DMG Newsletter for May 5th, 2017
Perfect timing! The Legend of Downtown Music Gallery on film! DMG turns 26 years, this month! Check out our history:
Yet Another Great Weeks Worth of Sonic Delights from:
Alice Coltraneâ€™s World Spirituality! Mat Walerian / Matthew Shipp / William Parker! Cuong Vu 4-Tet with Bill Frisell! Nicole Mitchell Black Earth Ensemble! Jaimie Branchâ€™s Fly or Die: Tomeka Reid / Jason Ajemian / Chad Taylor! New from FMR: Paul Dunmall / Liam Noble / John Edwards / Mark Sanders! George Lewis/Rob Burke/Paul Grabowsky/Mark Helias! John Cageâ€™s Radio Music! Szilard Mezei Trio! Maggie Nicols Duo! Tomasz Stanko New York Quartet!
John Abercrombie/Marc Copland/Drew Gress/Joey Baron! New from Makigamiâ€™s Hikashu! New from Auand: Zeno De Rossi! Piero Bittolo Bon! Aunad Family 50th Release! Pascal Comelade! Sun Ra & Jac Berrocal 7â€ Singles! Faust! Albert Ayler! Max Roach! Paul Gonsalves! Bert Jansch! Jon Gibson! Arnold Dreyblatt! And more ans more..!
The FREE DMG Weekly New Music In-Store Series Continues on Sundays with:
Sunday, May 7th:
6pm; BEN STAPP and ELIJAH SHIFFER - Tuba and Sax / Clarinet
7pm: CATHERINE SIKORA and BRIAN CHASE - Tenor Sax and Drums
Sunday, May 14th:
6pm: BEAKER: ALEC HARPER & TYLER GILMORE - Tenor Sax & Electronics
DMG 26TH ANNIVERSARY SERIES OF CELEBRATIONS:
Sunday, June 4th at Downtown Music Gallery:
6pm: THOMAS HELTON / JAIMIE BRANCH / MICHAEL EVANS!
7pm: MYSTERY GUEST COSMIC JAM!
Monday, June 5th at ZURCHER GALLERY (33 Bleecker St, east of Lafayette)
7pm: RAOUL BJORKENHEIM / JOE FONDA / GERALD CLEAVER New TRIO!
Monday, June 19th at THE STONE:
Bruceâ€™s Birthday Celebration & Concert of Spiritual Jazz!
7pm: UNBROKEN: LOUIE BELOGENIS / SHANIR BLUMENKRANZ / KENNY WOLLESON!
8:30: FRANKLIN KIERMYER QUARTET Featuring:
JOVAN ALEXANDRE - Tenor Sax / DAVIS WHITFIELD - Piano / OTTO GARDNER - Bass!
July, 2017 is the 50th Anniversary of the Passing of John Coltrane - We Embrace his Spirit!
Saturday, July 15th at DMG: Super Rare Solo Performance by:
6pm: HENRY KAISER - Solo Electric Guitar!
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
R.I.P. COLONEL BRUCE HAMPTON (1947 - 2017)
This past weekend, the mighty Col. Bruce Hampton played a concert for his 70th birthday at the Fox Theatre in Atlanta and just as his set was winding down, he collapsed on stage and soon passed away! Members of Phish, Widespread Panic and Leftover Salmon joined Mr. Hampton on stage as he had some heavy friends in the jamband community.
Bruce Hampton was once the lead singer and frontman for the legendary Hampton Greaseband, an Atlanta based outfit, whose one and only double album was released on Columbia Records in 1971 and was alleged to be the second worst selling album on that label. The Hampton Greaseband did a great deal of touring around that time, often opened for the Flo & Eddie version of the Mothers. I was most fortunate to have caught them at the Fillmore East in 1970 and although pretty much unknown to most of the audience, they blew everyone away and received two encores, a rarity for anyone who played at the Fillmore. If you can find a copy of their super rare debut, â€˜Music to Eatâ€™, I urge you to do so. Thanks to Henry Rollins, a two CD set of this album was reissued by Columbia Legacy in 1996.
In the 1970â€™s, Hampton started calling himself Col. Bruce Hampton (retired) and had a half dozen solo albums released, all immensely weird and well worth checking out, especially â€˜One Ruined Lifeâ€™, the first. In the early 1990â€™s, Hampton formed the Aquarium Rescue Unit, one of the greatest and wackiest post-fusion bands to ever surface. This band included future jamband heroes like Jimmy Herring, Oteil Burbridge and Jeff Sipes (Apt. Q-42). I also caught the Aquarium Rescue Unit on a couple of occasions, once at Wetlands and once opening for The (Dixie) Dregs. The ARU were also incredible live and featured astonishing solos from Jimmy Herring on guitar, Matt Mundi on electric mandolin and the great Col. on his self-invented chazoid. Col. Bruce Hampton was always totally bizarre on stage and in a world of his own. For an encore at the Wetlands show, he came back out as the Prophet Omega and gave a strange lecture!
The legendary Hampton Greaseband reformed and played live in Atlanta in 2011 and a DVD of that event was released soon thereafter. You can check it out on Youtube! When the Aquarium Rescue Unit broke up due to health issued for the Col., each member formed or joined bands, many part of the JamBand scene. Hampton also had another band called the Fiji Mariners and guested with the Ed Palermo Big Band. He will be sorely missed as no one can ever take his place, he was a singular phenomenon. I will leave you with this, â€œWouldnâ€™t you like to come to Halifax, air mass is moving eastwardly. We wish you would come to Halifax, come and breathe some of our air!â€ - Bruce Lee Gallanter, DMG
And Now for this Weekâ€™s Sonic Treasures:
ALICE COLTRANE - World Spirituality Classics 1: The Ecstatic Music of Alice Coltrane (Luaka Bop 0087; USA) â€œAlice Coltrane Turiyasangitanandaâ€™s devotion to spirituality was the central purpose of the final four decades of her life, an often-overlooked awakening that largely took shape during her four-year marriage to John Coltrane and after his 1967 death. By 1983, Alice had established the 48-acre Sai Anantam Ashram outside of Los Angeles. She quietly began recording music from the ashram, releasing it within her spiritual community in the form of private press cassette tapes. On May 5, Luaka Bop will release the first-ever compilation of recordings from this period, making these songs available to the wider public for the first time. Entitled â€˜World Spirituality Classics, Volume 1: The Ecstatic Music of Alice Coltrane Turiyasangitananda,â€™ the release is the first installment in a planned series of spiritual music from around the globe; curated, compiled and distributed by Luaka Bop.
This powerful, largely unheard body of work finds Alice singing for the first time in her recorded catalog, which dates back to 1963 and includes appearances on six John Coltrane albums, alongside Charlie Haden and McCoy Tyner, and 14 albums as bandleader starting with her Impulse! debut in 1967 with â€˜A Monastic Trio.â€™ The songs featured on the Luaka Bop release have been culled from the four cassettes that Alice recorded and released between 1982 and 1995: â€˜Turiya Sings,â€™ â€˜Divine Songs,â€™ â€˜Infinite Chants,â€™ and â€˜Glorious Chants.â€™ The digital, cassette and CD release will feature eight songs. The double-vinyl edition features two additional songs, â€œKrishna Japayeâ€ from 1990â€™s â€˜Infinite Chants, and the previously unreleased â€œRama Kathaâ€ from a separate â€˜Turiya Singsâ€™ recording session.
Luaka Bop teamed with Aliceâ€™s children to find the original master tapes in the Coltrane archive. The recordings were prepared for re-mastering by the legendary engineer Baker Bigsby (Ornette Coleman, Sun Ra, John Coltrane), who had overseen the original sessions in the 80s and 90s. The compilation showcases a diverse array of recordings in addition to Aliceâ€™s first vocal work: solo performances on her harp, small ensembles, and a 24-piece vocal choir. The release is dotted with eastern percussion, synthesizers, organs and strings, making for a mesmerizing, even otherworldly, listen. Alice was inspired by Vedic devotional songs from India and Nepal, adding her own music sensibility to the mix with original melodies and sophisticated song structures. She never lost her ability to draw from the bebop, blues and old-time spirituals of her Detroit youth, fusing a Western upbringing with Eastern classicism. In all, these recordings amount to a largely untold chapter in the life story of Alice Coltrane Turiyasangitananda.
In addition to the recordings, GRAMMY-winning music historian Ashley Kahn has written extensive liner notes on the collection. The package also includes a series of interviews with those who knew Alice best, conducted by Dublabâ€™s Mark â€œFrostyâ€ McNeill, and an as-told-to interview between musician Surya Botofasina (who was raised on Aliceâ€™s ashram) and journalist Andy Beta. 2017 marks what would have been Aliceâ€™s 80th year of life, as well as the 10th anniversary of her passing. Alice will be celebrated at events throughout the United States, Europe and South America in the coming year. With this in mind, the time is right to bring this meaningful piece of Turiyasangitanandaâ€™s legacy into focus.
2 LP $28
MAT WALERIAN / MATTHEW SHIPP / WILLIAM PARKER a/k/a - Toxic: This Is Beautiful Because We Are Beautiful People (ESP-Disk 5011; EEC) Recorded December 15, 2015 in Brooklyn, New York. This is Polish multi-instrumentalist Mat Walerian's third CD, all for ESP and all with Matthew Shipp. Walerian's first album (ESP-DISK 5007CD, 2015) was the last new release approved by ESP-Disk's founder Bernard Stollman. This Is Beautiful Because We Are Beautiful People takes its title from something William Parker said during the recording session; it is also Parker's first time back in the studio for ESP since his first released appearance on record in 1973, appearing on Frank Lowe's 1973 album Black Beings (ESP-DISK 3013CD) - an album of outtakes from the same session was released in 2011, The Loweski (ESPDISK 4066CD). TIBBWABP is also noteworthy as Shipp's recorded debut on organ. Shipp says of Walerian, "Mat approaches his instruments in a non-traditional way. He is a conceptualist and has a different personality on each instrument." Personnel: Mat Walerian - alto saxophone, bass clarinet, soprano clarinet, flute; Matthew Shipp - piano, organ; William Parker - double bass, shakuhachi.
CUONG VU 4-TET [BILL FRISELL / LUKE BERGMAN / TED POOR] - Ballet - The Music of Michael Gibbs (Rare Noise 079; EEC) Featuring Cuong Vu on trumpet, Bill Frisell on guitar, Luke Bergman on bass and Ted Poor on drums. â€œOn the heels of his acclaimed 2016 recording, Cuong Vu Trio Meets Pat Metheny (Nonesuch Records), and his 2014 collaboration with electro-acoustic pianist-composer and Director of the School of Music at the University of Washington Richard Karpen on their Ellington-Strayhorn tribute That The Days Go By And Never Come Again (RareNoiseRecords), trumpeter-composer Cuong Vu joins forces with guest guitarist Bill Frisell on Ballet, a tribute to renowned composer-arranger Michael Gibbs.
With regular Vu 4Tet bassist Luke Bergman and drummer Ted Poor, the four exchange ideas in the moment in a collective fashion on the expansive opening track, â€œBallet,â€ which gradually morphs into a kind of quirky, dissonant blues waltz featuring brilliant solos from Vu and Frisell. The ethereal ballad â€œFeelings and Thingsâ€ showcases Frisellâ€™s more sensitive and spacious side while Vu turns in a remarkably lyrical solo here. â€œBlue Comedy,â€ a tune recorded by the Gary Burton Quartet (with Larry Coryell, Steve Swallow and Bob Moses) on 1968â€™s In Concert, kicks off with a drum salvo from Poor before Frisell and Vu join together on some tight unisons through the intricate head. As the piece progresses, it picks up a kind of shuffle-swing momentum which Frisell solos over with his signature fractured phrasing and surprising detours. Vu and Poor engage in some spirited exchanges near the end of this jaunty number. The most dramatic piece on the album, â€œAnd on the Third Day,â€ which originally appeared on Gibbsâ€™ 1970 self-titled debut album, evolves gradually from a peaceful opening drone to a turbulent crescendo featuring powerful. soaring solos from both Vu and Frisell, the latter power chording with impunity and kicking on his fuzz box and backwards pedal for maximum effect.
â€œThis recording came about as Billâ€™s wish to bring Mike Gibbs out to the University of Washington to do some of his arrangements of Billâ€™s music for orchestra,â€ says Vu. â€œMike is indeed an iconic hero to Bill and it all came about from Billâ€™s desire to bring him to the UW. I asked the boss, Director of the School of Music, Richard Karpen, and he gave us the green light because he wanted to honor Bill. We did two nights with the first night being the orchestra night and the second being the big band night (both student ensembles). The quartet of Bill, Ted Poor, Luke Bergman and myself was a featured part of those (both the orchestra and the big band) performances. In addition to that, the quartet (sans orchestra/big band), played Mikeâ€™s music as the second set each night. This recording is from the second night.â€
Regarding this exhilarating Vu 4Tet project, Vu says, â€œThis was a very collective/equal opportunity effort, so we just played and dealt with the cards collectively as they were dealt. I think it just comes down to the collection of players and our individual aesthetics coming together and trying to find a common goal/language.â€ - RepublicofJazz.Blogspot
NICOLE MITCHELL BLACK EARTH ENSEMBLE With ALEX WING / TOMEKA REID / KOJIRO UMEZAKI / RENEE BAKER / TATSU AOKI / JOVIA ARMSTRONG / AVERY R YOUNG - Mandorla Awakening: Emerging Worlds (FPE 012; USA) Featuring Nicole Mitchell on flute, electronics & composition, Alex Wing on electric guitar, our & theremin, Kojiro Umezaki on shakuhachi, Renee Baker on violin, Tomeka Reid on cello & banjo, Tatsu Aoki on bass, shamisen & taiko, Jovia Armstrong on percussion and Avery R. Young on vocals. The amazing flutist, composer and multi-bandleader always things big and works hard on each of various projects. This appears to be the 9th disc by Ms. Mitchellâ€™s Black Earth Ensemble whose personnel includes many Chicago musicians as well a number of French players and a collaboration with Roscoe Mitchell. Like many of Ms. Mitchellâ€™s previous efforts, this one is also based on a science fiction theme, although with the way things are going right now, some of these predictions do not seem so far-fetched. â€˜Mandaloraâ€™ takes place at the turn of the next century in 2099 and is a post-apocalyptic tale of a new society that has escaped the future Ego Wars and Global Viruses. Mandalora is an obscure island in the Atlantic where our tale takes place. â€œEgo Warsâ€ opens with an ominous vibe, perhaps warning of of things to come. Guitarist Alex Wing, whose name I didnâ€™t recognize, plays powerful, dark near-metalish lines soon interacting Ms. Mitchellâ€™s spirited flute. The mood changes on â€œSub-Missionâ€ with the addition of some Eastern instruments: shamisen and shakuhachi which are interwoven with a layer of strings and eventually some exquisite guitar and flute. Ms. Mitchell is one of the best, most creative and distinctive flutists we have. Her playing here is often at the center of several storms or stories, taking the occasional superb solo without ever taking over. Besides Ms. Mitchell, there are a few other gifted musicians who get a chance to stretch out and solo: cellist Tomeka Reid, who recently moved to NY, seems to be everywhere nowadays. For those who have a problem with vocals, Ms. Young, sings on just three tracks on the second half of this long disc. I found her voice to me most charming and perfect for the thoughtful lyrics written by Ms. Mitchell and which capture the many fears that our future might just have if things donâ€™t change for the better. This disc is some 74 minutes long and it is no doubt a serious contender for the most profound discs of the year! - Bruce Lee Gallanter, DMG
JAIMIE BRANCH With TOMEKA REID / JASON ARJEMIAN / CHAD TAYLOR MATT SCHNEIDER / JOSH BERMAN / BEN LAMAR GAY - Fly or Die (International Anthem 011; USA) Fly or Die features Jaimie Branch on trumpet & compositions, Tomeka Reid on cello, Jason Ajemian on bass and Chad Taylor on drums plus guests: Matt Schneider on guitar and Josh Berman & Ben Lamar Gay on cornets. A few years ago, former Chicago-based trumpeter Jaimie Branch moved here and has become of the most closely watched young musicians to brighten up the Downtown Scene with her creative playing, composing and band-leading. I have been fortunate enough to hear her several times, once during the FONT Fest here at DMG and once in a fine duo with Guillermo Gregorio. This is Mr. Branchâ€™s debut as a leader and it is a grand effort with a strong cast. Her quartet featuring all-star cast of Chicago transplants: Tomeka Reid, Jason Ajemian and Chad Taylor, each of whom keep busy with several different projects. The three guests are also some of Chicagoâ€™s best players: Josh Berman, Ben Lamar Gay and Matt Schneider.
Right from the opening riff of â€œJump Offâ€, there is something jubilant, infectious about this that feels just right, eventually calming down to some sublime acoustic guitar. This music is a suite and moves seamlessly through connected sections. Ubiquitous cellist, Tomeka Reid, has been popping up all over in recent times including a new disc by Nicole Mitchell which was reviewed today (5/5/17) as well. I dig the way Ms. Branch uses the two cornets as a chorus of alternating colors while she sails on top, ranging from radiator-like hissing to short, inspired, organic solos. Ms. Reid is also well-utilized, creating an ocean of swirls with some echo devices enhancing her playing. There is a section called â€œWaltzerâ€, where Ms. Reidâ€™s soft, plucked cello (or contrabass) provides a soft simmering cushion while Ms. Branch takes a superb, Don Cherry-like solo which ends up unaccompanied until the rest of group joins her with another righteous groove. Another occasionally overlooked master musician is drummer, Chad Taylor, who is splendid here, consistently supportive. His short bursts on the next to the last song is another delight. The final piece features more expressive acoustic guitar from Matt Schneider, another new name to be on the lookout for. A perfect release on several levels at once. - Bruce Lee Gallanter, DMG
New Discs from FMR:
PAUL DUNMALL / JOHN EDWARDS / LIAM NOBLE / MARK SANDERS - Go Straight Round the Square (FMR 435; UK) Featuring Paul Dunmall on tenor & soprano saxes, Liam Noble on piano, John Edwards on bass and Mark Sanders on drums. This is the second disc from this particular quartet, the first one came out last year on the same label. This 70 minute set was recorded live at Vortex Club in London in November of 2016. You should recognize these names from dozens of other sessions they theyâ€™ve done with a wide variety of the UKâ€™s best players. Pianist Liam Noble is not as well known or as well-documented as the rest although he has worked with Ingrid Laubrock & Moondog and has a few of his own discs out on the Basho label.
Mr. Dunmall starts off on soprano and the quartet are slowing burning together, tight, intense, focused and on the verge of erupting. There is a beautiful, organic undertow going on here as the quartet take their time and build together from calm to rambunctious sections. The rhythm team here, Mr. Edwards and Mr. Sanders, have worked together many times throughout the years with Derek Bailey, John Tilbury & Evan Parker, as well as having a couple of fine duo CDs. Hence, all four members sound wonderful together, moving as one collective force. Absolutely fantastic on all counts. `Bruce Lee Gallanter
ROB BURKE / GEORGE LEWIS / MARK HELIAS / PAUL GRABOWSKY - Shift (FMR 441; UK) Featuring Rob Burke on tenor & soprano sax, George Lewis on trombone & electronics, Paul Grabowsky on piano & snare drum and Mark Helias on acoustic bass. This disc was recorded at Eastside Sound in NYC in July of 2016. I hadnâ€™t heard of Rob Burke or Paul Grabowsky before this disc, but it turns out that both of these musicians are from Australia and Mr. Grabowsky is the director of the Monash Art Ensemble and Mr. Burke a member. Just last year Dave Douglas collaborated and recorded with the Monash Art Ensemble. I am not sure how trombone & electronics wiz George Lewis got involved but the results are something else entirely. This disc consists of a series of duos, trios and quartets. Mr. Lewis employs a device known as a Ableton controller which takes snippets of ongoing improv and alters it, putting it back into the mix. From the inner pics, it seems as if Mr. Grabowsky has a snare drum sitting on a pillow inside the piano.
The music is often in flux, the shifting of acoustic and electronic sounds. Strings plucked inside the piano, rubbed & plucked bass strings, tenor sax rumblings, occasional trombone drones and odd electronic swirls cautiously blended together. There are some 11 tracks here, all between four and ten minutes. Hence nothing ford on for too long and there is no extended soloing. This is more about the focused blend of acoustic and electronic fragments. The duo of Mr. Lewis on trombone and Mr. Burke on tenor sax is enchanting since both men play warm, thoughtful sounds with few fractured sounds. George Lewis and Mark Helias played/recorded together in a quintet led by Anthony Braxton, which was around forty years ago (1977, Hatology CD). I can recall (m)any collaborations since then. Their trombone and contrabass duo here is superb: focused, simmering drones. What makes this disc work so well is the sense of restraint or calm at the center with well-selected eruptions which never reach an extreme. In certain ways, this disc reminds of the Evan Parker Electro-Acoustic Ensemble which seems to keeps things balanced. There are a few ghosts floating the mix here yet they are respectful of each other. Quietly strange, yet never too far out. - Bruce Lee Gallanter, DMG
JOHN CAGE//SILENCE ENSEMBLE/PETER URPETH - Radio Music / Imaginary Landscape No. 5/ Speech (FMR 443; UK) The three piece here were recorded during a festival to celebrate the 100th anniversary of the birth of composer/philosopher John Cage on the Isle of Lewis, a remote island 50 miles northwest of Scotland. Each of the three pieces deal with silence and the transmission of sounds, based on neutral frameworks, which will sound different depending on the locations. â€œRadio Musicâ€ is performed by 5 performers, each with their own radio. The results are several layers of static and other odd radio transmissions, electronic ghosts expanding, contracting, becoming more or less dense. The overall sound is somehow fascinating, yet the questions remain: is it music and/or does it matter? â€œImaginary Landscape No. 5â€ for any 42 recordings and was put together by Peter Urpeth who used the I Ching (like Cage did earlier) to help select the recordings bought at Charity Shop in the UK. Things move more quickly as he samples snippets of different records (Gaelic music, pop music, etc.). â€œSpeechâ€ is the longest piece here at 42 minutes and consists of one speaker reading local texts with five radio performers. There are layers of voices and static interwoven at times, in-between silent sections. Repeated phrases, far off ghost-like voices, distant distorted sounds, a calm voice up front discussing the â€˜Fishing Newsâ€™â€¦ This piece reminds me of â€œRevolution Number Nineâ€ by the Beatles, which was indeed influenced by Karlheinz Stockhausen and John Cage. Makes sense. - Bruce Lee Gallanter, DMG
SZILARD MEZEI / MARINA DZUKLJEV / VASCO TRILLA - Still Now (If You Still) (FMR 442; UK) Featuring Szilard Mezei on viola, Marine Dzukljev on piano and Vasco Trilla on drums & percussion. Anyone who reads the DMG newsletter regularly knows that I am a big fan of Serbian violist, Szilard Mezei. Considering that Mr. Mezei has some thirty releases out on labels: Leo, Slam, Not Two & No Business, he is not very well known, although he does have some devoted fans. Mr. Mezei, whose records range from solos to his own orchestra, most often works with other Serbian/Hungarian musicians. Although I hadnâ€™t heard of Marina Dzukljev before this, percussionist Vasco Trilla hails from Spain and has a fine solo CD out on FMR. This disc starts off with some utterly hypnotic playing inside the piano, supple mallet work and soon some intricate viola interaction. By the second piece, â€œNot True Still Nowâ€, the trio explodes yet remains tight and focused with several demons at play, dancing amongst the flames of creativity. Mezei often reminds me of Mat Maneri, another viola player who like to play those bent notes in between the regular scale. Even when things mellow down on â€œStill Now (if you Still)â€, the quiet yet intricate playing is edge-of-your-seat dynamic which again builds to an explosive conclusion. Although, there is quire a bit of extended technique, it is hard to tell who is doing what at times. This is one of the most creative and astonishing sets of free improv Iâ€™ve heard recently! Another feather in the big hat that Szilard Mezei continues to wear. - Bruce Lee Gallanter, DMG
MAGGIE NICOLS / PETER URPETH - Other Worlds (FMR 438; UK) Featuring Maggie Nicols on vocals and Peter Urpeth on piano, recorded at the Vortex in London. I am a longtime fan of the extraordinary vocalist Maggie Nicols, whose work with John Stevens (in SME), Irene Schweizer, Keith and Julie Tippett(s), I have often admired. I donâ€™t recognize the name of pianist Peter Urpeth, although I just reviewed another recent FMR in which he led the Silence Ensemble performing three works by John Cage. There are just two pieces here, the total time is just 28 minutes which seems just right. Like her old friend and occasional collaborator, Julie Tippetts, Ms. Nicols, is a gifted improviser who creates odd yet enchanting voices or characters as she explores. You can that Ms. Nicols has been doing this for many years as she digs deep into her her own invented languages and/or unique vocal sounds. Ms. Nicols seems to work her way through a variety of vocal extremes like Tuvan throat singing to twisted grumbles, groans, angelic voices and all kinds of quirky twists and turns. Mr. Urpeth sounds just right since his playing is even keel and centered without moving to any extremes. He goes as far as Ms. Nicols does into, matching her flights of fancy with a sense of calm yet still coming up with the occasional surprise. This is a modest effort, pliant in the center yet still somehow magical in its own wonderful and wacky way. - Bruce Lee Gallanter, DMG
Reviews for the below FMR CDs next week!
THE RUNCIBLE QUINTET with DANIEL THOMPSON / NEIL METCALFE / ADRIAN NORTHOVER /JOHN EDWARDS / MARCELLO MAGLIOCCHI - Five (FMR 437; UK)
FRANCOIS CARRIER / MICHEL LAMBERT / RAFAL MAZUR - Oneness (FMR 444; UK)
UDO SCHINDLER & OVE VOLQUARTZ - Answers and Maybe a Question? (FMR 440; UK)
ASHLEY JOHN LONG - PZI (FMR 434; UK) Solo double bass.
PEDRA CONTIDA - Amethyst (FMR 444; UK)
Two Gems from ECM:
TOMASZ STANKO NEW YORK QUARTET With DAVID VIRELLES / REUBEN ROGERS / GERALD CLEAVER - December Avenue (ECM 2532; Germany) Four years after the landmark album WisÅ‚awa, the great Polish trumpeter Tomasz Stankoâ€™s New York Quartet returns with another masterful recording, December Avenue. Always an insightful bandleader, Stanko here encourages spirited improvisation to flower around his characteristically melancholic and soulful themes, and all players are presented to best advantage. New band member Reuben Rogers â€“ originally from the Virgin Islands and perhaps best-known for his work with Charles Lloyd â€“ is a splendid addition to the team, establishing a profound understanding with Cuban-born pianist David Virelles and Detroit drummer Gerald Cleaver. JazzTimes, reviewing the band in concert, reflected on the strengths of the individual players: â€œStanko has never had a piano player like Virelles. When his moments came, he configured his own lyrical domain within the world of a Stanko song. For that matter, Stanko has never had a bassist and drummer like Rogers and Cleaver, with their hard edges and their volatile energy.â€
JOHN ABERCROMBIE With MARC COPLAND / DREW GRESS / JOEY BARON - Up and Coming (ECM 2528; Germany) "Guitarist John Abercrombie â€“ who has recorded as a leader for ECM since 1974 â€“ returns with a second album by his quartet featuring kindred-spirit piano foil Marc Copland, along with longtime rhythm partners Drew Gress and Joey Baron. Extolling 39 Steps, the groupâ€™s 2013 album, the Financial Times said: â€œThe emphasis is on subtle intrigue, flowing lyricism and the interplay between the leaderâ€™s warm, cleanly articulated guitar and Coplandâ€™s pianoâ€¦ with bassist Gress and drummer Baron equally supple and sinewy companions.â€ The same virtues of lyrical melody and harmonic/rhythmic subtlety are apparent with the new Up and Coming, though with even more emphasis on the enduring values of song. Abercrombieâ€™s liquid phrasing and glowing tone â€“ enabled by the thumb technique he has honed since eschewing a plectrum in recent years â€“ animate his five originals and the pair by Copland, as well as a take on the exotic-sounding Miles Davis classic â€œNardisâ€ done in the spirit of Bill Evans. Up and Coming has a twilight atmosphere, with melodic flow the guiding light." - ECM
New & Restocks from MAKIGAMI KOICHIâ€™S HIKASHU Band T-Shirts!!!
HIKASHU - Silence Be Alive (Makigami Records 0010; Japan) This is the 22nd (!) release from Hikashu, whose members are still: Makigami Koichi on vocals, cornet & theremin, Mita Freeman on guitar, Shimizu Kazuto on piano, synth & bass clarinet, Sakaide Masami on bass and Sato Masaharu on drums. Every few years, Japanese vocalist, Makigami Koichi, comes back to NYC to show off his ongoing quintet Hikashu, so here they are/were again playing at the Japan Society. The last time they were here in 2014, they played a weeks residency at The Stone and recorded a new studio disc with John Zornâ€™s main recording engineer, Marc Urselli. Considering that Hikashu have been around for nearly 40 years (1st recording from 1978), they still sound fresh and inspired. According to the liner notes, the music here was inspired by â€œTengriâ€, an ancient faith based in the Altai section of Russia. Tengrism was a religion of Central Asia that involved shamanism and animism and it is still practiced today in the Tuvan region. I am not sure how this translates to the current CD since all of printed lyrics are in Japanese. Things start off quietly with hushed vocals and piano, eventually Hikashu hit their stride with their own wacky version of some sort of post-rock. An infectious drum machine groove kicks in with Makigamiâ€™s humorous call & response vocals surrounded by bass clarinet and cornet. Many songs start off with somber beginnings and then switch to more engaged sections. Makigamiâ€™s voice is instantly charming with members of the band soloing around him respectfully. Each instrumentalist gets chance to stretch out so we get a number of inspired solos from the guitar, bass clarinet, synth or piano and cornet. Since we never know where certain songs will end up, we get snippets of progressive or other hard to peg styles in between the cracks of categories. There is way too much good things found here to describe adequately, so I will leave you with this: 40 years down the road and Hikashu still rule, making up their direction as they go forth. - Bruce Lee Gallanter, DMG
HIKASHU - Ban-Kan (Makigami Records 0009; Japan) Hikashu is/are: Makigami Koichi on vocals, theremin, cornet, jawharp & shakuhachi, Mita Freeman on guitar, Shimizu Kazuto on piano, synth, bass clarinet & marimba, Sakaide Masami on bass and Sato Masaharu on drums. Considering that Hikashu have been around for more than thirty years and nearly twenty releases, they are certainly deserving of the legendary status that has been heaped on bands much younger and less interesting. When Hikashu hit the stage about midway through the Victoriaville Music Now Festival earlier this year (May of 2013), they were a blast of fresh air! They blended humor, creativity and diversity in equal measure and left the demanding Victo crowd shouting for more. Since then a number of us have been checking out their back catalogue and delighting in their hard-to-find gems. I caught Makigami last night (12/17/13) at The Stone with Ikue Mori, Zeena Parkins, Erik Friedlander & Cyro Baptista for a truly spirited set. He left us with this new Hikashu disc. From the gitgo, Hikashu are up to their charming tricks. Their music changes from song to song employing elements of rock, funk, prog, tropicalia with swell silly vocals. The members of Hikashu are all well-weathered (as in older gents), drawing from a wealth of experiences, styles. Although this music is not about soloing, there are a number of great solos here and there: Makigami on theremin as well as a number of strong guitar and keyboards breaks. Makigami himself has a large number of characters that evokes through his often hilarious vocal antics. It does sounds like Hikashu have been playing for a long time, since even when jamming they come up with some great free/prog segments. During the festive holiday season, a disc like this is well-needed to bring some smiles form the serious music crowd. - Bruce Lee Gallanter, DMG
HIKASHU - Uragoe: Pataphysical Songs and Improv (Makigami Records 0008; Japan) Hikashu are Makigami Koichi on vocals, theremin, cornet & shakuhachi, Mita Freeman on guitar, Shimizu Kazuto on piano & synth, Sakaide Masami on bass and Sato Masaharu on drums Hikashu have more than a dozen discs out and we just can't get enough of a great thing. 'Uragoe' is their new one and again they have left us with a gem. Right now, Hikasho don't really sound like anyone else. They are a creative rock band, erupting with ideas and never staying in any one place for long. On the opener, "Wave the Brush, Mr. Beyond", they still sound like a new wave band yet Makigami warped, super-quick vocalizations, wacky flute playing and guitar/electric piano interplay are impressive while also being somewhat fractured. Makigami often sounds like a series of cartoon characters who are making fun of everything that we prog fans take too seriously. Mr. Koichi occasionally croons, cries or acts just plain weird like a child who has been set free and then plays finishes off with a bizarre theremin solo. The rest of the band do a swell job of matching Makigami's ongoing flights of fancy or twisted characters wherever he goes. I got to admit that I haven't had so much fun reviewing a disc in a long while. At least since we used to play 'Five Men Singing' (on Victo) in the store and watch our customers squirm and question our sanity. - Bruce Lee Gallanter, DMG
HIKASHU - T-Shirts - Check them out here:
Medium, Large & Extra-Large - $20 each
New from Auand: We lucked out! Marco Valente, who runs this, the Auand label just came to visit and left us with a handful of new CDs! Auand is one of my favorite Italian jazz labels and has minimal distribution here. One of our local distributors does carry Auand but only stock 5 out of 50 newer titles. And they are very expensive, between $17 & $20 each. Mr. Valente gave us a good deal so here they are for only $15 each. Just a handful of each.
ZENO DE ROSSI With PIERO BITTOLO BON / FILIPPO VIGNATO - Zenophilia (Auand 9070; Italy) Featuring Featuring Piero Bittolo Bon on alto sax & bass flute, Filippo Vignato on trombone and Zeno De Rossi on drums & most compositions. Italian drummer, Zeno De Rossi, certainly gets around as he has some two dozen discs out on the El Gallo Rojo and Auand labels. Saxist Piero Bittolo Bon also keeps busy with a dozen discs as a leader or collaborator on the same labels plus the Rudi & Long Song labels. Less visible is trombonist Filippo Vignato who appears on just a few discs that we know about. What I have always dug about Mr. De Rossi is that he has worked with Downtowners like Chris Speed and Marc Ribot plus he is influenced by Klezmer music. Here DeRossi dedicates a song to Joey Baron, who had a trio (Baron Down) with similar instrumentation to this trio. De Rossi is an expert at creating great grooves with the trombone filling in for the bass. â€œCatsâ€ which is dedicated to Joey Baron, has a somber, laid back vibe, completely dreamy with minimal drums. Mr. De Rossi has written a series of infection melodies here that will have you humming along and feeling groovy. Although, both Bitollo Bon and Vignato take a number of fine solos, this is more about the righteous vibe which always feels just right. There is also a song dedicated to the late drummer, Ed Blackwell, which captures that wonderful New Orleans second-line beat just right and makes us feeling better as we get down to inner groove. Another winner from Zeno Re Rossi and his trusty trio. - Bruce Lee Gallanter, DMG
PIERO BITTOLO BONâ€™S BREAD & FOX - Big Hell on Air (Auand 9060; Italy) Featuring Piero Bitollo Bon on alto sax, flute & clarinets, Filippo Vignato on trombone, Glauco Bendetti on tuba & bari horn, Alfonso Santimone on piano and Andrea Grillini on drums. Over the last few years, saxist Piero Bittolo Bon has appeared on more than a dozen discs as a leader or collaborator, mostly on the El Gallo Rojo label. Bittolo also has a band called Jump the Shark and has worked with Peter Evans & Jamaaladeen Tacuma. Both the Auand and El Gallo Rojo labels, which Bittolo records for diverse and unpredictable labels. Mr. Bittolo wrote all but one song here with a cover by Henry Threadgill. The piece has some mighty fine arrangements for the flute and trombone, stripped down and simmering sublimely. For â€œSpice Girls from Arrakisâ€, there is a most hypnotic repeating line on the piano at the center with sly harmonies for the trombone and alto sax. This music is quite cerebral, stripped down yet somehow complex in its own quirky way. What this reminds me of the most is the way Tim Bernâ€™e pieces repeat and slowly evolve, with restrained yet somehow feisty solos popping up when you least expect them. Mr. Bon actually tastes a few burning Berne-like solos throughout. Trombonist, Filippo Vignato, is also in fine form, taking a number of short yet sizzling solos. Mr. Bittolo Bon does a great job of keeping this tight quintet to jump through several hoops, sometimes getting closer to fire below so watch out! An outstanding release on several levels at once, so donâ€™t miss out! - Bruce Lee Gallanter, DMG
JOAO LANCASTREâ€™S COMMUNION With DAVID BINNEY / PHIL GRENADIER / ANDRE MATOS / THOMAS MORGAN - What is This All About? (Auand 9044; Italy) â€œJoÃ£o Lencastreâ€™s Comm was formed in 2005 and recorded two albums for Fresh Sound Records and one for TOAP Records. â€œWhat is this all about?â€, released for AUAND Records is their fourth album and the title refers to the endless unanswered questions we all have. Just start looking around and try to understand life and this world where we live. From the human behavior to the power of nature, how the world has been evolving over hundreds and hundreds of years and everything else we can imagine. When we think about it we always end asking â€œWhat is this all about?â€.
Comm is basically a sextet with Phil Grenadier on trumpet, David Binney on alto sax, Andre Matos on guitar, Jacob Sacks on piano and Thomas Morgan on double bass. Lencastre adds: â€œThis record is actually the one that I have written more music for and the one more produced as I added the voices of Sara Serpa and Tiago Bettencourt (famous Portuguese singer songwriter that I play with), Ary (from great alternative Portuguese band Blasted Mechanism) on modular synth on couple tracks, and Benny Lackner on Wurlitzer in one tune where I also play a prophet synth keyboard. I was hearing â€œthings bigâ€ and I wanted some of the melodies to be epic or more dramatic. The process of writing for this record was a slow and natural process. Usually I donâ€™t have anything in mind when Iâ€™m writing a tune, I just start playing and see what comes out. At times I would sit at the piano or keyboards and my fingers would just move automatically, by instinct and some idea for a tune would come out. It was like having my subconscious talking through my fingers, I didnâ€™t know what was coming out, I had nothing planned, and just let my fingers tell me what I had to say. Thatâ€™s how I write most of the tunes. Anyway I always leave space for interpretation, for the musicians input, specially on the solo sections. Every time we play the same tune we can go on any direction in order to keep the freshness. I like the feeling of not knowing whatâ€™s gonna happen on the improvisation part, just playing the moment and let it flow, and that happens naturally with this guys.â€ - Albore, Jazz
SIMONE GRAZIANO With DAVID BINNEY / DAN KINZELMAN / GABRIELE EVANGELISTA / STEFANO TAMBORRINO - Trentacinque (Auand 9053; Italy) Italian pianist and composer Simone Graziano's third album, Trentacinque ("thirty-five") marks his second recording as a leader of his quintet, Frontal, featuring Gabriele Evangelista on double bass, Stefano Tamborrino on drums, and David Binney on alto sax, with the addition of Dan Kinzelman on tenor sax. The album's title refers to the number of years Graziano has spent around Florence, his native city, which is one of the main inspirations for this work; it also refers to the number of recordings he's made (three), the number of members in Frontal (five), and the meter of most compositions (five). Graziano's tracks are made up of elaborate structures and improvisation, with his ensemble looking back at traditional jazz while working on a signature collective sound. The improvised "B-Polar" analyzes bipolarity in music and expresses the wish to reconnect distant ends. "White Piano" is a cold ballad highlighting Graziano's classy approach. Unlike his previous album, Frontal (2013), the Italian jazz pianist -- who studied at Berklee College of Music in Boston -- now adds rhythmic allusions to electronic music, as in "Falk the Bow," with upbeats and downbeats mixed up again and again. A short divertissement on a groove, "Give Me Some Options" is pure improvisation, while the counterpoint on "Window on a Better World" underlines a polyphonic dialogue. As additional proof of his powerful narrative writing, "Blu Piano" and "Killcoal" take different approaches to descriptive music. "Intro K.B." unveils a taste for an unpredictable use of electronics, while "Kamennaya Baba" faces hip hop.
PAOLO BACCHETTA With PIERO BITTOLO BON / GIACOMO PAPETTI / NELIDE BANDELLO - Egonâ€™s (Auand 9051; Italy)
SAMUELE STRUFALDI ISMAEL CIRCUS - Adenosine Triphosphate (Auand 9059; Italy) With Claudio Giovagnoli on soprano sax, Yuri Romboli on tenor sax, Alessandro Cianferoni on electric bass and Marco cali on drums.
AUAND FAMILY - 50 [LTD Edition of 500/numbered - LP Only](Auand 9050; Italy) To help celebrate the 50th release on the great Auand label, mainman, Marco Valente, asked sonic manipulator Stefano Risso to take tracks from the entire Auand back catalogue and distill them into new songs or sounds. These are re-compositions and not really remixes, so dig in and hear the way these pieces have been reworked. What we hear is twisted versions of pieces by Bobby Previte & Gianluca Petrella, Cuong Vu & Bill Frisell, Francesco Diodati and Chant. Side B is called the Auand Family and four different Auand groups have taken their music apart and then put back together in startling ways. The final piece features a specially organized guitar sextet playing just single notes which turns it into a string sextet. Very odd, very cool and pretty limited! - BLG
PASCAL COMELADE - Le Rocanrolorama Abrege (Because Music 5156811; France) Le Rocanrolorama AbrÃ©gÃ© is a clear perspective on Pascal Comelade's musical universe; it can be considered an ultimate "best of" and a radical introduction to this chaotic and uncompromising instrumental music. Rocanrolorama AbrÃ©gÃ© (abbreviated "rockandrolorama", in English) is the short version of the complete works and reworks of Pascal Comelade, published at the end of 2016 as a six-CD box set, in a limited edition of 1000, numbered and signed copies (BEC 5156515). Pascal Comelade made this album as if it was a new and separate album, with tracks that he considers to best represent his work, from 1993 to 2016, according to the principle applied with the Rocanrolorama box set: songs in their original form, alternative versions, reworks, additions. Le Rocanrolorama AbrÃ©gÃ© was conceived with the double LP format in mind: four sides with six tracks each, which you can listen to in the right order, from start to finish, according to a logical, thought-out progression for each side (slow tempo, medium tempo, orchestrations, electricity, etc.), paying tribute to the concept behind the collection rhythm and blues formidable. CD version comes in a soft-pack with three panels.
FUNCTION UNDERGROUND - The Black & Brown American Rock Sound 1969-1974 (Now-Again 5149; USA) "The CD includes a 24-page booklet with extensive notes on an overlooked and important portion of rock n' roll's history. Nearly everyone in the world can rattle off the great African-American musical forms. Jazz, blues, R&B, soul, hip-hop, house, gospel. One influential genre is always left off of the list: a folk music known as rock n' roll. Rock n' roll was a term originally coined to market the white-friendly version of a genre that already existed; prior to 1965, the line between rock n' roll and R&B was thin: Ike Turner recorded and released 'Rocket '88' ' in 1951 and, while its Chess Records release reached number one on the Billboard R&B chart, it is regarded by many as the first rock n' roll record. The Great Divide between R&B and rock n' roll came after the Beatles and the British Invasion decimated the Top 40 chart in 1964. Simultaneously, R&B entered a new phase, soon to be labeled 'soul,' which upped the music's gospel quotient and turned its frantic twang. So somewhere in the mid to late-1960s, rock n' roll became perceived as something for the Caucasian kids. When Jimi Hendrix and Arthur Lee made the scene, they were said to be black musicians entering into a white world. While that couldn't be farther from the truth, that false dichotomy has existed in America's popular conscious ever since, to the point where the idea of a black rock musician is on the level with the idea of a black cowboy. In the mid-1960s, funk replaced soul as the rhythm that was going to move the world. We know all its progenitor - James Brown, The Meters, Kool & The Gang - and their innovations: the syncopated, 4/4 dance between the bass and drums, horns repurposed as percussion, chicken-scratch and wah-wah guitar. We can trace where they came from. But there is one crucial funk influence that no one seems to want to acknowledge -- a devil-may-care attitude we can attribute to rock n' roll. It's not a stretch to say that funk is the African-American answer to psychedelia and hard rock rolled into one. The idea of 'progressivism' that took over rock music after psychedelia's heyday in the late 1960s belatedly spilled over to funk. In the early 1970s, as the underground/psychedelic fire burnt out in the white rock world, it roared to a blaze in the black musical community. Nearly every American city with a large black population boasted self-contained funk bands that didn't consider themselves simply revues or backup groups, but rather fully-operational ensembles. In these bands, everything from composing, arranging, record production and distribution, was handled in house by band members. These are the bands whose music comprises this anthology, and while they're all different, they're unique in one way: they kept their ears open for new developments in funk and rock music. This anthology presents earnest questions as to why we know so little about these bands and the movement of which they were a part. While we don't anticipate that we'll ever find a definitive answer as to what these ensembles' true goals were, then, we do know that they took their charges seriously. And they knew they were onto something different, something that, though only they and their immediate kin might recognize it, was more interesting than the status quo. Function Underground shines light on an important and overlooked part of rock n' roll's history and talented ensembles that toiled in the shadows, derided by their peers 'Do you realize that Hendrix was dead before most black people in America knew he was a black man?' Ebony Rhythm Band drummer Matthew Watson questions rhetorically. 'We was scorned. In that era, everybody else in the black community was wearing three-piece suits, processes and Afro wigs and that sh*t. We was the first guys to wear bell bottoms. The first guys to wear big hats. We were off into a whole other thing.' "
MYTHIC SUNSHIP - Land Between Rivers (El Paraiso Records 038; Denmark) On their second album on El Paraiso Records, Copenhagen quartet Mythic Sunship drive even thicker grooves into their niche of extended cave-man fuzz voyages. Mythic Sunship cut a sharp edge into their ten-plus minute sagas, often churning out tracks with seemingly endless amounts of energy. It's all here: wild bursts of fuzzy and echo-perplexed guitars, thick Geezery basslines, and a galloping myriad of drums. What Mythic Sunship deliver in raw, untamed energy, is kept in place by their deeply grounded tone. Land Between Rivers was captured in a wooden cabin in the north of Sealand, Denmark, where the band secluded themselves, making their release as akin to earthy doom as to sprawled-out krautrock - the GÃ¶tterdÃ¤mmerung of Scandinavian heavy psych. Causa Sui's Jonas Munk took on mixing duties, amplifying the earth tone and adding his sense of space and depth to the recording.
MARK FRY - Dreaming With Alice (Merlins Nose Records 1017; Germany) Merlins Nose Records present a reissue of Mark Fry's Dreaming With Alice, originally released in 1972. Dreaming With Alice was already an obscurity by the time of its release. Recorded by a 19 year old Mark Fry for an Italian sub label of RCA, it presented a beautifully naive kind of psychedelic folk similar to what the Incredible String Band laid down at the same time just a bit more straight forwarded. Young Mark enchants his listeners with dreamy vocal melodies of utter beauty which create an outmost peaceful atmosphere. The picturesque tunes take the listener on a trip out to the English countryside, on a gentle and warm spring morning, and into a fairytale world. You might get lost within this colorful dream and not be willing to return to grey reality anymore, but this music burns as the flame of love within your heart. The direction, despite all psychedelic elements, is definitely determined by British folk music of the '60s and '70s. One charmingly odd aspect of the album is that the title track has been split up over the whole album as short sections flanking the longer tunes. Mark Fry plays his acid folk from the bottom of his soul without thinking about satisfying the demands of the mainstream audience. Dreaming With Alice is intriguing, keen, and absolutely one of a kind, with a mood changing from rainy days to sunny mornings out in the meadows. Original copies in good condition go for about 1600 Euros, so a reissue is welcome among fans of totally psyched-out music, with mostly acoustic instrumentation and vocals. A must have for all fans of acid folk from the late '60s to the early '70s era. RIYL: Perry Leopold, Incredible String Band, Steeleye Span, Woods Band, Pentangle.
LP & 7â€ Record Section:
SUN RA - Hello Mr. Shimmel / Interview (Gearbox 1538; UK) Rare unreleased solo piano piece called â€œHello Mr. Shimmelâ€ in which Mr. Ra shows off his piano prowess and his vast knowledge of the history of jazz. The second side is a 1990 interview with Jez Nelson from Jazz FM radio in England.
7â€ Single $13 (LTD Edition)
JAC BERROCAL/DAVID FENECH/VINCENT EPPLAY - Why (Blackest Ever Black 062-EP; UK) Jac Berrocal, David Fenech, and Vincent Epplay return with their first record since 2015's Antigravity (BLACKEST 011CD/LP). The title track is a louche but volatile art-rock panther-stalk... a cracked jazz ode on street hassle, pitched somewhere between Vince Taylor-in-exile and PiL's Metal Box (1979)... Berrocal on vocals, a slurring stream-of-consciousness that becomes a yowl of despair; drums loose and dub-delayed; Fenech's jagged guitar phrasing, and Epplay's electronics set to flay. "Ice Exposure" situates Bef's mournful, muted trumpet in the eerie deep-freeze ambience that characterized Antigravity, and "Alienor En Aout" coaxes a gloomy poetry from affectless cold war radio broadcasts.
7â€ EP Single $12
FAUST - Fresh Air (Bureau B 254; Germany) Faust's new album Fresh Air differs in several respects from its predecessor, Just Us (BB 182CD/LP, 2014). The recordings were made at Jean-HervÃ© PÃ©ron's rehearsal studio in Schiphorst in northern Germany, hypnotic pieces with the kind of noisemaking the band is known for. For the new album, PÃ©ron and Werner "Zappi" Diermaier were looking for communication with musician friends and the audience. The tracks were recorded in changing ensembles at changing locations in the USA (during a tour in 2016). In these community recordings, with friendly support from PÃ©ron's database of field recordings, a strongly shaded noise music emerged which extends its feelers to the remotest corners of the here and now. Droning, swinging, lusting for freedom, here and there holding out quite stoically as machine-room blues. On board are the freely fabulous Barbara Manning in a live lecture, JÃ¼rgen Engler (Die Krupps) in overdub, and Ysanne Spevack as a wonderful wave-maker on the viola. The seven and a half minute title track begins with the poem by a French school friend of PÃ©ron (translated and recited in Polish) and ends in an industrial sound inferno. The singer cries for "Fresh Air" as if it is being taken away from him. Jean-HervÃ© PÃ©ron offers a political reading: "Can you breathe calmly here, or are we being poisoned?" "Engajouez Vous!" PÃ©ron presents this franco-Faustian artificial word to the audience and rewrites the Marseillaise for the here and now in the track "Chlorophyl". And finally, Zappi has his mini-dada performance with "Schnobs" and "Bia": a small dialect-based text piece, which starts with chlorophyl, goes over the meadow past the cow and lands with the farmer who drinks a beer and schnapps and suddenly sees two cows. The story of the band can tell that tale nicely. As Krautrockers, Faust had a worldwide career. On their first three albums in the early 1970s, they inhabited the vast field from improvisation to bricolage to rock'n'roll with the ease of rogues and the determination of declared sonic renegades. One can still feel the breathing of this music in current Faust pieces, in the stone-age thudding of "Fish", which Faust anticipated in 1972 on "Mamie Is Blue". "We let the music play through us," says Jean-HervÃ© PÃ©ron. Jean-HervÃ© PÃ©ron has a little tip for us: Listen to the fish.â€
ALBERT AYLER With GARY PEACOCK / SUNNY MURRAY - Prophecy (ESP-Disk 3030; USA) ESP-Disk present a reissue of Albert Ayler's Prophecy, originally released in 1975. Recorded in concert at the Cellar Cafe, NYC, June 14, 1964. Three weeks before this trio recorded ESP-Disk's first jazz album, the epochal Spiritual Unity (ESPDISK 1002CD/LP), it was captured "live" by Canadian poet Paul Haines, who also recorded the New York Eye and Ear Control soundtrack (ESPDISK 1016CD/LP). This is one of the most influential groups in jazz history, a coming together of like-minded innovators who would be considered crucial influences by succeeding generations, so there is no question of the immense value of this material. Yoked, in the CD era, to the one-sided 1965 LP Bells (ESPDISK 4076CD), made with a different band in a very different style a year later, it is perhaps best appreciated on its own. Personnel: Albert Ayler - tenor saxophone; Gary Peacock - bass; Sunny Murray - drums; Paul Haines - engineer. Presented here on opaque yellow vinyl.
MAX ROACH With ABBEY LINCOLN / COLEMAN HAWKINS / BOOKER LITTLE/ JULIAN PREISTER / OLATUNJI - We Insist! Max Roach's Freedom Now Suite (Cornbread 16024; USA) Cornbread Records present a reissue of Max Roach's We Insist! Max Roach's Freedom Now Suite, originally released in 1960. Max Roach's 1960 masterwork We Insist! is a suite based on the Civil Rights Movement, and involves variations on the theme of the struggle for African Americans to achieve equality in the United States, a struggle that is still all too relevant. Roach began composing with lyricist Oscar Brown Jr. in 1959, with the initial intention of having the suite performed in 1963, on the 100th anniversary of The Emancipation Proclamation. Featuring the wonderful Abbey Lincoln on vocals, as well as Booker Little, Julian Priester, Coleman Hawkins, Olatunji, and more, We Insist! is a truly stunning album, one that knows no equal from that time or since. Reissued on 180 gram vinyl; Includes download code.
PAUL GONSALVES QUARTET - Boom-Jackie-Boom-Chick (Spellbound Music 4004; Germany) Spellbound Music present a reissue of Paul Gonsalves Quartet's Boom-Jackie-Boom-Chick, originally released in 1964. 1964 seemed to be a great year for jazz music, in general, and this special piece from a quartet, led by the great tenor saxophonist and long-time member of the Duke Ellington Orchestra, Paul Gonsalves, confirms this once more in an astonishing way. Boom-Jackie-Boom-Chick is a typical instrumental post-bop album, not on the verge of progressive and free jazz, filled to the max with memorable, yet steaming compositions. Gonsalves nails it as a saxophone player and his backing crew -- consisting of piano, stand-up bass, and drums -- joins in to create a stream of sound that drags your soul away when you put the needle in the groove. The playing feels easy with sweet, but rather melancholic melody lines from piano and sax. It seems like they were singing love songs to each other while the rhythm section laid down the beat for both lead instruments dance to. The swinging sleaziness of a few passages heats up your blood to a simmering level; it's as if you were swallowed into a scene of Jack Kerouac's On The Road (1957), where a sax player goes wild in a small and dusty club somewhere on the West Coast. Paul Gonsalves and his guys take their listener onto a journey due with very expressive and strong melodies. This should have been a shining crown jewel of jazz where swing benignly turns into bop. The new and often more radical streams within the genre just oppressed this development and Boom-Jackie-Boom-Chick, whose title was inspired by the name of Mr. Gonsalves's regular heroin dealer, became an underground classic for those who like to dig deeper into a genre to discover the real treasures. This is pure magic put into music.â€
BERT JANSCH - Birthday Blues (Superior Viaduct SV 124; USA) "Bert Jansch's freewheeling fifth album, Birthday Blues, occupies a unique place in his solo discography. Released in 1969, the same year Basket of Light propelled Pentangle into the UK pop charts, Birthday Blues almost sounds like a Pentangle LP missing John Renbourn and Jacqui McShee. Backed-up by bandmates Danny Thompson and Terry Cox, Jansch neither holds back his characteristic moodiness nor takes himself too seriously. What's more, Jansch is in love. Heather Rosemary Sewell isn't just the inspiration for one of the song titles; she also designed the cover, whose Hans Feurer front photo shows Bert holding the couple's puppy. With just enough of a Donovanesque pop sense, Pentangle producer Shel Talmy keeps the overall feel of these recordings fresh, warm and immediate. As its playfully ambivalent title suggests, Birthday Blues reveals an artist fully comfortable in his own skin. Blues and folk influences are woven together into songs at once directly personal, yet generously light and free. The most 'pop' of Jansch's '60s solo recordings and perhaps one of his most underrated, Birthday Blues is a deep and rewarding family affair at the height of his musical powers. This vinyl release has been carefully remastered from the original master tapes and features liner notes by Richie Unterberger."
JON GIBSON - Two Solo Pieces (Superior Viaduct SV 069; USA) "For his second album, Two Solo Pieces, Jon Gibson forgoes the dense, multi-layered timbres of Visitations in favor of simple textures and tone. While Two Solo Pieces serves up further evidence of Gibson's centrality to American minimalism -- witness its inclusion in Alan Licht's famed Minimal Top Ten list -- this profoundly intimate record also reveals the beauty of enclosed spaces and infinite harmonic vistas. As its unadorned title suggests, Two Solo Pieces consists of a pair of side-long tracks featuring the composer alone. While 'Cycles,' an iridescent improvisation on organ, achieves a downright eerie sense of expansiveness, Gibson's captivating alto flute on 'Untitled' draws the listener inside the instrument itself. The photo on the album's back cover -- a seated Gibson surrounded by cascading rows of organ pipes and the vaulted ceiling in Manhattan's Peace Church -- offers a striking visual complement to these gorgeous recordings. Originally released in 1977 on Philip Glass' Chatham Square imprint, this first-time vinyl reissue is recommended for fans of Anthony Moore, Roberto Cacciapaglia and Terry Riley."
ARNOLD DREYBLATT AND THE ORCHESTRA OF EXCITED STRINGS - Propellors In Love (Superior Viaduct SV 117; USA) "Arnold Dreyblatt has been called 'the most rock 'n' roll of all the composers to emerge from New York's downtown scene in the 1970s.' Dreyblatt founded The Orchestra Of Excited Strings in 1979, harnessing unusual tuning intervals to an exuberant performance style. Propellers In Love, the Orchestra's second album -- originally released in 1986 on the Stasch imprint, in conjunction with the contemporary art space KÃ¼nstlerhaus Bethanien -- develops Dreyblatt's rhythmically exacting exploration of the glittering resonances and overtones generated by an ensemble of uniquely-altered stringed instruments and drums. On Propellers In Love, simple song titles -- 'Odd & Even,' 'Harmonics,' 'Bowing' -- belie intricate harmonic structures. Dreyblatt's modified instruments -- a contrabass and miniature piano fitted with piano wire along with violin, all tuned in just intonation -- undergo the Orchestra's rapid, staccato attacks. Sparkling timbres dance above interlocking rhythmic patterns moored by sparse yet propulsive percussion ('Pedal Tone Dance' and the title track). Throughout, the Orchestra's perpetual motion achieves a tremulous and exquisite density. Thirty years since its initial release, Propellers In Love remains a peerless work of second-generation American minimalism. This first-time domestic release is recommended for fans of Glenn Branca, Ellen Fullman and Charlemagne Palestine."
HENK BADINGS/DICK RAAIJMAKERS - Evolutions, Contrasts & Electronic Music (Aurora Rising 3004; Germany) Aurora Rising present a reissue of Henk Badings and Dick Raaijmakers's Evolutions, Contrasts & Electronic Music, originally released in 1958 under the title Electronic Music and released again in 1968 as Evolution & Contrasts. The 1968 release Evolution & Contrasts contains the same recordings as the 1958 Electronic Music album. Henk Badings and Dick Raaijmakers were composers, arrangers, conductors, and pioneers in the field of electronic music. They created electronic soundscapes with a rather creepy atmosphere. This stuff is different to the '50s avant-garde classics and the more pop-oriented electronic albums of the same period. Badings's "Capriccio For Violin And Two Sound Tracks" can be seen as a strange dialogue with sloping melodies between the violin and unidentifiable electronic devices that gives you goosebumps. It has a rather picturesque approach and could be used for early horror flicks as accompanying music for the horrifying scenes. The amazing fact is that this music still sounds fresh and exciting even nearly six decades after its initial release. "Genese", on the other hand, is a lengthy composition of chirping, bubbling, and droning sounds, swelling and ebbing away in regular intervals. Cosmic music of the highest order. Some sections also feel like an intergalactic information transfer signal of unknown origin. All-in-all a very spooky and haunting affair. It's interesting how electronic music already went back in the late '50s while most people consider the late '60s and early '70s as the heydays for electronic experiments and cosmic sounds. Well, this reissue allows listeners to experience the pioneers of this genre, and they really do it well. Raaijmakers even had a hand in writing groovy dance compositions when collaborating with Tom Dissevelt. He used the pseudonym Kid Baltan on these occasions. Anyway, this is quite a different thing. This is dark and utterly strange. "Contrasts" by Raaijmakers is a mixture between funny swirling sounds that make you think of a quick tempered discussion between little androids and menacing drones in the back that soon gets interrupted by single blows and hisses with frightening howls far in the back. This is definitely an album for true enthusiasts of strange electronic sounds who even consider early Tangerine Dream as fluffy pop music. Includes five bonus tracks.â€
PICCHIO DAL POZZO - Picchio Dal Pozzo (Goodfellas 001LP; Italy) Goodfellas present a reissue of Picchio Dal Pozzo's self-titled album, originally released in 1976. Picchio Dal Pozzo can be considered as the definitive "Canterbury"-inspired band coming from Italy's 1970 progressive rock scene. Their 1976 debut album shows an incredibly rich sound tapestry, made out of some peculiar ingredients. Oblique tunes and liquid harmonies, airy flutes, crispy horns, loads of electric piano and fuzz bass, drops of jazz, pop romanticism, waves of minimalism and deep pataphysical vocals and lyrics. The whole album develops through a sequence of highly composed material and wide open sound forms. A deep journey through a multi-layered soundscape with echoes of Hatfield & The North, Soft Machine, Robert Wyatt and Zappa. Picchio Dal Pozzo's first work was out on Grog Records and subsequently reissued only in Japan (Grog Records was an independent label known for releasing the work of Italian underground pop groups of the seventies such as Corte Dei Miracoli, Latte e Miele and Celeste). 180 gram vinyl. "One of the most original, impressive and highly respected of all the experimental groups to have come out of Italy in the 1970s" - Chris Cutler. 2011 release.
MAKO SICA - Invocation (Feeding Tube 326; USA) "Pretty sure this amazing Chicago trio was first introduced to us when Jim McCardle insisted we buy one of their albums at a record fair in the Windy City. Not sure which one it was, but it blew us away. Surprisingly, over the damn-near-a-decade since they started recording, Mako Sica has managed to keep itself well out of the limelight. Even though their first LP, Mayday At Strobe (2009), was released by one of Chicago's pre-eminent vanguard labels -- Permanent -- it was not easy to locate people who have grooved to the band's Sun City Girls meet Blood Quartet vibe. Eventually, however, we tracked them down and found out they had new material waiting to go. They sent the files for Invocation and we were ready to squirt vinyl in a New York Minute. The wordless (if not vocal-less) parabola Makos Sica's music follows is an unending wonder -- a blend of tones that cross many overt rockist spheres while maintaining textural similarities to outfits like the Bitchin Bajas or Joshua Abrams' Natural Information Society, with a taste of the surfist proclivities of such bands as early Savage Republic. The material on this LP is cooked hard and deep in its own juices. There are moments you'd swear you're listening to Northern African guitar tropes, but then Make Sica's sound breaks open into waves of psychedelia unimagined in that scene. There are simmers of tone that feel Germanic in the most basic of ways. But these usually end up erupting in ways that absolutely negate form specificity. In fact, the more I listen to this, the more purely tripped-the-f*ck-out it sounds. Amazing shit. Ignore at your own peril." -Byron Coley Edition of 300.
Bruce Lee Gallanterâ€™s Recommended Gig List for May of 2017
THE STONE RESIDENCIES - DAN WEISS - MAY 2-7
8:30 pm - Dan Weiss Large Group - Dan Weiss (drums) Tom Rainey (drums) Chris Tordini (bass) Mark Helias (bass) Jacob Sacks (piano) David Binney (sax) Rudresh Mahanthappa (sax) Tim Berne (sax) Ellery Eskelin (sax) Ohad Talmor (sax) Anna Webber (sax) Adam O Farrill (trumpet) Ben Gerstein (trombone) Jacob Garchik (trombone) Jon Irabagon (sax)
8:30 pm - Dan Weissâ€”Matt Mitchell "Fourth Floor"
Dan Weiss (drums) Matt Mitchell (piano)
8:30 pm - Dan Weiss Sextet- Dan Weiss (drums) Mike Formanek (bass) Trevor Dunn (bass) Tyshawn Sorey (drums) Craig Taborn (piano) Matt Mitchell (piano)
THE STONE RESIDENCIES - JESSE HARRIS - MAY 9-14
8:30pm: sim sim - Margaret Glaspy (vocals, guitar) Jesse Harris (guitar) Chris Morrissey (bass) Tim Kuhl (drums)
8:30 pm - Cosmo (Instrumental Night) - Jeremy Gustin (drums) CJ Camerieri (trumpet) Michael Boschen (trombone) Will Graefe (guitar) Ben Davis (bass) Jesse Harris (guitar)
8:30pm: The Song Project (Music by John Zorn, Lyrics by Jesse Harris)
Petra Haden (vocals, violin) Jesse Harris (guitar, vocals) Julian Lage Trio: Julian Lage, (guitar) Eric Doob (drums) Jorge Roeder (bass); The Song Project (music by John Zorn, lyrics by Jesse Harris) featuring Petra Haden, Jesse Harris and Julian Lage Trio.
8:30pm: Julian Lage (guitar) and Jesse Harris (guitar, vocals)
8:30pm: - Petra Haden and Jesse Harris Group; Petra Haden (vocals, violin) Jesse Harris (guitar, vocals) Will Graefe (guitar) Jeremy Gustin (drums) Ben Davis (bass)
8:30pm: Music For Chameleons (new Jesse Harris album performed live)
Jesse Harris (vocals, guitar) Will Graefe (guitar) Jeremy Gustin (drums) Ben Davis (bass)
All Sets 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. 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, May 5th:
8pm & 10:30pm GEORGE GARZONE, BOSTON COLLECTIVE - George Garzone, tenor sax; Phil Grenadier, trumpet; John Lockwood, bass; Luther Grey, drums
Saturday May 06
9:00PM & 10:30PM GEORGE GARZONE, BOSTON COLLECTIVE - George Garzone, tenor sax; Phil Grenadier, trumpet; John Lockwood, bass; Bob Gullotti, drums
Sunday May 07
6:00PM ENTERTAINING SCIENCE: THE NESTEDNESS OF THINGS - Roald Hoffman, Dave Soldier, hosts - Tyler Volk, scientist; Lemon Guo, singer, composer
8:35PM DJANGO AT CORNELIA STREET, ULTRAFAUX - Michael Joseph Harris, guitar; Sami Arefin, guitar; Eddie Hrybyk, bass
Monday, May 8th:
8:30PM LENA BLOCH & FEATHERY - Lena Bloch, tenor saxophone; Russ Lossing, piano; Cameron Brown, bass; Billy Mintz, drums
Tuesday May 09
8:00PM VOXECSTATIC: ALEXIS PARSONS QUARTET - Alexis Parsons, voice; Virg Dzurinko, piano; Ron Horton, trumpet; Andrew Drury, drums
9:30PM VOXECSTATIC: MARYANNE DE PROPHETIS QUARTET - Maryanne de Prophetis, voice; Virg Dzurinko, piano; Ron Horton, trumpet; Andrew Drury, drums
Wednesday May 10
8:00PM QUINSIN NACHOFF'S ETHEREAL TRIO CD RELEASE - Quinsin Nachoff, tenor sax; Mark Helias, bass; Dan Weiss, drums
Thursday May 11
6:00PM JUICE, SPICE & TANGO! - Racquel Borromeo, piano; David Bridges, clarinet; Rina Haruki, soprano; Dominique Donnarumma, soprano
8:01PM LAGE LUND QUARTET - Lage Lund, guitar; Micah Thomas, piano; Matt Brewer, bass; Craig Weinrib, drums
Friday May 12
9:00PM & 10:30PM CHARLES ALTURA QUARTET - Charles Altura, guitar; Aaron Parks, piano; Matt Brewer, bass; Justin Brown, drums
Saturday May 13
9:00PM & 10:30PM DAN WEISS TRIO = Dan Weiss, drums; Jacob Sacks, piano; Ben Street, bass
Sunday May 14
6:00PM LEE FELDMAN HIS PROBLEMS - Lee Feldman, vocals, piano; Monica Bauchwitz, violin; Ben Gallina, bass; Bob Windbiel, guitar
8:35PM NEW BRAZILIAN PERSPECTIVES: FABIO GOUVEA QUINTET, CD RELEASE
Fabio Gouvea, guitar; John Ellis, tenor sax; HÃ©lio Alves, piano; Scott Colley, bass; Alex Kautz, drums
Shapeshifter May, 2017:
7pm: Eva Cortes
Luques Curtis: Bass
Marvin Sewell: Guitar
Roby Ameen: Drums
Eva Cortes: Vocals
8:15p - Josh Roberts and Cameron Macintosh - Josh Roberts Band (Josh Roberts drums, Ryan Slatko piano, Stefan Haerle saxophone, AndrÃ© Carvalho bass)
9:30: Cameron Macintosh Band
7pm: Eva Cortes
Luques Curtis: Bass
Marvin Sewell: Guitar
Roby Ameen: Drums
Eva Cortes: Vocals
8:15p - Josh Roberts and Cameron Macintosh - Josh Roberts Band (Josh Roberts drums, Ryan Slatko piano, Stefan Haerle saxophone, AndrÃ© Carvalho bass)
9:30: Cameron Macintosh Band
May 8 -â€œ Room Music."
7p Aaron Quinn Project
8:30p Dillon Mansour Trio
7pm: Niko Seibold Big Band // Farewell B.B. Fest; Saxes: Daniel Dickinson, Kushal Talele, Michael Brinzer, Niall Bakkestad-LÃ©gare, Niko Seibold; Trombones: Beserat Tafesse, Grant Smith, Armando Vergara, Andrew Karboskiâ€™ Trumpets: Tony Speranza, Stuart Mack, RÃ©my LabbÃ©, Oriol LÃ³pez; Drums: Mareike Wiening, Piano: Robbie Lee, Bass: Noel Mason, Guitar: Hugh Stuckey
Shapeshifter is located at
18 Whitwell Place in Brooklyn, NY
R train to Union stop
Friday, May 5th 8:00 PM 8pm
8pm: Pearring Sound
Jeff Pearring â€“ alto sax
Patrick Holmes â€“ clarinet
Tim Vaughn â€“ trombone
Ken Filiano â€“ bass
Michael Wimberly â€“ drums
9pm - Liebowitz / Lane / Drury
Carol Liebowitz â€“ piano
Adam Lane â€“ bass
Andrew Drury â€“ 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.
GREENWICH HOUSE SOUND IT OUT SERIES:
Sound It Out series @ Greenwich House â€“ Concerts, January-June 2017
Saturday, May 6, 8:00 p.m. â€“ New chamber jazz!
Harris Eisenstadtâ€™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. â€“ Double album release show!
AndrÃ© Matos David Ambrose/Russ Meissner Sextet
AndrÃ© 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 Cityâ€™s West Village;
www.greenwichhouse.org / 212-242-4770
TRIBUTE TO THOMAS CHAPIN!
Saturday, May 6th at 7:30 at Brooklyn Jazz Wide Open
Join us for a rare evening of live Thomas Chapin music as performed by musician-colleagues of Thomas, playing his original compositions: Trio, Trio plus Brass, Quartet/Quintet selections, Brazilian tunes and more! It will be 2 1/2 hours of music, plus intermission, and also this is Thomas' 60th year birthday-anniversary. A great year to lift him!
Featuring performances of Thomasâ€™s music by: Mike Sarin, Dave Ballou, Ned Rothenberg, Marty Ehrlich, Arun Luthra, Peter McEachern, Saul Rubin, Armen Donelian, Jerome Harris, Arthur Kell, Steve Johns, Joe Cardello, Michel Gentile, Daniel Kelly and Rob Garcia. All proceeds will go to Akasha, a nonprofit organization furthering music education and the musical legacy of Thomas Chapin.
This concert will take place at the Brooklyn Conservatory of Music's Concert Hall, 58 Seventh Ave (at Lincoln Pl.) in Park Slope, Brooklyn
Bushwick Improvisers Collective Concert Series
Every Monday starting May 1st. Steps from the Jefferson stop L train
Cutting edge improvised music, full bar, great pizza, all ages. Check it out!â€¨
Monday May 8th - *Relative Pitch Records Showcase*
6:30pm Aron Namenwirth - guitar/banjo, Adam Dym - saxes/clarinets, Erik Plaks - keyboard, John Loggia - drums
8pm Stephen Gauci- tenor sax, Adam Lane - bass, Kevin Shea - drums
9pm Isabelle Duthoit - clarinet, Leila Bordreuil - cello
10pm Franz Hautzinger - trumpet, Brandon Lopez - bass
Monday May 15th - *OutNow Records Showcase*
6:30pm Aron Namenwirth - guitar/banjo, Blaise Siwula - woodwinds, Adam Dym - woodwinds, Erik Plaks - keyboard, John Loggia - drums
8pm Stephen Gauci - tenor saxophone, Adam Lane - bass, Kevin Shea - drums
9pm Yoni Kretzmer - tenor sax, Sean Conly - bass, Tomas Fujiwara - drums
10pm Eyal Maoz Ensemble
Monday May 22nd - *Curated by Ras Moshe*
6:30pm Aron Namenwirth - guitar/banjo, Adam Dym - woodwinds, Erik Plaks - keyboard, John Loggia - drums
8pm Stephen Gauci - tenor sax, Adam Lane - bass & Kevin Shea - drums
9pm Ras Moshe- reeds Dafna Naphtali - electronics Sean Conly - bass Dave Miller - drums
10pm Lauren Lee - vocals Charley Sabatino - bass
Downstairs @ Artichoke Bar & Pizza
Corner of Wyckoff Ave & Troutman St, Bushwick
All Ages/$10 cover - gaucimusic.com/bushwick-series