THIS WEEKâ€™S THEME IS â€œCOSMIC MUSICâ€ to Soothe and Inspire Us, Starting with this:
TISZIJI MUNOZ with DON â€˜YAKAâ€™ PATE / TONY â€˜SADHU BHAVâ€™ FALCO / RA KALAM BOB MOSES - Master of Silence (Anami Music 054; USA) Featuring Tisziji Munoz on electric guitar, Don Pate on acoustic bass and Tony Falco & Ra Kalam Bob Moses on drums. This session was recorded in March of 2011. After a couple of years of inactivity, due in-part to some Civid-related health issues, guitar god, Tiszij Munoz, is back with a handful of strong discs over the past 7 or 8 months. Each of the recent discs has had different personnel: some with two bassists, some with two drummers, some with different piano/keyboard players (John Medeski or Paul Schaffer) and even some guest saxists (Dave Liebman & Pharoah Sanders). The great thing is that each of these discs is strong and spirited, no matter who is in the band.
â€˜Master of Silenceâ€™ is a somewhat stripped down version with longtime bassist Don Pate plus two drummers: ongoing collaborator Ra Kalam Bob Moses and one of his former students, Tony Falco. Things begin with â€˜Absence: Skynessâ€, which has a slow, throbbing, Trane-like bass line. Mr. Munoz uses his own distinctive tone, slightly distorted and implementing his own metal pic. The great bassist Don Pate throbs at the center while Munoz starts those curly-cue, spiraling lines up and down the neck of his guitar. Both drummers spin tightly together and often sound like one player. On the second piece, â€œOpenness: Infinity Revealedâ€, the tempo increases as Munoz starts stretching higher, ripping off streams of furious notes at an astonishing pace! The rhythm team also picks up and increases the flurry as the cosmic vibe ascends even higher. The piece ends with a powerful bass solo and then a superb Ra Kalam organic drum solo conclusion. â€œSpontaneity: Timelessnessâ€ again begins slowly with Munoz stating an ancient melody at the beginning before the quartet again takes off, reaching more flights of fancy, notes blistering on the verge of erupting to some molten heights. If you listen closely, you can hear some incredible, quick, intense interplay between the guitar and bass. Mr. Pate has been working with Mr. Munoz for so long that they often end up playing some of these lightning flash lines together, eventually the bass slows down while Munoz double times the bass lines. Things go even higher on â€œWholeness: Self-Sprung Awarenessâ€, with Munoz increasing the furious flurry of notes into a blinding daredevil stream. Itâ€™s all too much at times while Tisziji reaches for those whiplash-like cascades, eventually slowing back down to less breathless pace but no less celebratory. I often get the feeling that Tisziji Munoz and his cohorts are unlocking the door to another dimension so that we can pass through and arrive at another place which seems familiar, but is actually our new home in the ever-after. - Bruce Lee Gallanter, DMG
PAUL DUNMALL / KEITH TIPPETT / PHILIP GIBBS / PETE FAIRCLOUGH - Onosante (577 Records 5864; USA) Featuring Paul Dunmall on tenor & soprano saxes, fife & bagpipes, Keith Tippett on piano, Philips Gibbs on guitar and Pete Fairclough on drums. This session was recorded at Victoria Rooms studio in November of 2000 and originally released on Paul Dunmallâ€™s own DUNS label, in a very limited edition of 50. Keith Tippett and Paul Dunmall played together in Mujician, an incredible improv-mainly quartet that existed from 1990 - 2006 and recorded some 7 CDâ€™s, each one a gem! Mujician ended with the death of Tony Levin (drummer) in 2011, although they did a couple of gigs with Louis Moholo after 2011. Most sadly, Keith Tippett, who my old partner Manny Maris & myself considered to be our favorite pianist of all, passed away last year in June of 2020. Most Paul Dunmall fans know about guitarist Philips Gibbs who has collaborated with Dunmall on more releases than anyone else. Drummer Peter Fairclough is less well known although Iâ€™ve long dug his work with Martin Archer, Mike Westbrook & Julie Tippetts, as well as his own super-rare group effort and two out-of-print duos with Keith Tippett.
One of the best things about the majority of discs on the Duns label is that they were recorded by Jonathan Scott, no doubt one of the greatest unsung music recordists. Right from the opening splash, Mr. Tippett is playing the piano and muting the strings in a furious flurry of activity. Mr. Dunmall comes in sailing on soprano sax, the two soaring together. Soon both Mr. Gibbs on equally quick, free guitar and Mr. Fairclough on busy percussion both add to the intense swirl of free, focused spirits. The longest piece here is called, â€œFor Lost Soulsâ€ and it clocks in at almost 35 minutes. As soon as it begins, it sounds as if we are already in the middle of an intense hurricane with several layers of spiraling winds dancing together in connected orbits. Each member of the quartet is doing some amazing playing here so we must listen closely. Solos, duos, trios and the quartet all occur and evolve together with different lines connecting in different places. Since Mr. Dunmall and Mr. Tippett had played together so much, I hear the way they exchange ideas, often bonding by complimenting or completing each otherâ€™s lines or flow of ideas. The ever-inventive, Philip Gibbs, also interweaves varies lines, his nimble to explosive interaction is often astonishing. Although there are some occasional quieter moments, when things do erupt, it is as if we are entering another domain, one of busy, intense activity, soaring higher and higher as we go. There is a section here where Dunmall plays a repeating pattern quickly on soprano sax while Tippett underlines each note on the piano. It sounds quite a bit like Terry Rileyâ€™s â€œRainbow in Curved Airâ€, only more sped up to a dizzying pace. If you want to hear some of that Magic Free Improv done at its best, then this is where to begin. It doesnâ€™t get any better! - Bruce Lee Gallanter, DMG
DENNIS GONZALEZ ATARAXIA TRIO 2 - Nights Enter (Ayler Records 171; France) Personnel: Dennis Gonzalez on treated C trumpet, percussion & conch shell, Jagath Lakpriya on tabla & djembe, Drew Phelps on electric & acoustic bass, Jess Garland on harp and Derek Rogers on moog synth. It has been quite a while since weâ€™ve heard anything new from Texas-based trumpet master Dennis Gonzalez. Even Yells at Eels, his trio with his two sons, Stefan & Aaron, hasnâ€™t recorded in a long while. Word is that Mr. Gonzalez has had some health issues over the past few years so I do wish to send him some positive vibes, considering that we are old friends and longtime supporters of whatever he has done. For this disc Mr. Gonzalez has organized a new quintet of what I believe are Texas-based musicians. The only name I recognize is bassist Drew Phelps, who used to play in an Austin-based band called Noisetet, a band I once caught at CBâ€™s Gallery during our days on the Bowery. The thing is that as long as Iâ€™ve known of Dennis Gonzalez, he always picks strong collaborators from across the US and Europe. While reading the liner notes, I was almost in tears, reading about the serious health issues that Mr. Gonzalez has had to deal with in recent times.
This first thing I noticed about this group was the odd instrumentation: processed trumpet, harp, moog synth, bass & tabla or djembe. The music is extremely well-recorded, all instruments balanced just right. Mr. Gonzalezâ€™ treated trumpet sounds quite a bit like Jon Hassell as do the other instruments like the fretless bass, tablas and synth. The music is spacious, soothing, cosmic, organic and often hypnotic. Bassist Drew Phelps stands out here, playing those sublime Jaco meets Percy Jones-like fretless lines which float through the air like slow dancing ghosts. I am not sure how much Mr. Gonzalezâ€™s health issues have affected his playing but for this disc, he has slowed down, concentrating on each note, bending them most carefully as well as adding subtle amounts of effects, giving his playing a dream-like aura. Bassist Drew Phelps, switches to acoustic bass on â€œSitaâ€ and also sounds mighty fine bowing his contrabass. Acoustic harpist Jess Garland, adds some special sonic seasoning to a few tracks in the later part of this disc. Looking out my kitchen window on a sunny Spring day (4/28/21), the enchanting music here really rings true and makes me feel great to be alive, breathing slowly and smiling inside & outside both. Special thanks to the mighty Dennis Gonzalez and the Ataraxis Trio 2 for helping us all feel better. - Bruce Lee Gallanter, DMG
EVAN PARKER ELECTRO-ACOUSTIC ENSEMBLE with PAUL LYTTON / PERCY PURSGLOVE / PETER VAN BERGEN / STEN SANDELL / ADAM LINSON / MARK NAUSEEF / et al - Warszawa 2019 (Listen! Foundation FSR 06/2021; Poland) Featuring Evan Parker on soprano sax, Peter Van Bergen on bass & A-flat clarinets, Percy Pursglove on trumpet, Sten Sandell on piano & synth, Richard Barrett & Paul Obermayer on sampling keyboards, Matt wright on laptop & turntable, Adam Linson on bass and Mark Nauseef & Paul Lytton on percussion. According to the liner notes, Evan Parkerâ€™s Electro-Acoustic Ensemble has been around for 30 years which seems long for a rather unwieldy, ever-evolving unit. The personnel and number of participants has changed over time but their sound/concept remains at the center. This is a ten-piece version, which has grown nearly twice as long in the past. Those in the know will recognize all of most of the names here from varied projects: Mr. Pursglove from Dunmall projects, Paul Lytton who has worked with Mr. Parker for more than 40 years, Mark Nauseef (too many to name here) and Sten Sandell (from Gush, Fire! & many solo/duo/trio projects).
The set here was recorded live at the 14th Ad Libitum Festival in Warsaw, Poland in October of 2019, the sound is superb, well-balanced, well-captured. The subtle aspects of what is going on here are what makes this so fascinating. Things rarely get too dense so we can hear what all or most of the players are doing. Even when things get more dense, we can still hear the interplay and individual members. At times, I felt as if I were on a space flight with different swirling sounds and instruments all in separate yet connected orbits. As soon as I focus on one player/instrument, I start to hear the way the rest of the ensemble responds and grows. While Mr. Parker solos on soprano sax or Mr. Pursglove on trumpet, the rest of the ensemble move together into a compelling tapestry of electro-acoustic sounds. I felt as if I were entering a new (sonic) world or environment and adjusting to the way things evolve from one scene to the next. This disc is nearly an hour long and consistently riveting throughout. - Bruce Lee Gallanter, DMG
THOMAS HEBERER / JOE FONDA / JOE HERTENSTEIN - Remedy (Listen! Foundation FSR 08 / 2021; Poland) Featuring Thomas Heberer on trumpet, Joe Fonda on contrabass & flute and Joe Hertenstein on drums & percussion. Longtime member of the ICP Orchestra, Thomas Heberer, has been living in New York a long while, working on a variety of projects and recording from time to time. Since we are good friends, Mr. Heberer often plays here at DMG with a variety of musicians, his releases come less frequently, perhaps one per year. This is Thomasâ€™ current band and it features contrabass master Joe Fonda and drum wiz Joe Hertenstein. This is a cooperative trio where each member contributes or co-writes three songs. There is a good story in the liner notes here about how this trio got together weekly and evolved throughout NYC lockdown/pandemic. The communal spirit is apparent from the very first note. â€œThe Closer You Are, the Further It Getsâ€ uses the playing of each member of the trio as a solid force, a righteous, tight balance of three strong spirits. Although the song sounds tightly structured, the trio has the ability to stretch beyond those guidelines, the rhythm team elastic as they spin together tighter, looser, tughter, looser with Mr. Heberer changing his tone/approach as the song evolves. This piece is episodic and goes through several sections, all well-connected. There are two songs here called, â€œFor Wadada Leo Smith, Opus 1 & 2â€, Mr. Smith being a widely respected elder trumpeter/composer/multi-bandleader. Wadada is an example of a musician who has continually evolved as a player and composer and who sounds inspired on each and every project. Heberer stays within a short tonal range yet playing a long solo throughout while the rest of the trio jump through hoops, constantly switching tempos and dynamics. Mr. Hertensteinâ€™s â€œPink Umbrella-Panicballadâ€ again keeps the rhythm team tightly spinning through some difficult changes while Heberer plays marvelously on top. The longest piece here is called, â€œYou Are There-Roadmap 616â€ and it is a suite of sorts in three connected sections. There are some truly difficult daredevil twists and turns going on here with a few short, tight, inspired solos in between the more written passages. There is a longer solo by bassist Joe Fonda midway that is especially spirited and a particular highlight for me. Joe Fondaâ€™s â€œFast #2â€ features a quick, repeating bassline that has a boppish sound but then stops abruptly and gets into a more skeletal section with some old school muted trumpet sounds and then back into the quick, tight last section. Considering that this is a trumpet-led trio, there is quite a bit more going on here than one might think. Quite a bit of diversity and thought went into creating this disc so take some to check this gem out, each listen will provide more food for thought. - Bruce Lee Gallanter, DMG
MOVE with ACHIM KAUFMANN / HARRI SJOSTROM / EMILIO GORDOA / ADAM PULTZ MELBYE / DAG MAGNUS VARVESEN - In Moers (LISTEN! Foundation FSR 07/2021; Poland) Move features Harri Sjostrom on soprano & sopranino saxes, Achim Kaufmann on piano, Emilio Gordoa on vibes, Adam Pultz Melbye on double bass and Dag Magnus Narvesen on drums. This session was recorded live at the Moers Festival in Germany in June of 2019. You should recognize some of the names here from different projects: Harri Sjostrom (from his work with Cecil Taylor), Achim Kaufmann (working with Michael Moore & Frank Gratkowski) and Dag Magnus Narvesen (with Alex Von Schlippenbach & Frode Gjerstad). Most of the members of this quintet were part of the Balderin Sali sessions with Evan Parker and who have a 2 CD set out on Leo from last year (2020). This disc is a spirited live session and clocks in at around 43 minutes. The sound here is superb, well-balanced with all five members integral to the group sound. These are minimal at first and evolve slowly. There is a spacious, magical, dream-like quality to this music that I find most refreshing, especially after reviewing some of the intense free/jazz contenders from this weekâ€™s newsletter. Eventually the quintet hits their stride, erupting several sections in the second half of this session. There are some moments when the instruments come together blending into one cosmic sound, a most transcendent moment, indeed! - Bruce Lee Gallanter, DMG
FIRST TWO RELEASES FROM PHIL FREEMANâ€™S GREAT NEW BURNING AMBULANCE LABEL:
IVO PERELMAN / NATE WOOLEY - Polarity (Burning Ambulance Music 71; USA) Featuring Ivo Perelman on tenor sax and Nate Wooley on trumpet. Former Brazilian-born saxist and Downtown trumpet-hero, Nate Wooley, have been working together for the last few years in trios and quartet sessions with Mat Maneri, Matt Shipp and Gerald Cleaver. This is their first duo effort and it was recorded in a studio in Brooklyn in February of 2020. Both of these respected musicians have recorded quite a bit over the past decade although Mr. Perelman seems to be on a roll, producing more than 80 CD's over in the last quartet century as a leader or co-leader. Mr. Wooley also keeps busy with a wide variety of projects as a leader or collaborator, as well as editing/publishing the Sound American periodical. His list of collaborators is huge so letâ€™s just mention a few: Evan Parker, Ken Vandermark, Dave Remis, Paul Lytton and Ingrid Laubrock.
Both of these musicians are serious and diverse improvisers and are committed to digging deep into the different bags to have a serious, evolving dialogue. Sometimes I hear fragments of songs or melodies which soon morph into something else. At times, Mr. Perelman will take a note or two and then repeat it as he stretches it out, bending and twisting it in different ways. Mr. Wooley also moves between different extremes of approaches, also stretching out and muting certain notes or sounds, pushing things beyond any sort of limits, playing what sound like parts of ballads and then carefully deconstructing any regular expectation or obvious structure. It takes a while but eventually both players start pushing things further out by using their voices and adding odd sounds to their already strange palette. During a later part of this disc, both players start to exchange their sounds at a quicker tempo, the different lines criss-crossing, the excitement increasing to some powerful levels. When it ended, I just wanted to play it again since it felt as if they were just about to reach a new level. Will there be another part, hopefully so. - Bruce Lee Gallanter, DMG
SENYAWA - Alkisah (Burning Ambulance Music 70; USA) Senyawa are an experimental duo from Indonesia featuring Rully Shabara on vocals and Wukir Suryadi on home-made instruments. Senyawa have been around for a decade (2011) and have some 11 releases so far. I have had the good fortune to have caught Senyawa play at the Victo Fest (FIMAV) in Quebec a couple of years back and must admit that they were incredible live and donâ€™t quite sound like anyone else. Although theyâ€™ve toured Europe, Asia & Australia and worked with kindred spirits like Haino Keiji, Kazuhisa Yuchihashi and Stephen Oâ€™Malley, it is the duo who have invented their own unique sound. Vocalist, Rully Shabara, sings in a variety of Indonesian dialects and has a powerful, compelling, dynamic voice. Wukir Suryadi, plays his own homemade instruments which are based on some Indonesian folk instruments and plays them through a variety of effects devices. Word is that Mr. Shabara draws from different Indonesian folk melodies although it is hard to tell for someone with little knowledge of Indonesian music outside of checking out several gamelan ensembles. To me, the music has more of a post-punk sound/feel with strong, spirited, dark and intense repeating riffs. This disc is a studio effort and it is quite well-recorded with Shabara overdubbing lead, rhythm and percussion lines together. The music mixes the dark undertow of metal or hard rock power chords with quick strumming rhythm lines. Since Mr. Shabara plays a variety of instruments through different effects, there is much more going on here than one might imagine. â€œMenuju Muaraâ€ has layers of haunting vocals like a chanting chorus with several stringed and percussion sounds throbbing around one another. Some of the instruments here sound like more normal ones like fuzz bass or scary metal guitar but this is just one part of the ever-evolving sound. The overall sound is consistently powerful, occasionally nightmarish (like real life) and often in-your-face! At times I wished I knew what the lyrics were about but actually it doesnâ€™t matter that much since the voice and music are equally compelling on many levels. This is the brutal truth so listen up! - Bruce Lee Gallanter, DMG
HEDVIG MOLLESTAD TRIO - Ding Dong, Youâ€™re Dead (Rune Grammofon RCD 2219; EEC) Only nine months after Hedvig Mollestad momentous debut solo album Ekhidna (RCD 2215CD/RLP 3215LP), the guitarist is back fronting her trio. With their previous album, Smells Funny (RCD 2203CD/RLP 3203LP, 2019), this explosive and expansive trio experienced a breakthrough of sorts, having gone from strength to strength through five albums since their 2011 debut Shoot! (RCD 2115CD/RLP 3115LP, 2011), gathering respect from both rock and jazz camps, sharing big stages with the likes of John McLaughlin and Black Sabbath, and being equally comfortable on jazz and rock stages. Hedvig enforced this breakthrough with Ekhidna, appearing on both jazz and rock best of 2020 lists, like coming in third in Prog's "Album of the Year" poll. With the hypnotic title track, the spacious ballad "Four Candles" and generally a more varied mood, Ding Dong. You're Dead. is the trio's most dynamic album to date. That said there's still enough solid and creative riffing here to satisfy the headbangers, as well as the jazzheads, as they further explore the free and open landscapes most notably started with their Black Stabat Mater album (RCD 2183CD/RLP 3183LP, 2016) and continued with Smells Funny. As Nate Chinen wrote about Black Stabat Mater in JazzTimes: "Her trio, which has Ellen Brekken on bass and Ivar Loe BjÃ¸rnstad on drums, caught my ear then with its audacious style references: the loose swagger of early Black Sabbath; the density and prowl of peak Led Zeppelin; the expeditionary urge of Jimi Hendrix; the incantatory fervor of John McLaughlin." This trio radiates confidence and have become a surefire hit on the Norwegian live scene. And while we rightly praise Hedvig's exceptional abilities, let's not forget how important the rhythm section is to make it all work so well. Ellen Brekken is an accomplished bassist, driving the band just as hard on the electric bass as on the acoustic. Then there's Ivar Loe BjÃ¸rnstad, not your regular rock drummer, not your regular jazz drummer, but in possession of the loose swagger mentioned above.
FOUR AMAZING DISCS from the FINE FOLKS at CLEAN FEED!
SYLVIE COURVOISIER / NED ROTHENBERG / JULIAN SARTORIUS - Lockdown (Clean Feed 560; Portugal) â€œItâ€™s not the first time we can hear Sylvie Courvoisier and Ned Rothenberg playing together. Both of them were included in a trio with Mark Feldman also released by Clean Feed (â€œIn Cahootsâ€, 2017). That listening made us hope for more. Here it is with another trio,this time with drummer Julian Sartorius as the third contributor. Without a leader, and enlisting compositions from all the three members, this music reflects the present pandemic context, as the title, â€œLockdownâ€, clearly suggests. Thereâ€™s a reflexive and introspective approach all along, with exquisite writing serving the collective improvisations and enabling lots of space for each musician to develop his/her own ideas. Sometimes itâ€™s difficult to identify when the scores give place to spontaneity and vice-versa: the boundaries are always marked where we least expect, or the lines of separation (union, maybe?) arenâ€™t clearly defined, everything coming in a very natural flux. The musical situations gain several dimensions, sometimes adopting a narrative, almost cinematographic character, and others choosing more textural, impressionistic, procedures, but mainly combining the emanations of those two polarities in different and surprising ways. Convergence (for instance, the unisons between piano and sax (or bass clarinet, or shakuhachi) and divergence (the meticulous knittings provided by Sartorius are a good example) are constantly in equation, opening the possibilities for this endeavor that questions our inner selves and the strangeness of these days.â€
DOMINIQUE PIFARELY QUARTET with ANTONIN RAYON / BRUNO CHEVILLON / FRANCOIS MERVILLE - Nocturnes (Clean Feed 561; Portugal) Any new recording by French violinist Dominique PifarÃ©ly is good news. Being his quartet with Antonin Rayon,Bruno Chevillon and FranÃ§ois Mervillehis more enduring band, this former companion of the also French reedist Louis Sclavis benefits from the maturity of this project, gained through the years, but also from an attitude of always reinventing itself, going to places that we not explored before. Interesting would be to compare this â€œNocturnesâ€ with â€œTracÃ© Provisoireâ€, the album recorded by the Dominique PifarÃ©ly Quartet for ECM. If this previous one had the undistinguishable mark of Manfred Eicherâ€™s production, the first evidence of difference when listening to â€œNocturnesâ€ is in Sound. More is to come, even if thereâ€™s similar poetic atmospheres and, as a composer (and particularly brilliant at that task), PifarÃ©ly continues to put his writing at the service of the collective and of their improvisational work, be it the ensemble or the individual solos. Besides the pleasure these four exceptional instrumentalists give to our ears, the way in which the composed and the improvised intermingles in this collection of pieces is a very strong factor of enthusiasm.
HEARTH with SUSANA SANTOS SILVA / METTE RASMUSSEN / ADA RAVE / KAJA DRAKSLER - Melt (Clean Feed 564; Portugal) Hearth is the warmth in our lives, pulsing from the center of what we call home. We could also look at it as a combination of the words Heart and Earth, equating two factors of life in search of plenitude: the human one, and the planet in which we live in. This Hearth as the energy of life creation and this Earth is Mother Earth, home for all known living beings. This quartet is formed by four spirited musicians: Susana Santos Silva, Mette Rasmussen, Ada Rave and Kaja Draksler, each one of a different origin, Portugal, Denmark, Argentina and Slovenia.None of them live in the country they were born: Santos Silvaâ€™s home is in Stockholm, Rasmussenâ€™s base of work is in Trondheim, Rave is based in Amsterdam and Draksler in Copenhagen. Yes, improvised music is transnational and, wanted or not, belongs to humanity. It was in the capital of Holland that the four met for the first time. It was in 2016 at the October Meeting, thanks to a program of adhoc combinations, that their desire to play together and form a band came into being. Magic happened at that concert, and all the inter venientes decided then and there that it was a project to explore in the future. The future, an uncertain one in many respects, comes with this â€œMeltâ€, a collection of well-thought improvised soundscapes focusing on moods and textures going from the almost inaudible to massive explosions of sounds, with the musical instruments involved â€“trumpet, alto saxophone, tenor saxophone (doubling with clarinet) and piano â€“being extended by other audible resources, preparations and voices. This is exploratory music at its best, not afraid to enter the unknown, and a refreshing proposal.
MIKKO INNANEN / STEFAN PASSBORG / CEDRIC PIROMALLI - This Is It (Clean Feed 566; Portugal) â€œThis is it, indeed. The instrumentation of this album makes everyone curious. Saxophones (sopranino, alto and baritone) plus Hammond organ plus drums. The gathered names are another factor of special interest: Finnish saxophonist Mikko Innanen, French organist (also pianist) CÃ©dric Piromalli and Danish drummer Stefan Pasborg, all of them coming from the first row of their respective scenes, and all of them with international careers, in collaboration with top musicians like Andrew Cyrille, Han Bennink, Andrew Barker, Joe Fonda, Lou Grassi, William Parker, Wadada Leo Smith (Innanen), Daniel Humair, Paul Lovens, Will Guthrie (Piromalli), John Tchicai, Ellery Eskelin, Tim Berne, Michael Formanek, Tomasz Stanko and Ray Anderson (Pasborg). The Hammond is key in the group sound, rooted in the history of this instrument in jazz (listen to the grooves and the solid swing of these compositions: amazing!), but also involving other influences, among them the one provided by progressive rock. The foundations and involvements created by the organ couldnâ€™t be better suited to project the suggestive melodies and complex chord changes played by Innanen, and the intense, almost superhuman drumming of Pasborg. Mixing the past and the future results in this: fantastic music of the present.â€
RAPOON - In These Ancient Times (Klanggalerie 338; Germany) "All-new album by Robin Storey aka Rapoon. Founded in 1992 after Storey left Zoviet France, Rapoon soon became an outstanding ethno-dark ambient project that has gained a cult following all over the world. More than 80 albums have been released over those nearly 30 years, some more beat driven, others more playful and with ambient sounds and ethnic influences. Rapoon has never stopped evolving -- think of Cultural Forgeries, an album full of unplugged acoustic music. Or Downgliding, full of compositions on the piano. Recent Klanggalerie albums include Waiting by the River, an album that introduced vocals to the Rapoon sound, or Little Rocket Man which was inspired by the political situation in 2018 with Trump as president in the United States. In these ancient Times has been in the works for many years and presents dark atmospheres, percussion and vocals. Maybe one of your future Rapoon favourites."
GUIDED BY VOICES - Earth Man Blues (GBVI 103; USA) "Is it really a musical?! The 33rd Guided By Voices album, Earth Man Blues, is a magical cinematic rock album, full of dramatic and surreal twists and turns. Lyrics and liner notes trace the growth of young Harold Admore Harold through a coming of age and a reckoning with darkness. Vivid scenes appear: snapshots of youth, fantastical nightmares, unknown worlds. The music hasn't softened a bit. One will hear the impossibly perfect melodies and word play that you expect from Robert Pollard, with the band playing at peak-heavy. 'Trust Them Now' rocks like an instant classic, 'The Batman Sees The Ball' is lean, mean rock muscle. Opener 'Made Man' tears and slashes at the ears and heart. Sweeping, colossal tracks like 'Lights Out (In Memphis, Egypt)' and 'Dirty Kid School' stretch far beyond the ordinary vocabulary of rock. Doug Gillard's brilliant guitar playing explodes out of the speakers. The rhythm section of Kevin March and Mark Shue, always strong and reliable, has grown into a breathing composite organism. Along with Bobby Bare, Jr on rhythm guitar, they drive the songs and make one's head shake. Producer Travis Harrison ties the talents of the band together, once again recorded remotely and individually, pandemic-style. This group brings to life the sounds in Pollard's technicolor imagination."
SARAH LOUISE - Earth Bow (Earth Bow 001; USA) "At first glance, Sarah Louise might seem an unlikely candidate to credit technology as inspiration for her new album, Earth Bow. After all, she has lived in rural Appalachia for the last decade, foraging numerous species of wild mushroom, concocting medicine from plants she gathers, and performing what she terms 'Earth Practices' to deepen her relationship with the natural world. But it is precisely her ability to find connections between false binaries that makes this album so novel and richly immersive. Louise conceived Earth Bow as an interconnected ecosystem, meant to evolve, interact and grow. Known for her inventive guitar playing, vocal harmonies and electronic experiments, it was her use of the SP-404SX sampler that became a primary inspiration for the album's woven nature. 'Improvising with the 404 during live shows allows me to collaborate with the music as a living system, almost the way generative music works,' she says. 'I kept finding more and more samples that worked together and realized I wanted to connect the entire record -- and that there were many ways it could be connected.' Through this process, what began as eight core songs blossomed into two sweeping suites. Samples -- denizens of her electronic forest -- move around the record with changing context like words in a sestina or phrases in the I Ching, revealing new connections with each listen. Mesmeric sounds abound on Earth Bow, from analog synth tones, to digitally manipulated sonics that she stretches and layers with a painterly touch. These electronic sounds inhabit the same environment as field recordings, ceremonial percussion, guitars and empathic vocals, weaving together her vast and borderless influences into an enveloping world. 'I want this record to take people on a journey through the wonders of our incredible planet, to help people feel held by the mysteries of nature,' she enthuses. 'I believe music can heal.' After a string of celebrated releases on Thrill Jockey, Sarah Louise is self-releasing Earth Bow on her new imprint of the same name."
HISTORIC & ARCHIVAL RECORDINGS, RESTOCKS & REISSUES:
THE FLOCK - Truth: The Columbia Recordings 1969-1970 (Esoteric 22606; UK) â€œEsoteric Recordings are pleased to announce the re-press of the 2-CD anthology celebrating the fine American Jazz rock band The Flock. Hailing from Chicago, The Flock was one of the most original groups to emerge on the late 1960s buoyant music scene. Along with their fellow Chicagoans Blood Sweat & Tears and Chicago, The Flock were highly original in their musical approach, successfully fusing jazz, rock, blues and even classical influences. The band recorded three singles in 1966 and 1967 before changing musical direction and recruiting virtuoso electric violinist Jerry Goodman to their ranks. With a line-up of Fred Glickstein (guitar, lead vocals), Jerry Goodman (violin), Jerry Smith (bass), Ron Karpman (drums), Rick Canoff (saxophone), Tom Webb (saxophone) and Frank Posa (trumpet), The Flock came to the attention of manager Aaron Russo, owner of Chicago's famous Kinetic Playground venue. Russo secured the band a contract with Columbia Records for whom The Flock recorded two excellent albums for the label, "The Flock" (1969) and "Dinosaur Swamps" (1970). Despite enthusiastic critical acclaim and patronage of established musicians such as John Mayall (who declared them to be the best band in America in 1969), The Flock sadly failed to fulfill their commercial potential and their classic line-up broke up in 1971, with Jerry Goodman joining The Mahavishnu Orchestra, but they did leave a recorded legacy of fine music. Truth - The Columbia Recordings 1969 - 1970 celebrates the music of this excellent band and features both of their Columbia albums in re-mastered form, along with six rare single tracks (that were previously unissued on CD) and six rare non-album session recordings from 1969 & 1970, including a re-recording of their early single What Would You Do If the Sun Died. The anthology features an illustrated booklet that includes a new essay with an exclusive interview with Flock guitarist Fred Glickstein.â€
2 CD Set $20
TIM BUCKLEY - Starsailor (Music on CD 14059; Netherlands) "Starsailor is the sixth studio album by Tim Buckley (yes, the father of Jeff Buckley) and arguably his artistic pinnacle. This is the culmination of Tim's journey into the stylings of jazz. A breathtaking album of incredible originality and creativity. Buzz Gardner, from Frank Zappa's classic Mothers Of Invention plays amazing trumpet parts on this album. All the tracks are unique in their own way and deserve praise. Songs like the title track and 'Jungle Fire' among others show his vocal versatility like never before with his legendary 5 plus octave range. 'Song To The Siren' has been covered by a variety of artists, most notably by This Mortal Coil and John Frusciante. Although hardly appreciated in 1970, this is one of the truly great modern recordings."
THE RESIDENTS - Freak Show: 3CD pREServed Edition (Cryptic Corporation NRT 016; USA) â€œFormed in the early 1970s, The Residents have been charting a unique path through the musical landscape for almost fifty years. From far-out, experimental recordings to highly conceptual, innovative multi-platform projects, the band refuses to stand still, and continues to move in several different directions at once. Produced with The Cryptic Corporation using archival tapes supplied by the group themselves, this package explores and expands the classic 1990 album, which formed the basis of a move into multi-media work which characterised The Residents' '90s output. 'Freak Show' explores a series of character studies of unfortunates and unloveables, all of whom have their origin in The Residents' own childhood memories of travelling 'freak shows', such as they were. This 3CD set includes the original album and related contemporary tracks, an entire CD detailing the evolution of the album's musical content throughout 1990 and live interpretations of all of the album's tracks, including the legendary 'Ty's Freak Show' performance. 28 unreleased recordings in all! Remastered, expanded, and preserved for future generations - this is The Residents as we've always wanted to hear them, and the latest in a series of archival reissues that will continue throughout 2021 and beyond. Look out for forthcoming 'Gingerbread Man', 'Wormwood' and 'Icky Flix' sets, as well as a number of special vinyl releases.
3 CD Set $24
THE METERS - Fire On The Bayou (Music on CD 14057; Netherlands) "This is The Meters first album with Cyril Neville as a member. On Fire On The Bayou you'll not only find echoes of their early R&B funkiness, but also some very New Orleans songs like 'Talkin' 'Bout New Orleans', 'They All Ask'd For You', and 'Mardi Gras Mambo'. The band also gets down and funky 'Rejuvenation'-style with tracks like 'Fire On The Bayou', 'Love Slip Upon Ya', 'Can You Do Without?' and 'Liar,' which are best placed in-between on the folksy R&B 'Out in the Country' (love that chord progression) and the jazzy guitar workout 'Middle of the Road'. This album exudes the New Orleans spirit-musically as well as lyrically, extolling the virtues of great food, bayou living, and Mardi Gras."
SOUND STORING MACHINES - The First 78rpm Records from Japan, 1903-1912 / Various Artists (Sublime Frequencies 115; USA) â€œThe first commercial recordings from Asia were made in Japan in 1903 by Fred Gaisberg, the legendary producer and recording engineer who traveled the world making recordings for the Gramophone Company (later His Master's Voice). The recording industry barely existed at this time. Man's ability to record and reproduce sound had only existed since 1877 (with the invention of Edison's cylinder phonograph) and flat disc records, what we all collect and obsess over today, had only come into being in the late 1890s. It is a miracle what these fragile discs have survived: wars with Russia and China, the fire bombings (and worse) of World War II, modernization, the onslaught of Western media.They document, through a dreamlike haze of surface noise, a Japan that had just barely begun to open its doors to the rest of the world. Including gagaku, shakuhachi, shamisen, storytelling, folksong and more. These recordings are a unique glimpse into an ancient culture and an important document of the beginnings of the recording industry. Simple and complex. Alien and familiar. Featuring important artists and those who only appeared to sing before the strange Western recording horn and then vanished. Sound Storing Machines spans only nine years of recording -- from 1903 and the first commercial recordings made by Fred Gaisberg to 1912, the beginning of Japan's homegrown record industry, including a few sides taken from Japan's notorious bootleg 78rpm industry. Collected on various trips to Japan and compiled by sound artist Robert Millis (Indian Talking Machine, Victrola Favorites, Climax Golden Twins, Phi Ta Khon: Ghosts of Isan, This World is Unreal Like a Snake in a Rope, etc.) This is part three in a series (all produced by Millis) of early recording from Asia -- including Sublime Frequencies' The Crying Princess: 78rpm Records from Burma and Scattered Melodies: Korean Kayagum Sanjo. Limited edition CD with booklet/liner notes by Robert Millis.
THREE RESTOCKS FROM LISTEN! FOUNDATION:
CECIL TAYLOR QUINTET with HARRI SJOSTROM / TRISTAN HONSINGER / TEPPO HAUTA-AHO / PAUL LOVENS (Listen! Foundation FSR 01/2021; Poland) When the Cecil Taylor quintet was ready to play at the Tampere Jazz Happening on October 30, 1998, all the musical world knew the virulent compactness of Taylor's groups, especially after the American pianist had established an on-going link with Berlin and the European public. That day in Tampere, a superlative performance of free improvisation (Harri SjÃ¶strÃ¶m on soprano sax, Tristan Honsinger on cello, Paul Lovens on drums and Teppo Hauta-aho on double bass) was able to represent Taylor's enormous creative potential. It is a concert discovered in the archives of Finnish Radio YLE, never documented on a recording medium, which allows us to enter that absolutely unique world of Taylorâ€™s groups: art and sound density, expressive universes that leave you speechless even after their conclusion. That day the sound power produced by the group was even able to impress Steve Lacy who, at the end of the concert, went to find the musicians backstage, saying:"...You guys really lifted the bandstand...", a statement that has been carved into the memory of that evening and also provides the title of this live recording. In Lifting the Bandstand the structure is typical: Cecil enters the stage, performs his verses and enters into a free dance; then some deep clusters on the piano; the string musicians offer themselves in an abstract design and the development of a sort of propitiatory ritual outlined in all its excitement and fullness when the clusters start to become cutting and the musical set becomes explosive. In this concert Taylor and the four European musician-personalities continue their enthusiastically celebrated non-hierarchical style of play that they started from the very beginning of this constellation. They sow the seeds for a free and choral relationship that favors the shattering, the physical prowess of the musicians and a phenomenology of music. The first half hour of Lifting the Bandstand is an uncontrolled expansion of the sound mass, with the instruments continuously expanding so that one cannot believe that musicians can play with that intensity for so long: an instinctive, chemical experiment consumes itself, in which all "music" is demolished and re-presented according to a project of apparent intangibility, not a sterile but a constructive fury, which upsets for the speed undertaken and the extended techniques; only after an hour the shockwave fades into a cubic phase, less thunderous, more oriented towards a melodic quality and a timbre line, where onomatopoeia intervenes; there are some attempts to replicate operatic singing and we find reminiscences of classicism camouflaged in areas of interaction. Even when the music calms down in the end, there are still electric shocks of music, small reflexes of the instruments, which the musicians cannot completely dominate in this new situation of relaxation. When the ritual ends, the sensation is to have experienced the equivalent of a virtuous myth, a regenerating force that leaves the listener astonished, breathless and enriched not really knowing where he had been taken.â€ - Ettore Garzia
CD $16 [The first pressing of these are now out-of-print, no idea if or when they will return & we only have 10 copies left]
TREVOR WATTS with MOIRE MUSIC DRUM ORCHESTRA MARK HEWINS / JAMIE HARRIS / GIBRAN CERVANTES - A World View (Listen! Foundation 26 202; Poland) Trevor Watts: a legendary man, an exceptional saxophonist, a forerunner of everything that is really valuable in European improvised music, turned 80 last year. Now we celebrate his Anniversary with extremely limited to 200 copies and a one-time edition of 5 CD box set with never released before music recorded by some exceptional artists like Gibran Cervantes, Mark Hewins, Jamie Harris, and the legendary band Moire Music Orchestra.
5 CD Set $60
RAFAL MAZUR with SATOKO FUJII / GUILLERMO GREGORIO / RAMON LOPEZ / NATSUKI TAMURA / ARTUR MAJEWSKI- The Great Tone has No Sound (Listen! Foundation 28; Poland) Featuring Rafal Mazur on acoustic bass guitar, Guillermo Gregorio on clarinet, Artur Majewski on trumpet, Satoko Fujii on piano, Natsuki Tamura on trumpet and Ramon Lopez on drums. Iâ€™ve become friendly with clarinetist, Guillermo Gregorio, since he moved here from Chicago some half dozen years back. He often plays here at DMG and I recall him telling me how much I enjoy playing with Polish bassist Rafal Mazur. This ambitious 4 CD set features a solo (by Mazur), two duos (with Gregorio & Majewski) and a quintet (with Fujii, Tamura, Gregorio & Lopez). Acoustic bass guitars are still relatively rare instruments and I have only seen a couple on stage (Jerome Harris, Stomu Takeishi & Jonas Hellborg). Teh first disc features solo acoustic bass guitar, a rare treat which has only been done earlier by Bill Laswell & Jonas Hellborg. The sound of this instrument is unique, somewhere between an electric fretless, an acoustic bass & an acoustic guitar. Mr. Mazur has quite a few tricks or sounds up his sleeve, yet uses a minimum of effects to alter his sounds. It is more the way he plays each note, carefully bending certain notes and playing a variety of chords and sound combinations. The only comparison I can make is this: Hugh Hopperâ€™s first album is called â€™1984â€™ (extraordinary!)and features quite a bit of solo electric bass and it does sound like this at times. Mazur is ultra nimble and is often sliding up and down the neck, rubbing strings and playing some harp-like flourishes in a dazzling fashion. It sounds like Mazur is bowing the strings, altering between plucks, string bends and arco buzzing. Whereas some solo efforts sound a bit indulgent, this one sounds like a series of related stories or scenes for the mindâ€™s eye movies floating inside (y)our heads. Even when things calm down to a more minimal section, there is some enchanting yet subtle sonic foliage going on. It makes sense that Mr. Mazur begins this adventurous 4 CD set with a solo disc since he has other musicians on the other three discs. The solo bowing is especially cosmic sounding, as if he bending time or space with a bent sound. In my ongoing search for the best clarinet performances of the 20th century, Iâ€™ve listened to and listed more than 100 clarinet players from many different scenes. In the past week or two, Iâ€™ve been checking out some modern classical clarinet pieces from Stravinsky, Leonard Bernstein, Elliott Carter, Arvo Part & Duke Ellington. I know that Mr. Gregorio knows his history and appreciates the above composers, his own playing draws from similar streams. Former Chicago-based clarinetist, Guillermo Gregorio, now lives here in NYC and plays at DMG a couple of times a year. He always delivers a thoughtful performance. On Disc Two, there is a duo of Mr. Mazur and Mr. Gregorio. The sound and balance is superb and the two are consistently engaged, pushing each other in sometimes frenzied dialogue. The sections of bowed bass and careful clarinet slurs and bends is particularly engaging & focused. Each musician sounds like they are balancing on the head of a pin yet still connected. Wow, what an incredible duo! The last disc features a quintet with Satoko Fujii on piano, Guillermo Gregorio on clarinet, Natsuki Tamura on trumpet, Rafal on bass and Raymon Lopez on drums. This was the first time that Mr. Gregorio played with Ms. Fujii and Mr. Tamura, while Mr. Mazur and Mr. Lopez once recorded with UK trumpeter Percy Pursglove. Mr. Tamura, musical & life partner for Ms. Fujii, is one of best under-recognized trumpeters alive and like Mr. Guillermo, both gifted improvisers who can dig deep into their vast array of ideas/sounds. The intense and at times frenzied interplay is often extraordinary, at times pushing Gregorio out of his comfort zone and into more treacherous depths. The rhythm team here is also something else, strong, spirited and focused. There is a section here where Ms. Fujii is rubbing something inside the piano, creating a cosmic drone while the rest of the quintet also reverberate with the drone, expanding and contracting, gaining and losing balance, going for the flow or current which runs through everything we hear here. It is a transcendent moment and makes all feel good to be alive and share that special moment together. - Bruce Lee Gallanter, DMG
4 CD Set $45
A COUPLE OF OTHER OUT-OF-PRINT MARK WHITECAGE / DOMINIC DUVAL CDâ€™S THAT WE GOT IN:
DOMINIC DUVALâ€™S STRING ENSEMBLE with JOE McPHEE / MARK WHITECAGE / TOMAS ULRICH / JASON HWANG - Live in Concert (Cadence Jazz 1097; USA)â€New music bassist Dominic Duval brought his stunning string trio to the Knitting Factory for this recording and added Joe McPhee on both tenor saxophone and trumpet, and Mark Whitecage on E-flat clarinet and alto saxophone. The results are sensational as the trio, with Jason Hwang on violin and Tomas Ulrich on cello, achieve mesmerizing sounds of shimmering beauty. Alternatively elegantly suave and intensely burning, the trio works hand-in-glove to produce music of the highest order. Duval writes in the liner notes that "he had been waiting 35 years to hear this kind of music, and if no one else was going to do this, I was going to have to make it myself." Thank goodness he did. It fulfills every expectation, and the addition of the horns as complementary instruments adds immeasurably to the mix, making this an original contribution to modern music.â€ - Steve Loewy, AllMusicGuide
DOMINIC DUVAL QUINTET with JOE McPHEE / MARK WHITECAGE / JASON HWANG / TOMAS ULRICH - Cries and Whispers (Cadence Jazz 1111; USA) This features a pretty stellar crew of two heavy horns - Joe McPhee (tenor sax & flugelhorn) and Mark Whitecage (alto clarinet & alto sax) plus two great string players - Jason Hwang on violin and Tomas Ulrich on cello. The ever prolific and often amazing local contrabassist Dominic Duval continues to work in various projects, groups and improv situations and has numerous cds on CIMP, Cadence and the Leo labels. This CD was recorded at the Knit's Old Office in August of 1999, each piece an improv/journey named "Cries & Whispers - Parts I-VII". I remember Dominic mentioning that the faces and vibes of those in the audience gave the music on stage the direction it would take. The music here seems to evolve in segments - from contemplative to busy, the strings swirl together in a dense web - the saxes stutter, chatter and vibrate quickly, Dom's explosive bass pushes everyone higher and higher until things quiet down once more - then Joe's flugel blows soft and warm and glowing as the strings gently murmur underneath. There are moments like this one when it all connects and does not sound improvised. On "Part II" the both saxes quickly begin burning together - the strings soon follow, also erupting with intense force - the entire quintet blasts off for the stratosphere and the small audience screams with delight! The bass and cello begin soloing furiously together as the all who are there start to levitate with them - the saxes also start sailing higher once again! "Part IV" opens with a restrained duo for tenor sax and double-bass which builds and bends as the both players get busier and the tension escalates - as Dom starts walking faster and faster - the tenor begins bopping quicker as well - quite an amazing duo section! "Part V" is mostly elegant and somber cello and tenor clouds drifting slowly down the stream of warm waters which grows more mysterious as the bowing breaks the mood into sharp fragments. Another duo take off on "Part VI" as the alto sax and bass soar through ever-changing hills and valleys - listening closely and responding immediately a one fractured force of nature. On the final "Part VII" it is back to contemplative, swirling horns and strings which take their time to build into a slightly denser field of activity. The well seasoned magic of great improv continues - BLG/DMG
DON CHERRY with FRANK LOWE / CHARLIE HADEN / HAKIM JAMI / BILLY HIGGINS / et al - Don Cherry (Brown Rice)(A&M Records 29420; UK) Originally released in 1975; 2019 reissue. Gatefold sleeve. "If Eternal Rhythm was Don Cherry's world fusion masterpiece of the '60s, then Brown Rice is its equivalent for the '70s. But where Eternal Rhythm set global influences in a free jazz framework, Brown Rice's core sound is substantially different, wedding Indian, African, and Arabic music to Miles Davis' electrified jazz-rock innovations. And although purists will likely react in the same way they did to post-Bitches Brew Davis, Brown Rice is a stunning success by any other standard. By turns hypnotic and exhilarating, the record sounds utterly otherworldly: the polyrhythmic grooves are deep and driving, the soloing spiritual and free, and the plentiful recording effects trippy and mysterious. The various ethnic influences lift the album's already mystical atmosphere to a whole new plane, plus Cherry adds mostly non-English vocals on three of the four tracks, whispering cryptic incantations that make the pieces resemble rituals of some alien shaman. The title cut has since become an acid jazz/rare-groove classic, filtering Charlie Haden's acoustic bass through a wah-wah pedal and melding it with psychedelic electric piano riffs, electric bongos, wordless female vocals, short snippets of tenor saxophonist Frank Lowe's free jazz screeching, and, of course, Cherry's whispers and trumpet. Closer 'Degi-Degi' works a similarly mind-bending mixture, but the middle two pieces ('Malkauns' and 'Chenrezig') are lengthy explorations where Cherry's languid trumpet solos echo off into infinity. Of all his world fusion efforts, Brown Rice is the most accessible entry point into Cherry's borderless ideal, jelling into a personal, unique, and seamless vision that's at once primitive and futuristic in the best possible senses of both worlds. While Cherry would record a great deal of fine work in the years to come, he would never quite reach this level of wild invention again."
LP $28 [LTD edition reissue & we have 3]
ATTENTION ALL CREATIVE MUSICIANS OUT THERE, Around the world.
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 DMG@Downtownmusicgallery.com. 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.
MORE THINGS TO DO WHILE YOU ARE WAITING AROUND FOR THE WORLD TO END OR GET BETTER: STILL STIR CRAZY AFTER ALL THESE YEARS!
THIS IS FROM MY GOOD FRIEND JESSICA HALLOCK,
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 nowâ€“â€“so experimental music calendar NYC-Noise.com 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 www.nyc-noise.com/submit.
ARTS FOR ARTS Presents:
Andrea Wolper / Melanie Dyer / Adam Caine
IN PERFORMANCE AND CONVERSATION
TONIGHT, April 29Â at 8pm
$5 Minimum Donation | $10 Suggested Donation
Andrea Wolper - voice
Melanie Dyer - viola
Adam Caine - guitar
For this evening's performance, Andrea Wolper has invited violist Melanie Dyer and guitarist Adam Caine to join her for an offering of original composition, spoken word, and free improvisation.Â Stick around after the performance for the Artist Talk hosted by Ras Moshe! After donating you will receive a private viewing link through Eventbrite. You can donate to watch through Monday, May 3.
Donate on our Website to Watch: https://www.artsforart.org/onlinesalon.html?utm_source=Audience&utm_campaign=80c8fe2ead-EMAIL_CAMPAIGN_2017_12_15_COPY_01&utm_medium=email&utm_term=0_3be2db18a2-80c8fe2ead-85161517
Upcoming On_Line Salon Schedule
AFA is charging a minimum $5Â to watch On_Line Salons. Donate on the AFA website to receive your private viewing link through Eventbrite.
Tuesday May 4, 8pm
Francisco MelaÂ - drums
William ParkerÂ - bass
Zoh AmbaÂ - tenor saxophone
Thursday May 6, 8pm
Nasheet WaitsÂ - drums
Antoine RoneyÂ - tenor sax
Marcos VarelaÂ - bass
Tuesday May 11, 8pm
Whit DickeyÂ - drums
Rob BrownÂ - alto saxophone
Mat ManeriÂ - viola
Brandon Lopez - bass
Thursday May 13, 8pm
Ellen ChristiÂ - voice
William ParkerÂ - bass
Francisco MelaÂ - drums
Patricia Nicholson Parker - text, movement
Tuesday May 18, 8pm
Jason Kao HwangÂ - violin
Ken FilianoÂ - bass
Andrew DruryÂ - drums
Donate on our Website to Watch
Our mailing address is:
Arts for Art, Inc.
107 Suffolk Street #300
New York, NY 10002
William Parker Biography Celebration
w/ Joe McPhee Cisco Bradley
Saturday, May 15, 8 PM
Elysium Furnace Works
HOWLAND CULTURAL CENTER
477 Main Street
Beacon, NY 12508
KEN WEISS interviews JAAP BLONK for the new Cadence magazine:
This comes from Multi-Instrumentalist/Composer/Futurist SCOTT ROBINSON:
https://youtu.be/amsOS00qieQ - This is the best music video Iâ€™ve seen in recent memory.
This comes from CHRIS CUTLER (Henry Cow, Art Bears & REcommended Records)
Chris has a podcast called Probes and this is Episode #29
During the earlier part of the pandemic/lockdown when I started going back to work at DMG in June, I listened to all of the Probes podcast series and on the train coming and going to NYC. Each one is fascinating as Mr. Cutler Probes the many aspects of Creative Music, unique instrumentation, the history of recordings and lots more. Please take some time and listen to these, they are most enlightening.
From INGRID LAUBROCK & TOM RAINEY:
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:
HENRY KAISER Continues with his Weekly Solo Series on Cuneiformâ€™s Youtube page:
https://www.youtube.com/watch?v=wHUc8FYsWxg - new interview with Mr. Kaiser
https://www.youtube.com/watch?v=h0-qbKTem9o - Tribute to Milford Graves
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