1999 (NoBusiness NBLP 146; Lithuania) Abandoning chordal instruments and concentrating on horn textures, Live at Little John, Yokohama 1999 (NoBusiness NBCD 144 nobusinessrecords.com) provides an alternative variant of Nipponese free music. Backed only by the resourceful drumming of Shota Koyama, a trio of wind players creates almost limitless tonal variants singly, in tandem or counterpoint. Best known is tenor saxophonist Mototeru Takagi (1941-2002), who was in Takayangi’s New Direction Unit and in a duo with percussionist Sabu Toyozumi. The others who would later adopt more conventional styles are Susumu Kongo who plays alto saxophone, flute and bass clarinet, and Nao Takeuchi on tenor saxophone, flute and bass clarinet. No compromising of pure improvisation is heard on this CD’s three lengthy selections, although there are times when flute textures drift towards delicacy and away from the ratcheting peeps expelled elsewhere. Whether pitched in the lowing chalumeau register or squeaking clarion split tones, clarinet textures add to the dissonant sound mosaic. This isn’t anarchistic blowing however, since the tracks are paced with brief melodic interludes preventing the program from overheating. The more than 40 minute Yokohama Iseazaki Town gives the quartet its greatest scope, as vibrating split tones pass from one horn to another with percussion crunches keeping the exposition chromatic. Takagi’s hardened flutters and yowling vibrations may make the greatest impression, but Kongo’s alto saxophone bites are emphasized as well. Although space exists for clarion clarinet puffs and transverse flute trilling, it’s the largest horn’s foghorn honks and tongue-slaps that prevent any extraneous prettiness seeping into the duets. Still, with canny use of counterpoint and careful layering of horn tones backed by sprawling drum raps, the feeling of control is always maintained along with the confirmation of how the balancing act between expression and connection is maintained. - Ken Waxman, The Whole Note
LP $20
SAM RIVERS with DAVE HOLLAND / BARRY ALTSCHUL - The Quest (Red Musical 123106LP; Spain) "'When everything was ready the trio played four tracks in a row, all in one breath' recalls Veschi. There was no need to record many takes for each piece. Everything went for the best. The trio played for pieces that Rivers baptized with the evocative titles of 'Expectation,' 'Vision,' 'Judgement,' and 'Hope.' There is no doubt The Quest was an album of an absolute vanguard, reflecting the experimentations and the freedom of expression that was swarming among the lofts of New York. It was alive and vital music, spontaneous and sincere, violently hitting the listener and not leaving him or her indifferent."
LP $34
JOE BOYD - And the Roots of Rhythm Remain (Paperback)(Ze Books 9798988670056; USA) Paperback version. 960 pages. 2.2" H x 8.7" L x 5.7" W (2.56 lbs). "From the legendary producer of Nick Drake, R.E.M., Toots and the Maytals, and Pink Floyd and author of White Bicycles: Making Music in the 1960s comes a riveting, world-spanning tour de force illuminating the artists, histories, controversies, and collaborations that shaped global music. Paul Simon told Joe Boyd that when he first heard the accordion flourish that would open his multi-platinum album Graceland, it seemed to proclaim, 'You haven't heard this before!' Yet the 1980s 'world music' boom that Simon's album helped usher in had roots that extended back through the decades and across continents: tango on the eve of World War I, Latin dance across the '30s, '40s and '50s, reggae in the '70s, pre-War samba and pre-Beatles bossa nova, Eastern European ensembles filling capitalist concert halls during the Cold War, Indian ragas changing rock and roll in the 1960s, the folk music-inspired classical composers of the 19th and 20th centuries. In this sweeping history compiled from more than a decade of travel, research, interviews, and deep listening, Boyd sets out to explore centuries of fascinating backstories to these sounds. He shows how personalities, events, and politics in places such as Havana, Lagos, Budapest, Kingston, and Rio are as colorful and momentous as anything that took place in New Orleans, Harlem, Laurel Canyon, or Liverpool. And, moreover, how jazz, rhythm and blues, and rock 'n' roll would never have happened if it weren't for the notes and rhythms emanating from over the horizon. The one-of-a-kind result is And the Roots of Rhythm Remain: a glorious, symphonic celebration of the music that shapes the world."
Thick Book $35 [960 pages, 2.6 pounds]
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ATTENTION ALL CREATIVE MUSICIANS OUT THERE, Around the world.
If you have a link for some music that you are working on and want to share it with the folks who read the DMG Newsletter, please send the link to DMG at DMG@Downtownmusicgallery.com
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JOHN ZORN - Hermetic Cartography at the Drawing Center- Feb 7th - May 11th, 2025:
John Zorn’s ‘Hermetic Cartography’ will be accompanied by a series of musical performances curated by Mr. Zorn that will be performed in the exhibition. Performances will be held from 7:30 - 9pm on the first Saturday of each month (March - May, 2025) and will be free and open to the public. The Drawing Center is located at 35 Wooster Street, in Soho in Manhattan, NYC. Website: https://drawingcenter.org
Known predominantly as a groundbreaking figure in New York’s avant-garde and experimental music scenes, John Zorn has long been celebrated for his radical innovations in music. However, his abstract drawings—a private language of symbols and notations—have remained a closely guarded secret. Offering profound insight into Zorn’s creative mind, Hermetic Cartography reveals a new dimension of his artistic practice by showcasing works on paper that span seven decades of his visionary engagement with mark-making, improvisation, and the esoteric.
The exhibition includes a diverse array of Zorn’s visual artworks, graphic scores, dense philosophical notations, abstract poetry and artist books, and not only highlights Zorn’s radical approach to marks on paper but also his unique Theatre of Musical Optics and other experimental projects. By exploring these visual elements, the exhibition provides a new perspective on how Zorn's abstract works intersect with and inform his musical compositions.
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THE STONE Concert Series:
THE STONE RESIDENCIES - JAD ATOUI - April 23 - 26th
4/23 Wednesday
8:30 pm - Purge
Jad Atoui (electronics) - Jad Atoui will be performing "Purge", a new solo album that reflects on his recent experimentations with modular synth.
4/24 Thursday
8:30 pm - Duo Ipek / Atoui - Ipek Eginli (piano, modular synth) Jad Atoui (electronics, objects)
A duo improvised set by Ipek Eginli and Jad Atoui, celebrating their recent double release on Purplish records.
4/25 Friday
8:30 pm - Improv night - Chuck Bettis (electronics) Jad Atoui (electronics) Nava Dunkelman (percussion)
4/26 Saturday
8:30 pm - In Memory - Jad Atoui (hard drives)
Jad Atoui will perform In Memory, a reflective piece utilizing repurposed hard disk drives (HDDs) as instruments to explore memory and data storage through motors and feedback systems
THE STONE RESIDENCIES / FAY VICTOR / APR 30-MAY 3
4/30 Wednesday
8:30 pm - Jean - Fay Victor (voice, composition) Chris Williams (trumpet) Lesley Mok (drums)
5/1 Thursday
8:30 pm - Flutter - Fay Victor (voice, comps, electronics) Nicole Mitchell (flutes, voice, electronics)
5/2 Friday
8:30 pm - Windward Drift - Fay Victor (voice) Lyndon Achee (steelpan) Keyanna Hutchinson (guitar)
5/3 Saturday
8:30 pm - Quartet - Fay Victor (voice, comp) Karen Borca (bassoon) Lester St. Louis (cello) Reggie Nicholson (drums)
THE STONE is located in
The New School at the Glass Box Theatre
55 West 13th Street - near 6th ave
LIVE MUSIC
wed-sat - music at 8:30pm
ADMISSION - $20 per set
unless otherwise noted
cash only payment
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ESP-Disk’ Concert Series:
May 2 (Friday) at 8 p.m.
Larry Ochs/Joe Morris/Charles Downs
Release concert for the Ochs/Morris/Downs album EVERY DAY → ALL THE WAY.
at Loove Annex, 238 North 12th Street in Greenpoint, Brooklyn
May 23 (Friday) at 8pm:
Thollem McDonas: Set 1: solo piano; Set 2: trio with bassist Hilliard Greene and drummer Marc Edwards
Thollem released a brilliant solo piano album last year on ESP, Infinite-Sum Game.
At Loove Labs, 58 North 6th Street in Williamsburg, Brooklyn
June 13 (Friday) at 8 p.m.
Joe Morris & Elliott Sharp - Release concert for their mind-boggling guitar duo album Realism, due in late May on ESP.
at Loove Annex, 238 North 12th Street in Greenpoint, Brooklyn
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Zürcher Gallery Presents:
Mini Piano Festival
Thursday, April 24th at 8:00 pm: Uri Caine
Friday, April 25th at 8:00 pm: Han Chen
Saturday, April 26th at 8:00 pm: Marilyn Nonken
Tickets can be purchased at the door.
$25 General Admission. $20 Students. (CASH ONLY).
All proceeds go to the artists.
The Zürcher Gallery is located at
33 Bleecker Street, New York, NY 10012
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THE SHAKUHACHI 5
Featuring:
Akihisa Kominato, Akihito Obama, Ken-Ichi Tajima,
Kizan Kawamura, and Reison Kuroda
Shakuhachi Vogue – A Visual Concert
Friday, May 16 at 7:30PM
Followed by a Private Gathering for Artists and Members
A Leading Japanese Instrumental Quintet's North American Debut Concert
At The Japan Society
Located at 333 East 47 Street, between First and Second Avenue, accessible via the 4/5/6 train at Grand Central Station or the E train at Lexington and 53 Street. our box office at 212-715-1258. The box office is open Monday through Friday, 11:00am to 6:00pm
Visit japansociety.org/performing-arts for more information
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THIS NOTE COMES FROM MY GOOD BUDDY JOEL HARRISON, Gifted Guitarist and Organizer. His yearly concerts at LPR have been a highlight for myself and other Guitar Freaks…
Dear Guitar Enthusiasts … There's a lot going:
—MIDWESTERNERS: please take note of the below dates. I'm lucky to be playing with two of the greatest B-3 organ players alive, and fantastic drummers as well. https://joelharrison.com/shows/
—On March 14 AGS (Alternative Guitar Summit) recordings releases ANUPAM SHOBHAKAR'S LIQUID REALITY, a tour de force on double neck guitar that fuses Indian music, jazz, and rock. If you like John McLaughlin this is for you. Preorder here: https://agsrecordings.bandcamp.com/
—We have uploaded some GREAT NEW PODCASTS to the AGS youtube channel with Ben Monder, Redd Volkaert, and more to come. Please check it out.
https://www.youtube.com/@alternativeguitarsummit
—For a couple of years I have been working on a major piece entitled "Burn Pit." The orchestration is jazz big band and a 16 person chorus. The subject matter is the deadly toxic burnpits from the wars in Iraq and Afghanistan that killed or sickened hundreds of thousands of military personnel. To fulfill my obligation to the NY State Council on the Arts and the Governors Office of NY, from whom I received a generous composition grant, I have posted a video discussing and playing excerpts from this work here: https://www.youtube.com/watch?v=ulyk1Pgrym8
Don't forget to sign up for our summer camp! Kevin Eubanks, Vernon Reid, Kurt Rosenwinkel, John Scofield...come on! https://www.alternativeguitarsummitcamp.com/ - Joel Harrison
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NEW VIDEOS from GUITAR MASTER HENRY KAISER:
https://www.youtube.com/watch?v=xAWxt3EJSPw
https://www.youtube.com/watch?v=VcvoYygehqE
https://www.youtube.com/watch?v=g-6p_Q2Dwxc
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From CHRIS CUTLER:
Formerly of HENRY COW, THE ART BEARS, NEWS FOR BABEL & RECOMMENDED RECORDS (ReR) has been creating an ongoing series of podcasts called the Probes series. I am often fascinated at listening to each of these as Mr. Cutler does an incredible job of showing a deep history of Creative Music in the 20th century & beyond. I usually listen to these on the train to NYC that I take to get to work each day. The most recent Probes (#37) was released earlier this year, here are the links:
https://rwm.macba.cat/en/research/probes-37
https://rwm.macba.cat/en/research/probes-36