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DMG Newsletter for September 11th, 2020

"In Held 'Twas In I"

From Procol Harum’s ’Shine On Brightly’ album, released in 1968
Written by Keith Reid, Gary Brooker & Matthew Fisher

Glimpses of Nirvana

In the darkness of the night, only occasionally relieved by glimpses of Nirvana as seen through other people's windows, wallowing in a morass of self-despair made only more painful by the knowledge that all I am is of my own making ...

When everything around me, even the kitchen ceiling, has collapsed and crumbled without warning.
And I am left, standing alive and well, looking up and wondering why and wherefore.
At a time like this, which exists maybe only for me, but is nonetheless real, if I can communicate, and in the telling and the bearing of my soul anything is gained, even though the words which I use are pretentious and make you cringe with embarrassment, let me remind you of the pilgrim who asked for an audience with the Dalai Lama.

He was told he must first spend five years in contemplation. After the five years, he was ushered into the Dalai Lama's presence, who said, 'Well, my son, what do you wish to know?' So the pilgrim said, 'I wish to know the meaning of life, father.'
And the Dalai Lama smiled and said, 'Well my son, life is like a beanstalk, isn't it?'

Held close by that which some despise
which some call fake, and others lies
And somewhat small
for one so tall
a doubting Thomas who would be?
It's written plain for all to see
for one who I am with no more
it's hard at times, it's awful raw
They say that Jesus healed the sick and helped the poor
and those unsure
believed his eyes
- a strange disguise
Still write it down, it might be read
nothing's better left unsaid
only sometimes, still no doubt
it's hard to see, it all works out

'Twas tea-time at the circus: King Jimi, he was there
Through hoops he skipped, high wires he tripped, and all the while the glare
of the aching, baking spotlight beat down upon his cloak
and though the crowd clapped furiously they could not see the joke

'Twas tea-time at the circus, though some might not agree
as jugglers danced, and horses pranced and clowns clowned endlessly
But trunk to tail the elephants quite silent, never spoke
and though the crowd clapped desperately they could not see the joke

In the autumn of my madness when my hair is turning grey
for the milk has finally curdled and I've nothing left to say
When all my thoughts are spoken (save my last departing birds)
bring all my friends unto me and I'll strangle them with words

In the autumn of my madness which in coming won't be long
for the nights are now much darker and the daylight's not so strong
and the things which I believed in are no longer quite enough
for the knowing is much harder and the going's getting rough

Look to Your Soul
I know if I'd been wiser this would never have occurred
but I wallowed in my blindness so it's plain that I deserve
for the sin of self-indulgence when the truth was writ quite clear
I must spend my life amongst the dead who spend their lives in fear
of a death that they're not sure of, of a life they can't control
It's all so simple really if you just look to your soul
Some say that I'm a wise man, some think that I'm a fool
It doesn't matter either way: I'll be a wise man's fool
For the lesson lies in learning and by teaching I'll be taught
for there's nothing hidden anywhere, it's all there to be sought
And so if you know anything look closely at the time
at others who remain untrue and don't commit that crime

Between 1967 and 1969, there was a new era of creativity in rock music, where just about every band wanted to evolve and create an album that would be considered a classic of the time. Once bands like the Beatles and the Rolling Stones stopped touring (in 1966), many bands decided to work harder in the studio to experiment and create something completely unique. Before marketing & pigeon-holing took over the Music Business, few Creative Musicians cared about or were held back by genre or style or expectation.  Thus, practically every week during this era, 2 or 3 albums would be released and each one would be considered a classic today. The Summer of 1967 was the center of the Psychedelic Era and it was perhaps the only time when the underground (of creative experimentation & weirdness) rose to great popularity. Dozens (hundreds?!?) of my favorite bands all released incredible records during that time: the Mothers of Invention, Love, the Stones, the Kinks, the Who, Moby Grape, the Grateful Dead, Jefferson Airplane, Jimi Hendrix Experience, Captain Beefheart & the Magic Band, Traffic, Fairport Convention, the Incredible String Band, Pentangle, Family, Spirit, the Band, the list goes on & on…
One of my all-time favorite bands from the era & afterwards was/is Procol Harum. Starting with the first & only hit, “A Whiter Shade of Pale” (Summer of ’67), with a melody line influenced by Bach, they were in a class of their own from the start. Their first five albums, ‘Self-Titled’ through ‘Broken Barricades’ are all stone cold classics and still sound wonderful to me some 50 years later. The above song, "In Held 'Twas In I”, takes up most of side 2 of their second album, ’Shine On Brightly’. It is an epic of sorts with thoughtful, philosophical lyrics with an appropriate wink of humor as well. The entire album is superb as is the next one, ‘A Salty Dog’ (1969). Strangely enough Procol Harum still exist today and released a new disc just a few years ago, which I still dug. Not too many of those sixties era groups still exist. I caught Procol Harum live five times between 1969 and 1973. The last time I caught them was in 1971 at the Academy of Music in Manhattan, here was the line-up: Yes (bottom of the bill & their first US tour), King Crimson (first tour since 1969, playing music from ‘Islands’) and Procol Harum (still great live!) A toast to Gary Brooker, founder, lead singer and pianist for Procol Harum. - BLG at DMG




Take three of the five New Corbett VS. Dempsey discs listed below and you get $1 off of each.  The Sale takes place from 9/11 to 9/17, 2020

SUN RA and His SOLAR-MYTH ARKESTRA - The Solar-Myth Approach - Volume 1 & 2 (Corbett vs. Dempsey CvsD 071; USA) “Two certifiable Sun Ra classics refreshed and renewed and rolled into the perfect two CD package. First released on the French label BYG/Actuel in 1971, the companion volumes of The Solar-Myth Approach were essential in introducing Ra's monumental program to an international audience. As with many Arkestra records, the information on these gatefold packages was dubious at best. Here they appear with corrected lineups and dates, showing that the music actually stretches back to the early 1960s, but was assembled into a beautiful chronological mosaic that serves as a gripping survey of early-post-Chicago Ra. It's an ideal way to start listening to his music, and for his fans absolutely essential items in the gargantuan discography. These LPs have been reissued a number of times since BYG/Actuel folded, and with each new batch the fidelity has diminished, so that they've been a pale shadow of the original recordings. For the first time, the sound has been lovingly restored to a previously unimagined level of omniversal fidelity, and one track ("Scene 1 Take 1") that was mastered at the wrong speed on the original – perhaps a Ra idea, perhaps just a disconnect between the producers and the composer – has been included as a bonus track remastered at the corrected speed. Packaged in the glorious original LP designs, with a definitive essay by Irwin Chusid, this is The Solar-Myth Approach as it was meant to be experienced. “
2 CD Set $20

PETER KOWALD QUINTET with PAUL RUTHERFORD / GUNTER CHRISTMANN / PAUL LOVENS / PETER van der LOCHT - Peter Kowald Quintet (Corbett vs. Dempsey 070; USA) “The only LP featuring a band under Peter Kowald's name, Peter Kowald Quintet comes from a vital moment in the German bassist's career. A close colleague of Peter Brötzmann's in their formative years, including the saxophonist's debut For Adolphe Sax and the classic Machine Gun, Kowald had by 1972 broadened his circle of collaborators, eventually working with a who's who of global creative music. Recorded live in Berlin, released on FMP, this date documents a tensile ensemble, with an unusual lineup featuring two trombones – Londoner Paul Rutherford and the German maestro Günter Christmann – together with the less-well-known Dutch alto saxophonist (and sculptor) Peter van de Locht and brilliant German percussionist Paul Lovens. Kowald adds to the low brass when he turns from double-bass to tuba and alphorn. Spacious and fiery, these four tracks are exemplary European free music led by one of the music's foremost originals – Kowald's rough and ready bass, which was anchoring (and de facto leading) the Globe Unity Orchestra of that period, is echoed in the take-no-prisoners music of the fivesome. Mastered from original tapes, this first-ever CD release features a facsimile version of the original cover, which featured artwork by ten non-musician friends and unique hand-additions. “
CD $15

PHIL WACHSMANN - Writing in Water  (Corbett vs. Dempsey 069; USA) Gentle, incisive solo music for violin and electronics by one of the unsung giants of free improvisation. Philipp Wachsmann emerged in the fertile mid '70s underground free music scene in London, playing with everyone from Simon Mayo to Barry Guy to Derek Bailey to Evan Parker, starting a band called Chamberpot, making albums for the collective artist-run label he managed: Bead Records. These LPs, 26 of them in total, were made in tiny batches and are now rare as hen's teeth. Writing In Water, which was recorded in 1984, is the first of a series of Corbett vs. Dempsey reissues dedicated to the label, crucial chroniclers of British improvised music. Two side-long tracks are extremely patient, multi-layered, sometimes hushed, ultimately beautiful. Long out of print and never before on CD. Exact facsimile cover. Edition of 500.
CD $15


MILFORD GRAVES & DON PULLEN - The Complete Yale Concert, 1966 (CvsD 075; USA) “For a performance at Yale University in New Haven, Connecticut, in spring of 1966, percussionist Milford Graves invited pianist Don Pullen to play duets. The two musicians had worked together in a band fronted by saxophonist and clarinetist Giuseppi Logan, with whom they had recorded two LPs in 1965 for ESP Disk. Graves was already a daunting presence in free music. One step at a time, he was busy transforming the role of drumming in jazz, introducing a new way of dealing with unmetered time and accomplishing this task with technique that was almost inconceivable. His experience playing timbales in Latin bands had been formative, suggesting that the snare could be used as an accent rather than beat-keeper, but by the mid '60s he'd worked up a holistic approach to sound and energy that was the most radical of his improvising percussion contemporaries. And with a simpatico accomplice like Pullen, who would go on to have an illustrious career with Charles Mingus, co-fronting a band with George Adams, and as a soloist and bandleader. This early setting finds Pullen is at his most hard- hitting, and his piano concept as heard here lays to rest dubious claims of Cecil Taylorism. Inspired by their performance, Graves and Pullen issued an LP, In Concert at Yale University, Vol. 1 on their own Self-Reliance Program imprint. The vinyl is impossibly rare, especially its first copies, which sported hand-painted covers by the musicians. A second volume titled Nommo was subsequently issued, and it too is a highly prized platter. None of this music has ever been available digitally. The tapes were lost, so in putting this production together – in the works for 10 years – virgin copies of the LPs were used. One CD includes the two complete LPs together with original cover designs, a gallery of hand-painted LPs, and a photo of Graves and Pullen selling them at a Nation of Islam convention. An insert modeled after the original one presents an interview with Graves about the production of the records. This is beyond the holy grail of free music. It is as vital and challenging today as it was more than five decades ago. CvsD is honored to have collaborated with Milford Graves on this historic reissue.”
CD $15

ALEXANDER VON SCHLIPPENBACH QUARTET with EVAN PARKER / PETER KOWALD / PAUL LOVENS - Three Nails Left (CvsD 072; USA) One of the all-time great records of improvised music from Europe. Period. Blisteringly hot. Uncompromisingly inventive. Staggeringly beautiful. And insanely rare. Originally issued in the mid '70s on FMP, at its core Three Nails Left features the legendary Schlippenbach Trio – British saxophonist Evan Parker, and German percussionist Paul Lovens joining the German pianist – the triangle squared by the addition of German bassist Peter Kowald. Just the first track, an incredible 20-plus minute burner called "Range," is worth the price of admission – as punk rock as free music gets, it shows Parker's spectacular capabilities at high-octane blowing. Kowald adds a chewy, molasses bottom to the group, offsetting Lovens' flinty metal, stick and skin and Schlippenbach's hyper-focused intensity. This flammable configuration performed and recorded together as a regular unit in the period, making another FMP LP, The Hidden Peak, and a recording later released on CD by Atavistic's Unheard Music Series. One side was reissued on a limited edition FMP box set, together with part of The Hidden Peak, but it's never been available intact on CD. Remastered from original tapes, packaged with the original cover design by Lovens, Three Nails Left is a stone cold classic of creative music.”
CD $15

KAZE with NATSUKI TAMURA / CHRISTIAN PRUVOST / SATOKO FUJII / PETER ORINS & IKUE MORI - Sand Storm (Libra/Circum Disc 205; Japan/France) Featuring Ikue Mori on electronics, Christian Pruvost on trumpet & flugelhorn, Natsuki Tamura on trumpet, toys & voice, Satoko Fujii on piano and Peter Orins on drums. Outside of Satoko Fujii’s various orchestras, there are two bands led by Satoko & Natsuki who have endured the longest: Gato Libre and more recently Kaze. This appears to be the sixth disc by Kaze, a great quartet with Natsuki & Satoko with two French musicians (from Lille), Christian Pruvost on trumpets and Peter Orins on drums. On rare occasion, Kaze have had guests sit in with them so for this disc they have invited Downtown sonic pioneer, Ikue Mori, on her laptop/electronics. Ms. Fujii & Mr. Tamura has also worked with Ms. Mori previously in a quartet, Manobin, with Lotte Anker.
   When this disc begins, it sounds like an electronic wind storm slowly erupting… is that Ms. Fujii tapping inside the piano or Ms. Mori providing those odd percussion-like sounds or maybe the drummer. All all three at once?!? All members enjoy carefully bending their sounds into a dreamlike haze. The picture on the cover and back is a frozen ocean horizon in the daylight, this fits the music quite well. Eventually things break into a solemn, haunting repeating piano-led figure, the vibe most hypnotic. The two trumpets are well-matched and sound great together playing that prog-like melody. Each member of the quartet gets to stretch out, hence getting a good deal of inspired solos & different combinations of all five musicians involved. Right from Mr. Tamura’s first trumpet solo through solos on the piano, other trumpet and drums, everyone sounds wonderful and it all flows together most organically. In my book, Kaze can do wrong and each of their half dozen discs are the highlights of whatever year they are released. And this one, might be their best yet! - Bruce Lee Gallanter, DMG    
CD $16

GATO LIBRE with NATSUKI TAMURA / YASUKO KANEKO / SATOKO FUJII - Koneko (Libra Records 103-060; Japan) Gato Libre features Natsuki Tamura on trumpet, Yasuko Kaneko on trombone and Satoko Fujii on accordion. Natsuki Tamura and Satoko Fujii are a long married couple who also work with one another in several ongoing bands. Aside from the different orchestras that Ms. Fujii organizes, Gato Libre and Kaze are the most recorded projects with Ms. Fujii & Mr. Tamura. Unlike Kaze, whose membership has remained the same, Gato Libre has evolved personnel-wise, due to the fact that two of the original members have passed away. The current version of Gato Libre is now a trio with Mr. Tamura on trumpet, Yasuko Kaneko on trombone and Ms. Fujii on accordion. Ms. Fujii rarely plays accordion except for this trio in which her instrument of choice and playing is integral to their unique sound.
   Unlike most of the couple’s other projects, all the compositions for this Gato Libre disc were written by Natsuki Tamura. Starting with “Kaineko”, this trio has a most austere, solemn, chamber trio-like sound. Mr. Tamura has written some exquisite harmonies for the trumpet and trombone with Ms. Fujii adding swirling colors/waves in & around the two brass instruments. Ms. Fujii plays an enchanting drone underneath & throughout “Noraneko”, stretching out the drone as she squeezes the accordion in & out, over & over, the trombone also warm and tender and most touching to hear. On “Yamaneko”, while Ms. Fujii again stretches out the drone, Mr. Tamura takes a long, story-like solo which is superb. I find that time slows down while listening to this disc, which makes it easier to appreciate the nuance of the drone lines as well as the thoughtful solos. Mr. Tamura takes a few unaccompanied solos here, each of which are stunning in their inventiveness and display of rich ideas. This is the 8th disc from Gato Libre since 2005 and again they have delivered one of the best and most sublime gems of the year! - Bruce Lee Gallanter, DMG          
CD $16


EDDIE CHATTERBOX PROJECT with EUGENE CHADBOURNE / LENNY KAYE / PHIL MINTON / TONY TRISHKA / BARRY MITTERHOF / JULIAN KYTASTY / et al - The Chadbourne Luck: Project Omnibook: The Lost Years - Volume One (Chadula PO 1; USA) Featuring Eugene Chadbourne on banjo & guitar, Phil Minton on vocals, Tony Trishka on banjo, Barry Mitterhof on mandolin, Lenny Kaye on pedal steel & electric guitar, Julian Kytasty on bandoura, Evan Rappaport on soprano & alto saxes, Walter Malli on soprano sax, Chris Turner on harmonica and Jeff Cohen on bass. Doc Chadbourne has long had a reputation for finding like-minded musicians from varied scenes, far & near, to work with. If you look closely at the selection of musicians on this disc we find that they are front all over: Tony Trishka & Barry Mitterhof, Jersey-based bluegrass greats, wacky singer Phil Minton & Chris Turner (UK improv scene), Lenny Kaye (from the Patti Smith Band), Julian Kytasty & Walter Malli (both worked with Derek Bailey).
   Doc Chadbourne has just released a series of six CD’s called the ‘Project Omnibook’ series, this ‘Volume 1’. Since this year, 2020, is the 100th anniversary of the birth of Charlie ‘Bird’ Parker, Chadbourne has included a number of Bird’s songs throughout his new series. This disc opens with “52nd St. Theme” which soon mutates into something stranger, freer. There are some scary monster movie growling vocals along alternating banjo and electric guitar lines woven within, which keep increasing in tempo and then slowing back down. Doc Chad seems to enjoy having several collages of sound intertwining, snatches of conversations, perhaps live or from a TV, along with noisy guitar fragments and sped up banjo weirdness. Unexpected segments from different musicians like Julian Kytasty on bandura, (a zither/lute combination). All of the pieces flow together with different sounding small ensembles accompanying him. Although I do enjoy most of this, I often wish that I knew who was playing on each piece, otherwise it is a constant guessing game. There is a section where Doc Chad and Lenny Kaye (I guess) are trading guitar licks, quickly back & forth, and then other instruments sail in: harmonica or soprano sax. Kind of like the endless jam. At 76 minutes, this is quite a bit to take in, especially when things become a bit mind-numbing. Perhaps this might work better if I just listened to it in spurts. And this is only Volume 1, lots more to go. Hmmmmmmmm. - Bruce Lee Gallanter, DMG        
CD $13

EDDIE CHATTERBOX PROJECT with EUGENE CHADBOURNE / JIMMY CARL BLACK / PAT THOMAS / SCHROEDER - Project Omnibook - The Lost Years - Volume Two: Music Hashish and Blood (Chadula PO2; USA) Featuring Eugene Chadbourne on guitar & banjo, Pat Thomas on keyboards, Jimmy Carl Black and Schroeder on drums. Since the pandemic (starting mid-March, 2020) has forced just about everybody to be shut-ins, many of us collectors have been going through our collections to see what actually have and finally spend some time listening, reading, thinking and creating. Touring musicians have been hit especially hard since they can’t tour or even play anywhere where it unsafe. Hence, it seems that the good old Doctor Chadbourne has spent the time going through his vast archive of unreleased recordings and has just released six discs from varied musicians and groups. The overall theme of this series is a celebration of the 100th anniversary of the birth of Charlie ‘Bird’ Parker and the birth of bebop, the type of revolutionary music that he helped invent. On this disc, we get four bebop classics. The featured musicians here include Pat Thomas, UK keyboard wiz who has played with many: Derek Bailey to Lol Coxhill to Daevid Allen and original Mothers of Invention drummer, Jimmy Carl Black (“The Indian of the group!”). Doc Chadbourne and Jimmy Carl Black toured together several times and were always captured both the humor-filled side and jazz/progressive tendencies that the Mothers helped to invent. This disc starts off with some solo banjo and guitar(s), all acoustic and perhaps overdubbed. Our next stop is a cool version of “Ornithology” for electric guitar & drums, the Doc & JC Black, most likely. I like this since, the duo is in no hurray and plays this difficult music with a relaxed sense of calm. Dr. Chadbourne does a fine job of piling up several layers of acoustic & electric guitars and banjo, without letting things get too dense. These pieces work well since Dr. Chad knows how to interact with his own playing, adding spurts and layers in between, on top and underneath whatever was recorded first. Sometimes a solo from another place or time floats in and takes over for a bit, before things fade into another dimension. At a few points, Chadbourne adds some sound collages with different voices or samples and always to good effect. This long disc is more of a solo effort with bits & pieces of other musicians or groups floating in and out of the mix. It takes some time to mellow into the more relaxed spacious side of this journey but it is well worth the trip. - Bruce Lee Gallanter, DMG        
CD $13

MATTHEW SHIPP TRIO With MICHAEL BISIO / NEWMAN TAYLOR BAKER - The Unidentifiable (ESP-Disk 5039; USA) Downbeat calls Matthew Shipp "an elder statesman on the free-jazz scene." Perhaps it is odd in a way to think of someone so energetic and prolific as "elder," or so outspoken as "statesman," yet Downbeat (Bill Milkowski) is right. Shipp turns 60 this December. When he speaks, people listen (the old E.F. Hutton commercials come to mind). With Andrew Hill, Mal Waldron, Cecil Taylor, Horace Tapscott, Randy Weston, and McCoy Tyner now gone, who are the elder jazz piano giants now living? Dave Burrell, Cooper-Moore, Richie Beirach, and Martial Solal come to mind among those still active. Solal is mainstream; Beirach more mainstream now than free though he's been on the edge at times; Burrell and Cooper-Moore still mighty forces as Vision Festival concerts in recent years have shown, but neither especially prolific in terms of recordings. All of them older than Shipp, so he stands alone in his generation. To look at it from a slightly different angle than Downbeat did, Matthew Shipp has established himself as the premier avant-garde jazz pianist of his generation. Shipp is not willing to be put in a stylistic box. And nowhere is that more apparent than in his trio with bassist Michael Bisio and drummer Newman Taylor Baker. Starting in the bebop era, the piano-bass-drums lineup has been the most classic jazz format in which the piano is featured, accumulating the weight of history and critical expectations. In this setting, a non-mainstream player such as Shipp can infiltrate Newport Jazz Festival, Jazz at Lincoln Center, the Museum of Modern Art in New York City, and other Establishment bastions in a familiar format and then unleash his ideas on audiences that might not normally be exposed to his style. Thanks to hearing it in the communal language of the piano trio, they can better understand the message the Matthew Shipp Trio has to deliver. Shipp, Bisio, and Baker convened at Shipp's favorite recording venue last year looking to pursue a new direction. The result is both distinctively Shippian yet a further evolution of the group's sound. Personnel: Matthew Shipp - piano; Michael Bisio - bass; Newman Taylor Baker - drums. Recorded October 10, 2019 at Park West Studios in Brooklyn, NY by Jim Clouse. Produced by Steve Holtje.”
CD $12

SUB-UNIT NO. 1 with PEK / MICHAEL KNOBLACH - Main Sequence (Evil Clown 9235; USA) Featuring PEK on clarinets, saxes, guanzi, contrabassoon, melodica, games calls & loads of percussion and Michael Knoblach on frame drum, tambourine, gong, rattles, sistrum, assorted odd percussion too lengthy to mention. One of the great things about Leap of Faith founder, Dave PEK, is his ability to find all sorts of kindred spirits, Creative Musicians, from the Boston area. Out of the perhaps 50 different musicians that Mr. PEK has chosen to play in the many different versions of Leap of Faith and assorted offshoot bands, I have only heard of a handful previously. One of the numerous offshoot projects is called Sub-Unit and as many as four have opened for the Leap of Faith Orchestra gigs. Hence, this disc features a new Sub-Unit, just a duo with PEK and a percussionist named Michael Knoblach. I had never heard of Mr. Noblach before now but I did find a fascinating duo set with him & Bill T. Miller on Youtube which you can check out here:
   What is interesting about Mr. Knoblach is that he plays a wide variety of percussive instruments, toys and oddities, many of which are not normally used as percussion. Just reading the names of these devices makes me smile as someone who also plays the odd percussion like hubcaps & assorted metals. For those of us that can appreciate a wealth of percussion sounds, this disc displays quite a bit of sonic nuance, especially if we listen closely. As with most Evil Clown discs, PEK usually works with one instrument at a time, exploring each one: contrabass clarinet, bass sax, melodica, assorted percussion, double reeds and more. I played most of this disc with headphones which made it easier to hear the variety sounds, especially the infinite variety of percussion which was used throughout. Much of this is close mic’d, adding even more nuance to subtle sounds. 63 minutes long and consistently engaging as long you are patient. - Bruce Lee Gallanter, DMG          
CD $10


SANGEETA MICHAEL BERARDI with ARCHIE SHEPP / ROSWELL RUDD / MARIO PAVONE / EDDIE GOMEZ / RASHIED ALI - Divine Song (Sunjump 0019; USA) Featuring Sangeeta Michael Berardi on guitar & compositions, Archie Shepp on tenor sax, Roswell Rudd on trombone, Mario Pavone & Eddie Gomez on contrabasses and Rashied Ali on drums. This is a reissue of a rare album by Sangeeta Michael Berardi, a Connecticut-based guitarist, who known to just a handful of jazz guitar aficionados. The original LP was released in 1980 on the New Pulse Artists label, rarely reviewed with original copies going for upwards of $70. This reissue, which came out the year (2020), adds two long pieces which clock in at nearly 30 minutes of more music. For this session, Sangeeta organized a fine all-star band with most elder musicians, Archie Shepp & Roswell Rudd on horns (both of whom have been collaborating since the mid-sixties), two bassists Eddie Gomez (for Bill Evans) & Mario Pavone (with Thomas Chapin) and the great drummer Rashied Ali, who was John Trane’s last drummer of choice. Mr. Berardi wrote 6 of the 8 songs here with standards included. The album begins with an old Coltrane piece, “Some Other Blues”. It is always great to hear that bluesy swagger which epitomizes Archie Shepp’s sound and this is what we heard throughout this disc. On “Universal Soldiers” things are stripped down to just a guitar, bass & drums trio so that we get to hear Sangeeta and Rashied Ali play their fleet string of notes closely aligned. One of the things that stands out here is Mr. Berardi’s tone on guitar: a pure, refined jazz guitar sound with little distortion or effects. His tone and playing on Gershwin’s “Summertime” is especially enchanting, the song is mostly a duo for guitar and contrabass and features an exquisite bass solo in the second half. This disc ends with three long pieces and this is where the sextet really stretches out. “The Fifth Heart String Sings” has an odd, quirky theme and leans towards some more progressive influences, rather cerebral in the way it floats freerly along. The solo by Mr. Rudd on trombone is most chilling, like an ancient voice calling out from another time, long ago. In the last section of this piece, Sangeeta’s guitar, Shepp’s tenor & Rudd’s trombone all swirl together in a dream-like space which is most hypnotic. The highlight piece here is called, “Dreaming Coltrane”, and it also has a fine, dreamy, floating vibe with a long inspired solo from the guitar with strong spirited interplay from the trombone. The overall vibe here is an often trance-inducing spiritual sounding journey. Take a trip with Sangeeta’s spiritual sextet and listen to their superb ‘Divine Song’. - Bruce Lee Gallanter, DMG   CD $14

SECOND SIGHT with DAVE DOUGLAS / JEFF MARX / JOHN ESPOSITO / ALLEN MURPHY / FREDERICK BERRYHILL / JEFF SIEGEL - Tiger Tracks (Sunjump 018; USA) Featuring Dave Douglas on trumpet, Jeff Marx on tenor & soprano sax, John Esposito on piano, Allen Murphy on bass, Jeff Siegel on drums and Frederick Berryhill on percussion. This is the second unreleased record from Second Sight, recorded in 1987 in a studio in Woodstock and unreleased until recently. The leader was/is the pianist John Esposito, who I first heard with drum wizard Franklin Kiermyer and was featured on four great albums from the nineties. Mr. Esposito is the main composer here although all of the members of the sextet contribute to the great group sound. Aside from Mr. Esposito, the other member who went on to some well-deserved fame is trumpet great Dave Douglas. Beginning in 1993, Mr. Douglas, was a frontline member of John Zorn’s original Masada Quartet, as well as leading a series of his own bands, too many to name here. The only member of this sextet with whom I had heard of afterwards is their drummer Jeff Siegel, who worked with Arthur Rhames (another legendary figure) and Michael Jefry Stevens.
   This disc starts off with “Arrival”, a lovely, African sounding percussion piece played on what sounds like a balafon. “Dai Yat Lo”, kicks things off with some explosive horn section soaring on top of a burning McCoy Tyner-like rhythm team. The first solo by tenor man, Jeff Marx, erupts intensely and is most impressive. Dave Douglas, who was in the early days of his long career, it already a wonderful trumpet player, that first solo a perfect example of using every note to tell a great short story, making every note count. It is Mr. Esposito’s mature, thoughtful writing that works well throughout. “Fu Jow Pai” features more great ensemble arranging and playing. There are records, like Stanley Cowell’s ‘Brilliant Circles’ (rec 1969), which are under-recognized jazz masterworks, that come along all too rarely. This disc sounds like a long lost masterwork and all six members are integral to its amazing, righteous, energized perfect modern jazz unit. The last section of this piece reminds me Miles’ great sixties quintet (w/ Wayne, Herbie, Ron & Tony), no small feat. It is unfortunate that this disc wasn’t released soon after it was recorded and promoted right and hence being played on WBGO for the mass (or small body) of jazz listeners. Perhaps it might’ve been a hit. Wishful thinking… Tenor saxist, Jeff Marx, pulls off a spirited Trane-like solo on “Point Transit”, which also has more exciting ensemble playing. Dave Douglas stretches out on “Pressure Makes Diamonds” and takes an incredible solo! An early instance of his brilliance way before he was in the hotseat playing next to John Zorn in Masada, playing incredibly difficult ensemble work, lightning fast interaction and getting the wink from Mr. Zorn, after Zorn takes a particularly ridiculous solo & smiles at DD. This disc also features three alternate takes (24 minutes), which are also well worth checking out. Maybe those smart cats over at Jazzwise magazine will pay attention to this little known classic! Stranger things have happened. - BLG, DMG        
CD $14

SANGEETA MICHAEL BERARDI with JOE DIORIO / VEA WILLIAMS / EDDIE GOMEZ / RASHIED ALI / GEOFFREY GORDON / RAHIIM TAALIB - Music is Love: The Manhattan Sessions (Sunjump 0017; USA) Featuring Sangeeta Michael Berardi & Joe Diorio on guitars, Eddie Gomez on acoustic bass, Geoffrey Gordon on table & percussion, Rashied Ali on drums and Vea Williams on vocals. Since hooking back up with this, the Sunjump label, which is run by pianist John Esposito, we have been able to catch up and carry all of their nearly 20 discs. Sangeeta Michael Berardi is one of those largely under-recognized yet legendary jazz guitarists who seems to be known to just a handful of guitar aficionados from around the world. This was the second album that Mr. Berardi recorded for the Beat City label and it was first released in 1980. Sangeeta uses the same rhythm team members, Eddie Gomez & Rashied Ali, that he used for his first album, ‘Divine Song’, which was recorded the previous year in 1979. For his second album, Mr. Berardi adds another legendary jazz guitarist, Joe Diorio, as well as two percussionists and a singer called Vea Williams. It turns out that Joe Diorio and Sangeeta met in Chicago in 1963 at jam session and remained friends. Mr. Beraradi wrote five of the seven songs here with a couple of select covers by Thelonious Monk and Sonny Rollins. Beginning with “Wholly Tonal Blues”, both guitarists sound marvelous together. They both that sly, slinky sounding jazz guitar tone and it is often hard to tell them apart. Both guitarists get a chance to play their complex lines together, circling around one another in tight connected orbits. One of the interesting things about this album is this: legendary drummer, Rashied Ali, who is recognized as one of the greatest of all free/jazz drummers, being John Coltrane’s last drummer, is too often burdened by some listeners/journalists expectations of his playing to be mostly free. Mr. Ali is obviously a master jazz drummer who can & did play in many different styles. Mr. Ali and bassist Eddie Gomez, who was one of Bill Evans’ choice players, sound great throughout, playing in an elastic, swinging freely sort of way. Both guitarists take superb, inspired solos on Monk’s “Well, You Needn’t” as well as Mr. Ali. What makes this disc all the more amazing is the way that both guitarists sound together playing their ultra-complex lines tightly around one another and often astonishing speeds. Holy sh*t!! This just might be the best jazz guitar(s) record I’ve heard in years, an extension of what John McLaughlin started with ‘Extrapolation’ in 1968! Jazz guitar fan-addicts, do not ignore this treasure! - Bruce Lee Gallanter, DMG              
CD $14

JOHN ESPOSITO with GREG GLASSMAN / STACY DILLARD / IRA COLEMAN / PETER O’BRIEN - Lyra (Sunjump 0016; USA) Featuring Greg Glassman on trumpet, Stacy Dillard on tenor & soprano sax, John Esposito on piano & compositions, Ira Coleman on bass and Peter O’Brien on drums. Ever since hearing pianist John Esposito play with drummer/composer Franklin Kiermyer in the early 1990’s, I’ve been a big fan. Since the mid-1980’s Mr. Esposito has been leading bands and composing his own music and eventually starting his own label, Sunjump Music. I had lost contact with Esposito around 2015 and had forgotten about his music and his label and have recently caught up. Sunjump now has nearly 20 releases, many of which are sessions led by Mr. Esposito, guitar great Sangeeta Michael Berardi or a few other Esposito collaborators. Mr. Esposito’s most recent release as a leader is this, his current (rel in 2017) quintet. The other of this quintet are names I barely recognize from previous endeavors: Greg Glassman (with Roswell Rudd), Stacy Dillard (with Ben Tyree & numerous big bands) and Ira Coleman (with Vincent Herring, Tony Williams & Barney Willen).  
   Mr. Esposito explains in the liner notes that the 17 pieces on this disc were actually recorded in the 1980’s, when Esposito was working with the legendary saxist Arthur Rhames. Mr. Rhames was a complex musician who was also a triple threat who played guitar & piano as well as sax, all astonishingly well. Mr. Esposito learned quite a bit while playing with Mr. Rhames as far as transposing songs in a large variety of keys, making things difficult for his collaborators. A number of the lessons Esposito learned can be found in these songs, which he finally recorded in 2014, some thirty years later. Disc 1 starts with “Always Present”, the only song played twice on this to disc set. Similar to an earlier session called, ’Tiger Tracks’ (from 1987 with Dave Douglas on board), Mr. Esposito has organized a superb quintet with all strong, inspired mature-sounding musicians. What makes this disc great is that they have all the ingredients of great jazz, in a classic Blue Note sort of way: they swing hard, the melodies are both effervescent, memorable & even soulful, the arrangements are slyly crafty and all solos are inspired. There is both a sense of fun going on here as well as an uplifting, finger-snapping quality that can make us all feel better to be alive. Considering that both disc here are over 70 minutes each and everything I’ve heard here is equally excellent, there is quite a bit of great music to make this set a winner on may levels. This is modern jazz at its best! - Bruce Lee Gallanter, DMG    
2 CD Set $16

JORDAN DYKSTRA - The Arrow of Time (New World Records 80823; USA) “Featuring: Sara Cubarsi, Morgan Evans-Weiler, Jonathan Tang, violin; Nadya Potemkina, Joy Yi, viola; Laura Cetilia, David Mason, cello; Miller Wren, double bass; Jordan Dykstra, viola, crotales, sine tones, fixed media playback; J.P.A. Falzone, vibraphone and pedal synthesizer; Dave Scanlon, reed organ; Eugene Moon, sheng; Reinier van Houdt, piano, hand-crank siren
    We want to fabricate a new music. We imagine a situation in which the sounding together of tones is never taken for granted, is continually renewed and reinvented. We know that the effect of any set of simultaneous tones, by means of the multiplication implicit in the harmonic series, totals much more than the number of notes played. A room can be made to vibrate with hundreds of frequencies by a single chord. We want to enter into a universe of harmony in which it becomes possible to hear into the interstices of what does not sound by means of what does sound. We will use harmony to probe one world, and when that world is known, move from it to another and another beyond that.
   It is with this state of mind that I listen to the music by Jordan Dykstra (b. 1985). It reawakens in me a primal fascination with the simultaneity of sound. Because of the inventiveness of its compositional strategies, the music inspires a sense of open possibility, of something yet to come, of something yet not quite with us. Dykstra has a creative impulse, shared with many experimental composers, of not wanting to repeat in one piece what he has done in another. Each work seems to begin with a moment in an empty space. When I listen carefully before each piece on this disc starts, I have a keen sense of that space. It must contain an echo of the moment just before Dykstra started writing the piece: that moment when anything can happen.” - Michael Pisaro (from liner notes)
CD $15

MOTORPSYCHO - The All Is One (Rune Grammofon MPLP 304; Norway) If Motorpsycho's The Crucible (MPCD 103CD/MPLP 303LP, 2019) -- both visually and musically -- started where The Tower (2017) ended, one can argue that The All Is One starts where The Crucible ended and thus finishes the so-called "Gullvåg trilogy". That said, The All Is One is so much more than a sequel, and very much a standalone album in its own right. While The Crucible took the band a step further out than The Tower, the new one explores new frontiers, especially with the dark, brooding landscape of the 42-minute epic centerpiece that is "N.O.X.", possibly the most ambitious piece of music they have recorded. Eight shorter tracks, clocking in between two and ten minutes, make up the rest of the album and bring some balance to the proceedings. Lyrically, The All Is One takes up the threads from the previous albums. While there is no thematic red line as such -- and not being overtly political -- it is difficult for a socially conscious writer like Bent Sæther not to observe and reflect on what goes on in an increasingly unstable world. They have also found strong inspiration and common ground in the paintings of Håkon Gullvåg, the artist responsible for the cover art. The album was recorded in two major sessions, the first took place in Studio Black Box in France with long-time collaborator and guitarist Reine Fiske. Here they mainly focused on material with more or less traditional song structures. The second session was at Ocean Sound Recording in Norway and basically dealt with the long "N.O.X." suite, developed from the commissioned music they wrote for, and performed at, the St. Olav Festival in Trondheim last summer with two of their favorite Norwegian musicians, Lars Horntveth (Jaga Jazzist) and Ola Kvernberg (Steamdome). The whole album was mixed by Andrew Scheps at his Punkerpad studio in the UK. Artistically searching as ever, and in their own way joyously stretching the rock format as out of whack as they can, Motorpsycho neither can nor will align themselves fully to any scene or genre. Traveling their own path in their own tempo, it might take longer to get anywhere, but that is just fine when the journey itself is the whole point. And what a journey it has been; this band is still peaking after more than 30 years in the business.”
2 LP Set $32 [In stock sooner]
2 CD Set $22 [In stock soon]

JACQUI McSHEE & KEVIN DEMPSEY - From There To Here (Mcdem 001; UK) “Jacqui McShee and Kevin Dempsey formed McDem Records in 2020, focusing on their own blend of folk, blues, and jazz music. The story behind their collaboration began at the New Forest Folk Festival a few years ago. Jacqui McShee's Pentangle was a member down and luckily Kevin was on the same bill and bravely stepped in. They had both admired each other's work for some time and it seemed like such a good idea to start working together, so McDem Records was born. McDem Records has given them both a chance to explore and record more traditional folk songs and share writing ventures. Jacqui McShee is a founding member of the iconic folk/jazz group Pentangle. She has worked with some of the finest musicians in the folk scene, including Steve Tilston, Fairport Convention, David Hughes, Chris While, Julie Matthews, and many more. She received a BBC Radio 2 Folk Awards Lifetime Achievement award in 2007 and played the 50th Anniversary Isle Of Wight Festival in 2019. Kevin Dempsey is a guitarist, singer/songwriter, and record producer. He's a founding member of the '70s prog rock folk band Dando Shaft and Whippersnapper, playing alongside Dave Swarbrick. Performing and recording with award winning Uiscedwr, Joe Broughton (UFQ/The Conservatoire Folk Ensemble), Peter Knight (Steeleye Span), Chris Leslie (Fairport Convention). He has also toured with soul artists such as Percy Sledge, The Marvelettes, jazz icon Alice Coltrane and Irish folk star Mary Black.”
CD $15

STUART MOXHAM & LOUIS PHILIPPE - The Devil Laughs (Tiny Global Productions 019; Hungary) “Much has been written about Young Marble Giants' small, perfect catalog, which contained roughly two-dozen songs, nearly each one a perfect gem. Less is known about his long wilderness years after the break-up of his first professional band. Stuart Moxham's next project, The Gist, chopped YMG's minimalism into a new sound. "This Is Love", "Public Girls", and "Fool For A Valentine" showed his songs to be razor-sharp, but the album's fragmented pieces were a step too far for some, though even the strangest, "Carnival Headache", when cast in sunlight by Alison Statton's combo Weekend, was as fine a song as any he'd written -- and "Love At First Sight" became a million-seller when covered by Etienne Daho. Then Stuart disappeared. A mid-90s resurgence led to fine albums done on low budgets, before more silence followed. The Devil Laughs, recorded a few years back, is a compelling addition to the canon of the 21st century songwriting. Stuart's generally unadorned musical presentation does not hinder his appreciation for the skills of Louis Philippe, whose iconic arrangements across an array of Él label albums inspire the fierce devotion of aficionados around the world. Nor does the unvarnished solidity of Stuart's arrangements deter Louis from hearing possibilities for their presentation in styles which take inspiration from the perfection of 1960s studio technology that led to the rise of Brian Wilson, Burt Bacharach, along with less-recognized names such as Bones Howe and Roy Halee. "Tidy Away" is Young Marble Giants redux, though the backing vocals hint at maturity which band didn't live to see. "Fighting To Lose", written with producer Ken Brake, would pass as a worthy B-side to "Bridge Over Troubled Water", and although the songs are otherwise Stuart's, Louis fans will delight at several, like "Love Hangover" and "Sky Over Water", which display his style and production genius as succinctly as anything on his own albums. The Devil Laughs is as out of its time as Colossal Youth (1980) was -- its subtle but immediate beauty, devoid of "rock", is a recording best understood in the light of those obscure groundbreakers who inspired it -- the faux barbershop vocals of Smile-era Beach Boys, the studio luster of Tom Wilson's work with Simon & Garfunkel, a dash of The Swingle Sisters and French chanson -- along with enough hints of Young Marble Giant's modernist folk abstraction to satisfy longtime fans. The Devil Laughs is a small masterpiece of pure expression.”
CD $16

THE GIST - Interior Windows (Tiny Global Productions PICI 017; Hungary) “In the wake of Young Marble Giants' breakup, two camps were created, with Stuart Moxham taking the band's minimalist, geometric play to extremes and Alison Statton adding more warmth and feeling to the same basic template and creating something stunning but based in popular forms. Those two opposing -- almost knee-jerk -- means of forging new paths away from one of music's most astonishingly unique debuts both happened to include Stuart's brother -- Alison's former boyfriend -- Phil Moxham. Without a real template to guide him, Stuart's new form of music -- as The Gist -- was widely regarded as wildly uneven. Stuart admits that he didn't know which way to go, so in perverse style, he decided to take all directions at once. The Gist's original discography stood at a scant 18 songs, but only seven featured Stuart's own voice, often in heavily processed and oddly mixed form. So, while The Gist's label, Rough Trade, had the widest array of unique voices in popular music, Stuart buried his own voice. Sales disappointed. The Gist were dropped. A decade later, starting with a critical reevaluation of The Gist's sole album, Embrace The Herd (1982), in an issue of Mojo, the tide begin to turn. Ambience in pop music had enjoyed a cult following from Eno on, but the non-linear structure of many of The Gist's songs had certain parallels with the rise of artists such as Aphex Twin and Seefeel. One song from the era was covered by Etienne Daho in France. The Gist's story could have been different. Recent discovery of a trove of unreleased songs, versions, and demos showed that Stuart had ample material on a par with his YMG work, sometimes in rough demo form, but often in five or six complete, entirely different arrangements. With the 2017 album of unreleased material by The Gist, Holding Pattern (PICI 009CD/LP, 2017), a new audience discovered the band and the release sold out quickly. Interior Windows adds 13 new performances or alternate versions to the band's catalog, and does the service of finally making both sides of The Gist's first 7" 45 (recorded at the same session as the final YMG single) available again, along with their contribution to the Rough Trade/NME classic compilation C81, and in keeping with The Gist's tradition, at least one song on which Stuart does not appear.”
CD $16

EL GOODO - Zombie (Strangetown Records STR 048; UK) An incomparable world of bug-eyed, harmony-rich folk-pop-psych-alt-country-rock lies in wait for intrepid listeners as the best Welsh band the world nearly forgot, El Goodo, return with only their fourth album in a 20-year career, Zombie. The first single to be revealed, "The Grey Tower", is an expansive, five-minute trip through the '60s heat of Lauren Canyon and Haight-Ashbury via the picturesque Vale of Neath. The result of a rapid-fire period of easy-come recording at the legendary Rockfield Studios in the company of experimental producer, Tim Lewis (aka Thighpaulsandra, a Julian Cope collaborator and former member of Spiritualized), El Goodo's 13-track long player gathers loose ends from the band's stop-start lifespan, as well as brand new songs exploring parenthood, losing parents and -- tangentially -- Spanish surrealist film. Featuring over 20 musicians -- including core members Pixy Jones (lead vocals/guitars/keys), Elliott Jones (drums), Jason Jones (vocals/guitars), and Andrew Cann (bass) -- the album welcomes contributions from Sweet Baboo/Stephen Black (clarinet/bass clarinet/flute) and Welsh Music Prize-nominee, Eugene Capper (violin/slide guitar). The Grey Tower itself is assembled of 17 players, finessing the ride between bright, sun-dappled hippy pop and intense, squally fuzz with saxophone, harmonica, heavy strings and a Baldwin Electric Harpsichord. As well as recording Zombie direct to tape, El Goodo dug around in Lewis' rich archive of analogue equipment at his Aeriel studio in Carmarthenshire, including a rare Univox early synth used by Joe Meek in the recording of his 1962 game-changer "Telstar" (now used by the band on "I Can't Leave"). The result of their journey is a rich tapestry of valve-powered sound, recalling the White Album (1968), Scott Walker, The Troggs, Gene Clark, the Beach Boys and numerous other "golden-age" sonic explorers. The album is named after Lewis's sadly-departed dog -- etched in the band's memories and nasal passages as a vegetable-loving creature, with noxious after effects. Forming in the late '90s, El Goodo (named after the Big Star song, "Ballad Of El Goodo") emerged with intent as not only a support band for Super Furry Animals on their 2006 UK tour, but also as label mates as the Furries released the band's self-titled debut on their Placid Casual label in 2005. The next 15 years saw El Goodo blip contentedly on the radar as a gently persistent musical jewel cherished by knowing audiophiles.
CD $15  or  LP $22


PETER BROTZMANN with FRANK WRIGHT / WILLEM BREUKER / TOSHINORI KONDO / HANNES BAUER / ALEN TOMLINSON / ALEX VON SCHLIPPENBACH / HARRY MILLER / LOUIS MOHOLO - Alarm (1981)(Atavistic  ALP 257; USA) Intense Fmp Archive Reissue On Atavistic's Unheard Music Series, Featuring An Incredible, International Line-Up Led by Brotzmann, Esp Records Reed-God Frank Wright & Icp Mainstay Willem Breuker (Saxes), The Inimitable Alex Von Schlippenbach (Piano), South African Legend Louis Moholo (Drums), Harry Miller (Bass), Toshinori Kondo (Trumpet), And Hannes Bauer & Alan Tomlinson (Trombones).
   (Excerpted From Peter's Liner Notes): 'the Story Is Simple. We Were Touring With This Band, And The Reason I Could Put The Band Together In The First Place Was A Radio Gig In Hamburg. Michael Naura, Chief Of The Jazz Dept There, Was Setting Up A Series Of On-Air Concerts In A 200-Seat Studio, So We Performed The First Piece, Which I Called "Alarm." I Used The Graphic Instructions For A Reaction To A Nuclear Emergency, A Series Of Waves And Straight Tones, Repeated In A Certain Way.
   We Had Planned Two More Pieces, One By Willem Breuker And One By Frank Wright. My Piece Took About 40 Minutes, The First Half Of The Concert. At The End Of The Performance, Naura Came To Me ' While We Were Still On The Air ' And Whispered That The House Got A Bomb Threat And Had To Be Evacuated. So I Had To Bring The Piece Quickly To An End, And The Audience Was Asked To Leave The Hall. We Also Had To Pack And Leave. Police And Special Forces Showed Up With All Kinds Of Equipment, Gear, Dogs ' We Know All That Better Now Than Then."
CD $15

JOE McPHEE - Trinity (1971) (Atavistic ALP 214; USA) Intense Fmp Archive Reissue On Atavistic's Unheard Music Series, Featuring An Incredible, International Line-Up Led by Brotzmann, Esp Records Reed-God Frank Wright & Icp Mainstay Willem Breuker (Saxes), The Inimitable Alex Von Schlippenbach (Piano), South African Legend Louis Moholo (Drums), Harry Miller (Bass), Toshinori Kondo (Trumpet), And Hannes Bauer & Alan Tomlinson (Trombones).
   (Excerpted From Peter's Liner Notes): 'the Story Is Simple. We Were Touring With This Band, And The Reason I Could Put The Band Together In The First Place Was A Radio Gig In Hamburg. Michael Naura, Chief Of The Jazz Dept There, Was Setting Up A Series Of On-Air Concerts In A 200-Seat Studio, So We Performed The First Piece, Which I Called "Alarm." I Used The Graphic Instructions For A Reaction To A Nuclear Emergency, A Series Of Waves And Straight Tones, Repeated In A Certain Way.
   We Had Planned Two More Pieces, One By Willem Breuker And One By Frank Wright. My Piece Took About 40 Minutes, The First Half Of The Concert. At The End Of The Performance, Naura Came To Me ' While We Were Still On The Air ' And Whispered That The House Got A Bomb Threat And Had To Be Evacuated. So I Had To Bring The Piece Quickly To An End, And The Audience Was Asked To Leave The Hall. We Also Had To Pack And Leave. Police And Special Forces Showed Up With All Kinds Of Equipment, Gear, Dogs ' We Know All That Better Now Than Then."  
CD $15

(((POWERHOUSE SOUND))) with KEN VANDERMARK / JEFF PARKER / JOHN HERNDON / INGEBRIGT HAKER FLATEN / NATE McBRIDE / LASSE MARHAUG - Oslo/Chicago: Breaks (Atavistic ALP 177; USA) (((POWERHOUSE SOUND))) was formed in 2005, originally with KEN VANDERMARK on tenor sax, INGEBRIGT HAKER FLATEN & NATE McBRIDE on basses, LASSE MARHAUG on electronics and on drums. For (((PHS)))'s double-cd debut OSLO/CHICAGO: BREAKS, Vandermark composed tracks with the idea of building the music from the perspective of the bass- instead of the more conventional "top down" approach of composition construction, as he puts it. "The three major influences I considered when putting the music together were the rhythmic ideas of James Brown, the dub ideas of Lee Perry, and the collage ideas of Public Enemy." The Chicago-based touring line up, featuring VANDERMARK, McBRIDE, JEFF PARKER & JOHN HERNDON (both of TORTOISE) continue to work from these original concepts developed at the band's inception... Yet (((POWERHOUSE SOUND))) is undoubtedly here to test any and all genre "qualifiers" used within the independent music industry today!
2 CD Set 20

HAN BENNINK - Nerve Beats - 1973 (Atavistic UMS 206; USA) Han Bennink is one of the founding figures of European improvised music; longtime musical partner of Misha Mengelberg and co-founder of the Instant Composer Pool (ICP). Recorded for Germany's Radio Bremen in 1973, in the period when Bennink was storming Europe in a trio with Peter Brotzmann and Fred Van Hove, Nerve Beats comes from a time when Bennink deployed a gigantic setup: metal percussion, tons of extra drums, tablas, an early drum-machine, as well as non-percussive instruments like trombone, clarinet & various impossible-to-describe objects. A 3 track live concert, Nerve Beats is also the only live document available of Han performing solo at this time. Nerve Beats has been mastered from the radio session original tapes and sports new hand-done cover art by Bennink (also an accomplished visual artist).
CD $15

GLENN BRANCA / THE STATIC & THEORETICAL GIRLS - Songs ’77 - ’79 (Atavistic ALP 43; USA) (((POWERHOUSE SOUND))) was formed in 2005, originally with KEN VANDERMARK on tenor sax, INGEBRIGT HAKER FLATEN & NATE McBRIDE on basses, LASSE MARHAUG on electronics and on drums. For (((PHS)))'s double-cd debut OSLO/CHICAGO: BREAKS, Vandermark composed tracks with the idea of building the music from the perspective of the bass- instead of the more conventional "top down" approach of composition construction, as he puts it. "The three major influences I considered when putting the music together were the rhythmic ideas of James Brown, the dub ideas of Lee Perry, and the collage ideas of Public Enemy." The Chicago-based touring line up, featuring VANDERMARK, McBRIDE, JEFF PARKER & JOHN HERNDON (both of TORTOISE) continue to work from these original concepts developed at the band's inception... Yet (((POWERHOUSE SOUND))) is undoubtedly here to test any and all genre "qualifiers" used within the independent music industry today!
CD-EP $12


LOVE - Out Here (Endless Happiness 69003; Russian Federation) Reissue for the 1969 masterpiece by Arthur Lee's Love, Out Here, originally out on Blue Thumb. A true milestone in psychedelic rock, on a double vinyl set. ‘Out Here’ was the fifth album by LOVE, the original L.A. folk/rock/blues/jazz/prog quintet whose first album was released in 1966, perhaps the first rock band on Elektra Records. Their first three records, ‘Self-Titled’, ‘Da Capo’ and ‘Forever Changes’ are considered to be all sixties classics by journalists and fans alike, the three albums are often ignored or forgotten about. The leader & main songwriter, Arthur Lee, allegedly fired the original members before, (then rehiring them during the recording) and after the making of their masterpiece, ‘Forever Changes’, as well. Arthur put together an entire different version of Love for the last three albums. The next album with the new line-up was called, ‘For Sail’, released in 1969. Also released later in 1969 was a double album called ‘Out Here’ with similar personnel to the previous record, Arthur Lee on lead vocals & rhythm guitar, Jay Donellan or Gary Rowles on lead guitar, Frank Fayad on bass and George Suranovich on drums. Being a Love fan-addict since buying their first album in the summer of 1967, I bought ‘Out Here’ when it was released and still believe that it is a long lost rock classic. And as a double album, with some 17 songs, it still holds up quite well. There is one long song here, “Love is More than Words”, which features an amazing double guitar freakout that must be heard by you lead guitar freaks of yesteryear. - BLG at DMG      
2 LP Set $24

NO NEW YORK with CONTORTIONS / TEENAGE JESUS & THE JERKS / MARS / DNA - No New York (Lilith 102; Russian Federation) Limited restock One of the brightest and most famous projects of the entire punk/new wave scene, No New York was released in 1978 on Island's sub-label Antilles. Featuring some of the most incredible rule breaking bands of the underground N.Y.C. art and music scene, the project - produced by Brian Eno - is a genuine snapshot of the massively creative N.Y.C. scene. Artists: Contortions, Teenage Jesus And The Jerks, Mars, D.N.A..
LP $22

ORNETTE COLEMAN with CHARLIE HADEN / DENARDO COLEMAN - The Empty Foxhole (Endless Happiness 66001; Russian Federation) Endless Happiness present a reissue of Ornette Coleman's The Empty Foxhole, originally released in 1966. Coleman's most controversial album back on vinyl. The Empty Foxhole marks the recording debut of Ornette's son Denardo, who was ten years of age at the time of the recording.”
LP $19

CAETANO VELOSO - Caetano Veloso (Irene)(Lilith 144C; Russian Federation)  Lilith Records present a reissue of Caetano Veloso's Caetano Veloso (Irene), originally issued in 1969. Although Veloso had already been thrown in jail once for his criticism of Brazil's military regime, he continued to speak out against it on Caetano Veloso (Irene), with tracks like "Irene", (about a machine gun-toting outlaw celebrated by the left). No wonder he would soon find himself in political exile in the UK. The general tone of the album is in keeping with its dire message and actually, Veloso felt it was important for his voice of protest to be heard around the world. If he was a high profile public figure, he felt that he would be safer. Despite all of this (or perhaps because of all this) and the man still managed to make excellent records! Clear vinyl.
LP $22

TROPICALIA - Tropicalia: Ou Panis Et Circensis (Lilith 340; Russian Federation) Originally released in 1969, this album is one of the most significant in Brazilian musical history, spearheading the musical Tropicalia revolution lead by Brazilian legends Caetano Veloso and Gilberto Gil, not to mention Gal Costa and mutant rockers Os Mutantes. Not only were the artists experimenting with the music, they were also making a very strong political statement that spoke out very harshly against the military regime in Brazil at the time. This album helped land Veloso and Gil a brief stint in jail and eventually in political exile in the UK. Includes bonus CD of the album.
LP CD $24

BIG BLOOD - Dark Country Magic (Feeding Tube Records/Cardinal Fuzz 543; USA) “Cardinal Fuzz and Feeding Tube Records bring to you the much-anticipated vinyl pressing of Dark Country Magic from this wonderful Maine trio (Quinnisa making her first intentional effort with "Moo Hoo" on this release). Caleb Mukerin and Colleen Kinsella have been key personages of the Portland sonic underground as members of the cosmically-shifting Cerberus Shoals and the folkily psychedelic Fire on Fire before forming the more personal and hermetic Big Blood back in 2006. The band's multi-phasic discography has thus far reminded people of everything from the Comus to Portishead to Julee Cruise at different moments, yet none of these thumbnails comes close to capturing the intimacy and directness of their recordings where they take things to a higher plane of personal expression. In Dark Country Magic, haunting effects and experimental sounds combine with wailing fuzzed-up garage folk anthems and twisted poetic freak-folk as lyrical layers peel away endlessly, tiny amps weep in pain, crude percussion booms thunderous, and ragged, beautiful hooks unfurl straight out of the void. On "Coming Home Pt.III" Kinsella's quivering bewitching vocals ask you to succumb to the hauntingly melancholic drift while acoustics strum quietly up front before Dark Country Magic's playful closer "Moo-Hoo" where Quinnisa performs a children's story. The combination is head spinning and gloriously original, but will be immediately identifiable as Big Blood by anyone who knows the band's music.”
LP $24  

EIKO ISHIBASHI - Hyakki Yagyo (Black Truffle 064; Australia) “Black Truffle announce a new solo album by Eiko Ishibashi, her first for the label, following on from the duo recording Ichida alongside bassist Darin Gray (BT 039LP, 2018). Hyakki Yagyō (Night Parade of One Hundred Demons) was produced for the "Japan Supernatural" exhibition at The Art Gallery of New South Wales, Sydney focusing on ghost stories and folklore from the Edo period onwards. As with The Dream My Bones Dream (Drag City, 2018), the album is a response to troubling questions about Japanese history, and the influence of the past upon the present, but finds Ishibashi shifting further away from her earlier piano-led songwriting and showing a deepening interest in electronics and audio collaging. The two side-long parts of Hyakki Yagyō feature layered synthesizers, acoustic instrumentation, recited verse, and field recordings, at times densely mixed but always with a subtle interplay of changing elements. The influence of European and American forerunners as diverse as Alvin Curran, David Behrman, and Strafe Für Rebellion can be traced, yet at the same time Ishibashi evokes the flute and string sounds associated with Japanese storytelling, and draws directly on the subversive literary tradition of Kyoka ("mad poetry") with a verse by the 15th-century poet Ikkyū Sōjun repeated throughout the album. Revisiting what has gone before, re-thinking what is possible musically, as a way of articulating what else might be possible in the future. As Ishibashi's liner notes make clear, the album reflects an attention to persistent dangers, myths and evasions in Japanese culture -- as well as the lurking uncertainties that might threaten positive change. This would seem to be manifested in the emerging melodies soon met by dissonance, erratic collisions, and near silence, as well as the eerie manipulation of the double-tracked vocals. Ishibashi's underlying concerns ring true more widely of course. Hyakki Yagyō is a work of multiplicities, and mystery, a landscape where nothing is as it seems at first, and everything is vulnerable to sudden violent interruptions. The album was produced with regular collaborators Jim O'Rourke (double bass) and Joe Talia (percussion), and features dancer and choreographer Ryuichi Fujimura performing Ikkyū's satirical tanka. O'Rourke's immersive mix creates a three-dimensional effect, with Ishibashi's various sound sources enmeshing and interacting in captivating ways. White vinyl; inner sleeve featuring artist portrait and liner notes from Eiko Ishibashi. Cover and label design by Shuhei Abe. Back cover design by Lasse Marhaug. Mixed and mastered by Jim O'Rourke.”
LP $26



If you have a link, for some music that you are working on and want to share it with the folks who read the DMG Newsletter, please send the link to DMG at Many of us are going stir crazy staying at home so if you want to inspire us and help us get through these difficult times, please show us what you got. I listed some these last week but have also a few more.



The 10-day FESTIVAL OF NEW TRUMPET MUSIC 2020 starts Sept. 8!

1st Online Edition 

Join us (for free!) from Sept. 8-17 for a completely digital celebration and performance of new works by a diverse community of talented trumpet and brass players, including live Zoom talks with the artists and an online workshop with Ingrid Jensen.

Links to nightly performances (7PM EST each night) will be available on our social media, as well as links to Zoom chats with the artists after each show.

Shows will be rebroadcast the following day at 2pm to accommodate listeners in some other time zones. See the full schedule of events below.

Tuesday, September 8
An annual celebration of the legacy of Laurie Frink
Rachel Therrien – trumpet; Gentiane MG – piano
Cole Kamen-Green – trumpet, electronic valve instrument, electronics
Winner of the 2020 Laurie Frink Career Grant
Summer Camargo – trumpet; Luther Allison – piano; Philip Norris – bass; Varun Das – drums
Wednesday, September 9
A celebration of the great trumpeter and composer Baikida Carroll, featuring his work and commentary from many of his colleagues and peers. Rare footage of the master at work.
Thursday, September 10
FREDDIE HENDRIX AND FRIENDS – A Tribute To Clifford Brown at 90
Freddie Hendrix – trumpet, leader, composer, arranger; Mike Rodriguez – trumpet; Bruce Harris – trumpet; Jeb Patton – piano; David Wong – upright bass; Willie Jones III – drums
DIZZY ATMOSPHERES by Dave Douglas and Dave Adewumi
Dave Douglas – trumpet; Dave Adewumi – trumpet
Video artists: Ivan Forde, Bill Morrison
Friday, September 11
Riley Mulherkar – trumpet; Chloe Rowlands – trumpet; Andy Clausen – trombone; Willem de Koch – trombone; and featuring a world premiere composition by Mason Bynes to honor Rosa Parks
Saturday, September 12
Saturday, September 12
“EMERGING VOICES” SHOWCASE HOSTED BY BRIA SKONBERG featuring Summer Camargo, Brandon Woody and Lessie Vonner (7pm)
Bria Skonberg – trumpet; Summer Camargo – trumpet; Brandon Woody – trumpet; Lessie Vonner – trumpet; Chris Pattishall – piano; Endea Owens – bass; Darrian Douglas – drums
Sunday, September 13
Noah Halpern – trumpet; Santosh Sharma – tenor saxophone; Stanley Ruvinov – bass; Kassa Overall – drums
Ashlin Parker & Trumpet Mafia
Monday, September 14
LAURA JURD (UK) – instinct.memory.flowstate
Laura Jurd – cornet, percussion, production
Christine Kamau – trumpet; Victor Kimetto – keyboards; Emmanuel Chacha – drums
Iván Trujillo – trumpet, electronics; Martha Rolón – clarinet, alto saxophone; Katherine Hernandez – alto saxophone; Kevin Urzua – trombone; Kalid Garcia – guitar; Gabriel Nava – electric bass; Javier Gómez – drums
TOMASZ DĄBROWSKI – Free4arts (Poland)
Tomasz Dąbrowski – trumpet; Sfen Dam Meinild – baritone sax; Simon Krebs – guitar; Kasper Tom Christiansen – drums;
Joanna Rusinek – concept, painting and pictures; Konrad Kulczyński – editing and post-production
Tuesday, September 15
YAZZ AHMED (UK) – A Moment To Be Free
Yazz Ahmed – trumpet, quarter-tone flugelhorn, electronics, programming, field recordings; Noel Langley – trumpet, flugelhorn; Samuel Hällkvist – guitars; Katrine Amsler – additional drum programming and vocal percussion; Corrina Silvester – percussion; Composed and arranged by Yazz Ahmed; Produced by Noel Langley & Yazz Ahmed
Mariano Loiacono – trumpet; Sebastian Loiacono – tenor saxophone; Ernesto Jodos – piano; Jeronimo Carmona – bass; Sebastian Mamet – drums
NDABO ZULU (South Africa)
Ndabo Zulu – trumpet; Linda Sikhakhane – saxophone; Keenan Ahrends – guitar; Shane Cooper – bass; Sphelelo Mazibuko – drums
NABATE ISLES – Same Strife, Different Life (USA)
Nabaté Isles – trumpet; Sam Barsh – keyboards; Allakoi Peete – percussion 
Wednesday, September 16
Ray Colom – trumpet; Logan Richardson – alto sax; Diego Amador – piano, voice; Fernando LaMadrid – bass; Diego Amador Jr. – drums; Lin Cortes – voice; Rosario la Tremendita – voice
Ellen Kirkwood – trumpet, flugelhorn, voice, percussion, production; Harri Harding – baritone and tenor saxophones
…reflecting today’s uncertainties
All music composed and performed by Jeremy Pelt; Video Editing by Clara Winder 
Thursday, September 17
Nicholas Payton – bass, keys, and trumpet; Sasha Masakowski – vocals, drum machine, and looper

All performances start at 7pm (EDT/GMT-4). On certain nights there will be live talks on Zoom after the presentation (tba).


Saturday, September 12th, 7:30pm at the Red Hook Ferry Terminal

Red Medicine: vocals, powwow drum
Yonatan Gat: electric guitar, electronics
Lele Dai - electronics
Christopher Pravdica (of Swans) - electric bass
Chris Pitsiokos (sax)/Luke Stewart (bass)/Tcheser Holmes (drums) TRIO

The show is in the parking lot at the intersection of Conover and Pioneer Streets, right next to the Mary Whalen/Portside New York, which has been a huge help to our programs there. Please donate to them here, if you are interested in their programs in general:



This is from Jessica Hallock, please do check it out, there is so much to explore here and I know some of you are bored and need some inspiration/distraction:

Livestreams are obviously no replacement for live shows, but they're all the community we have right now––so experimental music calendar now provides links to livestreams (with artist / curator donation info); a roundup of local musicians' releases; COVID-19-related resources, including links to grants, petitions, & a local venue donation list; & an Instagram account (@NYC_Noise) promoting artists and releases. Please let me know about your livestreams &/or new records at



once in a while they are historical old thangs from my video archive and I will be doing more collaborations with other improvisors. I plan to keep this up until there are live gigs again so there will likely be a lot more of these best, Henry




Because of You
We surpassed our $50,000 Goal
Your Donation Made the Difference
What an amazing community! Your continuing support in the face of all of the challenges that are facing us is really impressive. Together, we raised over $60,000, including over $30,000 in small donations.

We continue to post weekly Artist Diaries ( and special archival footage on our YouTube channel ( So there will be plenty of amazing music and art to see and inspire.

On September 7th and September 12th, Arts for Art will present Live Outdoor Events at La Plaza in The Clemente. They will be carefully presented, socially distanced, inspiring FreeJazz performances. Look forward to more information coming soon.

Wishing You Strength and Justice with Compassion.

Patricia Nicholson Parker
Founder, Arts for Arts



Every Week for the entirety of this pandemic/lockdown INGRID LAUBROCK & TOM RAINEY have been posting a new duo offering. I have listened to every one of these as they were sent out and am much impressed by the way this duo continues to evolve and work their way through many ideas. You can check out each one here:


THOMAS SAYERS ELLIS is the leader of the great Poetry/Music/Confrontation Band HEROES ARE GANG LEADERS a/k/a HAGL.

HAGL has a website that you should check out at:
for the latest intersection of music-minded words and word-minded music and while you are there also check out The Lokotown Reverb where classic overlooked Oral Literature, Studio Recordings and Live Performances are given a fresh look!

GIANTHOLOGY is a forum for writing not whining, aesthetics not agenda, ideas not issues, vision not victimhood, GIANTHOLOGY is edited by the members of Heroes Are Gang Leaders.
Send 2 to 4 unpublished works to

Thomas Sayers Ellis

Fri, Aug 7, 7:28 PM (6 days ago)

to Alberto, Lisa, Steve, press, Steven, william, Bruce, geoffrey, Piotr, Philip, fastspeakingmusic, Alexandra, Randall, Bonita, Bob, Zev, Guy, siddhartha, Tim, Bill, Ben, Justin, justin, Matteo, Matthew, Cait, XAVIER, CA, Connor, Hamid, Nick, Tristan, Gio, Alexandre, Pierre, Jennifer, Jeffrey, Michael, quincy, Marc, Marcello, Michael, Ron, George, Cisco, Nick, Mike, Donald, Dieter
Italian Poet Nazim Comunale has three poems on GIANTHOLOGY! Translations by Fulvio Giglio.


ROULETTE AT HOME: Master List&utm_campaign=c19eeaa4fd- Dr. Chadbourne! EMAIL_CAMPAIGN_2018_08_15_09_07_COPY_01&utm_medium=email&utm_term=0_c36db137d7-c19eeaa4fd-302668229#!/grs/0/id/92 Master List&utm_campaign=c19eeaa4fd-EMAIL_CAMPAIGN_2018_08_15_09_07_COPY_01&utm_medium=email&utm_term=0_c36db137d7-c19eeaa4fd-302668229 Master List&utm_campaign=c19eeaa4fd-EMAIL_CAMPAIGN_2018_08_15_09_07_COPY_01&utm_medium=email&utm_term=0_c36db137d7-c19eeaa4fd-302668229

Playlist: Excerpts from the Black Avant-Garde - Tracks by Tomeka Reid, Reggie Workman, Diedre Murray, Anthony Davis, Amiri Baraka, Henry Threadgill, William Parker, Matana Roberts from the Roulette concert archive. - Master List&utm_campaign=34384bb216-EMAIL_CAMPAIGN_2018_08_15_09_07_COPY_01&utm_medium=email&utm_term=0_c36db137d7-34384bb216-302668229


My good friend & guitar master GARY LUCAS is playing half hour sets at his apartment in the West village every Tuesday, Thursday & Saturday at 3pm EST on Facebook. Different songs on each episode. Here is the link: https://www.facebook