Feliĉan Kristnaskon! (Esperanto)
The Creator Has a Master Plan
Created and Performed by Pharoah Sanders and Leon Thomas in 1969
Hum Allah Aye-Yaye
Hum Allah Aye-Yaye
There was a time, when peace was on the earth,
And joy and happiness did reign and each man knew his worth.
In my heart how I yearn for that spirit's return
And I cry, as time flies, Om, Om.
There is a place where love forever shines
And it's free, can't you see, come with me,
The creator has a master plan,
peace and happiness for every man
The creator has a working plan,
peace and happiness for every man
The creator makes but one demand,
happiness through all the land
New Things! New Things from:
Henry Kaiser & Max Kutner! Allmans tribute: Jaimoe & Joe Fonda Band w/ Raoul Bjorkenheim! Simon Nabatov / Barry Guy / Gerry Hemingway! Wadada Leo Smith & Sabu Toyozumi! Marion Brown & Dave Burrell! Howard Riley Solo! Carlos Santana & John McLaughlin! Acid Mothers Temple! Satoko Fujii / Natsuki Tamura Big CD Sale! And much more!
Upcoming Sets at Downtown Music Gallery - FREE, every Sunday at 6pm
Sunday, December 30th: Nearly New Years Celebration!
6pm: BEN GOLDBERG and Friends!
Sunday, January 6th:
6pm: JORGE NUNO / ARON NAMENWIRTH / REGGIE SYLVESTER - Two Guitars & Drums
7pm: WILL GREENE - Guitar / JESSE HEASLY - Electric Bass / RAF VERTESSEN - Drum
Sunday, January 13th:
6pm: DISSIPATED FACE 2019: STEPHEN POPKIN / KURT RALSKE /
DANIEL CARTER / WILL DAHL / BILL MILKOWSKI
In memory or our guitarist Michael Lublin who passed in 2018
Sunday, January 20th:
6pm: MATANA ROBERTS and DARIUS JONES - Alto Sax Duets - First Time Duet!
7pm: RaaDie: LORENZ RABB - Trumpet Electronics / CHRISTOF DIENZ - Zither Electronics
Sunday, January 27th:
6pm: MATTEO LIBERATORE / JON IRABAGON / TOM RAINEY - Guitar / Saxes / Drums
7pm: EMILY DENISON / ANDREW FURLONG - Trumpet / Bass
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
This Week’s Groovy Discs begin with this Amazing Duo:
HENRY KAISER & MAX KUTNER - Wild Courses (Iluso 15; Earth) Featuring Henry Kaiser & Max Kutner on 12 string guitars & 8 string bass. Over the past few years, West Coast guitar god, Henry Kaiser, has released several dozens discs upon his ever-growing audience of guitar fan-addicts. Mr. Kaiser seems to be on a mission to collaborate with as many gifted improvisers as is possible. For as long as I can recall, Kaiser has sought out fellow guitarists to perform in duo situations: From Fred Frith, Eugene Chadbourne & Derek Bailey (in the 80’s) to Sandy Ewen, Alan Licht & Killick Hinds (in recent times). Mr. Kaiser is always on the lookout for kindred creative spirits, each of whom have their own approach or language on their guitars. Max Kutner is originally from L.A., but currently lives here. Mr. Kutner is a member of the amazing Evil Genius (power trio with tubs & drums), as well playing in Drumbo’s Magic Band. Kutner recently played a duo set here with Gregg Bendian, which was one of the DMG in-store highlights of the year.
On each of the 11 pieces, Mr.’s Kaiser and Kutner switch between a dozen assorted guitars and an 8-string bass. Commencing with “Lucky Fool”, the duo begin quietly with a nimble, sparking 12-string and restrained yet busy bass underneath. There is a lovely, laid back, dream-like quality going on here that feels just right. While one taps softly on the bass, the other sprinkles ripples and undercurrents, all somehow connected. On “The Silence Wager”, Mr. Kaiser unleashes some of those rather psychedelic swirl of licks, which eventually mutate as the notes sputter and break up. What makes things work so well here is this: while one guitar sets up an enticing structure, like a blues/rock lick or groove, the other guitar will solo on top, taking us along for a great ride. On most of these pieces, Mr. Kutner will set up a series of structures or cushions, each one more engaging then the last. This gives Kaiser an opportunity to wail, soar and scream on top. Eventually, both guitars erupt together on “Boot Mistaken for an Axe Sheath”, with several layers of interconnecting lines going on simultaneously. On the longest piece, “More Court Music”, the suspense gets even more intense. The between the dark and the light, the more somber and more extreme is what makes much of the so magical or transcendent.
THE J. & F. BAND with RAOUL BJORKENHEIM / JAIMOE JOHANSON / JOE FONDA / TIZIANO TONONI / et al - From The Roots To The Sky (Long-Song 146; Italy) Outstanding instrumental work as New York improvising bassist Joe Fonda and Allman Brothers drummer Jaimoe Johanson join forces with Italian jazz musicians Tiziano Tononi, Alberto Mandarini, Gianluigi Paganelli, Beppe Caruso and Finnish guitarist Raoul Bjorkenheim, plus a host of guest musicians, as they hybridize jazz, rock, blues, avant and jam music with consummate skill.
2 CD Set $20
New from the NoBusiness Label:
SIMON NABATOV / BARRY GUY / GERRY HEMINGWAY - Luminous (NoBusiness 112; Lithuania) Featuring Simon Nabatov on piano, Barry Guy on contrabass and Gerry Hemingway on drums. Over the past decade or so, I have been watching Russian/American pianist, Simon Nabatov, continue to evolve through a few dozen discs and the occasional live performance. Whether performing in solo, duo, trio, quartet or large units, he has consistently knocked me out with his playing. Aside from 3 or so solo efforts, Mr. Nabatov works with many great great musicians, including several strong duos and trios. This is a first time trio effort for a particularly great trio: British bass giant Barry Guy and American drummer, Gerry Hemingway, both of whom are currently living in Switzerland.
There is an intense, interactive, organic, flow going on here. From quiet to explosive, I keep hearing several layers of connected currents. On “Basket Glide”, Mr. Hemingway switches for marimba for while, things get more cerebral here. The ultra-subtle, cautious interaction, has a most exquisite, hushed elegance. It takes time to get used to the restraint which eventually increases in intensity with several currents all swirling in connected orbits. There is something lovely going here as if a handful of ghosts were dancing together slowly in ritualistic circles. At some 70 minutes, there is quite a bit to absorb here, yet I did marvel at the evolves circles of creative spirits the continued to revolve all the way through. - Bruce Lee Gallanter, DMG
WADADA LEO SMITH / SABU TOYOZUMI - Burning Meditation (NoBusiness 110; Lithuania) Featuring Wadada Leo Smith on trumpet, bamboo flute, koto & percussion and Sabu Toyozumi on drums. This disc was recorded live in Yamaguchi, Japan in March of 1994. Trumpet master/composer/multi-bandleader, Wadada Leo Smith, has kept a high profile, especially over the past decade plus with a couple of dozen discs on the Cuneiform, TUM and Tzadik labels, as well as continuing collaborations with Henry Kaiser, Adam Rudolph plus his own Goldern Quartet. Japanese drummer, Sabu Toyozumi, has also worked with a stellar cast: Peter Brotzmann, Kaoru Abe, Kenny Millions and Paul Rutherford. Of all of the great trumpet players that I know and love, Wadada Leo Smith, never ceases to amaze me with each release and performance. In the past year (2018), we’ve seen/heard a half dozen discs & gigs, each one extraordinary in its own way. Although this is a live disc, the sound is superb throughout. From the gitgo, “Creative Music 1”, there is something magical, organic and transcendent going on here, an incredible conversation between two masters. Drummer, Sabu Toyozumi, is something special: keeps a great rhythmic flow going on throughout, easing up at times, pushing, pulling, adding an undercurrent or connected stream. Wadada, who seems to be on his game, no matter what, is just incredible here: lyrical at times, explosive, dancing with the music and setting us all free of any bonds that hold us down. For me, this is a perfect duo and the vibe they create makes me smile, the music a joy to behold or behear. - Bruce Lee Gallanter, DMG
MARION BROWN / DAVE BURRELL - Live at Black Musicians’ Conference, 1981 (NoBusiness 109; Lithuania) Featuring Marion Brown on alto sax and Dave Burrell on piano. Simple incredible! Alto saxist Marion Brown’s first two records as a leader were on the seminal ESP label. He also collaborated with John Coltrane (for ‘Ascension’), Burton Greene, Archie Shepp & Gunter Hampel. His music evolved beyond the ‘Free jazz’ tag in the seventies, working with Anthony Braxton, Han Bennink, Muhal Richard Abrams & Ahmed Abdullah. By the late seventies/early eighties, Mr. Brown toured and recorded with Philly pianist Dave Burrell in a quartet (in 1979) as well as a duo, which was recorded live at the University of Mass in April of 1981. Both Mr. Brown and Mr. Burrell contribute 2-3 songs each as well as including two songs from Billy Strayhorn.
Although both of these musicians are more known for the further out, freer and freakier playing, they are also learned jazz players who draw from the entire history. Starting with Mr. Brown’s “Gossip/Fortunado”, a tasty gem of song, warm and elegant like great tea on a cold day. Marion Brown’s tone here is most sublime, tasty, refreshing and taking it out only slightly. Marion Brown’s “La Placita” sounds like standard, sorry of like “Music Matador” (covered by Eric Dolphy), it has most jubilant, uplifting melody with some superb, beboppish sax from Brown, spinning quickly and effortlessly in the last section. On Billy Strayhorn’s “My Little Brown Book”, Mr. Brown’s bittersweet tone shows that he has learned a lesson from the long history of saxists for the Ellington clan, like Johnny Hodges. Dave Burrell’s “Crucificado” was once covered by my fave jazz singer Joe Lee Wilson and it is a standard of sorts. Hearing that wonderful melody brings back so many memories, making me smile and even sing along. A most perfect ending for this disc is Billy Strayhorn’s classic, “Lush Life”, which gets a most stirring version. Instead of getting some fire/free music, what we find here is something equally engaging, dealing more with our heartstrings than the usual screaming demons of the sixties. - Bruce Lee Gallanter, DMG
HOWARD RILEY - Live in the USA (NoBusiness 111; Lithuania)“The British pianist Howard Riley spent time studying, teaching and playing in the States as well as in his home country, and it is this nomadic spirit that allowed his playing and technique to develop continuously throughout his career. Riley notes in the brief liner section that he was experiencing a period of transition when these solo performances were recorded in New York City and Buffalo during the mid 1970's. The sound of the album is crisp and clear allowing the listener to hear Riley explore the entirety of they keyboard, beginning with the opening track where he frames his improvisation by playing inside the piano for a bit, creating unusual sounds that are then absorbed by his more conventional piano playing. Conventional doesn't mean stilted though, given the strength and the imagination that Riley can call upon in developing improvisations that are capable of building hypnotic narrative structures and sections of freedom that can last twenty minutes or more. The music is somewhat reminiscent of the fully improvised solo piano albums and concerts which Cecil Taylor used to perform, like Silent Tongues or For Olim. The warm accessible sections will be mixed with bracing cascading cells of freely improvised piano, and the dynamic nature of these yin and yang opposites provide the locomotion that drives the music relentlessly forward, or spontaneously composing, using the length and breadth of the instrument. The second two performances show the exciting exploration of a musician who is in the process of refining his talent, approach to the keyboard and the arts of composition and improvisation, allowing him to adjust his performance by extending and expanding his personal approach to the instrument. His skill and technique are at a very high level, but they don't overwhelm the listener and the music remains thought provoking throughout the disc, with a sense of narrative which seems to propel the sound, texture, and shading of his music. Riley is a channel for the musical information and technique to flow, refining his music as both a concept and a language, and is is fascinating to hear. This is a minimally designed package with a brief statement from Riley and discographical information. The music contained within is memorable, that of a major player during a period of growth and renewal. Riley's music is complex but never overwhelming, and fans and students of modern improvised piano should take note.” - Tim Niland, JazzandBlues.blogspot
LIUDAS MOCKUNAS - Hydro 2 (NoBusiness 113; Lithuania) Featuring Liudas Mockūnas – soprano, water prepared soprano and water prepared keyless overtone saxophones. Devoting most of his time to performing with various international groups, Liudas is a multi-reeds player and composer, whose name stands for masterly performance and intriguing compositions. His 'natural' idiom is an explosive mixture of free jazz, lyricism and expressionism combined with highly unconventional performance techniques. His in-depth exploration of the properties of sound and possibilities of harmonic series lead to an innovative and personal approach to wind playing techniques. This allowed him to escape from stylistic conventions and form an entirely original style, distinguished for multi phonics, expressive discharges of sound, over bends and unusual sound effects. Trained as a jazz and classical musician, Liudas Mockunas has a deep understanding and practical knowledge of both fields, the boundaries of which he traverses back and forth in his own compositions. My review next week. - BLG
CARLOS SANTANA & JOHN McLAUGHLIN With LARRY YOUNG / DOUG RAUCH / BILLY COBHAM - A Love Supreme / Chicago Broadcast 1973 (Left Field Media 577; EEC) Outstanding former bootleg & 2 CD set shows these two guitar god/disciples of Sri Chimnoy to be at the heights. The spirit of John and Alice Coltrane pervades with a few Trane covers: “A Love Supreme”, “Naima” and “Let Us Go into the House of the Lord”. Although some picky critics might call this, “fusion”, this music also captures a spiritual and most uplifting vibe! - BLG
2 CD Set $20
ACID MOTHERS TEMPLE & THE MELTING PARAISO U.F.O. - Reverse Of Rebirth In Universe (Riot Season Repose 073; UK) "In 2016, 21 years after Acid Mothers Temple & The Melting Paraiso U.F.O. were founded in Osaka, Japan, there was a major shift in the line-up and "Next Generation" was added to the band's name. We now view the first 20 years of the bands career as chapter one in our story, and we are now turning the page to start chapter two. In 2018, it's time to re-record our classics with this new line-up, we just opened the door to the next stage!" - Kawabata Makoto.
Twenty-four years into their existence, Acid Mothers Temple & The Melting Paraiso U.F.O. have circled the globe a few dozen times, released over 100 albums and played thousands of shows. In recent years, they've experienced seismic line-up changes, which have given them another new lease on life. Original members Kawabata (guitar, speed guru) and Higashi Hiroshi (synthesizer, noodle god) are now joined by Jyonson Tsu (vocal, midnight whistler), Satoshima Nani (drums, another dimension), and Wolf (bass, space and time). As anyone that has seen the new line-up live will testify, things have gone even more cosmic. Reverse Of Rebirth In Universe sees the band return to their old label Riot Season for the first time since 2012's IAO Chant From The Melting Paraiso Underground Freak Out (REPOSE 032CD/LP). Long-time fans will recognize some of the song titles, but the songs themselves have been reworked and transformed far away from their original versions. New boy Tsu's quiet, almost whispered vocals bring a whole new aura to proceedings, despite the familiar riffs. It's so laid back in places it's practically horizontal, with only occasional trademark piercing guitar squeals threatening to destroy the peace and calm. All of side two is taken up with the twenty-minute epic "Black Summer Song"; if this is an indicator to where the AMT mothership is heading, we're all in for another f*cked up and magical ride. In a world that's more messed up than ever, one could all use a break away from the norm, and nobody takes one as away from the norm like Acid Mothers Temple & The Melting Paraiso U.F.O. CD version includes bonus cover of Gong's "Flying Teapot", edition of 500 in gloss-finished gatefold card sleeve.
SATOKO FUJII ORCHESTRA TOKYO With SACHI HAYASAKA / NATSUKI TAMURA / et al - Kikoeru (Libra 215-055; Japan) This is the 12th and final Satoko Fujii release for her 60th birthday celebration of 2018. The ever ambitious Satoko Fujii runs four different orchestras and each with several discs under their belt. Her Tokyo Orchestra has been around the longest (since 1977), hence they sound as if they have evolved over time. Besides Natsuki Tamura, Ms. Fujii’s longtime companion, the only other name here I recognize is saxist, Sachi Hayasacki,who is a bandleader herself and has a disc out on Tzadik. This disc is a tribute to saxist, Masaya Kimura, once a ember of this band. Ms. Fujii starts off simply with several horns all playing those repeating, Morse code like lines, building intensity over time with an amazing trumpet solo up first (Natsuki Tamura, perhaps?). On the aptly titled “Farewell”, a tenor player solos while a sea of horns moves in waves around the soloist. The title track, “Kikoeru”, has a number of central soloists with thoughtful solos, but it the way Ms. Fujii conjures up colors,shades and textures for the rest of the orchestra to swirl, sway or move in currents underneath that makes this so evocative or ritualistic. I have often gotten the feeling that Ms. Fujii has a progressive/jazz/rock heart or foundation. Her charts remind me of Don Ellis or Frank Zappa in part but without all the hoopla (unnecessary complexities). There are a number of extraordinary solos throughout this disc for saxes or trombone, but I can’t tell you who’s who. Another colossal effort from the the most prolific female composer/bandleader/pianist! - Bruce Lee Gallanter, DMG
SATOKO FUJII / NATSUKI TAMURA CD SALE:
MAHOBIN With LOTTE ANKER / NATSUKI TAMURA / IKUE MORI / SATOKO FUJII = Live at Big Apple in Kobe (Libra 204; 050)
SATOKO FUJII with PAUL BLEY - Something About Water (Libra 202-101; Japan)
NATSUKI TAMURA - Dragon Net (Libra 101-032; Japan)
NATSUKI TAMURA QUARTET - Exit (Libra 104-010; Japan)
NATSUKI TAMURA / SATOKO FUJII - How Many? (Libra 102-103 Japan)
SATOKO FUJI - Indication (Libra 201-102; Japan)
SATOKO FUJII NEW ORCHESTRA - South Wind (Libra 215-104; Japan)
SATOKO FUJI QUARTET With TATSUYA YOSHIDA - Vulcan (Libra 204-005; Japan)
A Few reviews of the above CD’s:
SATOKO FUJII NEW ORCHESTRA - South Wind (Libra 215-104; Japan)This is a beautifully re-mastered reissue  of Ms. Fujii's 1997 recording (out-of-print for many years) with Briggan Krauss, Oscar Noriega, Tony Malaby, David Castiglione, and Andy Laster on saxes; Natsuki Tamura, Herb Robertson, Dave Ballou, and Steven Bernstein on trumpets; Satoko and guest [2 cuts] Yuko Yamaoka on piano; Stomu Takeishi on bass, and Aaron Alexander on drums! "Composer, arranger, and pianist Satoko Fujii leads her first big band on South Wind, a set that is as shocking as it is delightful. The reasons for the shock are the series of tonal and improvisational acrobatics she puts her 15-piece orchestra through and the montage technique she approaches harmony with. Her predecessors are clear -- many of them (Joe Maneri, Jimmy Giuffre, Paul Bley, and George Russell) were her teachers at the New England Conservatory; but her method is her own. Creating backdrops from available sources -- brass, winds, reeds and rhythm -- is the backbone of her style. Not a solid surface for soloists to fly from and return to, but solid as a coloring tonal device on which to erect particular structures of harmonic and intervalic counterpoint. Using only her own and her husband's compositions (the trumpeter Natsuki Tamura), she can create a palette from which the lines between improvisation and written script blur, and then fade altogether. By equating microtonal strategies she attains a different approach to harmonic convergence and orchestral consonance -- though the sound to the listener may seem dissonant. The territory where the entire album turns from and heads to is the four-part suite "Seasons." Fujii uses the elementals of the orchestra (four winds there, a brass instrument and the piano here) to achieve fluidity by which other strands, sequenced according to mood, mode, and rhythm, enter the dialogue and fill in the scene. By the time the entire band is in there pitching, the entire body of music has shifted from one space to another -- a tonal world where scalar approaches to solos don't work, but inverted harmonic sequences do, along with their resultant pitches. And yes, it swings in its own way, but the swing is the thing and it's definite; it's not just a bunch of improvisers blowing each other out of the chart, but whistling themselves -- and their section members -- through them. The texts are adventurous but playful, and austere yet lush in others. This is first-rate big band music. Based on her two solo outings and her duet with Paul Bley, there is no limit to Fujii's abilities as a composer, pianist, or bandleader. Bravo." Thom Jurek, AMG
NATSUKI TAMURA QUARTET - Exit (Libra 104-010; Japan) This is trumpeter Natsuki's latest quartet recording  with an all-Japanese line-up that has Takayugi Kato on guitar, wife Satoko Fujii on synth, and Ryojiro Furusawa on drums. Natsuki is a marvelous and extremely diverse trumpeter, who has solo, duo and quartet recordings with his wife and musical companion Satoko Fujii, as well as co-producing and writing arrangements and songs for all of Satoko's larger projects. This is Natsuki's second quartet date and one of the rare opportunities to hear Satoko playing synth, rather than piano. Natsuki is also playing his trumpet through some devices like an echoplex. "Entrance" features some Miles-like electric trumpet and spooky synth, but eventually breaks into some fractures grooves. On "Endanger", the el. trumpet and synth weave their dark and mysterious electronic sounds into a thick cauldron of strange sounds as the drums dance underneath. "Eliminate" is the longest track and it deals with suspense and subtle changes in the mood. Distant, solemn trumpet smears and mesmerizing electronics swirl slowly and float together in the mist. It is often difficult to tell the difference between the guitar and the synth, since both are bathed in an electronic haze. The trumpet occasionally reaching out above the clouds below.
NATSUKI TAMURA / SATOKO FUJII - How Many? (Libra 102-103 Japan)Natsuki is an amazing trumpter, Satoko's husband and her most constant musical partner. He is on many of her releases, except for the solo and duos with Paul Bley and Mark Feldman and her downtown trio. This is a recently remastered reissue [originally issued on Leo and now out-of-print] of their duo effort that preceeded "Clouds"!
SATOKO FUJI QUARTET With TATSUYA YOSHIDA - Vulcan (Libra 204-005; Japan)A clash of avant-garde jazz and free rock.... Vulcan is hotter than anything Satoko Fujii recorded before, closer to her recordings with her orchestra than her trio sessions. Strongly recommended for those who think they can handle it. - Francois Couture, AMG
NATSUKI TAMURA - Dragon Net (Libra 101-032; Japan)Solo trumpet offerings are still relatively rare although this is the third one from Mr. Tamura and Peter Evans has two at this time. Similar to his wife and constant collaborator Satoko Fujji, Mr. Tamura remains beyond categories and unpredictable in all musical situations. This disc begins with a somber, stark piece called "Shiro", each note is fragile and carefully placed, some sounding like bent-note flatulence in the last section. The mood here is mostly laid back, warm and often haunting. Natsuki adds bits of silly but charming vocals and hand percussion on "Wunderbar", which reminds me of someone's deranged uncle. There is nothing particularly experimental about this disc but there is something modest and quietly enchanting. Natsuki Tamura has nothing to prove - he creates a masterful dream-like ambiance. - Bruce Lee Gallanter, DMG
Last copies of these Rarities:
PHAROAH SANDERS With STAN FOSTER/JANE GETZ/WILLIAM BENNETT/MARVIN PATTILLO - Pharoah's First: Expanded Edition (ESP Disk 4008; USA) Pharoah Sanders: tenor saxophone; Stan Foster: trumpet; Jane Getz: piano; William Bennett: bass; Marvin Pattillo: percussion. "Pharoah Sander's classic 1964 session, his first as a leader. Remastered from the original tapes and presented here for the first time with insightful and entertaining interview clips detailing Pharoah's early experiences as a young musician in New York." This edition includes over thirteen minutes of previously unreleased interviews with Pharoah Sanders and ESP-Disk founder/CEO Bernard Stollman. This disc can be found in the Pharaoh sanders 4 CD set on ESP-Disk, which I believe is still in print. This, the single CD version, is long out of print.
ANGELICA [V.A. With MIKE PATTON/IKUE MORI/CHRIS CUTLER/DAGMAR KRAUSE/OTOMO YOSHIHIDE et al](ReR/Megacorp IDA 013; Italy)'Ground Zero' (Otomo Yoshihide), Chris Cutler's 'P53', Stock Hausen and Walkman, Bob Ostertag, Ikue Mori, Dianne Labrosse, Martin Tetreault, Tenko, Dagmar Krause and Marie Goyette, Jean Derome, Zygmunt Krauze (with Orchestra del Teatro Communale di Bologna), Mike Patton, Uchihashi Kazuhisa, John Oswald and the Italian Trio Magneto. Plus cameo appearances from John Oswald and Rene Lussier.
ALEXANDER VON SCHLIPPEMBACH / MANFRED SCHOOF - Blue Hawk (JazzWerkStatt 119; Germany) Alexander von Schlippenbach (piano); Manfred Schoof (trumpet, flugelhorn). Now elder statesmen of German jazz, these two distinguished players premiered as total firebrands in the free jazz scene of the sixties. Playing together in Schoof's Orchestra and in Von Schlippenbach's Globe Unity Orchestra, they were seminal influences on European free jazz. Although they have mellowed somewhat, their intuitive experience is clear on this new duo album. Interviewed in the liner notes Schoof is asked how does he approach a recording, and what makes a record successful? The answer: You listen to it and think they re either good or they aren't. That's how you decide whether to release them. As simple as that.
ARTHUR DOYLE and his QUIET SCREAMERS - First House (Amish Records 048; USA) "First House is the final recordings from free jazz legend and Birmingham, Alabama native, Arthur Doyle. The LP was recorded live at the Stone July 11, 2012 and these six pieces are backed by His New Quiet Screamers, a Brooklyn-based ensemble adding muscle and movement to Doyle's always already free, non-linear saxophone, flute and vocal lines. Born in Birmingham in 1944, Doyle studied Music Education at Tennessee State University in Nashville. In his early years, Doyle worked with a wide array of musicians and in a broad range of musical styles, from R&B to soul to traditional jazz, collaborating with everyone from future Sun Ra Arkestra trumpeter Walter Miller to funk-soul-disco diva Gladys Knight. Doyle officially emerged on the international jazz scene, however, playing on Noah Howard's iconic The Black Ark (1968), and later on Milford Graves's 1976 IPS LP Babi (1977). In 1978, Doyle debuted as a band leader and soloist with Alabama Feeling, released on Charles Tyler's Ak-Ba label. Alabama Feeling features Charles Stephens (of the Sun Ra Arkestra) on trombone, drummers Rashied Sinan and Bruce Moore, and bassist Richard Williams. After the release of Alabama Feeling, Doyle continued to ignore boundaries and generic conventions, playing with Rudolph Grey as part of The Blue Humans, which introduced his music to NYC's downtown and no-wave scenes, including the likes of Lee Ranaldo, Kim Gordon and Thurston Moore. In the early 1990s, Doyle's work was re-introduced to another generation, through releases for labels like Ecstatic Peace and Audible Hiss. Since the late '90s, Doyle continued a fevered pace in terms of his collaborations, most notably with Sunny Murray, Hamid Drake, Takahesi Mizutani (of the Les Rallizes Denudes) and Sabu Toyozumi, among many others. His New Quiet Screamers consists of an acclaimed ensemble of musicians with a wide array of history and associations. Members have played with and/or include: Sunwatchers, Dark Meat, First's Western Ennisphere, Matana Roberts, among others. This gatefold LP includes a commissioned essay from noted jazz historian Clifford Allen who describes His New Quiet Screamers as 'vault[ing] and envelop[ing] Doyle's bursts' of sound to the point where Doyle 'sounds positively invigorated.' Doyle's final recordings offer what Allen characterizes as a kind of 'unfurling' of the free jazz lexicon, offering insights on 'the spidery architecture of an obliquely referenced standard' that defined this enigmatic artist's entire career. Standard and experimental improvisation alike, First House offers a window on Doyle's last performances, an artist very much at the top of his playing and artistic form."
LP $26 [last couple of copies]
ELIANE RADIGUE - Geelriandre / Arthesis (Important 464; USA) Eliane Radigue's Geelriandre / Arthesis is named for the pieces that fill its two sides. Geelriandre, realized on an ARP 2500 synthesizer in 1972, features Gérard Fremy on prepared piano. Arthesis, realized using the University of Iowa's Moog in 1973, comprises the full duration of side B. Eliane Radigue has received much deserved praise for her transcendent compositions for tape, synthesizers, and acoustic instruments. Her work is deep, slowly changing, and timelessly resonant with slowly shifting timbres so dense that they seem infinite. Acute physicality, overtones, and psychoacoustic activity fills your space, follows you, grounds you, pulls you in or lets you go. It's all here/hear. Pressed at RTI; first edition of 1000.
LOL COXHILL/RAYMOND MACDONALD - Morphometry (Glo-Spoy 1108; UK) Morphometry is an exquisite album of duets by the legendary soprano sax player Lol Coxhill and his friend and disciple, Raymond MacDonald. These are recordings made in July 2008 during what would be Coxhill's last visit to Scotland. Pressed on custard-colored vinyl with fleas on the label, in homage to Coxhill's album Fleas In Custard (1975), this release features a front cover woodcut created by Ian Barrett, whose uncle Syd was one of the figures whose paths crossed with Lol in 1960s London. Mastered for vinyl from 24-bit audio files. Includes CD of full album.
LP CD $30
BOB DYLAN & THE NEW FOLK MOVEMENT - Bob Dylan & The New Folk Movement (Delta 79001; Germany) A great compendium of music on double LP-vinyl which features the self-titled debut album by Bob Dylan (born Robert Allen Zimmerman) from 1962 on side one and two, plus 12 extra tracks on side three and four with 12 recordings by other key performers from the new folk movement: Joan Baez (born Joan Chandos Báez), Judy Collins (born Judith Marjorie Collins), who are both still very active today, Bob Gibson (who introduced an unknown Joan Baez at the Newport Folk Festival of 1959), and Dave Van Ronk (nicknamed the "Mayor of MacDougal Street, N.Y." and who was considered by many to be music's raconteur, troubadour, and provocateur). It is very much folk music history in the making, and worthy of a place in any discerning music fan's collection.ances, an artist very much at the top of his playing and artistic form."
2 LP Set $22
Bruce Lee Gallanter’s Recommended Gig List for December of 2018:
the STONE is CLOSED FOR THE HOLIDAYS
CLOSED UNTIL JANUARY 2
THE STONE COMMISSIONS
WEDNESDAY DECEMBER 26: NED ROTHENBERG - TWENTY FIVE DOLLARS
In collaboration with National Sawdust The Stone presents a series of World Premieres the last Wednesday of every month through 2018.
7pm at National Sawdust in Williamsburg. For details check https://nationalsawdust.org/event/jazz-stone-commissioning-series/
THE STONE AT RUSS AND DAUGHTERS CAFE! THURSDAY DECEMBER 27: MARK FELDMAN
ONE SET AT 8PM — ADMISSION FREE! The Stone is proud to present music at Russ and Daughters Cafe at 127 Orchard Street the last Thursday of every month! Drop by for smoked fish, pickles and great music!
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
29 Cornelia St - 212-989-9319
In the heart of the West Greenwich Village, NYC
Friday Dec 21
8:35PM GILAD HEKSELMAN & FRIENDS - Gilad Hekselman, guitar; Joel Ross, vibes
Saturday Dec 22
8:35PM GILAD HEKSELMAN & FRIENDS - Gilad Hekselman, guitar; Colin Stranahan, drums
DECEMBER SHOWS for Eli Wallace - Keyboard Wiz & Composer:
Friday 12/21 Vamp, Oakland CA
8pm: Rob Pumpelly - Drums
Rent Romus - Saxophones
Eli Wallace - Piano
9pm: Ero Guro
Tom Weeks - Alto Saxophone and Compositions
Mike Srouji - Bass
Robbie Pruett - Drums
Patrick Talesfore, Jr. - Drums
William Hooker in 2019
“360 Degrees of Straight Liftoff” w/
Bob Holman, William Parker, Raymond Nat Turner, William Hooker.
Bowery Poetry Club - 308 Bowery, NYC.,
Sunday, January 13, 2019 3 PM $10.00 Admission.
Info and tickets – 347-898-7223.
William Hooker event
Live Music / Silent Film - * Solo drums -“Symbol of the Unconquered” – Oscar Michaeux (1920) a Silent film….
*“QuartetMOON” – w/ Jon Irabagon, Mara Rosenbloom, Adam Lane, William Hooker – New music in the free jazz tradition…..
Shapeshifter Lab – 18 Whitwell Place , Brooklyn , NY. -
Wednesday Jan 23rd, 2019 7 pm. General admission $8-$15.00
tickets and information - 646-820-9452