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DMG Newsletter for July 19th, 2019

“Turn Turn Turn”
Recorded by The Byrds,
Adapted from the Bible, Book of Ecclesiastes by Pete Seeger

To everything - turn, turn, turn
There is a season - turn, turn, turn
And a time to every purpose under heaven

A time to be born, a time to die
A time to plant, a time to reap
A time to kill, a time to heal
A time to laugh, a time to weep

To everything - turn, turn, turn
There is a season - turn, turn, turn
And a time to every purpose under heaven

A time to build up, a time to break down
A time to dance, a time to mourn
A time to cast away stones
A time to gather stones together

To everything - turn, turn, turn
There is a season - turn, turn, turn
And a time to every purpose under heaven

A time of love, a time of hate
A time of war, a time of peace
A time you may embrace
A time to refrain from embracing

To everything - turn, turn, turn
There is a season - turn, turn, turn
And a time to every purpose under heaven

A time to gain, a time to lose
A time to rend, a time to sew
A time for love, a time for hate
A time for peace, I swear it's not too late!

There is an episode of ‘Northern Exposure’, my favorite TV show in the nineties, in which an ancient tree (known as Old Vicky) is thought to be very sick and about to die. Just about everyone in the town of Cicely, Alaska (where this show takes place) is saddened since they are attached to the tree due to their good memories. The town struggles with cutting Old Vicky down, causing arguments amongst the townfolks. In the end Maurice Minifield, a former astronaut and local rich guy, finally cuts down the old tree. The final scene shows just the stump left with a new tree planted next to it. The Byrds’ version of “Turn Turn Turn” plays throughout this scene and it fits perfectly. I’ve watched this episode many times and whenever it comes to this scene, this song, I am truly touched. It reminds me of the way we treat Mother Earth, often not with the respect that she deserves. The climate catastrophe deniers are liars and fools but we all know better. It is the time to change for the better of our planet before it’s not too late. - BLG


The Downtown Music Gallery 28th Anniversary Celebrations began on May 1st & Continues!
Every In-store This Summer Helps Celebrate the Spirit of Creative Music Performed Live.

Sunday, July 21st:
6pm: LARUM Featuring: CHET DOXAS / MICAH FRANK - Woodwinds / Cassette Deck/Electronics
7pm: MICHAEL VATCHER and DARREN JOHNSTON - Drums and Trumpet

Sunday, July 28th:
6pm: DARIUS JONES and MICHAEL VATCHER - Alto Sax and Drums - Rare Duo Set!!

Sunday, August 4th:
Clarinet & Guitar / tenor & soprano saxes / Contrabass!
7pm: SEAN ALI - Solo ContraBass!

Rare Monday, August 5th:
6:30: ROBERT DICK and LESZEK “HEFI” WISNIOWSKI - International Flute Duo!
7:30: MILO TAMEZ - ToBeatorNottoBeat - Solo Drums!

Sunday, August 11th:
STEPHEN BOEGEHOLD - Flute / Violin / Guitar / Bass / Drums

Sunday, August 18th:
7pm: JACK WRIGHT / EVAN LIPSON / ZACH DARRUP - Alto Sax / Contrabass / Guitar

DMG is located at 13 Monroe St. (between Catherine & Market Sts) in a basement below a small gallery. Take the F train to East Broadway or the 6 train to  Canal or the B or D to Grand, or the M-15 bus to Madison & Catherine. Come on Down, the Sunday Music Series is Always Free & the Vibes are Always Cosy. You can check the weekly in-store sets through our Instagram feed


Two DMG Recommended Show for This Week:

Saturday, July 20th & Sunday, July 21st

Saturday, July 20th at 8pm:

Sunday, July 21st at 8pm:

Roulette is located at 509 Atlantic Ave at 3rd Ave
In Brooklyn, close to BAM & Barclay's Center


Eric’s House of Improv Series:


Next Wednesday, July 24th at 8pm
At 244 Rehearsal Studios
244 W. 54th St, 10th floor
C & E trains to 50th St., N, Q & R trains to 57th St



Last week we listed around a dozen plus new discs from the Tzadik, Not Two and Listen! Foundation labels. We are still waiting for four large orders to find our way to our doors from Fou Records (including that Derek Bailey/Bennink/Evan Parker 4 CD set), No Business, Not Two and Listen! Foundation. All orders will be filled once any of these boxes arrive. We never know how long it will take for orders to come from Poland or Lithuania or France, so please be patient, we intend to make everyone happy.

Also, the two new Tzadik discs we listed last week have a new release date which is Friday, July 26th and the price of Mr. Zorn’s new solo effort, “Tractatus Musico-Philosophicus” is actually $21 not $16 as we listed. It does have some most impressive packaging which must’ve cost a pretty penny to produce. It is also one of the best and weirdest discs we’ve heard from Zorn in a long while. Be prepared to have your mind blown! - BLG at DMG


Will Sonic Wonders Never Cease?!?! Look What’s Been Released This Week…!!!

CHARLES GAYLE / JOHN EDWARDS / MARK SANDERS - Seasons Changing (Otoroku 020; UK) “Charles Gayle is a saxophonist, pianist, sometimes a clown and radical musical performer wrapped into the body of a humble person living in Downtown Manhattan since the 1960s. As this set attests to, it is sometimes hard to predict what he will do on stage... In all his musical (and personal) life Charles Gayle has remained outside of any form of mainstream, carving his own singular path. There is no player on the scene today with the emotional wallop of Charles Gayle. John Edwards is a true virtuoso whose staggering range of techniques and boundless musical imagination have redefined the possibility of the double bass and dramatically expanded its role, whether playing solo or with others. Perpetually in demand, he has played with Sunny Murray, Derek Bailey, Joe McPhee, Peter Brötzmann, Mulatu Astatke, and many others. Ubiquitous, diverse and constantly creative, drummer Mark Sanders has worked with a host of renowned musicians including Derek Bailey, Henry Grimes, Mathew Shipp, Roswell Rudd, in duo and quartets with Wadada Leo Smith and trios with Sirone and William Parker. Here OTOroku present a double-CD set documenting the two very special sets delivered on November 15th, 2017 at Cafe Oto, Dalston, London. In classic ecstatic fashion one would expect from these three stalwarts of blazing transcendence, these two sets swerve from the sublime to the this is an exquisite document of one of the most exciting trios operating today. Mini gatefold sleeve; edition of 500.”
2 CD Set $18

LOL COXHILL / JOE McPHEE / CHRIS CORSANO / EVAN PARKER - Tree Dancing (Otoroku 021; UK) “This recording from the earlier years of Cafe Oto documents the impossible pairing of four contemporary giants. It's the reason the venue opened in the first place, for miraculous one-off groupings like this. "The magic of the first minutes -- an alto solo by Joe McPhee of true purity -- soft-spoken, masterful and accomplished -- brought back to mind the blissful Coleman/Haden duet last year at the Royal Festival Hall. 'Ornette gave me freedom to move in a certain way,' said McPhee. He searched hesitantly and carefully for his words, all the more surprising from such an articulate musical (or, as he might say 'muse-ical') practitioner and campaigner. Coleman's 80th birthday coincided with McPhee's stint at Cafe Oto. McPhee and his co-musicians delivered an intense performance which was both creative and restrained. With Evan Parker's tenor in tow -- a collaboration going back to the late '70s -- and Lol Coxhill, sitting with head bowed intently, a soprano master -- it could have gone anywhere, yet they worked off each other, often in the higher registers, building up almost bird-call like interactions and trills. Earlier, Chris Corsano's drumming presented a dense bedrock for McPhee to play against, and his solo spell was a crisp exercise in sonic curiosity. McPhee picked up his soprano mid-way through the second set, heightening the lyricism of the three saxophones. Then, being a devotee of Don Cherry, he switched to pocket trumpet, allowing him to interject, and punctuate the concentrated sound layers built up by the quartet, and lead the music out through a different door." --Geoff Winston, London Jazz News. Recorded March 10th 2010, this is also a document of the only time Lol Coxhill and Joe McPhee shared the stage. The recording is a little rough, but hey, so was your birth! Mini gatefold sleeve; edition of 500.
CD $15

MARKER With KEN VANDERMARK / STEVE MARQUETTE / ANDREW CLINKMAN / MACIE STEWART / PHIL SUDDERGERG - New Industries (Audiographic Records 015; USA) Marker are Ken Vandermark on reeds, Andrew Clinkman & Steve Marquette on guitars, Macie Stewart on keyboard & violin and Phil Suddergerg on drums. The immensely prolific Ken Vandermark has run a number of great bands over long periods of time: the Vandermark 5 (1997-2010), DKV Trio (1997-today), the Resonance Ensemble (2008-2015) and Made to Break (2013-still running?). A couple of years back, Mr. Vandermark organized a new quintet known as Marker. This is the fifth disc from this band and it is a 2 CD set with one disc recorded in a studio and the other disc is recorded live. The instrumentation for this unit is unique for Mr. Vandermark since consists of reeds, two electric guitars, keyboards or violin and drums, no bass. The only other project similar is Lean Left, which features the 2 guitarists from The Ex. Disc One was recorded at Experimental Sound Studio in Chicago in July of 2018 & is dedicated to Robert Bresson, Disc Two was recorded live at the Sugar Maple in in Milwaukee and is decimated to Elza Soares. The liner notes by Mr. Vandermark illustrate the way this quintet & the music has evolved. Both discs features pretty much the same material but in different order and with each long piece as a series of suites.
Initially, I considered the unit to be a post-punk sort of band, similar to Lean Left. Yet, with each release Marker have continued to expand their sound beyond any easy pigeon-holing. “Alphaville #2” kicks off Disc One, a strong, tight piece, which draws from post-punk and other more elusive (prog-like) influences. Ms. Macie Stewart is the wild card here as she shifts between electric keyboards & violin, doubling certain guitar parts, soloing at times and adding contrapuntal flourishes. Vandermark claims influences from a diverse series of bands or composers: the Fall, DNA, Mauricio Kagel and D’Angelo. I can certainly hear some Fall or The Ex-like repeating groove patterns, but this is just one elements of what makes this band so interesting. There are a number of unexpected changes in direction and combinations of players. I really liked it when the quintet quieted down for a short section of restrained bent-note violin and clarinet playing those spiked harmonies together. Sometimes the sound of the keyboard (70’s electric piano or Farfisa organ) or the sax give the band a sort of specific era they are drawing from. “La Chambre #1” seems to blend folk-rock and klez-like sounds from the clarinet and guitar yet is much noisier than anything that those genres often deal with. There are quite a bit of quieter moments here than one might expect, short solos sometimes morph into inspired ensemble passages. Vandermark takes an infectious bari sax solo on “Two or Three” while the rest of the quintet play some tight parts around him. Ms. Stewart takes a number of twisted violin solos throughout, sailing in when you least expect them, bending certain notes into off fragments. In a blindfold test, I doubt nearly anyone would guess who this is, since it does quite sound like anyone else and keeps changing throughout. We can only hope that Mr. Vandermark brings this mighty quintet to town at some point. Marker are one the best bands emerging from Chicago at present. Check them out! - Bruce Lee Gallanter, DMG
2 CD Set $18  [LTD Edition]

NATE WOOLEY & KEN VANDERMARK - Deeply Discounted II / Sequences of Snow (Audiographic Records 014; Pleasure of the Text; USA) Featuring Nate Wooley on trumpet and Ken Vandermark on B-flat clarinet & tenor sax. This is the third release from the Nate Wooley / Ken Vandermark Duo and it is another sonic treasure. I’ve caught this duo on a couple of occasions (Judson Hall & The Old Stone) and was knocked out each time. Each side of this LP consists of one side-long piece with each piece written by Mr. Wooley and Mr. Vandermark. Side 1 is called, “Deeply Discounted II” (DDII) and it was written by Nate Wooley. Both Wooley and Vandermark are diverse modern players and composers who draw from many varied influences, genres, styles… “DDII” explores both written and freer sections, keeping the duo on their toes as they work their way through explosive eruptions, daredevil hairpin turns and explorations of multiphonics, sped up, slowed down and twisted into odd shapes. The duo do a fine job of matching each others wits, bending notes around one another, carefully bending notes inside out together and apart. No matter how far out, either one of these players go, they are quick to have a fascinating dialogue. Side Two is called, “Sequences of Snow (for Michael Snow)” and it was written by Mr. Vandermark. There is something special going on here, you can hear the way these two players are pushing each other and themselves by exploring sounds together. Often one will start a line to idea, slowly twisting it into odd shapes as the other responds and also alters their sound in a similar or related way. When things speed up midway, there is some incredible interplay going on, switching quickly between written and furious freer parts. Due to fact this release is only found on LP, the sound is extremely well captured and lifelike. At 15 minutes, it almost sounds too short since we end up wanting more of a great thing. I hope this duo tours again, they rule live! Another recorded gem from two leading lights of creative music. - Bruce Lee Gallanter, DMG
LP $18 [LTD Edition of 500 numbered / LP Only]

The AARON NOVIK Residency at The Stone has been fabulous so far and will continue through this Saturday, July 20th, 1 set per night at 8:30. We listed a new CD and several older titles from Mr. Novik earlier this week in our newsletter supplement. Turns out that we left out a few other available older titles which are listed below.

AARON NOVIK with MATT NELSON / JEREMIAH CYMERMAN / KYLE BRUCKMANN / AVA MENDOZA / MATT HOLLENBERG / LISA MEZZACAPPA / et al - The Fallow Curves of the Planospheres (Avant-LaGuardia; USA) Mr. Novik composed and recorded five suites in the midst of moving from San Francisco to New York a few years back and this disc is the results. The music was written in different cities: Rotterdam, Berlin, San Francisco, Brooklyn, Queens, Italy and France. The opening and closing pieces are called, “Ballroom of Lost Dignity” and feature solo clarinet & field recordings made by Mr. Novik. The opening features church bells with Mr. Novik’s immensely haunting, layered clarinet. “O O ”features some luscious toned, warm tenor sax from Matt Nelson, floating over a fine vibes/bass/drums rhythm team. The tenor, flute & clarinet all swirl superbly on top, the arrangements keep the tenor, flute & clarinet all playing tight interlocking circles over and over, kaleidoscopic and most enchanting. “No Signal” features two clarinets: Jeremiah Cymerman & Mr. Novik and two guitars: Ava Mendoza (from Unnatural Ways) & Matt Hollenberg (Cleric & various Zorn sessions). The music is dark, quietly disorienting with a layers of guitar distortion and quietly manipulated clarinets, all buzzing together. “Garden” features violin (Dina Maccabee), alto sax (Kasey Knudsen) and clarinet (Novik) playing what sounds like a simple pattern yet still feels melancholy or even solemn. All of the pieces here shift directly into the next piece with no breaks, hence we have to adjust when the vibe changes. Somehow it all works as one continuous piece. Tzadik recording artist, Jeremiah Cymerman, is a master of clarinet manipulations and here, he & Novik get several chances to bend & twist their clarinets inside out, often subtly yet most effectively. This disc does a good job of showing us how Mr. Novik is able to create a variety of hypnotic, often dream-like moods and then change the scenery slowly was we glide through, taking an escalator through different floors each one with its temporal place. I am really looking forward to see & hear how Mr. Novik is able to bring this music to life this week (July 16th-20th, 2019) at The Stone. - Bruce Lee Gallanter, DMG
CD $14

AARON NOVIK / GUBBISH with DARREN JOHNSTON / JOHN FINKBEINER / CHES SMITH / SAMEER GUPTA / GRAHAM CONNAH / et al - Notations in Tonations (Odd Shaped Case Records; USA) This is former-Bay Area clarinetist & composer, Aaron Novik’s first recording from 2004. The collective personnel includes Aaron Novik on bass clarinet & compositions, Darren Johnston on trumpet, Graham Connah on keyboards, Dan Cantrell on accordion, John Finkbeiner on guitar, Ches Smith on drums and Sameer Gupta on tabla. This is the first of a half dozen discs that Mr. Novik has produced so far. Each project and personnel varied. I recognize a few of the names here: Darren Johnston, Graham Connah & Ches Smith. The ensemble here varies from a quintet to a septet. “Fake Glossalalia” features an accordion at the center of the septet which played more like a harmonium. Former Bay Area-trumpeter Darren Johnston is featured on many of these pieces and is consistently inventive, plays in several styles. Mr. Novik writes cyclic music which is features different repeating patterns. Both Mr. Johnston and Mr. Novik (on bass clarinet) take long inspired solos on “Pray Brie, Hug Often”. What sort of music is this? Jazz-like but still unique. On “Sometimes the Best Tool is Your Finger”, two drummers, Ches Smith & Sameer Gupta, are featured and sound great revving up the ensemble and soloing together in a tight, powerful circular storm. Even when the ensemble calm down to slow simmer, we still get some unexpected delights like Graham Connah’s Fender Rhodes or Sameer Gupta’s tabla quietly creating the rhythm pulse on several songs. The sextet speed up to a furious yet controlled pace on “But This One Goes To 11”, which also features an inspired tabla solo and with layers of chattering lines. The last tune, features some slow burning, rip-roaring guitar from the under-recognized John Finkbeiner which fades out before it has a chance to go too far. Wetting our appetite for things to come…?!? Perhaps. - Bruce Lee Gallanter, DMG
CD $10

KIPPLE [AARON NOVIK / ERIC GLICK REIMAN / GRAHAM CONNAH / LISA MEZZACAPPA / CHES SMITH] - Flashes of Irrational Happiness (Evander 032; USA) What you have in your hands right now is the first album by Aaron Novik's new project, Kipple. If Kipple sounds familiar it's because I wear my influences on my sleeve. Yet I think it sounds like nothing else out there because I'm pushing towards new sounds and ideas. Kipple can be described as "retro future" and "psychedelic minimalism." Retro Future is a concept I use to describe how the past conceived of possible tomorrows. The wacked out future imagined in Disney's Tomorrowland, or the space-age architecture of the Jetson's. These weren't random. When built, Tomorrowland was exactly how someone once imagined the future to look. The electronic experiments of composer Raymond Scott (of Warner Bros. cartoon fame) also evoke this retro-future sound. The Miles Davis of the 1970's also stems from a vintage take on future sounds, as does Sun Ra and his Arkestra. These groups helped inform the sound of my record. The early electronic keyboards from the 60's and 70's were trying to create otherworldly sounds and visions of the future that only now feel dated. I find this to be ironically beautiful. Personnel: Aaron Novick - clarinet Ches Smith, drums & vibes, Lisa Mezzacappa - bass, Jason Levis - Drums & marimba Mitch Marcus - keyboards, Eric Glick Reiman - prepared Fender Rhodes & theremin, Moe! Staiano - the Bug (the bug is an amplified percussion instrument that looks like it's namesake) and Graham Connah on Keyboards.
CD $10

SAM NEWSOME - Chaos Theory / Song Cycles for Prepared Saxophone (; USA) This is the sixth solo disc from saxist Sam Newsome and again he is playing solo soprano sax. It is pretty rare for anyone to release so many discs of solo soprano sax, perhaps just Steve Lacy and Lol Coxhill, come to mind. Mr. Newsome is serious about his evolving work with the soprano sax. We can tell from the fact that each and every one of his releases and performances is different, he is a restless explorer of unique sounds from his chosen sax. I’ve heard him live in solo and in duo situations (with Sandy Ewen & Amirtha Kidambi) and he has surprised me on each occasion, not so easy for me since I attend so many sets of live music all the time. When we see Mr. Newsome live, we recognize that he uses several devices (assorted tubes & chimes) when he plays. Using different lengths of tubes in between his mouthpiece and the sax, gives the soprano a deeper, stranger sound. Commencng with “Chaos Theory No. 1”, Newsome is layering a few different lines upon one another, overdubbing and creating a unique combination of sounds. Newsome will often use one sax for a rhythmic groove while he solos on top. At times, it is nearly impossible to tell that Newsome is playing just a soprano sax since he layers several parts, each one quite different in their sound. A number of these sounds have been utilized by lower-case musicians, yet Mr. Newsome consistently finds new ways to combine and blend many different approaches. Mr. Newsome often selects one melodic fragment on almost every piece for the listener to hang on to while he embellishes that part with supportive rhythms and/or colors. Even when Mr. Newsome plays soprano sax only, he is able to alter his sound in unique ways, carefully bending notes in his own way. On the previous disc that Mr. Newsome released, “Sopranoville”, his experimentation was almost too much for some listeners to deal with. On this disc, he has found a perfect balance of the in & the out, the more subtle & the more extreme, the melodic & the weird stuff, the funny & the more serious side as well. - Bruce Lee Gallanter, DMG
CD $12

NPO TRIO With MEG OKURA / SAM NEWSOME / JEAN-MICHEL PILC - Live at the Stone (Chant Records; USA) “Recorded during her week-long residency at The Stone, New York, in 2016, on NPO Trio—Live at the Stone violinist Meg Okura and her colleagues, pianist Jean-Michel Pilc and soprano saxophonist Sam Newsome, produce a captivating hour-long set of music. Newsome and Pilc have performed with Okura's Pan-Asian Chamber Jazz Ensemble, and the two worked together on their 2017 duo release Magic Circle. Due to their substantial shared experience, the three musicians have an instantly-apparent rapport, with a synthetic vision that provides impressive cohesion and focus, despite the fully-improvised nature of the performance.
The album consists of three improvisations, the first a 38-minute extravaganza that covers a wide range of emotional and stylistic registers, with its central touchstone being a nineteenth-century Yiddish folk song by Mark Warshawsky entitled "Oyfn Pripetchik." The tune's poignant simplicity is perfect in allowing the trio to branch off in multiple directions over the course of the piece, yet still draw from a shared vocabulary when needed to ensure that the freedom stays bounded. Although the piece is divided into six separate tracks on the album, it is really a continuous work that demands sustained attention from beginning to end; this isn't a recording to be enjoyed by shuffling the tracks.
In addition to the piece's intrinsic beauty, it is also a vehicle for each musician's distinctive attributes. Okura is adept at offering leading or complementary roles as needed; she has the lyrical qualities needed to carry the melody, but she's just as comfortable with gentle pizzicato phrases or rhythmic interjections that serve the music rather than highlighting her prodigious technique. Newsome's facility on soprano sax allows him to use multiphonics, circular breathing and other striking effects that add intrigue and dynamism to the music. And Pilc is a marvel, with a delicate touch during the music's restrained moments but a rich, stentorian delivery during the emphatic ones. His two-handed facility is especially remarkable, with multiple figures developed simultaneously on "Bells, Whistles and Sirens," the piece's second segment.
In the same way that "Oyfn Pripetchik" provides the key reference point for the main piece, "Unkind Gestures" allows the group to tease out some extemporized reflections on John Coltrane's "Giant Steps." Newsome's extended techniques are quite well utilized here, and the trio delivers an energized and imaginative rendering with just occasional gestures to the original song's structure.
The album is concluded by another lengthy improvisation, "Yiddish Mama No Tsuki," an opportunity for Okura once again to venture into Jewish folk music, but this time by combining it with a similar Japanese tune that allows the group to straddle both cultures, and then add a third, with an engaging segment employing a tango rhythm. It's an appropriate finish to an album that offers such an inventive, expansive approach to music-making.” - Troy Dostert,
CD $14

Two of the Three CD’s by guitarist/oud player GORDON GRDINA listed below will be released this fall, the discs on Songlines and Skirl. Mr. Grdina was just in town to do some recording and left us with a half dozen copies of three recent & upcoming discs. Once we sell out of this batch, we will have to wait until they are officially released. The solo recording listed last, we have had in stock previously, so please check to see whether you have it or not.

GORDON GRDINA QUARTET With RUSS LOSSING / OSCAR NOREIGA / SATOSHI TAKEISHI - Cooper’s Park (Songlines 1630; Canada) “Juno award-winning Vancouver guitar/oud player Gordon Grdina "continues to passionately explore the depths of jazz improvisation, cross-cultural fusions and the fun that comes with cutting loose" (Stuart Derdeyn). Following on Inroads (2017), this second release by his wildly eclectic NY jazz-rock quartet combines intricate, through-composed counterpoint with the ebb and flow of dynamic yet focused improvisation. The band comprises Oscar Noriega (Tim Berne) on alto sax and bass clarinet), Russ Lossing (Paul Motian) on piano/Rhodes/clavinet, and Satoshi Takeishi (Ben Monder) on drums. Grdina takes inspiration from the complexity of Bartok, the open spaces and freeform lyricism of Paul Bley, the energy and logical construction of ideas of Soundgarden, and the delicacy of Webern. He also cites Tim Berne as a major influence (Noriega is a member of Berne's ECM band Snakeoil). Grdina's distinctive approach to cross-genre playing and composing draws together elements that you wouldn't expect to hear together. For example, piano and oud improvise a spacey, knotty duet on the 15-minute piece "Wayward." Grdina's unique, virtuosic style of oud playing, though based in a thorough understanding of Arabic classical and folk music, liberates the instrument to explore textures and melodic territory far removed from tradition. Likewise his guitar style draws on deep jazz roots, combining them with a full-on rock intensity and a fascination with challenging structures at the outer reaches of tonality.”
CD $15

GORDON GRDINA’S NOMAD TRIO with MATT MITCHELL / JIM BLACK - Nomad Trio (Skirl Records 044; USA) Featuring Gordon Grdina on oud, guitar & compositions, Matt Mitchell on piano and Jim Black on drums. Over the past decade, Vancouver-based guitarist & oud player, Gordon Grdina, has had a dozen or so releases, on several labels (mostly Songlines), often with varying personnel from the Vancouver scene and a number of Downtowners: Oscar Noreiga, Hank Roberts and Tony Malaby. For this disc, Mr. Grdina, has chosen a couple of Downtown’s best: the ubiquitous Matt Mitchell on piano and ace drummer Jim Black (currently living in Berlin). This trio has a unique sound, although Mr. Grdina’s guitar is upfront, the piano and drums are tightly wound around him. The guitar and drum play those tight, jagged lines together while Mr. Mitchell plays an endless flow of crashing chords in between. The first piece is called, “Wildfire” and this seems most apt. Grdina’s guitar solos throughout, telling a long story which moves through hills and valleys, speeding up and slowing down. The title track has a memorable, hypnotic repeating line at the center in the first section. The piano takes over fir the guitar in the midsection playing freely around the pulse which is now submerged. While Matt Mitchell plays a bassline with his left hand along with Mr; Black drumming, the guitar & upper part of the piano play complexing interlocking phrases together. There is a section on “Ride Home” where Grdina’s guitar, Mitchell’s piano and Black’s drums lock into one another as the tempo increases to near boiling point recalling early John McLaughlin. These songs often build to intense, throttling conclusions.These songs often build to intense, throttling conclusions. This is one incredible trio, can't wait til this is officially released so we can spread the great word. - Bruce Lee Gallanter, DMG
CD $14

Back in stock, originally listed earlier this year:

GORDON GRDINA - China Cloud (Self-produced; Canada) Featuring Gordon Grdina on guitar, oud, bowed guitar and candelabra. I got to hand it to Vancouver plectrumist, Gordon Grdina, who is continually in motion leading several projects simultaneously, each one different. Last Saturday (6/16/18) I caught his NY Quartet at the Greenwich House and was knocked out. Last week I reviewed another quartet disc called ‘Ejdeha’ with a different NY-based unit, also great. At the end of the set last Saturday, Mr. Grdina left me with a limited edition self-produced solo CD. Grdina has around a dozen discs out but this is his first solo recording, as far as I can figure. “Cages of Our Own Design” has Mr. Grdina playing an acoustic guitar and it is warmly recorded. It sounds as if he is about the break into the melody of Mingus’ “Good-bye Pork Pie Hat” at any moment, his playing going from an exquisite sense of calm to a flurry of notes. “Compacted Dreams” is a solo for the oud, slow and haunting when it begins and building throughout with some odd background noise buzzing. “Wax Works” is for electric guitar and it is dark and probing with selective reverb used to add an eerie, ethereal vibe, the strings resonating like ancient ghosts at a gathering of spirits. Each piece of this disc creates a different mood or vibe, telling a story or tale. Grdina plays oud on “The Waiting” which sounds like raga going from contemplative and increasing in tempo and intensity as it unfolds. Grdina’s playing here is astonishing, showing him to be a force to be reckoned with on this difficult to play instrument, more often found in the Middle East or Northern Africa. This disc is a tour-de-force for one of the best pickers to emerge from the rich Vancouver creative music scene which to evolve in leaps and bounds. - Bruce Lee Gallanter, DMG
CD $14

RYAN KEBERLE & CATHARSIS with SCOTT ROBINSON / CAMILA MEZA / JORGE ROEDER / ERIC DOOB - The Hope I Hold (Greenleaf 072; USA) “Even in an age of eclectic musical careers, few can match the diverse résumé of trombonist-composer Ryan Keberle. He has recorded with David Bowie and Alicia Keys, toured with Sufjan Stevens, performed with several Afro-Cuban bands, and is a staple in some of the leading contemporary jazz orchestras, including those led by Maria Schneider and Ryan Truesdell. He was music director of St. James Roman Catholic Church in Manhattan from 2001 to 2007, and for the past 15 years he has served as the director of jazz and brass studies at Hunter College.
Increasingly, many of these experiences can be heard in his group Catharsis. Formed in 2012, the band has just released its sixth recording, “The Hope I Hold” (Greenleaf Music). Catharsis has unusual instrumentation—Mr. Keberle is joined by drummer Eric Doob, guitarist and vocalist Camila Meza, bassist Jorge Roeder, and saxophonist and trumpeter Scott Robinson—and it reflects Mr. Keberle’s fascination with textures and unique harmonies, as well as his interest in developing common standing for instruments and vocals in performance.
In its first incarnation, Catharsis featured a different lineup—trombone, trumpet, bass and drums—and it felt like inspired speculation: What if the classic Chet Baker/Gerry Mulligan piano-free quartets of the late ’50s featured Mr. Keberle’s probing, cerebral trombone sound instead of Mulligan’s warm, complex baritone saxophone? Early performances by Catharsis had the same tunefulness and melodic emphasis of those earlier groups, and it moved even further toward conventional song forms with the addition of Ms. Meza in September 2013. Originally from Chile, she joined the group as Mr. Keberle began to deepen his interest in South American musical traditions. One highlight of the Catharsis discography is their cover of “Madalena,” by the great Brazilian singer-songwriter Ivan Lins, which can be found on their 2016 release, “Azul Infinito” (Greenleaf). On their 2017 release, “Find the Common, Shine a Light” (Greenleaf), the band covers the Lennon-McCartney nugget “Fool on a Hill” and the Bob Dylan classic “The Times They Are A-Changin’.”
Some of the lyrics on “The Hope I Hold” are from the Langston Hughes poem “Let America Be America Again,” which was originally published in Esquire magazine in July 1936. In the press release to the recording, Mr. Keberle says that he was struck both by the similarity of the poem’s title to President Trump’s 2016 campaign slogan and by the poem’s coupling of dismay that the American dream had been limited for disenfranchised populations with optimism that those oppressions would end.
The music on the recording both expands and streamlines the band’s sound. Mr. Keberle is heard on keyboards on some tracks, and the songs swell and recede in a graceful way reminiscent of the Maria Schneider Orchestra. Wordless vocals, lyrics and solos emerge from gorgeous weaves of musical textures. Yet for four songs of the 56-minute program the band reduces to a trio of Mr. Keberle, Ms. Meza and Mr. Roeder, and the sound becomes more intimate.
The recording begins with “Tangled in the Ancient Endless Chain,” which nearly encapsulates their sound. Keyboards, bass, saxophone, guitar and wordless vocals lead a sumptuous swell of sound that transitions seamlessly into a drum solo that propels the piece into a more conventional song form with lyrics sung by Ms. Meza and solos by her and Mr. Robinson. Mr. Keberle’s trombone virtuosity highlights “Despite the Dream,” “Fooled and Pushed Apart” and “Campinas.” Mr. Keberle emphasizes his South American influences in the trio portions of the recording with “Para Volar,” a gorgeously complex composition, and “Zamba de Lozano,” which was written by the great Argentine folk musician Gustavo Cuchi Leguizamón.
Catharsis has a unique sound but some distant, obscure antecedents. The pan-American sonic blend recalls the early ’70s editions of Return to Forever that featured Airto Moreira and Flora Purim. The way that Mr. Keberle’s arrangements bring instrumentation and vocals onto the same level is reminiscent of the Steve Lacy ensembles of the ’80s with Irene Aebi. Like those groups Mr. Keberle’s band makes innovative yet accessible music.” - Martin Johnson, Wall Street Journal
CD $14

DANIEL ERDMANN’S VELVET REVOLUTION With THEO CECCALDI & JIM HART - Won’t Put No Flag Out (BMC 282; Hungary) Featuring Daniel Erdmann on tenor sax & compositions, Theo Ceccaldi on violin & viola and Jim Hart on vibes. This is a splendid mellow, melodic, creative trio that don’t quite sound like anyone else. The title piece is first and it has a quaint melody that rings true, haunting and lovely. I recognize saxist Daniel Erdmann’s name from some 20 discs on labels: JazzWerkStatt, Intakt and Clean Feed. The superb production here gives this music a warm glow that feels magical like fairy dust being added to the blend. French strings wiz, Theo Ceccaldi and his brother Valentin (cello) have been showing up recent discs with Joelle Leandre, Luc Vicente and other lesser known musicians from the French creative music underground. So far, I’ve heard Theo Ceccaldo play in mostly improvised situations but here the trio is playing Mr. Erdmann’s delightful, enchanting music. Vibesman, Jim Hart, is especially well-recorded and sound as if he is manipulation his vibes with a bow or muting it somehow. The one cover here is “Over the rainbow” and it goes get a tasty rendition, rather heartwarming without being too corny. Everything about this disc works just right, a perfect combination of talents without being too far out, a great disc to play a novice who is just hearing creative music played and captured sympathetically. Sublime. - Bruce Lee Gallanter, DMG
CD $17 [In stock next week]

PERE UBU with DAVID THOMAS / KEITH MOLINE / GAGARIN / CHRIS CUTLER - The Long Goodbye (Cherry Red CDBred 747; UK) "Pere Ubu unveil their new album, The Long Goodbye, nearly two years after their previous record for Cherry Red, 20 Years In A Montana Missile Silo. Named after Raymond Chandler's novel, The Long Goodbye is the end of a road. Front man David Thomas has long talked of their journey to Satisfied City: 'This wraps up every song and story that Pere Ubu has been telling in different ways for the past forty plus years.' This Pere Ubu album sounds like no other. It boasts a large expanse of synths due to Thomas writing and arranging the songs alone with his collection of drum machines, synthesizers and a melodeon before sending to the other musicians to complete this unique fusion of techno meets trad rock meets... the avant garage. The CD edition boasts a live bonus disc, recorded in December 2018. Former member Chris Cutler rejoined David Thomas, Gagarin and Keith Moliné to play the entire album to a packed theatre in Montreuil, Paris. The show also included the seminal Pere Ubu classic 'Heart Of Darkness' and Neil Young's 'Running Dry'."
2 CD Set $18

MUDDY WATERS, JOHNNY WINTER & JAMES COTTON - Live In NY '77 (Keyhole 9093; UK) Muddy Waters, Johnny Winter, and James Cotton, live at the Palladium, New York on March 4th, 1977. Steve Paul of Blue Sky Records, appeared as a savior to both Johnny Winter and blues giant Muddy Waters, at a time when both musicians were facing hard times. The result of his investment soon paid off, with the Hard Again tour combining the respected powerhouse of Waters and Winter joined by James Cotton, culminating in a further four albums being produced. Although this particular collaboration was short-lived, it has provided blues fans a rare opportunity to indulge in the work of two hugely important musical figures whose respect for each other is evidently unflinching. Two live albums, Muddy Mississippi Waters Live (1979) and the more recent Breakin' It Up, Breakin' It Down (2007), have allowed a glimpse of the concerts from 1977-1978. Keyhole presents the entire King Biscuit Flower Hour broadcast of Waters, Winter, and Cotton, live from New York's Palladium on March 4th 1977, fully remastered with in-depth liners and rare photos. Personnel: Muddy Waters - vocals, guitar; Johnny Winter - vocals, guitar; James Cotton - vocals, harmonica; Bob Margolin - guitar; Joe Willie "Pinetop" Perkins - vocals, piano; Charles Calmese - bass; Willie "Big Eyes" Smith - Drums. Features guest Edgar Winter on piano and vocals.
2 CD Set $22

PHILIP CORNER - The Judson Years (Alga Marghen 160; Italy) “It's hard to overstate the importance of Philip Corner. For more than half a century he has been a cornerstone of the American musical avant-garde. Once a student of Otto Leuning, Henry Cowell, Olivier Messiaen, and Dorothy Taubman. A founding member of Fluxus, Corner made waves fast, creating a body of singular work, both on his own and within ensembles like Gamelan Son of Lion and Tone Roads, founded with Malcolm Goldstein and James Tenney, which has cut its way across the decades. Among Corner's most fascinating works are those created between 1962 and 1964, during the period when he was resident composer at the Judson Dance Theatre, one the great occurrences in the emergence of avant-garde dance, movement, Happenings, and performance art. Even today, it stands among the most important examples of collaborate create exchange in the history the American arts. Alga Marghen present a three-CD box, issued in early 2000s by and now out of print, gathering much of the work created during these important years in Corner's career, signed by the composer himself. Alga Marghen's triple box gathers On Tape From the Judson Years, and More from The Judson Years (Early 60s) Instrumental and Vocal Works Volumes 1 and 2, bringing you to heart of Philip Corner's brilliant practice and mind. Across the first disc Corner's tape works -- complex textures and sonority coming to life. The second disc is of an entirely different sort, featuring works created with a great many of Corner's closest collaborators and friends. Recorded at Judson, 1965, the disc features a knock-out cast of Ayo, David Behrman, Philip Corner, Malcolm Goldstein, Dick Higgins, Joe Jones, Alison Knowles, Jackson Mac Low, Charlotte Moorman, Nam June Paik, and Chieko Shiomi, and more. The third disc takes the ear further afield, with "Everything Max Has" (1964), a performance of Max Neuhaus solo recorded at the ONCE Festival (1965), captures the composer and percussionist taking down an overwhelming amount of equipment. It also includes Big Trombone (1963), with Jim Fulkerson improvising over tape collage, "Homage to Revere" (1962) a work for an ensemble of copper-bottom kitchen utensils, and "Punkt" (1961) for an ensemble of staccato sounds, and a number of other astounding works from the era. As a totality, Alga Marghen's three-CD set of Corner's years spent at the Judson Theatre, are a mind-boggling entry into an overwhelmingly exciting moment in time. Edition of 200, signed and numbered.
3 CD Set $56

LUCA TILLI / SEBI TRAMONTANA - Down At The Docks (We Insist! Wein 006; Italy) Trombonist Sebi Tramontana is mostly known as member of the Italian Instabile Orchestra and for his collaboration with European improv luminaries such as Joelle Leandre, Paul Lovens, and Carlos Zingaro. In Down At The Docks, Tramontana is in close company with cello player Luca Tilli. This is a strong free improv album. A genuine and profound dialogue for trombone and cello, full of allusions, rips, bursts of humor, and sudden gusts of poetry.
CD $17

PIPELINE 8 with GIANCARLO LOCATELLI / SEBI TRAMONATANA / et al - Prayer (We Insist! Wein 002; Italy) Another great project conceived by Giancarlo Locatelli and dedicated to the music of Steve Lacy. This time Locatelli presents a full octet line-up featuring some of the best Italian improvisers: Gabriele Mitelli (trumpet), Sebi Tramontana (trombone), Gianmaria Aprile (el. guitar), Luca Tilli (cello) Alberto Braida (piano), Andrea Grossi (bass), and Cristiano Calcagnile (drums). Musicians from different generations and backgrounds -- jazz, classical music, free improv, experimental rock. A great collective piece of work. Liner notes by John Corbett. CD version includes an additional track.
CD $17

GIANCARLO NINO LOCATELLI - Situations (We Insist! Wein 003; Italy) “Clarinetist Giancarlo Nino Locatelli can be considered the Italian greatest Steve Lacy expert. Situations is a solo clarinet immersion through the music of the great American soprano sax player. Locatelli catches the essence of Lacy's music through a series of creative renditions of historical compositions such as "Morning Joy", "Blues For Aida", and "Trickles". A very important statement furtherly enhanced by Jason Weiss's liner notes, author of Steve Lacy: Conversations (2006). CD version includes two additional tracks.
CD $17

HARMOGRAPH / MATTEO SCAIOLI - Ambienti Elettroacustici (Soave 023; Italy) Harmograph is a project by and with Matteo Scaioli. Matteo Scaioli summarized his latest research on sound by building various electromechanical instruments, one of which he called the "Harmograph", which gives the name to his whole project. Harmograph is basically a gong remodeled with a unique sound. Scaioli blends the sound of the Harmograph with other self-made instruments including Melodon's Voice, Phonograph Tape, Dhin "Tan" Pathè, and finally his favorite synth: the Prophet 5. Matteo Scaioli -- being a percussionist in the end -- built the Dhin "Tan" Pathé, a percussive instrument inspired by the Indian Mridangam, conceived and built starting from a 78rpm Pathè Bakelite disc of the early 1900s, where Scaioli assembles records in bakelite prepared by him creating rhythms and unpredictable sounds. The artisan dimension of the project is a further step in the continuous personal invention of sound machines and in the search of obsolete instruments, combined with contemporary electronic feel. Check out:
CD $15

Back in stock: (sold out a couple of months ago & now back in stock)

TREVOR WATTS - Life & Music (Hi4Head 025; UK) With ROB LEAKE / AMY LEAKE / JAMIE HARRIS / GEOFF SAPSFORD / ROGER CAREY / GIAMPOLO SCOTTOZA - Featuring Trevor Watts on alto sax & soprano saxes, wooden flute, piano, synth & mbira; Jamie Harris on percussion,Geoff Sapsford on guitar, Rob & Amy Keake on tenor saxes, Roger Carey on bass and Gimpaolo Scottoza on drums. Over the long course of more than fifty years, UK saxist Trevor Watts’ playing/music has moved from total freedom (SME), to Ornette influenced jazz/rock (Amalgam) to the tribal rhythm of the Moire Music Ensemble, which had upwards of four or five drummers at its largest version. Over the past decade or so, Mr. Watts often tours and in a variety of groupings, from duos with Jamie Harris (on conga), Veryan Weston (piano) to a trio with Alison Blunt and Hannah Marshall. Each release shows Mr. Watts exploring different trajectories of his long career. ‘Life & Music’ is a solo/group effort for some seven musicians, some known (Jamie Harris), but mostly lesser known players, a couple of whom are/were members of Watts’ Celebration Band. It is a studio effort in which Mr. Watts work his way through his different musical situations, each piece very different from the previous one. “Mexican Nights”, has Watts playing eerie synth in the background while Jamie Harris plays ritualistic congas supporting Watts’ great snake-charming sax solo. On each piece, Watts sets up different grooves with layers of synth, samples and drums/percussion. Watts like t0 overdub several instruments: piano, synth, mbira (thumb piano), synth and percussion. At times he writes these infectious groove songs, sometimes with a charming vocal chorus. If I didn’t know any better, I would think that this is Trevor Watts’ party record?!? There is still something charming about this date, the grooves are consistently enticing, the occasional solos rise above the grooves into some buried treasure. If this sessions was produced by a famous world-music personalty in an expensive studio, it might actually become a world-wide hit?!? Hmmmm. This is certainly some good tasting medicine for everyone who chooses to listen. - Bruce Lee Gallanter, DMG
CD $14


ESP CASSETTE BOX-SET: ALBERT AYLER / MARION BROWN QUARTET / SONNY SIMMONS / SUN RA / RONNIE BOYKINS - Spirits Rejoice / Marion Brown Quartet / Staying on the Watch / The Will Come, Is Now / Concert for the Comet Kohoutek / [5 Cassette Set[ (ESP-Disk ,USA)
5 Cassette Deluxe Box Set $50  [LTD Edition of 25]

Cassette $10

Cassette $10

Cassette $10

Cassette $10

MILFORD GRAVES With SUNNY MORGAN - Percussion Ensemble (ESP Disk 1015; USA)
Cassette $10

Cassette $10

Cassette $10

Overstock sale:

CD Sale $13

CD Sale $13

LP Only Section:

EDDIE PREVOST - Matching Mix (Earshots Recordings 013; UK) “In October 2018 we took several recordings in and around Eddie Prévost's home village of Matching Tye in Essex, where he has been living for the past fifty years. The majority of the pieces that made it to this LP took place in All Saints Church, High Laver, the burial site of John Locke. This fact was notable in the choice of title for this set of recordings, and it seemed necessary to put forward Eddie's own take on Locke that he offered in our correspondences: 'Scholars of Locke's philosophy will be familiar with the idea of mixing labour with materials as a fore-running notion of possessive individualism and basis for private property. Such 'mixing' is a persuasive description of a creative act. But the theory is more worthy of a social dimension.' As for the individual titles for each of the studies on the LP, each takes ideas and elements from music past. For example, MaxPlus makes a nod towards bebop pioneering drummer Max Roach who offered an earlier hit-hat study. Eddie utilizes such examples, offering further creative insights which can then be woven back into the common wealth of sound. The final track, returning to the bowed cymbal method of the first, was recorded outdoors on a breezy green, and is pictured on the back cover of the sleeve. It was an attempt to capture the playing in its 'metamusical' relationship with the untempered sounds of the external environment. Eddie has written about Metamusic in his book The First Concert (Copula, 2011): invoking childlike 'protomusical' behaviour, or the sense of music that a person might possess before the inevitable influences come to play any role in their productive, and appreciative, musical development. Ross Lambert provided a few words alongside his cover drawing entitled 'The Metamusician': "The eyes would symbolise for me things like searching, examining, closeness or friendship I think; engagement with the world. Decisions in making the image were completely intuitive, this is just me looking for the meaning, post-analysing, post rationalising.' -Daniel Kordik & Edward Lucas, March 2019"
LP $24

CATHERINE CHRISTER HENNIX / THE DEONTIC MIRACLE - Selections from 100 Models of Hegikan Roku (Blank Forms/Empty Editions 007; USA) “Selections from 100 Models of Hegikan Roku is the second in an ongoing series of archival records of the unheard music of Swedish composer, philosopher, poet, mathematician, and visual artist Catherine Christer Hennix, co-released by Blank Forms Editions and Empty Editions. It follows 2018's Selected Early Keyboard Works and coincides with Blank Forms' publication of Poësy Matters and Other Matters, a two-volume collection of Hennix's writing. Upon her return to Sweden from New York in 1971, Hennix sought to form a large ensemble inspired by her encounters with La Monte Young and recordings by the Theatre of Eternal Music. She enlisted her brother Peter Hennix, Hans Isgren, and a dozen Swedish jazz musicians she had previously worked with, naming the group and its pieces of music after the time and days of the week according to the Angus Maclise calendar (e.g. "The Pointed Time Bus"). Frustrated with the jazz musicians' inability to comprehend and play the intervals of just intonation, she pared the group down to the trio of herself, her brother, and Isgren and christened the live-electronic ensemble The Deontic Miracle. In 1976, The Deontic Miracle performed Hennix's original compositions, alongside works by La Monte Young, Terry Riley, and Terry Jennings, as part of Brouwer's Lattice at the Moderna Museet in Stockholm. With Hennix on amplified Renaissance oboe, live electronics, and sine wave generators, her brother on amplified Renaissance oboe, and Isgren on amplified sarangi, the recordings presented here of the group's first and only public concert see them channeling late period John Coltrane and the sopranino and soprano saxophone playing of La Monte Young and Terry Jennings in the Theatre of Eternal Music. With titles taken from Japanese Gagaku, "Music of Auspicious Clouds" and "Waves of the Blue Sea" are expansive drone improvisations, breathing with the pulsating lull of cicadas' organic sonic latticework. Now accessible for the first time, these recordings by what Hennix has called "the most rejected band ever formed in Sweden" continue to fill gaps of silence from a figure whose work has until recently remained flickering at the margins of some of the most enduring cultural developments of the 20th century.
2 LP Set $24

HARRY PARTCH - And On The Seventh Day Petals Fell In Petaluma (New World Records 90002; USA) Performed by The Gate 5 Ensemble Performed by The Gate 5 Ensemble: Harry Partch (director), Danlee Mitchell, Harry Partch, Michael Ranta, Emil Richards, Wallace Snow, Stephen Tosh. Limited edition LP release (180 gram vinyl) with previously unpublished bonus tracks free download card. "'In late 1962 Harry Partch returned to California and began a project that would not only become the bones of a masterwork, Delusion of the Fury, but have a life of its own. In a too-small space within an abandoned Petaluma chick hatchery, Partch gathered the instruments he had designed and built -- new and old -- eager to once again expand the boundaries of his compositional fabric. He learned each individual part as he composed, establishing that it could be played. And On The Seventh Day Petals Fell In Petaluma (1963-64, rev. 1966) was born of his exploration and assembled with that 'minimum of players' over a three-year period. In spite of rough conditions and meager resources Partch's dogged persistence, along with the efforts of his dedicated assistants, eventually succeeded in realizing the 34 verses of expanded duets. With this album we revisit an important work and turning-point, guided by the original 'Statement' Partch wrote for the first commercial release of the piece. Previously only excerpted, it is a voicing of his beliefs that transcends one project to illuminate an entire purpose. We also reprise exquisite notes by the late Bob Gilmore, who distills and explains the story of Petals so clearly and eloquently. No one wants a dead reissue, so by digging into the archives, I am pleased to offer hidden gems. First, The Petals Sessions is an aural glance into the cramped quarters of the recording space, as composer and players labor to bring new notes to life, Harry himself giving direction. The montage ends with a 'test take' by Danlee Mitchell and Michael Ranta that could have easily been a keeper! Finally, we present the original Verse 17. In 1964 Partch wrote two duets that used the Adapted Viola; by the time the piece was finished in 1967, he had excised them. The ending track -- never before released -- brings Harry back to life, playing and recording Adapted Viola for one of the last times. I was completely unaware of this recording until I examined the outtakes and it glows, fifty years on. That Petals ever came to be, like much of Partch's story, stands somewhere between determination and miracle.' --Jon Szanto, The Harry Partch Foundation"
LP $22

EUGENE CHADBOURNE - Solo Guitar Volume 3-1/3 (Feeding Tube Records 395; USA) "Eugene Chadbourne is one of the great guitar players of the modern era. At the time he began recording in Canada in 1975, his music was a unique syncretic formulation. While its most obvious component was free improvisation in a style then most widely associated with English and European players, his music also contained elements of jazz, country, folk, blues, psychedelic and international sounds, referencing these threads in ways that were so diverse and intensely personalized it would take scholars decades to decode them. Volume 3-1/3 is the third of four LPs Feeding Tube is releasing, devoted to documenting some of the music Dr. Chadbourne was creating during the years he was based in the provinces of Canada, while avoiding the conscriptive powers of Richard Nixon and his ilk. Exact details of the recordings are vague, but that's trivial. Here are seven tracks of improvisational guitar madness at its most glorious. Describing them is almost impossible, but I can at least tell you their names 'East Was,' 'Texas Was,' 'The Shreeve,' 'Evil Was,' 'What Was,' 'Superman's Problem,' and 'Reflections.' The 'Was Tetrology' was a piece I believe to have been originally conceived and performed while in the lair of Davey Williams, R.I.P. (and associated members of the Alabama Surrealist Cabal). 'The Shreeve' is another take of a track originally recorded for the timeless Volume Two LP. 'Reflections' and 'Superman's Problem' probably date to a Clouds & Water session in early '79. Heard together they suggest an entire parallel universe of guitar history. Solo Guitar Volume 3-1/3 is an even more amazing spin than the last one. And there's still one more to come!" --Byron Coley, 2019 Edition of 400.
LP $19

JOE McPHEE and PAAL NILSSEN-LOVE - Lift Every Voice And Sing (Smalltown Supersound /Actions for Free Jazz 200; UK) "Recorded in Oslo's small and intimate St. Edmund's Church the 13th of December 2017, this LP features compositions by James Weldon Johnson, Thelonious Monk and Joe McPhee plus two by McPhee and Nilssen-Love. The album was mixed, edited and mastered by Lasse Marhaug and is vinyl only, no digital. 500 copies made and no re-press. Artwork by Kim Hiorthøy."
LP $24

PAULINE OLIVEROS & GUY KLUCEVSEK - Sounding / Way (Important Records 471; USA) “Pauline Oliveros and Guy Klucevsek's Sounding / Way was originally released on cassette in 1986 and has been out of print ever since. This LP was cut by John Golden and pressed at RTI in order to achieve a quiet, dynamic pressing. The Sounding / Way concept was simple: Each artist would write a piece for two accordions and then they would perform them together. Thus, side A contains Guy Klucevsek's "Tremolo No. 6" performed by Guy Klucevsek and Pauline Oliveros. Side B contains Pauline's composition "The Tuning Meditation", also performed by both Pauline and Guy. This is the second release in an on-going effort between Important Records and the Pauline Oliveros Trust to maintain and promote the music, philosophy and legacy of Pauline Oliveros.
Guy Klucevsek is one of the world's most versatile and highly-respected accordionists. He has performed and/or recorded with Laurie Anderson, Bang On a Can, Brave Combo, Anthony Braxton, Anthony Coleman, Dave Douglas, Bill Frisell, Rahim al Haj, Robin Holcomb, Kepa Junkera, the Kronos Quartet, Natalie Merchant, Present Music, Relâche, Zeitgeist, and John Zorn.
Pauline Oliveros, composer, performer, and humanitarian, was an important pioneer in American Music. Acclaimed internationally, for four decades she explored sound -- forging new ground for herself and others. Through improvisation, electronic music, ritual, teaching and meditation she created a body of work with such breadth of vision that it profoundly effects those who experience it, and eludes many who try to write about it. Oliveros has been honored with awards, grants and concerts internationally. Whether performing at the John F. Kennedy Center in Washington D.C., in an underground cavern, or in the studios of West German Radio, Oliveros's commitment to interaction with the moment was unchanged. She could make the sound of a sweeping siren into another instrument of the ensemble. "On some level, music, sound consciousness and religion are all one, and she would seem to be very close to that level." --John Rockwell "Through Pauline Oliveros and Deep Listening, I now know what harmony is. It's about the pleasure of making music." - John Cage
LP $28

PAULINE OLIVEROS - Tara's Room (Important Records 472; USA) Pauline Oliveros's Tara's Room has long been a favorite at Important Records and here they release it on LP for the very first time. Tara's Room was cut by John Golden and pressed at RTI in order to achieve a quiet, dynamic pressing. Originally released on cassette in 1987 following the 1986 release of Sounding / Way with Guy Klucevsek, also reissued by Important Records (IMPREC 471LP). This LP features two long sides of infinite depth and sensitivity. Oliveros performs these pieces using a just intonation accordion and her Expanded Instrument System in order to bend both time and pitch. "Both pieces are intended to aid the listener in times of spiritual change, but are just fine for 'everyday' use as well. Highly recommended." --Charles S. Russell, Ear Magazine
LP $28

TRINARY SYSTEM with ROGER MILLER - Lights in the Center of Your Head (Feeding Tube Records 452; USA) "Great debut album by the new trio led by Detroit/Boston guitar legend Roger Miller. Roger has been going at it since he was a tiny baby, with a recording career that stretches back to Sproton Layer in 1970. He is still probably best known for his work with Mission of Burma, but cognoscenti wallow in his work with the original Destroy All Monsters, F.U.K., Empool, the Farmers, his crazy solo stuff, and recent jamming with M2. With Trinary System, Roger manages to get wild trio aktion going that touches on all phases of his magnificent trajectory. Things start off in classic Burma mode, but everything feels a bit more straightforward than it did with that rascally outfit. There is a garageyness and almost pre-punk feel to some of the playing here that has been a footnote to some Burma tunes, but is allowed full rein with Trinary System. The drummer, Larry Dersch, was half of the electric piano/drums duo, Binary System, in the '90s. His collaborations with Roger continued into later versions of Birdsongs of the Mesozoic (Boston's premier prog band for over 20 years). Bass and synth are handled by Andrew Willis (an ex-pat from the Louisville sub-underground). Together, they create a sound employing a powerful retro-futurist vibe. At times it's almost like hearing a mid '70s power trio having a collective dream about the post-punk future. But there's a distinct Motor City feel to the proceedings as well. The music is just perfect for barreling down the highway (as I tested on a recent drive to Pittsburgh) with thick, chunky riffs, odd vocals harmonies, and proletarian lyrics, all tied together with the kind of whizzing guitar parts you didn't think anyone but J Mascis made anymore. There are also miasmic psych flows, which the trio tends to emphasize a bit more in live concert, but you should just buy the thing & figure it out yourself. Pleasure guaranteed." - Byron Coley, 2019
LP $19

DARK CARNIVAL - The Last Great Ride (Bang! Records 135; Spain) Detroit high-energy rock at its purest essence! Niagara (Destroy All Monsters) and Ron Asheton (The Stooges), among other great Detroit musicians, recorded this killer album back in 1996. Now it is finally reissued on vinyl with two added tracks to the original vinyl release, remastered in order to get its purest sound, and new artwork courtesy of Mrs. Niagara Detroit and Mr. Colonel Galaxy. And guess what? This is an extension of Destroy All Monsters with absolutely killer guitars in line with The Stooges' Funhouse with the unique stamp and signature of Mr. Ron Asheton. Ten classic shots which need to be in your record collection right by The Stooges, Destroy All Monsters, MC5, Sonic's Rendezvous Band, Radio Birdman, The New Christs, Bored!, etc. 150 gram vinyl; edition of 500.
I had the good (?) fortune to been able to get this band a couple of gigs at the Old Knit and at Maxwell’s in Hoboken. I had a lot of fun hanging with the band and talking & drinking with Ron Asheton (Stooges lead guitar ace!). The band were pretty great both nights but their manager, The Colonel, took all the door money and left none for the opening band. So I had to pay them out of mine pocket. Oh well, that’s the rock biz, I guess. Several years later I went to see Dark Carnival at the second Knit(ting Factory on Leonard St in Tribeca). I had nothing to do with setting the gig this time, lucky me. The band were even better, louder and they rocked the house as only a Detroit rock band could. Yowsah! I made my way up front to watch super hot looking lead singer Niagara sing. She was in rare form, inspired by the great rock tornado under her. I recognized one the songs (a Stooges cover I think) and was mouthing the words to myself. Niagara sees me & recognizes me (in my dreams), bends to push the mic in my face for the chorus, pulling me head close to the mic so I can sing/scream along! This is a moment I will never forget!. If you dig: Destroy All Monsters, the MC5 (playing this year!), Sonic Rendezvous Band, Radio Birdman… nearly as much as Jason, Bob N & me, then this platter should get you going. Listen Now before the apocalypse comes. - BLG/DMG
LP $28

ALASTAIR GALBRAITH - Morse (Digital Regress 032; USA) "A central figure of the New Zealand underground since his days in The Rip over three decades ago, Alastair Galbraith has worked alongside scores of Kiwi legends as a multi-instrumentalist and solo artist. Morse appeared in 1992, a Siltbreeze/Xpressway co-release, and despite Galbraith's centrality to the magical NZ mix, the record is an 'outsider' classic, a peerless piece of Antipodean collage, diverted folk, and minimal psychedelia. Galbraith plays almost everything on Morse, with periodic assists from Bruce Russell, Robbie Muir and others. Mutable, unfussy arrangements -- for acoustic and electric guitar, piano, violin, and some proper post-VU thudding--gather and crumble around obliquely phrased double-tracked vocals, sharing an enigmatic yet intuitive emotional quality with much NZ music of the period. And while his process might be homespun, don't call this lo-fi: listen close and hear microscopic layers of detail in Galbraith's plangent guitar work, the texture of amplified strings distinct from the notes they're sounding, melodies and sibilant murmurs swallowed as songs melt or careen into one another. Morse's fragmentary song suites conjure a post-70s in which Syd Barrett fucked off to Dunedin and started roadying for The Clean, or John Cale traded blow for tea and a Tascam. Untouchable in spirit and execution, Morse is a long-undersung gem of the international '90s underground by a bona fide NZ legend."
LP $19

IDEA FIRE COMPANY - The Light That Never Ceases to Fail (Feeding Tube Records 429; USA) "In my count, this is the 25th album by Amherst's Idea Fire Company. And it a marvel of creative whackery that unfolds its charms like a glamorous stripper doing a matinee show at a well-lit coal mine. Many key auxiliary members have passed through IFCO's ranks (Dr. Steve, Jessi Leigh Swenson, Meira O'Reilly, Franz de Waard, Graham Lambkin, Matt Krefting, etc.), but the core of the unit has always been Karla Borecky (catcher, piano) and Scott Foust (first base, trumpet/synth). On The Light they are joined by bassist, Mike Popovich (a long-time Foust colluder), and the results are an album of unqualified beauty. Karla's piano is the central focus here, employing a simple (almost Satie-like) approach to melody, with a physical touch reminiscent of Chris Abrahams' work with Necks. She combines mystery and familiarity with uncanny ease. Scott's trumpet work has kinda come into its own here as well, sounding like Franz Koglmann mocking Chet Baker. His synth playing also has its own distinct atmospheric quality. Sometimes it's like a distant fog horn guiding brine shrimp to safety, at others more like someone trying to make wood sculptures with a band saw. Popovich's bass playing uses an equally sneaky environmental approach, often appearing to be an immobile object that suddenly shifts its posture in a way that is contextually startling. Scott Foust has been one of the leading lights of the Western Mass experimental scene for many long years. That we have only done one record with him thus far -- Dead Girls Party (FTR 279LP, 2018), an overlooked masterpiece -- is mostly due to the fact that we keep very different hours. How nice to sync up for this one." - Byron Coley, 2019 Edition of 250.
LP $21

JORDAN PERRY - Witness Tree (Feeding Tube Records 465; USA) "Vinylization of a self-released cassette issued earlier this year by our favorite Virginia-based guitar player. Witness Tree is a brilliant follow-up to Perry's eponymous debut LP (FTR 376LP, 2018), and expands upon the form-abstractions he first displayed there. Mr. Perry has a firm and solid touch to his string wrangling, but unlike many of his contemporaries, he doesn't seem to feel compelled to resolve all the melodic questions he raises. Perry often stops in a place he finds interesting, repeating rhythmic figures while trying out variations on the note/chord sequence that stopped him in the first place. It's a goddamn fascinating approach and allows him to explore textual aspects of the acoustic guitar that are not investigated often enough. In a certain sense, Perry's playing feels akin to that of Jon Collin's, since both guitarists appear to acknowledge the American Primitive School, while approaching its compositional orthodoxy with an attitude that substitutes experimental tendencies for blues-base thinking. But the way they resolve these themes is quite different. Perry's slower pacing and precise string selection eschews the aleatory for a kind of mindfulness that is as invigorating as I usually find randomness. A deep and lovely dig into the outer edges of acoustic guitar rambling." --Byron Coley, 2019 Edition of 400; includes download slip. 45rpm.
LP $19

SIAVASH AMINI - Serus (Room40 497; Australia) Iranian composer Siavash Amini creates an ode to night; literal and metaphorical. Using textural electronics and post classical arrangements, he asks you to dwell in the "dark" of sound and forgo the sensory certainty of light. From Siavash: "The Idea of this album, when I first started drafting it, was to continue what struck me as very interesting yet simple idea; night. I became interested in different definitions of what night is, our perception of it and what night means physically to us as well as symbolically. I came across the idea of 'other night' described by Maurice Blanchot, during my research. It started me recognizing night as something we experience as 'the night of sleep'; it is night that we resist in sleep, by way of dreaming. Things became more interesting for me during many nights of not sleeping and intoxication, and an eventual nervous breakdown. This experience, culminating in me spending three days in ICU, gave me pause to think about Blanchot's words. Slipping in and out of consciousness my mind, which had already experienced a blurring of what one might call the 'other night' and the night itself, by being in half sleep most of the time. I felt myself far away from all my surroundings and at the same time being very attentive to some details in the objects around me. It was as if my body and mind where in an in-between state. I can only describe this as being distant or more precisely being in the dark. Objects and people showed themselves out of proportion and mostly dim. A feeling to describe this sensation, the word for which I only came across later, is Serus. There was a sense of repetition and familiarity in some feelings and emotions that I had towards some objects like sensing I knew them but not exactly from where or when. It was as if my body was resisting sleep and my sleepy mind was resisting being awake, only to dream of another type of the world that I could be awake in." Personnel: Nima Aghiani - violin; Pouya Pour-Amin - electric double-bass. Artwork and visuals by Tereza Bartůňková.
LP $24


Bruce Lee Gallanter’s Recommended Gig List for July of 2019:

Is Located at the New School’s Glass Box Theatre
55 West 13th street - just east of 6th ave


7/19 Friday
8:30 pm - No Signal - Aaron Novik (clarinet in A) Jeremiah Cymerman (clarinet in Bb) Ava Mendoza (guitar) Ches Smith (vibes) Shayna Dunkelman (xylophone) Nick Millevoi (guitar)

7/20 Saturday
8:30 pm - QUINTET - Aaron Novik (clarinets) Thomas Heberer (trumpet) Patrick Holmes (clarinet) Steve Swell (trombone) Cornelius Boots (shakuhachi)


7/23 Tuesday
8:30 pm - Solo Percussion with Electronic Processing: Adam Rudolph (hand drumset—kongos, djembe, tarija; gongs, tam tams, cup gongs, cymbals, slit drums, thumb pianos, multiphonic vocal, percussion, electronic processing) James Dellatacoma (electronic sound processing)

7/24 Wednesday
8:30 pm - Sonic Mandala Part 1: Adam Rudolph (hand drumset—kongos, djembe, tarija; gongs, tam tams, cup gongs, cymbals, slit drums, thumb pianos, multiphonic vocal, percussion, electronic processing) Marco Cappelli (guitars) Alexis Marcelo (electronic keyboards, sound design) Damon Banks (electric bass, electronics) Rogerio Boccato (percussion) Tripp Dudley (percussion) Harris Eisenstadt (bata, percussion) James Dellatacoma

7/25 Thursday
8:30 pm - Sonic Mandala Part 2 - Adam Rudolph (hand drumset—kongos, djembe, tarija; gongs, tam tams, cup gongs, cymbals, slit drums, thumb pianos, multiphonic vocal, percussion, electronic processing) Marco Cappelli (guitars) Alexis Marcelo (electronic keyboards, sound design) Damon Banks (electric bass, electronics) Rogerio Boccato (percussion) Tripp Dudley (percussion) Harris Eisenstadt (bata, percussion) James Dellatacoma (electronic sound processing)

7/26 Friday
8:30 pm - Adam Rudolph and Tyshawn Sorey
Adam Rudolph, Tyshawn Sorey (percussion)

7/27 Saturday
8:30 pm - Tyshawn Sorey and Adam Rudolph
Tyshawn Sorey, Adam Rudolph (percussion)

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

The Stone Series ay HappyLucky:
MILES OKAZAKI with Caroline Davis, Anthony Tidd and Dan Weiss

Friday, July 19th, 2019 - 8pm
Saturday, July 20th, 2019 - 8pm

Miles Okazaki - Guitar
Caroline Davis - Alto Sax
Anthony Tidd - Bass
Dan Weiss - Drums

THE STONE SERIES at happylucky no. 1
2 night residencies
Friday-Saturday weekends at 8PM CONCERT



Friday, July 26th:
Tim Berne -saxophone
Matt Mitchell -piano
sets at 7.30pm 9.30pm

Saturday, July 27th:
Tim Berne -saxophone
Justin Faulkner -drums
Matt Mitchell -piano
sets at 7.30pm 9.30pm

The Jazz Gallery is located at:
1160 Broadway, 5th fl
between 27th 28th streets
New York, NY 10001


Bushwick Improvised Music Series Continues:

Monday July 22nd
7pm Daniel Rorke - tenor saxophone
Adam Lane - bass
Joe Hertenstein - drums

8pm Stephen Gauci - tenor saxophone
Adam Lane - bass
Kevin Shea - drums
Sandy Ewen - guitar

9pm Lesley Mok - drums
Matteo Liberatore - guitar
Yuma Uesaka - tenor saxophone

9:45pm Nick Lyons Ensemble

10:45pm Juanma Trujillo - guitar
Aaron Rourk - clarinet
Hery Paz - saxes & bass clarinet
Andrew Schiller - bass
Caitlin Cawley - percussion

11:30pm Javier Moreno Sánchez - bass
Hery Paz - tenor/soprano saxophone

Downstairs @ Bushwick Public House
1288 Myrtle Avenue in Bushwick, Brooklyn
(Across the street from M train Central Ave stop)


I-BEAM Presents:

SUNDAY, AUGUST 4, 2019 - 8:30 PM 10:30 PM
Art Lande - Piano
Will Bernard - Guitar
Bruce Williamson - Woodwinds
Brian Drye - Trombone
Mike McGinnis - Woodwinds
Matt Wilson - Drums