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DMG Newsletter for November 26th, 2021: Happy Thanksgiving to All!

‘Thanksgiving, 2021’
By MC BruceLee

I got the blues this morning
Got the blues all day
My baby done gone and left me
And gone far, far away (Quebec, actually)

So tired of being alone in my home, shut off from the world
So tired of waiting for someone to come along and take me by the hand
I just want to slow dance, up close and hold onto to someone nice
To dance slowly and expressively, showing off how graceful and funky I can be

I’m just an Old White Dude from Linden, New Joisey
Still holding onto that Old Hippy / Punkrockin’ Dream
I still complain about all of injustice and inequality I see around me
I still believe that we are all better than what seems to be the current average zombie
I still believe that there is a common good in most folks on this world
I am not sure that there is a God out there
But I know there is a voice of reason that guides most of us deep inside if we still listen
I recognize the presence of the Devil in folks whose religion is Greed, Selfishness and Exclusivity

I see the Negative Influence of Outside Forces/Corporate Greed Gods like
Google, Amazon, Facebook, Right Wing Extremism and All Fascist Fools & Their Leaders
I am in constant search for the Guiding Light of True Freedom and Democracy
I often hear the True Spirit of Democracy in Free Spirit Music
A small group of Humble Humans Creating their own New World Together
Without words or names to get in the way
You will know it when you hear it if you try to spend some time doing some Serious Listening

“The Nazi’s will not replace us!” is what I chant inside,
Over and over and over again
World War II may be long gone but World War III is coming closer
If we don’t do something to stop it…
The Spirit of Hope has started start to fade
And Mother Earth is angry with us mortals
So she will reek havoc on us all
Unless we change our ways and take better care of each other and our troubled planet
They say it is too late to change but I do not believe that is really true
As long as We find the faith inside, then we will survive, WE WILL SURVIVE!

A couple of months ago I read a book called ‘All The Frequent Troubles of Our Days’ by Rebecca Donner. I found a free copy in the foyer of a building when I went to pick up some CD’s from the Sunnyside office. The book is a non-fiction story about Mildred Harnack, an American-born woman who was an English professor and lived in Berlin in the late nineteen thirties and early forties. She watched closely the rise of Adolph Hitler and helped to organize a resistance cell. I am fascinated to read about the rise of fascism, Hitler’s hypnotic way of pushing folks to embrace his Demonic Vision of Aryan (a/k/a white) Supremacy. Several million innocent humans were murdered, tortured and starved in just a few years. The majority of them were scapegoated Jews. It is the truth no matter what any deniers claim. I know, I’ve met & heard the stories of Holocaust survivors. “Never Again!” is what we Jews and other Righteous Folks say to ourselves so that this tragedy doesn’t happen again. But, I wonder - is it happening again?!?!?!? Mildred Harnack was a brave soul and she and her group took a good many chances to show what was really going on in Germany. Most of her group of resistors were eventually caught and executed. Ms. Harnack was beheaded by Hitler’s Henchmen. The description of her & their tortures and executions is something that will haunt me for as long as I live. Think about that, she was trying to do the right thing and this is the way she was rewarded for her good deeds. She was a little known martyr and will not be forgotten by those who care. I saw way too many parallels in this book with what has been happening for the past few years here in the so-called Land of the Free. We can either Fight for Our Freedom or Bow to the New Fascism. So take your pick. In you believe in a Better Future, you must escape the Recurring Nightmare of our Collective Past. Break the cycle before it breaks you! - Bruce Lee Gallanter, Anti-Fascists InterNational



Tuesdays, November 23rd & 30th: No In-Stores since Bruce is away visiting his Mom in Florida

Tuesday, December 7th:
6:30: JOSH SINTON - Solo Baritone Sax - CD Release Set

Sat. December 11th:
GAUCI-MUSIC Presents: CD Release Performance for "Pandemic Duets:
Ken Filiano - bass
Stephen Gauci - tenor saxophone
Colin Hinton - drums
Stephen Gauci - tenor saxophone

Tuesday, December 14th:
6:30 - THOMAS HEBERER / CHARLOTTE GREVE - Trumpet & Alto Sax
7:30 - JAMES ILGENFRITZ & Infrequent Seams Alumni

Tuesday, December 21st:

Tuesday, December 28th:
6:30: CHERYL PYLE & BEYOND FLUTES GROUP Featuring: Cheryl Pyle - C & alto flutes / Haruna Fukazawa - C flute / Gene Coleman - bass flute /piccolo / Claire de Brunner - bassoon / Yuko Togami - drums
7:30: LAURA SCHULER / TAL YAHALOM - Violin / Guitar

Tuesday, January 4th, 2022:


This Week’s Thanksgiving Gems Begin with Another Amazing Tzadik Release:

JOHN ZORN // BRIAN MARSELLA / JOHN MEDESKI / MATT HOLLENBERG / KENNY GROHOWSKI - The Ninth Circle (Tzadik 8385; USA) The latest recording by Zorn’s newest ensemble Chaos Magick is a suite inspired by the ancient Greek legend of Orpheus and Eurydice. Combining contemporary classical with jazz, funk, rock, blues, film soundtrack, noise improvisation and so much more this is a wild and evocative trip thru Hell and back. Tight conductions, complex melodies, burning solos, telepathic group interaction and all the wit, humor, joy and mystery that one has come to expect from Zorn’s dedicated and passionate crew of virtuosi are in abundant display in this beautiful and unique rendering of the classic Orpheus legend.”
CD $16

ADAM RUDOLPH GO ORGANIC GUITAR ORCHESTRA with NELS CLINE / LIBERTY ELLMAN / MILES OKAZAKI / JEROME HARRIS / JOEL HARRISON / KENNY WESSEL / MARCO CAPPELLI / DAMON BANKS - Resonant Bodies (Meta Records 026; USA) Featuring Adam Rudolph - composer, conductor & handrumset (1 track); Nels Cline, Liberty Ellman, Joel Harrison, Jerome Harris, Miles Okazaki, Marco Cappelli, David Gilmore & Kenny Wessle on guitars, lap & national steel guitars and Damon Banks on electric bass. This set was recorded live at Roulette in November of 2015. I’ve caught this version of Adam Rudolph’s Go Organic Orchestra on a couple of occasions and both were excellent. I’ve caught the larger version of the Go Organic Orchestra (20-40 members) and many occasions, especially when they did weekly or monthly residencies at several places (like Roulette on Greene St. & Shapeshifter). It is best to see them as often as is possible since you never know when they will hit that Resonant Cosmic Episode. Mr. Rudolph provides a skeletal sketch of music for members of the orchestra to play and then conducts soloists and subsets of the larger group, weaving several layers of lines together. Watching (and listening) to this live helps one to see what exactly what is going on onstage. Just listening to the CD recording later provides a different way of appreciating the music.
Eight of these eight guitarists and bassist have very different backgrounds and draw from a wide variety of genres & experiences. On the opener, “Parallax”, the bassist plays this uptempo oddly funky bass line while the guitars each add another layer, some doubling up or enhancing certain lines, adding their own interwoven lines with snips of solos also peppered like sweet, hot or some other tasty spice. Considering that this set/CD is live, the sound is superb, warm, spacious, orchestral. Most or all of these guitarist use a variety of different devices/effects, hence their guitar tones are selectively altered to add their own personal spice: spacey sustains, lightning bug-like flashes, odd sounds which don’t sound like a guitar, morse code-like asides and other alien sounds which should make serious listeners and/or stoners smile alike. What I like best is that much of this is low-key and still magically dreamlike. No one is there to step on anyone else’s toes, which gives this music a lovely, magical glow. There are times when1 or 2 guitars will start repeating a riff and the others add assorted punctuation pushing things in one way while other members push things in another direction. There are always many surprising twists & turns, noisy moments, car crashes and atmospheric clouds or swirls which giving our mind some breathing space to consider what is going on here. At times, it is hard to tell that we are listening to mostly guitars since many of the sounds are either weird or too hard to figure out. A real sonic delight from the righteous beginning until the soothing Cosmic conclusion. - Bruce Lee Gallanter, DMG
CD $14

JOEL HARRISON // RALPH TOWNER / FRED FRITH / NELS CLINE / BILL FRISELL / PAT METHENY / HENRY KAISER / MIKE & LENI STERN / VERNON REID / BRANDON ROSS / DAVE TRONZO / BEN MONDER / LIBERTY ELLMAN / MARY HALVORSON / AVA MENDOZA / et al - Guitar Talk: Conversations with Visionary Players (Terra Nova Press; USA) Downtown guitarist, composer and founder of the Alternative Guitar Summit, Joel Harrison, edited this marvelous book which features interviews with 26 guitarists, covering the elders like Ralph Towner, Fred Frith & Pat Metheny on down some of the newest members of the Downtown Scene: Mary Halvorson, Miles Okazaki and Julien Lage. Each interview is relatively short, 5-10 pages and Mr. Harrison does a good job of getting the other guitarists to open and discuss their backgrounds, influences, unique approach and individual sound. Each guitarist also gets an insightful introduction by Harrison which places these guitarists in an historic context of Creative Music Making. In between the interviews, Harrison picks a topic like: Inspiration, Melody, Rhythm, Composing, Improvising, etc and puts together a half dozen quotes from the interviews to show how each of these players view different ideas about playing guitar, creating music and the varied ingredients involved. There is also an accompanying CD of guitar duos which illustrates the playing of a number of guitarists in the book. It is listed below and sold separately and well worth checking out as well.
BOOK $30 [316 pages, soft cover]

JOEL HARRISON with BEN MONDER / STEVE CARDENAS / PETER McCANN / DAVID GILMORE / STEVE SWALLOW - Guitar Talk: Duos with... (Alternative Guitar Summit Recordings; USA) Joel Harrison is a wonderfully prolific guitarist, composer and conceptualist. His latest recording "Guitar Talk" coincides with a book of the same title which explores and brings to light the philosophies of twenty seven distinct and distinguished contemporary guitarists. That same intimacy and unwavering spirit informs a series of intimate duo and solo performances featuring master guitarists Steve Cardenas, Ben Monder, Steve Swallow, David Gilmore, and Pete McCann. Opening with "It Falls on You", Messrs. Monder and Cardenas weave an exquisite harmonic tapestry, catching the beautiful pearl of melody like raindrops on a rose petal. "Autumn in Olive Bridge" evokes evening stars, still waters, the beach at night, yet the performance sails to an unforeseen conclusion; two ships colliding and resolving in abstract dialogue. "Rebound" captures a playful swing for Mr. Harrison and the great Pete McCann to dig in and around with rhythmic suspense and surprise. Our "National Treasure" that is Mr. Steve Swallow is featured on two duets with Mr. Harrison, such a pleasure to hear his miraculous and singular tone/expression in this most intimate of sonic environments. "Black Mountain Breakdown '' alludes to Asia, it's pentatonic architectures exalted yet shaken to the edges with blister and fireworks courtesy of David Gilmore. The recording closes with two lone solo performances including a breathtaking interpretation of "America the Beautiful" which harbors a conclusion both unforeseen and unforgettable. Mr. Harrison is a remarkably gifted composer and improvisor. His tunes are cerebral and smart yet not uninviting. The incredibly rich harmonic palette he draws from has a classical chamber air of arrangement and ornamentation. His tone is bell-like, clean and clear with a purity reminiscent of Mick Goodrick or "Sargasso Sea" era John Abercrombie. But these descriptions are merely starting points for a few of the most inventive, creative, and supportive contemporary guitarists to paint and contextualize like children in a sandbox… truly magical and truly brilliant. Highly recommended. - John J. Mori for DMG
CD $12

KEN FILIANO / STEPHEN GAUCI - Pandemic Duets (GauciMusic 04377; USA) Featuring Ken Filiano on contrabass and Steve Gauci on tenor sax. Like a number of the best acoustic bassists in NY, Ken Filiano certainly gets around and can be heard on dozens of records and live gigs since moving here from L.A. a while back. After a large amount of work with reeds wiz Vinny Golia when he was on the west coast, Filiano is even busier here working with Jason Hwang, Bill Dixon, Dom Minasi, Fay Victor and several records with Steve Gauci. Mr. Gauci tends to pick strong bassists to work with like: Michael Bisio, Adam Lane and Ingebrigt Haker Flaten. Mr. Filiano has also been using electronics in recent years so perhaos he is using them here. Right from the gitgo, there is an obvious bond between these two: a fast rush of notes with Mr. Filiano switching between walking quickly and bowing furiously as Gauci matches his intense pace, the two sailing in stream like fierce canoes traveling down the rapids. Filiano takes a solo midway, adding some odd electronic effects to his bass so that it sounds like an gamelan, sort of. While Filiano is bowing intensely on the next piece, he is also adding bits of effects selecting. Filiano switches to a thumb piano for a section, before the duo again take off sailing higher. I dig when things slow down for what sounds like a ballad, almost tender and somber. When things slow down, these two gents take their time and have a thoughtful dialogue. On one piece start with exchanging a few bebop lines at first, before they do some strong back & forth, finishing each other’s sentences or lines. Mr. Filiano is playing what sounds like chimes when track 6 opens, Filiano soon switches back to his contrabass, providing a strong, robust bowed and plucked sound, another bass master in his element here. Filiano takes a few unaccompanied solos here, each one spirited and inventive. The duo sound great together, listening closely and spinning their lines into a magical web. - Bruce Lee Gallnater, DMG
CD $12 [Ken Filiano & Steve Gauci will be playing here at DMG on Saturday, December 11th at 6:30]

ELI WALLACE with ERICA DICKER / LESTER ST. LOUIS / SEAN ALI - Precepts for Piano and Strings (Infrequent Seams 38; USA) Featuring Eli Wallace on piano, objects & compositions, Erica Dicker on violin, Lester St. Louis on cello and Sean Ali on double bass. “Precepts for Piano and Strings” is based on a graphic score which has pitch suggestions and vague time perimeters and provides a skeletal guideline for collective improv. Eli Wallace is a marvelous Downtown pianist who loves to experiment inside the piano and provide challenging charts/directions for his collaborators. He has chosen some fine string players here: should know violinist Erica Dicker from her work with Anthony Braxton, Jessica Pavone and Pretty Monsters. Cellist Lester St. Louis is an integral part of Jaimie Branch’s Fly or Die, as well as working with Dre Hocevar. Contrabassist, Sean Ali, plays here at DMG regularly usually in duos with Pascal Niggenkemper, Carlo Costa or with David Grollman.
Although it isn’t that apparent, there is some invisible glue (structure) going on here. The music is quite intense at often abrupt, agitated strings erupting together with the occasional low end throbs going on. Mr. Wallace, who loves to play with the strings inside the piano is another part of the swirling strings, which include some high-note sustains or drones. It takes some time to adjust to things here. The second piece is more stripped down, spacious with Mr. Wallace tapping on some metal objects perhaps inside the piano as well as rubbing the strings with certain objects and coaxing out some strange, fascinating sounds. There are sections which seem rather chaotic yet if we listen closer, there is more going on beneath the surface, an almost invisible direction of structure is brewing but never very obvious. At times, it sounds as if the percussive tapping adds an element of rhythmic structure, somewhat skeletal yet somehow connecting several layers or lines together. There is some deep, resonant bowing on “Part IV”, cello of bass I am not so sure although the sound is quite breathtaking especially with the violin squeaks on top and the percussive tapping inside the piano. This disc is pretty challenging to listen to but once we adjust to the whirlwind activity we start to hear some cosmic glue which holds it together. - Bruce Lee Gallanter, DMG
CD $13

HALLEY / CLUCAS / REED / HALLEY - Boomslang (Pine Eagle Records 014; USA) Featuring Rich Halley on tenor sax, Dan Clucas on cornet, Clyde Reed on bass and Carson Halley on drums. Portland, Oregon-based saxist, Rich Halley, usually releases one CD a year or two and has been doing this for several decades. Mr. Halley has been working with bassist Clyde Reed since around 2000. Starting around 2010, Mr. Halley added his son Carson to the line-up. Aside from one duo and one trio offering, Rich Halley has done several quartet efforts with Michael Vlatkovich & Bobby Bradford and a quintet with Vinny Golia. For this quartet, Halley has chosen another west coast brassman, cornetist Dan Clucas. You might recall Mr. Clucas’ name from his work with Eugene Chadbourne, Steuart Liebig or a recent quartet with Jeb Bishop & Damon Smith.
After a short cornet/tenor sax duo intro, the quartet break into a sly, swinging groove on the opener, “Corroboration”. “Northern Plains” has a Native American-like constant throb with some a strong, haunting theme for both horns. Rich Halley is especially fine form here with his inspired, deep, Trane-like tone. I like the the band is split on “Dispholidus” with the cornet & bass playing together and the tenor & drums also working together closely before the entire quartet unites. “The Lean” has a sly, sort-of Stax like theme/groove when it begins which feels just right. What I find most interesting here is that each song has a different structure or strategy to the way it is set up and unfolds. On “Converse”, the Trane-like tenor and drums match wits tightly as they play together, building up in intensity and then coming back down, the drummer taking a short , feisty solo before he is joined by Clucas’s dynamic cornet. What makes this CD even better is the powerful sound and robust playing of Rich Halley’s tenor, he is strong form here, a true master. Cornetist Dan Clucas is also a fine if somewhat under-recognized musician. His playing is consistently engaging throughout as well and he really hits the spot on the last piece, “Quintupify”, showing him to be amongst the most creative cornetists anywhere. - Bruce Lee Gallanter, DMG
CD $12

PROVIDENCE RESEARCH ENSEMBLE - Music of J.P.A. Falzone (Infrequent Seams 14; USA) The Providence Research Ensemble (PRE) features J.P.A. Falzone on Fender Rhodes, Farfisa organ, Hohner cembalet, vibes & compositions, Francesca Caruso & Florence Wallis on violins, Genevieve Cross on flute, Luke Damrosch on vibes, Rachel Lewallen on tenor sax and Christopher Sadlers on contrabass. The Providence Research Ensemble are in fact from Providence, RI, which is where this disc was recorded in the fall of 2016. I must admit that I hadn’t heard of the composer or any of the musicians involved before got a copy of this disc. There are three pieces here that are titled “Method” with different numbers attached: “0”, “II” and “VII”. Mr. Falzone says in the liner notes that the “Method” series is based on method-ringing, where bells are rung based on a certain algorithmic permutation. Since there are no bells involved here, the ensemble does base their playing on similar algorithms. “Method 0 - Epitaxis” has a most exquisite, ethereal sound with a lovely, angelic-sounding repeating melody. As the melody repeats, certain notes are carefully stretched out, the sustained notes giving this somber hypnotic undertow. On “Method II - Grandsire Triples”, the repeating pattern is slowed down somewhat and the resonant notes are sustained more. The calm center here actually feels better than the ongoing distraction I get from hearing about the all of those “fake news” networks. “Distorted Striations” stretches certain notes out further and doesn’t deal with repeating patterns. The soft sustained notes of the vibes are at the center here, with hushed strings floating around on the edges. “Zipf’s Law” seems to stretch time out even more, so that there is some space or suspense between the note/clouds which drift by cautiously. While listening to this piece, I get the feeling that the composer worked hard at stretching or sustaining certain notes so that each sustain casts a spell as it hovers and expands. This music seems to breathe the same way we do when we’re calm, there is an inner pulse that I can feel but not really hear outright. This music does take some time to get used to since it moves at a slower pace than most of us are used to do. - Bruce Lee Gallanter, DMG
CD $13

LEAP OF FAITH with PEK / GLYNIS LOMON / MELANIE HOWELL / TODD BRUNEL - Coherence Disturbed (Evil Clown 9285; USA) Featuring PEK on clarinets, saxes, bass flute, double reeds, balafon, bowls, chimes and assorted percussion instruments; Glynis Lomon on cello, aquasonic & voice, Melanie Howell-Brooks on contrabass clarinet, alto sax, flutes and assorted percussion and Todd Brunel on clarinets, tenor sax and assorted percussion. The Evil Clown label which releases CD’s from Leap if Faith and assorted offshoots projects has recently passed the 150 count/mark, which like quite a bit of product considering that it started around six years ago. Dave PEK sends us a new box of 6-10 CD’s every 6-8 weeks and yes it hard to keep up with reviews. I must admit that I admire what PEK / Evil Clown does and have enjoyed each release of any disc that I’ve reviewed. Our world would indeed be a better place if more folks/musicians would put together a series of creative music ensembles which utilized the talents of dozens of creative musicians, many of whom rarely if ever get an opportunity to improvise together at length on a weekly basis. There are no doubt 1,000’s of musicians worldwide who love to play with other musicians from their locals if they only could.
Leap of Faith is the longest running of PEK’s assorted groups and it has the most releases on Evil Clown. They’ve had a core group of four or five musicians, two of whom have moved to other places. Hence, there are only original members: PEK and Glynis Lomon and for this release they’s added two new members: Melanie-Howell-Brooks and Todd Brunel. As far as I can tell, Ms. Howell-Brooks was a member of Turbulence, another Evil Clown band, plus Todd Brunel is a member of the the Eric Hofbauer Quintet, two of whose CD’s on Creative Nation I have reviewed. This disc starts with some haunting low-end tones: cello, clarinet and/or other double reeds. I dig the heated interaction between the cello and the low-end reeds, they are all in a similar tonal range and sound like they are having a solemn conversation. The music is often slow and thoughtfully improvised with occasional eruptions. There is some warm, toasty tenor sax (by Brunel?) midway which adds a more calming vibe to the proceedings. Eventually, things heat up and the reeds & cello start to agitate and push each other higher. This disc is different from other Leap of Faith releases as the members of the quartet don’t switch between instruments nearly as often as they usually do. Things never get too dense or too out which is a good thing. Perhaps 70 plus minutes is a bit too long but if you/we have the time, this somehow fascinating most of the time. - Bruce Lee Gallanter, DMG
CD $10

GULFH OF BERLIN with GEBHARD ULLMANN / GERHARD GSCHLOSSL / JOHANNES FINK / JAN LEIPNITZ / MICHAEL HAVES - GULFH of Berlin (ESP-Disk 5054; USA) Gerhard Gschlössl, Gebhard Ullmann, Jan Leipnitz, and Johannes Fink improvise as composers would do. From scratch they create a holistic sound sculpture -- each time unique and unpredictable -- always with a formal approach. Michael Haves was invited to create with them using analog electronics. In the moment and without overdubbing he becomes the fifth element in GULFH of Berlin.
Personnel: Gebhard Ullmann - tenor saxophone, bass clarinet; Gerhard Gschlössl - trombone, sousaphone; Johannes Fink - double bass, cello; Jan Leipnitz - drums, objects; Michael Haves - live sound processing. Recorded March, 6th 2018 at Low Swing Studio, Berlin. Engineer: Guy Sternberg. Mixed and mastered 2019 by Michael Haves at The Cop Shop, Berlin. Photos by Cristina Marx. Produced by GULFH of Berlin for ESP-Disk’.”
CD $12

RUDIGER CARL / JOEL GRIP / SVEN-AKE JOHANSSON - in early november (CvsD CD 0078; USA) Featuring Rudiger Carl on clarinet, Joel Grip on double bass and Sven-Ake Johansson on drums. This was recorded in Berlin in November of 2019. One of the first truly memorable European avant/jazz gigs that I can recall witnessing in NYC was a group called the East/West German Quartet, sometime in the early 1980’s. The group consisted of Hans Reichel on a homemade guitar, Rudiger Carl on accordion, clarinet & tenor sax, Ernst Ludwig Petrowski on alto sax and Sven-Ake Johansson on percussion. The only musician that I had heard of previously was Hans Reichel who I had seen with Fred Frith a bit earlier. What I did notice about this quartet was that they seemed to have their own approach to free/music which included its own sense of humor and odd inventiveness. Mr. Johansson plays mostly a pile of telephone books which he hit with sticks and ripped pages from in a rhythmical manner. This was done during the same era when the early Downtown Network (Zorn, Chadbourne, Frith & David Moss) were also inventing their own vocabulary of sounds/improv. The East/West German Quartet performance was a revelation for me and I have been a fan of each member ever since.
Both Rudiger Carl and Sven-Ake Johannson are participants in the early German FMP scene which started in the late sixties with Peter Brotzmann, Alex Von Schlippenbach and the Globe Unity Orchestra. So glad that Carl & Johannson are still around although they don’t seem to record very often. The bassist here is Joel Gripp, an American-born musician who moved to Paris in 2007, currently lives in Berlin and has worked with Tristan Honsinger, Tatsuya Nakatani and Gary Thomas. This disc is split into three long piece or movements, all between 23 & 27 minutes. Mr. Carl is more often known for playing the accordion so this appears to be his only release just playing the clarinet. Mr. Grip powerful contrabass is often at the center here helping to keep things focused with a healthy dose of crafty clarinet and SAJ’s rambunctious brush playing. The trio often strip things down to a skeletal flow, with soft, dancing rhythms provided by the subtle brushwork and hushed, Jimmy Giuffre-like clarinet. By stripping things down, the trio show their subtly and expressiveness without erupting too much. Rudiger Carl’s clarinet is ever-inventive and keeps quoting other songs like “Sabre Dance” or an ancient Gershwin-like theme. It makes sense taht the pieces here are called “Movements” since they do flow together like a long classical work where a theme is stated then variations take place afterwards. All three movements do flow organically and cover a long and winding and thoughtfully produced journey. Most impressive for the entire 75 minute duration. - Bruce Lee Gallanter, DMG
CD $15

SCANNER - Fibolae (Bette 013; UK) “Over the last twenty-five years, Robin Rimbaud -- Scanner has traversed the experimental terrain between sound, space and image, connecting a bewilderingly diverse array of genres -- a partial list would include sound design, film scores, computer music, avant-garde, contemporary composition, large-scale multimedia performances, product design, architecture, fashion design, rock music and jazz. Fibolae offers up a world that splinters between melancholia and penetrating energy. Inhale opens the album in an intimate manner, introduced with answer phone messages from those that have slipped away in recent years, from John Balance of Coil, DJ Tom De Werdt of Lowlands Distribution, John Everall of Sentrax Records, his mother, his brother, his grandmother and more, before exploding into a blinding percussive attack with twin drummers battling against a hovering melodic tension. Combining digital technologies, software and live instrumentation Fibolae is both a rhetoric of mourning and a celebration of music to empower. Warm, organic, sensual, passionate and frequently angry, it's an album that radiates with possibilities. Originally released on limited vinyl in 2017, it has been repressed in 2021. CD version includes extra track.”
CD $15

ALESSANDRO CORTINI - Forse (Important 488CD; USA) ”Alessandro Cortini's acclaimed Forse series is available for the first time on CD including an exclusive disc of Forse performed live. Composed using only an original Buchla Music Easel, an incredibly rare electronic music instrument designed by Don Buchla, the Forse series features long, romantic compositions full of voluminous, bombastic tones and dripping with thick timbre. 2021 digital master by Stephan Mathieu. Packaged in matte-coated digipacks, housed in a heavy-duty tip-on style outer box.”
4 CD Set $40

KENYA SPECIAL - Volume Two, Selected East African Recordings from the 1970s & '80s (Soundway SNDW 084CD; UK) “Kenya Special (SNDW 046CD, 2013) was one of Soundway's most popular releases and is considered a milestone in East African compilations. In Kenya Special: Volume Two, the featured songs bend the rules, break away from existing genres, and sometimes experiment with foreign music trends. Features: The Lulus Band, Bahari Boys, Kamaru Celina Band, Orchestre Conga Internationale, The Rift Valley Brothers, L'Orchestre Central International, Orchestre Les Mangelepa, The Eagles Lupopo 77, Peter J.Tsotsi & T.A. Lupopo, Orchestre Simba Wanyika, Sammy Katana, African Vibration, Mac & Party, Kilwa Jazz, and Awengele.”
CD $16


The Festival International De Musique Actuelle De Victoriaville (a/k/a FIMAV) has been going on since 1983 and taking place in the countryside of Quebec, 45 minutes from Quebec City. It is the only annual Creative Music Fest of its type in North America and has presented a variety of experimental musicians & composers and attracted serious listeners, from around the world. Aside from presenting a number of great Quebecois and other Canadian Creative Musicians, there are a handful of elders that play every few years: Fred Frith, John Zorn and Anthony Braxton. Mr. Braxton has ten great discs on the in-house Victo label, all recorded at different performances from FIMAV’s long history. To help celebrate the 38th Edition of the Victo Fest which took place in May of this year plus the recent release of a new Rene Lussier/Martin Tetreault Quartet live CD, we are having a sale on all Anthony Braxton CD on the Victo label. Usually priced at $15, all ten are priced at $14, $1 off of each no matter how many you buy.

ANTHONY BRAXTON - Solo (Victoriaville) 2017 (Victo 130; Canada)
CD Sale $14

ANTHONY BRAXTON SEPTET With TAYLOR HO BYNUM / MARY HALVORSON / JESSICA PAVONE / JAY ROSEN / CARL TESTA / AARON SIEGEL - Echo Echo Mirror House (Composition No 347 ): Live at Victoriaville 21 May 2011 (Victo 125; Canada)
CD Sale $14

CD Sale $14

CD Sale $14

ANTHONY BRAXTON / FRED FRITH - Duo (Victoriaville) 2005 (Victo 100; Canada)
CD Sale $14

WOLF EYES & ANTHONY BRAXTON - Black Vomit: Live May 21st 2005 at 22nd Victoriaville New Musique Actuel Festival (Victo 099; Canada)
CD Sale $14

ANTHONY BRAXTON SEXTET With TAYLOR HO BYNUM / JESSICA PAVONE / CHRIS DAHLGREN / JAY ROZEN / AARON SIEGEL / et al - (Victoriaville) 2005: Composition 345 (Victo 098; Canada)
CD Sale $14

ANTHONY BRAXTON With MARILYN CRISPELL / MARK DRESSER / GERRY HEMINGWAY - Quartet (Victoriaville) 1992 (Victo 021; Canada)
CD Sale $14

CD Sale $14

ANTHONY BRAXTON / DEREK BAILEY - Moment Precieux (Victo 02; Canada)
CD Sale $14

Here’s the same list with reviews added:

ANTHONY BRAXTON - Solo (Victoriaville) 2017 (Victo 130; Canada) Featuring Anthony Braxton on solo alto sax. For many of us, this was the best set at this year’s FIMAV festival. Pioneering saxist/composer/visionary, Anthony Braxton, has been performing solo sax for nearly 50 years! A half century of exploration and invention. When Mr. Braxton’s first album of solo sax (‘For Alto’, Delmark) appeared in 1969, early of his long career, it was a brave move and the beginning of what would become a format or which a number of saxists would test their skills alone in the studio or on the stage. Over Mr. Braxton long, adventurous and varied career, there have around 15 solo sax recordings. The last recording of solo sax came from a concert in New York in 2002, so it has been a long while since Mr. Braxton has done this. When Mr. Braxton took the stage at the Victo show, it was near the end of a long (4 day) festival, it felt like an old friend had come to help us all through some dark times. There was something beautiful, lyrical and calming going on here before Braxton launched into those magnificent, spiraling, utterly distinctive sax lines. There were a few times when Mr. Braxton quoted bits of certain old standards, the distant familiarity of which brought many of us together and near the end of the set, Mr. Braxton played “Body and Soul” in its entirety. “Body and Soul” was perhaps the first jazz standard to become a hit for Coleman Hawkins in 1939 and an evolutionary step forward. Of course, Mr. Braxton did it in his own way, reverent and completely enchanting. I’ve seen many solo sax sets through the years, but this one was perhaps the best. The next day after that concert we were leaving the Hotel Victorin and bumped into Mr. Braxton in the lobby. I gave him a hug and said “Thank you for the special set, your music was indeed the medicine we all need.” He smiled and we parted ways. This disc captures that amazing set perfectly! - Bruce Lee Gallanter, DMG
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ANTHONY BRAXTON SEPTET With TAYLOR HO BYNUM / MARY HALVORSON / JESSICA PAVONE / JAY ROSEN / CARL TESTA / AARON SIEGEL - Echo Echo Mirror House (Composition No 347 ): Live at Victoriaville 21 May 2011 (Victo 125; Canada) Q: Your 'Echo Echo Mirror House' piece at Victoriaville was a time-warping concert experience. My synapses were firing overtime. Braxton: [Laughs] I must say, thank you. I am really happy about that performance. In this time period, we talk about avant-garde this and avant-garde that, but the post-Ayler generation is 50 years old, and the AACM came together in the '60s. So it's time for new models to come together that can also integrate present-day technology and the thrust of re-structural technology into the mix of the music logics and possibility. The Echo Echo Mirror House music is a trans-temporal music state that connects past, present and future as one thought component. This idea is the product of the use of holistic generative template propositions that allow for 300 or 400 compositions to be written in that generative state. The Ghost Trance musics would be an example of the first of the holistic, generative logic template musics. The Ghost Trance music is concerned with telemetry and cartography, and area space measurements. With the Echo Echo Mirror House musics, we're redefining the concept of elaboration. It's not a linear elaboration. The new holistic models are multi-hierarchical formal states that allow for many different things to happen at the same time, and the friendly experience can have the option of approaching the music in many different ways. Compositions, in this context, are not written to be like 5-minute or 30-minute compositions, but rather compositions that can stop and start to meet the needs of the friendly ensemble of musicians, depending on their needs. I have designed my system, from the beginning, so that the formation reality of the music involves everything happening at the same time. With the Echo Echo Mirror House music, suddenly, it goes back to the old TV commercial: 'Is it live or is it Memorex?'
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ANTHONY BRAXTON 12 1 TET with JAMES FEI / STEVE LEHMAN / TAYLOR HO BYNUM / MARY HALVORSON / JESSICA PAVONE / NICOLE MITCHELL / SARA SCHOENEBECK / REUT REGEV / JAY ROZEN / CARL TESTA / et al - 12 1tet (Victoriaville) 2007 (Victo 109; Canada) Featuring Anthony Braxton, James Fei, Steve Lehman, Andrew Raffo Dewar on reeds, Taylor Ho Bynum on trumpets & trombone, Mary Halvorson on electric guitar, Jessica Pavone on strings & electric bass, Nicole Mitchell on flutes, Sara Schoenbeck on bassoon, Reut Regev on trombone & bugle, Jay Rozen on tuba & euphonium, Carl Testa on acoustic & electric basses & bass clarinet and Aaron Siegel on vibes & percussion. 2007 was the "Year of Anthony Braxton" with a number of incredible concerts (Victo & Guelph Fests), important releases on Firehouse 12 (a 10 disc set), Victo & Leo labels, a provocative lecture at Guelph and long & fascinating articles in Downbeat & Music Works magazines. This is most impressive considering that this visionary composer, philosopher and master-instrumentalist, Mr. Braxton's recording career has just reached its 40th year with more than 200 releases on some two dozen labels. Mr. Braxton considers this piece, "Composition No. 361" to be the culmination of his "Ghost Trance Music" series, a structural and philosophical thread/theme music that he has developed over the last decade. The final development in this series is called "Accelerator Class" and this means that various layers of pulse-derived materials have been accelerated to a new level. This makes the music even more exciting and demanding to fathom. I was fortunate to have witnessed this set at Victo, giving myself a better perspective of how this ensemble works visually, since there are (visual) cues and the use of small blackboards to direct the various subgroups that emerge throughout the entire 70 minute piece/set. Just listening to this masterwork is another thing entirely, since there is so much going on different levels. The actual sound of this 13-piece ensemble is breathtaking right from the beginning. They start out playing this one majestic line together, then they slowly vary parts of that line with different subgroups. As one or two folks solo, other players provide substructures around them. All members of the small orchestra get a chance to solo at different times, yet what is equally important is the way the various parts of the web or thread that connects everyone develops, shifts and provides surprising twists and turns. The consistently challenging Victo label has done an especially good job of capturing this music most clearly. It never gets too dense and you can hear every musician perfectly. Every note breathes and is balanced just right. An important thing to consider is this: this music is certainly in-between any established categories like modern jazz or contemporary classical, proving that those terms are often misleading and should now be abandoned. Although it is only the first week of 2008, we shouldn't be too surprised that we already have a contender for the CD of the year. - BLG
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ANTHONY BRAXTON DIAMOND CURTAIN WALL TRIO With TAYLOR HO BYNUM/MARY HALVORSON - Trio (Victoriaville) 2007 (Victo 108; Canada) The Diamond Curtain Wall Trio is more like a quartet with an almost invisible fourth member, Braxton's Super-Collider (software for his) computer. This new trio features Mary Halvorson on guitar, Taylor Ho Bynum on cornet, trumpets & odd horns and Mr. Braxton on alto sax, sopranino sax, concert bass & bass sax, etc. Braxton's computer was interactive but only heard on occasion, as the real interaction took place between these three master musicians. As Taylor switched between a half dozen horns, the next section of the piece would take place. Mary does not play guitar like anyone else and seems to come up with new ideas and sounds all the time. Although she has that jazz guitar-like tone, she is always finding ways to break expectations. She will turn her pick-ups down sound as is she is playing an acoustic guitar, playing chords in her own weird way and then work with some more restrained feedback that sounds completely original and unexpected. What is truly amazing about this trio is the way they work together, weaving fragments of notes into new combinations at every turn. Braxton has been bringing back his concert bass sax, that ridiculous looking 6-foot tall sax that remains in a stand and is wheeled into place. It is a joy to watch him play that gargantuan sax and get more sounds out of it that one would think possible. Besides being an incredible composer, teacher and philosopher, Mr. Braxton is a master reeds player/explorer. In this trio he has found two other kindred spirits who can match wits with him that is no small feat. The electronics were the least interesting member of this group, just providing occasional shadows and ghost-like sounds that were difficult to notice. This was alien communication at its best, like three planets circling one another in measured orbits and more like the best modern classical sounds, than modern jazz. - Bruce Lee Gallanter, DMG
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ANTHONY BRAXTON / FRED FRITH - Duo (Victoriaville) 2005 (Victo 100; Canada) The most anticipated set at last year's Victo fest [2005] was the first time meeting of two giants - Anthony Braxton and Fred Frith. Both are master improvisers, diverse composers and bandleaders and currently both are college professors. It was obvious that both of these master musicians have much respect of each other's unique talent and sound, as each listened closely and worked together so well. They began very quietly, cautiously spinning little fragments of sounds. Fred had his stereo guitar which he both held in hand and also laid down to pluck, rub, bow and work with the strings in a variety of ways. Mr. Braxton often used a warm tone that showed off his Paul Desmond influence, a sound that has been emerging from his arsenal in more recent years. Fred used some pedals to loop selective sounds and weave an incredible tapestry underneath Braxton's equally astonishing sax playing. This was one of those truly magical moments that only seems to happen at Victo from time to time. As the set progressed, they got more adventurous, yet always worked together in a completely enchanting way. Hurrah for it being released on CD! - Bruce Lee Gallanter, DMG
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WOLF EYES & ANTHONY BRAXTON - Black Vomit: Live May 21st 2005 at 22nd Victoriaville New Musique Actuel Festival (Victo 099; Canada) The third day at Victo 2005 was mostly curated by our pal Thurston Moore and featured a number of noise/improv bands that might not have ever played without his push. Thurston's first pick was a not-so-average trio consisting of cheap electronics, electric guitar and drums who met at school in Kentucky called the Hair Police. Although nothing quite prepared us for the second set by Wolf Eyes. There was a rumor that Mr. Anthony Braxton was going to "sit in" with some noise band called Wolf Eyes, but I don't think anyone took that comment seriously. Word is that he had heard them at a festival in Scandinavia and was floored by their performance. Very strange indeed. When this young, punky noise trio came out and told us that Mr. Braxton would be playing with them ... and then there he was, with his alto, soprano, and sopranino saxes! Shock! And pleasntlt intriged surprise! Wolf Eyes is an odd trio of homemade electronics [Nathan Young], electric guitar [Mike Connely] and sax/more electronics [John Olson]. Olson, he of the big shaved head, was also their spokesman: very funny and quite astute. They started with all three members playing some scary processed cymbals as Braxton played some quieter sopranino on top. The trio moved through bowing and scraping metal, intense guitar feedback and growling electronic noise-scapes. It reminded me of Organum at times, just not as accomplished. They ended in a frenzy of pounding noise with screaming vocals that was almost too much. For their encore, they offered Mr. Braxton of playing some other hilariously titled number, or their hit "Black Vomit", and he said, "of course"! It was a tribal, throbbing epic of slow noise that grinded, growled and groaned until it hit its stride and exploded with Braxton squealing sax riding on the waves. Not what anyone would have expected, but it worked and showed how barriers occasionally disappear up at Victo. Wotta show! - BLG
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ANTHONY BRAXTON SEXTET With TAYLOR HO BYNUM / JESSICA PAVONE / et al - (Victoriaville) 2005: Composition 345(Victo 098; Canada) Live at Victoriaville Festival May 22nd 2005. "it was for me the culmination of what this festival is about: a glimpse of the future of new music without boundaries. This marvelous sextet featured Mr. Braxton on just a few reeds (alto sax, clarinet & sopranino), Taylor Ho Bynum on trumpets & trombone, Jessica Pavone on violin, Jay Rozen (not the drummer with a similar name) on tuba, Chris Dahlgren on contrabass and Aaron Siegel on drums & percussion. This group had done a short European tour last year and they are performing what Braxton refers to as "Accelerated Ghost Trance Music". What was most fascinating about this is how Mr. Braxton has taken the essence of his last compositional phase ("Ghost Trance Music") and let it evolve into something somewhat less difficult to grasp. The dozen-plus discs and concerts of "Ghost Trance" were quite controversial, often misunderstood and many listeners complained of the constant repeating and shifting lines. Braxton has accelerated "Ghost Trance" by giving it more breathing space. Although this newer work started together with the sextet playing harmonized lines, it soon broke into fragments of inter-connected lines. Various subgroupings emerge, a great muted tuba and violin duo in one section as Taylor takes an auspicious flugel solo and Braxton takes an outstanding sopranino solo. There were numerous duos and trios that were woven around one another yet everything felt connected to an inner pulse. Everything seemed to move in waves, with the dynamics and textures constantly shifting. There was always a few different melodies or ideas going on, so one had to concentrate to hear it all. It had many of us on the edge of our setas throughout its hour long duration. This music is much closer to modern classical than jazz and Braxton forces the sextet to redefine their roles in this music. There is no division between the rhythm team and the rest of the band, as everyone's role is constantly in flux. Highly Recommended! - BLG
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ANTHONY BRAXTON With MARILYN CRISPELL / MARK DRESSER / GERRY HEMINGWAY - Quartet (Victoriaville) 1992 (Victo 021; Canada) 1992 (Victo 021; Canada) This is a live performance of Braxton's classic quartet of the '80s and '90s at the annual festival of new music held in Victoriaville, Canada. Unlike many of the other documented recordings of this group, the material, with the exception of the closing track, consisted entirely of (at the time) recently composed pieces. Since much of Braxton's writing in the early '90s involved the exploration of very fluid and expansive sound territories, there are none of his infectious, bop-derived numbers or any plaintively emotional ballads. Instead we have a series of fairly knotty compositions where the thematic elements are elusive, recurring melodies rare and regular meter almost non-existent. All of which makes for one of the more challenging recordings by this quartet, requiring of the listener an approach perhaps more suited to contemporary classical music than to jazz. In fact, in the excellent and detailed liner notes/interview by John Corbett, Braxton makes reference to his concept of "navigating through form" and to the music and graphic scores of the composer Earle Brown. One is advised, therefore, not to listen for the standard (even as that term applies to Braxton's music) theme/solos/theme format here; rather, one listens to the musicians, alone or in groups, investigating the rich, strange soundscape structure in which they find themselves immersed. Even so, there's a feeling of pent up energy waiting to be unleashed so when the band vaults into a raging version of Coltrane's "Impressions" as an encore, it's hardly surprising. Indeed, one detects a very human sense of relief as they step back into familiar territory.” - Brian Olewnick - AMG
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ANTHONY BRAXTON With EVAN PARKER / PAUL SMOKER / GEORGE E LEWIS / BOBBY NAUGHTON / JOELLE LEANDRE /GERRY HEMINGWAY - Ensemble (Victoriaville) 1988 (Victo 007; Canada) TRecorded live at the Festival Musique de Actuel in Quebec, Anthony Braxton's Victoriaville 1988 features a star-studded, avant-garde jazz ensemble, including tenor saxophonist Evan Parker, trombonist George Lewis, trumpeter Paul Smoker, drummer Gerry Hemingway, vibraphonist Bobby Naughton, and bassist Joëlle Léandre. Braxton's lengthy "Composition No. 141 ( 20 96 120D)" opens the set in Schoenbergian fashion, sporting knotty, expressionistic arrangements and plenty of inspired unison and solo improvisation for balance; in spite of its sprawling structure, the solid and empathetic rhythm section keeps the piece running smoothly. The other ensemble members make quality contributions as well, with Smoker's humorous, muted trumpet work and Lewis' fervid trombone solos standing out in particular. The shorter "Composition No. 142" closes the performance with an intriguing mix of frenetic and languid group improvisation. A top-notch Braxton release.” - Stephen Cook, AMG
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ANTHONY BRAXTON / DEREK BAILEY - Moment Precieux (Victo 02; Canada) This is a reunion of sorts, considering Anthony Braxton and Derek Bailey teamed for a series of duets in London during the '70s. Putting these two giants of improvised music together then and now seems a natural, but as is the case with their earlier efforts, this 1986 recording is a bit disappointing. Taken from a concert at Quebec's avant-garde Festival Musique Actuelle, Moment Precieux finds the two irascible soloists alternating between near silence and furious outbursts on the extended exploration "The Victoria and Albertville, Parts 1 & 2." Braxton is his usual serpentine and grating self on alto and soprano, while Bailey takes a minimalist and spiky approach on guitar, full of thrashing chords and chilling harmonics. Save for a few enlightened moments during the calmer passages, though, the two soloists hardly connect, opting instead to pursue singular roads of expression; unfortunately, when the two do come together, it sounds more obligatory than sympathetic. Maybe this is a result of a divide between the American jazz side of free improvisation (Braxton) and Europe's more wide-ranging take on the form (Bailey). Who knows. Intriguing solo moments aside, this is not a record to get if you are expecting an exciting collaboration between these two. For better duet records, check out Braxton and pianist Marilyn Crispell's Vancouver Duets (1989) or Bailey and saxophonist Evan Parker's Compatibles.” - Stephen Cook, AMG
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DON CHERRY with KARL BERGER / JACQUES THOLLOT / et al - Music, Wisdom, Love 1969 (Cacophonic 018LP; UK) “Reaching a near-mythical status amongst fans of free jazz's most worldly intrepid explorer, these seldom heard Paris soundtrack sessions known as Music, Wisdom, Love have evaded collectors' grasps and confused historians for exactly 50 years. Instigated in Paris in 1967 and filmed during Don Cherry's downtime on a visit to the Chat qui Pêche nightclub in March 1967, where he played with Karl Berger, Henri Texier, and Jacques Thollot, the bulk of this cinematic portrait was filmed on the streets of Paris under the direction of creative all-rounders Jean-Noël Delamarre and Nathalie Perrey, who, as their careers bloomed, would become pivotal figures in underground French cinema - straddling La Nouvelle Vague, adult entertainment, and cinema fantastique in what can only be described as speedball cinema. As the supportive creative family that primarily played home to French vampire/horrortica director Jean Rollin, both Nathalie and Jean-Noël, his brother Jean-Philippe Delamarre and a small team of other fans of oblique media would be responsible for a vibrant micro-culture that awkwardly flourished on the outskirts on the Parisian new wave - combining comic book culture, Lettrism, sexual liberation, psychedelic rock, graphic design, and, with this record as prime example, free jazz and avant-garde music. What previously might have been regarded as an unlikely coupling, with the benefit of half a century of archival hindsight, this release documents the essential cosmic collision of two fantastic planets. Available here for the first time ever and licensed from producer and director Jean-Noël Delamarre himself.”
LP $25

SUNNY MURRAY with ARCHIE SHEPP / KENNETH TERROADE / GRACHAN MONCUR III / LESTER BOWIE / JEANNE LEE / ALAN SILVA - Hommage To Africa (BYG Records 303LP: USA) Third volume in the BYG Actuel series; gatefold sleeve, 180 gram vinyl. "After three years as a member of Albert Ayler's band (1964-1967), avant-garde jazz drummer Sunny Murray traveled to France where he recorded for Affinity and BYG. The amazing Homage to Africa was recorded on August 15, 1969 for BYG and features Archie Shepp, Alan Silva, Grachan Moncur III, Lester Bowie, Clifford Thornton, Roscoe Mitchell, Kenneth Terroade and Jeanne Lee."
LP $16

KING TUBBY - Hometown Hi-Fi Dubplate Specials 1975-1979 (Jamaican Recordings 051LP; UK) King Tubby's Hometown Hi-Fi was one the great sound systems in Jamaica. It also proved a fantastic outlet for the Dub Plate Specials cut at Tubby's studio, providing exclusive cuts to be played out, enticing the dance's audience. The tracks at the time were mainly cut over producer Bunny "Striker" Lee rhythms, that Bunny stored at Tubby's studio which was in fact his home, 18 Drumilly Avenue in Kingston, Jamaica. The versions were given exclusive plays at Tubby's before some finding their way on to vinyl, as the B-side version cut to its A-side vocal, proving so popular, that the records were often bought for its version side over its vocal counterpart. King Tubby and Producer Bunny "Striker" Lee are intertwined in the birth of dub music. Tubby's vast knowledge of electronics and Bunny's vast catalog of rhythms would lay the foundations of what today is taken as a standard... the remix/version cuts to an existing vocal tune. Tubby and Striker were at Treasure Isle Studios one day while Ruddy from Spanish Town was working with the engineer Byron Smith. "Tubby and myself was talking when Ruddy was cutting some dub but Smithy (engineer) made a mistake and forgot to put in the voice. It was a two-track recording in those days. Ruddy said 'No Man! Make it stay!' And so they cut the rhythm. When I went over to Ruddy's that Saturday night a dance was in progress and when they played the vocal to the tune... then he said we're going to play 'Part Two.' They never called it 'Version.' And then he played the rhythm track. The song was a catchy song and everybody started to sing along and the deejay started to toast so everything went down well. On Monday morning I went up and I said 'Tubbs the mistake we made was a serious joke. It mash up Spanish Town!' The people went wild. So you have to start to do that now 'cause when the man put on the 'Part Two' everyone started singing this song. It played about 20 times. I said you try Tubbs!' Well the next Saturday night now when Tubby strung up down the farm U Roy said he's going to play 'Part Two' but Tubby did it different now. He started with the voice then dropped it out and let the rhythm run and then he brought in the voice in the middle and from there Tubby started to get really popular.'' --Bunny "Striker" Lee. Dynamic Sounds upgraded to 16-track recording in 1972 and Tubby purchased, again with the help of a deal brokered by Bunny Lee, the old 4-track equipment and the MCI console from their Studio B. The four tracks now gave him far wider scope to work with and he began to create a new musical form where the bass and drum parts were brought up while the faders allowed Tubby to ease the vocal and rhythm in and out of the mix. Jamaican Recordings has compiled a selection of cuts that were all tried and tested on Tubby's hometown hi-fi sound system and worked a great set of Bunny Lee's rhythms in fine style. All killer no filler.”
LP $16

SUSSO - Keira (Soundway 094LP; UK) On Keira, Susso, aka bassist/producer Huw Bennett, creates music inspired by, and directly sampling, the magnificent sounds of the Mandinka people, recorded during a recent trip to Gambia. Initially travelling with the aim of gaining perspective as a musician and to discover a new world of music first hand, Huw found himself humbled by such a welcoming community of artists, mostly belonging to the celebrated Suso and Kuyateh griot families. The tracks are composed entirely from original source material, field recordings, and Huw's talents as a multi-instrumentalist; performing tuned percussion from the region including the Mandinka balafon, kutiringding drum, as well as drawing on his skill as a professional upright/electric bassist. The music produced has a contemporary electronic sound, whilst still paying homage to a traditional Gambian aesthetic. Keira (meaning "peace") guides the listener through Huw's journey up the River Gambia, being welcomed into remote dusty villages, where your people are the most important thing in life.”
LP $24

PHIL UPCHURCH with DONNY HATHAWAY / LOUIS SATTERFIELD / MORRIS JENNINGS - Upchurch (Cadet 826LP; USA) Exact repro of this 1969 Chicago soul album from guitarist Phil Upchurch, arranged and conducted by Charles Stepney, the brilliant producer who worked with Rotary Connection. Tracks include "Black Gold," "America" (Simon & Garfunkel), "Cross Town Traffic " &” Voodoo Chile" (Jimi Hendrix) and “As You Said” (Cream).
LP $13



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


December program at ZÃœRCHER Gallery, NY :



Wednesday December 8, 8 PM : DARIUS JONES - Solo 

Thursday December 16, 8 PM : TYSHAWN SOREY & ADAM RUDOLPH

Monday December 20, 8 PM PETR KOTIK presents .. (TBD) 

All Gigs are $20
THE Zürcher Gallery is located at:
33 Bleecker Street, New York NY 10012
Tel: 212-777-0790 /
Proof of full vaccination, photo ID and face masks are required


GauciMusic presents:
Live at Scholes Street Studio
Saturday December 18th, 8pm & 9:30pm sets
Live recording / Live audience!

Stephen Gauci - tenor saxophone
Angelica Sanchez - piano
Adam Lane - bass
Chad Taylor - drums

$15 at the door
At Scholes Street Studio / 718-964-8763
375 Lorimer St, Brooklyn, NY
near Lorimer J/M, Montrose L


The Independent Promoters Alliance Presents:


Thursday, December 30th at 7:30pm - $20
At DiMenna Center for the Performing Arts
450 West 57th St. in Manhattan, NYC
Proof of full vaccination, photo ID and face masks are required


This one is from CHRIS CUTLER, original member of Henry Cow, Art Bears, News from Babel, respected author and founder of Recommended Records. This is Chris’ wonderful podcast and I urge you all to give it a listen…


Guitarist and DMG-pal HENRY KAISER has a monthly Video Solo Series on Cuneiform’s Youtube page:


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 & improvisations on each episode. Here is the link: