"Cortez The Killer"
written & performed by Neil Young & Crazy Horse
for the ‘Zuma’ album released in 1975
He came dancing across the water
With his galleons and guns
Looking for the new world
In that palace in the sun.
On the shore lay Montezuma
With his coca leaves and pearls
In his halls he often wondered
With the secrets of the worlds.
And his subjects
Gathered 'round him
Like the leaves around a tree
In their clothes of many colors
For the angry gods to see.
And the women all were beautiful
And the men stood
Straight and strong
They offered life in sacrifice
So that others could go on.
Hate was just a legend
And war was never known
The people worked together
And they lifted many stones.
And they carried them
To the flatlands
But they died along the way
And they built up
With their bare hands
What we still can't do today.
And I know she's living there
And she loves me to this day
I still can't remember when
Or how I lost my way.
He came dancing across the water
What a killer.
Somewhere in the 1990’s during a long, hot summer, I listened to this song every night for several months before I nodded out. Something about “Cortez the Killer” got to me, it reached me deep inside so I kept going back to it. I was a longtime Neil Young fan from his early days with Buffalo Springfield and then Crosby, Stills, Nash & Young. I bought his first self-titled album when it was released in 1969 (50 years ago) and it knocked me out. His second album, “Everybody Knows this is Nowhere” is perhaps his most famous one, followed by another home run, ‘After the Goldrush’, another fave of mine & many others. Soon thereafter, Mr. Young had a big hit called, “Heart of Gold”, which I disliked at the time, too corny, too middle-of-the-road. I had also become a jazz, fusion and prog snob around 1973 and gave up on most commercial & predictable types of music. I stopped listening to Neil Young then, as well as many other singer/songwriters. By the time I graduated college in 1976, I had pretty much given up on most rock music except of the Dead, Little Feat and Captain Beefheart. Around 1977, I discovered (thanks to a young friend Yvonne Ramirez) Television, Talking Heads & Elvis Costello, as well Funkadelic, reggae, bluegrass, blues & even country. I caught Neil Young on MTV doing “Like a Hurricane” and somehow it grabbed me. I was dating a woman from the Bronx named Pat B who turned me onto Patti Smith and I took her to see Neil Young & Crazy Horse at MSG for the ‘Rust Never Sleeps’ tour with Devo opening up. I was blown away and once more became a Neil Young fan-addict. I went back to rediscover Mr. Young’s back-catalogue and felt that ‘Zuma’ was his highpoint. Eventually “Cortez the Killer” became my favorite Neil Young song and I still cry whenever I hear it. There is something universal about the way Mr. Young describes the building of the pyramids(?) that resonates time & again, when he says, “They built up with their bare hands, what we still can’t do today.” I know what he means. We are are still trying to build something which connects all of us mortals, a bridge to a better world perhaps?!? It is time to unite, not divide! - BLG/DMG
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 28th:
6pm: DARIUS JONES and MICHAEL VATCHER - Alto Sax and Drums - Rare Duo Set!!
This is drum wiz Michael Vatcher's last gig in town before he moves back to Amsterdam, do not miss it!!!
Sunday, August 4th:
6pm: ALEX WARD / SAM WEINBERG / HENRY FRASER -
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!
Sunday, August 11th:
6pm: LOUNA DEKKER-VARGAS / LEDAH FINCK / TAL YAHALOM / NICK DUNSTON /
STEPHEN BOEGEHOLD - Flute / Violin / Guitar / Bass / Drums
7pm: BEN GOLDBERG / CAROLINE DAVIS & Company
Sunday, August 18th:
6pm: BEN GOLDBERG / SIMON JERMYN / RYAN FERREIRA - Clarinet & Two Guitars
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 New Tzadik CD’s Finally Delivered!
JOHN ZORN - Tractatus Musico - Philosophicus (Tzadik 8365; USA) Drawing inspiration from philosophy, avant-garde cinema, drama and music, Tractatus brings many of Zorn’s lifelong interests together into a stunning new musical universe. Including big band cutups, saxophone fireworks, environmental soundscapes and a rip-roaring game-call-Ketjak, this is Zorn musing alone in the studio harnessing the powers of his twisted imagination and underground musical sensibility. Filled with wit, color and mystery, this bizarre suite is among the weirdest music Zorn has ever created and will appeal to only the most open-minded of listeners. Not for the faint of heart. Caveat Emptor!
JOHN ZORN // GNOSTIC TRIO With BILL FRISELL / CAROL EMANUEL / KENNY WOLLESEN - The Book Beri’ah Vol 7 - Netzach (Tzadik 5107; USA) “One of Zorn’s most beloved and unique 21st century ensembles, the Gnostic Trio features the distinctive guitar of Bill Frisell, the vibraphone of Kenny Wollesen and the ethereal harp stylings of Carol Emanuel. The sounds are soulful and heavenly and for this, their seventh cd together, they perform nine tunes from the Book Beri’ah, the last book of music completing the Masada legacy. Frisell’s magical sonorities dance around harp and vibraphone creating a heavenly improvisational counterpoint. Truly music of the angels, Netzach is a gem.”
New from LISTEN! FOUNDATION - Amazing New Discs!
BARRY GUY with AGUSTI FERNANDEZ / MARILYN CRISPELL / JOELLE LEANDRE / PAUL LYTTON - @70 - Blue Horizon / Live at Ad Libitum Festival 2017 (Listen! Foundation FSR 07; 2019; Poland) “Hot on the heels of two duo albums on Barry Guy’s Maya label, this 3-CD set comprises 70th birthday celebrations that took place over three days during Warsaw’s Ad Libitum Festival in October last year, curated by Maciej Karlowski of Listen Foundation and held at the aptly named Laboratorium adjoining the Centre for Contemporary Art, Ujazdowski Castle. It was an opportunity for Guy to renew old acquaintances, make one in a setting that was long overdue, and as befits his age, reflect on how understanding the past is a way of conferring sense on the present.
Mr. Guy’s music is marked by an enthusiastic experimentation with various forms and genres, ranging from the Baroque to jazz and improvisation, with an active interest in art, poetry and architecture. He’s also a distinguished composer of contemporary classical music, work less well known though deserving of equal attention, some of which explores an amalgam of the modern and historic but as in the music of György Kurtág, in such a way as to avoid an ironic theatricalization of the past. Like all polymaths, Guy can’t be pigeonholed: he’s difficult to classify precisely because he has so much to say – Whitman’s “I am large, I contain multitudes” springs to mind – and three concerts are not enough to capture the full scope of his imagination. Nevertheless, they cover wide-ranging musical ground and give an insight into some of the facets that make up his multifarious personality.” - Colin Green, FreeJazzBlog.Org - more at: https://www.freejazzblog.org/2018/12/barry-guy-blue-horizon-barry-guy70-live.html
3 CD Set $40
JOELLE LEANDRE / BERNARD SANTACRUZ / THEO CECCALDI / GASPAR CLAUS - Strings Garden (Listen! Foundation FSR 10; 2018; Poland) This 3-CD set is a collection of duos between double bassist Joëlle Léandre, an enthusiastic gardener, and other members of the string family. The recitals ascend through the registers and bear horticultural titles. She plays with Bernard Santacruz (double bass) on ‘Trees’, Gaspar Claus (cello) on ‘Leaves’ – performances from Paris and its environs in 2016 – and Théo Ceccaldi (viola and violin) on ‘Flowers’, from Warsaw in 2017. The duo is her favoured format, although she considers it the most demanding: like a mirror but also a duel, a place in which conversation finds its best balance and where the subtlest and richest relationships exist, yet always on hot coals. As with any drama, without conflict or variance, echo and opposition, there is no interest. For Léandre, live performance also matters, “The public is touched by this fragility, this energy, these bodies giving themselves to each other, this force.” The complex array of such risks and responses is heard right across these three encounters, criss-crossing the ambiguous line between divergence and shared expression, with each partnership inhabiting its own particular domain. All the performances are unamplified so that we hear the full range of natural timbres and overtones the instruments deliver.
The elegant cover design, typical of Fundacja Słuchaj! releases, merges the ƒ-hole of a string instrument with the stem of a budding plant, placed beside the names of the four musicians each above a string, four being the number on their respective fiddles of which there are four in kind. String instruments are made from trees and analogies with cultivation and the natural world – its abundant diversity, cycles of growth and decay, organic structures, etc. – are fruitful ways of considering the medium and processes of free improvisation, but it’s doubtful such thoughts were directly in the minds of the musicians while playing, and the improvisations on each date probably weren’t inspired by trees, leaves, then flowers. These are retrospective associations in respect of music which is essentially about itself, though potentially redolent of so much more as only something as abstract as music can be. Perhaps improvisation, when contemplated through the prism of nature, allows us to ruminate on things deep-rooted and eternal, free of artifice, like in a Zen Buddhist temple garden where the latent meanings of natural elements are disengaged and become reflections of ourselves. As Léandre has said, sometimes the music is stronger than the music.” - Colin Green, FreeJazBlog.Org
3 CD Set $40
PETER EVANS / AGUSTI FERNANDEZ / BARRY GUY - Free Radicals at DOM (Listen! Foundation FSR 15; 2018) “Radical masters of free jazz--Spanish pianist Agusti Fernandez and British bassist Barry Guy--meet young(er) radical trumpeter Peter Evans at the Moscow Cultural Center DOM for this 2017 concert of free improvisation, a fiery and informed concert of two sets, each in three parts, and an encore, showing technical mastery, inventive interaction, and sheer excitement in performance.”
IZUMI KIMURA / BARRY GUY / GERRY HEMINGWAY - Illuminated Silence (Listen! Foundation FSR 01; 2019; Poland) Featuring Izumi Kimura on piano, Barry Guy on contrabass and Gerry Hemingway on drums. This disc was recored in live at St. Ann’s Church in Dubland, Ireland in February of 2018. I hadn’t heard of Japanese pianist Izumi Kimura before this disc appeared although it turns out that she is now living and teaching in Ireland, where this disc was recorded. It turns out that Ms. Kimura has worked with both contemporary composed and improvised music and does have a few discs out. On this disc, Ms. Kimura works with one of the finest creative music rhythm teams, the incredible Barry Guy and Gerry Hemingway. There are five written pieces here, three by Mr. Guy, one by Ms. Kimura and the other by pianist Agusti Fernandez, who is the usual pianist in Barry Guy’s current trio. The rest are group improvs. Right from the first sweeping note, we can tell that something special is going on here. The sound here is superb, well-captured, especially dynamic, whether quiet or explosive at times. I found that a song called, “The Willow Tree Cannot be Broken by the Snow” to be quite lovely, exquisite and rather solemn and then building to a dynamic conclusion. I love the way the trio goes pretty far out on “Improvisation on Light and Shadow”, with Barry guy doing a bit of spoken word at the beginning and Hemingway working with some sort of melodic wooden rods. “Ancients” (by Mr. Guy) has that sublime, ECM-like eloquence, it is superbly recorded. The three tracks by Mr. Guy are the best here, the perfect blend of melodic & dissonant, free & written with moments the take off for points unknown. This entire disc is as close to perfection as anything I’ve heard in recent times. - Bruce Lee Gallanter, DMG
JOE MORRIS / BRAD BARRETT / TYSHAWN SOREY - Cowboy Transfiguration (Listen! Foundation FSR - 05; 2019; Poland) Featuring Brad Barrett on double bass & cello, Joe Morris on guitar and Tyshawn Sorey on drums & percussion. Ever since his teaching gigs at Tufts and New England Conversatory, avant guitarist & bassist, Joe Morris, has been playing with and encouraging younger musicians from everywhere. Over the past decade, I’ve heard a number of younger musicians who have worked Mr. Morris, introducing them to new audiences. The bassist & cellist here, Brad Barrett, is a new name for me, I did do a bit of research on him as well. Mr. Barrett also produced this disc which was recorded at Firehouse12 in New haven, CT in May of 2018. I am sure you all know about drummer/composer/professor Tyshawn Sorey, who has won a number of awards and has received quite a bit of well-deserved recognition in recent years. This is a strong, focused, free trio. Mr. Morris is playing his customary hollow-body guitar which has a clear, warm sound with few devices or manipulations. It sounds like there is no leader here as all three members of the trio are integral to what is going on. Tight, swirling, organic, exciting, consistently engaging… Mr. Morris has a unique approach to bending, twisting and plucking strings, as well as using a few objects on his guitar. We can hear some of those sounds going on as the trio continues to explore, experiment, sail and soar together. Mr. Barrett is in fine form here, bowing his bass or cello, quickly, intensely at times, the trio is consistently engaged and connected. This is one the those rare improv dates where everything comes together as strong, inspired whole. Bravo! - Bruce Lee Gallanter, DMGS
* PAULA SHOCRON & PABLO DIAZ With GUILLERMO GREGORIO - Dialogos (Listen! Foundation; Poland) Featuring Guillermo Gregorio on clarinet, Paula Shocron on piano and Pablo Diaz on drums. I find it fascinating that this trio even exists since it brings together three musicians who are from Argentina, although Mr. Gregorio left in the seventies (living in Chicago for several decades and now NY), before Ms. Shocron or Mr. Diaz were born. Ms. Shocron and Mr. Diaz grew up in a very different creative music scene some thirty or so years later and were fortunate to have been embraced by Hatology who released a disc of theirs last year. Since moving here from Chicago, I’ve become good friends with Mr. Gregorio, one of the most thoughtful, most focused musicians & composers to move here in many years. Mr. Gregorio currently leads a group of string players (with Sarah Bernstein & Nick Jozwiak). Do not miss an opportunity to hear them live, they did play at DMG on occasion.
This disc was recorded in studio in Brooklyn in August of 2017. The music here is stripped down, cautious, sublime, delicate, elegant, haunting, enchanting, fragile… The results sound organic, unfolding in a completely natural way. Things slowly build, the intensity increasing bit by bit. There seems to be a balance between the playful and the serious nature of this music. Eventually things erupt on “Dialogos Nro. 3”, freer and bristling nicely. The interplay here is extraordinary with all three musicians spinning faster as the temperature reaches near boiling before going down to a spacious simmer. Ms. Shocron and Mr. Diaz do a fine job of pushing Mr. Gregorio into some sprawling free flights, the results of which show the trio soaring together as this disc unfolds. A solid effort on several levels. - Bruce Lee Gallanter, DMG
Pablo Diaz & Paula Shocron will playing with Guillermo Gregorio at the Guelph Jazz Fest (Ontario, Canada) in mid-September of this year and will be playing a duo set here at DMG on Sunday, September 29th!
TREVOR WATTS / STEPHEN GREW - Let it Be - Live in Liverpool (Listen! Foundation FSR 02/2019; Poland) Another outstanding duo effort from the consistently engaging saxist and founding member of Spontaneous Music Ensemble, Amalgam and the Moire Music Group! Review soon.
Four Great New Discs from Not Two!
* ROBERT DICK / JOELLE LEANDRE / MIYA MASAOKA - Solar Wind (Not Two MW 986; Poland) Featuring: Robert Dick: glissando flute, bass flute, contrabass flute & piccolo, Joëlle Leandre: contrabass & voice and Miya Masaoka: koto, percussion. Here we have three master improvisers from varied scenes, Mr Dick from NY, Ms. Leandre from France and Ms. Masaoka, originally based in the Bay Area but now based in NYC. This session was recorded in a NYC studio in September of 2018. I believe that this is a first time meeting of this particular trio and I don’t recall either of these three working together in the past. The one thing I noticed about many of the gifted members of (elder) Creative Music Scene is that they are often searching for other spirited improvisers to with with. Ms. Masaoka is known for also using electronics and playing an electronic koto, although here she is completely acoustic. Ms. Leandre and Mr. Dick are also acoustic, the sound here is superb. Instead of playing a regular flute, Mr. Dick switches between glissando (or slide) flute, bass & contrabass flutes & piccolo. The second piece, “Speed of Silence” erupts with an explosive opening salvo and is quite intense throughout. Ms. Leandre bows those low, deep notes on “Chronotype” which also includes some more low-end sounds from Mr. Dick’s bass flute and Ms. Masaoka’s bowed or plucked koto strings, the blend is most mesmerizing. There is quite a bit of cross-collaborations going on here, solos into duos & trios, line begun with one instrument which morph right into another instrument. I have always dug when Robert Dick plays that glissando (designed by him) slide flute since, he can & does bend those notes, getting those microtones (or in-between the normal notes), work well with the way both Ms. Leandre & Ms. Masaoka bend their strings in uncommon ways. One of the things I dig most about this trio is that no matter how far out or free one member goes, the other one or two match the sounds and explore together so that they always sound like a marvelous, untied trio. And they do got pretty out at times. OUTstanding from the beginning to the end! - Bruce Lee Gallanter, DMG
MATTHEW SHIPP / MARK HELIAS / GORDON GRDINA - Sin and Bones (Not Two MW 987; Poland) Featuring: Matthew Shipp – piano, Gordon Grdina – guitar and Mark Helias – contrabass. This session was recorded in a studio in Vancouver, BC, Canada, where Mr. Grdina lives. Canadian guitarist & oud player, Gordon Grdina, is a restless musician who keeps challenging himself by playing with different musicians on each and every release. Over a couple of decade, Mr. Grdina has worked with a number of Vancouver’s best musicians as well as international greats like Mats Gustafsson, Paul Motian, Tony Malaby and Hank Roberts. Although Mr. Grdina has worked with Mr. Helias previously, this is his first time recording with Mr. Shipp. This is also the first time that Mark Helias and Matt Shipp have recorded together, although they are neighbors on the lower east side. The first thing I noticed here is how well this is recorded: superbly, perfectly balanced. Although this music was freely improvised, there is quite a bit more going on here. On the opening track, “Bob and Weave”, the guitar and piano play their own melodic lines together, constantly connected to an inner pattern while the bass holds done the bottom, playing both rhythm team parts together. I like the way, Mr. Grdina, changes the tone of his guitar on each piece, which gives the trio a different sound on each piece. From quiet and dream-like to more explosive sections as well. The trio often take their time, strip things down to exquisite, skeletal levels and then build back up to more rambunctious moments. Consistently extraordinary throughout! - Bruce Lee Gallanter, DMG
JOE McPHEE / JOHN EDWARDS / KLAUS KUGEL - A Night In Alchemia (Not Two MW 992; Poland) Featuring: Joe McPhee - trumpet & saxes, John Edwards - double bass and Klaus Kugel - drums. Joe McPhee is unstoppable and seems to pop up everywhere, playing with dozens of great musicians from around the world: Trio X, The Thing, Peter Brotzmann Tentet, Ken Vandermark, Chris Corano, etc. For tis disc, Mr. McPhee works with UK-bassist John Edwards and German drummer, Klaus Kugel, both of whom keep pretty busy schedules as well. This is the second discs from this particular trio. although Mr. McPhee and Mr. Edwards have worked together in Decoy. This disc was recorded live at the Alchemia Club in Krakow, Poland in October of 2918. Bass great John Edwards is on way too many sessions to list here (I’ve only caught him live once or twice), I have caught drum wizard Klaus Kugel with the Ganelin Trio Priority at the Vision Fest way back when. The music here sounds spiritual, haunting, hypnotic, with Mr. Kugel starting off on spawning mallets, McPhee on sublime tenor sax and Mr. Edwards bubbling underneath on contrabass. A truly astounding, organic effort from a mighty trio of intentional fellow travellers. - Bruce Gallanter, DMG
JEB BISHOP FLEX QUARTET with RUSS JOHNSON / JASON ROEBKE / FRANK ROSALY - Re-Collect (Not Two MW 990; Poland) Featuring: Jeb Bishop - trombone & compositions, Russ Johnson - trumpet, Jason Roebke - bass and Frank Rosaly - drums. Since moving to Boston a few years back, former-Chicago trombonist, Jeb Bishop, has kept busy playing with Jeff Parker, Mars Williams and Pandelis Karayorgis. This is Mr. Bishop’s second disc on the Not Two label, this one featuring a Chicago based rhythm team, Jason Roebke & Frank Rosaly. These two players have worked together on occasion, backing Jason Adasiewicz and Fred Lonberg-Holm. I recall when Russ Johnson was based in NY and kept pretty busy (on some 3 dozen discs). He has since moved and is now teaching elsewhere. Mr. Bishop wrote all the music here, which is consistently engaging and diverse. On “Exordium/Salt”, the piece starts soft and free yet soon the trombone & trumpet frontline are playing those great written lines. The quartet is tight and has that exuberant, uplifting vibe, which unfolds slowly as the quartet work their way through several themes with freer transitions. “Sweat the Grub/On the Floor” goes back & forth between an uptempo swing and more restrained ballad like grace which is held together by Mr. Roebke’s bass, speeding up & slowing down organically. The solos by Russ Johnson’s trumpet and Mr. Bishop’s trombone are consistently inspired, the interplay between both horns & the rhythm team dynamic. Each the six pieces here are long (73 minutes in total) and go through several sections. What’s great about this disc is that each member of the quartet is well-chosen and all get chances to stretch out, take a number of solid solos with engaging interplay throughout this entire disc. - Bruce Lee Gallanter, DMG
MERZBOW - Noise Mass (Room40 4108; Australia) “Noise Mass matches previously unavailable Merzbow works from 1994 with pieces from the limited-edition Hole album of the same year. This new edition charts the through line between records such as Venereology (1994) and Pulse Demon (1996), and includes a 28-page book, with exclusive photographs, and a long-form interview with Masami Akita charting the continuum of Merzbow from 1979 to the present day. On Noise Mass in the late 1980s, Masami Akita's Merzbow began to shift from being a studio project into a fully-fledged performative undertaking. It was a decisive period that began opening up new possibilities for his very particular approach to sound. Across the first half of the 1990s, Merzbow began touring extensively across Europe, the United States, and also in his homeland. It was during this period that the dynamism of Merzbow exploded and the physicality of volume became a primary driver for the experiential capacity of the work. Simultaneously, Merzbow began developing a range of self-made instruments and techniques for exploiting found objects as sound sources, which he used in combination with amplifiers to create a unique spectrum of noise and feedback both in the studio and live. Noise Mass catalogs a critical period within the continuum of Merzbow. It typifies the radical approaches he developed not just through his music, but also through mastering, pushing the very medium of digital audio to its limit through extreme post-production approaches. Of Noise, Masami Akita remarks, "This was around the time Venereology was released from Relapse and the work of Merzbow became more well known to the world. Far greater quantities of that Relapse release were pressed, and much more promotion along with it. In other words, the image of Merzbow's music as it is best known in the world today came from this time. The music of Merzbow has always been a continuum, the piece added this time to Noise Mass, the revised version of Hole, is a work utilizing a voice similar in style to Venereology. Listening to both Hole and Venereology, one can appreciate how these works constitute a thread of continuity through this period." Noise Mass is just that, a ritual of intensity and ferocity that denotes the force that is Merzbow's approach to noise in the absolute.
CD BOOK $25
KEIJI HAINO & SUMAC - Even for just the briefest moment Keep charging this "expiation" Plug in to making it slightly better (Trost 183; Austria) Post-metal power force Sumac based around Aaron Turner (Isis, Old Man Gloom) follow up their collaboration with Keiji Haino on Thrill Jockey, American Dollar Bill -- Keep Facing Sideways, You are too Hideous to Look at Face on (2018), with another monolith -- heavy and experimental at the same time. Personnel: Keiji Haino - guitar, voice, flute, taepyeongso; Aaron Turner - guitar; Nick Yacyshyn - drums; Brian Cook - bass.
HERMANN NITSCH - Albertina Quartett - 2. Streichquartett in 6 Satzen fur 2 Violinen, Viola und Violoncello (Trost 192; Austria) “Hermann Nitsch's String Quartet No. 2 in six movements for two violins, viola, and violoncello, was performed by the Viennese Koehne Quartet. Recorded during the exhibition NITSCH. Spaces of Color at the Albertina Museum, Vienna on the May 29th, 2019. The Koehne Quartett: Joanna Lewis - 1. Violine; Anne Harvey-Nagl - 2. Violine; Lena Fankhauser - Viola; Mara Achleitner - Violoncello. Recording and Mastering by Christoph Amann.”
2 CD Set $18
MOONDOG // ENSEMBLE 0 - Elpmas (Moondog) Revisited (Ici D’Ailleurs IDA 137; France) In 1991, aged 75, Moondog was about to embrace his singular identity, somewhere between druid, mad scientist, and young child. Having left the beaten track well before, and broken down barriers between musical genres, the ancient moderne Moondog was about to push paradox and anachronism even further and create the cult concept-album Elpmas. Elpmas is at once a satire of technology, music that takes its pulse from Native American pow-wows and cleverly composed pop music. Made with state-of-the-art computers, it is a manifesto against the atrocities inflicted on indigenous people. It is also an ode to Nature and an invitation to travel, themes that are still as immensely popular today. In order to perform and revisit Elpmas, Ensemble 0 and their guests have had to explore the 247 pages of the record's score. The original was mostly recorded note by note, but here the musicians play their parts simultaneously, as one would any classical score. Every sound has been meticulously re-recorded and some of the parts have been rearranged so that they could be played by instruments, and avoid digital treatment, other than the final summing of the tracks. The cold digital feel of the original has been counterbalanced by the analog warmth we have wanted to breathe into it.
Three New Discs from New World Records:
STUART SAUNDERS SMITH - Palm Sunday (New World Records 80813; USA) "'An insatiable listener, learner, and reader, Stuart Saunders Smith (b. 1948) has taken into his mind and spirit myriad styles of musical performance spanning centuries, methods of compositional practice of all sorts, and innumerable close personal relationships with artists of all disciplines. He has absorbed this vast expanse of knowledge, art, and personal experience, and rather than mimicking anything he has encountered along the way, he has manifested a truly personal, honest voice that rings true to himself and to all of his inspirations. In four of the works presented here, specifically Thicket (2010), Family Portraits: Self (in 14 Stations) (1997), Palm Sunday (2012), and Among Us (2007), Smith calls upon the performer to provide the musical dynamics, articulations, and phrasing to the traditionally notated pitches and rhythmic structures he provides. This charge extends the performer's contribution well into the realm of composition. In making personal musical decisions regarding dynamics, articulations, and phrasing, given the contrapuntal density of the material Smith composed, it became important for me to remove the mental burden of choreographed performance from the process and make my choices from the listener's perspective. This process involved the making and reviewing of a series of self-recordings that gradually led to the versions of the pieces I present here. The recurring issue in preparing these pieces was negotiating the balance between larger dramatic gestures, illuminating formal clarity in longer works, and shaping local nuance to assist the listener in aurally parsing dense passages.” - Kyle Adam Blair
ROBERT ERICKSON - Duo, Fives, Quintet, Trio (New World Records 80808; USA) "Born in Michigan but for most of his life a true Californian, Robert Erickson (1917-1997) had a reputation as a maverick. His musical path was never a straight line, nor, really, a line at all but a landscape, with ranges of features rather than mere points of interest. He was a profound and original musical thinker who embraced the expressive possibilities of all music, from the Western classics and moderns of his own early education to Indian and Balinese traditions and all manner of contemporary experimentation, as long as it served a musical purpose. When encountering his work, one doesn't need to know more than one hears: what's important are the sounds one encounters and the expressive journey they suggest for each listener. His works can be looked at in three periods. There was an early period where he worked out his relationship to mid-twentieth century expressionism and atonality, producing such enduring and engaging works as the Duo for Violin and Piano (1957) (included here), the Chamber Concerto (1960) and the Concerto for Piano and Seven Instruments (1963). A middle period followed where he became involved with technology and all sorts of experimental techniques. The tape-and-instrument pieces Pacific Sirens and Nine and a Half for Henry (and Wilbur and Orville) and the music-theater trombone extravaganza General Speech can be said to typify this period. The final period begins in the mid-70s, when technology is put aside (most likely because of his declining health) in favor of instrumental works for his friends and associates. These works reach their culmination in the works on this CD: Fives (1988), Trio (1986) and Quintet (1985), among others. In all three periods, what he never abandoned was a sense of taste, elegance and style - and a curiosity about sound and its functioning."
MAX GITECK DUYKERS - Folding Music (New World Records 80811; USA) "Max Giteck Duykers (b. 1972) stands out for his ongoing dedication to the sound worlds made possible by the Pierrot ensemble. Therefore it is fitting that the first recording devoted exclusively to Duykers's music should feature two of the four 'Pierrot sextets' he has composed this far, that the remaining four works on the disc are playable by P6/P6 subsets, and that everything here (except for the one vocal work which adds guest soprano Zen Wu) is performed by members of Ensemble Ipse, the P6 ensemble he co-founded in 2016 and for which he continues to serve as co-Artistic Director. As such it is an excellent introduction to Duykers's compositional aesthetic. While he has composed a great deal of multimedia work as well as orchestral music, chamber music forms the core of his catalog. Duykers's music revels in hovering somewhere between graspable tonality and a chromatic tetrachordal harmonic vocabulary that is usually associated with atonal pitch organization, unisons between players as well as a kind of motivic heterophony where players play similarly contoured but different lines simultaneously, constant metric shifts that still somehow groove, trippy microtonal interludes that do not in any way seem theoretically systemic but serve a purpose that is much more than merely ornamental, cadential silences, and -- what for lack of a more readily comprehensible term could be described as -- 'temporary ostinatos': single notes or chords that repeat incessantly for a period of time but then unexpectedly veer off into something else. Most of Duykers's pieces also exhibit a high degree of playfulness and exuberant joy. It is telling that Duykers concludes the program notes for several of them with an admonition to the players to 'have fun' or 'enjoy'. Duykers's music combines intellectual rigor with sheer physical pleasure as well as metaphysical transcendence. It is music that is deeply conscious of all the music that has come before it, but is very clearly music of our time while also offering some intriguing suggestions about where the music of the future might beckon."
GREGORY TAYLOR - Retinue (Palace of Lights 002-2019; USA) "The six extended pieces on Retinue had their beginning in a book on creating step sequencers using Max/MSP that Gregory Taylor wrote for Cycling '74 after his return from the Netherlands (where his previous sonic diary Randstad was recorded). The development of the book's materials was an opportunity to re-encounter his love for sequencing as practiced by the form's early (Edgar Froese, Suzanne Ciani, Michael Hoenig) and later (Saul Stokes, Paul Ellis) practitioners and also to explore its connections with longer form Javanese musical traditions that have informed his work for decades. The crypto Javanese/1970s German chill-out room hybrid cross composed and recorded using Max/MSP, analog and digital hard/soft synths, and field recordings that resulted is a patient and poised music that embraces fluidity, recombinance, and a languid ambience that reveals itself on repeated listening. After a hiatus from the cassette culture movement of the 1980s, Gregory Taylor returned to regular recording and live performance as an improviser in the late 1990s. He has studied central Javanese Gamelan and electroacoustic music at Cornell, UW-Madison, New England Conservatory and the Instituut voor Sonologie, and written for publications such as Wired, Recording, Array, and Option, and hosted RTQE -- a radio program of contemporary audio on WORT-FM since 1986. He currently works for Cycling '74. Retinue is his fifth album for Palace Of Lights."
2 CD Set $18
LUIS FERNANDES - Demora (Room40 4109; Australia) “Portuguese electronic composer Luís Fernandes creates his debut edition Demora comprised of deep pulsations and cycling harmony, all smeared with an echoing dreaminess of kosmische musik. André Almeida Santos on Demora: "For the first solo record under his own name, Luís Fernandes chose an on-point title that echoes in one word a constant feeling throughout Demora. Demora means 'delay' in Portuguese. Depending on the way you use it on a sentence, it can also mean that something is taking too long or it's making someone wait for someone or something. Demora doesn't take too long to show you its intentions, but it leaves you waiting. It tricks you to think to wait for the take-off until you realize you're already in mid-journey. It's all part of the process that Luís embarked to create Demora. For this piece he decided to work in a different way from what he's used to. The desire to create a piece with a constant flow with little variations was the starting point for his new album. Armed with a modular synthesizer, he recorded everything in one take to give the core structure of the album a unified sound that would create a permanent relationship with the listener. Doing it in one take shaped the fundamentals for Demora. The flow of the improvisation gave room for Luís to play around with the structure and refine the sounds that now populate the main narrative of this 35-minute piece, separated in five different chapters. The middle sections of Demora, 'Demora Pt. 1' and 'Demora Pt. 2', sound like a reward. Not that you needed one. If you arrived there and felt tricked about the take-off, the slow and glimmering harmonies will provide the comfort you needed all along. It's here that Demora shows how beautifully crafted it is, how the details aren't just details. They're the tiny screws that make the machine operate into a subtle kosmische lullaby. The details aren't there to distract you from the main thing, they are there for you to embrace the core and follow the same flow, the same path, that Luís did when Demora took off in his synthesizer. It took time for Luís to publish something solo under his own name. After years under various aliases and three beautiful releases with Joana Gama, Luís Fernandes has flourished with this mesmerizing sonic experience."
DAVID CHALMIN - La Terre Invisible (Ici D’Ailleurs 100; France) “Showcasing versatile and highly productive talents David Chalmin has quite an impressive repertoire as a producer and recording engineer. Stretching from classical music to avant-garde, Chalmin has worked with Shannon Wright, The National, Katia & Marielle Labèque, Matt Elliott, The Third Eye Foundation, Zu, Angélique Ionatos, Gaspar Claus, Richard Reed Parry, or Efterklang. If the genres intelligent dance music (IDM) and Berlin school seem to be the most obvious way to present his compositions, they're not sufficient to describe the variety of this album La Terre Invisible as it also contains industrial or classical inspirations. One thing is certain though, David Chalmin can proudly place his first solo album next to the likes of Jon Hopkins, Pantha du Prince, or Andy Stott, for his contemporary approach of dancefloor music.”
BOOKER ERVIN & HORACE PARLAN with RICHARD WILLIAMS / JOHNNY COLES / GRANT GREEN / FRANK STROZIER / GEORGE TUCKER / BUTCH WARREN / DANNIE RICHMOND / et al- Complete 4tet / 5tet / 6tet Recordings (Phono 870251; EEC) I first heard tenor saxist Booker Ervin on several Charles Mingus albums like ‘Blues and Roots’, ‘Mingus Ah Um’ and ‘Mingus in Wonderland’, all favorites of yours truly. Once you hear Mr. Ervin, you will forget his sound: strong, warm, intense with some gospel/blues influence and he liked to burn. Mr. Ervin sadly died rather young at 39 in 1970. He did record some 18 albums from 1960 - 1968, all well worth owning. His ‘Book’ series is perhaps his most well known, ‘The Freedom Book’, ‘The Song Book’, ‘The Blues Book’ & ‘The Space Book’. This impressive 3 CD set features five albums, three led by Booker Ervin and two by pianist Horace Parlan with Mr. Ervin featured as well. All five albums were recorded between 1960 and 1963, these are some of Mr. Ervin’s earliest recordings and all are essential. Highlights include the addition of under-recorded alto great Frank Strozier. On the final album, ‘Exultation’, the two saxists bop out and burn! This 3 CD set also includes a 32-page booklet with all original liner notes as well as a long historical introduction. All five of these albums have received 4 to 4 & 1/2 star reviews. Consistently great! - BLG / DMG
3 CD Set $21
Back in stock:
DKV [HAMID DRAKE / KENT KESSLER / KEN VANDERMARK] & JOE McPHEE - The Fire Each Time (Not Two MW 982; Poland)“Not Two Records presents The Fire Each Time, a 6 CD boxset of recordings from the DKV Trio with Joe McPhee as a guest, and dedicated to James Baldwin. The music was recorded during the quartet's tour in Europe which took place in November of 2017, and at shows in Chicago and Milwaukee from December of that year. These performances are historic in many respects: the DKV Trio – with Hamid Drake [drums], Kent Kessler [bass], and Ken Vandermark [reeds] – has only recorded with other musicians on four occasions in it's two decade career (with Fred Anderson, [Okka Disk, 1997]; Joe Morris on "Deep Telling" [Okka Disk, 1999]; with Mats Gustafsson, Paal Nilssen-Love and Massimo Pupillo on "Schl8hof" [Trost, 2013], and with The Thing ["Collider," Not Two, 2016]); also, this is the first time all four musicians have worked together as a band; and the material documented over the six concerts included in the collection features performances of Joe McPhee's compositions – like his classic "Nation Time" (listen below) as well as completely improvised music generated by the participants.”
6 CD Set $66
ZLATKO KAUCIC With EVAN PARKER / LOTTE ANKER / JOHANNES BAUER / AGUSTI FERNANDEZ / PHIL MINTON / RAFAL MAZUR / et al - Diversity (Not Two MW 969; Poland) Featuring Zlako Kaucic on drums, percussion & electric zither with Evan Parker on tenor sax (duo & trio CDs), Agusti Fernandez on piano, Lotte Anker on alto, tenor & soprano saxes, Artur Majewski on trumpet, Rafal Mazur on acoustic bass guitar, Johannes Bauer on trombone and Phil Minton on voice. Over the last decade, Polish percussionist, Zlatko Kaucic, has recorded a dozen discs with an interesting cast: Barry Guy, Peter Brotzmann, Steve Lacy, Joelle Leandre and Stefano Battaglia. Not Two has done a splendid job of producing this fantastic five CD set of solo percussion, a duo Evan Parker, a trio with Parker & Fernandez, a trio with Johannes Bauer & Phil Minton and a quartet with Lotte Anker, Artur Majewski & Rafal Mazur. It you hadn’t hear much from Mr. Kaucic in the past, this 5 CD set captures him superbly in five greats settings. - BLG/DMG
5 CD Set $60
JONES JONES with LARRY OCHS / MARK DRESSER / VLADIMIR TARASOV - A Jones in Time Saves Nine (NoBusiness 121; Lithuania) “Over a decade in existence and the free jazz trio Jones Jones has just dropped its third album. That's not exactly prolific, but may well be an accurate reflection of the challenge implicit in bringing together colleagues separated by the 5795 miles between reedman Larry Ochs and bassist Mark Dresser in California, and percussionist Vladimir Tarasov in Lithuania. But the wait has been worth it with A Jones In Time Saves Nine ranking as their finest work so far, surpassing their previously most widely-distributed session Moscow Improvisations (Not Two, 2016) in emotional intensity and focus.
Each of the mature talents involved boasts an impressive history. Dresser was the bassist in Anthony Braxton's classic 1990s quartet, while Tarasov was part of the Ganelin Trio, hailed as "arguably the world's greatest free jazz ensemble" in their 1980s heyday. Ochs has been one quarter of the Rova Saxophone Quartet since its inception in 1977. But as noteworthy as their illustrious track records is the fact that they still nurture an adventurous streak. All the nous derived from these various groundbreaking escapades finds its expression in their work together.
Released as an LP with three digital bonus cuts, the seven off-the-cuff exchanges, selected from a pair of 2016 live dates in California, portray a hugely empathetic approach. As well as the expected instrumental prowess, their progress is distinguished by close listening which births stimulating juxtapositions and contrasts. Tarasov's role is particularly important. He does just what's needed without a desire to grandstand. His taut percussive patterns add to the richness but not the density, maintaining a transparent and open feel which allows Dresser and Ochs to shine.
Indeed, the disc features some of the saxophonist's most direct playing on record, powerful and impassioned but also displaying a rare sensitivity. On an excellent first side, the stop-start "A Fistful Of Jones" showcases Ochs' blistering tenor, his choked wails punctuated by visceral howls. Next up "Twelve Angry Jones" pitches locomotive bass and drums against measured sopranino saxophone sighs and ululations.
The excitement continues on the flip side, as "The Jones Who Knew Too Much" begins with a spacious colloquy of rattles, patter, mutters and cries, while "Three Jones Outside Ebbing, Missouri" lights a slow-burning fuse in which Dresser's increasingly animated arco and Ochs' vocalized tenor interjections jostle over Tarasov's distant rumble.
Picking the tracks for the vinyl must have been a tough call as the three digital-only numbers are of no less quality. Spare interplay characterizes "Night Of The Living Jones" which begins with as much silence as sound, while "The Jones Who Never Was" is the odd man out in its gradually accumulating momentum. Finally the gut-wrenching tenor shrieks of "Gone With The Jones" finish the program as it started, with tremendous music which transcends the geographical barriers.” - John Sharpe, AllAboutJazz
LP Only $25 [LTD Edition of 300]
SUN RA - Media Dreams (Art Yard 002; UK) “All the material on Media Dreams comes from live performances from January 1978, when Sun Ra was in Italy with a quartet -- Michael Ray, John Gilmore, and Luqman Ali -- making recordings for Aldo Sinesio and the Horo label. The trip also included concerts in Rome, Milan and elsewhere; these produced enough recorded material for several Saturn albums, including Media Dream. The exact dates are uncertain; all the musicians were present in Rome as early as January 2nd, when they recorded New Steps (1978) for Horo; they were still in Italy on January 23rd, when a concert in Milan resulted in the Saturn LP Disco 3000 (1978) (COSMO 111LP). These recordings, of which Media Dream is a great example, feature an instrument newly added to Sun Ra's arsenal: the Crumar Mainman. It's a rare keyboard, probably made in small numbers by Crumar, which manufactured synths from the late 1960s until 1984. Martin O'Cuthbert also played the Mainman -- he uses it on several recordings from 1979 and 1980: it's described in that context as a "string synthesizer." After that, it seems to disappear from view. It was reportedly the first keyboard to provide preprogrammed beats -- Sun Ra certainly uses that feature on Media Dream. The album opens with Sun Ra building dark organ tonalities at the start of "Saturn Research," creating an ominous barrage in the lower register, while Ali contributes a subdued accompaniment. Ra's is an orchestral concept here, a depiction of an ominous, portentous scene. Unlike some of his other explorations in this musical territory the piece is not developed here into a large-scale structure, but presented as a short sketch, satisfying and complete in itself. Applause separates it from the next track on the album: these are two pieces were clearly played one after the other in concert. As "Constellation" gets under way after the applause, Sun Ra lightens the mood, laying down rhythmic patterns with the Mainman, Ray's is the first musical statement over the top of these. Ra adds other keyboard layers above the rhythm to take the music in a different direction. There's almost a hint of minimalism as performed by others here, but the way Sun Ra bends and deconstructs the mechanical patterns are all his own. In their original context, these Italian concert recordings served to document Sun Ra's musical activity; his music was a cosmic newspaper, he once said.
[ALEXANDER VON] SCHLIPPENBACH QUARTET With EVAN PARKER / PETER KOWALD / PAUL LOVENS - Three Nails Left (Cien Fuegos 019; Austria) Cien Fuegos present a reissue of Schlippenbach Quartet's Three Nails Left, originally released on FMP in 1975. Side A was recorded live at 3rd Jazz Festival Moers June 2nd, 1974 by Michael Krause. Side B was recorded live at the Quartier Latin Berlin, February 2nd, 1975 by Jost Gebers with the FMP Mobile Recording Unit. Personnel: Evan Parker - soprano and tenor saxophone; Alexander von Schlippenbach - piano; Peter Kowald - double bass; Paul Lovens - percussion. Produced by Jost Gebers. Remastered by Martin Siewert in 2019. Design by Paul Lovens; photo by Nick Leidner and Dagmar Gebers. 180 gram vinyl.
75 DOLLAR BILL - I Was Real (Thin Wrist TW Q-LP: USA) “75 Dollar Bill is one of the essential groups at the heart of NYC's underground. Driven by the telepathic union of Che Chen's microtonal electric guitar and Rick Brown's odd metered percussion their long-form sound is unmistakable and compelling. On their third album I Was Real, the group expands in bold new directions, embracing brilliant fuller orchestrations, joyous rockers and entrancing new textures. Having emerged as a vibrant musical force with their previous effort -- with Wood/Metal/Plastic/Pattern/Rhythm/Rock (GB 047CD, TW J CS/LP, 2016) -- 75 Dollar Bill have spent the last few years bringing their music to new places and people, delivering what NYC locals have known for years, with their dedication to performance in venues of all shapes and sizes. The fruits of this work can be heard here on their expansive new double-LP I Was Real. The album, its title's origin a jumbled misremembering of the lesser-known Motown song "He Was Really Saying Something", is 75 Dollar Bill's third, featuring new directions accompanying the band's previously established interest in sprawling, unusual grooves and microtonal melodies. The record is enhanced by the presence of eight additional players in various combinations over its nine tracks -- but also shows off the duo's strength when stripped down to the core. Requiring a variety of approaches, the album was recorded over a four-year period, in four different studios, with the band's closest associates and collaborators in a range of different ensemble configurations. The album also features several "studio as instrument" constructions that harken back to the collage-experiments of the band's early cassette tapes, while at the same time pointing to territories altogether new. The players involved highlight the "social" aspect of the band and the eight guests that appear on the record are some of the band's closest friends and collaborators. Some pieces were conceived in the band's very early days and others are much newer, but the music is unmistakably 75 Dollar Bill. As Steve Gunn said about the previous record: "Strings come in underneath Che Chen's supreme guitar tone. Rick Brown's trance percussion offers a guiding support with bass, strings, and horns supporting the melody. They have gathered all the moving parts perfectly." Double-LP version presented in a heavy tip-on gatefold jacket with textured clothe wrap and matte foil stamping.”
2 LP Set $32
Bruce Lee Gallanter’s Recommended Gig List for July & August 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 / ADAM RUDOLPH / JULY 23–27
8:30 pm - Adam Rudolph and Tyshawn Sorey
Adam Rudolph, Tyshawn Sorey (percussion)
8:30 pm - Tyshawn Sorey and Adam Rudolph
Tyshawn Sorey, Adam Rudolph (percussion)
THE STONE RESIDENCIES - WILLIAM PARKER - JULY 30 – AUG 3
8:30 pm - Super Imposition - On Ka’a Davis (guitar) Fred Lonberg-Holm (cello) William Parker (bass, doson ngoni) Ikue Mori (electronics)
8:30 pm - Thunder and Flowers - Ava Mendoza (guitar) William Parker (bass, gimbri) Cooper Moore (banjo) Kevin Murray (drums)
8:30 pm - Prana Voice - Rosie Hertlien (violin, voice) William Parker (bass) Gary Hassay (alto sax) Daniel Carter (reeds, brass)
8:30 pm - Seraphic LIGHT
Matthew Shipp (piano) Daniel Carter (reeds, brass) William Parker (bass)
8:30 pm - Quartet - Sylvie Courvoisier (piano) John Zorn (alto sax) Okyung Lee (cello) William Parker (bass)
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 at HappyLucky No.1
Friday & Saturday, July 26 & 27th, 2019- 8:00 PM 9:00 PM
NELS CLINE TRIO FABRIKO and Ingrid Laubrock
Ingrid Laubrock (Tenor & Soprano sax)
Nels Cline - Guitar
Chris Lightcap - Bass
Tom Rainey - Drums
HappyLuckyNo.1 is located at
734 Nostrand Avenue
Brooklyn, NY 11216
Phone: 646 623 0414
Take 2, 4, or 5 trains to Franklin
Take 3 train to Nostrand Ave.
Take A or C to Nostrand Ave.
THE JAZZ GALLERY Presents:
Friday, July 26th:
TIM BERNE 2
Tim Berne -saxophone
Matt Mitchell -piano
Kate Gentiole - drums
sets at 7.30pm 9.30pm
Saturday, July 27th:
TOM BERNE 3
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 29th
7pm Aron Namenwirth - guitar
Daniel Carter - woodwinds
Zach Swanson - bass
Joe Hertenstein - drums
8pm Stephen Gauci - tenor saxophone
Adam Lane - bass
William Hooker - drums
9pm Colin Avery Hinton - drums
Jessica Ackerley - guitar
Ingrid Laubrock - tenor saxophone
Eivind Opsvik - bass
9:45pm Haim E Peskoff - drums
Michaël Attias - saxophone
TBD - bass
10:45pm Hans Tammen - buchla
Andrew Neumann - synth
Sarah Manning - alto saxophone
11:30pm Yuma Uesaka - tenor saxophone
Vasko Dukovski - clarinets
Downstairs @ Bushwick Public House
1288 Myrtle Avenue in Bushwick, Brooklyn
(Across the street from M train Central Ave stop)
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
IBEAM in BROOKLYN, NYC
168 7TH STREET
BROOKLYN, NY, 11215