Every Thursday I take a Seniors Exercise & a Chair Yoga Class at the Local Y
I Dance around with the Old Ladies to 60’s & 70’s Funk & Disco
And Feel Groovy, Acting like the Dancing Fool I used to be Way Back When
From “Boogie Fever” to “Dance to the Music” to “Stop in the Name of Love”
The Chair Yoga class is especially helpful and Helps to Calm Down the Spirits
And find some Peace of Mind which is not so easy to do in these dark times…
Check Out Some New Music, Old School Treasures and Other Sonic Delights from:
Erik Friedlanders’s Throw a Glass: Uri Caine / Mark Helias/ Ches Smith! The Return of The Neck! MILFORD GRAVES’ Babi: ARTHUR DOYLE / HUGH GLOVER! Misha MENGERLBERG / Peter BROTZMANN / Evan PARKER / Derek BAILEY/Paul RUTHERFORD / Han BENNINK! Joe McPhee Duos with Hamid Drake & Mats Gustafsson!
Yarn/Wire//Alex Minceck! Jurg Frey & Ordinary Affects! Max Nagle & Koehne Quartet! New from Neos: Wolfgang Rihm, Horatiu Radulecu & 9 More! Karlheinz Stockhausen Box Set!
Zeni Geva & Steve Albini! Plus Archival & Rare Restocked Discs: Roscoe Mitchell’ Sound! Return of Eliane Radigue 3 CD set! Tangerine Dream Early Years 4 CD Set! Spacemen 3! Vinyl from Rare Eugene Chadbourne Solo! Bernard Parmegiani! Francois Bayle & Mary Jane Leach!
Upcoming Sets at Downtown Music Gallery - FREE, every Sunday at 6pm
Sunday, October 21st:
6pm: DAVE SEWELSON QUARTET - FMR CD Release Set! Featuring: STEVE SWELL - Trombone / WILLIAM PARKER - Bass / MARVIN BUGALU SMITH - Drums / DAVE SEWELSON - Bari Sax
Sunday, October 28h:
6pm: MAX KUTNER & GREGG BENDIAN - Guitarist from Evil Genius meets Drummer from Mahavishnu Project
November 4th, 2018:
6pm: RADIO I-CHING DUO: ANDY HAAS and DON FIORINO - Saxes and Guitar
7pm: DAVID GROLLMAN / AL MARGOLIS / LUCAS BRODE - Snare Drum / Tapes / Guitar
6pm: THOMAS HELTON / BRANDON LOPEZ Contrabass Duo!
7pm: SAM NEWSOME and SANDY EWEN - Soprano Sax and Guitar
DMG is located at 13 Monroe St. (between Catherine & Market Sts) in a basement below a small gallery. 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 Always Cosy. You can check the weekly in-store sets through our Instagram feed
The MIKE PANICO MEMORIAL CONCERT Will Take Place at Roulette in Brooklyn
on Monday, November 12th from 7:30 to 9:30
Friends & Family will we Reminsicing about Mike
There will be Much Music from Many Relative Pitch Musicians
This will be an opportunity to Celebrate to the Life of our Dear friend
Stay tuned for more details
This Week’s Great Discs Begin with This Great CD & LP Set:
ERIK FRIEDLANDER / THROW A GLASS With URI CAINE / MARK HELIAS / CHES SMITH - Artemisia (Skipstone 024; USA) Throw a Glass features Erik Friedlander on cello & compositions, Uri Caine on piano, Mark Helias on contrabass and Ches Smith on drums. “Sparked by viewing Pablo Picasso’s mysterious absinthe glass sculptures at MoMA, renowned cellist Erik Friedlander and his new band Throw A Glass - Uri Caine on piano, Mark Helias on bass and Ches Smith on drums - spent the next year and a half writing and recording ‘Artemisia’, a concept album on the murky history of absinthe and its use as a brain-bending hallucinogen. “I don’t think I’ve ever felt so strongly about one of my projects,” says Friedlander, who composed both hypnotic meditations on obsession and songs that optimistically chase euphoria and the "green fairy."
“That sense of never-ending intrigue and discovery is one of the most redeeming qualities of Friedlander as a person and a player,” writes Pitchfork. “On first look, the glasses were kind of pretty, innocent,” Erik remembers. “But as I looked more closely, I saw that Picasso had torn away the fronts of the glasses, revealing their insides. Was Picasso commenting on the effects of absinthe? Does it tear away one's exterior?”
‘Artemisia’ is a record about inspiration and where it comes from. “So often we're looking for 'the great revelation' and missing the daily miracle that's there in plain sight,” says Friedlander. “Moments of synchronicity, miracles of counterpoint, things that have never happened before and will elude you if you try baldly go after them again. These are things to cherish. The so-called "revelation" is fool's gold." - erikfriedlander.com
Considering that I’ve only tried the mysterious liquor absinthe one, I am consistently intrigued by any substance or artwork that appears to alter our perceptions. I’ve listened to this disc several times in the past week and have heard this quartet play once, perhaps last year, and I am convinced that there is something intoxicating or mind-altering about this music. I’ve heard Mr. Friedlander play in some half dozen different groups, as well as performing solo throughout the past couple of decades, often playing his own music as well the music of John Zorn. This quartet, which he calls Throw a Glass, might just be his best endeavor yet. From the very opening, “The Great Revelation”, this quartet is tight, robust, soulful and cooking’! The ever dynamic pianist, Uri Caine, is a perfect choice for this group and his worked with contrabass master Mark Helias on a couple of past projects, most recently a great piano trio disc called ‘Calibrated Thickness’. Mr. Friedlander’s haunting most stirring and absolutely radiant. “Seven Heartbreaks” is a laid-back sort of blues which feels great for some late night listening and sipping. My favorite track in “Sparkotropic” which sounds more like progressive rock piece, intense, complex and superbly played. So good to hear acoustic music played so vigorously, powerfully, all four musicians are integral to the great group sound here. I like the way that “La Fee Verte” evokes those dark, ghost like spirits, as if we were floating on a raft far out at sea. When listening to “Blush”, I got the feeling that I was listening to a symphonic work, although this is just a quartet, the bass & cello solos are both superb and sweeping melody is another delight. You can that Mr. Friedlander worked hard on every aspect of this disc, from the composing to the playing to the production and artwork. Although the CD sounds great, I can’t wait to listen to this on that deluxe vinyl. - Bruce Lee Gallanter, DMG
CD $15 [LTD Edition of 100]
3 - 10” LP Deluxe Box-Set $80 (The vinyl is absinthe green in color)
WENDY EISENBERG With TREVOR DUNN / CHES SMITH - The Machinic Unconscious (Tzadik 4027; USA) Improviser, composer and songwriter Wendy Eisenberg is a graduate of New England Conservatory and a founding member of the acclaimed band Birthing Hips. For her first Tzadik CD she is joined by the dynamic rhythm section of Trevor Dunn on bass and Ches Smith on drums and performs some of the nastiest guitar you’ve ever heard. The improvisations are powerful and intense and all styles and sounds are thrown into a cathartic blender as the trio channel an exciting new musical world. An outrageous project from these fabulous young lions!
THE NECKS - Body (Northern Spy 104; USA) The Necks remain Chris Abrahams on keyboards, Lloyd Swanton on bass and Tony Buck on drums & percussion. Last year, the Australia trio known as the Necks reached their 30th anniversary, with more than two dozen discs under their belt. Considering only a dozen of their discs remain in print, their devoted fans savor each and every release and performance, generally once a year. Although The Necks often utilize a similar pattern on each release and live set: hour long pieces which unfold slowly and deal with repeated fragments, their is still a sense of mystery as to what they choose to accentuate within the long pattern. After listening to this disc yesterday and today (10/17/18), I must admit that I was pleasantly surprised, Instead of taking their time to build slowly, ‘Body’ starts off with a strong throbbing intro: the bass is like a heart beat pulsating at the center of the body, the piano and drums are both playing a moderate tempo, the groove is most hypnotic. The eerie organ or sustained pedal piano gives this piece an enchanting “In a Silent Way” like vibe. The bass pulse increases from one note to a two note pattern while the piano and drums weave a contemplative tapestry, with several lines quietly intersections, expanding and contracting. Since the tempo here is more brisk that is usual, the vibe is more uplifting, a bit less cerebral. Tony Buck eventually switches from snare drum to just a ride cymbal with Abrahams adding swirling lines of organ here and there as Mr. Swanton plays some long notes on bowed bass. Midway, the drums and keyboards lay out while the bass throb continues cautiously, quietly. In the last section of this piece, the trio launch into an uncharacteristic rocking groove which is most jubilant, uplifting and rather funky. When this section erupted at the store, a handful of customers, employees & yours truly started to dance and chant (“get down, get down…”), certainly uncommon sight here at DMG! Could this be a dance floor hit for The Necks?!? Hmmmmmmm. Stranger things have happened to what folks consider to be a more serious band, however, if it feels good then let it flow and let yourselves go. It feels so good to groove and smile at times like these. - Bruce Lee Gallanter, DMG
FIVE F**KING FANTASTIC DISCS from the INCREDIBLE CORBETT VS DEMPSEY LABEL in Stock Shortly!
MILFORD GRAVES with ARTHUR DOYLE / HUGH GLOVER - Bäbi (CvsD 052; USA) The long-awaited first reissue of one of the most legendary albums in the history of free music. Recorded live in concert in 1976, when Graves' trio with saxophonists Arthur Doyle and Hugh Glover was at the height of its powers, Bäbi is a testament to the absolutely unique approach the drummer had established for himself. He had reconfigured the drum kit, removing the second heads on all the drums and replacing the snare with two toms, which allowed him a much more nuanced sense of indirectness in his multi-directional adventures in time. The track "Ba" remains one of the most astonishing feats of percussion alchemy ever waxed, as funky as ten slap bassists and as free as an exploding grenade. Doyle and Glover are incendiary, too, inspired by Graves to new and shocking heights of achievement, their hoarse cries and whistling split-tones carried to thrilling plateaus on the energy of Graves' hands and feet. The original tapes for the session have been lost, so the reissue was lovingly remastered from virgin vinyl, itself now worth a mint. In 2017, Graves discovered a previously unknown tape in his archives featuring the same trio at its inception, in home recordings made seven years earlier in 1969. Graves pummels a huge gong while Glover plays an instrument that, after sounding like none ever known, turns out to be bass clarinet. Extreme music recorded up close and very hot, it is among the most searing sessions never heard. Until now. Rounding out the 2-CD package are three previously unpublished photos by Gérard Rouy and the original LP cover design by Graves himself.
2 CD Set $20
MISHA MENGELBERG / PETER BROTZMANN / EVAN PARKER / PAUL RUTHERFORD / DEREK BAILEY / HAN BENNINK - GroupComposing (CvsD 056; USA) Misha Mengelberg, Peter Brötzmann, Evan Parker, Peter Bennink, Paul Rutherford, Derek Bailey, Han Bennink ‘Groupcomposing’
(CvsD CD056). Comprised of a one-time international free music supergroup, originally released as the sixth production on pianist Misha Mengelberg and drummer Han
Bennink's ICP label, ‘Groupcomposing’ has been largely absent from the history books. This is the case because the record has been so unavailable, certainly not as a comment on the magnitude and magnificence of the music. With its Bennink cover – take that Andy Warhol! – and its two side-long tracks, it is an improvised music aficionado's treasure. Mengelberg and Bennink are joined by Bennink's brother, Peter Bennink, on alto saxophone and bagpipes (!), with an incredible reed section of Evan Parker and Peter Brötzmann, Paul Rutherford on trombone, and Derek Bailey on guitar. Moving from peaks of intensity to droning deescalation, totally improvised live in concert in 1970, ‘Groupcomposing’ should be heard in the company of related records like Brötzmann's ‘Machine Gun’ and ‘Nipples’, the early London Jazz Composer's Orchestra and Globe Unity Orchestra, and Manfred Schoof's ‘European Echoes’. The music is reissued here for the first time as a stand-alone CD, with original album art and an interior salon of never-published period photographs by Gérard Rouy. The first in an ongoing series of ICP reissues on Corbett vs. Dempsey, ‘Group-composing’ restores a classic LP to its rightful place in the canon.
JOE McPHEE & HAMID DRAKE - Keep Going (CvsD 053; USA) It's easy to be cynical these days, maybe difficult to imagine that music can change the world, but not for Joe McPhee and Hamid Drake. With ‘Keep Going’, they will make the planet a better place for humanity, a place to be humane, to preserve humankind. At 78-years-old, Poughkeepsie multi-instrumentalist McPhee is a national treasure, and he's making more music than ever before, pushing himself to tour incessantly, issuing astonishing new records at a fierce rate. But this release, with legendary Chicago percussionist Drake, is something extremely special in the midst of many special records. The duo first recorded together in 1999, having only played together a limited number of times; the resulting music was issued as Emancipation Proclamation on the Okka Disk label. When the opportunity arose to hit the studio for a second time, McPhee and Drake had two more decades of extensive work together under their belts, as members of the Peter Brötzmann Chicago Tentet and in many other contexts. But the session somehow consolidated their shared energy in an unexpected way – the drummer's incredible warmth and sense of buoyancy, the saxophonist and trumpeter's preternatural musicality and quest for social justice. The recording started with McPhee reciting words by Harriett Tubman, resulting in the title track; Drake's support was an achingly slow Max Roach-like beat. From this inspired, inspiring starting point, the twosome frolicked through a rich program, McPhee donning tenor and alto saxes, and pocket trumpet, Drake turning momentarily to the frame drum. Each musician contributes an introspective solo track. McPhee at one point plays trumpet into an open gong, which gives him otherworldly overtones, a sort of acoustic version of electric Miles. Drake makes too few records, so anything of his is mandatory; McPhee's been on a roll lately, releasing lots of music, but Keep Going is one not to be missed.
JOE McPHEE With MIKE KULL / TYRONE CRABB / OTIS GREENE / et al - Nation Time (CvsD 054; USA) “It's been nearly five decades since Joe McPhee assembled a group of musicians to perform the weekend concerts that would become Nation Time, his second LP. It was December 1970, thirty-one year-old McPhee was inspired by Amiri Baraka's poem 'It's Nation Time,' and the students at Vassar College didn't know what hit them. 'What time is it?' shouted McPhee. 'Come on, you can do better than that. What time is it?!!' The music on Nation Time came out of a fertile, but little-known creative jazz scene in Poughkeepsie, New York, McPhee's home base. Two bands were deployed, one with a funky free foundation featuring guitar and organ, the other consisting of a more standard jazz formation, with two drummers and the brilliant Mike Kull at the piano. Across the concert and the next afternoon's audience-less recording session, the band was ignited by McPhee's passion and his gorgeous post-Coltrane / post-Pharoah tenor. On 'Shakey Jake,' they hit a James Brown groove filtered through Archie Shepp, while the sidelong title track is as searching and poignant today as it was during its heyday. Originally released in 1971 on CjR, an imprint started expressly to document McPhee's work, Nation Time has a sense of urgency and inspiration. Additional material from those December days would later appear on Black Magic Man, Hat Hut's first release. In fact, the first four records on this seminal Swiss label all featured McPhee. ‘Nation Time’ was largely unknown a quarter century or so later, when it was first issued on CD through the Unheard Music Series. On Corbett vs. Dempsey, we reissued the album along with all known tapes leading up to and around it as a CD box set, but the standalone LP has remained incredibly rare. In preparing to reissue the CD on its own, a new, previously-unknown tape was discovered with three tracks recorded at the original concert in 1970. These include an intense version of Coltrane's "Naima," all of them feature pianist Kull, and none have been issued before this. Now is the time for a new generation of freaks to lose their shit when settling into the cushy beat of 'Shakey Jake' and answering the call with the only appropriate response: It's NATION TIME!
JOE McPHEE / MATS GUSTAFSSON - Brace for Impact (CvsD 055; USA) Some recordings, the world is just not ready for them when they're made. In 2008, Swedish born, Austrian resident saxophonist Mats Gustafsson and Poughkeepsie, New York multi-instrumentalist Joe McPhee made a suite of studio recordings that they loved so much they immediately culled, mixed, and mastered them. A decade later, when the original label for which they were planned had not yet issued them, Gustafsson and McPhee offered them to Corbett vs. Dempsey, and when we heard them we couldn't believe the music. As searching and searing as anything either of them has made, the duets lived up to their explosive title. Gustafsson is known for his energy, and it's here in droves, but there are other nuances brought out by McPhee, a supple sense of melodicism (hey now, Gustafsson is a Swede, so by birthright he's melodic) and the love of experimental sound-making that McPhee displayed on his sound-on-sound recordings in the late '60s. Although the two wind-players have worked together very extensively –in Peter Brötzmann's large groups, with McPhee as a guest in Gustafsson's band the Thing, and in all manner of large and small group improvisations – but they have never issued a record of duets before. This duo debut, now a decade in the can, is insanely powerful. We recommend that you prepare yourself for the impact. Cover image by Charline von Heyl, interior photo of McPhee and Gustafsson bracing themselves back in 2002, by John Corbett. The package is completed by a haunting cover image by artist Cauleen Smith.
YARN/WIRE // ALEX MINCEK - Images of Duration [In Homage to Ellsworth Kelly](Northern Spy 103; USA) “Written between 2015 and 2018 for the acclaimed New York percussion and piano quartet, Yarn/Wire, Alex Mincek’s Images of Duration (In homage to Ellsworth Kelly) is a monumental work by any measure. With a runtime close to one hour, it is not only Mincek’s longest work to date, but also one of his most intriguing. It is scored for two pianos tuned 1/4 tone apart (441 and 428 Hz, respectively) and a vast array of percussion including tuned gongs, air canisters, waterphone, baby monitor and white-noise machine alongside more traditional instruments like drums, vibraphone, marimba, and chimes. This instrumentation, while wildly varied, creates an ever-changing landscape that is brutal, disorienting, beautiful, meditative, and jarring – often at the same time.
Mincek is interested in how perception changes over time, and the sheer scale of Images of Duration allows for listeners to discover different modes of listening for themselves. The individual movements can function as sonically flat landscapes (like Kelly’s work), but upon deeper listening, the many multiple layers can be teased out and followed, creating an arc across the whole piece. The music traverses movements that range from Oblique’s piano rumble and e-bow drones through the sparkling detuned piano passages of Vermillion to violent piano glissandi of Diagonal, all punctuated by massive percussion hits throughout.
‘Images of Duration (In homage to Ellsworth Kelly)’ exemplifies Yarn/Wire’s commitment to the most dynamic and forward-looking chamber music made today.” - Northern Spy
Three Great New Discs from the Elsewhere label:
JURG FREY With ORDINARY AFFECTS - 120 Pieces of Sound (Elsewhere 003; USA) Featuring Jurg Frey on clarinet with Ordinary Affects: Laura Cetilia on cello, Morgan Evans-Weiler on violin, J.P.A. Falzone on keyboard and Luke Martin on electric guitar. Jürg Frey is a member of the Wanderweiser Composition Ensemble, a collective of composers who deal with their own aesthetic of minimalist music. Mr. Frey has some dozen discs out on the Erstwhile and Edition Wanderweiser labels. This disc features two long works by Mr. Frey: the title work which performed by the Boston-based ensemble: Ordinary Affects with Mr. Frey joining them. The title piece deals with 60 chords to be played by the ensemble which are followed by a similar duration of silence. I attended a Keith Rowe book release gathering and solo performance last Saturday morning (10/13/18), which was filled by a discussion about and questions answered by Mr. Rowe. Rowe mentioned that “music is not acoustic”, which I asked him to explain. His rather enigmatic answer seemed to mention that music is more than the sounds we hear, it is the intent of the composer ands how we perceive what we hear that are involved as well. This is inspired me to think more deeply about the way music affects us.
Listening to this piece, it is the silences in between the music that gives us time to consider what we have just heard. The music sails in and sounds like an island or raft floating on the soft waves. Each time the music appears, a different combination of instruments and textures changes the mood or vibe slightly. It takes some time & patience to absorb and consider this music, realizing the way it does change and affect our perception.
The second piece, “L’âme est sans retenue II” (“The soul is unrestrained”), is for bass clarinet and field recordings. The bass clarinet is buried within the field recordings and mostly unrecognizable. A similar duration of the sounds and silences alternate with each other like the first piece on this disc. Hence, time is stretched out as we listen closely to the subtle sonic manipulation of the field recordings. Each island of sound(s) evokes a different feeling or vibe. Distant thunder, rustling wind, a train or perhaps just wandering ghosts, each sound is carefully placed upon the silence. I am currently sitting in my kitchen contemplating life, the soft humming of a space heater across the room whirs. Impossible to tell when this disc ended and when I was still concentrating on the other sounds. This disc did inspire me to list closer to the sounds in my environment. - Bruce Lee Gallanter, DMG
CLARA de ASIS // ERIK CARLSON / GREG STUART - Without (Elsewhere 004; USA) “Clara de Asís composed the piece “Without” for the duo of Erik Carlson (violin) and Greg Stuart (percussion) in 2018. In this 43-minute piece, de Asís gave a precise framework for the position and the duration of each sound section and each silence, as well as a rough outline for the texture and the volume of each sound, the use of tone or noise (or tone-noise), and the materials for the percussion, but a large part of the score was open for the two performers' freedom.
In the realization of this piece, Carlson and Stuart brought out the unique voice of each instrument by applying various use of bows on violin and various percussive materials (metal, wood, ceramic, clay, glass, etc.) with their attentive, virtuosic skills and great sensitivities for the sound and silence. Moving along in parallel, Carlson and Stuart showed their individual musical personalities while creating an organic flow, with an exquisite balance between preciseness and openness. The duo’s introspective approach
to the sound and silence in this piece evokes the tranquility of a Zen garden while showing a clean contemporary edge, highlighting the simple yet intense beauty of de Asís's minimal composition. David Sylvian’s cover photograph of the small stones, each of which has a unique color and texture, faintly illuminating in the pitch-black background, echoes the mysterious depth and the lucidity of de Asís's piece.”
STEFAN THUT - About (Elsewhere 005; USA) “Stefan Thut composed about in 2017 for a sextet as a part of the first concert series of the art and music project ame, commissioned by Ryoko Akama, a UK-based sound artist/composer/performer and a co-curator of ame. Akama gathered four fellow musicians who were empathetic with Thut's aesthetics to perform and record the piece. The ensemble consisted of Akama (electronics), Stephen Chase (guitar), Eleanor Cully (piano), Patrick Farmer (metal percussion), lo wie (tingsha), and Thut (cello), who have diverse backgrounds in music, poetry and literature, and comprised a multilingual group.
Thut integrated both musical elements and non-musical elements in his piece 'about'. His score instructs three performers to make percussive, ringing, and electronic sounds while three other performers play short high register pitches on their musical instruments according to written scores, particularly paying attention to the decay of sound in the subsequent silence. It also instructs parallel activities in between playing the sounds;
walking around the space, and uttering monosyllabic words quietly in their own languages. (The title 'about' derived from a sentence 'walking about'.)
By going back and forth between these two activities - one with playing the sounds as a group, and the other with individual activities of their own - standing up, making a few
steps, and saying a word, the ensemble created a unique openness in the music while each keeping their own contemplative individual experience as a component. Through this piece, Thut also demonstrated the idea that "something vanishing creates a state of pure attentiveness,” letting the performers and the listeners experience how the short sounds like hit, plucked, ringing or bowed sounds attribute a meaning to the silences before and after. These silences are soon getting replaced by something else - by the sounds from before, by the sounds in expectation, or by thoughts.”
MAX NAGL / KOEHNE QUARTET - Max Nagl & Koehne Quartet (Rude Noises 26; Austria) Featuring Max Nagl on alto sax, tubes, whistle, ocarina, kalimba, jaw harp, field recording & compositions with the the Koehne (String) Quartet. Longtime mover & shaker, saxist/composer Max Nagl has been an important part of the Austrian creative music scene based in Vienna. Besides running his own Rude noises label, Mr. Nagl several discs out on Leo, Hatology and Between the Lines. For this disc, Mr. Nagl works with the Koehne (String) Quartet, who have also collaborated with Robin Holcomb, Wayne Horvitz and Georg Graewe. This features pieces written as early as 1998 and as late as 2017. Each piece written for a different concert, film or dance piece. The opening piece, “La Ricotta” is the oldest and was premiered in Aoril of 1998. The music is both lovely, solemn and haunting, lush strings and melancholy alto sax. This piece is 16 & 1/2 minutes long and covers a lot of ground. Although, Nagl’s sax veers towards some more dissonant moments at times, it fits perfectly with tightly written musical passages. It sounds like Mr. Nagl spent a good deal of time of time composing this music, with long stretches of thoughtful, string quartet passages with any sax but still strong on their own. Mr. Nagl selectively uses field recordings, whistles, toy piano, kalimba, jaw harp, etc. to enhance the music, whether for films, choreography or for a certain concert performance. Hence the music often seems like it is accompanying a scene from a film or just life itself. A wide range of images, characters and scenes were evoked in my mind’s eye throughout this hour-plus disc. Nothing here is too far out yet everything works well for our inner movies. - Bruce Lee Gallanter, DMG
ERIC PLAKS With ANDREW HADRO / EVAN CRANE /LEONID GALAGANOV - Chrysalis (OutNow Recordings 035; USA) Featuring Eric Plaks on piano, Andrew Hadro on bari sax & clarinets, Evan Crane on double bass (3 tracks) and Leonid Galaganov on drums. Mr. Plaks is a fine pianist who has remained below the radar of recognition, yet has a quintet disc on Cadence, a duo with Blaise Siwula and runs the Shrine Big Band. Reeds player, Andrew Hadro, I only know from his work for Tony Malaby’s Novela and for Ben Stapp. I can’t say that I had heard of bassist Evan Crane before now, although Leonid Galaganov has become increasingly more visible over the past year or so working with Jesse Dulman Quartet, William Parker Aquasonics Ensemble and Kyoko Kitamura.
Similar to what John Zorn did around the time of his fortieth birthday (writing 100 songs for the first Masada songbook), Mr. Plaks started to work on a book of 100 themes when he turned 42, a few years back. This disc is based partially on the first bat h of themes that Plaks has written, as well as a few unplanned trio & quartet improvisations. “Ashes to Ashes” opens and it seems to be an intense trio improv, with some spirited, spastic, bebopish piano bouncing throughout. “Theme 6 - Vertical Slominsky” is a slower, more cerebral dream-like piece, with some unexpected twists, a quirky trio for piano, bass clarinet and restrained mallet-work. “Spiky Swamp” is a quartet improv which erupts in different combinations, with several intersecting layers. “Theme 3” shows a tight yet free connection between the members of the trio: clarinet, piano & drums, all three as one force. “Theme 18 - For David S. Ware”, has a quaint, memorable theme when it begins but soon moves into some strong, focused yet free spiraling lines, the bass clarinet solo is something else! Although some of Mr. Plaks’ themes were based on earlier improvisations, they show some diverse directions the the trio or quartet work their way through. Plaks does a fine job of weaving a handful of familiar sounding melodic fragments in between some of the further out sections. On occasion certain unexpected changes in direction sound a bit schizophrenic yet everything seems to fit with a master plan which ties it all together. - Bruce Lee Gallanter, DMG
THE X TRIO With STEVE OLSON / MARK LYSHER / TODD MARCUS - Sunday Dust (Release It! 3; USA) The X Trio features Steve Olson on drums & percussion, Mark Lysher on acoustic bass and Todd Marcus on bass & regular clarinet. This is the third disc weave gotten from the Baltimore-based percussionist, Steve Olson, who has worked with Dave Ballou, Denman Maroney and Oscar Noreiga. Although I hadn’t heard of bassist Mark Lysher before now, clarinetist Todd Marcus has worked with Steve Olson on an earlier disc and has his own jazz orchestra with a CD out on the Hipnotic label. Right from the first track, there is something organic about the way this trio plays together, as if having a thoughtful conversation amongst friends. Speaking of organic, the third piece is dedicated to one of New York’s most distinguished drummers, Tom Rainey. If you’ve never had a chance to see Mr. Rainey play live, I urge you to do so as he has a unique approach to the drums. This piece, “Rainey Day”, is laid back and spacious, taking it s piece to slowly unfold, simmering and then building to a moderate conclusion. The trio erupts with some restraint on the uplifting, “The Fishpaw Incident”, which takes time to build into quiet storm near the end. There is something enchanting about this music, it seem unforced and natural. “Sonorous Bodies” is mostly a solo drums piece, which is subtle and spacious and calming. If you give this disc some time to absorb, you will hear some exquisite magic hidden below the surface, warm and comforting. - Bruce Lee Gallanter, DMG
KARLHEINZ STOCKHAUSEN / EDGAR VARESE / PIERRE BOULEZ / JOHN CAGE / et al - Adventures in Sound (EL Acme 339; UK) No composer had a greater appetite for revolution than Stockhausen, who was embarking on a quest that would occupy him for more than half a century, and which would take in a whole gamut of constantly re-defined objectives - among them "point music", "spatial music" and "multi-formula composition". His early electronic compositions such as the Studies were painstakingly and meticulously constructed using magnetic tape, to be followed over the ensuing decade by the works which ranked among the masterpieces of electronic music, Gesang der Jünglinge (Song of the Youths) and Kontakte (Contacts). All of these unprecedented early electronic works are included in this 3 CD box set presentation which also incorporates such visionary creations of intellect and sensitivity as Pierre Boulez' orientally flavoured 'Le Marteux Sans Maitre', recorded under the baton of Robert Craft, Xenakis' brilliant explorations of the dramatic and colouristic properties of concrète sound, 'Poème électronique', Edgard Varèse's extraordinary response to a commission from Le Corbusier for music for the pavilion of the 1958 Brussels World Fair, and Ligeti's "conversation without words", 'Artikulation', alongside the audacious Cartridge Music, for "amplified small sounds" constructed by John Cage, using phonograph cartridges inserted with feathers, lengths of wire, toothpicks, pipe cleaners, small twigs, wire coils and nails to make audible otherwise indiscernible sounds.
3 CD Set $24
11 News CD’s from the Great NEOS Label:
WOLFGANG RIHM - Requiem-Strophen (Neos 11732; Germany) Performed by Mojca Erdmann & Anna Prohaska, soprano Hanno Müller-Brachman; The long-anticipated premiere of Wolfgang Rihm's Requiem-Strophen (Requiem Verses) in March of 2017 was also a special debut, that of Mariss Jansons, principal conductor of the Bavarian Radio Symphony Orchestra, conducting his orchestra for the first time at the musica viva concert series. The live recording of this concert is being released as a co-production with BR Klassik, musica viva and NEOS. Rihm extends the liturgical Requiem text with, among others, three sonnets by Michelangelo and verses by Hans Sahl. Tradition is of considerable significance to Rihm, but in the sense of assimilating it, advancing it, and developing it. In this sense, Rihm's Requiem-Strophen are a highly personal approach to the Requiem genre by one of the most influential composers of our times. Personnel: Mojca Erdmann - soprano; Anna Prohaska - soprano; Hanno Müller-Brachmann - bass baritone; Chor und Symphonieorchester des Bayerischen Rundfunks (Mariss Jansons, conductor).
HORATIU RADULESCU - Hommage a Horajiu Radulescu: Complete Works For Piano (Neos 11805-07; Germany) Performed by Ortwin Stürmer, Frankfurt Radio Symphony Orchestra. On the tenth anniversary of Horațiu Rădulescu's death on September 25th 2018, NEOS present a comprehensive document of a wonderful artistic friendship will be released: the complete recording of Rădulescu's piano music, featuring the pianist Ortwin Stürmer. Horațiu Rădulescu, born in Bucharest on January 7th, lived in French exile from 1969 and became one of the leading exponents of spectralism; nonetheless, his music also has unmistakable roots in his home country of Romania. He was considered a sonic magician, a "philosopher of sound". One of his decisive encounters, in 1990, was with Ortwin Stürmer; it was for him that Rădulescu composed the second, third, and fourth of the Zen-inspired Lao tzu Sonatas, as well as the large-scale piano concerto "The Quest". It would have been wrong not to include the latter in this SACD box set -- with the same musicians as the premiere, the Frankfurt Radio Symphony Orchestra under the direction of Lother Zagrosek.
3 CD//SA-CD Set $35
DOMENICO SCARLATTI - Domenico Scarlatti and the Modern Era of the Harpsichord (Neos 21101; Germany) Performed by Andreas Skouras; In this unusual recording Andreas Skouras demonstrates the tremendous range of tonal and expressive possibilities offered by the harpsichord. The program is highly personal but also dramaturgically cogent: A selection from the sonatas of Domenico Scarlatti is juxtaposed with four works from the 20th century which could hardly be more different. People do not actually associate Ysang Yun with the harpsichord -- this makes the way he works with the instrument in "Shao Yang Yin" from 1966 all the more surprising. The Finnish composer Jukka Tiensuu on the other hand is an excellent harpsichordist himself, and his "Etudes" display his profound knowledge of the instrument. Also featured on this CD: The suite from the opera "Capriccio" by Richard Strauss as well as Minas Borboudakis's "Hommage à Picasso", which he composed for his countryman Andreas Skouras in 2003.
ANDREAS PFLUGER - Works for Violin and Piano (Neos 11707; Germany) Performed by Gabriele Lucherini, Katharina Schamböck, and Nayoung Yoon. Between 1989 and 2013, Swiss composer Andreas Pflüger composed a series of works for violin and piano that are highly divergent in style. These works are brought together in this recording and range from a virtuoso piece "... Steine ... (Stones)", which exhausts virtually all possibilities of violin playing, to the "Sonata 1993", in which the composer applies the sonata form in direct and pure tonal language, and also includes his most recent work, "Fünf Stücke (Five Pieces)" for two violins and piano. In each of them, complex musical sequences develop from motivic cells, or "nuclei" in a certain sense. Several of the works on this CD are dedicated to violinist Katharina Schamböck, who recorded them here.
Born in Basel in 1941, Andreas Pflüger made a name for himself internationally not least as a composer for the stage (with seven operas and two ballets), although he has also composed numerous works for orchestra and chamber music ensembles, as well as about 120 film scores. He has been invited as a composer and guest lecturer to many European countries, Japan, South America, and the US.
PHILIPP MAINTZ - Orchestra Works Vol. 1 (Neos 11712; Germany) Performed by Marisol Montalvo, Deutsches-Symphonie-Orchester Berlin. The status Philipp Maintz has earned among composers of the younger generation is notable not least through the way the conductor Christoph Eschenbach advocates his music. In this edition, Eschenbach conducts two top orchestras: Deutsches Symphonie-Orchester Berlin and the Munich Philharmonic, in live recordings of premiere performances.
The 26-minute "tríptico vertical" for soprano and large orchestra was already recorded in Munich in 2014 -- with the excellent American soprano Marisol Montalvo (the work is dedicated to her and Eschenbach). The premiere of "hängende gärten (hanging gardens)" for large orchestra followed in Berlin in the summer of 2017. The title refers to one of the Seven Wonders of the World: the legendary Hanging Gardens of Babylon of Assyrian Queen Semiramis. "hängende gärten" for large orchestra, is performed here by: Deutsches Symphonie-Orchester Berlin; Christoph Eschenbach - conductor. "tríptico vertical", music for soprano and large orchestra on poems by Roberto Juarroz is performed here by: Marisol Montalvo - soprano; Münchner Philharmoniker; Christoph Eschenbach - conductor.
CLEMENS VON REUSNER - Electroacoustic Works (Neos 11803; Germany) Clemens von Reusner creates acousmatic worlds in which natural and synthetic objects exist side by side. He uses different programs that make free work possible in the realm of sounds, where samples, synthesis and resynthesis work together, develop accelerate and slow each other down, always with great determination. He works with sounds that he disjects, puts back together and places in rooms out of which they flow or into which they grow.
"Anamorphosis", "Definierte Lastbedingung", "KRIT"m and "Topos Concrete" are genuine eight-channel productions. Attention to compositional sense and sonic transparency is always maintained in the stereo versions, even though the ambiance of the sound movements achieved by the ambisonic procedure only opens up completely in the five-channel versions of the SACD, and especially in the eight-channel concert version. "HO", "Dry Friction", and "Sphären der Untätigkeit" are originally mixed in two channel stereo. The SACD multi-channel layer therefore also features these mixes in two channel stereo.
PETER RUZICKA - Clouds 2 / Possible-A-Chaque-Instant (String Quartet No. 7)
(Neos 11808; Germany) Performed by Minguet Quartett, Deutsches Symphonie-Orchester Berlin. Peter Ruzicka has made a tremendous impact on the world of music for decades, not only as a general director (among others, at the Salzburg Festival, Hamburg State Opera and the Munich Biennale) but also as a high demand internationally as a conductor and composer. On July 3, 2018 Peter Ruzicka celebrated his 70th birthday. This CD, the seventh featuring his music in the NEO catalog, is being released to honor this occasion. The Minguet Quartet won the 2010 ECHO Klassik Award for its complete recording of string quartets by Ruzicka (Nos. 1-6 at the time). This CD is a logical and perhaps necessary continuation of the series: In addition to String Quartet No. 7 - which, at over 40 minutes in length is far more extensive than its predecessors - it includes "CLOUDS 2" for string quartet and orchestra conducted by the composer. Ruzicka says that in this work he was guided by the image of music that is searching for a sound which he has never himself heard before, and which has never previously occurred in all his works.
CLAUS-STEFFEN MAHNKOPF - Music for Oboe (Neos 1813; Germany) Performed by Peter Veale, Ernest Rombout, Sven Thomas Kiebler, ELISION. Together with the outstanding Australian oboist Peter Veale, Claus-Steffen Mahnkopf spent years working systematically on music for oboe, its playing techniques and tonal possibilities. The result is the 1994 method book, "The Techniques of Oboe Playing", which has become an authoritative work for oboists throughout the world. Mahnkopf has profound knowledge of this instrument and more than 25 years of experience with it. Vol. 7 of the NEOS Mahnkopf Edition is thus devoted to his compositions for oboe. The recorded works range from "Gorgoneion" for solo oboe from 1990 to the "Homage au hautbois" of 2013, which pays tribute not only to the oboe but also to Mahnkopf's longtime friend Peter Veale.
MALIN BANG - Structures of Light and Spruce (Neos 11817; Germany) Performed by Curious Chamber Players, Ume Duo, and Karin Hellqvist. "In my ears, there is a potential musicality in any sound appearing in our everyday reality, and my method is to develop them into resilient actions performed by instruments and acoustic objects", says Malin Bång, Swedish composer and a founding member of the Curious Chamber Players (that can be heard on this CD). Her close connection with the musicians allows intense experimentation. She creates a spectrum of unpredictable and contrasting actions, ranging from the intimate and barely audible to the harsh and obstinate. In her work, she often incorporates acoustic objects to expand the sound world and to suggest that a musical content can be shaped by anything valuable to the artistic purpose. Malin Bång resides in Stockholm. Her work includes music for instrumental ensembles, orchestra, electronic music based on field recordings, and instrumental performance pieces. Lately she has specifically explored the mixed, amplified instrumental ensemble extended with acoustic objects in collaboration with the members of Curious Chamber Players. Her works are performed worldwide. She is regular visiting professor and lecturer at the composition faculty of the Göteborg University. "structures of molten light" features alto flute, bass clarinet, percussion/radio, piano/radio, guitar, violin, cello as performed by Curious Chamber Players; "arching" features amplified cello and amplified tools (wooden plank, rasp, saw, file, marker), as well as electronics, as performed by UmeDuo; "palinode" features amplified ensemble of bass flute, bass clarinet, cello and three objects: metal sculpture, vase and swing, as performed by Curious Chamber Players; "purfling" features amplified violin and electronics, performed by: Karin Hellqvist - violin; "jasmonate" features amplified ensemble of piccolo flute, bass clarinet, percussion/writing pad, inside piano/typewriter, tabletop guitar, violin, cello, and two hour glasses, as performed by Curious Chamber Players.
BACK TO THE FUTURE - 10 Years of Ensemble 20/21 and David Smeyers at the Forum neuerMusik - The World Premieres (Neos 11810-11; Germany) Performed by ensemble 20/21, David Smeyers; The Forum neuerMusik at Deutschlandfunk has been engaged in a cooperation with Cologne Academy of Music and Dance since 2009. At the center of focus is the formation of students called ensemble 20/21, led by Professor David Smeyers. Each year the ensemble participates at a special theme concert orientated on the issues of the festival. Frequently composition commissions were granted, often to students and graduates of the Cologne composition classes. But new works by long-established composers where also premiered at these concerts. This double-CD provides a representative selection of the world premieres since 2009 -- an impressive document of a pedagogical cooperation with the Academy which has attained great significance for Deutschland-funk. Features works composed by Niklas Seidl, Myunghoon Park, Lisa Streich, Georg Katzer, Julián Quintero Silva, Hirofumi Matsuzawa, Atli Ingólfsson, Daniel Cueto, Younghi Pagh-Paan, Samir Odeh-Tamimi, and Damian Scholl.
2 CD Set $30
ELISABETH WEINZIERI / EDMUND WACHTER//JOHN CAGE/ISANG YUN/HINDEMITH / et al - Flute News (Neos 11819-20; Germany) Performed by Elisabeth Weinzierl, Edmund Wächter, Münchner Flötenensemble; Elisabeth Weinzierl and Edmund Wächter have been active "on the frontlines" of contemporary flute literature for decades. They have commissioned countless new works and premiered them in various formations, whether as the Munich Flute Duo, in a trio with piano, or as part of a larger group (Munich Flute Ensemble), using a whole range of instruments from piccolo to contrabass flute. This double-CD offers a unique view of the two musicians' work. The first CD features flute duos from the 20th century, from Hindemith to Cage to Isang Yun. The second CD, bearing the title "dedicated to...", contains works with varying instrumentation that were written for and dedicated to them.
2 CD Set $30
MYTHIC SUNSHIP - Another Shape Of Psychedelic Music (El Paraiso Records 048; Denmark) Mythic Sunship's sound has been described as "the ethos of free jazz in a doom setting". On Another Shape Of Psychedelic Music, recorded and mixed in the studio of Causa Sui's Jonas Munk, the band goes even further and lets saxophone burn into the mix. It's a wildfire of ideas that travel far on a smoky haze of cosmic krautrock, stoner, doom, heavy psych, modal jazz and even drifts into Afrobeat. Jonas Munk joins these live sessions on guitar on a few tracks as well, making up a screaming cacophony of three guitars, bass, drums, and saxophone. Aptly titled Another Shape Of Psychedelic Music, this is just not a record of psychedelic music; it's also an album about psychedelic music. The very fabric of psych music seems to materialize in all its shapes and sizes and then vaporize right in front of your ears as the album burns further towards the final groove. Few bands would be able to pull this off, but Mythic Sunship maintain a down-to-earth melted vibe, even at their most ferocious. Making this album good both for zoning out as well as for pure rock catharsis. Groovy.
JACKSON MAcLOW - Poetry & Music (Recital 051; USA) Poetry & Music is a tremendous collection of recordings from famed Fluxus poet and artist Jackson MacLow (1922-2004). Originally published on New Wilderness Audiographics as a cassette in 1977, these recordings have been cleaned up and remastered by Sean McCann in 2018. Jackson's beautiful text formulas are supplemented by stereo multi-tracking, creating a spatial jungle of wordplay. One gem of this CD is the live foray into tape manipulation from 1966 featuring the assistance of James Tenney and Max Neuhaus. It is fabled that they took Jackson's voice and slowed it down to a guttural thunderstorm during playback, resulting in a manic blend of words darting through a black cloud of reverberation. Only a small amount of Jackson's sound poetry is currently available, making this collection a delight to swallow and digest. Co-produced with Charlie Morrow, Recital re-presents this history to the ears of both young and old. Edition of 250 with 8-page insert with scores and introduction by Charlie Morrow.
SEAN McCANN - Saccharine Scores (Recital 050; USA) “Saccharine Scores is an album/art book documenting Sean McCann's recent chamber compositions. Ranging from the 10-person ensemble performance of "Portraits of Friars" at Fylkingen, Stockholm in February 2018, to his first quartet piece "Victorian Wind", performed in Toronto in 2014. McCann's scores leak pastoral and bizarre passages, dancing in the banal beauty of sound poetry. The performances feature guest musicians Sarah Davachi, Zachary Paul, Geneva Skeen, Celia Eydeland, Maxwell August Croy, and more. The book holds in-depth scores, program notes, and photography by McCann, a lovely complement to finger through while you lay down to listen to the disc. The notes for "Pistons" follow here: "I assembled this piece while wanting to make my life of leisure and gluttony in London somehow artistic. I was in London for a week or ten days in October 2017 for a business trip. I love London. I love doing two things at a time or more. So it worked out. I find I have a hard time enjoying anything unless I am multitasking. For example, right now as I type this description I am also drinking old coffee with ice-cubes in it, exporting a master from Pro-Tools downstairs, and watching Friday the 13th: A New Beginning (1985) on the television set. So in this British multitasking, I decided to work on a piece of music while indulging in food and drink roaming around London. I was also reading Baudelaire's Les Fleurs Du Mal (1857) during these outings (talk about sentimental). Some elements of those poems crept their way, drawn out of order, into Celia's singing text. As with all my compositions to this point, they are left open to interpretation: no real meaning, just flickers of settings and emotions. The taste of everything below (the score) spawned thoughts of colors and elements and people and emotions, though with the text I decided to keep it simply about the food and the beverages. The romantic music and singing is the rendering of the emotions I felt, while my banal reading was the actual act of consumption. I recorded the text while lying down in my childhood bedroom in Goleta, California, half asleep just trying to get it over with. It was a fitting situation for the piece: forced beauty." Edition of 200, signed and numbered with 132-page 6″ x 9″ book.
CD Book $26
ZENI GEVA & STEVE ALBINI - Maximum Implosion (Cold Spring Records 260; UK) Maximum Implosion collects all collaborative pieces between Zeni Geva (KK Null) and Steve Albini (Big Black/Shellac): "Nai-Ha" and "All Right, You Little B*st*rds!". Also included are bonus tracks from the limited 12" Superunit (1996), presented with meticulous CEDAR mastering by Denis Blackham. On the first disc, Zeni Geva present ultra-heavy Japanese noise rock, with sludgy riffs, thundering feedback, lumbering drums, subhuman bass crawl, and complex noise textures, with Null's trademark vocals and guitar accompanied by Albini's heavy guitar. "Nai-Ha" loosely translates to "broken inside", with the title track relaying the gruesome aftermath of a car accident. The second disc captures Zeni Geva and Albini's live-to-desk tracks from Tokyo & Osaka in 1992. Albini also makes vocal appearances, as well as guitar throughout. All production and mixing by Albini, final mastering by Martin Bowes at Cage Studios in England, and presented here in its complete form for the first time on Cold Spring. Original artwork/photo by Mitsushiro Hiruma and design/layout by Alonso Urbanos.
2 CD Set $19
SCANNER - Mass Observation (Expanded)(Room40 EDRM 427; Australia) From Scanner, aka Robin Rimbaud: "There were three performers and one witness. I can remember this day well, even though it was some twenty-four years ago. Standing up before a mixing desk in a dark room in an apartment in South London, Jim O'Rourke, Robert Hampson, and myself, literally all hands-on deck as we each took responsibility for the faders on the desk. Introducing sounds to the mix, the accident reigned supreme. Sometimes the high frequency of cellular noise would pervade the atmosphere, at other junctures it would erupt into words and melt down to radio hiss. Mike Harding from Touch stood silently, listening intently. A couple of years earlier we had set up Ash International, an audio project which allowed us to release unusual and exploratory music and sounds that we felt deserved a wider audience, from Runaway Train (1994) to the early Scanner releases. Two mixes were captured directly onto DAT tape, one of which would be released as Mass Observation (1994), an EP that featured a 25-minute version of one of these sessions, but until today the second, longer mix has never been heard. Dehumanized communications, beatless radio signals drawn in live to tape, and accompanied by dial tone pulses and abstract textures, Mass Observation is a highly suggestive picture of a particular place in a city at a specific time. A form of "Sound Polaroid" as I tended to call such recordings. My early work, in the early and mid-1990s, was a study in surveillance. Long before our concerns about data leakage at Facebook, and Siri spying on our private moments, I used the scanner device itself - a modestly sophisticated radio receiver - to explore the relationship between public and private spheres, lending a deep sense of drama to these found cellular conversations within a contextual electronic score. In many ways, this work pre-empted our reality culture, with television now saturated by Love Island and Big Brother. In the experimental techno uprising of Britain in the mid-1990s, this work proved controversial and memorable. Bjork sampled Mass Observation controversially for her "Possibly Maybe" single, whilst Coil and Aphex Twin bought radio scanners and introduced these found voices into their recordings; I continued to create work in this grey area of ambient sound. It's work that still carries great meaning for me, opening up possibilities with sound and introducing the human voice back into experimental electronic music."
OLIVIA BLOCK - 132 Ranks (Room40 493; Australia) 132 Ranks for Pipe Organ was composed by Olivia Block in 2016-2017, as a commission for LAMPO and The Renaissance Society. Block composed the piece specifically for the enormous Skinner Organ at Rockefeller Memorial Chapel in Chicago. The world premiere was performed by Block on April 21, 2017. The concert, free and open to all ages attracted a large crowd. 132 Ranks was conceived as a hybrid of concert and sound installation. Six speakers were placed throughout the chapel. These speakers played white noise, sine tones, and prerecorded organ sounds, designed to interact acoustically with the live performance, and bring out the acoustics of the chapel in unconventional ways. White noise and low bass tones pulsed and sliced through the air, while sine tones and organ clusters created complex beating patterns and inner ear sound phenomena. Audience members were participants, quietly walking through the majestic, dimly lit chapel. Listeners noticed how the acoustics, materials and shape of the space altered the live and recorded organ sounds as Block performed. Some audience members relaxed on the floor of the chapel, listening, while others explored the upper balconies and hallways. 132 Ranks was designed to emphasize the architectural qualities and unique sonic and spatial capacities of the Skinner Organ. The piece included both the lowest pedal notes, felt in the body, as well as the highest bell tones, played at extreme dynamic levels. At times, sounds were isolated in discrete locations to emphasize the chapel's shape.
Olivia Block is an American composer and media artist. Her body of work includes electroacoustic recordings, audio-visual installations, performance, sound design for cinema, and scores for orchestra and chamber music concerts. She has performed throughout Europe, America, and Japan in tours in festivals and performance series including The Walker Museum concert series, Incubate (Tilburg), Festival del Bosque Germinal (Mexico City), Sonic Light (Amsterdam), Kontraste (Krems), Dissonanze (Rome), Archipel (Geneva) Angelica (Bologna), Sunoni per il Popolo (Montreal), and many others. Additionally, she has presented work at the ICA (London), MCA (Chicago), La Biennale di Venezia 52nd International Festival of Contemporary Music, The Kitchen (NYC), ISSUE Project Room, Experimental Intermedia (Brooklyn) and TIFF (Toronto).
ELI KESZLER - Stadium (Shelter Press 009; France) New York-based artist Eli Keszler is at the apex of his career. This year alone he's had a solo exhibition in the UK, performed with Laurel Halo, collaborated with author László Krasznahorkai, taught experimental composition and performance in the Pyrenees, and toured with Oneohtrix Point Never. Stadium is his new album for Shelter Press. As his ninth solo record, Stadium reflects his move from Brooklyn to Manhattan, where he produced the album. The constant motion and ever-changing landscapes of the island helped him modify and shape his sound into a new kind of film noir. There is a startling amount of expression at play on each track, where intersections of melody, restraint and rhythm are used to challenge the idea of memory, impression and space. Keszler is often mistaken for an electronic musician, but in fact his sounds are raw and natural, produced by hand. His performance with drumset and acoustic percussion are central to his work. He produces almost impossible textures through self-realized methodologies: cascading melodies, a shadow of voices, and a unique pointillist materiality. Although playing with the intensity of digitally-created music, his communications are done live with no processing; this is what gives Stadium its depth and warmth. On Stadium, Keszler uses lived experience to realize the most wide-ranging sound he's created to date, drawing out textures from overlapping geographies and transforming these recordings into starting points for composition. He then builds on these environments to create subliminal spaces for his music, which is pushed to new levels with string and brass arrangements. Is this the "stadium" referred to in the title: a larger network of sound and bodies moving continually, oscillating and turning in on itself? Keszler has explored these ideas before with notable projects such as his Manhattan Bridge installation Archway (2015) Stadium takes these long-running ideas to new depths. Keszler states: "The recordings on Stadium are inverted. They are landscapes scaled for the singular, like a mass collecting in one arena, this music compresses city spaces, genre and instrumentalism into an amorphous form. On the record, there are ruptures of information and happenstance. Like a game, it could go any number of ways." Glassmastered CD in silkscreened jewelcase.
CD $15 or
2 LP Set $30
M. GEDDES GENGRAS - Light Pipe (Room40 498; Australia) To summarize the work of M.Geddes Gengras is no easy feat. A tireless artist, whose output sprawls across experimental dub, ambient and low-key techno, his wide-ranging discography reveals a curiosity that serves as a primary driver for creation. Light Pipe is arguably Gengras's most ambitious recording project to date. His tenth solo recording is an epic undertaking, spanning over two-and-a-half hours. Across the two CD set, Gengras charts out evocative landscapes of texture and harmony. Working with very simple elements, he creates a tidal like sound space, where sound layers flow seamlessly, rising and falling with an ever-changing sense of motion. These pieces were written across several years responding to site specific performance situations. These include a durational performance in Los Angeles at The Getty Center's Irwin Garden, a special performance alongside the banks of the Los Angeles River and performances at the El Rey and Regent Theatres. Each disc in this edition focuses specifically on either interior or exterior spaces; the indoor and the outdoor, reflecting the specific conditions of how sound operates in these types of situations. Light Pipe is a long-form work within which multiple states of listening are possible, and moreover encouraged. It's music that is ideal for deep immersion; for sleep, for flying and for any creative states within which a sense of expansion is needed.
2 CD Set $18
A-SUN AMISSA - You Stood Up For Victory, We Stood Up For Less (Gizeh Records GZH 075; UK) “A-Sun Amissa is a project formed out of Leeds, UK in 2011 by members of Glissando and The Rustle Of The Stars. Built on the foundations of the unknown, a project that encompasses minimalist drones, modern-classical movements and avant-garde tendencies. Richard Knox (Glissando, The Rustle Of The Stars, Of Thread & Mist) and Angela Chan (Glissando, The Rustle Of The Stars, Ten, Tomorrow We Sail) began forming the initial ideas in the Autumn of 2011, moving away from the piano-led ambience of previous outputs. You Stood Up for Victory, We Stood Up for Less sees A-Sun Amissa moving in a more dense direction, the drones are heavier, the sound thicker and with the added bass-clarinet of Gareth Davis, there is a new, slightly darker jazz element to the music. The two tracks were conceived initially as two drone guitar pieces -- following that, work was done on the composition and atmosphere of the tracks, adding the bass-clarinet, viola, vocals, field recordings and piano. The finished works produce an unsettling but hypnotic listen, with melodies moving in and out of the mix throughout these two pieces. Limited edition of 175 individually numbered, hand-printed copies.”
TODD BARTON - Multum In Parvo (Blue Tapes & X-Ray Records 028; UK) Todd Barton honed his craft composing for acoustic instruments - string quartets, small ensembles and orchestras. In the 1970s, he was drawn to emergent synthesizer technologies, because of their abilities to access tones "between" the standard 12 notes of the Western musical scale, and to have the power to craft music out of glitches and unique sonic gestures that are unplayable on acoustic instruments. Multum In Parvo is reflective of this approach; it has a definite and logical flow as a composition, but its content is abstract sound sculpted out of pure energy, something only analog synthesis can offer. Sometimes sparse, sometimes bristling and jumping with detail, Multum In Parvo provides a genuinely multidimensional experience. Like the classic Forbidden Planet (1956) soundtrack, by which Todd was inspired or indeed his collaboration with Ursula K. Le Guin on Music and Poetry of the Kesh (originally released in 1985 and reissued by Freedom To Spend in 2018), Multum In Parvo seems to function as part of some unique sonic ecology, according to its own rules, in its own universe and somewhere just beyond time.
HISTORIC & ARCHIVAL RECORDINGS, REISSUES & RESTOCKED GOODIES;
ROSCOE MITCHELL SEXTET With LESTER BOWIE / LESTER LASHLEY / MAURICE McINTYRE / MALACHI FAVORS / ALVIN FIELDER - Sound (Delmark 4408; USA) Reissue with 36 minutes of alternate tracks. This edition of Sound will feature the original Stu Black mix, previously unissued on CD, the original J.B. Figi liner note and new notes by Delmark's new Artistic Director Elbio Barilari. Sound - a landmark recording! Sound - the first documentation of AACM music! Sound - the state of the art of ensemble in 1966; a summary of the past and implications of things to come! Sound received a five-star rating in Down Beat's June 15, 1967 edition.
ELIANE RADIGUE - Naldjolok I II III (Shiin 9; France) "Student of Pierre Schaeffer, assistant to Pierre Henry, legendary composer Eliane Radigue (1932) has long been known for lengthy drone compositions like Adnos I-III and Kyema, Intermediate States using analog synthesizers. Recently she has been writing for acoustic instruments including this piece for solo cello, Naldjorlak (2005). Especially composed for cellist Charles Curtis (La Monte Young, Alvin Lucier) the microtonal tuning is based on the natural resonant frequency of the instrument. Usually the wolf tone of a string instrument is to be avoided or under emphasized; here it's central to the work. Like much of her previous works, Naldjorlak is a humming breathing meditation of resonant sustained pitches, sometimes rumbling, sometimes drifting in the distance. The Tibetan title refers to the motion of all life toward unity." - David Beardsley “"It is one of the prerogatives of the minimalist music based on long-held sounds [...] that to be able to plunge the listener into a second state, a sort of waking dream which paradoxically increases the sharpness of his listening and allows him to perceive the most minute details and the most subtle nuances of what is given him to hear. " these words of the friend Daniel Caux, in the text accompanying the recording - also published by Shiiin - of the resonante island, ultimate electronic piece of Eliane Radigue (2000, crowned six years later at the Festival Ars Electronica de Linz), could well be valid for the series of instrumental pieces in which radiant Eliane has since been exclusively devoted. and in particular to the Naldjorlak trilogy, composed from 2004 to 2009 for a cellist (Charles Curtis) and two clarinetists (Carol Robinson, Bruno Martinez, playing in this case the basset horns of identical model) and here it is the first full recording.” - David Sanson
3 CD Set $50
TANGERINE DREAM - The Pink Years Albums 1970-1973 (Esoteric Recordings 41037; UK) "Esoteric Recordings' Reactive label is pleased to announce the release of a newly re-mastered 4 CD clamshell boxed set which gathers together the first four legendary albums by Tangerine Dream, originally released on the Ohr label in Germany between 1970 and 1973, known by fans as 'The Pink Years' albums. Electronic Meditation was recorded in Berlin in October 1969 and featured the first Tangerine Dream line-up of Edgar Froese (guitars, organ, tapes, sound effects), Klaus Schulze (drums, percussion) and Conrad Schnitzler (cello, violin, typewriter). Upon its release in 1970 the album would define a genre of music and herald the massive creative musical explosion that would emerge in Germany in the early 1970s. Alpha Centauri was recorded at the Dierks studio in Stommeln and featured a line-up of Edgar Froese, Chris Franke and Steve Schroyder with guests Udo Dennebourg (flute) and Roland Pualyck (synthesiser). Released in 1971 the influence of the album was immense, with the band creating imaginative soundscapes previously unheard on record. Zeit, released in August 1972, a double album with one lengthy track per side, was recorded at the Dierks studio once again and featured a guest appearance by Florian Fricke of another legendary ambient German group, Popol Vuh. One of Tangerine Dream's finest early albums, Zeit was enthusiastically championed in the UK by DJ John Peel and was the group's major breakthrough. Atem, released in 1973, was the band's last release on the Ohr label & heralded the beginning of Tangerine Dream's wider international acclaim. Atem enjoyed success outside of Germany and eventually led to the group signing to the newly formed Virgin label later in 1973. This clamshell box of The Pink Years Albums 1970 - 1973 features Electronic Meditation, Alpha Centauri, Zeit, and Atem packaged in replica card sleeves and also includes a poster."
4 CD Set $42
SPACEMEN 3 - Forged Prescriptions (Space Age 060; UK) Forged Prescriptions is a double album by Spacemen 3, containing alternative takes and demo versions of songs from their album The Perfect Prescription (1987), plus some previously unreleased tracks. In his liner notes, Spacemen 3's Sonic Boom says this release presents the album's songs in their "full guitar-laden versions with all the layers of beautifully streamlined guitar, considered by us to be too hard to replicate live and therefore reduced for the original release. For me, this is where Spacemen 3's songwriting came to a head; many of these songs pre-dated Sound Of Confusion (1986), some were even recorded at both sessions, but I am still impressed mightily by Jason Pierce's lyrical genius on originals like "Walking With Jesus" and re-writes like "Come Down Easy" and his fluid guitar playing across the whole sessions."
2 CD Set $17
GREATER JAMAICA - Moonwalk Reggae/Reggay At Its Best (Doctor Bird 030; UK) "CD debut for the ultra-rare Reggay At Its Best album. Features many of the biggest Jamaican hits from 1969 to 1970. Numerous tracks new to CD. Having established a reputation as one of Jamaica's leading record producers following the release of countless ska and rock steady classics, Arthur 'Duke' Reid effortlessly embraced the new reggae sound that emerged during the tail end of the Sixties. The developing sound was demonstrated on 'Reggay At Its Best', an album produced in limited numbers by Canadian independent, Lanarc Records around the close of 1969. Since its release this predominantly instrumental long player has become a highly prized collector's item that has remained unavailable in any format until now. Soon after the Canadian LP saw issue, London- based reggae giant, Trojan Records released the popular Greater Jamaica Moonwalk Reggae, which brought together a further dozen of Reid's finest works from the period, performed by such luminaries as John Holt, Dave Barker, Justin Hinds and the Ethiopians. These two essential albums now form the basis of this set, which is further bolstered by an incredible 38 bonus tracks, many of which make their CD debut, making this a must for fans of the legendary Duke and the popular boss reggae sound."
2 CD Set $24
THE PIONEERS - Long Shot/Battle of the Giants: Expanded Edition (Doctor Bird 019; UK) "Two of the most popular original Trojan albums of the boss reggae era. The Battle Of The Giants LP makes its CD debut. Features rare and previously unissued bonus tracks. Includes major UK chart hit, /Long Shot Kick De Bucket'. Among the first reggae hits to pierce the UK pop chart in 1969, 'Long Shot Kick De Bucket' made global stars of the Pioneers and led to Trojan Records swiftly releasing the trio's Long Shot LP, towards the close of the year. The album became a best-seller for the company, with the group's popularity in the UK prompting a follow-up collection, Battle Of The Giants, which hit the record shops the following year. Now, both of these popular Leslie Kong-produced LPs are brought together to form the basis of this collection, with the Battle Of The Giants set making its CD debut. And with the release further bolstered by seven rare and previously unissued bonus tracks, this collection not only gathers the very best of the Pioneers' recordings for noted Jamaican producer, Leslie Kong, it also features some of the most popular recordings from the boss reggae era."
EUGENE CHADBOURNE - Solo Guitar Volume 1-1/3 (Feeding Tube Records FTR 393; USA) "Eugene Chadbourne is one of the great guitar players of the modern era. At the time he began recording in Canada in 1975, his music was a unique syncretic formulation. While its most obvious component was free improvisation in a style then most widely associated with English and European players, his music also contained elements of jazz, country, folk, blues, psychedelic and international sounds, referencing these threads in ways that were so diverse and intensely personalized it would take scholars decades to decode them. Volume 1-1/3 is the first of four LPs devoted to documenting some of the music Dr. Chadbourne was creating during the years he was based in the provinces of Canada, while avoiding the constrictive powers of Richard Nixon and his ilk. Exact details of the recordings are moot, but that's trivial. The music on this record is a joyous celebration of traditions of liberation, using approaches that range from the ridiculous to the sublime. But regardless of the humor level (which can be very high at times), the quality of the musicianship and the originality of Chadbourne's compositional theories is staggering. Today there are charts and maps that can lead anyone into and out of the conceptual jungles Eugene was exploring. In the mid '70s, when these tracks were laid down, this was all terra incognita. While still in his early '20s, the Doc was figuring all this shit out for himself. And doing so at a level that can still make your jaw drop. Today Chadbourne continues making some of the most exciting music on the planet, but these examples of his early work should serve as a challenge to many musicians who would like to imagine they're doing something new. That they're also a total gas to hear is just gravy. Delicious, hot and very juicy." - Byron Coley
MARY JANE LEACH - Flute Songs (Modern Love 109; UK) For Mary Jane Leach's Flute Songs, Modern Love is honored to bring together four pieces composed for flute and voice, spanning a period of over 30 years and triggered by a fascination with sound and performance. As Leach explains, "In the late 1970s I was practicing playing and singing with tapes that I had made of myself performing long sustained tones. It had started out as an exercise in intonation, and ended up with a fascination for sound phenomena: difference, combination, and interference tones. The first piece I wrote for an instrument that I couldn't play was Trio For Duo (1985), for live and taped alto flute and voice. I had noticed that my voice matched the sound of the bottom fifth of the alto flute, and so the voice in this piece is sung to sound as much like an alto flute as possible. By using glissandos, more 'extra-notated' sounds are created than appear on the page. Bruckstück (1989) was originally written for eight sopranos, but is played on flutes on this recording, using the same pitches, but sounding very different. The piece is polyphonic, with a lot of closely resolving intervals; primarily major and minor seconds. I initially wrote Dowland's Tears (2011) for nine flutes, thinking of it as a recording project and not a concert piece (it now has a 'solo' tenth part added), while Semper Dolens (2018) is for solo and six taped flutes, with sustained harmony and dissonance in mind". These four recordings feature noted Roman flutist Manuel Zurria, who has worked with some of the most important composers around the world. In 1990 he founded Alter Ego, a leading group for contemporary music in Italy. Numerous composers have written pieces for him, and he has expanded the repertoire even further by re-orchestrating compositions into pieces for multiple flutes, as heard on almost forty albums. Mary Jane Leach has played an instrumental role in NYC's pioneering Downtown avant-garde community since the 1970s, working alongside peers including Arthur Russell, Ellen Fullman, Peter Zummo, Philip Corner, and Arnold Dreyblatt, as well as devoting years to the preservation of Julius Eastman's legacy since his death in 1990. Her vinyl debut Pipe Dreams was issued via the Blume imprint (BLUME 011LP, 2017). Mastered and cut by Matt Colton.
BERNARD PARMEGIANI - Mémoire Magnétique, Vol.1 (Transvers 008; France) Announcing the release of Bernard Parmegiani's Mémoire Magnétique, Vol. 1. Spanning 1966-1990, this is a revelatory collection of never-released commercial and secret music by electronic music pioneer Parmegiani. Since the late 50's, Bernard Parmegiani, a major figure of electroacoustic music and a founding member of GRM has created some sixty pieces. From the start, Parmegiani's work was closely linked to the screen, with dozens of documentaries, films, long features, animation films but also musical pieces for dance, stage or television. If many of his pieces are landmarks in the history of electro-acoustic music (De Natura Sonorum (1978), La Roue Ferris (1971)), his application of music compositions is strongly embedded in the subconscious landscape of the French public (Stade 2, Roissy CDG Paris Airport...). The first volume of this compilation allows one to discover some of these lost tapes and unpublished recordings which were composed for the screen or the performing arts.
FRANCOIS BAYLE - Electrucs ! (Transversales Disques 007; France) Presenting “Electrucs!”, a new release of never-released music by Francois Bayle. On the occasion of the 60th anniversary of the GRM, composer Bayle introduces some of his unpublished archives; pieces include the title composition, "Electrucs !" (1974) composed on a 1970s Synthi AKS synthesizer like an imaginary soundtrack, "Foliphonie" (1974) inspired by La Grande Polyphonie (1978), and "Marpège" (1995), dedicated to Bernard Parmegiani. Also included is "Cinq Dessins En Rosace" (1973). Born in 1932 in Tamatave, Madagascar, where he lived for 14 years, Bayle is a major figure of electro-acoustic music and member of Pierre Schaeffer's historic Groupe de Recherches Musicales (GRM), formed in Paris in 1958. In 1975, the GRM was integrated with the new Institut National de l'Audiovisuel (INA) with Bayle as its head, a post he held until 1997, bringing invaluable contributions to the opening of musical research in these original innovative institutions. Ever since his first productions, L'expérience Acoustique (1971) Bayle has developed through a great variety of formats and designed the Acousmonium, a sound diffusion system used originally by the GRM. He also originated the record series Collection INA-GRM, and continues to organize concerts and support the development of technologically advanced musical instruments (Syter, GRM Tools, etc.).
MERZBOW / GENESIS BREYER P-ORRIDGE - A Perfect Pain (Cold Spring Records 023; UK) LP version. 180 gram vinyl; Includes printed inner sleeve with lyrics; Includes download code. Repressed; 1999 release. A Perfect Pain is a manifestation of the incredible power created by Genesis Breyer P-Orridge (Psychic TV/Throbbing Gristle) -- the founding father of the industrial world, and Merzbow -- the undisputed king of Japanese noise. Recorded exclusively for Cold Spring, A Perfect Pain has been hailed as an important album and an extremely successful collaboration.
PETER GORDON - Eighteen Foom 016; UK) New York Downtown producer/composer Peter Gordon returns with Eighteen, his first album in three years. Gordon on Eighteen: "Eighteen: the year of release, 2018. Eighteen: the age at which I first used a synthesizer. In creating Eighteen I worked independently in the studio, building up tracks with synthesizers and found sounds. After working with the tracks for several months, I shared them with some musicians, who added instrumental layers, sharing a similar working process in our personal recording spaces. The musicians are: Gabe Gurnsey (drums) of Factory Floor, Larry Saltzman, (guitar) known for his work with Arthur Russell and in demand by acts such as Simon and Garfunkel, Paul Nowinski's (bass) credits include Les Paul, Matt Mottel, (electric piano), is half of Talibam!, while Lewin Barringer (guitar), is a producer in Philadelphia. After mixing the final tracks, I brought the mixes to Berlin. There I worked with engineer Mike Grinser who helped to give the album a unified sound. I think of this album as electronic music. It was created in my home studio, using analog and digital synthesizers, found sounds, and instrumental parts contributed by friends. Finely crafted melodies and harmonies are set against subway noises, street construction, and distant foghorns. Deliberateness paired with randomness: this is what guided the artistic process. My father was a radio journalist so the reel-to-reel tape recorder was a ubiquitous presence growing up. From an early age, I experimented with the tape machine: recording, overdubbing and splicing tape, but electronic music was on my radar as well. My first exposure to an actual synthesizer came when I recorded my first single at the fabled Sound City Studio in Van Nuys, CA. The studio had a custom Neve board, but it also had a Moog modular synthesizer. I asked and they kindly let me experiment with it. Soon, I enrolled at the University of California, San Diego after I discovered they had separate studios for their Moog and Buchla systems. These large modular synthesizers were affordable then only by institutions and rock stars. But these would be soon eclipsed by smaller, cheaper synths in the '70s and early '80s in the same way recording studio technology became accessible in the '90s. Thus, the personal computer and digital audio allowed studio quality production in the home studio; electronic music had become democratized. Handmade music by way of digital technology; this is the music of Eighteen."
HEATHER LEIGH - Throne (Editions Mego 257; Austria) On Throne, Heather Leigh takes her place as queen of pedal steel with a suite of heart-rending ballads cauterized with burning riffs. After the rawness of its precursor I Abused Animal (SOMA 023LP, 2015), Throne is a record of late night Americana and heavy femininity; intimate love songs smoked in sensuality. The songs on Throne are woozy, gorgeous and uncomfortable, smothered in thick layers of bass but lifted by multi-tracked vocals. These are rich song forms that stand in contrast to the stripped down steel in her duo with Peter Brotzmann. "Prelude To Goddess" sashays in wearing leopard-print jeans under the twinkling fluorescent illuminations of the British seaside, like Brighton Rock with extra bass. It is followed in by "Lena" -arguably Leigh's "Jolene" - a perverse love song soaked in a subversive sexuality, weighed down with a heavy pulse. "Soft Seasons" is anchored with sunken beats shrouded in wailing, growling steel and an earwormy melody. "Gold Teeth", the longest track on the record, crests and breaks in waves; ecstatic peaks balanced and echoed by melancholic troughs. It soars on an updraft, and from cosmic heights dives seaward into a gnarly and riotous pedal steel breakdown, before catching the breeze again. "Days Without You" and "Scorpio & Androzani" are shorter, intimate songs; in the latter the synths seethe and the steel bows and bends as Leigh's voice falters above a Greek chorus of shadows and reflections. But this isn't autobiography, and Throne departs on "Days Without You", a confrontationally unfinished romantic song, anxious with half-thoughts and missed connections. It glides into the night on stilettos leaving unanswered questions, in a fugue of psychic disturbance and lovesick sensuality. Leigh's artwork (which she photographed and designed) is a visual mirror of the songs on Throne. It is an album of cosmic echoes, abstractions and introspection, of characters and stories that make up Leigh's first best pop record, its melodies and hooks set alight with the fiery core of her unique and distinctive pedal steel. Additional instrumentation by John Hannon (violin, synthesizer) and David Keenan (electric bass). Recorded and engineered by John Hannon, Rayleigh, Essex, March 2018. Photographs and design: Heather Leigh.
CEM KARACA - Yoksulluk Kader Olamaz (Pharaway Sounds 060; Spain) Pharaway Sounds present a reissue of Cem Karaca's Yoksulluk Kader Olamaz, originally released in 1977. Yoksulluk Kader Olamaz is the fifth album by the Anatolian rock legends, and showcases a progressive pop/rock sound including the 11-minute epic, Moog-laden "Sevdan Beni". Remastered sound, color insert with photo and original artwork. Gatefold sleeve.
Bruce Lee Gallanter’s Recommended Gig List for October of 2018:
THE STONE RESIDENCIES - JOEL M. ROSS - OCT 16–20
8:30 pm - Good Vibes - Joel M. Ross (vibes, marimba) Immanuel Wilkins (alto sax) Jeremy Corren (piano) Or Bareket (bass) Jeremy Dutton (drums)
8:30 pm - Parables - Joel M. Ross (vibes, marimba) Immanuel Wilkins (alto sax) Adam O’Farrill (trumpet) Maria Grand (tenor sax) Kalia Vandever (trombone) Micah Thomas (piano) Rick Rosato (bass) Craig Weinrib (drums)
THE (NEW) STONE is located in The New School’s Glass Box Theatre
55 West 13th street - near 6th ave
All Sets at The New Stone start at 8:30pm Tickets: $20
There are no refreshments or merchandise at The Stone.
Only music. All ages are welcome. Cash Only at the door.
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 Oct 19
6:00PM ANNIE CHEN TRIO - Annie Chen, vocals, composition; Marius Duboule, guitar; Mat Muntz, bass
8:35PM MARTA SANCHEZ QUINTET - Alex LoRre, alto sax; Jerome Sabagh, tenor sax; Marta Sanchez, piano; Simon Wilson, bass; Daniel Dor, drums
Saturday Oct 20
8:35PM FRANCISCO MELA TRIO - Francisco Mela, drums; Juanma Trujillo, guitar; Hery Paz, tenor sax
Sunday Oct 21
8:01PM NEW BRAZILIAN PERSPECTIVES: BILLY NEWMAN QUINTET - Billy Newman, guitar; Eric Schugren, tenor, sopranino sax; Michel Gentile, alto sax, flute; Leco Reis, bass; Vinnie Sperazza, drums
Mon Oct 22:
8:30PM INSIDE THE UNDERGROUND - Joanna Burns; Terrell Foster-James; Shanna Lesniak; Trevor Martin; Anthony McGlaun with Jon Bauerfeld and Danny Zelibor, piano.
Tuesday Oct 23
8:00PM DAN RUFOLO QUINTET - Dan Rufolo, piano; Kevin Bene, alto sax; Samir Zarif, tenor sax; Marty Kenney, bass; Jimmy McBride, drums
Wed Oct 24:
8:00PM DAN LOOMIS, JOB'S TRIALS - Sara Serpa, voice; Jeff Miles, guitar; Dan Loomis, bass; Nathan Ellman-Bell, drums
9:30PM PABLO VEGARA - Pablo Vegara, piano; Jay Rodríguez, sax, flutes; Pablo Menares, bass; Ronen Itzik, drums
Thursday Oct 25
8:01PM MITCH MARCUS QUINTET - Mitch Marcus, tenor sax; Jeff Miles, guitar; Peter Brendler, bass; Jesse Simpson, drums; Kenny Brooks, tenor sax
Friday Oct 26
8:35PM MICHAËL ATTIAS TRIO - Michael Attias, alto sax; John Hebert, bass; Eric McPherson, drums MICHAËL ATTIAS
Saturday Oct 27
8:35PM MIKE MORENO QUARTET - Mike Moreno, guitar; Shai Maestro, piano; Rick Rosato, bass; tba, drums Mike Moreno Quartet image
Sunday Oct 28
6:00PM AUDREY SILVER QUINTET - Audrey Silver, vocals; Bruce Barth, piano; Alex Pope Norris, trumpet; Paul Beaudry, bass; Anthony Pinciotti, drums
8:01PM MARTIN NEVIN QUINTET - Martin Nevin, bass, comp.; Roman Filiu, alto sax; Kyle Wilson, tenor sax; Ari Chersky, guitar; Craig Weinrib, drums
The Spectrum is Now Located in Brooklyn (address below)
Here’s the week’s schedule:
Friday 19 October
7:30 PM - Albany's Bright Dog Red returns to Spectrum
Since debuting in 2015, BDR has generated comparisons to " Mahavishnu Orchestra meets Digable Planets" (Paul Schulman), "electronic Ahmad Jamal," (Don Lucoff) and to other psychedelic, jazz fusion, and hip hop luminaries. BDR's set, completely improvised, will feature "an innovative and psychedelic mesh of jazz, hip-hop and electronica" (The Alt).
9 PM - Teodora Stepancic: Piano Piano #10: piano visuals - Works for piano and video
Sarah Friedland and Teodora Stepancic - new work
Evelyn Emile - new work
Anton Lukoszevieze - Mapping Amnon
Gabriela Areal - Solo de armonio
Saturday 20 October
7 PM - Madrid-based pianist Jose Menor continues his ambitious Spectrum residency
9 PM - Music for Electric Guitar And Piano: Pat Irwin, guitar; Jon Cowherd, piano
Sunday 21 October
7 PM - Madrid-based pianist Jose Menor continues his ambitious Spectrum residency
Friday 26 October
7 PM - Peter Watrous presents Jazz Night (two sets)
Saturday 27 October
7 PM - David Leon, Saxophone
David Leon is a Cuban-American saxophonist, woodwinds player, and composer/improviser living in Brooklyn, New York. An active leader and sideman, he has toured internationally as a core member of the chamber trio Sound Underground, releasing two albums to critical acclaim. His own trio “#bicmnrosfulmfrenh” was recognized as the Best Small Ensemble by Downbeat Magazine’s Student Music Awards. As the winner of the 2017 ASCAP Herb Alpert Young Jazz Composer’s Award, David debuted a new quartet at the Newport Jazz Festival in August of that year.
Saturday 27 October
8:30 PM - Amanda Ekery trio
Amanda will be performing music from Some Short Songs, an album of original compositions and new selections from the soon to be released Some More Short Songs. Amanda stated “when writing this album I wanted it to be fun! So, you’ll hear songs about hula-hoops, running out of peanut butter, and other about self-conscious clouds.” Some Short Songs is available on band camp and proceeds are donated to the American Civil Liberties Union. https://amandaekery.bandcamp.com/album/some-short-songs
Sunday 28 October
4 PM - Andrea Violet Lodge, piano
7 PM - Elham Fanous: Classical and modern music for solo piano
Music by Bach, Beethoven, Chopin, Liszt and Sun Yi-Qian.
Spectrum is located at 70 Flushing Ave, Garage A, Brooklyn, NY 11205
on Flushing Avenue, halfway between Carlton and Cumberland,
directly across from the Brooklyn Navy Yard
Transport: York Street stop on the F Train
DeKalb Avenue stop on the B, D and Q trains
B57 and B69 Buses:
Flushing Av/Cumberland St (westbound)
Flushing Av/N Portland Av (eastbound)
SATURDAY, OCTOBER 20, 2018 - 8:30 PM 11:30 PM
CHRONOS COLLECTIVE VINNIE SPERRAZZA/CALEB CURTIS DUO
Caleb Curtis - alto saxophone
Kenneth Jimenez - bass
Davey Jones - guitar
Samuel Jones - drums
Vinnie Sperrazza/Caleb Curtis Duo Vinnie Sperrazza - drums
Caleb Curtis - alto saxophone
SATURDAY, OCTOBER 27, 2018 - 8:30 PM 11:00 PM
STEPHAN CRUMP'S ELEMENTAL
Ryan Ferreira - Guitar
Michaël Attias - alto saxophone
Ches Smith - bowed percussion, tympani
Stephan Crump - acoustic bass
MONDAY, OCTOBER 29, 2018
ZEENA PARKINS, INGRID LAUBROCK, TOM RAINEY
8:30 PM 10:30 PM
Zeena Parkins - Accordion / Electronics
Ingrid Laubrock - Tenor Saxophone
Tom Rainey - Drums
I-Beam is located at 168 7th Street in Brooklyn, NY 11215 - Directions: SUBWAY: Take the F or R trains to 4th Ave & 9th Street. Walk down 4th ave to 7th street. Make a left on 7th and walk past 3rd ave. We are located on the ground floor, the grey doors to the right of the stairs of #168.
The Bushwick Improvised Music Series
Monday October 22nd
7pm Federico Vinyas - guitar , Michael Attias - alto saxophon, Kenneth Jimenez - bass , Milena Casado Fauquet - trumpet
8pm Stephen Gauci - tenor sax, Sandy Ewen - guitar/electronics, Adam Lane - bass , Kevin Shea - drums
9pm Sara Schoenbeck - bassoon , Harris Eisenstadt - drums , Noah Phillips - guitar
9:45pm Luke Schwartz - guitar , Kenneth Jimenez - bass , Dayeon Seok - drums
10:45pm Aaron Rubinstein - guitar, Chris Cretella - guitar, Drew Wesely - guitar
11:30pm Jason Candler - alto sax/devices, Brendan Burke - drums , Bill Talen - words
Downstairs @ Bushwick Public House
1288 Myrtle Avenue in Bushwick
(Across the street from M train Central Ave stop)
7p and 8:15p - Manny Moka & The Band On Fire
Manny Moka - piano
Eddie Henderson - trumpet
Mike Mossman - trumpet
Bruce Williamson - sax/flute
Steve Davis - trombone
Mike Clark - drums
Edgardo Cambón - congas
José Claussell - timbales/percussion
Joel Landsberg - bass (tentative)
special guest - Socorro de Castro - piano
8:30p - Hanbeom Lee Quartet
9:45p - “Odin Scherer Quartet” -
Odin Scherer - Guitar
Henry Mermer - Drums
Adam Cordero - Alto Saxophone
Finn Carroll - Bass
7p - Borderless
Minkyung Bae, Chatori Shimizu, JunYi Chow
7p - Sam Blakeslee Large Group - Album Release Show
Andrew Gould, David Leon, Jeremy Powell, Sam Dillon, Andrew Gutauskas - woodwinds
Sam Hoyt, Stuart Mack, Nolan Tsang, Dave Smith - trumpets
Nick Grinder, Sara Jacovino, Matt McDonald, Jen Hinkle - trombones
Alex Goodman - guitar
Brad Whiteley - piano
Evan Gregor - bass
Dan Pugach - drums
Oct 26 email@example.com
7p - *Haven Street*
*Gary Bruce Guitar*
*John Szinger Sax*
*Rich Paganello Piano*
*Eric Puente Drums *
*Jay Militscher Bass*
8:30 - Makrokosmos Orchestra - Fifteen-player ensemble playing compositions by Tim O’Dell and Richard Nelson, including premiere of Nelson's Dissolve. Featuring Christine Correa, voice; Michel Gentile, flutes; Quinsin Nachoff, tenor saxophone, clarinet; Tim O'Dell, alto and soprano saxophones; Alan Brady, bass clarinet; Marshall Sealy, French horn; John Carlson, trumpet; Jacob Varmus, trumpet, cornet; David Chamberlain, euphonium; Dale Turk, bass trombone; Rick Bassett, keyboards, sound design; Richard Nelson, guitar; Ken Filiano, bass; Rex Benincasa, percussion; and Scott Neumann, drums.
8:30p - The Yale Alley Cats
Jason Kim '21 - Bass
Liam McGrath '21 - Bass
Sachin Peddada '20 - Bass
Robert Crystal '20 - Baritone
Zach Taylor '21 - Baritone
Tyler Miles '20 - Baritone
Tyler Shen '21 - Tenor 2
Mark Gustaferro '20 - Tenor 2
Kaori West '21 - Tenor 2
Shaun Radgowski '20 - Tenor 1
Arthur Hwang '20 - Tenor 1
Hale Jaeger '20 - Tenor 1
Raphie Orleck-Jetter '21 - Tenor 1
Shapeshifter is located at:
18 Whitwell Pl, Brooklyn, NY 11215
At Scholes St. Studio 375 Lorimer St. Brooklyn, NY 11206
Saturday, Oct. 20 8PM
Anthony Coleman, piano
Joanna Mattrey, viola
Todd Capp, drums
Sunday, Oct. 21 8PM
The Double Trio
Jeff Pearring & Nick Lyons, alto saxophone
Cameron Brown & Sean Conly, double bass
Billy Mintz & Todd Capp, drums
Sound It Out Series @ Greenwich House — Concerts, September-December 2018
COMING ATTRACTIONS — 7th Season!
Thursday Oct 25, 8pm — Michael Formanek’s Very Practical Trio w/ Tim Berne & Mary Halvorson - Michael Formanek, double-bass; Tim Berne, alto saxophone; Mary Halvorson, electric guitar
Saturday Oct 27, 8pm — Amanda Monaco & Friends - Amanda Monaco, guitar; Joe Fiedler, trombone; Sean Conly, double-bass; Jeff Davis, drums
Saturday Nov 10, 7:30pm — Josh Sinton’s Predicate Trio the trio of Avram Fefer, Sean Conly & Michael Wimberly - Double-bill — Josh Sinton’s Predicate Trio: Josh Sinton, baritone saxophone & bass clarinet; Chris Hoffman, cello; Tom Rainey, drums the trio of Avram Fefer, alto/tenor saxophones & bass clarinet; Sean Conly, double-bass; Michael Wimberly, drums
Thursday Nov 29, 7:30pm — Nick Millevoi’s Desertion Trio the duo of Anders Nilsson & Aaron Dugan - Double-bill — Nick Millevoi’s Desertion Trio: Nick Millevoi, electric guitar; Johnny DeBlase, bass guitar; Kevin Shea, drums the duo of Anders Nilsson, guitar & Aaron Dugan, guitar
Saturday Dec 1, 8pm — Devin Gray’s Dirigo Rataplan - Devin Gray, drums; Dave Ballou, trumpet; Ellery Eskelin, tenor sax; Michael Formanek, double-bass
Thursday Dec 6, 7:30pm — “The Afro-Cubism of Aruán Ortiz, from Avant-Jazz to Contemporary Chamber Music” - Aruán Ortiz, piano/composer
At the Greenwich House Music School: 46 Barrow Street, just west of 7th Avenue South in New York City’s West Village; www.greenwichhouse.org, 212-242-4770.
Jazz Habitat at El Barrio Artspace - PS 109
215 E 99th St (between 2nd & 3rd Aves)
7pm - Kenny Warren (tr), Adam Hopkins (bass), Gerald Cleaver (dr)
8pm - Eric Plaks (piano), Andrew Hadro (bari sax & bass cl), Evan Crane (bass), Leonid Galaganov (dr)
7pm - Welf Dorr (sax), tba, Andrew Drury (dr)
8pm - Sana Nagano (violin), Kei Su Ke (guitar), Tyler Luppi (bass), Paolo Cantarella (dr)
THE SUN RA ARKESTRA INTERGALACTIC TOUR CONTINUES ON EARTH HERE:
Thursday, October 25, 2018 - Rhodes College, 2000 North Parkway, Memphis, TN -
Wednesday, October 31, 2018 - Philadelphia, PA - Venue & Showtime TBA
The Sun Ra Arkestra Directed by Marshall Allen has four CD recordings. Two are El Ra Records releases "A Song for the Sun" and "Music for the 21st Century" and the other two are In Out Record label releases "Live at the Paradox" and "Babylon Live".
For additional information about Sun Ra Arkestra Directed by Marshall Allen performances, including venue weblinks, please click on the "Tourdates" tab of the Sun Ra Arkestra website. Booking information for the Sun Ra Arkestra Directed by Marshall Allen is available by clicking on the "Info" tab of the Sun Ra Arkestra website, which is located at: www.sunraarkestra.com
Bill Laswell concerts
Oct. 26, 2018 (fri)
Jah Wobble & The Invaders of the Heart with special guest Bill Laswell
@ Elsewhere Hall, Brooklyn, NY
Oct. 30, 2018 (tue)
Artists at Noguchi - Hideo Yamaki & Bill Laswell
@ The Noguchi Museum, Long Island City, NY
Oct. 31, 2018 (wed)
Blue Buddha: Louie Belogenis, Dave Douglas, Bill Laswell, Michael Wimberly
@ The Stone, NYC - starts at 8:30 pm
Nov. 6, 2018 (tue)
KNOX OM PAX John Zorn & Bill Laswell
@ Teatro dal Verme, Milano, Italy
Nov. 11, 2018 (sun)
Nublu Jazz Festival
Peter Apfelbaum (keys, sax) Brandon Seabrook (gt) Bill Laswell (b)
Aaron Johnston (ds) @ Nublu, NYC
Uplift Europe tour
Dave Douglas (tp) Jon Irabagon (sax) Mary Halvorson (gt)
Rafiq Bhatia (gt) Bill Laswell (b) Ches Smith (ds)
Nov. 15 @ Centro Cultrual Vila Flor, Guimaraes, Portugal
Nov. 16 @ EFG London Jazz Festival, London, England
Nov. 17 @ Bielskie Centrum Kultury, Bielsko-Biala, Poland
Nov. 18 @ Teatro Victoria Eugenia Antzokia, San Sebastián, Spain
Nov. 19 @ De Bijloke Muziekcentrum, Gent, Belgium
Dec. 14, 2018 (fri)
Peter Apfelbaum (keys, sax) Brandon Seabrook (gt)
Bill Laswell (b), Mark Guiliana (ds) @ Nublu, NYC
Sirius Quartet Presents:
2018 Progressive Chamber Music Festival
November 10th 11th, 2018
David Krakauer and Kathleen Tagg: Breath and Hammer
Rob Mosher's Brooklynburg
At The Spectrum / spectrumnyc.com
70 Flushing Ave, Brooklyn, NY 11205
46 Barrow St, New York, NY 10014