“No Man Can Find the War”
by Tim Buckley from ‘Goodbye and Hello’ Album (rel August, 1967)
Photographs of guns and flame
Scarlet skull and distant game
Bayonet and jungle grin
Nightmares dreamed by bleeding men
Lookouts tremble on the shore
But no man can find the war
Tape recorders echo scream
Orders fly like bullet stream
Drums and cannons laugh aloud
Whistles come from ashen shroud
Leaders damn the world and roar
But no man can find the war
Is the war across the sea?
Is the war behind the sky?
Have you each and all gone blind:
Is the war inside your mind?
Humans weep at human death
All the talkers lose their breath
Movies paint a chaos tale
Singers see and poets wail
All the world knows the score
But no man can find the war
I got Tim Buckley’s ‘Goodbye and Hello’ album in the summer of 1968 in a trade with a friend a few years older than me at the Ashbrook Swim Club, where I spent my summers growing up. It was a mono copy and I also got The Paupers ‘Magic People’ album as well. Those two albums remain personal favorites more than fifty years later. This was the first album that I got from Tim Buckley and it is a masterpiece: musically, lyrically and production-wise. It was produced by Jerry Yester, a former member of the Modern Folk Quartet, a later member of the Lovin’ Spoonful and the partner of singer Judy Henske. Check out their two records of quirky folk/psych/pop, ‘Farewell Aldebaran’ and Rosebud (band name). I finally had a chance to hear a clean original LP copy of ‘Goodbye and Hello’ on an expensive stereo a few years back and I was astonished by the sound. I could hear where each of the dozen musicians were placed in the mix, a revelation! If you really want to hear this treasure with it s best sound, do not listen to it on CD or download or recent reissue. Find an old-time vinyl junkie like yours truly, with a good stereo and you will hear what I mean. - BLG
The DMG FREE Music Series Continues Every Sunday at 6pm and Features:
Sunday, April 14th:
6pm: DAVID GROLLMAN - Solo Snare
7pm: DREW WESELY / DAVE ZAKARIAN - Guitar and Alto Sax
8pm: VIV CORRINGHAM / MIA ZABELKA - Voice / Violin
Sunday, April 21st:
6pm: AARON NAMENWIRTH / DANIEL CARTER - Guitar / Horns
7pm: BENJAMIN SCOTT - Drums Reeds / K. HANK JOST - Bass Reeds
Sunday April 28th:
6pm: OMAR & EMILIO TAMEZ - Tribute to Paul Motian
7pm: BLAISE SIWULA / LUCIANO TROJA / GIANCARLO MAZZU
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
A FEW QUICK ANNOUNCEMENTS:
For those of you who ordered the FRED FRITH 3 CD set on Intakt, restocks copies will arrive in the next few days, everyone who ordered will get their copy soon.
Anyone who ordered any or all of the three DAVE DOUGLAS subscription-only CD’s on Greenleaf, we should also get those next week as well, hopefully. All orders should be fulfilled by next week.
Since we are now selling more USED vinyl than ever before,hence we are looking to purchase more from those who want to sell off their collections. We are interested in mostly jazz, rock, prog, blues, funk & modern classical from the fifties & onwards. No scratchy records or thin reissues from the seventies. You can also donate these to the ‘Keep DMG Alive’ fund if you wish. We know it is Record Store day this Saturday, but every day is Record Store Day at DMG, one of the last record store remaining who specialize in creative music!
We are not purchasing very many USED CD’s since they are becoming more difficult to sell. Plus we have gotten a good deal of CD’s donated over the past few years, thanks! - BLG
Three New Discs from the Fine Folks at RELATIVE PITCH:
BRUCE ACKLEY / FRED FRITH / HENRY KAISER / ARAM SHELTON - Twins (Relative Pitch 1079; USA) Featuring Bruce Ackley on soprano sax, Fred Frith on electric guitar & piano, Henry Kaiser on electric & acoustic guitars and Aram Shelton on alto sax. Thanks to my old friend Fred Frith, I was introduced to many of the members of the early Downtown Scene starting in November of 1979, 40 years ago this year! Within a year or so I met John Zorn, Eugene Chadbourne, Tom Cora, Wayne Horvitz, Robin Holcomb, Henry Kaiser, Polly Bradfield, Elliott Sharp, Phillip Johnston, Dave Sewelson, George Cartwright, Michael Lytle, Ned Rotheenberg, Bob Ostertag, LaDonna Smith and Davey Williams. It was an exciting time for me to witness a new and unique scene emerge, evolve and thrive. In the early days, I thought that Mr. Kaiser, Davey and LaDonna were locals but soon found out that Kaiser lived in the Bay Area and that Davey & LaDonna were from Birmingham, Alabama. The immensely prolific guitarist, Henry Kaiser, lives to record and release discs (and downloads) by as many musicians as he chooses to collaborate with, every release with different personnel. For this disc, he has organized a unique quartet of old and new friends. The first time I caught Mr. Kaiser play solo guitar was at Soundscape in the early eighties. For the second set Kaiser had three members of a sax quartet known as ROVA sit in with him. I hadn’t heard of this group yet, whose personnel included Bruce Ackley and Larry Ochs. Around the same time, Fred Frith, who moved to NYC in 1980, had a group called Mad World Music, whose personnel changed over time, but did include Mr. Kaiser and Toshinori Kondo, one of the most intense/extreme trumpeters ever. Kaiser and Frith played a number of duo gigs at that time and had a couple duo guitar albums released. Mr. Frith eventually moved to the Bay Area to teach at Mills College, but only played with Mr. Kaiser on rare occasion. Add to this group saxist Aram Shelton, originally from Chicago, then the Bay Area and now in Europe I believe.
Mr. Kaiser asked all members of this quartet to bring in one original piece plus a few pieces from another early collaborators: Eugene Chadbourne and John Zorn. The only other cover comes from legendary saxist/composer Steve Lacy, who was inspiration to many members of the Downtown scene. For those who enjoy reading about the history of this scene, there are informative liner notes by another great guitarist and early collaborator named Duck Baker. What I love about this disc is that shows that there was unique approach which began forty years ago and has long evolved yet it is still connected, the past and present are linked. The opener, “The Shreeve” by Dr. Chadbourne, captures the fractured grace of that era in avant-music history and brings it up to date. Bruce Ackley’s “Emit Time” has Frith and Kaiser playing with a most haunting, ghostlike dreaminess, while the saxes float quietly around them, exchanging ideas and roles. Mr. Kaiser’s “Court Music” is long with different sections, some directed, some free. It is one of the two long pieces and moves from Morton Feldman-esque subtly (with Frith on piano) to a series of long tones stretched out, occasionally mutated with certain devices plus some inspired noise eruptions. Each piece has a different character, vibe or structure/challenge. For around 20 years, John Zorn composed some 25 game pieces, only half of which have been recorded and released. Amongst his diehard fans, the questions remains we he ever finish recording the unreleased game pieces?!? “Curling” is one of Mr. Zorn’s relatively rare game pieces, hence a new version of it is certainly an unexpected delight. As with most discs with Henry Kaiser, this one is 75 minutes long. There is so much great music here that it will take some time to fully absorb and appreciate. - Bruce Lee Gallanter, DMG
EUGENE CHADBOURNE / HENRY KAISER - Wind Crystals: Guitar Duets By Wadada Leo Smith (Relative Pitch 1083; USA) Featuring Eugene Chadbourne on acoustic guitar & banjo and Henry Kaiser on acoustic guitar. Guitarists Eugene Chadbourne (originally from Colorado, via Calgary, Alberta, Canada) and Henry Kaiser (from the Bay Area for most of his life) met in Worcester, MA in 1976. Mr. Chadbourne moved to NYC in 1977 and became an early member of the soon-to-erupt Downtown Scene. Mr. Kaiser often came to NY in the early eighties to work with Fred Frith (English guitarist from Henry Cow who moved here in 1980), John Zorn, Dr. Chadbourne, etc. Longtime friends, Chadbourne and Kaiser worked together on occasion but rarely recorded. Just a guitar trio from the late seventies, a guitar duo from the nineties and a handful of early John Zorn sessions. For this disc, the great-grandads of avant guitar play the music of Wadada Leo Smith, an inspiration to both and an ongoing series of collaborations with Wadada and Kaiser. This disc begins and ends with two long (around 15 minutes) versions of Mr. Smith’s “Wind Crystals”. The first version was recorded in 1977 (more than 40 years ago) and redone in 2017. Although both of these players often play mostly electric guitar, for this disc they use only acoustic guitar & banjo (Dr. Chad). The early version of the title piece, has that ancient, insect music (which refers to British avant/jazz improv of the sixties & seventies), sort of sound. Sparse squeaks, focused fragments, the stings & body of the guitar rubbed, notes bent and carefully placed. There are occasional melodic fragments that shine through the sparse carefully crafted space. There sections of lovely, bluesy, quaint, melancholy, spacious, stunning, bent notes slowly placed on a blank canvas. Time is slowed down, the pace is deliberate. Things explode on a piece called “Pacifica”, the intensity level near breaking point, the balance between Dr. Chad’s banjo and Kaiser’s guitar just right. The second version of “Wind Crystals” from more than 40 years later, sounds similar yet is better recorded and even more focused. All of those extraneous sounds, bent notes, slide guitar fragments sound even better now as both men have matured, evolved and expanded their own vocabulary. This version is a tour-de-force and a perfect way to bring this colossal effort to great close. It sounds as if both men are giving us clues, references to the many styles that have absorbed over the many years. Most impressed on so many levels. “In Memory of Mike Panico” it says here and no doubt he would be proud of what we have left to inspire us. - Bruce Lee Gallanter, DMG
PAUL FLAHERTY - Focused & Bewildered (Relative Pitch 1085; USA) Featuring Paul Flaherty on alto & tenor saxes. There are a handful of legendary elder free music saxists who continue to evolve, experiment, dig deep, well into their golden years and beyond: Oluyemi Thomas, Wally Shoup, Jack Wright, Rich Halley, Tamio Shiroshi and Paul Flaherty. Considering that Connecticut-born saxist, Paul Flaherty, has been recording since 1978, with more than thirty discs under his belt, solo offerings by him are pretty rare. Mr. Flaherty does/did have an ongoing series of recordings with Randall Colbourne and then Chris Corsano on drums, as well as with Bill Nace, Steve Baczkowski and Weasel Walter. A solo recording by Paul Flaherty was and is a great idea, hence we get his unique sound direct and unobscured. Mr. Flaherty seems to be constantly searching, concentrating on certain notes, bending, carefully shifting, from occasional near-lyrical laments to intense eruptions The balance between the two extremes is well-measured. Flaherty is often going back and forth between the somber laments and intense eruptions, knowing when to hold back and when to let go. Is that a ballad hidden within or a near funky, rhythmic detour..? Impressive either way. Flaherty’s tone is like putty that keeps being reshaped to fit a new mold or vibe. The light pink and dull black cover of a shore line by moonlight and title, ‘Focused & Bewildered’ also make perfect sense for the music held within. Only on Relative Pitch. - Bruce Lee Gallanter, DMG
WAYNE HORVITZ EUROPEAN ORCHESTRA with SILKE EBRHARD / ALEX WARD / LUCA CALABRESE / ERIC BOEREN / WOLER WEIRBOS / GERHARD GSCHLOSSL / et al - Live at the Bimhuis (NovaraJazz 002; Italy) Featuring Wayne Horvitz - composer & conduction, Luca Calabrese & Eric Boeren on trumpets, Silke Eberhard, Edoardo Marraffa & John Dikeman on saxes, Wolter Weirbos & Gerhard Schlossl on trombones, Alex Ward on clarinet & guitar, Danilo Gallo on bass and Zeno de Rossi on drums. This was recorded live at the Bimhuis in Amsterdam and includes a well selected Italian/Dutch crew. The late Butch Morris was a longtime friend and early collaborator with Wayne Horvitz. Since Mr. Morris’ recent passing, Mr. Horvitz has been working on his own version of conducting, something that Mr. Morris pioneered over several decades. I know most of the personnel here from different groupings and labels. Along with another orchestral disc out on the National Sawdust label, Mr. Horvitz is showing himself to be an excellent compose and conductor of strong, spirited and well thought out music. I will not review this as of now since we have just a half dozen copies, but am trying to get another dozen in a few weeks. So please be patient if you are quick enough. - BLG/DMG
CD $18 (We currently have a half dozen copies & hope to get more in a few weeks)
ELLIOTT SHARP / ALVARO DOMENE / MIKE CARATTI - Expressed by the Circumference (Iluso 18; Earth) Featuring Elliott Sharp on electro-acoustic bass clarinet, electric guitar & electronics, Alvaro Domene on seven string el. guitar and Mike Caratti on drums & percussion. The disc was recorded just a few months ago in January of 2019. The ever-prolific Downtown guitarist & composer, Elliott Sharp, needs no introduction to the regular subscribers of the DMG newsletter. However, Mr. Domene (from Spain) and Mr. Carratti (from Australia) both co-run this, the Iluso label for the past few years. Mr. Sharp rarely plays bass clarinet on recordings so it is an interesting choice to have him play it here. After reviewing a disc with Fred Frith, Henry Kaiser & 2 saxists earlier today, I am reminded of certain style or approach to free improv, that is well captured here. Mr. Sharp switches between bass clarinet (w/ devices) and electric guitar, with Mr. Domene also on (7 string) electric guitar and Mr. Carratti on drums. The playing here is often furiously paced, intense and focused. Both guitarists appear to be using different alterations for their axes, the sounds slowly changing, mutating, notes bent, split, warped and twisted into different shapes. Three of the nine tracks were written by either Mr. Carratti or Mr. Domene, although it is difficult to tell between the free and/or directed/written sections. “Civil Tongue”, which was written by Mr. Domene, does have obvious written parts which bring the trio together through a few tight connections between the free/focused bits. What I find most intriguing here is the way both guitars are used differently, each with in its own altered tones, which determine the direction or interaction of the ongoing improv sections. Often the drums and guitar lock into a groove, riff or idea which then evolves as the other player (guitar &/or bass clarinet) add to the direction. After so many years of listening to Elliott Sharp play guitar, I can pick out his sound here since it is so distinctive. This is a strong date by three gifted improvisers who are at the top of their game. - Bruce Lee Gallanter, DMG
JOSHUA ABRAMS AND NATURAL INFORMATION SOCIETY - Mandatory Reality (Eremite MTE 071-72; USA) ‘Mandatory Reality’, the new album by Joshua Abrams and Natural Information Society, is here. Setting aside (for the moment) the electric instrumentation of Simultonality (GB 048CD/MTE 068LP, 2017) and Magnetoception (MTE 063-64LP, 2015), Joshua Abrams conceived Mandatory Reality for an eight-piece acoustic manifestation of NIS, consisting of himself on guimbri, Lisa Alvarado on harmonium and gongs, Mikel Avery on tam-tam and gongs, Ben Boye on autoharp and piano, Hamid Drake on tabla and tar, Ben Lamar Gay on cornet, Nick Mazzarella on alto saxophone, and Jason Stein on bass clarinet. A double album, Mandatory Reality is comprised largely of two performances, both Joshua Abrams compositions, 24- and 40-minutes in length. While new to the band's records, long duration pieces are familiar to those who've heard Joshua Abram and NIS in concert in recent years, where elaboration on a single composition for an hour or more is not unusual. Gradual tempos dominate Mandatory Reality. Recorded two months before the 2017 solar eclipse, Mandatory Reality is the sound of Joshua Abrams and NIS taking its time. Merging methodical compositions with sonically voluptuous orchestration, Abrams heightens the immersive and hypnotic qualities Abram and NIS music is known for, taking the band and the listener deep into a collective meditative space. A grand realization of long-form psychedelic music, Mandatory Reality is a dispatch from a sound world that is increasingly unique to itself. All performances on Mandatory Reality are full takes recorded live to tape by the full ensemble, magnificently captured by Greg Norman at electrical audio, Chicago -- the first true "audiophile" recording of Joshua Abrams and NIS. Mastered by Helge Sten at Audio Virus, Oslo. Cover painting by Lisa Alvarado. Jackets, retro-audiophile sleeves and record labels hand-screen printed by Alan Sherry at Siwa Studios, Northern New Mexico.
2 CD Set $20
PETER EVANS and SAM PLUTA - Two Live Sets (Carrier Records; USA) “Sam Pluta (live electronics) and Peter Evans (trumpet) have been working together for over a decade. Their work extends from their duo collaborations to large ensemble performances of music composed by each, work with Wet Ink, The International Contemporary Ensemble, Evan Parker's Electro-Acoustic Ensemble, Rocket Science (with Parker and Craig Taborn), Peter Evans Ensemble, and music commissioned by the Harlem Jazz Museum. The duo has released two albums on the Carrier label - 2010’s sum and difference and 2014’s Event Horizon - and has toured yearly (internationally and in the USA) since 2013.
In their duo music, improvisation is used to bridge uncharted sonic worlds for Evans' traditional acoustic instrument with Pluta's customized and highly flexible software. Their instruments are at some points fused into a unified sonic entity indistinguishable as two voices, while at others engaged in violent counterpoint.
Two Live Sets shows the duo pushing sound-based improvisation to its limits, stretching material in two 45 minute fully improvised performances, one recorded at the De Singer jazz club in Belgium and the other recorded at Emory University in Atlanta.”
IVO PERELMAN / MAT MANERI / NATE WOOLEY - Strings 3 (Leo Records 859; UK) Featuring Ivo Perelman on tenor sax, Mat Maneri on viola and Nate Wooley on trumpet. Considering that saxist Ivo Perelman has more than sixty CD’s released by Leo Records (in under a decade), one would think that he would run out of ideas or players to work with, but this is indeed not the case. I have listened to many of the previous releases and found that as long as I have the time to check them out, there is spirited/inventive improv on each one. Some more than others, depending on who is playing with. There are perhaps a dozen musicians that Mr. Perelman usually works with, using them in different combinations on each disc. While Mat Maneri has been on around a half dozen previous Perelman discs (all of the ‘Strings’ series), Nate Wooley has been just a couple. Mr. Maneri and Mr. Perelman have built a musical relationship which has expanded and evolved over time and has continued to get better. What I do notice is this: all three players take their time and stretch out or bend their notes until they make a solid connection. There is a continuous dialogue that keeps going, duos into trios, spiraling notes cascading like surfing on waves or swimming in currents. The results sound organic as if the trio is breathing together, slowly in & out, in & out, a natural phenomena. Since all three of these musicians are into a variety of extended techniques, we hear some unusual combinations of sounds. While one person solos, the others often add sonic spice, nuance or textures which then change the direction or overall blend. While listening to this disc I was at the edge of my seat by the way things kept evolving and changing directions, ending up in unexpected places throughout the entire 53 minute endeavor. - Bruce Lee Gallanter, DMG
IVO PERELMAN / MAT MANERI / NATE WOOLEY/ MATTHEW SHIPP - Strings 4 (Leo Records 860; UK) Featuring Ivo Perelman on tenor sax, Mat Maneri on viola, Nate Wooley on trumpet and Matt Shipp on piano. Ivo Perelman now has some sixty plus discs out on Leo Records, which have been released over the past decade or so. Imagine that. Leo has continued to release them in batches of six or more with no end in sight. Five months after the previously reviewed CD, the same trio of Perelman, Maneri & Wooley added a fourth member, pianist Matt Shipp, who has played on more Ivo Perelman discs than any other musician. There is an obvious bond between Mr. Perelman and Mr. Shipp which is at the center of this disc and combination of players. What makes things so compelling here is the way several duos intersect and evolve into trios and the full quartet. Often an idea or phrase will start with one or two players and soon by twisted inside out as the others add their parts, changing the direction of the others. There is an undeniable magic quality to this as certain elements move together and enhance each others playing. From moments of calm to the more explosive eruptions, this disc is consistently engaging. Holy spirits rejoice! - Bruce Lee Gallanter, DMG
WET INK // ALEX MINCEK / ANTHONY BRAXTON / SAM PLUTA / ERIC WUBBLES / KATHERINE YOUNG / KATE SOPER - 20 (Carrier Records; USA) For 20 years, the Wet Ink Ensemble has been programming and presenting concerts of adventurous new music at the highest level in New York City and around the world. Wet Ink: 20 is a collection of work rooted in an interconnected community of contemporary music – a synthesis of the performance practice developed in the “band” atmosphere of Wet Ink’s core septet of composer-performers, and of over a decade of multifaceted work with the frequent collaborators of the Wet Ink Large Ensemble, a collection of 28 renowned NYC-based new music performers whose breadth of experience ranges from performances with the International Contemporary Ensemble (ICE) and Yarn/Wire to Peter Evans Ensemble and the Evan Parker Electroacoustic Ensemble.
WET INK ENSEMBLE // ERIC WUBBELS / ALEX MINCEK / GEORGE LEWIS / KATE SOPER / RICK BURKHARDT - Relay (Carrier; USA) For more than a decade, Wet Ink Ensemble has been pushing the boundaries of new music in New York City. Looking at Wet Ink's programs for the past 13 seasons shows a group that has not only defined a clear image of who they are, but has also had a broad influence on the new music scene in New York City. On Relay, with new works by Rick Burkhardt, George Lewis, Alex Mincek, Sam Pluta, Kate Soper, and Eric Wubbels, the ensemble showcases six of the most important composers making music in America today. These are not composers rehashing old ideas or following established trends. These are creative sonic thinkers, inventing new and unique sound worlds and creating new trends that will be followed for the next decade.
With virtuosic performances by Erin Lesser on flute, Ian Antonio on percussion, and Joshua Modney on violin, plus composer-performers Kate Soper, Eric Wubbels, Alex Mincek, and Sam Pluta - and featuring Michael Ibrahim on saxophone - Relay displays stunning solo and ensemble playing, showcasing Wet Ink's unique brand of ensemble virtuosity, penchant for sonic exploration, and compositional inventiveness beyond the status quo.
BIOTA - Fragment Of Balance (ReR BCD 9; UK) After 4 years of work on their 11th release for ReR, this extraordinary, reclusive, and highly individual audio-visual collective continues to evolve through the painstaking accumulation and disposition of a seemingly incompatible range of both exotic and familiar musical languages, instruments, techniques and studio manipulations into one of the few genuinely original bands at work today. It took a long time to refine their unique process of composition to this level of ambiguity and depth and newcomers will wonder how they strayed so far from orthodoxy and yet managed to retain a lucidity and transparency that is quite rare in contemporary music. The bullet points are that Biota is a unique project, defying genre with, like all such cult artists, a small but extremely dedicated public that, over the last 15 years has grown continuously as new listeners discover them. Founded in Colorado in the late 1970s, Biota's first recordings were released under the name of the Mnemonist Orchestra who, between 1980 and 1984, released five albums on its own label, before linking up with ReR.
TONY BUCK & MASSIMO PUPILLO - Unseen (Trost 178; Austria) “Italian composer and bass-player Massimo Pupillo (ZU) and Australian drummer Tony Buck (The Necks) collaborate in a beautifully haunting, absorbing ambient set, taking in electronic abstraction and free improvisation. Pupillo and Buck are well known for their work with their long-running bands, as well as for their collaborations with musicians of the current international avantgarde scene; Pupillo released for instance with Cindytalk, FM Einheit, Oren Ambarchi, Chris Corsano; Buck with Fennesz, Branford Marsalis, and Magda Mayas. On Time Being/Unseen, you'll experience floating uncanny percussion sounds underlined with heaving subs, sealed in deep and noisy atmospheres. Personnel: Tony Buck - drums, percussion, vibraphone; Massimo Pupillo - bass, electronics.”
ANTHONY BURR and CHARLES CURTIS // ALVIN LUCIER / MORTON FELDMAN - Chamber Music: Alvin Lucier & Morton Feldman (Important Records 468; USA) Anthony Burr and Charles Curtis present a collection of curated compositions from Alvin Lucier and Morton Feldman. Two Lucier pieces, "August Moon" and "Trio For Clarinet, Cello & Tuba" are presented here for the first time. Liner notes are excerpted from a lecture on Morton Feldman given by Alvin Lucier. A selection from Alvin Lucier's liner notes: "For Feldman, dynamics serve an acoustical function. When he mitigates a piano attack he reduces that spike of noise that's at the onset of every piano sound leaving only the sinusoidal pure after-sound. It's as if he invented electronic music with the piano."
"Lucier manages to hear a layer of acoustical physics in Feldman's music that perhaps no one else would hear. He's hearing something in Feldman that is actually coming from his own musical world; in a way, hearing his own music in Feldman's, and drawing inspiration from that."
ALVIN LUCIER - Orpheus Variations (Important Records Imprec 469; USA) ‘Orpheus Variations’ is a new composition by Alvin Lucier for solo cello and seven wind instruments. It is based on a particular sonority from the first movement of Igor Stravinsky's ballet score, Orpheus; a sonority that has haunted Lucier for decades. Orpheus Variations is one of eight large-scale compositions made expressly for Charles Curtis by Alvin Lucier in the last 15 years. This performance was conducted by Petr Kotik, with Charles Curtis playing solo cello alongside members of the SEM Ensemble.
"Lucier speaks first of a sonority, and only then of a chord. He discusses the chord, its notes and their disposition, but what haunts him is a 'particular sonority.' A sonority is the product of physical action on physical materials: the instruments, the registers in which they are activated, the breath of the musicians, the waveforms thus produced, their merging and interfering, and finally the moment and place of these actions. An energy field, certain to vanish completely once the musicians put down their instruments. However concrete and real the actions and materials, the sonority they produce is a phantom."
MARYANNE AMACHER - Petra (Blank Forms 005; USA) Maryanne Amacher (1938-2009) was a composer of large-scale fixed-duration sound installations and a highly original thinker in the areas of perception, sound spatialization, creative intelligence, and aural architecture. She is frequently cited as a pioneer of what has come to be called "sound art", although her thought and creative practice consistently challenge key assumptions about the capacities and limitations of the genre. Amacher's work anticipates some of the most important developments in network culture, media arts, acoustic ecology, and sound studies, yet due to its expansive interdisciplinary nature, it has rarely been documented. Following two CDs for Tzadik and her inclusion in the monumental collection OHM: The Early Gurus Of Electronic Music (1948-1980), this publication of Amacher's 1991 piece Petra marks her first commercially available instrumental work. Petra was originally commissioned for the ICSM World Music Days in Boswil, Switzerland. Written for two pianos, the piece is a unique example of Amacher's late work, a direct extension of her working methodologies for electronic composition taken into an acoustic realm that alludes to the music of Giacinto Scelsi and Galina Ustvolskaya. Petra is a sweeping, durational work based on both Amacher's impressions of the church at Boswil and science-fiction writer Greg Bear's short story of the same name, in which gargoyles come to life and breed with humans in a post-apocalyptic Notre Dame. This solemn interpretation of Petra was recorded at its 2017 American premiere at New York's St. Peter's Episcopal Church with pianists Marianne Schroeder, who originally performed the piece alongside Amacher in 1991, and Stefan Tcherepnin, who performed it alongside Schroeder in 2012 at Hamburger Bahnhof, Berlin. Weighing tranquilizing passages of glacially-paced serenity against stretches of dilapidated, jagged dissonance, the recording illuminates a crucial node in the constellation of Amacher's enigmatic oeuvre. Artistic director of the Giacinto Scelsi Festival in Basel, Marianne Schroeder is a Swiss composer and pianist specializing in the interpretation of New Music. She has collaborated with and premiered work by John Cage, Karlheinz Stockhausen, Dieter Schnebel, Anthony Braxton, Morton Feldman, Pauline Oliveros and Giacinto Scelsi, with whom she studied. She is currently a professor at Hochschule der Künste Bern. Stefan Tcherepnin is an American electronic music performer, contemporary artist, and composer in fourth generation, continuing the family heritage of his great-grandfather Nicholas, grandfather Alexander, and father Ivan Tcherepnin.
MOTORPSYCHO - The Crucible (Rune Grammofon MPCD 103; Norway) 2019 marks 30 years since Motorpsycho's humble beginnings in Trondheim. Both visually and musically, The Crucible starts where The Tower (2017) ended, but it soon takes on its own hue, and it is clear that it cannot be called a "sequel" as such: this is very much a step further out than anywhere the band ventured on The Tower. While it is broader lyrically speaking, it is even sharper focused musically and, if possible, even more idiosyncratic and insular than ever: unarguably a Motorpsycho album. There aren't many traditional song structures or pop format platitudes on display, and there is indeed hardly any respect paid to any trad rock song conventions on the whole album, but that's not really what one listens to Motorpsycho for anyway, is it? From the most Neanderthal of rock riffs to the most rhythmically oblique polytonal solo sections they've ever recorded, this album musically seems to sum up the extremes of the band's current interests and concerns. The Crucible was recorded at Monnow Valley Studios in Wales in August 2018 by Hans Magnus Ryan (guitars, vocals), Bent Sæther (bass, vocals, sundry), and Tomas Järmyr (drums), with co-producers Andrew Scheps and Deathprod. Scheps mixed the band's last two live recordings -- A Boxful of Demons and Roadwork Vol. 5 (MPLP 302LP) - and in that process, made himself a logical choice to record the next studio album.
MARCO PACASSONI GROUP // FRANK ZAPPA - Frank & Ruth (Eurodisco 1801; Italy) Pierre Ruiz on the release: "I cannot exactly remember when the idea of this album was born in my mind. What I am sure of is that I always wanted to complete such a project, which was to realize the dream of a vibraphone and marimba tribute to the music of my favorite musician composer, Frank Zappa. I met Marco Pacassoni about six years ago. I called him because we were looking for a vibraphonist for a tour with the artist Bungaro. We immediately developed a real friendship and when I told him about my idea and my fascination with Ruth Underwood, explaining that for me the best Zappa albums were the ones on which she played . . . When Marco decided to really go for it (about two years ago), his first statement was that it was impossible not to include 'Peaches En Regalia' and 'The Black Page' on the album . . . From the beginning, when we first spoke of possible musicians, it was very clear to Marco that he needed to invite Lorenzo De Angeli and Enzo Bocciero to this project. Both talented musicians, and members of his quartet, I agreed that they would perfectly fit. Marco and I both wanted a guitarist -- and since is a very courageous decision for a tribute to Zappa -- I was convinced that Alberto Lombardi, with whom I had worked on another album, was equally technically and artistically perfect for such a project. I discovered Gregory Hutchinson when he was playing drums with Joshua Redman in 2000. Since then, he'd been for me one of my top-of-mind drummers . . . Marco also wanted to pay tribute to Ruth. That's why he wrote 'For Ruth' . . . The Zappa Songbook represents more than half of the music that he published. It would have been illogical not to include at least a couple of songs. Alberto is actually an accomplished singer, having recorded two albums. 'The Idiot Bastard Son' is one of his favorites, and this selection was met with much enthusiasm by Marco because we'd had this particular tune on our shortlist. I also had in mind to feature Petra Magoni on this album. She is one of my favorite Italian voices, and in my opinion, Petra's tone is perfect for Zappa music."
JAY ROSEN / BRIAN WILLSON - The Mystery Brothers (Not Two 984; Poland) Featuring Jay Rosen and Brian Willson on drum sets. Anyone that ever caught live or heard discs by Trio X (w/ Joe McPhee, Dominic Duval & Jay Rosen), found out that this trio was something special. One of the greatest free/jazz trios of all time. I caught them more than around a dozen times and was consistently knocked out. Each member was integral to their unique magic. Watching drummer, Jay Rosen, is always fascinating since he has his own unique approach to playing the drums. Drummer Brian Wilson is not very well known but did recorded a couple of one discs with Yuko Fujiyama and Dominic Duval. The first thing I noticed about this disc is how well recorded it is, superb, warm and clean. The duo take their time and create their own subtle magic. Sizzling, simmering, hushed at first. Slowly building into a groove. The playing here is often soft, elegant, organic, natural, refreshing like a cool breeze on the first day of Spring (like today?!?). There is something most enchanting going on here, like being outside and communing with nature. Unforced and most magical. This disc is short, around 27 minutes long. It feels like it is the right length to do the job and do it right. - Bruce Lee Gallanter, DMG
EIGHTY POUND PUG With DANIEL CARTER / ELLIOTT LEVIN / DAVID TAMURA / ALEX LOZUPONE / AYUMI ISHITO / NICK FOX / PAUL FEITZINGER - Thoughts (DogandPanda 30; USA) Eighty Pound Pug is just one of several underground free music ensembles that exist in NYC, continue to release recordings, yet are often under-recognized by local hipsters staring at their phones, manipulated by social media apps, instead of real exploring. This disc was recorded live Otto’s Skrunken Head in November of 2016. Led by Alex Lozupone, Eighty Pound Pug, has been around for a decade or so and has some 30 releases out now. The personnel has slowly shifted and for this session/disc, they had four reeds players: Daniel Carter, Elliott Levin, Dave Tamura and Ayumi Ishito plus Lozupone on guitar/bass hybrid, Nick Fox on synth and Paul Feitzinger on drums. No doubt most of you know the ubiquitous Downtowner Daniel Carter and Philly great Elliott Levin (for New Ghost & Cecil Taylor). The first piece kicks off with an old rock/jazz guitar & bass lick, repeated (Hawkwind-style) while the saxes slowly enter, slowly creating a whirlwind buzz of activity. The music here reminds me of a space-ship landing, with ancient synth swirls emanating from underneath. Mr. Lozupone does a good job of keeping things focused by playing rockin’ riffs, never too dark and somehow familiar as well. The second piece, “Free Thoughts 1-4” is nearly a half hour long and moves through sections. Mr. Lozupone’s bass/guitar again provides the central pulse while the horns, synth and drums swirl around him. It sounds as if Alex and the drummer are playing a prog-like piece which gives the horns, soprano & tenor sax & trumpet something to work with. While Lozupone creates one strong riff after another, each horn player gets a chance to solo and/or add their lines on top. Mr. Carter, who has been mellowing out over the past few years, depending on who he is working with. Carter takes a handful of lovely, inspired solos, helping to bring things down to a calm simmer, especially when he switches to a mute. This disc is much better than I would’ve imagined so please don’t ignore that Eighty Pound Pug! - Bruce Lee Gallanter, DMG
EIGHTY POUND PUG With STEVE DALACHINSKY - Justifiable Homicide (DogandPanda 31; USA) Featuring Steve Dalachinsky - poetry, Alex Lozupone - guitar/bass, melodica & flutes, Ayumi Ishito, Stan Zenkoff, Chris Bacas & Isaiah Richardson, Jr. on reeds, Pete M. Wyer - classical guitar and Paul Feitzinger on drums. Each of the 30 releases by Mr. Lozupone’s Eighty Pond Pug features different personnel. This disc/session features the spoken word/ poetry of Steve Dalanchinsky, a cranky old Downtown master whose poetry often captures the true spirit of the long-evolving Downtown Scene/Network. This disc is broken into three long sections with a trio at the center of each: Dalachinsky/Lozupone/Feitzinger with two to four reeds players added to each part. As with most or all Eighty Pound Pug releases, Mr. Lozupone’s el. bass/guitar combined instrument is at the center playing those great prog/jazz/rock riffs, over & over, building up a groove which at times reminds me of the Hawkwind plays their throbbing, tribal, ritualistic space/rock. Steve Dalachinsky is featured throughout and does a fine job of spinning his disturbing and illuminating observations, making us think about how and why things are they way they are: messed up and in need of help. We will live in difficult times and Mr. Dalachinsky reminds us of this time and again. Some folks might not be ready to deal with the things that Dalachinsky brings up and lays out. The news I read on my phone & computer every day is the same, how did life become this bad?!?! How long will it continue?!? When will the tyranny of the Liar-in-Chief finally go down?!? Who knows..!?! In the meantime, this will remind us of the way things are now. We can’t wait for Spring to return, we need some Sunshine! - Bruce Lee Gallanter, DMG
Five New CLEAN FEED CD’s to Savor:
THE FICTIVE FIVE with LARRY OCHS / NATE WOOLEY / KEN FILIANO / PASCAL NIGGENKEMPER / HARRIS EISENDSTADT - Anything is Possible (Clean Feed 514; Portugal) Personnel: Larry Ochs tenor & sopranino saxes, Nate Wooley - trumpet, Ken Filiano - bass & effects, Pascal Niggenkemper - bass & effects and Harris Eisenstadt - drums. Larry Ochs quintet with trumpeter Nate Wooley, bassists Ken Filiano and Pascal Niggenkemper and drummer Harris Eisenstadt started with an intriguing ambition: to create soundscapes (landscapes with sound, or what the acousmatic French composers call “cinema pour l’oreille” – cinema for the ear in English) with the language of jazz and the procedures of improvisation. To fulfill this concept, Ochs sought inspiration from visual artists and film directors like William Kentridge and Wim Wenders. Or, the reverse: upon realization of the soundscape, he dedicated the work to a filmmaker; essentially inviting the invitee (and all listeners) to create imagery for the now existing soundscape. At their second opus, “Anything is Possible”, the connection with specific personalities and their works is more loose, but it continues. One piece is dedicated to Spike Lee and another to Warren Sonbert, but in the middle there’s a tribute to Cecil Taylor, in a gesture saying much about the recognition of the inner imagentic qualities of music itself, personified by a master in that domain. The presence of two double basses keeps the center of gravity of the music lower than in a common jazz combo, with crispy drumming on the bottom and, on the top, two horns contrasting harsh (Ochs tenor saxophone) and crystalline (Wooley) sounds, either when playing unisons or getting argumentative. If you know Larry Ochs from his work with the Rova saxophone quartet you’ll recognize the same type of structures and narrative strategies, but it will be different. Here, the ignition of your imaginative skills is intended.
SPRING ROLL With SYLVAINE HELARY / HUGUES MAYOT / ANTONIN RAYON / SYLVAIN LEMETRE KRIS DAVIS - Episodes (Clean Feed 517; Portugal) Personnel: Sylvaine Hélary - flute, alto flute, bass flute, piccolo, Hugues Mayot - tenor sax, clarinet, Antonin Rayon - piano, Moog, Sylvain Lemêtre - vibes, percussion plus Kris Davis - piano. It’s not the first time that contemporary classical music and jazz cross paths in a single project and it won’t be the last, but this “Episodes” come with a singular condition: it’s not something created under the umbrella of what we call Third Stream, that attempt to turn big band jazz a symphonic music, and it has very little of the mathematical properties of Anthony Braxton, even considering that the last piece, “Laggo”, pays tribute to the tri-centric maestro and to Karlheinz Stockhausen. Spring Roll, the ensemble lead by French flutist Sylvaine Hélary, has a timbral and theatrical perspective of chamber music born from the flute conceptions developed by 20th century composers like Debussy and Varèse. And it also has an ambitious program of action: to improvise as if composing, and to compose as if improvising, here and there applying aspects taken from the traditional Asian musical cultures. They’re «explorers in an unknown territory», as we read in the liner notes signed by Arnaud Merlin. Hélary herself and pianist Antonin Rayon are the ensemble composers, but for this opus they invited three extra contributors: from Canada, Kris Davis (who also plays piano in two tracks), and from the United States, Matt Mitchell and Dan Blake. The combination of these authorships go from extreme minimalism to epic blasts, the resulting interpretations seeming to reinvent this particular kind of fusion music. In one word: precious.
GUILLOTINE With LUIS LOPES / VALENTIN CECCALDI / ANDREAS WILDHAGEN - Guillotine (Clean Feed 511; Portugal) From drone to riff and from riff to disintegration and back again to some sort of form – those forms and others, in a perpetual transmutation. The new project by Portuguese guitarist Luís Lopes (Humanization 4tet, Lisbon-Berlin Trio, Garden, Lisbon Freedom Unit, Big Bold Back Bone, duos with Jean-Luc Guionnet and Julien Desprez and more) associates him one more time with musicians from other countries, namely French cellist Valentin Ceccaldi and Norwegian drummer Andreas Wildhagen. If sometimes it sounds like prog/metal played by jazz musicians, in others you’ll be convinced it’s jazz played by extreme rock jammers – either way, it doesn’t matter. Genre or style is not the focus, but the way the materials are used, and abused. The guitar goes from intricate chord fingerings to blasting feedback noise, in a psychotic, more than psychedelic, trip through prepared and effect-pedal abstract or figurative explorations. The over-amplified cello works as a Hammond organ, a bass, a rock vocalist, a free improvising tenor sax soloist and, well, a cello. The drum-kit suffers from short attention span – it gets groovy and motoric or textural as a Jackson Pollock painting. The music is like lava, incandescent, abrasive, thick and dark. A black boulder with luminous cintillations. The name of the band says it all, in its remembrance of the French Revolution. Here is a record with political implications, expressing the current state of things, the one that makes us feel our heads are in danger to roll. Guillotine, a trio inadvisable for the weak of spirit.
OLI STEIDLE & THE KILLING POPES with FRANK MOBUS / KIT DOWNES / et al - Ego Pill (Shhpuma 049; Portugal) Personnel: Oli Steidle - drums, Frank Möbus - guitar, Dan Nicholls - keyboards, Kit Downes - keyboards and Phil Donkin - bass. The fact that Frank Mobus (leader of the band Roter Bereich and part of Carlos Bicaís Azul) is a member of The Killing Popes, and that this group founded by drummer Oli Steidle has Kalle Kalima, Petter Eldh and Andreas Schaerer, among others, as guests on ìEgo Pillsî is very enlightening about some of the musical choices they’re doing in other projects. Why? Well, because they seem to take inspiration from the wild mix of electro-jazz, art rock, hardcore and club music you’ll find in these compositions. If you already suspected that they have a punk side (and a rave one, by the way), here is the definitive confirmation. The punk and party factors here are electronic, with two keyboardists two, Dan Nicholls and Kit Downes, and the resulting music is so intelligently funny, bright and light that they put pop acts like Daft Punk to shame, going from beautiful moments to chaos and back. If you had any doubts about the capacity of the present-day jazz musicians to renew their imaginations and creativity, this record will change your mind. Oli Steidle, a box of surprises.
CARLOS BICA | DANIEL ERDMANN | DJ ILLVIBE - I am The Escapade One (Clean Feed 519; Portugal) Personnel: Carlos Bica double bass, Daniel Erdmann - tenor sax and Dj Illvibe - turntables. Double bassist and composer Carlos Bica has carved out a jazz niche for himself with his inventive style of lyrical-indie-jazz. Among the several musical projects he leads, his trio AZUL has become his showcase as a bass player and composer. For more than twenty years Bica’s trio AZUL with Frank Möbus and Jim Black has fascinated its listeners. Living in Berlin, Portuguese Bica again and again creates a music that seems familiar yet excitingly new and personal at the same time. With his new album “I Am the Escaped One” in association with two of the most idiosyncratic figures of the German scene, saxophonist Daniel Erdmann and turntablist DJ Illvibe, the music goes even beyond anything he did before.
Daniel Erdmann, a major voice in the European jazz scene, has developed an unique tenor sax sound in ensembles like Das Kapital orVelvet Revolution, built on top of the jazz tradition but committed to find new paths. DJ Illvibe is and remains a sound innovator, a gold digger for the craziest sound-shreds, Vincent von Schlippenbach is DJ Illvibe and the world is a record. If you’re searching for something different and fulfilling you found it, “I Am the Escaped One” is the perfect soundtrack for the movie that still
has to be made.
Five More FMR CD’s to Consider:
JOHN O’GALLAGHER / LIAM NOBLE / DREW GRESS / JIM BASHFORD - Meridians (FMR 533; UK) Featuring John O’Gallagher on alto sax, Liam Noble on piano, Drew Gress on acoustic bass and Jim Bashford on drums & compositions. I’ve come to notice drummer Jim Bashford over the past few years, since he has appeared on a half dozen discs with UK tenor titan, Paul Dunmall. The UK pianist here, Liam Noble, I know from his work with Ingrid Laubrock, Julian Seigel and Harrison Smith. The other members of this quartet are both from New York: John O’Gallagher who we know from his work with Frank Carlberg, Ron Horten and Jeff Williams. in-demand bassist Drew Gress has worked with nearly everybody: Tim Berne, John Abercrombie, Ralph Alessi & the Claudia Quintet.
All of the pieces here were composed by drummer Jim Bashford. Although this is a studio recording, it does sound live. The sax is bright and up front. The open song, “Chi Meditation…” has some throttling alto sax riding on top of the piano-led groove. Mr. Bashford likes to write pieces which are based on slightly bent repeated lines which give the rhythm team a line to work with while the alto sax burns on top. The music often bristles with intensity whenever the sax solos while when the piano solo, things calm down to a more cerebral simmer. Things finally settle down for the more restrained, “For Ray and the Laughter”, which breathes and is filled with some much needed spaciousness. The final piece, “The Emperor’s Three Questions” has a smoking, M-Base-like whiplash forward motion spirit, crackling with energy. This disc is around 30 minutes long so it is shorter than the average CD that I usually review. It is just long enough to be played again when it is over, savoring its recommended recipe of sonic delights. - Bruce Lee Gallanter, DMG
ALAN TOMLINSON TRIO With DAVE TUCKER / PHILLIP MARKS JOHN EDWARDS - Inside Out (FMR 531; UK) Featuring Alan Tomlinson on trombones, Dave Tucker on electric guitar, Phillip Marks on drums and special guest John Edwards on bass. There is a tradition of great free/jazz trombone players from the British scene which started in the mid-sixties with Paul Rutherford. Since then we’ve seen a number of other strong trombonists emerge: Nick Evans, Radu Malfatti, Annie Whitehead, Gail Brand and Alan Tomlinson, who has been around nearly as long as Mr. Rutherford. Mr. Tomlinson has worked with many great: LJCO, Harry Miller and Louis Moholo. There are a number of under-recognized UK guitarists like Dave Tucker who has recorded with Phil Minton, Pat Thomas and the London Improvising Orchestra. I don’t quite recognize the name of the drummer, Phillip Marks, although he a ember of a trio called Bark!, with discs out on PSI and Matchless. The guest here is contrabass great John Edwards who has worked with just about everyone. This is the second disc from this trio, both are on the FMR label. This disc was recorded live at Iklectik in January of 2018. I dig the sound of string, focused chaos, from quieter to more eruptive moments. This is a tight, intense trio, with all three members integral to the group sound and direction. Mr. Tucker seems to draw from both jazz and rock streams, using selective devices to alter his sound. The drummer here, Mr. Phillips, stands out, he has that animated, Paul Lytton-like restrained yet free-wheeling sound (from Paul Burwell through Chris Cutler through…). The guitar and trombone work well together, often anticipating each others playing. Guitarist, Dave Tucker, uses a variety of devices to fatten and alter his tone which works well with the equally long tones of the trombone. You can tell that this trio has been around for a while since they do have their own group sound.
TRIYEOH With PEI ANN YEOH / ASH TRIGG / JIM BASHFORD - Futile (FMR 525; UK) Featuring Pei Ann Yeoh on violin & compositions, Ash Trigg on electric bass and Jim Bashford on drums. The ever-expanding FMR label does a good job of presenting many new musicians, many of whom are from the UK and are new to me and probably everyone else reading this review. This is the first time I’ve heard of two members of this trio: Ms. Pei Ann Yeoh and Ash Trigg. Their drummer, Jim Bashford, we do know from a half dozen discs he has done with Paul Dunmall, a recent trio with saxist Roz Harding (on Leo) and Mr. Bashford’s own new quartet with John O’Gallagher & Liam Noble.
Starting with “Ezakdi”, we are off and running. The theme was obviously written and has an infectious, uplifting melody. Ms. Yeoh takes the first of many solos and is in fine form, inspired and with strong backing from the tight, elastic rhythm team. The melody recalls one of those early Mahavishnu Orchestra-like songs that stay in your memory nearly fifty years later. The title track, “Futile” is freer and more spacious, Ms. Yeoh’s bittersweet tone on the violin is somewhere between Leroy Jenkins and Jason Hwang with some occasional Mark Feldman-like fireworks, she is a gifted improviser, making each solo a gem on its own terms. My favorite piece is called, “Free”, and although it is free sounding, there is some amazing interplay between all three musicians, constantly coming together, swirling tightly around one another, shifting currents mid-song, astonishing on several levels. Considering that two of three members here are relative unknowns, this is an incredibly dynamic debut. This is what the FMR label does best! - Bruce Lee Gallanter, DMG
JEAN-JACQUES DUERINCKX / ANATOLE DAMIEN - Dry Wet (FMR 526; UK) Featuring Jean-Jacques Duerinckx on sopranino sax and Anatole Damien on table-top guitar & electronics. Recorded in Brussels in May of 2018. Once again, FMR has unleashed another fine disc of improv from two rather obscure musicians, neither of whom I had heard of before this. From the outset, this reminds me of Konk Pack, that trio with Tim Hodgkinson, Thomas Lehn & Roger Turner, a formidable trio of great improvisers. This duo however, is often more restrained but no less focused or intense. Much of this is recorded close mic’d so that every sound is amplified carefully. The blend of rubbed or plucked strings, microscopic, lower case sax sounds, subtle drones and soft static are all on the menu. The blend of bent notes stretched beyond recognition is strong, thoughtfully displayed. Mr. Duerinckx concentrates on each note or sound, breathing sounds & radiator hisses through his sax, notes fragmented into sharp shiny objects, soft long tones humming n the distance, all evoking the mysterious presence or a disorienting vibe. Two more under-recognized sonic explorers on debut for the demanding listeners amongst us. - Bruce Lee Gallanter, DMG
ED GAUDEN’S CRUX 1 With MARK HANSLIP / STEVE TROMANS / COLIN SOMERVELL - Control (FMR 504; UK) Review next week, when I remember to stick the promo in my bag.
FRIEDRICH GULDA & JOE ZAWINUL - Music For Two Pianos (Jazzline/PÖ 77008; Germany) Two legends met to perform at the Philharmonie, Cologne on May 20th and 21st 1988 for a release in the WDR The Cologne Broadcasts series. Both musicians knew each other longtime from way back during World War II; as teenagers, Friedrich Gulda and his friend Joe Zawinul would go out and perform forbidden musics, like jazz, in violation of the Nazi government's prohibition on the playing of such music. Includes a composition by Johannes Brahms. Music For Two Pianos includes musician and composer credits, plus liner notes and self-portraits by Friedrich Gulda and Joe Zawinul in English, French, and German. Personnel: Friedrich Gulda - Piano; Joe Zawinul - Piano; WDR Big Band plays on "Variations For Two Pianos And Band". CD version comes in a slipcase.
JACOB MILLER / DON CARLOS / HORACE ANDY / DENNIS BROWN / LINVAL THOMPSON / LEROY SMART / et al - The Dreads At King Tubby's (Kingston Sounds KSCD 080; UK) Rastafarianism came to prominence in the late 1960s/1970s and had a huge influence on the musical culture in Jamaica. The sentiments of the songs reflected the struggles of life, as reggae music always did but now with an added spiritual/conscious element to the lyrics. By the mid-1970s most, if not all the top-flight singers were following the doctrine and growing their har to dreadlocks. Everything was truly "Dread". At the heart of this musical explosion was again Bunny "Striker" Lee a man who was always at the heart of the action and many times in his career ahead of the musical game. As Bunny Lee's stable of singers were at this time nearly all Rasta's and with the worldwide acceptance of Bob Marley, in especially the foreign territories, this musical style was the way forward for reggae music in the mid-1970s. The visual focal point of this new turn in reggae music would be a call to all things "Dread". Add to the mix Bunny Lee's close working relationship with studio wizard King Tubby, again not a Rasta himself, but someone who could sonically bring what was needed to the table and enable the whole musical chemistry to fall into place. Heavy rhythms were created to match the heavy and serious lyrics and "Versions Galore" as they say were coming out fast and furious. We have compiled a set of conscious tunes that not only match the "Dread" criteria, but also are just great tunes. The great Jacob Miller's "Zion Gates", Cornell Campbell's "Two Faced Rasta", Horace Andy's "It's Gonna Be Dread" alongside Linval Thompson's "Never Conquer Jah". Two timeless cuts from the The Abyssinians get a fresh outing by two great singers, firstly Don Carlos's cut to "Satta Massaganna" and the prince of reggae himself, Dennis Brown works "Declaration of Rights" in fine style. Johnny Clarke's "Man Like Me" and "Dem Say Rasta" still sounds as fresh today as when they were first laid down and Wayne Jarrett's "Live On Jah" and Frankie Jones's "Satta And Praise Jah" add to this great selection. All great "Dread" tunes that were cut or voiced at King Tubby's giving them that extra shine. So if you are Rasta or not this is a great set of tunes to make you move and also like all of the best things in life, makes you think... Also features Bonnie Davis. CD version includes three bonus tracks; includes a track by Leroy Smart.
HAMA SANKARE - Niafunke (Clermont Music 024; USA) Hama Sankare, legend of Mali's desert blues, releases Niafunke, his second brilliant album recorded March 2018 in Bamako. Sankare brought into the studio dynamic young headliners, Oumar Konate, Dramane Toure, and Makan Camara along with long time colleagues Afel Bocoum, Yoro Cisse, and Kande Sissoko to forge a set of blazing tracks that breath new energy into the genre, breaking old formulas all the while honoring traditional roots. Niafunke, a city in Mali along the Niger River near Timbuktu is where Sankare continues to live with his family. He, Bocoum, and Cisse were contemporary collaborators with Ali Farka Toure whose home was also there; they can be heard on many of Farka's albums. Sankare's spirit engages everyone he meets. He has absorbed musical influences from around the world which he brings to these ten tracks. Personnel: Alpha Ousmane "Hama" Sankaré - vocal, calabash; Oumar Konaté - guitar; Dramane Touré - bass; Makan Camara - drums, percussion; Afel Bocoum - backup vocal, spoken word; Yoro Cissé - monochord; Alibaba Traoré - guitar; Kande Sissoko - ngoni; Sékou Toure - backup vocal.
IFRIQIYYA ELECTRIQUE - Laylet El Booree (Glitterbeat 070; Germany) Fusing the rhythms and invocations of the ancient Saharan Banga ritual with an electrical storm of contemporary sonics, Ifriqiyya Electrique's second album both grips and awakens. In Tunisian, Banga means "huge volume" and one cannot think of a more apt description of Laylet El Booree than that: Maximalist and relentless; Blood, sweat, and trance. Several years ago, two of the musicians who make up the five-piece Ifriqiyya Electrique -- Gianna Greco and François R. Cambuzat -- ventured to the Djerid desert of Tunisia to investigate and confront the religious ritual of the Banga, a ritual of legendary intensity indigenous to the region. The musical duo's background is in the underground post-punk scene of continental Europe, as members of Putan Club and as collaborators with the venerable Lydia Lunch. But they are also voracious travelers and seekers of global sonics that are at least partially hidden from the western gaze. In 2017, Ifriqiyya Electrique released their debut album Rûwâhîne (GB 046CD/LP), an album which deftly brought together the hypnotic chants and metallic hand percussion of traditional Banga music with brutalist electronics and sheer rock volume. Three members of the Banga community -- Tarek Sultan, Yahia Chouchen, and Youssef Ghazala -- joined forces with Gianna and Francois not only on this acclaimed album, but also onstage throughout the eighteen months of touring that followed the record's release. It quickly became clear that the Banga had not been pointlessly retooled for western consumption, but rather through the deep commitment of the five Ifriqiyya Electrique musicians -- it had been transformed into something contemporary and unexpected. Ifriqiyya Electrique cryptically call this transformation a "post-industrial ritual" and the actual experience of hearing this music certainly echoes this moniker. The title of the second album Laylet El Booree translates as the "Night Of The Madness". It refers to the last part of the annual gathering of the adorcist ritual from the Banga of Tozeur -- it is the night when the spirits actually take possession of the bodies. With the band now joined by new member Fatma Chebbi (on vocals and tchektchekas hand percussion) one senses that the musical and cultural conversation is even deeper this time around. In fact, it doesn't feel like a speculative conversation at all, but rather something fully formed and undeniable. An emergent ritual in itself.
THE NEW BLOCKADERS - Live At Sonic City (Cold Spring Records CSR 261; UK) Live At Sonic City includes an audio/visual document of The New Blockader's last ever live performance which took place at the Thurston Moore-curated Sonic City festival in Kortrijk, Belgium in 2017. Fans of noise music will need no introduction to the work of TNB. Ron Lessard, of legendary US Noise label RRRecords, once stated, "I'd give the nod to TNB as being the first truly devoted noise artists." TNB served as a major influence on legendary noise pioneers such as Merzbow and their influence on the current crop of popular crossover noise artists, such as Wolf Eyes, is immeasurable. TNB's performance at Sonic City can best be described as a noise symphony: metal-bashing and grinding, hammering, eviscerating microphone feedback, torrents of glorious mangle and harsh electronics all skillfully blended with a collage of manifold sounds and dynamics. Far from being a typical noise show, TNB's performance (if it can be described as such) contained elements of absurdist theater and performance art, although, TNB would likely loathe to be described as such. A magnificent display of the art of noise, TNB as defiant as ever in their total rejection of everything. "For optimal enjoyment we recommend that this DVD be viewed with no sound." Six-panel digipak. DVD is PAL format, region free.
CARE OF THE COW - Dogs' Ears Are Stupid (Mental Experience 028; Spain) Mental Experience presents a reissue of Care Of The Cow's Dogs' Ears Are Stupid, originally released only on cassette in 1983. The album is a fascinating blend of psychedelic folk, minimal electronics and post-punk weirdness. Acid fuzz guitar, incredible vocal harmonies, drum machines, and analogue synths make it one of Chicago's best kept secrets, with a history that goes back to 1974. A trio formed by Victor Sanders, X Baczewska, and Sher Doruff, they had a very unique and eclectic sound, experimental yet very melodic, mixing psychedelic folk-rock with art-rock and DIY/post-punk. Their influences were very diverse: The Beatles, Fripp, Eno, Joni Mitchell, Carla Bley, Pauline Oliveros, and Eric Dolphy. Care Of The Cow debuted in 1975 with a 10" followed by their first album in 1981. By 1983, the band was adding drum machines and synths to their sound, highlighted by Victor's amazing guitar playing and X and Sher's perfectly blended vocal harmonies, resulting in Dogs' Ears Are Stupid, released only as a tiny cassette edition in 1983. For the Mental Experience, this is a lost gem from the '80s underground which really deserved a reissue. Here it is, done in collaboration with Steve Krakow of Plastic Crimewave/Galactic Zoo fame. Remastered from the master tapes, includes insert with liner notes Krakow and photos.
Back in stock:
JAMES BRANDON LEWIS / CHAD TAYLOR - Radiant Imprints (Broken Silence 038; Belgium) Featuring James Brandon Lewis on tenor sax and Chad Taylor on drums & mbira. Since moving here from Buffalo half dozen years ago, saxist James Brandon Lewis, has constantly grown and evolved. This is his fourth disc as a leader since moving to NYC, each previous disc very different from anything he has done in the past. His debut disc on Okeh/Columbia featured two elder masters: William Parker & Gerald Cleaver. Next it was a funkier band with Jamaaladeen Tacuma & Rudy Royston (also on Okeh). For the last one, ’No Filter’, he organized yet another great young rhythm team: Luke Stewart & Warren G. Crudup plus prog guitarist Anthony Pirog. That band fused free/jazz with funk/rock and progressive tendencies. Which brings us to the new one: a duo with the amazing Chad Taylor on drums. The main inspiration for this session is legendary/influential saxist John Coltrane. Although it seems obvious that Mr. Lewis was greatly influenced by Trane in the past, it wasn’t as obvious as it is here where this duo cover four of Mr. Coltrane’s songs. What makes this disc even more special is the playing of Chad Taylor, one of the most consistently inspired and creative of the dozens of drummers who have found their way to New York over the past decade. No matter who Mr. Taylor works with, he does a marvelous job: Marc Ribot, Yoni Kretzmer and Jeff Parker. Commencing with “Twenty Four”, which was inspired by Trane. Mr. Taylor’s mighty, propulsive drums kicks things off and stay tight with the equally powerful tenor playing by Mr. Lewis. Lewis’ strong and probing tenor are the center of “Loved One”, even slowed down, the tenor’s tone is gripping. Mr. Taylor’s ritualistic, repeating mbira (thumb piano) line kick off “With Sorrow Lonnie”, a somber, haunting and most hypnotic song. The is long, laid back and consistently mesmerizing. On ”Radiance”, Mr. Lewis swings back and forth between a single long note and a thematic line, over and over, the duo spinning a hypnotic web around each other and those who are listening. This disc is one of the warmest and most spiritual sounding of anything I’ve heard in recent memory. This medicine is superb salve for troubled times. - Bruce Lee Gallanter, DMG
CD $20 [LTD Edition & we only have 10]
THE COSMOSAMATICS [SONNY SIMMONS/MICHAEL MARCUS/WILLIAM PARKER/JAY ROSEN] - The Cosmosamatics (Boxholder 022; USA) The Cosmosamatics are a most appropriately titled all-star avant jazz quartet who came together for this first effort and feature sixties free-jazz legend - Sonny Simmons on alto sax & English horn, local reeds giant Michael Marcus on straight tenor & alto saxes, the ubiquitous contra-bass hero - William Parker and the ever-inventive drummer Jay Rosen (who plays for Joe McPhee & Ivo Perelman). Their special guests include James Carter on bass sax, Karen Borca on bassoon & Samir Chatterjee on tabla. Both saxists are leaders and have over a half dozen releases each - bass great, composer and multi-band leader William Parker has even more titles under his own name. Sonny & Michael have played together on a few occasions, but the rhythm section had never previously worked together- but it certainly doesn't sound like that. On Marcus' "Quasar"- Michael's tenor and Sonny's alto swirl their strong, dark and deep-toned saxes together in a mass of magic colors, cosmic harmonies for both horns! William's dense bass and Jay's ever-dancing drums also push both saxes into a spiritual space of volcanic eruptions. The rhythm team solos together at first in a seamless bond and both play strong solos. Sonny's "Mingus Mangus" also has rich sax harmonies (with the addition of James Carter) which reminds me of Rahsaan Roland Kirk's "The Inflated Tear". James Carter, who often has a habit of showing-off, plays ferocious bass sax here, not an easy sax to blast on, but he sounds fabulous! On Sonny's "Beyond the Inner East" he plays his great double reed English horn backed by some tabla, and even begins a hip-hop segment before the tune fades out. The final piece is "New Line Groove" and all hell breaks loose as Jay explodes on his drums and all three saxes erupt once more in an cosmic mass of phenomenal proportions - whoa, watch out as the heavens part and we are transported to cosmic worlds of tomorrow! This is an immensely powerful offering which will heal the sick and provide a much needed salve for this troubled world in which we live! - BLG
CD $15 [last 3 sealed copies & that’s it]
DUOLOGY [MICHAEL MARCUS/TED DANIEL] ANDREW CYRILLE - With Andrew Cyrille (JazzWerkStatt 123; Germany)
CD $18 [Last 2 sealed copies]
BOLA SETE - Aqui Esta O Bola Sete... (Cornbread Records 16062; USA) Cornbread Records presents a reissue of Bola Sete's debut, Aqui Esta O Bola Sete, originally released in 1957. The Brazilian-born master guitarist Bola Sete (literally translated to "seven ball" and a snooker reference) originally studied music at the conservatory of Rio while playing in his own jazz sextet and small samba combos. Sete spent time in Italy and also absorbed jazz influences as he was an avid fan of Charlie Christian and Django Reinhardt. It was these influences, along with the local samba and bossa nova flavor he was absorbing on a daily basis in Brazil that form the foundation of his sound. Aqui Esta O Bola Sete combines those influences beautifully in a perfect jazz samba setting, showcasing a fully-formed artist who had been a professional musician for years before releasing this album. Sete counted among his admirers and fans such disparate legends as Dizzy Gillespie and John Fahey, and one listen to this masterful debut will tell you why. 180 gram vinyl.
LA 1919 - Ars srA (Spittle Records 094; Italy) Spittle Records present a definitive reissue of the long out-of-print first album from Italian experimental-rock band LA 1919, Ars srA, originally released in 1987 by ADN, the Italian Recommended Records branch. Ars srA was an early example of a long-distance collaboration album as result of a virtuosic exchange of tapes between the Milan-based duo and the legendary American guitarist Henry Kaiser and Canadian maverick sound artist John Oswald. The resulting music sounds like a perfect blend of '70s art-rock elements and '80s electronics. An eclectic mix of "Frith"-oriented guitars, cold synthetic sounds, and programmed drum machine beats. Some sort of sonic no-man's land where elements from the post-rock in opposition aesthetic meet the experimental side of new wave. The album includes a declared tribute to the Frith-Laswell-Maher seminal coalition, via a metronomic version of "Killing Time", the title track from Massacre's first album from 1981 (SPITTLE 067LP). The LP comes with updated graphics and contents including unpublished pictures and various memorabilia; Includes CD with extra tracks.”
LP CD $24
ELKHORN - Elk Jam (Feeding Tube Records 425; USA) "Two mind-bending slabs of acoustic and electric guitars, wandering into corners of acid-logic only accessible to bravest explorers. Elkhorn is a duo -- Jesse Sheppard and Drew Gardner -- from NYC. Their earlier records (Elkhorn on Beyond Is Beyond, The Black River on Debacle) would have blown us away, even if we didn't know Jesse from his work as a film-maker (he directed the Glenn Jones/Jack Rose doc, The Things That We Used to Do) and organizer (he put together the 1,000 Incarnations of the Rose festival). Elkhorn's music, which we had suspected might be in a fairly traditional American Primitive vein, was anything but. And these two LPs (released individually, but recorded more or less simultaneously) explore a whole warren of new style caverns. Sun Cycle (FTR 425AB-LP) was recorded at Jason Meagher's Black Dirt Studio and is closer to their pure duo sound (although guitarist Willie Lane and percussionist Ryan Jewell are along for the ride). There are elements of the American Primitive thread present, but these touch mostly on the outer reaches of the form, like Gene Estibou & Jean-Claude Pickens' Intensifications, or the crazy distentions of MV and PG Six. Layers of pluck and soar and light percussion mix at the upper edge of the cosmic barrier, and Sun Cycle is, to our ears, Elkhorn's most adventurous and fully realized album yet. On Elk Jam, Willie Lane and Ryan Jewell function more as members of a psychedelic folk-rock quartet, and the troupe takes things even deeper in a Bay Area-styled trip zone. Recalling the classic ruminations of Mountain Bus, the full four man Elkhorn is exactly what the doctor prescribed for a generation of sack-butts who imagine John Mayer's pudgy phallus-riffs have shit to do with transcendental psych exploration. Elkhorn are the true sonic dealio. Instrumental music doesn't get much better than this. As Capt. Beefheart once said, 'If you got ears/You gotta listen!' We couldn't agree more." --Byron Coley, 2019 Edition of 300; Black/clear vinyl pressing.
ELKHORN - Sun Cycle (Feeding Tube 425 AB; USA) "Two mind-bending slabs of acoustic and electric guitars, wandering into corners of acid-logic only accessible to bravest explorers. Elkhorn is a duo -- Jesse Sheppard and Drew Gardner -- from NYC. Their earlier records (Elkhorn on Beyond Is Beyond, The Black River on Debacle) would have blown us away, even if we didn't know Jesse from his work as a film-maker (he directed the Glenn Jones/Jack Rose doc, The Things That We Used to Do) and organizer (he put together the 1,000 Incarnations of the Rose festival). Elkhorn's music, which we had suspected might be in a fairly traditional American Primitive vein, was anything but. And these two LPs (released individually, but recorded more or less simultaneously) explore a whole warren of new style caverns. Sun Cycle was recorded at Jason Meagher's Black Dirt Studio and is closer to their pure duo sound (although guitarist Willie Lane and percussionist Ryan Jewell are along for the ride). There are elements of the American Primitive thread present, but these touch mostly on the outer reaches of the form, like Gene Estibou & Jean-Claude Pickens' Intensifications, or the crazy distentions of MV and PG Six. Layers of pluck and soar and light percussion mix at the upper edge of the cosmic barrier, and Sun Cycle is, to our ears, Elkhorn's most adventurous and fully realized album yet. On Elk Jam (FTR 425CD-LP), Willie Lane and Ryan Jewell function more as members of a psychedelic folk-rock quartet, and the troupe takes things even deeper in a Bay Area-styled trip zone. Recalling the classic ruminations of Mountain Bus, the full four man Elkhorn is exactly what the doctor prescribed for a generation of sack-butts who imagine John Mayer's pudgy phallus-riffs have shit to do with transcendental psych exploration. Elkhorn are the true sonic dealio. Instrumental music doesn't get much better than this. As Capt. Beefheart once said, 'If you got ears/You gotta listen!' We couldn't agree more." --Byron Coley, 2019 Edition of 300; Black/clear vinyl pressing.
MARJA AHTI - Vegetal Negatives (Hallow Ground 1901; Switzerland) Vegetal Negatives is a game of sonic mutations, mimicry, inversions, and association inspired by a text called "On pataphotograms", by the French writer René Daumal -- a quasi-metaphysical essay that toys with breaking the conceived separateness of natural forms through poetic imagination. Marja Ahti (b. 1981) is a Swedish-born artist living and working in Turku, Finland. She has been an active part of the Finnish experimental music scene for more than ten years, performing with Ahti & Ahti and under the moniker Tsembla. Now arriving at her debut LP under her own name, Ahti explores a new formal language and sonic palette that ventures far from the path of her earlier work. The four electroacoustic compositions on the album combine and arrange field recordings, electronic feedback, Buchla and ARP synthesizers, bowl gong and harmonium, textures of detailed acoustic sound, and sustained tones with gentle microtonal beating into a precise musical narrative. She juxtaposes recordings of rooms and empty vessels, natural and artificial climates, spontaneous and staged events. Ahti draws upon Annea Lockwood's ideas about associative movements between sounds based on shared characteristics and sonic energy. The sounds hover between abstraction and the deeply familiar, moving into a realm of poetic metaphor where they are set in relation to each other, fleetingly mirroring or shadow-dancing. Acoustic environments mutate into synthetically derived shadow forms.
GRABAR Y COAGULAR - A History of Audio Pieces by Peruvian Artists / Various Artists (1972 - 2018) (Buh Records 107; Peru) Buh Records present Grabar Y Coagular: A History Of Audio Pieces By Peruvian Artists (1972-2018), the first collection that explores the relationship between recording art and conceptual pieces. With a range that goes from experimentation in sound poetry to radio art, eccentric compositions that evoke the Fluxus's spirit, appropriationism, and more. In Peru, the visual arts and sound creation have, in the last years, taken a common path: visual artists have begun to produce sound creations, experimental musicians have begun to move into the visual arts circuit... A sound art movement has turned visual and audible. Grabar Y Coagular brings together for the first time the pioneering works of Jorge Eduardo Eielson (audio-paintings) and Francisco Mariotti (computer poetry), as well as works by Luz María Bedoya, Elena Tejada-Herrera, José Luis Martinat, Eliana Otta, Paola Torres Núñez Del Prado, Maya Watanabe, Alberto Casari (and PPPP), Daniel Jacoby, Gilda Mantilla Y Raimond Chaves, Los Parafusos, Nicolas Lamas, and Juan Diego Tobalina. Grabar Y Coagular ("Record and Coagulate"), curated by Luis Alvarado, is a much awaited and needed release, a collection of audio pieces produced by Peruvian artists which defines a scope of creation where sound is the matter and form in which information becomes present.
Bruce Lee Gallanter’s Recommended Gig List for February of 2019:
THE NEW STONE
Is Located at the New School’s Glass Box Theatre
55 West 13th street - just east of 6th ave
THE STONE RESIDENCIES - JONATHAN FINLAYSON - APRIL 10-13
8:30 pm - QUINTET: Jonathan Finlayson (trumpet) Immanuel Wilkins (alto sax) David Bryant (piano) Nick Dunston (bass) Eric Mcpherson (drums)
8:30 pm - Odyssey of Big Boy - Jonathan Finlayson (trumpet) Andre Solomon-Glover (vocals, recitation) Mat Maneri (viola) Cristopher Hoffman (cello) David Bryant (piano) Chris Tordini (bass) Craig Weinrib (drums)
THE STONE RESIDENCIES - SYLVIE COURVOISIER - APR 16–20
8:30 pm - Sylvie Courvoisier and John Zorn DUO
Sylvie Courvoisier (piano) John Zorn (alto sax)
8:30 pm - Sylvie Courvoisier (piano) Ikue Mori (electronics) Mary Halvorson
8:30 pm - Sylvie Courvoisier TRIO
Sylvie Courvoisier (piano) Drew Gress (bass) Kenny Wollesen (drums)
8:30 pm - QUARTET - Sylvie Courvoisier (piano) Mark Feldman (violin) Ingrid Laubrock (sax) Tom Rainey (drums)
8:30 pm - Sylvie Courvoisier TRIO with special guest Jonathan Finlayson - Sylvie Courvoisier (piano) Drew Gress (bass) Kenny Wollesen (drums) Jonathan Finlayson (trumpet)
THE (NEW) STONE is located in The New School’s Glass Box Theatre
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
Bushwick Improvised Music Series Continues:
Monday April 15th
7pm Nick Gianni - saxophone
Matt Lavelle - trumpet
Rich Rosenthal - guitar
François Grillot - bass
Leonid Galaganov - drums
8pm Stephen Gauci - tenor saxophone
Sandy Ewen - guitar/electronics
Adam Lane - bass
9pm Jeff Davis - drums
Anna Webber - tenor saxophone
Jonathan Goldberger - guitar/electronics
Simon Jermyn - electric bass
9:45pm Blaise Siwula - woodwinds
Nicolas Letman-Burtinovic - bass
Jon Panikkar - drums
10:45pm Hans Tammen - buchla
Briggan Krauss - saxophone/guitar
Eli Rojas - drums
11:30pm Joe Hertenstein - drums
Stephen Haynes - cornet
Shoko Nagai - moog synth
Ben Stapp - tuba
Monday April 22nd
7pm Brad Faberman - guitar
Daniel Carter - woodwinds
Dave Miller- drums
8pm Stephen Gauci - tenor saxophone
Kevin Shea - drums
9pm Lisanne Tremblay - violin/electronics
Lesely Mok - drums
Santiago Leibson - keyboard
9:45pm Ras Moshe Burnett - tenor saxophone/flute
James Keepnews - electric bass/guitar
Dave Miller - drums
10:45pm Dave Treut - tenor saxophone/guitar
Nicholas James Jozwiak - cello
Rick Parker - trombone
Ari Folman-Cohen - bass
Conor C Local Elmes - drums
11:30pm Aaron Rubinstein - guitar
Michael Larocca - drums
Monday April 29th
7pm Amir Segall - piano
Omri Kochavi - guitar
8pm Stephen Gauci - tenor saxophone
Sandy Ewen - guitar/electronics
Adam Lane - bass
Kevin Shea - drums
9pm Lisanne Tremblay -violin/electronics
Shawn Lovato - bass
Colin Avery Hinton - drums
9:45pm Alejandro Flórez - guitar
Sarah Bernstein - violin/electronics
James Ilgenfritz - bass
Andrew Drury - drums
10:45pm Jessie Cox - drums
Sam Yulsman - keyboard
Roman Filiu - alto saxophone
11:30pm Stelios Mihas - guitar
Ayako Kanda - vocals
Zach Swanson - bass
Michael Sutton - drums
Downstairs @ Bushwick Public House
1288 Myrtle Avenue , Bushwick
(Across the street from M train Central Ave stop)
$10 suggested donation
Shapeshifter April, 2019:
8pm: High Key People & Alicyn Yaffee Quartet
High Key People:
Sami Hopkins - Vocals
Anggie Obin - Flute
Julian Velasco - Vibraphone
Isaac Mattus - Percusion/Electronics
Lucy Clifford - Bass
Jessie Cox - Drums
Alicyn Yaffee Quartet:
Alicyn Yaffee - Vocals/Guitar
Benny Rietvield - Bass
Arco Sandoval - Piano
8pm: Clovis High School Jazz Band under the direction of Les Nunes featuring Randy Brecker, jazz trumpeter - Les Nunes, director
Randy Brecker, featured guest artist
Eric Benitez - alto sax
Danielle Densmore - alto sax
Thomas Voelz - tenor sax
Sean McDonough - tenor sax
Nathaniel Brown - bari sax
Stephen Gerloff - trombone
Joseph Sallee - trombone
Brandon Bliatout - trombone
Jeff Corgiat Cawelti - trombone
Robert Linares - trumpet
Nick Schoenherr - trumpet
David Corum - trumpet
Tyler Webb - trumpet
Johnya Saiho - trumpet
Shayne Baldwin - piano
Kylie Henkel - bass
Bryce Lowenthal - drums
Micah Brubaker - drums/percussion
JOHN ZORN Presents The STONE SERIES:
8pm: DAN WEISS / JACOB SACKS / MICHAEL FORMANEK
8pm: DAN WEISS / JACOB SACKS / EIVIND OPSVIK
Happy Lucky No. 1: 734 Nostrand Avenue, Brooklyn, NY 11216
646 623 0414 / www.happyluckyno1.com
by subway: Take 2, 4, or 5 trains to Franklin ; Take 3 train to Nostrand Ave.
Take A or C to Nostrand Ave.
FRIDAY, APRIL 12, 2019 - 8:00 PM 11:00 PM
LESLEY MOK'S THE LIVING COLLECTION FLORIAN HERZOG'S SPLINTER
Lesley Mok's The Living Collection
David Leon - alto saxophone/flutes
Yuma Uesaka - tenor saxophone/clarinets
Kalun Leung - trombone
Sonya Belaya - piano
Florian Herzog - bass
Lesley Mok - drums, composition
Florian Herzog's SPLINTER
Anna Webber - saxophone/clarinet
Dierk Peters - vibraphone
Raf Vertessen - drums
Florian Herzog - bass, composition
SATURDAY, APRIL 13, 2019
DOUBLE FEATURE : BASS SOLO QUARTET
8:00PM - Sean Conly - Solo Bass
8:45PM - Hooker / Conly / Rosenbloom / Gauci QUARTET
William Hooker - Drums
Sean Conly - Bass
Mara Rosenbloom - Piano
Stephen Gauci - Tenor Sax
SATURDAY, APRIL 27, 2019
OMAR TAMEZ & MILO TAMEZ CROSSPATH
8:00PM - Omar Tamez & Milo Tamez : The Music of Paul Motian
Omar Tamez - Guitar
Milo Tamez - Drums
9:00PM - Tamez / Tamez / Rosenbloom : Crosspath
Omar Tamez - Guitar
Milo Tamez - Drums
Mara Rosenbloom - Piano
IBEAM in BROOKLYN, NYC
168 7TH STREET
BROOKLYN, NY, 11215
ERIC’S HOUSE OF IMPROV PRESENTS
APRIL 16, 2019
MACK GOLDSBURY - SAXOPHONE
HERB ROBERTSON - TRUMPET
LOU GRASSI - DRUMS
ERIC UNSWORTH - BASS
April 20, 201
KEIR NEURINGER - SAXOPHONE
LOU GRASSI - DRUMS
SPECIAL GUEST FROM GERMANY
MICHIKO REHEARSAL STUDIOS
PERFORMANCES START AT 8 PM | ADMISSION $20
149 W. 46TH STREET, 3RD FLOOR
B, D, F, M TRAINS TO 47TH-50TH STREETS / N, Q, W TRAINS TO 49TH STREET
APRIL 23, 2019
DAVE REMPIS - SAXOPHONE
BRANDON LOPEZ - BASS
RYAN PACKARD - DRUMS
244 REHEARSAL STUDIOS
PERFORMANCES START AT 8 PM | ADMISSION $20
244 W. 54TH STREET, 10TH FLOOR
C, E TRAINS TO 50TH STREET / N, Q, R, Q TRAINS TO 57TH STREET
Sound It Out series @ Greenwich House — Concerts, April 2019 at Greenwich House
Saturday April 20, 8:00pm — Andy Milne’s Unison & Friends
Andy Milne, piano; John Hébert, double-bill; Clarence Penn, drums; plus guests: Yoko Tamaki, koto; Hank Roberts, cello; Ralph Alessi, trumpet
Greenwich House Music School: 46 Barrow Street, just west of 7th Avenue South in New York City’s West Village; www.greenwichhouse.org, 212-242-4770.
Wednesday, April 25th t 7pm:
THE WORLD OF CAPTAIN BEEFHEART Featuring:
GARY LUCAS / NONA HENDRYX / JESSE KRAKOW / JORDAN SHAPIRO / RICHARD DWORKIN
At The Cutting Room
44 East 32nd Street, NYC
212-691-1900 / thecuttingroom.com