Way down below the ocean
Where I wanna be, she may be
Way down below the ocean
Where I wanna be, she may be
Way down below the ocean
Where I wanna be, she may be
My antediluvian baby
Oh, yeah, yeah, yeah, yeah, yeah
I wanna see you someday
My antediluvian baby
Oh, yeah, yeah, yeah, yeah, yeah
My antediluvian baby
Way down below the ocean
Where I wanna be, she may be
My antediluvian baby, I love you, girl
I wanna see you someday
My antediluvian baby, oh, yeah
I wanna see you someday
Oh, my antediluvian baby
I was very fortunate to have been selected to do an exchange semester in London from September 1975 to January 1976, while I was attending Glassboro State College in south Jersey (from 1972-1976). When the school selection committee interviewed me & asked why I wanted to do this exchange, I said that it was my goal to go to London to interview members of a certain music scene for future music magazines or a book on the Canterbury Scene. They could tell that nI was determined to go. While in London, I attended many concerts almost every other night and did a number of interviews: Mike Ratledge, Robert Wyatt, Hugh Hopper, John Marshall, Elton Dean, Keith Tippett, Roy Babbington, Dave Stewart, Phil Miller and Steve Hillage. I also met with & spoke to Fred Frith, Chris Cutler, Lol Coxhill, Gerry Fitzgerald and others. I wanted to interview Daevid Allen, Kevin Ayers & Karl Jenkins, but didn’t have to opportunity to do so then. A few years later, Daevid Allen (with NY Gong), Fred Frith, Chris Cutler & Peter Blegvad all played at the Zu Manifestival in September of 1978 at Intermedia Theatre in NY. This was their time on stage in the USA for many of the aforementioned musicians. A couple of weeks after that festival, I finally interviewed Daevid Allen at the Zu Loft, the interview lasted several hours. It was then that I learned quite a bit about the early history of Soft Machine.
Daevid Allen told me that he was a stowaway on a banana boat from Australia (1963?), hoping to get to England to become part of the British Beat Poetry Scene. He was caught as a stowaway, thrown off the boat & ended up in Majorca, an island off the coast of Spain. This is also where Robert Wyatt’s mother had a summer home, where Robert stayed as well as the author/philosopher Robert Graves, who was also a tutor to Mr. Wyatt. Mr. Allen & Robert Wyatt became good friends and started to collaborate. Daevid Allen was a fine poet, singer & had a large collection of modern jazz LP’s which he played for the early members of the Softs. Out of the ashes of a Canterbury band called the Wilde Flowers, Soft Machine was born around 1966 with Daevid Allen, Kevin Ayers, Mike Ratledge & Robert Wyatt. The original quartet recorded two singles in 1967 and toured Europe, and became popular in England, France and Spain. Soft Machine were managed by Chas Chandler, former bassist of the Animals, who also discovered Jimi Hendrix, brought him to England and managed him. In 1968, Soft Machine were about to tour in the US, opening for the Jimi Hendrix Experience and also record their first album while they were there. When returning from Europe, Daevid Allen was denied entry to the UK because he had no Visa and also because he talked in interviews about the positive aspects of doing LSD (or acid as it was then known), thus was unwanted by the powers that be. Soft Machine became a trio and toured the US without Mr. Allen, with Allen ending up back in Majorca, as well as in Paris during the student riots era of 1968. Mr. Allen moved to his new home which was called the Bananamoon Observatory, doing acid and experimenting at length, writing songs. He had a vision during one of his trips where he met the descendants of Atlantis who told him about a secret place, later known as the Planet GONG. They also taught him about the Cosmic Drone which was created by rubbing a thin piece of metal on a guitar string, which came to be known as “glissando” playing. The ideas that Daevid Allen learned from his/our Atlantis ancestors evolved over time and became a Cosmic Philosophy which was the center of the Gong Mythology and mostly everything else that Daevid did throughout his long, wild, free-form, ultra-creative life.
Whenever I hear the above song, “Atlantis”, I think about this long lost civilization buried beneath the ocean and wonder how much of their influence is still with any of us earthlings or landlubbers today. I find this song to be joyous and a great way to set our imaginations free to consider what is true and what is not, where certain ideas come from. “Whose Myth are you..?” is what the Prophet Sun Ra used to say. Think about it. Whose myth are you? - Bruce Lee Gallanter, DMG
THE DOWNTOWN MUSIC GALLERY 31st ANNIVERSARY IN-STORE FREE MUSIC SERIES CONTINUES WITH:
Tuesday, March 1st, 2022:
6:30: MUSIQUE LIBRE FEMMES w/ CHERYL PYLE! Celebrating Women’s History Month! Featuring:
Cheryl Pyle - c flute /alto flute / Haruna Fukazawa - c flute/alto flute / Judi Silvano -voice / Claire de Brunner-bassoon / Jamie Baum - alto flute / Yuko Togami-drums/percussion
Tuesday, March 8th:
6:30: ARON NAMEMWIRTH / CLAIRE de BRUNNER / PATRICK GOLDEN - Guitar / Bassoon / Drums!
Saturday, March 12th: The GAUCI-MUSIC Series Continues with: TRIPLE CD Release Concert!
6:30pm CD release concert for "Eli Wallace/Stephen Gauci, Pandemic Duets"
ELI WALLACE - synth / STEPHEN GAUCI - tenor saxophone
7:15pm CD release concert for "Kevin Shea/Stephen Gauci, Pandemic Duets"
KEVIN SHEA - drums / STEPHEN GAUCI - tenor saxophone
8pm CD release concert for: "Gauci/Wallace/Shea, Live at the Bushwick Series"
STEPHEN GAUCI - tenor sax / ELI WALLACE - synth / KEVIN SHEA - drums
THE STONE, our favorite performance place in NYC reopens on March 2nd! You can find their schedule further on down in this newsletter or at: https://www.thestonenyc.com
This Week’s Amazing New Discs begin with two Fabulous box sets!
JOHN ZORN // KRIS DAVIS QUARTET: MARY HALVORSON / DREW GRESS / KENNY WOLLESEN / BRIAN MARSELLA TRIO: TREVOR DUNN / KENNY WOLLESEN / JOHN MEDESKI TRIO: DAVID FIUCZYNSKI - G. CALVIN WESTON / BRIAN MARSELLA Solo - Bagatelles (Volumes 5-8)(Tzadik; USA) From March to May 2015, John Zorn composed 300 new tunes that were eventually collected into a book of music he called The Bagatelles. After 5 years of performances around the world in venues large and small, the choicest ensembles have gone into the studio and the recordings are finally being made available in a series of limited edition 4-CD BOX sets. Each set will present four ensembles performing a unique program of Zorn’s Bagatelles. This SECOND Box-set focuses on keyboard players.
4 CD Deluxe LTD Edition Box Set $95 [In stock early next week]
PLEASE NOTE, the new Tzadik CD by Zoh Amba, which was listed last week had been delayed until next month as is a new disc by John Zorn, called ’The Garden of Forking Paths’. No need to pre-order until they do arrive
NUCLEUS with IAN CARR / CHRIS SPEDDING / KARL JENKINS / JOHN MARSHALL / BRIAN SMITH / JEFF CLYNE / ROGER SUTTON / GORDON BECK / GEOFF CASTLE / et al - Live at the BBC (Repertoire 1410; UK) This monumental set, which was quietly slipped under the radar upon its 2021 issue, is perhaps the veritable motherlode for anyone with the slightest interest in pioneering British jazz-rock (née, fusion). Across the 70s and 80s, Nucleus’s personnel represented the cream of the UK’s visionary players of the time. In addition to leader Carr, the members featured throughout this box (at various times) include guitarists Chris Spedding, Mark Wood, and Kenny Shaw; saxophonist and electric pianist Karl Jenkins; bassists Dill Katz, Jeff Clyne, and Roger Sutton; horn players Phil Todd and Bob Bertles; flautist Brian Smith; drummers John Marshall and Roger Sellers; Gordon Beck on melodica; and pianists John Taylor and Geoff Castle. Culled from deep within the BBC archives, trumpeter Carr’s long-running outfit recorded for a whole slew of that network’s shows and programs, including Radio 3’s Jazz in Britain, Radio 1’s Sounds of Jazz, and John Peel’s Top Gear, and some of the group’s most energetic, spirited, and fiery performances are in abundance across this set’s massive 13-disc spread. The box represents a mouthwatering collection that is required listening for fusion lovers, those interested in the development of jazz-rock in the UK, Ian Carr’s vast influence over the course of progressive jazz in general, and the fundamental modes of improvisation and invention spearheaded by Carr and his intrepid lot over two decades. To further entice hesitant consumers sitting on the fence, the entirety of this box is unreleased save for the inclusion of the sessions that produced The Pretty Redhead, issued back in 2003 on Hux. One need only glimpse the burning red sun on the box’s cover to get an instant visual cue for what awaits the ear from the very first disc. Leader Carr’s trumpet playing, having long since reached legendary status, is beyond reproach, to the extent that singling out any one individual performance here is but a fool’s gesture. Suffice to say, the thirteen hours of music exploding herein will demand repeat exposure just to unearth the sheer bravado on display. Never mind that Carr and his associates trawl through repeated versions of tracks ripped from the band’s catalog; each iteration, each variation, each performance is pure gold. Highlights include disc four’s twenty-six minute edition of Gordon Beck’s “The Dream”, with Carr acting like a literal snakecharmer as he winds, pivots, and weaves across his bandmates atmospheric funk; disc nine’s late 80s recordings featuring the superb guitar stylings of John Etheridge; disc three’s 1971 John Peel appearance with guitarist Chris Spedding duking it out with Karl Jenkins’s electric piano and Carr’s explosive gesticulations, trekking literal Miles to go before he sleeps. You want fusion? You got some of that very birthright here. Calling this ‘essential’ hardly does this box justice—buy or die. - Darren Bergstein, Downtown Music Gallery
13 CD Box Set $120 [In stock early next week]
JORGINA MILLA / BARRY GUY - String Fables (Listen! Foundation 31404; Poland) One of Listen!Foundation's 2022 piano/bass duo series, German-based pianist Jordina Milla meets UK bassist Barry Guy for an album of uniquely discerning improvisation, Ms. Milla using inside preparations and gracefully energetic playing informed by her background in classical piano, complementing Guy's intensely melodic abstractions and technically advanced techniques; fascinating.”
NICK FRASER QUARTET with TONY MALABY / ANDREW DOWNING / ROB CLUTTON - In There Were No Opposites (Hat ezz-thetics 1034; Switzerland) Featuring Tony Malaby on tenor & soprano saxes, Andrew Downing on cello, Rob Clutton on contrabass and Nick Fraser on drums & compositions. First recording in 2012 as a trio with saxophonist Tony Malaby as a guest, 9 years later Toronto drummer Nick Fraser's quartet with Malaby as a permanent member, Rob Clutton on double bass and Andrew Downing on cello show their long collaboration's strength in a set of improvisations plus compositions for Decidedly Jazz Danceworks and the DJD production, Juliet & Romeo.”
Toronto-based drummer Nick Fraser played here at DMG last Tuesday (2/22/22) with Mat Maneri on viola, Brandon Lopez on contrabass and (special guest) Sean Ali on mandolin. This was one of the best sets of spontaneous improv I’ve heard at DMG in recent times. This was the first time that these four musicians had played together and it was something special. I will be sending out a few snippets thru our InstaGram feed so check them out! - BLG
DARREN JOHNSTON with GEOF BRADFIELD / CLARK SOMMERS / DANA HALL - Life in Time (Origin 82839; USA) Featuring Darren Johnston on trumpet & compositions, Geof Bradfield on tenor & soprano saxes & bass clarinet, Clark Sommers on contrabass and Dana Hall on drums. Canadian-born trumpeter, Darren Johnston, continues to make great strides no matter where he lands. After spending 20 years in the Bay Area working with Larry Ochs & OrchestRova, Fred Frith & Lisa Mezzacappa, Mr. Johnston worked with a number of Chicago musicians and now lives in Brooklyn. Mr. Johnston composed the music for this disc during the pandemic, spending most of his time practicing, writing music and figuring out who to work with when the opportunity arrived. Reeds player & co-composer, Geof Bradfield, I recall from his work with Ted Sirota, Matt Ulery and a fine trio with Ben Goldberg & Dana Hall. I don’t much about bassist Clark Sommers but drummer Dana Hall did work with Damon Locks, Mankwe Ndosi and Malachi Thompson.
“Asherah” has a lovely, slow-burning melody & vibe. Both Mr. Johnston on trumpet and Mr. Bradfield on tenor sax take superb, warm & thoughful solos as does bassist Sommers in the last section. The tempo & tension pick up on “Little Gold Fish” with Mr. Bradfield switching to soprano. The tune switches between a Monk-like twisted rhythmic theme and swinging quickly throughout, again with inspired solos from Johnston & Bradfield. One of the main things that makes this quartet & disc so special is the way that the frontline plays together, they compliment each other’s sound. Mr. Bradfield switches to bass clarinet for his own song, “Intention and Commitment”, the slower, more dream-like vibe gives both the bass clarinet & trumpet to play some, lovely laid back solos. Considering that there is no piano here, the rhythm team do a fine job of supplying strong, ever-evolving support. Bassist Clark Sommers is featured on a spirit jazz piece called, “Life in Time”, and he sounds mighty fine bubbling underneath, the rhythm team rising & falling in waves with some sublime, haunting solos from the tenor & trumpet. Another highlight here is strong composing, providing a variety of challenges for the entire quartet. This is ensemble playing at its best, tight, focused and soaring at times. Overall, each piece is a marvel of playing and composing craft. Superb from the opening to the closing! - Bruce Lee Gallanter, DMG
PAUL LOVENS / SEPPE GEBRUERS / HUGO ANTUNES - The Room: Time & Space (El Negocito Records eNR084; Belgium) Featuring Paul Lovens on drums, cymbals & gongs, Seppe Gebruers on two grand pianos tuned a quarter-tone apart and Hugo Antunes on prepared & unprepared contrabass. German Free/Jazz drum legend, Paul Lovens, has played with many of the elders of this music: Cecil Taylor, Alex Von Schlippenbach & Evan Parker, as well as with a long list of gifted improvisers from all over: Dr. Chadbourne, John Russell and Mats Gustafsson. Mr. Lovens also works with a number of lesser known, up & coming players, two of which are heard here. Bassist, Hugo Antunes, can be found on several discs on the Clean Feed label, working with Nate Wooley, Rafael Toral & Chris Corsano. I hadn’t heard of pianist Seppe Gebruers before now. In the liner notes by Paul Lovens, Lovens mentions how certain “rooms” have their spirit or vibe, helping us humans to capture what we do in those spaces and making certain events more special. This session was recorded in February of 2016 at “ke nona” in Mechelen in Belgium. Mr. Gebruers plays two grand pianos tuned a quarter-tone apart, hence dealing with microtonal explorations. This sounds like a live recording and it has superb, warm, clean sound. Each piece is named with the word “Room” with a number attached. “Room 1” is subtle and sparse, well-balanced and sonically stunning. Mr. Gebruers is playing the keyboard of one piano while plucking the strings inside the other piano for a section. Eventually, the pace quickens and the sounds become more intense, more brittle for a period of time. I like the way these pieces unfold and evolve. I’ve caught Paul Lovens live many occasions playing with Doc Chad, the Schlippenbach/Evan Parker Trio and with Cecil Taylor. Mr. Lovens has a most distinctive sound/approach. He is at the center of this wonderful, mesmerizing trio. Wee worth exploring. - Bruce Lee Gallanter, DMG
PAUL VAN GYSEGEM QUINTET - Square Talks (El Negocito Records eNR079; Belgium) Personnel: Cel Overberghe - tenor & soprano saxes, Patrick de Groote on trumpet & flugelhorn, Erik Vermeulen on piano, Paul Van Gysegem on contrabass and Marek Patrman on percussion & trumpet (1 track). It turns out that bassist Paul Van Gysegem, the leader here, once had a sextet whose only (?) other album was recorded in early 1971, which is fifty years ago this year. Now, Mr. Van Gysegem has a new quintet release which includes one member of his previous band from 1/2 century ago, percussionist Marek Patrman. I know very little about saxist Cel Overberghe or trumpeter Patrick de Groote. Pianist Erik Vermeulen has played with the Hugo Antunes Group as well as with Lynn Cassiers (all for the Clean Feed label). From reading the liner notes I found that all of these musicians have been around a long while, although not consistently within the new music scene.
This session was recorded live at JazzCase in Pelt, Belgium, in September of 2019. The music here does sound mature, thoughtful, crafty and filled with surprising twists and turns. Although the music is mainly improvised, everything sounds connected. Mr. Van Gysegem’s bass is often at the center of the action, no matter when it is sparse or (rarely) busy. The piece is called “Brisk” and it does sound like the tempo is brisk when it begins. There is quite a bit of heated and oft intense interaction going on here with the sax, trumpet and piano all swirling tightly around one another. Episodes like this are often followed by careful, spare, eerie piano, bass & drums sections. Trumpeter De Groote sounds particularly fine, using sly bits of reverb for his unique sound. One of the main things I like about this disc is that although it is free improv, the music is rarely very out or too free, there are more melodic or easier to follow lines in the way things unfold. This sounds like a sign of maturity since many musicians start off playing freely with a need to make some Fire Music or intense free soaring. There is a certain warmth and sublime balance of the elements on this disc. If you’ve never or rarely heard “free” music, this would be a great place to start. - Bruce Lee Gallanter, DMG
LAUROSHILAU - Live At Padova (el Negocito ERN098; Belgium) Lauroshilau is a fairly new collective on the free improv scene, but on evidence of the sounds erupting from this recording, further notoriety will be quickly forthcoming. Comprised of Audrey Lauro (alto sax and preparations), Pak Yan Lau (toy pianos, synth, and electronics), and Yuko Oshima (drums), theirs is a deceptively calculating music that creeps up on you slowly before it devours you, like lava quietly devastating an unsuspecting mountainside. Great drama seems to build with a careful, scary methodology, as Lauro’s squeaks and spittle look for glimpses of light in between Lau's horrorshow digitalics. Yes, there is that much portentousness in this music, the kind of atmospheric dread so little seen in improv, and this record, made the more startling that it was recorded live, must have left its audience not only rapt but gripped by fear. When Oshima strikes gongs and assorted other drums and surfaces, it provides something of a psychic bridge between the listener’s ears and their vivid, frenzied imaginations. As galvanizing as the wayward landscape of the initial twenty-five-minute-plus first part is, Lovecraftian in form and fleet in execution, the trio taking us across blasted earth reeking with the acrid smell of particle decay, it’s the second part which is ultimately the more gripping of the two. Lauro’s sax occasionally sounds ’normalized’ but the errant noises conjured still feel like alien probes poking at the skin. Lau's electronics, all metallic hushes and burnt chrome, make for some of the more chilling sci-fi modulations to be seen in the genre in many a moon. And Oshima’s well-chosen trills, strikes, and reverberations sound like they’re literally captured from deep within the bowels of the Nostromo, taking baby steps in anticipation of what might suddenly descend from the chain forest. Startling, provocative, ever-surprising, keep a sharp eye on this freeform triumvirate of terror, for a brave, confrontational noise is what they surely make. - Darren Bergstein, DMG
DAVID LEE MYERS - Lustre (Pulsewidth PW017; USA) Myers’ second release of 2022 more-or-less picks up right where the previous Intervals/Interludes leaves off, exploring the grit and girth of atmospheric discharge and itinerant soundscaping with a vivacity few of his peers possess. Where many an ‘ambient’ electronic musician prefers the often monotonous ubiquity of formless drones, content with the sample-and-hold mentality that has birthed a million vapid sonic clones, Myers’ not only eschews such simplistic impulses but instead wholly revels in getting down in the dirt with his myriad devices. Sounds don’t merely shift across the stereo spectrum so much as mutate and recombine right before your very eyes/ears, tracks don’t proceed the way you expect them to, and, perhaps more telling, Myers always has a trick or two up his sleeve; there’s always something surprising lurking ‘round the bend waiting to upset the aural apple cart. The lonely, muted noise buttressing “Castaway” might at first seem a bit on-the-nose, but, as is Myers’s usual m.o., strangely-colored susurrations peek out from the edges, emitting a thousand points of light that alter the pathways of the ensuing drift. The title track’s mournful synth whorls, much like the rippling concentric circles of water adorning the digipak cover, flutter, fluoresce, and flow out from its tonal nucleus in ever-widening waves of beautifully sculpted form, percolating, morphing, respirating—moog enhancers of the highest order. “Rain on the Just” might well reflect the poetic fluency of its title were it not describing electronics that seem to bounce off the walls in a perpetual song-and-dance of buzz ’n’ bass, occasionally interrupted by the odd chirrup of extraterrestrial fauna. “Chromatophores” is just as mesmeric as its titular cousin, but here Myers allows his playful side to peek through, a carnivalesque bit of synth-bounce that recalls some of Conrad Schnitzler’s more eccentric moments. Drama vying with whimsy informs the vast bulk of this perplexing, idiosyncratic, and utterly engaging outing, pure manna for the ears. - Darren Bergstein, DMG
MAX NAGL - M.N. Plattinger (Rude Noises 29; Austria) An experimental saxophonist by trade, Nagl actually dabbles in all the outré arts, so his resumé includes stints with the likes of fellow adventurists Bernhard Stangl, Noel Akotché, Tom Cora, Samm Bennett, Lol Coxhill, Ken Vandermark, and an additional baker’s dozen of notables. On this rather short EP—the sucker’s only 28 minutes in length, broken up into sixteen discrete indices—Nagl puts his sax through the proverbial digital wringer. But jazz this sure as hell ain’t. Augmented by indeterminate field recordings, warbly echoes, funereal bell sounds, obtuse squeaks, faux-triphop collages, and numerous unknown sonic bric-a-brac, Nagl’s created a fascinating aural document that is difficult to pinpoint. Ultimately, the recording succeeds due to its relatively cohesive nature, Nagl attempting to create some sort of disassociative travelogue that is neither wholly acoustic nor wholly electronic, treading fine lines between the imprimatur of reality and the notion of a glorious fake. The sounds scattered throughout—hints of bird call, footsteps crunching leaves underfoot, sax mutated beyond recognition, strangely looped digital flotsam—are enormously effective, whose only crime is their truncation; one could easily listen to a whole hour of this enigmatic tour-de-force. Brief but shelfworthy. - Darren Bergstein, DMG
LIONEL FERNANDEZ / JEROME NOETINGER - Outer Blanc (Sonoris 017; France) Highly electrified guitar, anamorphosed, perforated, and tainted by all sorts of effects, implodes its rage and its urgency in the magnetic nets of a tape recorder as cannibal as it is destructive. From various recordings Lionel Fernandez and Jérôme Noetinger have created and produced these ten pieces: big, biting, dangerous and acerbic -- like the intoxicated meeting of a chainsaw and a microphone. Real garage music: grease, gutted car bodies and outdated alternators, like a soundtrack ripped from an unreleased Tobe Hooper film. Lionel Fernandez and Jérôme Noetinger: a musical encounter between two important and uncompromising figures in contemporary experimental music in France. This duo emerged during an evening of the label Premier Sang programmed at Instants Chavirés (Montreuil) in the 2010s. A few years and a few furious concerts later and it is now on the Sonoris label that they are releasing their first record.
Guitarist of the pioneering French free noise/no wave band Sister Iodine, Lionel Fernandez uses an out of norm practice of the electric guitar in a group or as solo playing, "a guitar used as a flame thrower thrashed and fiercely held up as machete totem, he chops through darkness with unsane anti-riffs and carved blocs of dirty sounds, where gargle in slow combustion gangreened micro-textures" (Le Non_Jazz) He also plays in other deviant combos such as Antilles, Cobra Matal, Ibiza Death, Haine, Porsche, Discom, Minitel, Mauser M, etc. and has collaborated either live or on records with Masaya Nakahara, Meyna'ch/Mütiilation, Andy Bolus/Evil Moisture, Stephen Bessac/Kickback, Hendrik Hegray, Tujiko Noriko, etc.
Jérôme Noetinger is a composer, improviser and sound artist who works with electroacoustic devices such as the Revox B77 reel-to-reel tape recorder and magnetic tape, analog synthesizers, mixing desks, speakers, microphones, various electronic household/everyday objects and home-made electronica. From 1987 to 2018, he was the director of Metamkine, a non-profit organization dedicated to the distribution of improvised and electroacoustic music. Between 1987 and 2014 Jérôme was a member of the editorial committee of the quarterly journal of contemporary sound, poetry and performance, Revue & Corrigée. For ten years from 1989, he was a member and programming coordinator of exhibitions, gigs, and experimental cinema at le 102 rue d'Alembert, Grenoble.”
STEVE RODEN - The Radio / Airria (Hanging Garden) / Vein Stem Is Calm (Sonoris 018CD; France) “Sonoris announce the release of some important works from the influential and respected artist Steve Roden. These tracks, which mix conceptual composition and musicality, transcend the ambient or lowercase categories too quickly applied to his music, due to its ghostly beauty. In the tradition of John Cage's Cartridge music amplified objects, Steve Roden extracts a fine and delicate music through his manipulation of specific objects, with an apparent simplicity that hides a captivating magic. Whilst reinventing a form of ambient music which is discreet and atmospheric, Steve Roden delivers sound textures, gives shape to color swatches, traces vibrant frequencies and creates visual art objects. Roden, both a visual and a sound artist often tagged as minimal for want of a better description, builds the sound design of a life, a new construction for the future which encompasses architecture, visual arts, and painting in a single form. "The Radio" (1996): The sound sources are derived from the object itself -- the airwaves as well as the internal mechanics (aerial, springs, knobs). Originally released as a mini-CD by Sonoris, this work centered on Roden's voice and found sound loops is now unexpectedly considered a classic and was seen as "a particularly modest form of genius" in a review by The Wire at the time. "Airria" (Hanging Garden) (2003): Arnold Schönberg's work The Book Of Hanging Gardens haunts the piece, and is used as a backbone over which a ghostly and exhilarating vocal hovers. Both unsettling and relaxing, this track from the Speak No More About The Leaves CD has strangely become a mini phenomenon on YouTube with its number of views and comments. "Vein" (1996): A few seconds taken from a Ralf Wehowsky piece are shaped into a nocturnal raga imbued with substances of an indeterminate nature. Mastered by Giuseppe Ielasi. Cut by Fred Alstadt at Studio Angström.
Steve Roden is a visual and sound artist from Los Angeles, living in Pasadena. His work includes painting, drawing, sculpture, film/video, sound installation, text and performance. In the sound works, singular source materials such as objects, architectural spaces, and field recordings, are abstracted through humble electronic processes to create new audio spaces, or possible landscapes. The sound works present themselves with an aesthetic Roden has described as lower case -- sound concerned with subtlety and the quiet activity of listening.”
MALCOM GOLDSTEIN - because a circle is not enough: music for bowed string instruments (New World Records 80835-2; USA) Featuring: Malcolm Goldstein, violin; Jean René, viola; Émilie Girard-Charest, cello and Nicolas Caloia, contrabass. “music for bowed string instruments” consists mostly of music composed by Malcolm Goldstein (b. 1936) between 2018 and 2019 while living in Montréal, Québec. The impulse to compose this series came from Goldstein’s experience as a teacher and performer of Béla Bartók’s 44 Duos for Two Violins (1931). Whereas Bartók’s series features a clear progression to the pieces, gradually increasing in technical and musical complexity from beginning to end, music for bowed string instruments has no such sequence. The compositions do not build toward a particular way of playing or specific kind of technical virtuosity. Even so, Goldstein envisions these pieces to be used as both teaching material for improvisation as well as concert pieces.
Each of the eleven pieces defines a narrow set of parameters—musical, physical, conceptual, etc.—to explore the sounding possibilities of stringed instruments. Goldstein uses the term structured improvisation composition to describe this kind of piece. He explains that concept as “improvisation as a process of discovery enacted within the structures of the particular performance activities specified for each piece.” In other words, the musicians are not free to play anything at all, but they are free to explore everything within the constraints laid out in the score. Goldstein’s aim is not for the musicians to produce the same music each time, nor to try and play a piece the way he would do it. Rather the philosophy is centered on the process of “each individual unfolding, the breath expanding in gestures of becoming sound.” Goldstein relishes the possibilities inherent to improvisation: “Anything can happen starting from nothing … so that music is a process of discovery filled with surprises.” All of the musicians on this recording are part of the Montréal improvisation scene and there is a deep mutual trust between composer and performers developed over many years. A keen ear will recognize both the unique constraints of each piece’s structure and the subtle, individualized ways the different musicians improvise the material.”
2 CD Set $30
CAT HOPE - Decibel (Hat ezz-thetics 1029; Switzerland) "This is an album of compositions by Australian composer Cat Hope, performed by the Decibel new music ensemble. The ensemble has provided a collaborative environment where Hope's composition has evolved, and the group is made up of close colleagues with skills as musicians, composers, producers, sound engineers and software programmers. It is difficult to overstate the importance of this group in Hope's development as a composer. For example, it was within this group that the Decibel ScorePlayer software was developed, software that Hope uses to present her animated graphic notations. Recording engineer and Decibel member Stuart James led the first recordings of Hope's work, and as a performer in the ensemble, Hope was able to become intimately familiar with the repertoire of her favourite composers, including works by composers in the ensemble itself. The ensemble premiered some of her earliest notated words. Sharing a common interest in commissioning and performing Australian new music, the group has toured Australia, Europe, Japan and Malaysia, committing to residency periods where they would develop new works, performance approaches, software and concert programs. Currently, Decibel's six performance members are spread between the Australian cities of Perth and Melbourne….”
EVENTLESS PLOT with VASILIS LIOLIOS / YIANNIS TSIRIKOGLOU / ARIS GIATIS / CHRIS CUNDY / et al - Anisixia (Edition Wandelweiser Records EWR 2105; Austria) “Variations of a score incorporated within a choreographic performance presented at the Archeological Museum of Thessaloniki in 2019 from the Greek experimental band Eventless Plot, the core trio of Vasilis Liolios (psaltery & bow), Yiannis Tsirikoglou (electronics) and Aris Giatas (analog synth) extended with Chris Cundy (bass clarinet), Nefeli Sani (piano) and Eva Matsigou (flute).”
CARLO INDERHEES - 8 Stimmen1 (Edition Wandelweiser Records EWR 2112; Austria)
A series of eight "voices" for piano, extended minimal works slowly unfolding in the performance of composer Carlo Inderhees' "8 stimmen" composition for solo piano, expressed by Guy Vandromme as the piece answers the questions "what is music made of?" with the word "voices: a sequence of sounds and silences, with its own consistency".
EMMANUELLE WAECKERE - A Direction Out There, Readwalking (With) Thorea (Edition Wandelweiser Records EWR 2109-10; Austria) “Four unique interpretations of David Henri Thoreau's essay "Walking", "a transcendental essay that analyzes the relationship between man and nature, trying to find a balance between society and our raw animal nature." (Wikipedia), performed by Antoine Beuger, Marianne Schuppe, Stefan Thut, Sylvia Alexandra Schimag and Marie-Cecile Reber.”
2 CD Set $16
HISTORIC, ARCHIVAL and REISSUED DISCS OF NOTE:
TONY WILLIAMS with WAYNE SHORTER / SAM RIVERS / HERBIE HANCOCK / BOBBY HUTCHERSON / RON CARTER / GARY PEACOCK - Life Time & Spring, Revisited (Hat ezz-thetics 1126; Switzerland) Remastering & reissuing drummer Anthony Williams first two albums: Life Time was recorded for Blue Note shortly after joining the Miles Davis Quintet, employing two bassists--Richard Davis and Gary Peacock--along with mentor Sam Rivers and Davis alumni Herbie Hancock & Ron Carter; Spring reflects the new freedom of 60s jazz in a quintet with both Wayne Shorter & Sam Rivers.” Both of these Tony Williams gems are long out-of-print on CD and well worth owning. - BLG
FREDDIE HUBBARD with HANK MOBLEY / WAYNE SHORTER / JIMMY HEATH / TINA BROOKS JAMES SPAULDING / JULIAN PRIESTER / McCOY TYNER / SAM JONES / PAUL CHAMBERS / REGGIE WORKMAN / ELVIN JONES / PHILLY JOE JONES / CLIFFORD JARVIS / et al - The Essential Blue Note Collection (Enlightenment 9205; EEC) Born April 7th 1938, American jazz trumpeter Freddie Hubbard played bebop, hard bop, and post-bop styles from the early 1960s onwards. His unmistakable and influential tone contributed to new perspectives for modern jazz and bebop. This remarkable collection features the finest music Freddie Hubbard ever recorded, all originally made for and released by the esteemed Blue Note label during jazz music's most fertile era. Containing eight full, original albums in all, presented here in perfect remastered quality on 4CDs, this release will delight both existing fans looking for a reasonably priced collection containing the great man's best music, alongside those new to his playing, wondering what all the fuss is about.”
4 CD Set $18
BACK IN STOCK:
ANDREW CYRILLE / WILLIAM PARKER / ENRICO RAVA - 2 Blues for Cecil (TUM CD 059; Finland)I’m a long-time admirer and follower of the music put out by the Italian trumpeter Enrico Rava (here on flugelhorn only), the bassist William Parker, and the drummer Andrew Cyrille, as leaders. These brilliant musicians, who often write with improvisation in mind, are constantly open to ideas, remaining alert and responsive to every sound that surrounds them.
Although appearing together for the first time as a trio on 2 Blues For Cecil , they were all part of the groundbreaking Cecil Taylor Unit in the past, but at different times. Cyrille and Parker played in the cited group for 11 years each, 64-75 and 80-91, respectively; Rava appeared twice alongside the free jazz piano genius in 1984 and 1988. This dedication to the memory of the pianist comprises four collective improvisations, one jazz standard, one original by Parker and two apiece from Rava and Cyrille.
“Improvisation No.2” is way more reflective and sparse than “Improvisation No.1”, which opens the record with singing bass lines and likable figures, ever-sparking drumming filled with multi-timbral discernment, and crystal-clear horn playing that manages to be agile and searing. Also collective improvisations, “Blues For Cecil No. 1” and “Blues For Cecil No. 2” have different feelings. The former starts off slowly and then swings conveniently with Parker mutating rhythmic flows with vision; the latter is a more conventional 12-bar blues limned with expressive melody and groove.
Rava populates his hasty, if carefully calibrated, 1991-penned “Ballerina” with restless trumpet, but it’s his other composition, “Overboard”, that enthralled me the most. This Ornette Coleman-inspired piece was revisited many times before, but is built afresh here with beautiful trumpet lines and an enveloping rhythmic web consisting of sure-footed bass walks and intense tom-tom focus.
Whereas Cyrille’s “Enrava Melody” was written for the trumpeter, who, blowing with ascendant verve, combines sophistication and stamina, Parker’s open piece “Machu Picchu”, grounded on a three-time-feel bass ostinato, is a static yet dazzling showcase for Rava’s melodic impressions. The trio concludes with a brushed, harmonically broken reading of Rodgers/Hart’s “My Funny Valentine”. - Filipe Freitas, JazzTrail.net
DOUG HAMMOND & DAVID DURRAH - Reflections In The Sea Of Nurnen (Now-Again 5214LP; USA) "Originally planned for issue on Strata-East, Hammond took his collaboration with Durrah to Detroit and issued his masterpiece. Lacquered by Bernie Grundman. Now-Again presents the defi¬nitive Tribe Records reissues. Deep, spiritual jazz of the highest order. The Tribe label, one of the brightest lights of America's 1970s jazz underground, receives the Now-Again reissue treatment. This is your chance to indulge in the music and story of one of the most meaningful, local movements of the 20th Century Black American experience, one that expanded outwards towards the cosmos. In the words of the collective themselves, 'Music is the healing force of the universe.' Included in an extensive, oversized booklet, Larry Gabriel and Jeff 'Chairman' Mao take us through the history of the Tribe, in a compelling story that delves not just into the history of the label and its principals, but into the story of Black American empowerment in the latter half of the 20th Century. The booklet features never-before-seen archival photos and rare ephemera from Tribe's mid-1970s heyday."
GARY BARTZ & MAISHA - Night Dreamer Direct-to-Disc Sessions (Night Dreamer 007LP; UK) Limited restock. Orchestrated by Gilles Peterson following their performances together at his We Out Here festival, legendary jazz saxophonist Gary Bartz and ensemble Maisha have recorded for Night Dreamer's third Direct-to-Disc session. With his 50 years of musical experience ahead of the band, the musical synergy captured between the Blue Note artist and the young sextet has been captured in this unique and stirring recording. The album features three tracks that were sketched, arranged and performed within the recording session alongside alternative versions two of Bartz's original compositions from the early '70s: the haunting "Uhuru Sasa" and the spiraling jazz-funk of his "Dr Follows Dance".
PASCAL COMELADE & MARC HURTADO - Larme Secrete (Sonoris 019LP; France) “Larme Secrète is the result of an astonishing encounter between a minimal and discreet musician attracted as much by Erik Satie as he is by various pop classics, and a poet/performer who has worked with Lydia Lunch, Genesis P-Orridge, Michael Gira as well as Alan Vega. Pascal Comelade and Marc Hurtado (Étant Donnés) are two important figures of a French underground and alternative music scene which has always attempted to interfere with other musical genres. They are both also producers, fans and cultured listeners who meld a vast array of elements and references into a dark synthesis, a hypnotic and cosmic electroshock. This project was born following the collaboration on stage by Pascal Comelade and Marc Hurtado during a tribute to Alan Vega that Marc Hurtado organized in Paris in 2018. Larme Secrète is the sound of an electric shock, the sound of two hearts beating at the same rhythm, united in the thrilling and hypnotic music of Pascal Comelade, melted in the fire of the celestial poems of Marc Hurtado. Synthesizers, guitars, drums, organ, piano, sound loops seem to collide high in the sky with whispered, yelled, possessed voices. Double-LP cut at 45rpm comes in gatefold cover; includes three bonus tracks exclusive for this vinyl edition.
Pascal Comelade was born in Montpellier. After living in Barcelona for several years, he produced his first album, under the name of Fluence, influenced by electronic music and by the group Heldon. Since 1980, Pascal Comelade has released music under his own name. Since then, his music has become more acoustic and is often characterized by the sounds of toy instruments, used as solo instruments or as part of the sound of his group, the Bel Canto Orchestra.
Marc Hurtado is half of the French experimental duo Etant Donnés. Active since the late 1970s, the group has released several albums, also collaborating with people like Alan Vega, Lydia Lunch, Michael Gira or Genesis P-Orridge. Marc Hurtado has directed many films and has also released several solo albums under his own name.”
2 LP Set $38
KEIKO HIGUCHI - Vertical Language (Black Editions 1006LP; USA) “Heavy tip-on jacket with matte pigment stamping and insert. Based in Tokyo, Keiko Higuchi is a vocalist and instrumentalist internationally renowned both for her solo performances and extensive collaborations in the world of underground improvisation, jazz, and the avant-garde. On Vertical Language, Higuchi has created an evocative and hauntingly beautiful album that unfurls in equal parts light and darkness, form, and emptiness. On solo voice and piano as well as in duets with bassist Louis Inage, Higuchi performs a collection of songs and improvisations that take unexpected paths; her voice and piano starkly, soulfully emerge. They gradually take form as sparse notes resonate and build into intense layers of sound. The music is unvarnished and deeply personal -- it embraces traditional Japanese and spiritual music as well as even jazz and bossa nova, but never completely turns itself over to their familiar forms. More than simply an album title, Vertical Language refers to the distinctive musical approach that Higuchi has developed over the past twenty years. Her music is centered on the breath and pulse -- rather than set "horizontal" musical rhythms or structures. It illuminates the connection between the artist's body and sound. In her music, piano chords and voice sound out in an instant and expand, floating off in new directions. The music embraces silence and negative space or the Japanese concept of "Ma", as well as the small "imperfections" that any moment or sound might contain. Each moment in her music is as much imbued with what came before as what will come next -- each note expands in space and can never be seen from just one perspective. In her music, Higuchi is constantly taking us to a place that neither she or we can quite yet see.”
OBJETOS MUSICAIS - Homage To Walter Smetak (Buh Records BR 146LP; Peru) Objetos Musicais is a collection of 13 sound pieces created by artists from South America and Switzerland, who work in an intermediate zone among the craft of luthiers, visual arts and experimental music. Their works evoke the visionary ideas of Walter Smetak, a Swiss composer who lived in Salvador, Bahia (Brazil). Smetak was a pioneer of musical experimentation in that country and developed, in the '60s and '70s, a musical poetics that was captured in two seminal albums, Smetak (1974) and Interregno (1980), both of which, after being out-of-print for a long time, have been reissued today, hence the motivation for this tribute. On those two albums, Smetak combined Afro-Brazilian ritual traditions, theosophy, microtonality studies, collective improvisation and the use of unconventional musical instruments, which he called "Plasticas Sonoras". Smetak came to build around 150 acoustic instruments, many of which are true sound sculptures of great visual impact. This latter aspect is the most directly evoked one on this album -- and it so happens that the Smetakian spirit tunes in with a new community of contemporary artists, who relate to the work of the so-called "experimental luthiers", artists who build their own instruments (Marco Scarassatti, Phillipp Laeng, Maria Anália), lead them towards radical extended versions (Ruben Dhers, Claudio Merlet), develop hybrid projects involving instruments and sound sculpture (Javier Bustos, Álvaro Icaza and Verónica Luyo, Juan Pablo Egúsquiza, Edgardo Rudnitzky) or take the exploration towards the building of resonant machines (Nicole L'Huillier, O Grivo, Zimoun, Cod.Act), without these categories being mutually exclusive, but rather tending to mix, thereby opening up new sonic possibilities. This new community of artists has begun to create a whole new field of research and, in a way, a new discipline, understandable within the context of this new paradigm opened by the maker culture, which has pushed creators and developers from all over the world to conceive alternative -- anti-hegemonic and DIY -- forms of production. Therefore, this collection allows the artists to evoke Walter Smetak but also to connect his work to this new scene -- to which it precedes -- a link for this new art that makes its way at some point among the work of experimental luthiers, sound art, experimental music and the DIY ethics. Curated by Luis Alvarado and Chico Dub. Art by René Sánchez. Edition of 300.”
BIG BOY PETE - The Cosmic Genius Of Big Boy Pete Vol. 2 (Mono-Tone Records 051LP; France) “After the success of his first ever vinyl compilation, The Cosmic Genius of Big Boy Pete Vol. 1 (MT 042LP), which sold out really fast, here comes the follow-up, imaginatively called... The Cosmic Genius of Big Boy Pete Vol. 2! This mysterious British guitarist (real name Pete Miller) cut some oddball non-hits in the '60s that have amassed quite a reputation among psychedelic collectors but were really hard to find until now. Like on Vol. 1, Vol. 2 features one side of some of his best '60s stuff and side two unreleased or little-known gems from the '70s -- ranging from wild and fuzzy garage to psych pop and freaky country-rock. Includes psychedelic color inner cover with lyrics and a text written by Pete Miller himself.”
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.
ELLIOTT SHARP AGGREGAT TRIO at The Jazz Gallery
w/ E# - saxes & bass clarinet Brandon Lopez - bass, Don McKenzie - drums
Friday Feb 25th
Sets: 7:30, 9:30
1160 Broadway (at 27th st), 5th fl
New York NY 10001 / firstname.lastname@example.org
With his improvising trio Aggregat, E# on saxophones and bass clarinet reveals a deep familiarity with jazz history and practice but also dives headlong into a futuristic approach, shredding tradition while acknowledging it. Aggregat's rhythm section of Brandon Lopez on bass and Don McKenzie on drums is powerful and supple. The music that E# has composed for this formation is his most explicitly jazzy set to date with sounds ranging from solid swing to skittering high-velocity textures.
THE STONE REOPENS AGAIN ON MARCH 2nd, 2022, Here is the schedule:
THE STONE RESIDENCIES - TOMAS FUJIWARA - MAR 2–5
8:30 pm - DUO - Mariel Roberts (cello) Tomas Fujiwara (drums)
8:30 pm - TRIO - Patricia Brennan (vibraphone) Jorge Roeder (bass) Tomas Fujiwara (drums)
3/4 Friday - CD RELEASE CONCERT
8:30 pm - Tomas Fujiwara’s Triple Double - Taylor Ho Bynum (cornet) Adam O’Farrill (trumpet) Mary Halvorson (guitar) Brandon Seabrook (guitar) Zack O’Farrill (drums) Tomas Fujiwara (drums)
8:30 pm - Thumbscrew - Tomas Fujiwara (drums) Michael Formanek (bass) Mary Halvorson (guitar)
THE STONE RESIDENCIES - CREATIVE MUSIC STUDIO - MAR 9–12
8:30 pm - TRIO - Angelica Sanchez (piano) Brandon Lopez (bass) Tom Rainey (drums)
8:30 pm - Luminous Ragas of India
Steve Gorn (flutes) Mir Naqibul Islam (tabla)
8:30 pm - Sana Nagano Trio - Sana Nagano (violin) Patricia Brennan (vibes) Wendy Eisenberg (voice, guitar)
8:30 pm - Kalia Vandever Trio - Savannah Harris (drums) Hannah Marks (bass) Kalia Vandever (trombone)
The Stone is now located at in
The New School - Glass Box Theatre
55 west 13th street - near 6th ave
music at 8:30pm
$20 per set
unless otherwise noted / cash only payment
reservations are available on
The New School website
all admissions are at the door
prior to each performance
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:
1990 video from WETLANDS in here: https://www.youtube.com/watch?v=Wfs5OuBfNxs
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: https://www.facebook.com/gary.lucas.5836/
This clip just arrived in my email from British Sax Colossus PAUL DUNMALL:
THE GAUCI-MUSIC SERIES CONTINUES WITH:
Monday March 7th
7pm Vinnie Sperrazza- drums
Caleb Curtis- alto sax
Noah Garabedian- bass
8pm Dafna Naphtali - vocals/synth
Ras Moshe - saxophones/flute - TBD
9pm Bushwick Series House Band
w/ Stephen Gauci - tenor sax
Adam Lane - bass
Kevin Shea - drums
10pm Santiago Leibson - keyboard
Michael Attias - alto saxophone
Tom Rainey - drums
11pm Patrick Golden - drums
Dave Sewelson - bari saxophone
Aron Namenwirth - guitar
Live at the Downtown Music Gallery
Saturday March 12th, 2022
6:30pm CD Release Performance for "Pandemic Duets, Eli Wallace/Stephen Gauci"
Eli Wallace - synth / Stephen Gauci - tenor saxophone
7:15pm CD Release Performance for "Pandemic Duets, Kevin Shea/Stephen Gauci"
Kevin Shea - drums / Stephen Gauci - tenor saxophone
8pm CD Release Performance for "Stephen Gauci/Eli Wallace/Kevin Shea, Live at the Bushwick Series"
Stephen Gauci - tenor sax / Eli Wallace - synth / Kevin Shea - drums
At the Downtown Music Gallery
13 Monroe St, New York, NY
Live at Scholes Street Studio
Saturday March 19th, 8pm & 9:15pm sets
Live recording/Live audience!
Noa Fort - vocals
Sam Newsome - soprano saxophone
Sean Conly - bass
$15 at the door, cash/venmo
@Scholes Street Studio - 718-964-8763
375 Lorimer St, Brooklyn, NY (near Lorimer J/M, Montrose L)
This comes from Flute & Reeds Virtuoso BOB DOWNES:
This comes from Dave Peck A/K/A PEK, founder of the Leap of Faith Collective & The Evil Clown Label:
LIVESTREAM to YouTube
Leap of Faith – Laws of Crystal Forms
This Saturday 2/26 – Start between 6 PM and 6:30 PM East Coast USA time
PEK – clarinets, saxophones, double reeds, flutes, percussion
Glynis Lomon – cello, aquasonic, voice
Vance Provey – trumpet
Michael Knoblach – percussion
YouTube Stream: https://youtu.be/uw5fdeF9eyE
The second performance of Leap of Faith with this quartet lineup…
Check out the first (Revealing the Essence) at
Evil Clown album page: https://www.evilclown.rocks/lof-revealing-the-essence.html