Angels and Demons
Spooky and Free
Goblins and Ghouls
Roaming the Land of the Free
Itâ€™s Halloween Time
So Embrace the Spirits Around Us
And Celebrate Whatever Inspires Youâ€¦
Our Yoga instructor didnâ€™t show up at the Y today
So a few of us Elders took over the Class
One Older man says that,
â€œWe are all immigrants and not the enemyâ€
â€œOnly Love can conquer Hateâ€
Please remember this and go vote next week
This made the class more personal
So we all chanted Ommmmmm, over and over.
Trying to make life better for those who need
Some Positive Inspiration
So Check out These Sonic Treasures of the Week:
William Parker All-Stars! David S. Ware Trio! Jason Kao Hwangâ€™s Burning Bridge! Josh Sintonâ€™s Predicate Trio: Chris Hoffman & Tom Rainey! Adam Hopkins/Anna Webber/Jonathan Goldberger/Devin Gray! SLM Composers Ensemble! Gordon Beeferman Quartet!
David Virellesâ€™ Singerâ€™s Grove! Two Duos from Joel Futterman: Ike Levin & Avreeayl Ra! 3 from Eddie Prevost! Joelle Leandre & Marc Ducret! New from FMR: Two from Paul Dunmall: 2 Tenor/2 Drums Qt w/ Jon Irabagon! Phil Gibbs Qt! Three Gems from Szilard Mezei! Senyawa!
Upcoming Sets at Downtown Music Gallery - FREE, every Sunday at 6pm
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
6pm: CHERYL PYLE BEYOND GROUP: MICHAEL EATON - Soprano Sax /
GENE COLEMAN - Bass Flute/Piccolo / CHERYL PYLE - C Alto Flutes
7pm: MICHAEL FOSTER / DAVID MEIER - Tenor Soprano sax and Drums andâ€¦
November 25th, No In-store, Bruce in Florida
Sunday, December 2nd:
6pm: GUILLERMO GREGORIO & OMAR TAMEZ - Clarinet & Guitar
7pm: GUILLERMO GREGORIO / OMAR TAMEZ / RAYMON LOPEZ - Clarinet / Guitar / Drums!
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 toÂ 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
MIKE PANICO MEMORIAL CONCERT / CELEBRATION:
Monday, November 12th at 7:30pm
Roulette, 509 Atlantic Ave, Brooklyn, NY 11217
Current schedule of Musicians:
Kirk Knuffke Solo
John Zorn & Ned Rothenberg
Thollem McDonas / Nels Cline / William Parker
Michael Foster & Leila Bordreuil
Matthew Shipp & Michael Bisio
Tom Rainey / Steve Swell / Brandon Lopez
John Blum - solo piano
The evening will begin with friends & relatives of Mike reminiscing about him
All music sets will run around 10 minutes each
Admission is free
Please come down and help us to celebrateâ€™s Mike Panicoâ€™s life and legacy
Two Amazing New Discs from the Great WILLIAM PARKER, DAVID S. WARE & Collaborators!
WILLIAM PARKER with DANIEL CARTER / STEVE SWELL / ABRAHAM MENNEN / DAVE SEWELSON / ERI YAMAMOTO / NICK LYONS / et al - Flower In a Stained-Glass Window & The Blinking of The Ear (Centering 1018/19; USA) â€œThis special edition release is comprised of two brand new full-length albums, distinct in personnel & approach, yet complementary in ethos. William Parker is (and has been) on a profound and voluminous creative flow. Both of these albums were made in Summer 2018; they follow up and extend on his June 2018 release, the exemplary 3CD box set Voices Fall From the Sky.
â€˜Flower in a Stained-Glass Windowâ€™ fully features vocalist Leena Conquest, a tremendous interpreter of Parkerâ€™s work in song. She can be heard to deep affect in his Raining On The Moon and Curtis Mayfield projects. This is her first work together with Parker since 2012, and it is a most potent return to this creative orbit. She sings and speaks atop of and within a fresh ensemble featuring Parkerâ€™s bass together with long-time compatriots trombonist Steve Swell & saxophonist Dave Sewelson, South African drummer Kesivan Naidoo (in his first work with Parker), Parkerâ€™s son Isaiah on piano, as well as younger saxophonic talents Abraham Mennen and Nick Lyons. This work is dedicated to the inspiration of Martin Luther King, and the lyrical content pulls no punches delivering the truth as Parker sees it. The message is: social and political justice and equality for all human beings.
â€˜Flower..â€™ was slated for release on its own, and then William Parker had a summer residency at The Stone / New School in New York in which The Blinking of The Ear was presented in wholly extended form by an ensemble featuring Daniel Carter (witness the recently released Seraphic Light), Steve Swell, Eri Yamamoto on piano, William Parker and young Leonid Galaganov on drums, with mezzo soprano AnnMarie Sandy. This composition first appeared on the Voices Fall From The Sky box set in a voice/piano/drums reading. Here, as Parker writes in the liner notes: â€œThe dream was to combine written music with improvised music; slowly and seamlessly folding them together as one. This sextet live version wholly realized that dream; it was an extraordinary event in music called universal tonality.â€ After hearing the recording, it was forthwith decided to include this and make it a true double-album event!
Astonishing work, all of this. Packaged in a limited edition deluxe 8-panel digipak, with liner notes by William Parker.â€
2 CD Set $18 [LTD Edition of 500]
DAVID S. WARE TRIO with WILLIAM PARKER / WARREN SMITH - The Balance (Vision Festival XV )(Aum Fidelity 107; USA) The Balance is the fourth edition in the DSW-ARC Series; it presents an outstanding and incendiary David S. Ware concert, in trio with William Parker and Warren Smith. A tenor sax / bass / drums excursion of full intensity from the first note, this suite of spontaneous form was created at NYCâ€™s Vision Festival in 2010. Ware had been a perennial at this vital annual gathering since its beginning; this was his first time back since his revered Quartet bid farewell there in 2006, and it was a wholly exhilarating return. This DSW Trio convened only three times over their 10 month existence: the Dec. 2009 studio session for Onecept, this June concert, and the Oct. 2010 album release celebration at the Blue Note in NYC [documented on Live In New York, 2010].
Also included here are four exceptional out-takes from the Onecept session â€“ all of which had been completed & considered for inclusion at that time. This new release, together with the aforementioned, present the total work which this group created.
Each of their three communions has its own flavor: Onecept deals exquisitely with s p a c e and purposefully featured David on three different horns (tenor, stritch, saxello), with Warren Smith on tympanis/percussion in addition to drum set. The night at the Blue Note features the most extensive documentation of Ware on alto sax in existence (a straight version; the stritch), with the Mid & Far-Eastern tones he brought forth on the instrument blossoming beautifully over the course of two sets in an intimate setting. This festival stage concert is premier 21st Century free jazz rendered with the virtuosity and lucidity that only Ware (with his esteemed peers) could provide. A profound and utterly complete treat.â€
CD $14 [LTD Edition of 500]
JASON KAO HWANG BURNING BRIDGE with STEVE SWELL / TAYLOR HO BYNUM / JOSEPH DALEY / SUN LI / WANG GUOWEI / KEN FILIANO / ANDREW DRURY - Blood (True Sound 01; USA) Featuring Jason Kao Hwand on violin & compositions, Steve Swell on trombone, Taylor Ho Bynum on cornet & flugelhorn, Joseph Daley on tuba, Sun Li on pipa, Wang Guowei on erhu, Ken Filiano on contrabass and Andrew Drury on concert percussion. The is the second disc from Downtown Master violinist & composer, Jason Kao Hwang and his East/West octet, Burning Bridge. Iâ€™ve caught this ensemble on a couple of occasions and have dug the way they seamlessly blend several cultures and genres. The title of this disc, â€œBloodâ€, refers to the liquid life-force that flows through all of our bodies and the way the flow of music here tries to defy humanityâ€™s constant state of war. This work consists of an continuous five part suite, which evolves slowly and carefully. The first part features haunting layers of brass, strings and percussion, which build from somber to more agitated, the intensity level erupting to a quick conclusion before the violin, erhu (Chinese violin) and pipa take over. The violin and/or erhu most often play the central theme here with varied interplay from the pipa, cornet or trombone, weaving another layer of engaging tapestry. One of things that stands out here is Mr. Hwangâ€™s write for the entire ensemble, which blends chamber and small orchestral streams with ethnic and avant-jazz influences. There is section here which embraces some bluesy/somewhat funky playing which is most uplifting and rather unexpected. Towards the later part of this disc, I was reminded of that Mahavishnu/Shakti like East meets west vibe that many of us recall with welcoming spirits being set free. It is works like this which inspire us to have a more world-like view of blending disparate cultures into a seamless organic flow. Amen. - Bruce Lee Gallanter, DMG
JOSH SINTONâ€™S PREDICATE TRIO With CHRISTOPHER HOFFMAN / TOM RAINEY - Making Bone, Taking Draughtsâ€¦ (Iluso 14; Earth) The Predicate Trio features Josh Sinton on bari sax, bass clarinet & compositions, Christopher Hoffman on cello and Tom Rainey on drums. After a couple of years of taking time off from bandleading and composing, Josh Sinton is back with a few newer projects. Aside from a solo contrabass clarinet disc on Irabbagast, this is the second trio offering that Mr. Sinton has organized over the past year or so. Sinton has organized a formidable trio with Christopher Hoffman on cello (for Threadgill, Tony Malaby & Jeremiah Cymerman) and ever in-demand drummer, Tom Rainey (Ingrid Laubrock, Nels Cline & Jason Stein collaborator). Mr. Sinton wrote all but two tracks here and those two are trio improvs. The world â€œpredicateâ€™ means to affirm or deny, but what exactly is Mr. Sinton referring to here? The sound of this trio, the combination of instruments (bari sax or bass clarinet, cello & drums), makes sense since ash member is integral to the group sound and balance. On â€œbell-ell-ell-ell-ellsâ€, the bari sax and cello play their tight lines together with some strong, rambunctious drumming from Mr. Rainey swirling underneath. The bari sax and cello are close in their tonal range, and blend especially well throughout. There is section where Sinton is singing or speaking through his sax with the cello and drums matching his every move, whether speeding up or slowing down, spinning freely or calming down to a more restrained section. When Mr. Sinton switches to bass clarinet on â€œA Danceâ€, the vibe becomes more solemn, the cello and bass clarinet both humming tastefully together. When Sinton starts bending his notes on bari sax, the cello and drums both shadow his throttling bluster. I like the trio weave several lines around one another on pieces like â€œUnreliable Mirrorsâ€, a tight tapestry of interlocking lines makes things most compelling. You can tell that these are mature, seasoned players here since they work so well together often as one solid force, uplifting and engaging throughout. - Bruce Lee Gallanter, DMG
ADAM HOPKINS with ANNA WEBBER / JOSH SINTON / ED ROSENBERG / JONATHAN GOLDBERGER / DEVIN GRAY - Crickets (Out of Your Head Records 001; USA) Featuring Adam Hopkins on bass & compositions, Anna Webber on tenor sax, Ed Rosenberg on tenor & bass sax, Josh Sinton on bari sax & bass clarinet, Jonathan Goldberger on guitar and Devin Gray on drums. Over the past few years, there has been an increasing number of bassists emerging from the current Downtown Scene like Kim Cass, Henry Fraser and Zach Swanson. You can add former Baltimore bassist Adam Hopkins to this list, someone who has played here at DMG with trumpeter Kenny Warren. Mr. Hopkins has organized an impressive sextet for this, his debut disc. Two of the three saxists here are relatively well known members of the Downtown Network: Anna Webber and Josh Sinton, both are bandleaders and busy collaborators. Saxist Ed Rosenberg, is someone with whom I am not yet familiar with although he is a member of Salo, who have a disc out on the Innova label. Guitarist Jonathan Goldberger is someone with whom I have been hearing about in recent times and can be found on more than a dozen discs with Chris Lightcap, Harris Eisenstadt and Jacob Garchik. Drummer Devin Gray recently released a superb quartet disc with Ellery Eskelin, Dave Ballou and Michael Formanek, it is been garnering rave reviews.
Mr. Hopkins claims that this band was inspired by his younger years when he was in several rock bands in the nineties. The opening track, â€œThey Can Swim Backwardsâ€¦â€, erupts instantly and rocks with a chorus of tight saxes and interlocking guitar parts. The guitar on this song rocks righteously, a dark, turgid riff that you will not quickly forget, which is followed by an inspired, powerful guitar solo which eventually shreds. On the title track, Mr. Goldberger plays a ringing, repeating guitar riff while all three saxes erupts around in related spirals. Mr. Hopkins does a fine job of writing strong, hypnotic riffs for guitarist Goldberger, each one is most memorable. On â€œHaven of Blissâ€, the guitar creates an eerie mood by slowing down the pace and rubbing the strings at times. Eventually, the sextet breaks into a great post-rock riff, which is most infectious and uplifting. Adam Hopkins observation that this disc is closer to rock music in overall sound is true although, the use of the saxes also adds some power to the churning riffs that engage us throughout. Similar to the latest discs from Chris Lightcap and the Necks, there is something different going on here than the usual Downtown noise/improv, which I find to be more readily enchanting to the less demanding listeners. - Bruce Lee Gallanter, DMG
SLM ENSEMBLE // SARAH WEAVER with ROBERT DICK / JANE IRA BLOOM / MARTY EHRLICH / SARA SCHOENBECK / DAVID TAYLOR / JULIE FERRARA / URSEL SCHLICHT / MARK DRESSER / GERRY HEMINGWAY / JEN SHYU NED ROTHENBERG / RAY ANDERSON / MIN XIAO-FEN / MIYA MASAOKA / AMIR ELSAFFAR - Source (Liminal Music 222; USA) The SLM Ensemble is co-led by Mark Dresser (bassist/composer) and Sarah Weaver (composer/conductor). Each of the two long pieces here feature slightly different ensembles with around a dozen or so mostly Downtown musicians & composers. Each member of these ensembles are composers or leaders or featured soloists in varied ensembles. The SLM in their name stands for â€œSource Liminal Musicâ€ and they are involved with multimedia performances and telematic medium. This disc was recorded live at Roulette in November of 2008. Ms. Weaver conducts both long pieces, composing one and co-composing with Mark Dresser on the other. â€œSpectral Synâ€ has a carefully directed modern chamber quality, spacious, minimal, hushed bent note harmonies for the flute, other reeds and strings. The music has a quietly disorienting, dream-like quality. Robert Dick shines here a soloist, his distinctive playing weaving its way through assorted restrained, written sections. The arranging for the five reeds here is especially well done, with strong soloing from Ned Rothenberg on alto sax and Jane Ira Bloom on soprano sax. Gifted experimental vocalist, Jen Shyu, who draws from many different traditions, is an integral part of this unit, her voice weaving its way intricately with the other musicians. This piece reminds me of Butch Morris conductions with some tightly woven changes in direction. On the even longer work, â€œCycles of Awakeningâ€, the following players are added: Amir Elsaffar on trumpet & santur, Min Xiao-Fen on pipa, Miya Masaoka on koto (both of whom get to stretch out), Ray Anderson on trombone and Oliver Lake on alto sax. Mark Dresser is featured on bowed bass in an early section, his playing: rich, provocative, haunting. The overall sound is warm yet dry (no effects, mostly acoustic) and superbly captured. What I find most interesting is that a dozen serious composers & musicians were able to combine forces so well comprising a fascinating blend ideas, cultures and genres. - Bruce Lee Gallanter, DMG
GORDON BEEFERMAN with STEPHANIE GRIFFIN / PASCAL NIGGENKEMPER / ANDREW DRURY - Other Life Forms (Different Track 50011; USA) Featuring Gordon Beeferman on piano, Hammond organ & compositions, Stephanie Griffin on viola, Pascal Niggenkemper on bass and Andrew Drury on drums. Over the twenty years that Gordon Beeferman has been living in New York, his performing and composing have evolved through a variety of genres or styles: avant/jazz, chamber & orchestral music and opera. Iâ€™ve reviewed several duos, trios and a quintet of his as well from 2016. For Mr. Beefermanâ€™s current quartet, he has chosen a strong cast: Stephanie Griffin on viola (several large ensembles by Laura Andel, Taylor Ho Bynum & Ned Rothenberg), Pascal Niggenkemper (for Joachim Badenhorst, Carlo Costa & Thomas Heberer) and Andrew Drury (for Jason Hwang, Yoni Kretzmer & Jessica Lurie) on drums. Each project that Mr. Beeferman works on is quite different.
â€œGet Gotâ€ starts out with some tight fast fragments but soon starts to swing at a more moderate pace, the piece going back and forth between the two alternating sections. Mr. Beefermanâ€™s songs are somewhat gnarly and difficult to play. â€œCreepâ€ features Beeferman on organ, an instrument not often used in Downtown or avant/jazz groups. It does have rather creepy quality, which is perfect for tonight (Halloween, 2018). Both the organ and viola erupt together to play a series of phantasmagoric, horror movie-like cadences. Most effective. â€œBad Strategyâ€ has a somewhat disturbing opening theme which soon leads to Ms. Griffin into some intense over the top solo/due spurts with Druryâ€™s explosive drumming. I like when things quiet down for â€œPathâ€ but still build in excitement, hit a plateau and then calm down once again for the last section. â€œPuddle Jumpâ€ is actually jumping and recalls at times sound like 50â€™s hardtop riff, the piano speeds up to some exhilarating whiplashes. It will take several more listens to figure how this fits together overall. In the meantime, there are quite a few odd gems to explore here. - Bruce Lee Gallanter, DMG
DAVID VIRELLES - Igbo Alakorin [The Singerâ€™s Grove] Vol I & II (Pi Records PI 78; USA) â€œIgbÃ³ AlÃ¡korin (a phrase in Yoruba which can be loosely translated as The Singerâ€™s Grove) is the realization of pianist David Virellesâ€™ long-held dream to document the under-sung musicians of his birthplace, Santiago de Cuba. Virelles, who was named the #1 Rising Jazz Pianist in the 2017 Downbeat Critics Poll, is one of the most in-demand pianists on the contemporary jazz scene, recording with the likes of Henry Threadgill, Chris Potter, and Tomasz Stanko. He also has four prior releases under his own name, including Continuum, which topped the New York Times best album list for 2012.
Since leaving Cuba in 2001, each time Virelles returned home he would make it a point to seek out and study with the elders of Santiagoâ€™s rich musical heritage, and it is these musicians who he has assembled for this project. Recorded at Santiagoâ€™s legendary E.G.R.E.M. â€“ Siboney studios, the album is made up of two distinct projects: â€œVolume I â€“ David Virelles Introduces Orquesta Luz de Orienteâ€ was conceived for a big band of seasoned veterans to showcase many of the musical styles associated with Santiago, including the music of Electo Rosell (of the legendary ChepÃn-ChovÃ©n Orchestra) and Mariano MercerÃ³n, who were importantÂ pioneers in the percussion-propelled Cuban big band sound of the 1930s. On â€œVol. II â€“ Danzones de Romeu at CafÃ© La Diana,â€ Virelles reinterprets the piano music of the iconic early-20th Century pianist/composer Antonio MarÃa Romeu, exploring his practice of playing danzones accompanied only by gÃ¼iro. A product of deep historical and cultural research, IgbÃ³ AlÃ¡korin is another chapter in Virellesâ€™s ongoing pursuit to create music that transcends the boundaries between folkloric and contemporary to reveal only an essence beyond any genre.
This album was made possible by the generous support of The Shifting Foundation. Research for this project was completed thanks to The Diaz-Ayala Cuban and Latin American Popular Music Collection, Florida International University Library.â€ - Latin Jazz Net
â€œWhat a marvel! Tradition and avant-garde come together in this offering of the highest order. In my opinion, David Virelles is a young virtuoso immersed in research. He knows our African roots with depth. He is an innovator, a perfectionist, and the most creative and advanced of our jazz pianists. Thank you, David, for making us happy and proud, and for updating our traditions. AshÃ©! Never stop!â€ â€“ Chucho ValdÃ©s
Two Duo Discs from The Amazing Pianist JOEL FUTTERMAN:
JOEL FUTTERMAN and IKE LEVIN - Live in Chicago (Charles Lester Music 1001; USA) Featuring Joel Futterman on piano and Ike Levin on tenor sax & bass clarinet. Chicago/Virginia pianist Joel Futterman and West Coast reedman, Ike Levin, have been working together in many duos and trios with some dozen discs so far. This disc was recorded at the Constellation space in Chicago in August of 2017. This disc is comprised of two pieces, the first 51 minutes long and then a 9 minute encore. It begins with some extremely suspense filled solo piano. Soon Mr. Levin enters on tenor sax, the two masters exchanging ideas, intensely swirling their lines back and forth. It sounds as if these have been playing together for many years, their combined sound is well-matched, both men burning tightly together. Mr. Levin has a strong, warm, sort-of Sonny Rollinsâ€™ like tone on his tenor sax, waves of notes cascading but no free/jazz screaming or note-bending. Mr. Levinâ€™s warm yet blustery tone helps to keep Mr. Futterman from going to far out, bringing out a more spiritual sound from both musicians. In between some of the duo sections, Mr. Futterman casts off those lightning-like Cecil Taylor-ish lines, occasionally erupting full throttle, eventually calming back down to a more cerebral, contemplative interlude. This recording here is superb, the piano especially sounds wonderful, perfectly captured. Another colossal duo efforts from two master musicians. - Bruce Lee Gallanter, DMG
JOEL FUTTERMAN and AVREEAYL RA - Transformation (JDF 14; USA) Featuring Joel Futterman on piano & Indian flute and Avreeayl Ra on drums & percussion. Pianist Joel Futterman is originally from Chicago and moved to Virginia in 1972, where he still lives. Mr. Futterman is a rather enigmatic figure, who has practiced for several hours every day for more than 45 years. His live appearances are relatively rare, although I have fortunate enough to hear him at several Vision Fests and mostly with the great New Orleans saxist Kidd Jordan. Futterman plays with a handful of continued companions: Ike Levin and Alvin Fielder. Mr. Futterman comes back to Chicago from time to time, hence he has two new discs both recorded in Chicago. For this disc, Futterman chose Chicago drummer, Avreeayl Ra, whose name you should recognize from him work with Fred Anderson, Ari Brown and Dave Rempis.
The total track is some 24 minutes long and kicks this disc off with a strong openingâ€¦ Mr. Ra is a master on the mallets and sounds great weaving his own lines along with Mr. Futtermanâ€™s furious waves of notes. Mr. Futterman has a distinctive way of playing these lightning flash spurts of notes, often balancing between the more frenzied and more moderate sections. Avreeayl Ra is a perfect partner for this duo, the balance of energy, flow of waves back and forth, is most often extraordinary. Raâ€™s magical mallet-work adds a chamber like quality to Futtermanâ€™s piano when he lays back on occasion. Midway through this disc on â€œTranscendenceâ€, Mr. Futterman actually slows down to a soft, spacious, subtle interlude bedore building to a grand conclusion, with Futterman whipping up a storm of near violent intensity. Reminds of when Don Pullen or Dave Burrell explode on their piano. The duo hit their stride on â€œTruismâ€, erupting intensely together The entire disc works as one continuous piece, which unfolds organically. This is one of the best duo recordings Iâ€™ve heard in a long while! - Bruce Lee Gallanter, DMG
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 confrontationaly 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.
The European Connection:
JOELLE LEANDRE / MARC DUCRET - Chez Helene (Ayler 154; EEC) â€œJean-Marc Foussat recorded the French improvising duo of electric guitarist Marc Ducret and double bassist Joelle Leandre at 19PaulFort in May, 2018, the title drawn from a poem by Edgar Allen Poe, as the two trade acoustic and electric string approaches in a sophisticated dialog of exceptional technique and inventive approaches; superb.â€
JOHN BUTCHER / EDDIE PREVOST - Visionary Fantasies (Matchless 100; UK) A series of inspired solo and duo performances from AMM founder, percussionist Eddie Prevost and free improvising saxophonist John Butcher, captured live at London's Iklectik in 2018, splitting the album between solo and duo work as the two morph their instruments into incredible sonic devices, with intense concentration and dialog nothing short of fantastic.â€
KEN IKEDA / EDDIE PREVOST - The Whole Moon Rests in a Dewdrop on the Grass (Matchless 99; UK) Performing live at Cafe OTO in London, 2018, Japanese sound artist and composer Ken Ikeda comes together with percussionist and Matchless label-leader Eddie Prevost for a concert of resonant, rich improvisation, Ikeda's electronics complementing Prevost's bowed cymbals as the duo builds to a diverse offering of powerful yet controlled sonic uproar; stunning.
NO MOORE / JOHN EDWARDS / EDDIE PREVOST - Darkened, Yet Shone (Matchless 98; UK) â€œCombining free improvisation, free jazz, rock, and electronic/EA-improv, the trio of Eddie Prevost (drums), NO Moore (guitarist) and bassist John Edwards are caught live at IKLECTIK in London, 2017, for a concert that changes pace from vigorous riffs to unconventional introspection, with masterful playing and profound technique, an exceptional performance.â€
New from FMR - First Batch:
PAUL DUNMALL / JON IRABAGON / JIM BASHFORD / MARK SANDERS - The Rain Sessions (FMR 492; UK) Dedicated to Cecil Taylor, who had just passed away around the time when this was recorded. Featuring Paul Dunmall & Jon Irabagon on tenor saxes and Mark Sanders & Jim Bashford on drums. Both UK reeds giant, Paul Dunmall, and New York reeds great, Jon Irabagon, switch off on different reed instruments. When Mr. Irabagon was visiting the UK, he contacted Mr. Dunmall about doing a session. They decided to focus on playing tenor saxes only with two drummers. Over the past few years, Dunmall has recorded a number of duo discs with different drummers. Both drummers have worked with Mr. Dunmall previously. Is this â€˜Interstellar Spaceâ€™ times two? It is some ways. Both Dunmall and Irabagon spin out intense, layers of lines, powerful, brain-blasting activity. Both drummers also sound great, providing propulsion to push the saxes higher and higher. Even when the drummers just play by themselves, they sound great weaving their lines together, wave upon wave, the current or pulse emerging from below. I had this on the other day at the store when some new customers were there and one of them asked if we specialized in music like this, spiritual jazz?!? Yes, we certainly do! Truly inspiring! - Bruce Lee Gallanter, DMG
PAUL DUNMALL / ALAN NIBLOCK / MARK SANDERS - Dark Energy (FMR 506; UK) Featuring Paul Dunmall on tenor sax, Alan Niblock on bass and Mark Sanders on drums. This is session was recorded in a studio in Northern Ireland in April of 2013, but released until now (11/18). Whereas bassist Alan Niblock is a unfamiliar to me, except for a mention on a disc from Slam. Ace drummer Mark Sanders has been working with Mr. Dunmall for many years (on 30 discs), as well as working with Evan Parker and Jah Wobble. Mr. Dunmall, who often plays a handful of different reeds (soprano, saxello & flutes), concentrates on tenor sax only, his main axe. From the opening his tone is warm, haunting, beautiful, Trane-like at times. This is a marvelous trio, slowly building in intensity and tempo. Bassist Alan Niblock has a marvelous, warm, tasty tone on his contrabass, similar in sound to Dunmallâ€™s main bassist Paul Rogers. Master drummer, Mark Sanders, also is fine form here and spins his own superb rhythmic web throughout. More often than not, Mr. Dunmall likes to blast in those Trane-like sheets of sound which can be too much at times. I like the way Dunmall takes his time, slowly concentrating on the way he finally bends some notes midway, the bassist also experimenting with his bow. Dunmallâ€™s tone and playing here is consistently enchanting here makes this one of the finest sax improv trios ever! - Bruce Lee Gallanter, DMG
PHIL GIBBS / MARCELLO MAGLIOCCHI / ADRIAN NORTHOVER / MARESUKE OKAMOTO - Sezu (FMR 487: UK) Featuring Phil Gibbs on guitar & banjo, Adrian Northover on soprano & alto sax, Maresuke Okamoto on cello & voice and Marcello Magliocchi on drums. Bassist Paul Rogers and guitarist Phil Gibbs are two of British sax colossus Paul Dunmallâ€™s most consistent collaborators, both are on dozens of disc with Dunmall. Since ending his own Duns label, Mr. Dunmall has been recoring less frequently for labels like FMR & Slam. Under-recognized avant/jazz guitar great Phil Gibbs has continued to work with a number of fine mostly UK musicians, some of whose names might be not be so familiar. Both saxist Adrian Northover and drummer Marcello Magliocchi are members of the Runcible Quintet, who also record for FMR. The cellist, Maresuke Okamoto, is the only name here with whom I was previously unfamiliar. The sound on this disc is superb, the balance perfect. Starting with brittle electric guitar, sly note-bending soprano sax, frenetic cello and insect-like percussion, this is British-sounding free/jazz at its best. While Mr. Gibbs taps furiously but quietly on his guitar, Mr. Okamoto bows strange sounds on his cello, the soprano sax & drums create subtle chaos underneath. All four members of this quartet are well matched, the interaction consistently exciting, edge-of-your-seat type of energy. Mr. Okamoto adds some spooky spoken words to â€œOngaku Wo Hada de Kikeâ€, which works well with the rubbed strings of the guitar and bowed percussion. This piece is just one of the many highlights found here. A number of great improvising cellists have found their way to NY over the past decade like: Daniel Levin, Chris Hoffman & Leila Bordreuil. You can add the name Marsuke Okamoto to the list of gifted cellists working with extended techniques. Considering that Phil Gibbs is the only name here that most of us would be familiar with, this quartet shows that there are many under-recognized giants still to be reckoned with. - Bruce Lee Gallanter, DMG
SZILARD MEZEI SEPTET With BOGDAN RANKOVIC / BRANISLAV AKSIN / MATE POZSAR / IVAN BURKA / ERVIN MALINA / ISTVAN CSIK - Veres Pancel (FMR 481; UK) â€œVojvodinian composer and violist Szilard Mezei formed this septet in 2005, his 3rd chamber group with a distinctly free jazz voice, citing influences Gyorgy Szabados, Anthony Braxton, Bela Bartok, Witold Lutoslawsky, Gyoryg Ligeti, Jimmy Giuffre, Steve Lacy, Mal Waldron, to which we would add Eric Dolphy, here in their second FMR album capturing a live concert in Serbia, 2018.â€
SZILARD MEZEI - ALBERT MARKOS DUO - KOD (FMR 509; UK) Featuring Szilard Mezei on viola and Albert Markos on cello. This disc was recorded live at the Regional Creative Atelier in Serbia, earlier this year (2018). Considering that Serbian violist, bandleader & composer, Szialrd Mezei has some 40 discs out by now, his duo efforts are relatively rare. So far just a few with Jon Hemmersam, Michael Jefry Stevens and a previous duo with Albert marks on cello. This is an improvised duo session with both string players playing acoustically and exchanging lines like a robust conversation. The duo take their time and start out quietly, cautiously, using a good deal of space in between the sections of activity. By midpoint, the duoâ€™s improv increases in intensity, erupting into a series of frenzied interplay. At times certain notes are stretched out, resonating, drones and fractured moments as well. String duos are still relatively rare and this one is especially strong and spirited. Recommended! - Bruce Lee Gallanter, DMG
SZILARD MEZEI TUL A TISZAN INNEN ENSEMBLE With BOGDAN RANKOVIC / BRANISLAV AKSIN / IVAN BURKA / ERVIN MALINA / ISTVAN CSIK / et al - Citromfa [2 CD Set] (FMR 510; UK) Serbian violist/composer/multi-bandleader has several ongoing projects that he runs from solo & duo discs up to large (24-piece) large ensembles. This the second disc from Mezeiâ€™s Tul A Tiszan Innen Ensemble, an eleven piece unit and this is their second 2 CD set. Like their first effort (from last year, 2017), this one is also based on themes from Hungarian folk songs. What makes this music so special, it that those folk melodies are at the center of much of this music. The very first song actually sounds like Renaissance period music from several centuries ago yet somehow more modern sounding. Mr. Mezei keeps the reeds, strings and trombone together playing those enchanting counterpoint lines together. I like that the music is stripped own so that each melody and solo stands out or rings true. There are a number of solos which sound great. The sound of this mostly acoustic ensemble is consistently enchanting. The music is never too difficult or demanding yet it is often charming on different levels. Both of these discs are filled with a myriad of magical music. Szilard Mezei remains an under-recognized giant whose time has definitely come. My advice to you the serious listener is to check out this disc soon. If you savor it slowly, it will open you to a new world of sounds which will inspire positive vibes like a universal potion or elixir. Treat yourself today! - Bruce Lee Gallanter, DMG
2 CD Set $18
THE RUNCIBLE QUINTET with NEIL METCALFE / ADRIAN NORTHOVER / DANIEL THOMPSON / JOHN EDWARDS / MARCELLO MAGLIOCCHI - Four (FMR 489; UK) â€œVojvodinian composer and violist Szilard Mezei formed this septet in 2005, his 3rd chamber group with a distinctly free jazz voice, citing influences Gyorgy Szabados, Anthony Braxton, Bela Bartok, Witold Lutoslawsky, Gyoryg Ligeti, Jimmy Giuffre, Steve Lacy, Mal Waldron, to which we would add Eric Dolphy, here in their second FMR album capturing a live concert in Serbia, 2018.â€
CECILE BROCHE / JAQUES PIROTTON / ANTOINE CIRRI - Kartinka - Tableaux Dâ€™une Exposition (Sabam BC 2017; Russian Federation) Featuring Cecile Broche on electric violin & voice, Jacques Pirotton on electric guitar and Antoine Cirri on drums & electronics. Belgium-based (?) violinist Cecile Broche has played here at DMG on a couple of occasions. She recently came to visit, to play a gig this week (11/01/18) and left us with this new trio CD. The subtitle of this disc is â€œA new look at Moussorgskyâ€™ â€˜Picture at an Exhibitionâ€, which is the same work once made popular by prog gods Emerson, Lake and Palmer. Bruceâ€™s review next week.
THE LAST HURRAH!! - Los Angeles (Rune Grammofon 2202; Norway) The Last Hurrah!!'s Los Angeles started out as a commission work for the Vossajazz festival, and was performed in Voss in western Norway in March 2018. A far cry from Los Angeles, but to mastermind and founder HP Gundersen there are no boundaries in music and such differences are only sources of inspiration and natural parts of his vast musical universe. For the previous album Mudflowers (RCD 2171CD/RLP 3171LP, 2015), HP Gundersen "found" and recruited the perfect singer in Maesa Pullman, daughter of famed actor Bill Pullman. Coming from a musical family, she performs frequently in different musical constellations in Southern California, being a profiled presence in the local roots community. A songwriter in her own right, Maesa also handles guitar and piano as well as the drums. Since the release of Mudflowers, bass player, recording engineer and co-producer Jason Hiller has come onboard as a permanent member of the trio that currently serves as the core of The Last Hurrah!!. Originally seen as a one-off project, it soon became clear that the chemistry between the three went much deeper and far reaching than the Americana influences that dominated parts of Mudflowers.
Three New Discs from SUBLIME FREQUENCIES:
SENYAWA - Sujud (Sublime Frequencies 114; USA) Senyawa are a contemporary duo originating from Jogjakarta, Indonesia. Rully Shabara (extreme vocals) coupled with Wukir Suryadi's deft instrumentals (and homemade instruments) produce one of the most profound examples of experimental via traditional music happening anywhere today. By weaving Indonesian folkloric moods with various shades of modern genre hybrids, Senyawa has been navigating unexplored musical terrain for more than a decade. Sujud, their premier release on the Sublime Frequencies label, is the latest chapter of this very special and singular sound of the past, present, and future. The basic theme of the record can be summed up with one extremely powerful Bahasa Indonesian word, "tanah", which translates to "soil-ground-land-earth". Shabara's vocals are an expressive force, conjuring spirits from the soil with a deep humility and respect for the land and their existence in the universe. Suryadi has built a new guitar for these tracks and pushes the Senyawa sound into new territory, utilizing delay, loops, and other effects creating grounded backdrops of folk metal, punk attitudinal, and droning earthscapes - providing Shabara the perfect context to explore his whispering poetry and jagged, sharp-as-a-kris animistic powers. There is simply no other sound like it and Sublime Frequencies is thrilled to present this new direction in their discography. Limited CD version includes liner notes, in gatefold digital wallet.
CD $15 or LP $21
BABA COMMANDANT AND THE MANDINGO BAND - Siri Ba Kele (Sublime Frequencies 113; USA) Baba Commandant And The Mandingo Band return with their second album, Siri Ba Kele. After the Afro-beat fury of their first album Juguya (2015), the band has now distilled a potent mix of traditional and modern Burkinabe funk with a reverent take on the iconic Mandingue guitar music of the 1970's. Mamadou Sanou (Baba Commandant) leads the band with a confidence earned from years of toiling in the DIY underground of the West African music scene. His riveting growl and main instrument, the doso n'goni, still strike with a profound delivery. The band's guitarist, Issouf Diabate, is on board again and his breathtaking guitar work is one of the greatest examples of the instrument displayed in modern times. Massibo Taragna (bass) and Mohamed Sana (drums) are simply one of the finest rhythm sections working today, each a master on his instrument and the chops displayed here are truly something to behold. The band has become an interlocking five-headed hydra of complex funk and cosmic guitar explosions. Recorded in Ouagadougou, Burkina Faso in February 2018 by Camille Louvel and mixed with SF's Hisham Mayet, the Mandingo Band's sophomore LP is a modern statement of searing Sahelian compositions. It stands shoulder-to-shoulder with such classics as Super Biton De Segou (1977), Kanaga De Mopti (1977), Les Ambassadeurs Internationaux (1981) and the mighty Rail Band.
CD $15 or LP $21
DEBEN BHATTACHARYA - Paris to Calcutta: Men and Music on the Desert Road (Sublime Frequencies 112; USA) Deben Bhattacharya (1921-2001) was a field recordist, poet, filmmaker, musicologist, and amateur ethnomusicologist, based in Calcutta and Paris. Highly influential, it would not be too bold a stretch to say that his work shaped how we listen to the world: he produced a vast number of LPs, CDs, videos, and radio shows of traditional music from India, Asia, Africa, the Middle East, and Europe from 1953 until his death in 2001. Never before published, Paris to Calcutta: Men and Music on the Desert Road features over four hours of music and is Deben's impressionistic account of a 1955 journey overland, in a converted milk delivery van, from France to India collecting and exploring music along the Desert Road from Europe into India. With four CDs of recordings, photographs, Deben's original recording notes, musical transcriptions, and more. An amazing glimpse into a time long gone and essential listening for anyone interested in folk and world music traditions. Produced and edited by Robert Millis (Indian Talking Machine (2015) and Victrola Favorites (DTD 011CD, 2009). "Actually, I think my playing is probably more derived from the folk music records that I heard; Middle Eastern music, Indian music... for years I had something called Music On The Desert Road, which was an album with all kinds of different ethnic music. I used to listen to that all the time." --Frank Zappa, 1993 (from an interview in Guitarist Magazine, talking about an LP released by Deben in 1956 using a few edited versions of the music included on this compilation.) 160 pages, cloth bound cover with four CDs: 45 pages of photographs and 50 pages of detailed recording notes. Introductions by Jharna Bose Bhattacharya, Robert Millis and WG Archer.
4 CD Set BOOK $56
THE VELVET UNDERGROUND - New York Rehearsal 1966 (Sutra 111; USA) "Perhaps the only band in Rock N' Roll history to come almost fully formed, despite many claims to the contrary, The Velvet Underground's meeting with Andy Warhol in 1965 just about sealed their fate. Straight into Warhol's Factory base in early '66, where rehearsals for their pending debut record soon took place, somehow Andy managed to persuade a local NYC radio station to broadcast live during the best of these sessions, and while few hearing this transmission would have had much of a clue as to what was going down, this recording is now a legendary piece of musical history that every fan of the extraordinary VU will want to hear. Providing a sense of quite how the seismic Velvets' debut album of 1967 came to be, this recording is now available on CD for the first time. Also included are three rare live cuts recorded at New York's Cinematheque earlier the same year."
QLUSTER - Elemente (Bureau B 308; Germany) Elemente -- album number seven from the third incarnation of the legendary krautronic project Kluster/Cluster springs a surprise with a minor sensation: sequencer lines. Using an array of exclusively analogue instruments, Hans-Joachim Roedelius, Onnen Bock, and Armin Metz have recorded eight tracks which, at one and the same time, are intrinsically hypnotic and sublimely beautiful. In principle, Elemente was created in much the same fashion as earlier Qluster albums: the three musicians met up in SchÃ¶nberg, a remote hamlet in northern Mecklenburg. The eight pieces were distilled from the original recordings of their lengthy improvised sessions, with additional elements added to only three of the tracks in the production process: a synthesizer melody for "Zeno", a prepared piano for "Xymelan" and a computer beat for "Tatum". First special feature on the new album: the "tools of the trade". In their choice of equipment, Qluster reach back to their own history as Cluster, more than forty years ago, when legendary albums like 1974's Zuckerzeit (LR 333LP), 1976's Sowiesoso (BB 039CD/LP), and 1981's Curiosum (BB 038CD/LP) were made. Elemente has been crafted exclusively with analog instruments: a range of analog synthesizers, rhythm machines, a Farfisa organ, a Fender Rhodes piano, and various effects devices plus -- second special feature and making its debut in the band's narrative -- a 1970s sequencer playing an endless loop of manually recorded melodies, fed through effects and equalizers to achieve that typically hypnotic sequencer character. Listen out for them on "Perpetuum", "Xymelan", "Tatum" and "Lindow". By way of contrast, "Weite" and "Infinitum" unfold in vast echo chambers, free of metrics. Between these two very different musical forms lie "Zeno" and "Symbia". The former pulsates with long deep breaths beneath delicate sequences of notes emanating from the ARP 2600, the latter, "Symbia", layers a songlike Rhodes piano melody over an echoing, rhythmic Farfisa organ chord. After four electronic productions and two piano albums, Qluster now invite you to visit eight new and beguilingly beautiful worlds of sound on Elemente.
MICHAEL HURLEY - Living Ljubljana (Feeding Tube 386; USA) "In March 1995, soon after the German Veracity label issued Wolfways, and just before they did Parsnips Snips (1995) (Hurley's first vinyl after a nine-year drought), the Great Snock undertook his first European tour. Joined by bassist Robert Michener (from the Richmond scene Hurley'd been involved in) and percussionist Mickey Bones (legendary Boston drummer & bones player), Hurley hit a bunch of places and Germany and also KLUB K4 in Llubjana, Slovenia, where this set was recorded. The sound is beautiful, the band plays with lazy perfection, and Hurley's vocals are energetically melodic. He does some songs that were only released on the series of cassettes that immediately preceded Wolfways ('Horse's Ass,' 'The Beggar's Terms'), stuff from Wolfways ('Letter in Neon,' 'Portland Water,' 'I Paint a Design'), classics like 'O My Stars,' and a few cover tunes. And More! Packed up in a new Hurley art cover design (based on the Euro tour t-shirt), with great liner notes detailing the rigors of a German press junket from right before the tour-proper, this package is sure to please discerning Snockophiles of all stripes. It's a fantastic spin. Dig in today." --Byron Coley, 2018.
SPIELGUSHER - Spielgusher (Feeding Tube Records 298; USA) "Spielgusher represents the meeting of two of America's great artists, Richard Meltzer and Mike Watt. There is additional musical accompaniment by guitarist Hirotaka Shimizu and drummer Yuko Araki, but the basic semiotic brunt of this meeting is shouldered by Richard and Mike. A collaboration between the two had been postulated back when the Minutemen still walked the Earth, but that dream was canceled with D Boon met his tragic fate in December 1985. Still, Meltzer and Watt kept in touch and tried to think of what they might do together. Around 2011 they arrived at solution. Richard had recorded a bunch of material for Mike, and Watt finally decided to go into the studio with a couple of his Japanese musician pals to cut a long set of jams and splats to go along with the words. Mike put the finished session, also called Spielgusher, out as a CD on his own clenchedwrench label, but we never really felt a though that release got into the hands or ears or brains of the many folks who'd dig hearing it. Consequently, here is a 2LP reprise of the set, with lovely new cover art, provided by Raymond Pettibon (another long-time Meltzer fan, and one who actually witnessed the debut performance of VOM at Kahuna's Bearded Clam, back when we were all a lot younger). Meltzer's words range from hilarious to shocking, and anyone who has attended one of his readings will agree that his performance is fully on point here. The musical inventions the trio tosses up to meet his words are fantastic - abstract or pointed at various times, melodic or noisome as befits the mood, but all with the compact econo lines that are Watt's stock-in-trade. There are perhaps some out there for whom Meltzer's poems will prove to be stronger word-meat than they are used to, but most of us are surely made of stronger stuff. And this album will be welcome manna to ear-teeth everywhere. Chew slowly and see." --Byron Coley, 2018. Edition of 500.
2 LP Set $26
CHRIS CORSANO & BILL ORCUTT - Brace Up! (Palilalia 053; USA) â€œâ€™Brace Up!â€™ is the first ever studio release from the duo of Chris Corsano (drums) and Bill Orcutt (guitar). Recorded in Brussels at Les Ateliers Claus by Christophe Albertijn on March 19th and 20th, 2018. Stage dive photograph by Jason Penner. "Over the past six years or so, drummer Chris Corsano has proven to be one of Bill Orcutt's most reliably flexible collusionists. Regardless of whether Bill is cluster-busting electric guitar strings, weaseling around with cracked electronics, or playing relatively spacious free-rock, Corsano is able to provide the proper base for his aural sculpting. A lot of Orcutt's instrumental work has traditionally felt hermetic even though he's exploring caverns of explosive ecstasy. One often got the impression Bill was operating in the way John Travolta did in the classic 1976 ABC television drama, The Boy in the Plastic Bubble. Orcutt's actual interaction with collaborators emerged not from communication so much as pure observation. While he was fully cognizant of his musical surroundings, his reactions to it were walled off. This approach did not encourage sonic dialogue so much as parallel streams of discourse. These streams could interact with each other, but not in particularly standard ways. On Brace Up! , their first ever studio release, this precept has changed considerably. Whether it's a function of emotional familiarity or an intellectual choice I dunno, but there's a whole new kind of duo exchange going down on this record. Bill and Chris are clearly playing off each other's moves throughout the album. And it really raises the level of the music to an all-time high. From the cop car see-saw of 'Poundland Frenzy' to the mutual pummeling of 'Paranoid Time' (possibly a Minutemen tribute?) to the lazychicken- gets-stung-prog of 'She Punched a Hole in the Moon for Me,' the sounds on Brace Up! display a constant flow of ideas and instantaneous conjugation of newly forged verbs. As great as Bill and Chris's previous duo records have been, this one's greater." -- Byron Coley
PETER KARDAS - I Saw You (Yoga Records 017; USA) â€œâ€˜I Saw Youâ€™ is the distillation of Right Belief and Right Action, heretofore unknown, privately issue cassettes from 1986 and 1987 by Peter Thomas Kardas. A student of guitar craft and accredited member of The League of Crafty Guitarists, Kardas drew inspiration from Robert Fripp 'sloop-based Frippertronics, but the expansive, introspective washes of synths and repeated phrases and vocalizations are utterly their own thing, conjuring the independence, awe, and isolation of the remote Northern Californian landscapes in which they were created. I Saw You is a co-production -- the first new record from Los Angeles-based Yoga Records (Ted Lucas, Woo, Matthew Young) in over two years, and the first release by the newly-inaugurated Echo Ocho label based in San Francisco. Remastered from the original four-track masters by the artist. All songs composed and performed in 1986 and 1987 by Peter Kardas except as noted. Produced and remastered by Peter Kardas. Cover and Layout by Peter Kardas and Aleya Hoerlein. Reissue produced by Tyler Craft and Douglas Mcgowan. "Tip-on" cover; Includes download code; Edition of 500.
Bruce Lee Gallanterâ€™s Recommended Gig List for October of 2018:
THE STONE RESIDENCIES - LOUIE BELOGENIS - OCT 30â€“NOV 3
8:30 pm - Flow Trio with Joe McPhee - Joe McPhee (trumpets, saxes) Louie Belogenis (soprano and tenor saxes) Joe Morris (bass) Charles Downs (drums)
8:30 pm - Twice Told Tales - Tony Malaby (soprano and tenor saxes) Louie Belogenis (soprano and tenor saxes) Eivind Opsvik (bass) Billy Mintz (drums)
THE STONE RESIDENCIES - SIMON HANES - NOV 6â€“10
8:30 pm - Trigger
Will Greene (guitar) Simon Hanes (bass) Aaron Edgcomb (drums)
8:30 pm - The Hydra - Peter Moffett (drums) Simon Hanes, Will Green (guitars) Evan Allen (keyboards) Jesse Heasly (bass); The Hydra is a pretty new project â€” aggressive, surfy covers of film music for a smaller rock band â€” lots of Morricone, Jaques Loussier, some originals! CD RELEASE CONCERT.
8:30 pm - Trio - Simon Hanes (bass) Anthony Coleman (organ) Brian Chase
8:30 pm - Tredici Baci - Covers and collaborations!
8:30 pm - Tredici Baci plays originals! With special guest Ryan Power, Ruth Garbus, JG Thirlwell and Jennifer Charles. All new music!
THE (NEW) STONE is located in The New Schoolâ€™s Glass Box TheatreÂ
55 West 13th streetÂ - 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 Nov 02
8:30PM LAU NOAH - Lau Noah, guitar, voice
10:00PM TRIO MILLIONAIRES - Yoav Eshed, guitar; Ben Tiberio, bass; Eviatar Slivnik, drums
Saturday Nov 03
8:35PM JACOB SACKS & FRIENDS - Jacob Sacks, piano; Chet Doxas, tenor sax; Carmen Rothwell, bass; Vinnie Sperrazza, drums
Sunday Nov 04
8:01PM DJANGO AT CORNELIA STREET: DAISY CASTRO - Daisy Castro, violin; Koran Agan, guitar; Josh Kaye, guitar; Eduardo Belo, bass
Monday Nov 05:
8:30PM AMRAM & CO - David Amram, piano, french horn, flutes, composition & surprises; Kevin Twigg, drums, glockenspiel; Rene Hart, bass; Elliot Peper, bongos; Jose Pacheco, poet
Tuesday Nov 06
8:00PM ELIANA GLASS QUARTET - Eliana Glass, voice; Chris McCarthy, piano; Dean Torrey, bass; Dayeon Seok, drums
9:30PM GAYA FELDHEIM SCHORR - Gaya Feldheim Schorr, voice; David Leon, alto sax; Micha Gilad, piano; Lisa Hoppe, bass
Wed Nov 07:
8:01PM THE NEHEMYOT FT. HADAR NOIBERG - Hadar Nehemya, voice; Hadar Noiberg, flute; Hila Kulik, piano; Eduardo Belo, bass; Ofri Nehemya, drums
Thursday Nov 08
8:01PM PAUL JONES SEXTET - Paul Jones, tenor sax, comp.; Alex LoRe, alto sax; Matt Davis, guitar; Can Olgun, piano; Johannes Felscher, bass; Peter Kronreif, drums
Friday Nov 09
6:00PM PERIDOT DUO / BOX NOT FOUND - Rose Hegele, vocals; Stephanie Lamprea, vocals; Natalie Calma, violin; Kevin Price, clarinet
8:35PM DUANE EUBANKS 4TET - Duane Eubanks, trumpet; James Hurt, piano; Eric Wheeler, bass; Eric McPherson, drums
Saturday Nov 10
8:35PM GEORGE GARZONE QUARTET - George Garzone, tenor sax; Kenny Brooks, saxophon; Chris Crocco, guitar; Peter Slavov, bass; Francisco Mela, drums
Sunday Nov 11
8:00PM ISRAELI JAZZ SPOTLIGHT: MÃ„BÅ«L - Itai Kriss, flute; Kazemde George, tenor sax; Yotam Ben Or, harmonica; Gabriel Chakarji, piano; Alon Near, bass;Alon Benjamini-drums
9:30PM ISRAELI JAZZ SPOTLIGHT: IDAN MORIM - Idan Morim, guitar; Adam O'Farill, trumpet; Micha Gilad, piano; Almog Sharvit, bass; Colin Stranahan, drums
PIANO REQUIRED - 2 DAY FESTIVAL
SATURDAY, NOVEMBER 3, 2018
8:00 PM 11:00 PM
MARCELO / ROSENBLOOM / DZURINKO
8:00pm Alexis Marcelo Trio
Alexis Marcelo - Piano
Devin Waldman - Alto Saxophone
Malik Washington - Drums
9:00pm Mara Rosenbloom Locus Trio
Mara Rosenbloom - Piano
Ken Filiano - Bass
Michael Wimberly - Drums
10:00pm Virg Dzurinko Duo
Virg Dzurinko - Piano
Ryan Messina - Trumpet
PIANO REQUIRED - 2 DAY FESTIVAL
SUNDAY, NOVEMBER 4, 2018
8:00 PM 11:00 PM
JAXEN / LIEBOWITZ / COOPER-MOORE
8:00pm Kazzrie Jaxen
9:00pm Carol Liebowitz Duo
Carol Liebowitz - Piano
Nick Lyons - Alto Saxophone
10:00pm Cooper-Moore SOLO
$20 suggested donation
$30 2-day pass for Nov 3, 4
THURSDAY, NOVEMBER 8, 2018
RUSS LOSSING & KING VULTURE
7:30 PM 9:00 PM
Russ Lossing,pn, compositions
Adam Kolker, Tenor, B.C.
Matt Pavolka, bass
Dayeon Seok, drums
with special guest; LOREN STILLMAN
Â Â Â
I-Beam is located atÂ 168 7th Street in Brooklyn, NY 11215 - Directions: SUBWAY:Â Take the F or R trains to 4th Ave & 9th Street.Â Walk down 4th ave to 7th street.Â Make a left on 7th and walk past 3rd ave.Â We are located on the ground floor, the grey doors to the right of the stairs of #168.
The Bushwick Improvised Music Series
Monday November 5thâ€¨â€¨7pm Drew Wesely - guitarâ€¨, Nick Jozwiak - celloâ€¨ & Sean Ali - bassâ€¨
8pm Stephen Gauci - tenor saxophone,â€¨ Sandy Ewen - guitar/electronics, â€¨Adam Lane - bass & â€¨Kevin Shea - drumsâ€¨
9pm Zach Swanson - bass, â€¨Derrick Michaels - tenor saxophone, â€¨Tom Swafford - violin, â€¨Dalius Naujokaitis-Naujo - drumsâ€¨â€¨
9:45pm Michael Moss - woodwinds, â€¨Steve Cohn - piano, â€¨Larry Roland - bass & â€¨Chuck Fertal - drumsâ€¨â€¨
10:45pm Alberto N.A. Turra - guitar & â€¨William Nicastro - bassâ€¨
11:30pm Â Sana Nagano - violin/electronics & â€¨Leonor Falcon - violin/electronics
Downstairs @ Bushwick Public House
1288 Myrtle Avenue , Bushwick
(Across the street from M train Central Ave stop)
7p - The Dance Collective at ShapeShifter Lab highlights the work of various female choreographers and dancers from across the United States. A bill consisting of solos, duets, and group pieces; dancers will take the space, captivating audience members with their storytelling movement. The choreographic artists that will be presenting are Rhamzi Burks, Fran Fuller & Jillian Foley, Marjorie Gross, Rosanna Karabetsos, Jane Krantz, Jessica Ray, and Michelle Thompson-Ulrich.
7pm - Alicyn Yaffee Trio
8pm - High Key People
Happyoukai - Kaoru Watanabe Taiko Center, Akiko Hiroshima, Barbara Merjan, Fumi Tanakadate
High Key People & Alicyn Yaffee Quartet
9:30p - Field theory: nyc
8:15 pm - Jonathan Finlayson Group featuring Immanuel Wilkins // The Jazz Gallery Mentoring Series Concert Vol.5, Ed.1
7 pm & 8:15pm: Daryl Chen Double Bill
7pm: Bobby Kappâ€™s â€œRisky Businessâ€ trio featuring Abraham Burton on saxophone and Tyler Mitchel Bass... Bobby Kapp Drums
8:15p - SHIJIN (J. Schwarz-Bart / S. Galland / M. Braff / L. David)
7pm: The Young Lions Jazz Orchestra
Bandleader/composer - Kira Daglio Fine
Alto saxophone - Aaron Kranzler, Matthew Schwartz
Tenor saxophone - Jay Karp, Alec Mauro
Bari saxophone - Joel Gardella
Trumpet - Anthony Hervey, John Otten, Jonah Moss, Max Boiko
Trombone - Jasim Perales, Timoteo Cruz, Kevin Jiang
Piano - AndrÃ©s Rovira
Bass - George Austin
Drums - Daniel Mesko
Sound It Out Series @ Greenwich HouseÂ â€” Concerts, September-December 2018
COMING ATTRACTIONSÂ â€” 7th Season!
Saturday Nov 10, 7:30pm â€”Â Josh Sintonâ€™s Predicate Trio the trio of Avram Fefer, Sean Conly & Michael Wimberly - Double-billÂ â€”Â Josh Sintonâ€™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 â€”Â Nick Millevoiâ€™s Desertion Trio the duo of Anders Nilsson & Aaron Dugan - Double-billÂ â€”Â Nick Millevoiâ€™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 â€”Â Devin Grayâ€™s Dirigo Rataplan - Devin Gray, drums; Dave Ballou, trumpet; Ellery Eskelin, tenor sax; Michael Formanek, double-bass
Thursday Dec 6, 7:30pm â€”Â â€œThe Afro-Cubism of AruÃ¡n Ortiz, from Avant-Jazz to Contemporary Chamber Musicâ€Â - AruÃ¡n Ortiz, piano/composer
At the Greenwich House Music School: 46 Barrow Street, just west of 7thÂ Avenue South in New York Cityâ€™s West Village;Â www.greenwichhouse.org, 212-242-4770.
Bill Laswell concerts
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 SebastiÃ¡n, 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 ProgressiveÂ ChamberÂ MusicÂ 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
ERIC STERNâ€™S HOUSE OF IMPROV Presents:
Friday, November 30th at 8pm:
MARILYN LERNER / KEN FILIANO / LOU GRASSI!
At Michiko Studios, 149 W 46th St, New York, NY 10036
Check out video: www.youtube.com/watch?time_continue=597&v=pqetAT0eV6A