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DMG Newsletter for April 7th, 2017

April Showers are on their Way, A Little More Sunshine Every Day
You Need some Serious Sounds, That’s what I heard you Say…
More Music New and Old from these Gifted Musicians, Composers and Sonic Specialists:

Reunion: Evan Parker / John Russell / Ian Brighton / Philipp Wachsmann / Marcio Mattos / Trevor Taylor! Ted Daniel / Marvin Sewell / Charlie Burnham’s Tribute to King Oliver! Martin Philadelphy/Jamie Saft/Tom Abbs/Kresten Osgood! Led Bib! Biggi Vinkeloe’s Jade - New Spiritual Music! Zeitkratzer Performs Kraftwerk! Ten More Lovely Music Reissues! LP Only Section: John Coltrane & Ennio Morricone and a Big Chet Baker CD Sale!


The FREE DMG Weekly New Music In-Store Series Continues on Sundays with:

Sunday, April 9th:

Sunday, April 16th: Easter Sunday, no in-store

Sunday, April 23rd:
6pm: J. A. GRANELLI & MR. LUCKY TRIO with: J.A GRANELLI - Piccolo Bass, Lap Steel Guitar / NATE SHAW - Keyboards / OWEN HOWARD - Drums

Sunday, April 30th:

DMG is located at 13 Monroe St. (between Catherine & Market Sts) in a basement below a former Buddhist temple & beauty salon. 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 Cosy


EVAN PARKER / JOHN RUSSELL / PHILIPP WACHSMANN / IAN BRIGHTON / MARCIO MATTOS / TREVOR TAYLOR - Reunion - Live at Cafe Oto (FMR 430; UK) Featuring Evan Parker on soprano sax, John Russell & Ian Brighton on guitars, Philipp Wachsmann on violin, Marcio Mattos on duble bass and Trevor Taylor on percussion & electronics. Due to the reality that CD’s are selling in smaller quantities, most label are releasing fewer compact discs, while other are switching over to the vinyl-only format. Hence, the number of discs featuring UK sax pioneer Evan Parker has slowed down quite a bit. The last few disc by Evan Parker are found on labels: PSI, Victo and Red Toucan. The exception to slowing down are labels like Clean Feed, Sunnyside and FMR. This is a good thing for those of us who still need fresh New Music to challenge us.
This set was recorded live at Cafe Oto in London on August 14th of 2016. Although this disc is called ‘Reunion’, most members have played with Mr. Parker in different projects like the Electro-Acoustic Ensemble or Evan Parker Octet (Russell & Wachsmann). Ian Brightman is the one player here whose name is not very familiar although he has recorded with Tony Oxley and Mr. Wachsmann (as has Mr. Mattos). Percussionist Trevor Taylor hasn’t recorded with Mr. Parker before now, but run this, the FMR label. There are four pieces here, each one with differing personnel. Starting with a short piece for solo guitar by Mr. Brighton, who sounds like he has been influenced by the late British elder Derek Bailey, subtle yet spiky. The second piece is for a quartet with Brighton, Wachsmann, Mattos and Taylor and it has that hypnotic, UK insect music-like sound. Tight flurries of notes swirling around one another in a most fascinating, organic-sounding way. Mr. Taylor seems to using a sampler of sorts which adds a certain amount of quirky vocal samples like sly spice. They are often unexpected and add an element of twisted humor. The oddly titled “Walthamstow Cheesecutter” is a strong duo of Evan Parker and John Russell, it sounds calm yet yet there is is an ongoing history between these two and they move in similar ways. The final piece is all six members and it is a long and winding tour-de-force. Intense, quick, spiraling, focused fractures, sped up faster at times with some extraordinary interaction. The title of this piece is called, “What Else Did You Expect?” and I would say that something quite astonishing is what we would expect and what we did get! - Bruce Lee Gallanter, DMG
CD $14

TED DANIEL With MARVIN SEWELL / CHARLIE BURNHAM / JOE DALEY / NEWMAN T. BAKER - Zulu’s Ball - Plays the Music of King Oliver (Altura Records; USA) Featuring Ted Daniel on cornet & arrangements, Charlie Burnham on violin, Marvin Sewell on guitar, Joe Daley on tuba and Newman T. Baker on drums. Although King Oliver (1881-1938) was one of the first stars of early jazz, it was his protege Louis Armstrong who received most of the accolades during and after his tenure with Oliver. King Oliver’s band, the Creole Jazz Band, were creating jazz in its earliest forms in the 1920’s, using collective improvisation in ways that would inform of things to come. Avant jazz trumpeter, Ted Daniel, organized a band called the International Brass and Membrane Corps (IBMC) in 2004 to play Mr. Daniel’s own music but eventually Daniel’s fascination with King Oliver had the band change direction. Mr. Daniel, who has played mainly trumpet for his entire career, switched back to his original instrument of the cornet for this session/band. The instrumentation here is what makes this quintet unique: cornet, violin & guitar up front with tuba & drums underneath. All eight songs here were written or associated with King Oliver but nearly a century later, the arranging and playing have evolved. Over the past decade or so, there has been a deluge of cheap CD’s due to folks downloading for free or streaming. I have been able to fill my collection of early jazz to help me view the entire history more clearly. Hence, I just listened to a couple of King Oliver discs to get an idea of the way they sounded in the twenties.
What is interesting is that ‘Zulu’s Ball’ does capture the spirit of the music from nearly a century but doesn’t sound rhythmically stiff. There is something quite infectious going on here, when the disc opens with “Riverside Blues”, which is in fact a blues, yet there is nothing sad about this blues. I dig the way this ancient music is made more contemporary. There is something most charming about this music, laid back and quite lovely yet still somehow inventive. When one strips down these songs to their bare essentials, the enchanting melodies shine through. As mentioned in the liner notes, the original recordings of these songs from the twenties was from an early period of recording jazz, so many of the nuances were lost. Hence, Ted Daniel’s superb cornet playing is perfectly captured and sounds wonderful on each track. The other two frontline players, Charlie Burnham and Marvin Sewell also sound so fine, playing with a subtle, poignant quality that fits perfectly within this modest quintet. Thus disc ends with another version of “Riverside Blues” for a duo of cornet and acoustic guitar. This version is even better due to the sly slide playing of Marvin Sewell on his acoustic guitar. I love discs that force us to appreciate the more restrained side of jazz, where no bombs are dropped yet something special does occur nonetheless. - Bruce Lee Gallanter, DMG
CD $15

* MARTIN PHILADELPHY / JAMIE SAFT / TOM ABBS / KRESTEN OSGOOD - Heavy Breakfast (Delphy Records 032; EEC) Featuring Martin Philadelphy on electric guitar, Jamie saft on piano, Fender Rhodes & organ, Tom Abbs on upright bass and Kresten Osgood on drums. Ace keyboardist Jamie Saft moved his family and recording studio up from Brooklyn to the Woodstock area a few years back, keeping himself busy with numerous bands and sessions. Several of these projects stand out: his own New Zion Trio, groups with Joe Morris and Mary Halvorson (a/k/a Plymouth), as well as a great quartet with Nick Millevoi on Clean Feed. Here is yet another great quartet with Austrian guitarist Martin Philadelphy and ubiquitous Danish drummer Kresten Osgood plus Downtown bassist Tom Abbs. Mr. Philadelphy and Mr. Osgood are longtime friends & collaborators with a duo CD on Ilk and occasional tours.
“Curtained” starts with specious, swirling, hypnotic, free sort-of psych, eerie and transporting us back into the Summer of Love, some fifty years ago now. Mr. Philadelphy’s guitar tone is somewhere between John Cipollina (from Quicksilver) and Tom Verlaine (from Television), yet freer and unafraid to take off into the clouds. Mr. Abbs acoustic bass and Osgood’s drumming keep the quartet rooted into a strong jazz/rock undertow. BY the third track, “Nipite”, Saft enters on piano providing strong interplay with the guitar and rhythm team. Philadelphy gets many a chance to stretch out and take off, pushing the quartet higher and higher. This music does a great job of creating a most alluring mood, late night psychedelic rave-up with occasional introspective moments. Mr. Saft also selectively adds a number of counter-lines to Philadelphy’s space flights, unleashing a few explosive piano and organ solos. The more I dug into this disc the more I wanted to reach for a joint to help escape the everyday blues and soar along with this mighty fine quartet. - Bruce Lee Gallanter, DMG
CD $14 [LTD Edition CD-R of 50; numbered]

* Martin Philadelphy will play in a duo with drummer Jeremy Carlstedt this Sunday, April 9th at 6pm here at DMG for Free!

LED BIB - Umbrella Weather (Rare Noise 071; UK) Easily the most adventurous and audacious outfit on today's UK jazz scene, Led Bib has built a reputation over the course of seven albums for expansive improvisations and treks into genre defying music of throbbing intensity. For their RareNoise Records debut, the five - piece group from London continues pushing the envelope on Umbrella Weather. Fueled by the muscular drumming of ringleader Mark Holub and the intense fuzz bass lines of Liran Donin, further tweaked by atmospheric washes and crunchy keyboard action from Toby McLaren and sparked by the pungent twin alto saxes of Peter Grogan and Chris Williams, Led Bib stakes out a unique spot in the musical terrain that falls somewhere between the realms of John Zorn, Ornette Coleman, Charles Mingus and Eric Dolphy.
CD $15 (In Stock Shortly)

BIGGI VINKELOE / FRANCOIS LEMONNIER - JADE New Spiritual Music (Futura 03; France) Featuring Biggi Vinkeloe on alto sax, flute & compositions, Francois Lemonnier on trombone, Karin Nelson on organ, Maria Forsstrom - mezzo-soprano & choir conductor and the Volcanic Choir. Swedish saxist & flute player, Biggi Vinkeloe, has been working on this project for many years, taking her time to formulate the music and choosing the right musicians to make this work. French trombonist, Francois Lemonnier, plays with Ms. Vinkeloe in a a group called Trio Fatal with a disc out on the same label as this. “Jade” is a gemstone which represents ‘wisdom, balance and peace’ and hence is an appropriate title for this disc. Ms. Vinkeloe’s idea was to combine Gregorian chant with Swedish folk music and Mozart, Satie and Charles Mingus. Ms. Vinkeloe left me with this disc when she performed here last year (2016), so it has taken a while to absorb its riches. Commencing with a fine version of Charles Mingus’ “Ecclusiastics” for a sax & trombone duo, it is a righteous opening gesture/reading. This piece soon turns into “Adoro Te” for choir and organ with text by Thomas D’Aquin. The majestic, elegant vibe continues from piece to piece, with Mr. Lemonnier’s trombone also sounding most enchanting. Most sublime and indeed enchanting. Whether playing music by Erik Satie, Leopold Mozart, Ms. Vinkeloe or Mr. Lemonnier, the warm, thoughtful, spiritual sounding music flows as one. The duos for alto sax and trombone are some of the finest moments on this disc, the balance of free and focused just right, sweet and sour as one voice. The title track, “Jade” features a wonderful trio for sax, trombone and organ, a perfect blend with some of Ms. Vinkeloe’s warmest, most lyrical playing. There are a few what sounds like improvised interludes which also fit within overall flow of events perfectly as well. This superb two disc set is unlike anything I’ve reviewed in a long while and yet it ranks amongst some of the most endearing music I’ve encountered in recent memory. Hats off to Biggi Vinkeloe and her well chosen musicians and choir. - Bruce Lee Gallanter, DMG
2 CD Set $20

KAJA DRAKSLER OCTET With AB BAARS / ONNO GOVAERT / et al - Gledalec (Clean Feed 417; Portugal) This is Kaja Draksler’s third disc for the Clean Feed label, after a fine solo piano effort and a duo with Susana Santos Silva on trumpet. Originally from Slovenia, Ms. Draksler moved to Amsterdam and has been working with several Dutch musicians: Ab Baars (reeds) from the ICP Orchestra and Onno Govaert from Cactus Truck and several projects on FMR & Clean Feed. This is Ms. Drakler’s octet and she has indeed evolved even further. Ms. Draksler has added a couple of vocalists to her unit, Bjork Nielsdottir (Icelandic?) and Laura Polence (English), utilizing the poetry of Pablo Neruda, Adriana Minou and Gregor Strnisa. I’ve played these discs several times at the store and it has taken me a while to figure out what it is that makes this effort so special. Ms. Polence has the soft, precise voice of charming storyteller with Draksler’s haunting, ghost-like music interwoven around her. Occasionally the vocalist(s) are shadowed or harmonized by other instruments like the violin. George Dumitriu plays violin and viola and seems to switch organically between playing the written parts and improvising in furious bursts along with contrabassist Lennart Heyndels. Each piece seems to have different personnel. Ms. Polence uses her voice as just another shrewd improviser on “A Carnival of Words” and fits well into the focused chaos. There is a section that stands out since both voices sing/speak, “I promise not to forget to forget”, silly yet immensely charming, the voices slowly twisting themselves around one another. Both saxists (Ab Baars & Ada Rave) get a chance to stretch out on “Dulce Como un Solozzo en la Nevada”, while the silly voices re-enter in short spurts. There is a strong balancing act going here between the free and fixed elements, minimal yet effective spoken and sung vocals and unexpected twists and turns. The more I listen closely to these discs, the more their distinctive charm comes through. Of the dozen new new discs just released by Clean Feed and Shhpuma, this might be my favorite so dig in now! - Bruce Lee Gallanter, DMG
2 CD Set $18

ZEITKRATZER - Performs Songs From The Albums "Kraftwerk" And "Kraftwerk 2" (Zeitkratzer 021; Germany) Zeitkratzer celebrate their 20th anniversary with necessary re-interpretations of early compositions by electronic pioneers Kraftwerk. Founded in 1997 by Reinhold Friedl, Zeitkratzer have since been creating an impressive catalog of recordings that embraces 20th century avant-garde composers (Cage, Stockhausen, Lucier) as well as electronic artists (Carsten Nicolai, Terre Thaemlitz) or underground experimentalists like Throbbing Gristle or Column One. In their 20th anniversary year, the critically acclaimed ensemble will release a series of diverse albums that will explore new grounds in the typical, adventurous Zeitkratzer way - the first of these albums is dedicated to Kraftwerk and their early, kraut-esque albums Kraftwerk (1970) and Kraftwerk 2 (1972). As Kraftwerk never re-released these albums, Zeitkratzer gave its best to cover the first tranche of the songs. Recorded in Marseille/France in May 2016, the six tracks reveal a bucolic and even psychedelic aspect of the ensemble that's mostly known (or feared) for its interpretative and aesthetic acerbity. And yet there's no doubt that Songs From The Albums "Kraftwerk" And "Kraftwerk 2" is a true Zeitkratzer recording in the best and fullest meaning. Zeitkratzer directed by Reinhold Friedl are: Frank Gratkowski - flute, clarinets; Elena Kakaliagou - french horn; Hilary Jeffery - trombone; Reinhold Friedl - harmonium, piano; Didier Ascour - guitar; Maurice de Martin - drums; Lisa Marie Landgraf - violin; Burkhard Schlothauer - violin; Elisabeth Coudoux - cello and Ulrich Phillipp - double bass.
CD $15

HERMANN NITSCH - Streichquartett In 4 Satzen (Tochnit Aleph TA 150; Germany) First recording of Hermann Nitsch's original 60 minute version of this new composition for string quartet in four parts. Recorded at the Nitsch Foundation in Vienna, 2016. Full-color, six-panel digipak; Edition of 300.
CD $17

STEFAN ROIGK - Sprachmusik (Tochnit Aleph 49; Germany) New electro-acoustic composition by Berlin-based fine artist Stefan Roigk. The radio play-like combination of poetic lectures, vocals treatments, concrete sounds, and deep vocal drones is based on several live recordings of performances made between 2012 and 2015. Edition of 300.
CD $15

FABIO ZEPPETELLA / EMMANUEL BEX / GERALDINE LAURENT / ROBERTO GATTO - Chansons! (Via Veneto Jazz VVJ 113; Italy) Chansons! is a musical conception similar to a diplomatic treaty or melodious embrace between cousins. Essentially, it's an innovative exchange between two neighboring worlds that have always eyed and inspired one other with reciprocal curiosity. Italy and France unite as allies on the musical front, gathering on the field four extraordinary talents: Fabio Zeppetella, Roberto Gatto, Géraldine Laurent, and Emmanuel Bex. This original quartet uniquely interprets eleven songs that best reflect the musical tradition of singer-songwriters belonging to these two countries. Starting from the highly popular jazz composer Bruno Martino, passing through the ever-present Fabrizio De André and Francesco De Gregori and arriving to Pino Daniele, another milestone; on the French scene are idols such as Jacques Brel, Leo Ferré, Yves Montand, and Joe Dassin. The quartet's interpretation is extraordinary and the songs on Chansons! enchant from beginning to end. While the harmonious complicity of Gatto, Bex, and Zeppetella is a well-known fact, the musical fluency added by the involvement of Laurent is unexpected, further enriching this innovative project. Also features compositions by: Vincenzo De Crescenzo-Antonio Vian, Henri Betti-André Hornez, and Jean-Baptiste Clément-Antoine Renard. Personnel: Fabio Zeppetella - guitar; Emmanuel Bex - organ, voice; Géraldine Laurent - alto sax; Roberto Gatto - drums.
CD $18

LET’S GET SWINGING - Modern Jazz In Belgium 1950-1970 (Sdban 007; Belgium) When thinking of jazz music, few would mention Belgium's association with the genre. However, it was one of the first countries to embrace the form when it arrived in Europe a hundred years ago, and has yielded many internationally known jazz musicians and composers since. This twenty-track compilation entitled Let's Get Swinging: Modern Jazz In Belgium 1950-1970 focuses on a twenty-year period of modern jazz in the little kingdom, and features the leading players from that era including guitarist Philip Catherine, saxophonist Jack Sels, multi-instrumentalist Jacques Pelzer, and vibraphone player, percussionist, and vocalist "Fats" Sadi Lallemand. Pre-1950s, Belgian jazz lovers had been starved of jazz music when it was banned from public life, going underground during the German occupation of WWII. However, jazz would soon go through a radical change when US jazz musicians such as Charlie Parker, Dizzy Gillespie, and Thelonious Monk developed a new style called bebop or modern jazz. The big bands disappeared in favor of the small groups, the rhythms became more complex and improvisation was the new keyword. In Belgium, the epicenter of jazz shifted from Brussels to the industrial city of Liège in the east of the country. Inspired by the new sounds of Bird and Diz, a group of youngsters including Bobby Jaspar, René Thomas, Jacques Pelzer, "Fats" Sadi Lallemand, Jack Sels, and Francy Boland, joined each other in jam sessions and formed modern jazz combos. But the complexities of modern jazz made larger audiences turn their backs on this new form of jazz and with very few working opportunities for the modern jazzmen in Belgium, most moved abroad to pursue a career. During the '50s, composer and pianist Francy Boland managed to distinguish himself in the United States, where he worked with the bands of Count Basie and Benny Goodman, and with jazz pianist Mary Lou Williams. Bobby Jaspar remained a wonderful "cool" soloist on flute and tenor sax. In New York, he played, among others, with J.J. Johnson and Miles Davis. Shortly before his untimely death in 1963, he set up a last vigorous quintet with his friend and guitarist René Thomas from Liege. Guitarist René Thomas also crossed the Atlantic and immersed himself in the Paris jazz scene of the early to mid-fifties, where he quickly became notable due to his distinct style, heavily influenced by Jimmy Raney, and ended up recording with Sonny Rollins in 1957. His most loyal partner and friend was alto saxophonist and flautist Jacques Pelzer who, after the adventure with the Bob Shots, imposed himself in this decade as an outstanding musician of European jazz. Vibraphone player, percussionist and vocalist Sadi Lallemand, nicknamed "Fats", was another Belgian who took up residency in Paris. He recorded with Django Reinhardt in 1953 and the same year he debuted as a leader with Fats Sadi's Combo, an album that was even released by the legendary Blue Note label in the USA. Sadi was a much in demand sideman, playing with Lucky Thompson, Martial Solal, Jimmy Deuchar and many more. In the sixties, he was one of the core members of the Kenny Clarke-Francy Boland Big Band and often worked for Belgian radio and television. At the end of the 1950s, guitarist Philip Catherine was one of the leading young musicians who came to prominence on the Belgian jazz scene. Even before his twentieth year, he jammed at la Rose Noir, played at the festivals of Comblain and Ostend and toured Europe with Lou Bennett. After 1965, he also started to compose. Even though the most talented Belgian jazz musicians lived abroad during the golden era of modern jazz, Belgium was not a complete jazz wasteland. Clubs like La Rose Noire and the Blue Note were the go-to places for touring musicians seeking an after-work jam session. In Antwerp, the jazz scene was dominated by saxophone player Jack Sels, who was also very productive working for Belgian radio and television. A highlight in this small discography is a recording with Lucky Thompson from 1959. In 1959, the jazz festival of Comblain-La-Tour became the annual jazz center of Europe, and featured concerts by American jazz stars like Bill Evans, John Coltrane, and Cannonball Adderley. With tens of thousands of visitors at almost each edition, the little village of Comblain-La-Tour was dubbed "The Jazz Capital of Europe". In 1961, Comblain outdid the Newport Jazz Festival with a crowd of 30,000 jazz enthusiasts, giving the most famous jazz festival in the world a run for its money. It would continue until 1966. Jacques Pelzer went on to work in Italy and toured with Chet Baker while René Thomas set up a new quartet with Bobby Jaspar, and played with Pelzer and Lee Konitz at European festivals, before falling back into a lean period in 1966. Still, despite these tough times for jazz, new clubs opened: The Blue Note and Pol's Jazz Club in Brussels, the Jazz Inn in Liege, and the Jazz Clu Hnita in Heist-Op-Den-Berg. Due to the absence of its main players during the heydays of modern jazz, Belgium will not be remembered for a unique jazz sound or an extensive discography. However, the little country produced a number of highly talented musicians who played lead roles on the international jazz scene. Let's Get Swinging: Modern Jazz in Belgium 1950-1970 retraces their steps and presents some of their finest works. Features: Jon Eardley, René Thomas-Bobby Jaspar Quintet, Jacques Pelzer And His Young Stars, Philip Catherine & Robert Pernet, Francy Boland, Saxorama & Jack Sels, Herman Sandy Quartet, Fats Sadi Quartet, Bobby Jaspar Quintet, The Clouds, Lucky Thompson & Jack Sels Sextet, Francy Boland Trio, Bobby Jaspar, Jacques Pelzer Sextet, René Goldstein And His Group, René Thomas Et Son Modern Group, Jacques Pelzer Quartet, and The St. Tropez Jazz Octet.
2 CD Set $30

More Reissues from Lovely:

ALVIN LUCIER - I Am Sitting In A Room (Lovely Music 1013; USA) Originally released by Lovely Music in 1981. In this fascinating exploration of acoustical phenomena, Alvin Lucier slips from the domain of language to that of music in the course of 40 minutes and 32 repetitions of a simple paragraph of text. In I Am Sitting In A Room, several sentences of recorded speech are simultaneously played back into a room and re-recorded there many times. As the repetitive process continues, those sounds common to the original spoken statement and those implied by the structural dimensions of the room are reinforced. The others are gradually eliminated. The space acts as a filter; the speech is transformed into pure sound. All the recorded segments are spliced together in the order in which they were made and constitute the work. I Am Sitting In A Room was composed in 1970 and was first performed at the Guggenheim Museum in New York City that same year. A second version was made in 1972 to accompany the dance, Dune, performed by the Viola Farber Dance Company at the Brooklyn Academy of Music. Since that time, numerous versions of this composition have been realized in various ways by other musicians, including a Swedish radio broadcast version. This recording was made by Alvin Lucier on October 29th and 31st, 1980, in the living room of his home in Middletown, CT. The material was recorded on a Nagra tape recorder with an Electro-Voice 635 dynamic microphone and played back on one channel of a Revox A77 tape recorder, Dynaco amplifier, and a KLH Model Six loudspeaker. It consists of thirty-two generations of Alvin Lucier's speech and was made expressly for Lovely Music, Ltd. 1993 release.
CD $13

ALVIN LUCIER - Still and Moving Lines of Silence in Families of Hyperbolas (Lovely Music 1015; USA) Double CD release of Alvin Lucier's four-part work, initiated in 1972 and recorded as presented here in 1983-84 and 2001. This reissues two long-out-of-print LPs on Lovely Music, released in 1983 and 1984, with four added parts (the strings) released for the first time. A series of mostly solo instrument works for the likes of: clarinet, marimba, viola, voice, xylophone, violin, flute, glockenspiel, cello, horn, and vibraphone. Performed by: Thomas Ridenour, William Winant, Dan Panner, Rebecca Armstrong, Conrad Harris, Susan Palma, Gregory Hesslink, and James de Corsey. An absolute masterpiece of "interference sound”. 2002 release.
2 CD Set $24

ALVIN LUCIER - Sferics/Music For Solo Performer (Lovely Music 5013; USA) Alvin Lucier on Sferics and Music For Solo Performer: "Sferics is the shortened term for atmospherics, natural radio-frequency emissions in the ionosphere, caused by electromagnetic energy radiated from nearby or distant lightning. . . . My interest in sferics goes back to 1967, when I discovered in the Brandeis University Library a disc recording of ionospheric sounds by astrophysicist Millett Morgan of Dartmouth College. I experimented with this material, processing it in various ways -- filtering, narrow band amplifying and phase-shifting -- but I was unhappy with the idea of altering natural sounds and uneasy about using someone else's material for my own purposes. I wanted to have the experience of listening to these sounds in real time and collecting them for myself. When Pauline Oliveros invited me to visit the music department at the University of California at San Diego a year later, I proposed a whistler recording project. Despite two weeks of extending antenna wire across most of the La Jolla landscape and wrestling with homemade battery-operated radio receivers, Pauline and I had nothing to show for our efforts. . . . Sferics was recorded by the composer on August 27, 1981, in Church Park, Colorado. The sound material was collected continuously from midnight to dawn with a pair of homemade antennas and a stereo cassette tape recorder. At regular intervals the antennas were repositioned in order to explore the directivity of the propagated signals and to shift the stereo field." "Music For Solo Performer was first performed on May 5, 1965 at the Rose Art Museum, Brandeis University, with the encouragement and participation of John Cage. I sat on a landing between the two floors of the museum, electrodes attached to my scalp. The mono output of the alpha amplifiers was routed to the inputs of eight home stereo amplifiers, the outputs of which were sent to 16 loudspeaker-percussion pairs deployed around the museum. During the course of the 40-minute performance Cage randomly raised and lowered the stereo amplifiers' volume controls channeling the alpha signal to various instruments around the room. . . . This recording of Music For Solo Performer was produced under the supervision of Wesleyan professor of music Ron Kuivila with the assistance of graduate students Ivan Naranjo and Phillip Schulze and undergraduate Forrest Leslie, at the Wesleyan University Experimental Music Studio, on December 8 and 9, 2007." 2009 release.
CD $13

ELIANE RADIGUE - Songs of Milarepa (Lovely Music 2001; USA) Originally released on Lovely Music in 1998. Double CD of all five of Elaine Radigue's songs in tribute to the Tibetan saint and poet from the 11th century. Two of the tracks dates from Radigue's first release in 1983, two are previously unreleased and the final 62-minute track was previously issued as a sole CD in 1987. The material is performed by Radigue (synthesizer and recording), Robert Ashley (English voice), and Lama Kunga Rinpoche (Tibetan voice). Radigue was born in France and has studied under Pierre Shaeffer and Pierre Henry; her musical has an extremely organic and mystical electronics vibe, and has been previously documented on Phill Niblock's XI label, as well as Metamkine and Lovely. Milarepa is a great saint and poet of Tibet who lived in the 11th century. Through years dedicated to meditation and related practices in the solitude of the mountains, Milarepa achieved the highest attainable illumination and the mental power that enabled him to guide innumerable disciples. His ability to present complex teachings in a simple, lucid style is astonishing. He had a fine voice and loved to sing. When his patrons and disciples made a request or asked him a question, he answered in spontaneously composed free-flowing poems or lyric songs. It is said that he composed 100,000 songs to communicate his ideas in his teachings and conversations. 2003 release.
2 CD Set $24

ROBERT ASHLEY - Atalanta (Acts Of God) Volume II (Lovely Music 3303; USA) Three of the satellite songs from Robert Ashley's opera Atalanta (Acts of God) - each inspired or revolving around one of the main characters of the opera, Max, Willard and Bud. Atalanta (Acts of God) was written in the 1980s, begun while Ashley was still in production for the television opera, Perfect Lives. The many hours of material were performed throughout the world in many different configurations, but this is the first time these songs have been available on CD. Personnel: Robert Ashley, Jacqueline Humbert - voices; Tom Hamilton - mixing, electronics. 2010 release.
2 CD Set $24

JOAN LA BARBARA - Voice Is The Original Instrument - Early Works (Lovely Music 3003; USA) Collection of early works and Joan La Barbara's first vocal compositions, originally released on LPs in the 1970s and early 1980s on her own Wizard Records. La Barbara says, "One of my earliest pieces, 'Hear What I Feel', was a self-exploratory, sensory-deprivation experimental work, designed to help me discover new sounds, delve into psychological aspects, as well as communicate with the audience on a pre-verbal level of awareness. After spending an hour in isolation with my eyes taped shut and not touching anything with my hands, I was led our into the performance space where my assistant had placed a variety of substances in six small glass dishes. As I touched the material, I tried to give an immediate vocal response to what I felt both emotionally and physically, without the benefit of visual information. I expected the shock of bringing a solitary state of mind into the heightened awareness of a performance situation to intensify my experience, and the poignancy of my 'prepared' state to affect the audience. The sounds are presented here in their raw state; it is truly an experimental work with no intentional musical implications or designs. 'Voice Piece: One-Note Internal Resonance Investigation' explores the color spectrum of a single pitch. 'Circular Song' was inspired by the circular breathing technique of horn players. 'Des Accords pour Teeny', an exploration of multi-phonic technique or choral singing, was dedicated to Teeny Duchamp. In much of my early work I dealt with sound as a physical presence, sculpting it, building up layers in complex constructions, letting the flow of thought and the visualization of sonic gestures direct my studio art. Voice Is The Original Instrument was both a statement of purpose and a manifesto as, through various experiments and explorations, I tried to rediscover the basic function of the voice as the first means of expression as well as to release untapped sonic material. As I gave my classically trained voice its freedom, letting it direct me toward new places and ideas, I developed what was a unique vocabulary and used those sounds to score an orchestra of layered voices." 2003 release.
2 CD Set $24

ANNEA LOCKWOOD - A Sound Map of the Danube (Lovely Music 2083; USA) An aural tracing of the Danube, interleaved with the memories and reflections of its people. 59 sites and 13 interviews, from the Black Forest to the Black Sea. Includes large fold-out map, with translations of the interviews. 167 minutes, recorded and mixed by Annea Lockwood. 2008 release.
3 CD Set $35

MAGGI PAYNE - Crystal (Lovely Music 2061; USA) Originally released on Lovely Music in 1986. Maggi Payne's musical imagination is vivid: she is interested in the surreal, the inward, the micro, and the accumulation of physical and psychological tension. Periods of silence gently evolve into flowing drones of complex resonances. Oozing drones evolve into dense and powerful peaks of short duration. On one cut, multi-tracked voices shift in and out of phase, creating alternately shimmering and percussive patterns; on another, digital delay and 32 separate flute tracks create a rain forest where instruments call to each other like chrome birds. The compositions and sounds on Crystal have incredible depth, a profound logic and, though not "pretty", an irresistible beauty. Personnel: Maggi Payne - flute, synthesizers electronics. 1991 release.
CD $13

BLUE' GENE TYRANNY - Take Your Time (Lovely Music 1066; USA) A CD of works for solo piano from "Blue" Gene Tyranny. Thirty-five of the 36 songs in this "audio storyboard" are individually built around an atmospheric primary chord, counter-rhythms, and a body of notes which creates a potential melody that unfolds bit by bit. The Driver's Son is scored for a narrator, a chorus of five people creating fifteen voices, an electronically modified orchestra of folk and concert instruments and parts for a lighting designer and a live video animator known as "The Guide". The realization for electro-magnetically stimulated piano (1993) heard here employs feedback circuit devices, designed by composer David Meschter, that initiate subtle sustaining tones when placed on the strings. The slowly appearing, ethereal sounds in this piece are "artificial harmonics" that resonate high in the piano strings when one chord is silently depressed and another chord of the same form but a half-step lower is loudly struck and quickly released. 36 of these, interlaced with 36 "natural harmonics", were recorded and then the initial loud attack was removed with computer editing. This procedure left a bed of subtle, non-corporeal sounds that seem to lie on the surface of the strings like a cloud, and allowed listeners to hear sounds that normally are only perceived by the pianist sitting a few feet away from the strings. 2003 release.
CD $13

LP Section:

JOHN COLTRANE With McCOY TYNER / JIMYY GARRISON / ELVIN JONES - Live In Stockholm October 22nd 1963 (Doxy 2087; Russia) Featuring John Coltrane's classic quartet (McCoy Tyner, Jimmy Garrison, and Elvin Jones), Doxy present two live shows recorded in Stockholm and Berlin (ACV 2088LP) during the legendary 1963 European tour, which are a fairly typical example of the incredible strength of the group at the time. As with most of his live dates, Coltrane turns in extended explorations on all the selections, also leaving plenty of room for pianist Tyner to stretch out on more straightforward, but equally challenging solos. Drummer Jones matches the intensity of Coltrane's solo flights with propulsive and sensitive rhythmic support, while bassist Garrison anchors the proceedings with his steady and somewhat mercurial basslines. During the period when the shows were recorded, Coltrane was playing at an amazingly high level, with masterworks like Crescent (1964) and A Love Supreme (1965) just around the corner. The blend of freedom, energy, and formality in his solos make live recordings from this time a good bet for newcomers to Coltrane's work. First edition of 500 (numbered).
LP $21

JOHN COLTRANE With McCOY TYNER / JIMYY GARRISON / ELVIN JONES - Live In Berlin November 2nd 1963 (Doxy ACV 2088; Russia) Featuring John Coltrane's classic quartet (McCoy Tyner, Jimmy Garrison, and Elvin Jones), Doxy present two live shows recorded in Stockholm (ACV 2087LP) and Berlin during the legendary 1963 European tour, which are a fairly typical example of the incredible strength of the group at the time. As with most of his live dates, Coltrane turns in extended explorations on all the selections, also leaving plenty of room for pianist Tyner to stretch out on more straightforward, but equally challenging solos. Drummer Jones matches the intensity of Coltrane's solo flights with propulsive and sensitive rhythmic support, while bassist Garrison anchors the proceedings with his steady and somewhat mercurial basslines. During the period when the shows were recorded, Coltrane was playing at an amazingly high level, with masterworks like Crescent (1964) and A Love Supreme (1965) just around the corner. The blend of freedom, energy, and formality in his solos make live recordings from this time a good bet for newcomers to Coltrane's work. First edition of 500 (numbered).
LP $21

ENNIO MORRICONE - La Proprieta Non E Piu Un Furto (Goodfellas Gfost 003; Italy)
Goodfellas present a reissue of Ennio Morricone's soundtrack for La Proprieta Non E Piu Un Furto, originally released in 1973. Another fine example of the maestro's skills, breathtaking orchestration for Elio Petri's final part of the neurosis trilogy which began with Indagine Su Un Cittadino Al Di Sopra Di Ogni Sospetto (1970) and was followed by La Classe Operaia Va In Paradiso (1971). Total, a young bank cashier, has been wondering for some time if his life, with its grey, dismal prospect, is worth living. He is aware of the illicit careers and rise to riches of many of his clients. He decides to start a new life: new clothes, new cars, new women. His "new look" begins discreetly, a few small robberies in supermarkets, progressing to more important fraud. Another fantastic Morricone soundtrack, back on vinyl for the first time since its original release in 1973.
LP $24

ABDOU EL OMARI - Nuits De Printemps (Radio Martiko 003; Belgium) First issue of this previously unreleased Oriental psych monster from the organ king of Casablanca, combining traditional rhythms with spaced out modern sounds. Nuits De Printemps is the third part of Abdou El Omari's Nuits-trilogy. This album contains dazzling instrumentals, spiced up here-and-there with some traditional vocals. While playing his fine melodies, Abdou switches swiftly from his Farfisa Professional mothership to an analog ARP synthesizer. This new sound and some funky wah guitar riffs give his music an extra cosmic touch. Includes download code.
LP $27


BIG CHET BAKER CD SALE! We just got in a collection of some 30 CDs from Chet Baker so let’s have a sale. There are a few rarities here to look closely! All are Used but in mint or near-mint shape!

Take $1 off every CD below if you buy one or two discs,
take $2 off if you take three or more.

CD $10

CD $10

CD $10

CD $10

CHET BAKER with DICK TWARDZIK/JIMMY BOND et. al - IN PARIS (A selection from the Legendary Barclay Sessions 1955/1966) [Universal 543 547-2]
CD $10

CHET BAKER & STRINGS with RUSS FREEMAN/SHELLY MANN et. al [Columbia 88697492042]
CD $10

CHET BAKER with RUSS FREEMAN/SHELLY MANNE et al. - SINGS SESSIONS (The Complete Original) [Phoenix Records 131515]
CD $10

CHET BAKER - CHET IS BACK! [Hallmark 714922]
CD $10

CHET BAKER - TOO COOL (Hear Music/Opus Collection) [Starbucks]
CD $10

CD $10

CHET BAKER - DEEP IN A DREAM [Pacific Jazz 7243 5 35957 2 8]
CD $10

CD $10

CD $10

CHET BAKER - SONGS FOR LOVERS [Pacific Jazz 57158]
CD $10


CD $10

CD $10

CD $10

CD $10

CD $10

CD $10

CD $10

CD $10

CD $10

CD $10

CD $10

CD $10

CD $10

CD $10


Bruce Lee Gallanter’s Recommended Gig List for April of 2017


4/7 Friday
830 pm - WAY LOW - Dave Douglas (trumpet) Scott Robinson (reeds) Ray Anderson (trombone) Ted Rosenthal (piano) Greg Cohen (bass) Kenny Wollesen (drums)

4/8 Saturday
830 pm - Trio - Uri Caine (piano) Greg Cohen (bass) Kenny Wollesen (drums) plus guest

4/9 Sunday
830 pm - TRIO - Marty Ehrlich (bass clarinet) Greg Cohen (bass) Ken Peplowski (clarinet)

As a special treat, each concert will begin with a short solo performance by some of Jeremiah's favorite musicians and best friends.

4/11 Tuesday
830 pm - Jeremiah Cymerman & Nate Wooley - Jeremiah Cymerman (clarinet, electronics) Nate Wooley (trumpet, amplifier)
An evening of solos and duos with trumpet maverick Nate Wooley

4/12 Wednesday
830 pm - Pale Horse Expanded Ensemble / Laura Ortman Solo
Jeremiah Cymerman, Matt Bauder (clarinets) Christopher Hoffman (cello) Brian Chase (drums) Andria Nicodemou (vibraphone) Laura Ortman (violin)

4/13 Thursday
830 pm - Hate Speech / Trevor Dunn Solo
Jeremiah Cymerman (clarinet) Charlie Looker (guitar) Trevor Dunn (bass)

4/14 Friday
830 pm - TRIO / Brandon Lopez Solo - Jeremiah Cymerman (clarinet, pedals) Matt Mitchell (piano) Chris Corsano (drums) Brandon Lopez (bass)

4/15 Saturday
830 pm - Bloodmist / Josh Sinton Solo - Jeremiah Cymerman (clarinet, electronics) Toby Driver (bass) Mario Diaz de Leon (guitar) Josh Sinton (sax)

4/16 Sunday
830 pm - Systema Munditotius / Jon Irabagon Solo - Jeremiah Cymerman, Patrick Holmes, Matt Bauder, Aaron Novik (clarinets) Brian Chase, Russell Greenberg (percussion) Jon Irabagon (sax)

4/17 Monday
830 pm - Michael Nicolas, Sylvie Courvoisier and Ches Smith
Michael Nicolas (cello) Sylvie Courvoisier (piano) Ches Smith (drums)
A special improv concert by these three master musicians!

There are no refreshments or merchandise at The Stone.
Only music. All ages are welcome.
Cash Only at the door. There is no phone.
There is no food or beverage served or allowed
just a serious listening environment.
The Stone is booked purely on a curatorial basis


The CORNELIA STREET CAFE - 212-989-9319
29 Cornelia St in the heart of the West Greenwich Village, NYC

Friday Apr 07
9:00PM & 10:30PM MATT BREWER TRIO - Matt Brewer, bass; Mark Shim, tenor sax; Damion Reid, drums

Saturday Apr 08
9:00PM & 10:30PM YOTAM SILBERSTEIN & LA FAMILIA - Yotam Silberstein, guitar; Vitor Gonćalves, piano; Rick Rosato, bass; Daniel Dor , drums

Sunday Apr 09
8:30PM DANCE OF FURY - Jason Yeager, piano; Anna Webber, saxophone; Nick Dunston, bass; Samuel B, drums
10:00PM GABRIEL VICÉNS SEXTET - Gabriel Vicéns, guitar; Román Filiú, alto sax; Luis Perdomo, piano; Ricky Rodriguez, bass; Henry Cole, drums;

Monday, April 10
6:00PM DORIAN DEVINS QUARTET: SPRING JAZZ - Dorian Devins, vocals; Jamie Baum, flute; Lou Rainone, piano; Tom Hubbard, bass
8:30PM - FILIP POGADY & MATTHEW GRAYBIL - Filip Pogady, violin; Matthew Graybil, piano

Tuesday Apr 11
8:01PM STEVE SANDBERG & ALAYA - Steve Sandberg, piano; Mark Feldman, violin; Michael O'Brien, bass; Jeff Hirshfield, drums

Wednesday Apr 12
8:01PM BRANDON SEABROOK TRIO - Brandon Seabrook, guitar; Daniel Levin, cello; Henry Fraser, bass

Thursday, April 13th:
8:35PM ANAT FORT TRIO - Anat Fort, piano; Chris Cheek, tenor sax; Gary Wang, bass; Francisco Mela, drums

Friday Apr 14
6:00PM DANIEL MERON TRIO - Daniel Meron, piano; Pablo Menares, upright bass; Felix Lecaros, drums
9:00PM & 10:30PM TONY MALABY QUARTET - Tony Malaby, tenor sax; Leo Genovese, piano; William Parker, bass; Billy Mintz, drums

Saturday Apr 15
6:00PM AUDREY SILVER, JAZZ SINGER & SONGWRITER - Jazz Standards, Originals, And Contemporary Songs - Audrey Silver, vocals; Bruce Barth, piano; Paul Beaudry, bass; Gene Lewin, drums
9:00PM & 10:30PM TONY MALABY QUARTET - Tony Malaby, tenor sax; Leo Genovese, piano; William Parker, bass; Billy Mintz, drums

Sunday Apr 16


I-Beam Presents:

Saturday, April 8th 8:30 PM
Susan Alcorn & Sylvie Courvoisier
Susan Alcorn – Pedal Steel
Sylvie Courvoisier – Piano

Friday - April 28th 8:30 PM
Vinnie Sperrazza – Solo Drums

Saturday, May 6th 8:30 PM
Franz Hautzinger and Isabelle Duthoit
8:30 Franz Hautzinger and Isabelle Duthoit
9:30 Franz Hautzinger and Isabelle Duthoit with
Leila Bordreuil and Brandon Lopez

I-Beam is located at 168 7th Street in Brooklyn, NY 11215 - Directions: SUBWAY: Take the F or R trains to 4th Ave & 9th Street. Walk down 4th ave to 7th street. Make a left on 7th and walk past 3rd ave. We are located on the ground floor, the grey doors to the right of the stairs of #168.


New Revolution Arts Series - April, 2017:

Saturday, April 8
8 pm--Jeremy Carlstedt & Martin Philadelphy
8:45 pm--Margo Terry (poetry)
9 pm--Anais Maviel, Leonid Galaganov, William Parker
10 pm--Irreversible Trio: Luke Stewart, Aquiles Navarro, Tcheser Holmes

New Revolution Arts
7 Stanhope Street
Brooklyn (Bushwick)
J/M/L Trains
B38/B52/B54/B60/Q24 Buses
$15 suggested donation
Artist special: $10 suggested donation to artists who have played the series before



Sound It Out series @ Greenwich House – Concerts, January-June 2017

Wednesday, April 19, 8:00 p.m. – Album release celebration!
Eivind Opsvik’s Overseas - Eivind Opsvik, double-bass; Tony Malaby, tenor saxophone; Jacob Sacks, piano; Brandon Seabrook, guitar; Kenny Wolleson, drums

Saturday, April 22, 8:00 p.m. – House-rocking trio returns!
Anna Webber’s Simple Trio - Anna Webber, tenor saxophone/flute; Matt Mitchell, piano; John Hollenbeck, drums

Saturday, May 6, 8:00 p.m. – New chamber jazz!
Harris Eisenstadt’s Recent Developments - Harris Eisenstadt, drums/compositions; Nate Wooley, trumpet; Hank Roberts, cello; Anna Webber, flute; Brandon Seabrook, banjo

Saturday, May 20, 7:30 p.m. – Double album release show!
André Matos David Ambrose/Russ Meissner Sextet
André Matos, guitar solo
David Ambrose, double-bass; Russ Meissner, drums; Loren Stillman, alto saxophone; Matt Renzi, tenor saxophone; Nate Radley, guitar; Leonard Thompson, piano

Greenwich House Music School:
46 Barrow Street, just west of 7th Avenue South in
New York City’s West Village; / 212-242-4770


Go: Organic Orchestra in concert

Saturday April 8th - 7:30 pm @ Brooklyn Conservatory of Music
58 Seventh Ave, Brooklyn, NY 11217
$20 / students $10

Improvisationally conducted by Adam Rudolph
Kaoru Watanabe – noh kan, fue, c flute
Michel Gentile – c and alto flute, bamboo flutes
Ze Luis – c and alto flute, bamboo flutes
Sylvain Leroux - tambin, flute
Mariano Gil - bass flute, piccolo
Avram Fefer - b flat clarinet, tenor saxophone
Ivan Barenboim - b flat clarinet
Sean Sonderegger – b flat clarinet, contra bass clarinet, ney
Graham Haynes – cornet, flugelhorn, bamboo horn
Stephen Haynes – trumpet, flugelhorn, bamboo horn
Peter Zummo - trombone, didjiridoo
Libby Swartz - french horn
Julianne Carney – violin
Mark Chung – violin
Sana Nagano – violin
Stephanie Griffin – viola
Leco Reis - contrabass
James Hurt – sogo and kidi drums, percussion
Dan Kurfirst - bata, congas, percussion
Kenny Wessel - el. guitar
Marco Cappelli - acoustic guitar
Alexis Marcelo – piano



Attend a fundraising event for a much needed Sanctuary Program in our community! The Brooklyn Defense Committee (BDC) is a community-based group working to build a network of sanctuary spaces in Brooklyn, especially in neighborhoods with high concentration of immigrants. BDC needs your support to continue their crucial work.

Saturday, April 8th at 2pm
at Union Pool
484 Union Ave.
Brooklyn, NY 11211

Marc Ribot & Sofia Rei duo
Chelsea Reject
Kill Alters

$20 (all proceeds going to Brooklyn Defense Committee)