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Mom and Pop Stores and Corporations
Too Big to Care About Us Common Folk
Experience Real Music on a Good Stereo or Live in Concert
And Not Listen to Compressed and Stolen Sounds on Your Phones
There is a Big Difference when Music has Chance to Breathe and Expand in Space…
Please Support Working Musicians, Music Performance Venues and Record Stores
Before they Disappear… The Time for Serious Listening is Now!
Check out Music from:
Peter Brotzmann/Steve Swell/Paal Nilssen-Love Live III! Detail 1982: Frode Gjestad/Johnny Dyani/John Stevens! Joe McPhee/Damon Smith/Alvin Fielder! Two Evan Parker QT’s: Mikolaj Trzaska/Joh Edwards/Mark Sanders! Barry Guy/Maya Homburger/Zlatko Kaucic! Agusti Fernandez Celebration: Nate Wooley/Joe Morris/Mats Gustafsson/F-M Uitti..! Paul Dunmall New Trio!
SexMob (Steve Bernstein/Briggan Krauss/Tony Scherr/Kenny Wollsesn) & Burnt Sugar Arkestra - 2 Great Studio Efforts! Annea Lockwood! Keeril Makan! Plus Archival & Reissue Rarities from: The Residents! Snakefinger! Chrome! LP’s from Mike Cooper! The Cosmic Jokers! Terry Fox! R. Buckminster Fuller! Maria Rita! The Spirit of Indonesia and Early Traditional Instruments of Asia and Lots More..!
THE DMG 26TH ANNIVERSARY SERIES OF SONIC CELEBRATIONS Continue with:
Sunday, July 9th:
6pm: The VORKTIP TRIO: NICOLAS LETMAN-BURTINOVIC - Bass
ELIJAH SHIFFER - Sax / BRITT CIAMPA - Drums
Super Rare Night Saturday, July 15th Set:
6pm: HENRY KAISER - Solo Electric Guitar!
Sunday, July 16th:
6pm: GUILLERMO GREGORIO!
Sunday, July 23rd:
6pm: BILLY MINTZ QUINTET: TONY MALABY / JOHN GROSS / ROBERTA PIKET / HILLIARD GREENE!
7pm: MAT MANERI & TANYA KALMANOVITCH - LP Release Set!
Sunday, July 30th:
6pm: PABLO DIAZ & PAULA SHOCRON - From the Argentinian Underground - New CD on Hatology!
7pm: JESSE DULMAN - Solo Tuba
DMG is located at 13 Monroe St. (between Catherine & Market Sts) in a basement below a small gallery. Take the F train to East Broadway or the 6 train to Canal or the B or D to Grand, or the M-15 bus to Madison & Catherine. Come on Down, the Sunday Music Series is Always Free & the Vibes are Always Cosy.
Three Great Discs from the Not Two Label:
PETER BROTZMANN / STEVE SWELL / PAAL NILSSEN-LOVE - Live in Tel Aviv (Not Two MW 956; Poland) Featuring Peter Brotzmann on tenor & alto saxes, taragato & clarinet, Steve Swell on trombone and Paal Nilssen-Love on drums & percussion. This is the third disc from this incredible international trio of improv all-stars. Each of the two previous discs were also live on tour, one in Copenhagen and one in Krakow, Poland. This disc was recorded at Levontin 7 in Tel Aviv, a jazz club run by saxist Assif Tsahar. It is now July 4th, 2017 in the afternoon. I haven’t heard any fireworks yet today until I put on this disc and then it happened - an intense eruption! After an explosive intro, the trio calms down for some sublime, warm, reflective elegance. Mr. Nilssen-Love switches to brushes as the trio slowly ascend, two superb duos take place: tenor sax & brushes and then trombone & brushes. Eventually, Brotzmann, switches to taragato, again from duo to trio, the inner flames igniting and rising higher. When the trio winds down again it is more Euro style, soft yet busy insect music of sorts. Organic hands-on-drums, slowly building to a frenzy again. Nothing quite sounds like this trio, they are in a class if their own and sound particularly inspired and on fire here! This is indeed FIRE MUISC 2017! - Bruce Lee Gallanter, DMG
DETAIL [FRODE GJERSTAD / JOHNNY MBIZO DYANI / EIVIN ONE PEDERSEN / JOHN STEVENS] - Detail at Club 7 (Not Two MW 953; Poland) Featuring Frode Gjerstad on soprano & tenor sax & bass clarinet, Eivin One Pedersen on piano and ARP synth, Johnny Mbizo Dyani on acoustic bass and John Stevens on drums. This set was recorded live at Club 7 in Oslo, Norway in September of 1982. Detail was a project featuring Norwegian saxist Frode Gjerstad and British drummer John Stevens, which existed from 1981 until Stevens’ passing in 1994. Mr. Gjerstad and Mr. Stevens recorded as a duo although Detail was most often a trio with guests: Eivin One Pedersen (keyboards), Johnny Dyani or Kent Carter, Bobby Bradford and Billy Bang. This is the only recording of this particular quartet version of Detail and it is from the near beginning of their ever-evolving existence. Sadly, since this was recorded, three of the four members have passed away: Johnny Dyani (1866), John Stevens (1994) and Eivin Pedersen (2012). This is the eighth release by Detail.
Nowadays Frode Gjerstad plays mainly alto sax and clarinet, although here (in 1982) he also plays tenor sax and bass clarinet. The quartet starts off quietly with free, sparse piano, clarinet, bass and drums, simmering and suspense-filled. Original Blue Notes (South African)/Brotherhood of Breath bassist, Johnny Dyani, had relocated to Copenhagen by this time. Legendary SME drummer, John Stevens, and Blue Notes bassist, Johnny Dyani, sound wonderful and create their own magic, providing a cosmic cushion for and spinning a web underneath the reeds and piano. When the quartet hit their stride, the interplay between all four members is extraordinary. While Frode has a strong, spirited dark tone on tenor, is his alto sax and bass clarinet that stands out. The late, great John Stevens is also in fine form throughout, often providing direction and keeping the (rhythmic) flow going. There is also a mighty fine bass solo from Mr. Dyani midway through this disc, a rare commodity from this contrabassist extraordinare. The under-recorded pianist Eivin One Pedersen, who quit the band right after this tour, also sounds great here. Currently only about half of the Detail catalogue is in print, their three records for the Impetus label long out-of-print. We might just have a couple of copies of their classic 2 LP set, ‘Plus: Ness’, so if you still collect & listen to vinyl, don’t wait to get your copy ASAP. In the meantime, this disc is well worth acquiring as well! - Bruce Lee Gallanter, DMG
* JOE McPHEE / DAMON SMITH / ALVIN FIELDER - Six Situations (Not Two 953; Poland) Featuring Joe McPhee on tenor sax, Damon Smith on bass and Alvin Fielder on drums. This disc was recorded live at Roulette in Brooklyn, on September 13th of 2016, in the fall of last year. Multi-reeds wizard and brass-man, international traveler on the move, Joe McPhee, always rises to the occasion and sounds inspired no matter who he is playing with and whatever stage or studio he finds himself in. Bay Area-to-Texas-to Boston bassist, Damon Smith also gets around to playing with a wealth of international musicians. Mr. Smith has worked with original AACM drum legend, Alvin Fielder, on previous recordings with Norwegian saxist Frode Gjerstad and Texas-based players: David Dove and Jason Jackson. This was the first time that McPhee and Fielder had played together live. I attended this set myself and recalled how happy Mr. McPhee was to play with drum legend Alvin Fielder. His excitement was infectious.
One of the highlights of this disc is a righteous poem called, “Tell Me, How Long Has Trane Been Gone”, written by Joe McPhee and printed inside the CD case. It is dedicated to both John Coltrane and author James Baldwin. The trio begins quietly, slowly, all three members building and blending their spirits/sounds. You can Trane’s influence in all three players, free yet focused as one deep spirit ascending… On “The Diagonal of Personal Ecstasy”, the trio morph into a sly, blues-like refrain, which feels so good, slowing down our pulse to a safe crawl, peaceful yet probing. There is strong balance of the elements going on here, the trio sound like they are listening closely and creating a strong dialogue. All in all, this is a strong, spirited and intense trio that works together and has their own distinctive sound. I recall enjoying this set but this disc sounds even better than what I remember. - Bruce Lee Gallanter, DMG
* Joe McPhee will be playing at the New Stone at the New School on Friday, July 28th with Ken Vandermark at 8:30
Four Mighty Fine Discs from a New Polish Label - Listen! (Fundacia) Foundation:
EVAN PARKER / MIKOLAJ TRZASKA / JOHN EDWARDS / MARK SANDERS - City Fall - Live at Cafe Oto (Listen! Foundation FSR 04-2016; Poland) Featuring Evan Parker on tenor sax, Mikolaj Trzaska on alto sax & bass clarinet, John Edwards on double bass and Mark Sanders on drums. These two sets were recorded at Cafe Oto in London in September of 2014. I was glad to see this line-up listed on the Fundasja Foundation website, since this looks to be a great collaboration. The British rhythm team of John Edwards and Mark Sanders can be found on some two dozen discs working with great saxists like Paul Dunmall, Tony Bevan, Frode Gjerstad and Trevor Watts. Both have also worked with Evan parker together and separately. Polish reeds great, Mikolaj Trzaska, can be found on some three dozen discs as a leader, soloist and working with Ken Vandermark, Joe McPhee and Johannes Bauer.
The first set is the one where the quartet blasts off together, soaring and exploding together. Both reeds players sound great together, a flurry of notes swirling tightly together with a storm force, soon pushing each other higher and The second set starts with some powerful, intense bowed bass before the rest of the quartet comes in. The rhythm team is powerful, buzzing with energy, allowing both saxists to erupt with power and finesse. Mr. Trzaska, who often plays with more restraint in a chamber setting, erupts with Evan Parker in tenor and Mikolaj Trzaska on alto sax. The is a long section midway where both saxes and bowed bass create a series if wheezing drones. The combination is most effective, the blend most mesmerizing. There is an incredible, tight, blasting Evan Parker/bass & drums trio section which is just ferocious, ascending higher and higher. When Mr. Trzaska re-enters, it is hard to tell the saxists apart since they hover around the same tonal, textural area. This impressive 2 CD set shows how well the collaboration of Mikolaj Trzaska and the Evan Parker Trio can rise to the occasion. An OUT-standing effort!
2 CD Set $24
EVAN PARKER & RGG - Live @ Alchemia (Listen! Foundation FSR 01-2017; Poland) Featuring Evan Parker on tenor sax, Lukasz Ojdana on piano, Maciej Garbowski on bass and Krzysztof Gradziuk on drums. Thanks to labels like ForTune, MultiKulti and Kilogram, an ever-growing creative music scene in Poland is being documented. A newer Polish label called Listen! Foundation has also started to release discs from lesser know Polish creative musicians. To celebrate the fifth anniversary of the website: jazzarium.pl, a festival was held in Krakow. This is how Evan Parker got together with the the three members of a young Polish group called RGG, none of whom I had heard of before now. Starting softly with just tenor sax and then starting to build into shifting spirals, the quartet as one force, weaving their way around one another. On the first of four long pieces, the drummer keeps an ongoing low-key dialogue with Mr. Parker, while the bass and piano lay out for long sections, just coming in when the mood strikes. Mr. doesn’t start to do any circular-breathed streams until the second long piece and even then he does this with restraint for just a short bit. Rather than playing with ant sort of extreme power, the quartet take their time, allowing Mr. Parker to build slowly into more eruptive moments. By the end of the long pieces, things do pick up and some explosive moments do occur. It does take some patience and the lowering of expectations in order to better appreciate this disc. - Bruce Lee Gallanter, DMG
BARRY GUY / MAYA HOMBURGER / ZLATKO KAUCIC - Without Borders… (Listen! Foundation FSR 05-2017; Poland) Featuring Barry Guy on contrabass, Maya Homburger on baroque violin and Zayko Kaucic on drums, electric zither and home-made instrument. Master contrabassist, Barry Guy, and his wife classical (baroque) violinist, Maya Homburger, have been collaborating for many years performing in duo, trios and with several projects led by Mr. Guy. Sometimes they play written material like Bach or John Dowland, while other times they improvise, like a trio CD with Swiss drummer Pierre Favre on Maya Records. Slovenian drummer, Zlatko Kaucic, has worked with Evan Parker, Peter Brotzmann and Agusti Fernandez in the past, hence a strong choice for Mr. Guy and Ms. Homburger. The music here is not completely improvised as Mr. Guy and Mr. Kaucic have both contributed composed material here as well as covering one piece by Steve Lacy. The title of this disc, “Without Borders…”, refers to the turmoil going on around our troubled world due to the fleeing of humans from different war-torn countries. The way this disc is recorded is just perfect. The sound of Mr. Kaucic’s zither and percussion is something to behold: creating his own world beneath the sea with rubbed cymbals and surfaces, ultra-cautious textural and timbral sounds. “Footfalls I-IV” for duo improvisations by Guy and Kaucic was named after a play by Samuel Beckett. The sound of Mr. Kaucic’s electric zither or unnamed homemade instrument is most mesmerizing, his drums also consistently engaging. There is some extraordinary, intense back and forth dialogue going on between Mr. Guy’s bass and Mr. Kaucic’s percussion in the long section. Guy is a master of altered and extending the sound of his contrabass by banging on the strings with a bow and other objects as well as putting things in between the strings. There is a lovely, haunting work called, “Peace Piece” which features some exquisite bass playing by Mr. Guy. What I dig most about this disc is how well Guy and Kaucic play together, both play percussively as well as with ever-dynamic explorations. At times, it is difficult to tell them apart. The blend of ideas, sounds and textures is too marvelous for mere words so just dig in..! - Bruce Lee Gallanter, DMG
AGUSTI FERNANDEZ CELEBRATION ENSEMBLE With MATS GUSTAFFSON / NATE WOOLEY / JOE MORRIS / FRANCIS-MARIE UITTI / INGAR ZACH / et al - Celebration Ensemble (Listen! Foundation FSR 04-2017; Poland) Featuring Agusti Fernandez on piano, Mats Gustafsson & Pablo Ledesma on saxes, Nate Wooley on trumpet, Joe Morris on guitar, Francis-Marie Uitti on cello, Ingar Zach & Nurio Andorra on percussion plus Sonia Sanchez - dance. Previously, this same Polish label (Listen Foundation) released a 4 CD Set featuring Agusti Fernandez with mostly Polish musicians live in Warsaw. For this concert/disc, Mr. Fernandez organized a nine-piece international all-star ensemble which includes some heavy hitters: Mats Gustafsson (from The Thing), Nate Wooley and Joe Morris, plus classically-trained cellist Francis-Marie Uitti. Although the music is freely improvised, it does sound as if someone is directing certain portions of this disc. Only a few of these musicians had worked together previously: Joe Morris, Nate Wooley and Mats Gustafsson (in Slobber Pup). The two names here I was surprised to see were percussionist Ingar Zach (from Mural & Derek Bailey) and Frances-Marie Uitti (with E. Sharp & Mark Desser).
The music here unfolds slowly with insect-like creaks, cracks, smears and minimal bent notes. The musicians take their time to enter, adding short flurries at first: acoustic guitar, trumpet, bari sax, cello, piano and percussion in the early sections. I like the way certain players lay back from their usual tendencies. Norwegian sax giant, Mats Gustafsson is often heard in more maximal situations, but here he fits in just bright adding more restrained eruptions at the right time. I wasn’t familiar with percussionist Nurai Andorra before now but I do know Ingar Zach quite well from several bands. Mr. Zach often uses toys and odd hand percussion to coax quieter yet more mysterious textures. Eventually the stream thickens with layers of pulsating strings, rubbed surfaces or strings, eerie horn drones and inside-the-piano exploration. There are a number of sections in which things coalesce into that magical dream-like place which feels like another dimension. Considering that this disc is around 73 minutes long, I was riveted throughout, often at the edge-of-my-seat waiting to hear what came next. Joe Morris appears to be playing an acoustic guitar, rubbing the strings furiously at times and adding his own invented language which works well with cello, piano and Mr. Wooley’s ever-changing sounds on his trusty trumpet. - Bruce Lee Gallanter, DMG
PAUL DUNMALL / SEBASTIANO DESSANAY / JAMES BASHFORD - Live at The Lamp Tavern (MCPS SDCD 01; UK) Featuring Paul Dunmall on tenor & alto saxes, Sebastiano Dessanay on double bass and Jim Bashford on drums. This set was recorded at the Lamp Tavern in Birmingham, UK in January of 2017, just a few months ago. Once UK sax giant, Paul Dunmall, stopped releasing discs on his own Duns label, he records less frequently as just a couple of labels still release his music with any frequency: mostly FMR and Slam. Both members of this rhythm team are lesser known Dunmall accolites: Bassist Dessanay has a duets CD out on Slam while drummer, James Bashford, is a member of the Realizaton Trio with Dunmall (2 discs on FMR). The opening of this disc has a stunning, hypnotic, repeating bass figure, made from plucked harmonics. The rest of the trio soon enters quietly, simmering at first, with Mr. Dunmall’s fluttering, warm toned tenor at the center, the drummer playing brushes with subtle uplifting grace. The trio takes off, slowly soaring as they ascend, building and burning as they evolve. Bassist Dessanay is especially enchanting midway taking a sublime, thoughtful bass solo. Dunmall always seems to find kindred spirits with work with and this trio sounds inspired, tight yet free-flowing, always working as one spirit/force. This a marvelous trio and this disc captures their powerful, focused sound superbly. - Bruce Lee Gallanter, DMG
SEXMOB With STEVEN BERNSTEIN / BRIGGAN KRAUSS / TONY SCHERR / KENNY WOLLESEN - Cultural Capitol (Rex Records 001; USA) Featuring Steven Bernstein on slide trumpet, alto horn & songs, Briggan Krauss on alto & bari saxes & guitar, Tony Scherr on acoustic & electric basses & guitar and Kenny Wollesen on drums. Like several of the bands that Steve Bernstein works with: Spanish Fly, Big Four and the MTO, SexMob and Spanish Fly have been around twenty years. Although SexMob has been the the most active with eight previous discs under their belt, the personnel has remained the same since the beginning. They have had different guests through the year: John Meseki, Adam Levy, David Tronzo & Peter Apfelbaum. Another departure is that some of the past discs were inspired by and/or covered: James Bond themes, Fellini themes, Martin Denny and covers of the Dead, the Stones, Duke Ellington and James Brown.
For a change of pace, Mr. Bernstein composed all of the songs here and the minimal packaging & art work reveal very little about this disc, outside of personnel and song titles. The only real change is that Briggan Krauss, longtime Downtown saxist with his own intense, unique sound, has taken up electric guitar over the past few years, often adding unexpected post-surf licks to several bands. ‘Cultural Capital’ is the ninth by SexMob, the title perhaps poking fun at NYC, once the cultural capitol of the East Coast, now mostly an endless mall for chain stores, banks, drug stores and bad coffee outlets. The are so cracks in the concrete wall of capitalism, that only a few flowers can peek through: The Stone, Cornelia Street Cafe and I-Beam. Which brings us back to…
SexMob!!! Kicking things off with “Street”, a greasy, funky, sort of roots reggae groove, hmmmmm, so yummy! Skeletal yet slamming. “Step Apache” has another killer funk groove with two slippery horns (slide trumpet & alto sax), swaggering together caustically, deliciously. The trumpet and saxes seem to come from different universe (one sweet, one sour) but somehow work so well together. While Mr. Bernstein plays many classic, infectious, old school, jazz licks, Mr, Krauss comes close to ripping things up, twisting his notes inside-out and then landing back on the one on a dime. I love how Bernstein erupts on bari horn on “Bari Si”, sounding like elephant scream in heat! Tony Scherr, who has worked with Bill Frisell the later Golden Palominos, is the master of the greasy groove, whether playing bass or rhythm guitar. Scherr and longtime Downtown super-diverse drummer, Kenny Wollesen, sound consistently great, infectious, skeletal yet perfect. I just caught Kenny with Unbroken (a trio with Louie Belogenis & Shanir Blumenkranz), their set, one of this years’ best! Mr. Wollesen sounds fabulous throughout. SexMob always sound like they are having a great time, party music for the mind and booty. It is rare to find one of those discs that help us to break out of this dark dance with the devil, but this disc does a fine job of inspiring to forget the BS, get down and dance. Soooooooo… get down, bubbies..! - Bruce Lee Gallanter, DMG
CD $15 [LTD Edition / DMG Exclusive!]
* BURNT SUGAR THE ARKESTRA CHAMBER With GREG TATE / JARED NICKERSON / AVRAM FEFER / STEVEN BERNSTEIN / PAULA HENDERSON / MAZZ SWIFT / et al - All You Zombies Dig The Luminosity (True Groid; USA) It has been a while since local sensation, Burnt Sugar Arkestra, released a studio offering of newly written material. For the past few years, Burnt Sugar has been working with and/or covering the music of Melvin Van Peebles, James Brown, Steely Dan, David Bowie and Miles Davis. Their collaborations with Mr. Van Peebles are especially well received. Considering that Burnt Sugar has been around for 18 years and released more than a dozen discs, the band has continued to survive, strive and evolve with every performance and disc a different gem to behold.
Although their founder/leader, Greg Tate, writes and directs most of their material, the personnel is drawn from some 20 musicians and singers. Some known, some not so well known but all well needed for the great, diverse results. The disc starts off with an infectious, dubby groove, hypnotic echoes and Steve Bernstein’s frolicking trumpet spinning in dizzying waves. “The Charmer” features a chorus of swell voices, with more echo-plexed brass sailing on top. Every song features a different killer groove at the center, slamming beats that will grab you and take you along for a great ride. Similar to Funkadelic, Mr. Tate selects and directs several singers, guitarists and horn players, all tightly swirling around one another in tight/loose connections. There too many great jewels here to mention every one but there are a few highlights worth listing. The chorus of “Ride Ride Ride” repeats, “Everybody Gonna Get Gentrified” will soon have you singing along and that Hendrix-like guitar solo from Andre Lassalle is something else entirely! There a number of great vocalists involved here but there is one who truly stands out on many of these songs: Abby Dobson, we will be hearing more from her in the near future! We are currently living in dark and disorienting times with racial divisiveness all around. Burnt Sugar are a multi-racial, multi-gender, international crew who show how well we can work together when we share our vision, our groove, our infectious spirits. Greg Tate’s lyrics combine different thoughts on the human perspective: uncertainty and joyousness of release seem to inhabit the same skin, no matter what color it is since we are all in this predicament together. Along with the recent CD from SexMob (which also features Steve Bernstein’s trumpet), Burnt Sugar remain one of Downtown’s most inspiring troops! - Bruce Lee Gallanter, DMG
I’ve caught them live & helped get gigs for BURNT SUGAR many times and every gig is different and well worth checking out! I urge you to check them out if they come to your town! Here is a list of some upcoming gigs, here and around the world:
July 20th - Nietzsche's - Buffalo N.Y.
July 21st - Art Gallery of Ontario (AGO)
July 22nd - Art Gallery of Ontario "Conduction" Workshop -
August 4th & 5th - Detroit Museum of Art (DIA)
August 10 - Central Park Summerstage - Queensboro Park w/ Stephanie Batten Bland' SSB Dance Co.
August 23rd - National Sawdust - Brooklyn N.Y.
September 8th & 9th - Sardegna e Jazz - Cagliari Sardinia Italy
Oct. 25 - Nov. 5th - Booty Dolla Wayward West Tour - Hammer Museum & Zebulon (LA)~W.O.W. Hall (Eugene OR)~UCSD~UC Irvine~Seattle Art Museum ~The Jack London (Portland OR)
HENRY KAISER With DEREK BAILEY / FRED FRITH / EUGENE CHADBOURNE / SANDY EWEN / DAVEY WILLIAMS / NELS CLINE / ELLIOTT SHARP / BILL FRISELL / JOHN RUSSELL / et al - Friends & Heroes: Guitar Duets (Fractal Music; USA) One of Henry Kaiser's most favorite recording and performing formats is the guitar duet. He has been fortunate to record with many heroes of his, who became his friends; as well as with friends who have become his heroes. That’s what’s being celebrated here. Kaiser has selected some unreleased tracks for this release, as well as out-of-print items from various ancient and obscure recording from his past 40 years of album recordings. Recorded 1977 - 2017.
Like practically all discs produced by Henry Kaiser this disc is long, completely filled with some 79 minutes of music. 15 guitar duos covering some forty years of Mr. Kaiser’s long career. Each of the fifteen duo partners are gifted guitarists, each very different in their approach. I recognize the names of all of these guitarists, some more popular or more obscure than the others. Henry sent us some notes which were not included in the CD itself, but which explained something about each piece/guitarist. Although Mr. Kaiser is awed by the playing of Debashish Bhattacharaya, an Indian master of Hindustani music played on slide guitar, they finally recorded together and their duo here is breathtaking, heavenly, exquisite… Fred Frith and Mr. Kaiser recorded two albums of guitar duets for the SST label in the early eighties and not much since then until very recently. Fred and Henry are playing some four guitars here simultaneously, three laid on the table. The overall sound is quite spooky, with ghost-like drones hovering around us. Like entering an alien world where things seems somehow familiar but not very much. Nobody plays psychedelic blues quite like Mr Kaiser so I was glad he included the duo with Norwegina guitarist Knut Reiersrud. Their shared repeating riff is pretty nasty sounding, which is just right for a short detour into the blues. I listened to the duo with Texas guitarist Sandy Ewen a few times in a row since I was trying to see how it worked. I am not so sure of what the River Monster of the Congo sounds like, but there are some quietly disorienting ringing notes that evoke an inner demon of some sort. Kaiser has been playing with fellow California guitarist Chris Muir for more than 40 years. Their recent trio CD (Positively Space Music) is another one of those unexpected delights that Henry has been dropping on us nearly every month. This duo is really incredible, combining some the rich, righteous sustain tone of Muir with Kaiser’s calm yet quick harp-like flourishes. Rather Fripp & Eno sounding. UK guitarist Ian Brighton has worked with Tony Oxley, Evan Parker and Barry Guy, but is not very well known. The duo with Nels Cline is pretty strange with both guitars changing their approach/sounds several times throughout. A longer review will appear in our database as soon as I finish it. - Bruce Lee Gallanter, DMG
* HENRY KAISER will play a are solo electric guitar set here at DMG on Saturday, July 15th at 6pm!
RYAN NIELSEN / RAKALAM BOB MOSES - The Gift of Breath (Ra-Kalam Records 013; USA) Featuring Ryan Nielsen on trumpet, John Lockwood & Aryeh Kobrinski on basses and Rakalam Bob Moses on drums, djembe, gongs and keyboards. Legendary drummer and professor, Rakalam Bob Moses rarely rests from his position to inspire and engage other like-minded musicians. Rakalam has been teaching at NEC for many years and continues to work with Tisziji Munoz and many of his former students. Mr. Moses has his own label, Ra-Kalam Records, which releases rarities from his lengthy back-catalogue as well as discs featuring former (and perhaps current) students. This is mostly a trio offering aside from just a couple of pieces with two bassists. You should recognize the name of bassist John Lockwood, longtime member of the Fringe and who worked with Joe Maneri and Munoz as well.
The title track, “The Gift of Breath” opens this disc with some lovely, pure-toned trumpet, exquisite, free-flowing acoustic bass and drums. Mr. Nielsen’s tone is warm and consistently enchanting. Rakalam’s distinctive mallet-work is another highlight on this disc, as he weaves a stunning, sublime web around the other members of the trio or occasional quartet. On “Africano Liberdad”, Rakalam adds subtle keyboard(s) and talking drums, making things sound more mysterious. Mr. Nielsen’s charming tone and free, organic playing are wonderful throughout. What makes things even better is the way Rakalam’s drumming provides a magical cushion for the trumpet and bass to sail together in sympathetic harmony. Mr. Moses’ superb production also makes this music shine, glowing like gems in a treasure chest. It sounds spiritual and speaks directly to the heart, soul and mind of those who listen closely. - Bruce Lee Gallanter, DMG
CD $10 (In stock next week)
KEERIL MAKAN // EITHER/OR - Letting Time Circle Through Us (New World Records 80791; USA) Featuring: Either/Or: Russell Greenberg, percussion; David Shively, cimbalom; Dan Lippel, acoustic guitar; Taka Kigawa, piano; Jennifer Choi, violin and John Popham, cello. Keeril Makan (b. 1972) composed his longest instrumental work to date, Letting Time Circle Through Us (2013), on commission for the New York City-based ensemble Either/Or, with whose musicians Makan has worked intimately over the course of many years and on several projects. The larger trajectory of Makan’s musical explorations has not been a linear one, so this close collaboration was invaluable in arriving at the final recorded realization of the project.
A near-constant in Makan’s work is his use of the power of expectation and disruption via the establishment, continuation, variation, and interruption of musical cycles, whatever their content. Repetition and recurrence, periodicity—whether of rhythm or of complete musical fragments—change things, are capable of completely upending the listener’s expectation of the syntax and flow of an idea, and thus of its expressive significance within a piece. Related to this are parallels between musical periodicity and the cycles we experience in life—sunrise/sunset, the phases of the moon, the seasons, and other, including perhaps more personal patterns—that are reflected explicitly in Indian and Indonesian musical traditions.
These patterns or recurrence are acknowledged, at least obliquely, in Letting Time Circle Through Us, Makan’s most direct and extended engagement with cyclic structures and periodicity. To quote his brief description of the piece, “The friction between two contrasting types of music creates the emotional journey of Letting Time Circle Through Us. From the foundation of a single note, stable music emerges that repeats throughout the piece. Between these repetitions, singular, novel musical events occur which contrast with the initial stability. Over time, these singular events darken, while the repetitions of the opening music strain to move past the stressful interruptions. Eventually the desire for a return to stability merges with the reality of continual change, and the tension of the piece dissipates.”
ANNEA LOCKWOOD - Ground Of Being (Recital 007; USA) Annea Lockwood (b. 1939, New Zealand) has been an active member of the sound art world for over 50 years. Known prominently for her "Glass Concerts", exploring the sonic temperaments of glass; her "Piano Transplants", a performance piece where a piano is lit on fire or partially buried; and "Sound Maps", detailed audio studies of rivers in the United States. She has received international recognition for her unique relationship with sound. Lockwood has taught at a number of universities, most notably at Vassar in New York, where she taught since 1982. Although recently retired, she is still constantly engaged in her art, recording and composing from the world around her. Ground Of Being presents four pieces ranging from 1996 to 2013. Unlike her "Sound Map" albums, which often work environmentally, Ground Of Being tells a more detailed story. It's a moving series of memories, or a collection of different dreams. Annea has a keen connection with the resonances of the Earth; whether it be the detail of water sloshing, the reverberation of a voice in a room, or that of acoustical instruments. With these natural resonances in her palette, a unification of all sounds is formed. For example, the piece "Dusk" (2011) juxtaposes recordings from vents on the bottom of the ocean together with transposed bat calls. Additionally, on Lockwood's composition "Ear-Walking Woman" (1996), performed here by Lois Svard, prepared piano acts as a microcosm of the world of sound - A box with treated strings; a smaller reflection, yet still limitless in its ability to produce frequencies and dynamics. The notion of sound as an extension of the physical realm is brought to mind. The aural temper of water, of wood, of rocks, of wind - Lockwood brings all into focus for our consideration. Edition of 500. Housed in a six-panel wallet, with an insert of writings by Annea Lockwood. 2014 release.
HEINRICH SCHIFF - Hommage a Heinrich Schiff (Neos 21602; Germany) "The cellist and conductor Heinrich Schiff celebrated his 65th birthday in November 2016. . . . A pupil of Navarra and Tobias Kühne, Schiff made his debut in 1971 in Vienna and London. He performed nearly all the essential cello repertoire of the last 300 years from B to Z -- from Bach to B.A. Zimmermann -- and conducted a repertoire of compositions ranging from the Baroque period to the 21st century. He received the 'Grand Prix du Disque' [...] and the 'Deutscher Schallplattenpreis' (German Recording Prize) . . . Although the cello was initially at the center of his career, conducting became an increasingly central part of his life beginning in 1985. . . . As a conductor, Schiff held the position of music director with the Deutsche Kammerphilharmonie Bremen, the Northern Sinfonia, the Musikkollegium Winterthur, and with the Vienna Chamber Orchestra. . . . Heinrich Schiff died in Vienna on 23 December 2016. Thus this CD collection, originally planned for the occasion of his 65th birthday, has become his legacy. Despite his 'overfilled' everyday life due to performances, Heinrich Schiff never allowed his calling as a teacher to suffer on account of it. His pupils -- he has taught in Basle, Cologne, Salzburg and now in Vienna -- did not merely learn the high art of cello-playing from him: he prepared them, with warnings, for the well-oiled business of musical life, warning them against being too well-adjusted, a post-modern lack of orientation, artistic indifference and becoming 'affable' in a slick, streamlined way. I always admired the way in which Heinrich Schiff, in his artistic dramaturgy and his choice of repertoire, went against the capitalist market-driven, profit-orientated economy, pursuing his path unerringly and without compromise. . . . The recordings of his interpretations in this CD collection are intended as a portrait of this artist's personality, thus providing an electrifying reflection of the scale of his noble character and convictions." --Dirk Nabering; Translation: David Babcock.
17 CD Set $90
VOOOXING POOOETRE - Various Artists (Recital 012; USA) A CD reissue of the long unavailable international sound poetry compilation LP, Voooxing Poooêtre. Originally released in 1982, this collection was assembled by Italian sound poet Enzo Minarelli (who has also curated releases on Slowscan and Baobab, in addition to operating the 3Vitre imprint). Comprised of voice works from the 1970s to the early 1980s the collection spans a wide geography; Eastern Europe, France, Italy, Spain, and America. Including text-sound staple Bernard Heidsieck, Dada artist Klaus Groh, Italian artists Agostino Contò and Adriano Spatola (Edizioni Geiger), along with more unknown sound recordings from artists Giovanni Bignone and Grupo Texto Poetico, in addition to works by Minarelli himself. An appealing showcase of some less-prolific sound poets. The recordings have been retransferred from the original 2 inch tape, yet an inherent "home-recording" quality is prevalent in most pieces, which in a sense adds character and becomes part of the art itself. "When you listen to these sound poems, you will notice that they don't look so old as they appear. Many of the pieces anthologized were made in mid-seventies, at the beginning of the eighties, and yet, despite almost four decades, they still explode their power of communication. Why? This is one of the great intuitions caught by sound poets, when one works into this apparently untouchable but really concrete, physical material of orality, vocality, or vocorality to use a neologism of mine, without being limited by the monopoly of meaning so typical of the written language, it keeps himself inside a safe area, an ever-green mix of words and sounds, of phonetics and linguistics, of notes and noises which make it similar to the Dorian Gray of sound poetry!? Re-editing Voooxing Poooêtre, means to re-affirm the validity of the vocorality as a practice of research, that sort of freedom which allows the polypoets to experiment, to move even more and more forward the border of the vanguard." -- Enzo Minarelli, 2015. Edition of 500. Housed in a six-panel wallet, including a 24-page booklet reproducing the photos, scores, and writings from the original LP. Comes with a new foreword written by Enzo Minarelli in 2015. Also includes the works of: Rod Summers, Giovanni Fontana, Richard Kostelanetz, Vladan Radovanovic, Peter R. Meyer, Tibor Papp, Santo S.A. and Jean Jacques Lebel. 2015 release.
BLANK FORMS - Magazine (Blank Forms 001BK; USA) Magazine is the inaugural issue of Blank Forms' journal, bringing together a combination of never-before published, lost, and new materials that supplement the non-profit's live programs. It is envisioned as a platform for critical reflection and extended dialogue between scholars, artists, and other figures working within the world of experimental music and art. Following "Let Freedom Fry" -- a short statement by Joe McPhee drawing out the contemporary political climate in relation to his practice as a creative improviser -- the magazine is bookended by four texts surrounding the practice of pioneering sound artist Maryanne Amacher; an essay by Bill Dietz on his collaborations with Amacher and his work with her archive; an unpublished 1988 interview highlighting Amacher's ideas around her Long Distance Music and Mini Sound Series; a conversation between Marianne Schroeder, Stefan Tcherepnin, and Lawrence Kumpf revealing the archival questions raised by Amacher's work; and science fiction writer Greg Bear's short story Petra, a tale of gargoyles coming to life and breeding with humans in a post-apocalyptic Notre Dame, from which Amacher's 1991 piece got its name. This issue also includes Branden Joseph's interview with The Dead C's Bruce Russell, accompanied by Russell's essay exploring the Situationist tradition of "mis-competence" in New Zealand electronic music. Charles Curtis contributed notes on the interpretive challenges posed by a posthumous performance of Terry Jennings's minimalist classic Piece For Cello And Saxophone. Shelley Hirsch, Richard Skidmore, and Dennis Hermanson provide a series of writings on and remembrances of the late Ralston Farina, whose scarcely documented "visual poetry" was an important precursor to what we now call "performance." And from her own 2016 performances at the Emily Harvey Foundation, Dawn Kasper supplies her original proposal document and score notes for an improvisational interpretation. Magazine features two new French-translations: an excerpt from François Bonnet's book of phenomenology, The Infra-World, translated by Robin Mackay, and a Christophe Broqua interview with enigmatic huntress of sounds Anne Gillis, translated by Adrian Rew. Ian Nagoski's rare 1998 conversation with Éliane Radigue, conducted and largely ignored at a time when there was little interest in her music, provides one of the clearest overviews of the visionary composer's early work and life. Supplementing the texts are numerous archival photos and documents, plus "Dark Matters", a poem by Joe McPhee. Edited by Lawrence Kumpf and Joe Bucciero.
ENZO MINARELLI - Romanzi Nelle I (Recital 016; USA) Romanzi Nelle I is a stunning new work by Italian sound poet and artist Enzo Minarelli (b.1951). Romanzi Nelle I takes inspiration from the sacred work of Abraham Abulafia (1240-1291), the Jewish mystic and father of linguistic permutation. This edition fully documents the piece, containing audio, video, and literary content. It is rare to get to examine a composition so closely, and I have found to it be an important exercise. Enzo's years of work as a performer and curator come to shine here, and the rainbow of human range is examined - the transposition of meditation, massaging the depth of euphorias, and flipping the coin to paint the curls of despair. A fascinating experience delivered to those who are interested in sound and concrete poetry. Excerpts from book: The Prototype of Permutation: "It is not his life [Abulafia], however challenging it may have been, to have attracted me, but his very original theory of permutational study applied to nouns. If we consider permutation as a creative act, immediately it comes to mind the poetry of Brion Gysin who in 1960 does exploit it in operational terms, although it must be added that his way of permutation was the direct result of programming a computer made by an English student, Ian Sommerville, escaped from Oxford University to take refuge at the Beat Hotel in Paris, where he met Gysin. The same observation must be made for the experience called Tape Mark I (1961) and Tape Mark II (1963), by Nanni Balestrini, where the hardware makes the linguistic choice, or Tag-Surfusion (1996), by Jacques Donguy. They are, in essence, the same kind of texts, acutely called by Max Bense, 'stochastic', as the machine decides for the author. Abulafia, on the other hand, draws his series of permutation, studying the language from its inside, it is the prototype of permutation, the first motionless motor, and without tricks or deceptions, he sets up manually, only with the help of pen and paper, the whole universe of permutation, organizing a constant, linguistic change through a relentless swirl of terminology. Not necessarily, he begins from codified words, but often he takes fragments, syllables, groups of arbitrary monemes that he himself develops and twists exponentially, applying mathematical rules. The declared aim of his exercises is the divine ecstasy." The Primitive Simplicity Of Vocorality: "Romanzi Nelle I is an untranslatable title because it consists of the Italian anagram of my name and surname, in perfect Abulafia style, in its non-sense it means a lot. If it is possible to pursue the writing of the book of the books as Mallarmé was dreaming, moreover I believe I can point at the sound of the sounds, the word of the words, that is the primitive simplicity of vocorality, the big bang of the linguistic explosion, the first sonic imprint. For word, it is not to be understood the comprehensible term, but the arbitrary union of nouns after an eruption, the clinamen, the random fall of syllabic fragments because 'we have to let the letters the chance of continuing to be read [heard], despite the existence of the words' according to a great insight of Rabbi Yosef Razin." Edition of 200. Includes: Hardbound, 71 page, full color book - CD of the 2015 rendition of Minarelli's "Romanzi Nelle I" - DVD holding the original 2013 performance.
CD / DVD / BOOK $38
CHARLES DUVELLE AND HISHAM MAYET - The Photographs of Charles Duvelle: Disques Ocora and Collection Prophet (Sublime Frequencies 110; USA) Disques Ocora, a French label dedicated to capturing and publishing the sounds of folkloric culture from around the world, is held in the highest possible regard in the realms of professional and amateur ethnomusicology. Instigated in 1958 by Pierre Schaeffer, the founder of musique concrète, Disques Ocora's sterling reputation is largely built on composer and musicologist Charles Duvelle's pioneering field recordings, as well as his now-iconic photographs and graphic design. Charles Duvelle's work is indisputably one of the most important contributions to the human understanding of the rich biodiversity of our planet's music and language. In 1977, his field recordings from Benin were selected by Carl Sagan for inclusion on the Voyager Golden Records, which were carried into outer space by the Voyager spacecraft to stand as an example of humanity's highest musical expressions for the universe's unknown listeners. Sublime Frequencies' most ambitious project to date, this 296-page fine-art photography book comprises an exhaustive collection of Charles Duvelle's field photography from 1959 to 1978 (188 black-and-white and 58 color photographs), demonstrating that this master musicologist had an equally unerring eye for photography; Includes a photo index listing the details of each photograph. It also contains an exhaustive interview with Charles Duvelle by Hisham Mayet, detailing the history of the label and offering Duvelle's unique insights into the discipline of field recording (French and English facing text). The package includes two full-length CDs of archival recordings (some of which have never been published) selected, compiled, and fully annotated by Duvelle himself. Most of the tracks on CD one (Africa) are complete versions of truncated tracks from OOP Ocora LPs. CD two, which includes performances by Sohan Lal, Kheo Oudon, and Madurai Ramaswami Gautam, is focused on material from Asia (music from India and Laos), with two long tracks that have never been released (a third track is a complete unedited version). The material focuses on the five regions surveyed during his time with Ocora: West Africa, Central Africa, Indian Ocean, Pacific Islands, and SouthEast Asia. It includes "Disques Ocora / Charles Duvelle Discography, 1959-1974", a complete overview illustrated with 94 full-color album thumbnails, "The Prophet Collection, 1999-2004" a discography of Duvelle's post-Ocora label illustrated with 41 full-color album thumbnails, "Eastern Music in Black Africa", a 17-page report prepared by Charles Duvelle at the request of UNESCO (February 1970), and a review of the Ocora catalogues (1964-1973). In a tribute to Disques Ocora's exquisite design sensibility, the book is printed on 170 gsm Lumisilk matte art paper and bound in grey buckram with gold foil stamping on the cover and spine. The front cover includes a tipped-on glossy photograph by Charles Duvelle. Hardcover book; 10"x10"; 296 pages; 4.5 lbs. Produced and edited by Hisham Mayet.
2 CD & BOOK $58
Restocks, Reissues and Archival Recordings:
THE RESIDENTS - Dot.Com (Klanggalerie GG 241; Austria) "Between June 1999 and May 2000 Ralph America posted several Residents MP3s on their website. Shortly afterwards, these exclusive pieces were collected on a limited edition CD entitled Dot.Com. Klanggalerie are proud to present you an updated version of this album, remastered and with new artwork by Pore Know Graphics. In 2013, a new sub label of Ralph was started, Radio Thoreau, on the official Residents website. Radio Thoreau presented a collection of recent Residents tunes 'fixed' by Charles Bobuck into a more radio friendly form: singles. All material was submitted to iTunes, Amazon, Spotify, and Google Play for an undefined period. Five of these reworkings are collected here, including one which was never released to the public."
SNAKEFINGER - Manual Of Errors (Klanggallerie 239; Austria) "Snakefinger surely needs not much of an introduction. Born Philip Charles Lithman in London, he moved to San Francisco in 1971. His roots lie in the British blues scene, but he soon became friends with The Residents who also gave him the name Snakefinger based on a photograph of Lithman performing, in which his finger looks like a snake about to attack his violin. In 1972 Lithman returned to England and formed the pub rock band Chilli Willi and the Red Hot Peppers. After the lack of success of the second album, he returned to the states and work on his first solo album began. Both Chewing Hides The Sound and Greener Postures were co-written with The Residents. His third solo effort, Manual Of Errors still came out on Ralph Records, but it was mostly written by Snakefinger himself. A couple tracks were collaborations with the Eyeball ones again and some cover versions also appeared. As with our previous Snakey re-issues, Manual Of Errors will feature lots of bonus tracks again and will be remastered carefully."
CHROME - Ghost Machine (Klanggaallerie 242; Austria) "Chrome was founded in San Francisco in 1975. Their sound wasn't easy to label -- being ahead of their time, Helios Creed and Damon Edge created music that featured heavy elements of feedback and distortion. They experimented in mixing synthesized noise with rock instrumentation, therefore they are now seen as part of the post punk movement (even when punk was still in full flow at that time). Their breakthrough came in 1977 with their second album Alien Soundtracks. The band largely abandoned conventional rock compositions, instead employing cut-up and collage techniques and heavily processed sound to create a kind of sci-fi punk style. The album was given 4 out of 5 stars in the UK music paper Sounds, and Chrome began gradually to gain a cult reputation in the UK and in Europe. In the 1980s Damon Edge released several rather electronic records under the Chrome name, but Helios Creed had by that time left the band. He pursued a solo career but picked up the name Chrome again after Damon Edge died in Paris. The album Ghost Machine came out in 2002 on the German Dossier label. It is an often overlooked gem in the band's discography and has been out of print for over a decade. Creed reinstalled all the Chrome trademark sounds mixing electronics with his distinct guitar sound, and unusual production and mixing methods. This new edition comes in a digipack and with remastered.
LP Only Section:
MIKE COOPER - Raft (Room40 484; Australia) Mike Cooper's output of the past half century has been described as "post-everything". It's a fitting phrase really when you consider he has been at the beating heart of so many critical musical moments; from the development of the blues touring circuit in the UK, through the growth of the folk scene and into the explosion of free improvisation that came to define a generation of UK musicians. Amidst it all, working at stitching these disparate forms into some kind of de-territorialized zone, was Mike Cooper. It's fitting that he explores the notion of journey on his latest full-length edition. Even more fitting that he examines the vessels that carry us on journeys. With Raft, Cooper charts his interests in ambient exotica and collides it with his research into various South Pacific musical traditions. The record extends his palette considerably, stretching away from the hypnagogic flows of his master piece Rayon Hula (2004), into a more oceanic setting. "Raft 21 - Guayaquil To Tully", for example, sets out a lilting rise and fall of harmony which erupts with spluttering electronics. Specifically inspired by Vital Alsar and William Wills, sailors who undertook some of the 20th century's most impressive solo voyages, Raft reflects upon the determination of the solo traveler. In a musical sense, Mike Cooper's work of recent years has very much reflected a determined solo traveler work ethic. In his commitment to travel alone, he has developed a range of strategies that he works against as a means of surprising himself and uncovering unfamiliar sonic relations. This approach has proved an incredibly fertile pursuit for Cooper, arguably producing some of his most affecting and engaging works, his Room40 albums Fratello Mare (RM 462LP, 2015) and White Shadows Of The South Seas (RM 454CD, 2013) amongst them. Raft is a vital record that sets its sights beyond the horizons of convention and in doing so reveals a perspective that is only available to lifelong voyagers such as Mike Cooper. From Mike: "Raft is my tribute to William Willis, Vita Alsar, Jack London, Robert Louise Stevenson, Louis Becke, Adolph Plate, Jacque Brel, FW Murnau and to all sailors, scribblers and drifters everywhere."
THE COSMIC JOKERS - Galactic Supermarket (Victory 58010; Italy) Victory present a reissue of The Cosmic Jokers' Galactic Supermarket, originally released on Komische Musik in 1974. Julian Cope's review of the album on Head Heritage: "Starting with a heavy piano-drums groove like John Cale and Terry Riley's 'The Protégé' from their classic LP Church Of Anthrax, The Cosmic Jokers return to their trip with an un-cosmic dub beginning, melodicas and guitars spinning off all over the place. Gille Letmann says a couple of words before the breakdown into Clangerland, a place where goofy synthesizers call to each other over exquisite mellotrons and tinkling spacey grand piano. Again, it's just two huge tracks -- this time the ever shifting 'Kinder Des Als' and the title track 'Galactic Supermarket'. The female voices take a while to assimilate after the austerity of the first Cosmic Jokers LP, and the opening track wanders around for a while before ascending to its righteous groove. The women scream 'Schnell Schnell!' and the helicopter drums of Harald Grosskopf propel us once more into a hectic frantic major-chord trance out. It's the sheer unbalance that makes this record such a delight. At times, Klaus Schulze's synthesizer is so loud that it swamps everything in its path. The title track 'Galactic Supermarket' begins like one of Van Der Graaf Generator's greatest and most drawn out riffs. A slow 6/4 bass licks over ominous Pawn Hearts style shifting chords. Again, the piece is slow to begin, as though they are searching for harmony but each musician is confused and solitary. Manuel Göttsching freaks out in a fury of wah-guitar madness, forcing the others awake, but this really is a down-in-the-mouth scene and the whole Trip descends further and further until... an inevitable slow burning groove gets itself together and the scene whips itself up into a Shake Appeal Flip Out. The LP takes a little longer to get into than The Cosmic Jokers, but give it time and it's in your head forever. Those piercingly loud Klaus Schulze synthesizers which sound so bizarre the first time... You'll be waking up with them in your head, whistling them in the street, people will think you've lost your f*cking mind. Right On."
THE JIMMY CAKE - Tough Love (Penske Recordings 006; Ireland) The Jimmy Cake formed as a ten-piece group in Dublin, Ireland in 2000 from the fresh remains of local experimental rock noiseniks Das Madman. In that time they have collaborated live with the likes of Damo Suzuki, Iva Bittova, and Charles Hayward while slowly drifting over the course of six albums from a pastoral psychedelia to full-on kosmische psych, fully realised on Master, their 2015 aural colossus. Drawing from the same sonic palette, Tough Love is another serpentine and ecstatic creation from one of Ireland's most consistently adventurous bands. Tough Love is the sixth studio album from experimental rock group The Jimmy Cake. Written in 2015 as a continuous piece for a one-off performance in The Joinery, a much-loved and badly-missed arts space in Dublin City, Tough Love is part kosmische post-punk dystopia, part time-lapsed motorik stoner rock. Both sides menace and swell, playing with time and space before building to two distinct strains of glorious sonic pay-off. "Thank God for The Jimmy Cake" --The Journal Of Music In Ireland (Review of Master). "In short, Master confirms The Jimmy Cake are this country's finest experimental rock band, hands down" --The Sunday Business Post (Review of Master). "Every city has one, a band that for some strange reason never really made it beyond its borders yet deserves to take over the world. Instead of being known for U2 or Westlife, Dublin should be known for The Jimmy Cake" --Brainwashed.com (Spectre & Crown Review)
FILIPPO TOMMASO MARINETTI/ANTONIO RUSSOLO/ARTHUR HONEGGER/PAUL WHITEMAN /GEORGE ANTHIEL/ et al - La Musica Futurista Nell'italia E Nel Mondo (Modern Silence 026; Malta) The Manifesto Of Futurism by Italian poet Filippo Marinetti, published in 1909, still has an intoxicating force. "We want to glorify war . . . to destroy museums, libraries, and academies of all kinds," wrote Marinetti. "We shall sing to the great crowds excited by work, pleasure or rioting, the multicoloured, many-voiced tides of revolution in modern capitals." Color was as important as force to the movement, and it was a search for new sound colors that fired the ambitions of artist and instrument builder Luigi Russolo, who, though quieter than Marinetti, is now seen as the "father of noise". Russolo's work and ideas anticipated the shape of music to come: the early percussion scores of Edgard Varèse and John Cage; electroacoustic music; recording; graphic scores -- not to mention the inevitable sonic onslaught of effects and sound design in movies, TV, and computer games. In his 1913 manifesto, L'Arte Dei Rumori ("The Art Of Noises"), Russolo argued that the history of music, from primitive races through to 19th-century harmonic sophistication, was a progression that went naturally from ancient silence to modern noise: "The limited circle of pure sounds must be broken, and the infinite variety of 'noise-sound' conquered." La Musica Futurista Nell'italia E Nel Mondo is a stunning anthology of true pioneers of electronic/noise music. Features works by Filippo Tommaso Marinetti, Antonio Russolo, Rodolfo De Angelis, Alexandr Mossolov Eiar Orchestra Victor De Sabata, Arthur Honegger, Dixon Cowell, Julius Ehrlich, Paul Whiteman, Walter Ruttmann, and George Antheil. Comes in a special "flap" deluxe gatefold sleeve, an Italian futurist newspaper replica.
2 LP Set $38
TERRY FOX / R. BUCKMINSTER FULLER / JOSEPH BEUYS / et al - Revolutions Per Minute (The Art Record)(Song Cycle Records 996; UK) Song Cycle Records present a reissue of Revolutions Per Minute (The Art Record), originally released in 1982. Revolutions Per Minute is a two-record album of twenty-one original sound works by artists represented at that time by the Ronald Feldman Fine Arts, Inc. in New York. Each gallery artist was asked to record or provide a three-to-five minute segment for Jeff Gordon's Greene Street Recording Studio. No further directions were given, and the sound works are an amazing mix. List of the artists involved: Jud Fine, Eleanor Antin, Terry Fox, Margaret Harrison, Les Levine, Hannah Wilke, Douglas Davis, Vitaly Komar & Alexander Melamid, Helen Mayer Harrison / Newton Harrison, Vincenzo Agnetti, Chris Burden, Piotr Kowalski & William Burroughs, Ida Applebroog, Edwin Schlossberg, SITE, R. Buckminster Fuller, Thomas Shannon, Conrad Atkinson, David Smyth, Todd Siler, and Joseph Beuys. Comes on 180 gram vinyl.
2 LP Set $40
BRAEN & RASKOVICH - Drammatico (Sonor Music Editions 038; Italy) Sonor Music Editions present a reissue Drammatico, originally released in the early '70s. An absolute Italian library holy grail and maybe the most desired item of the genre, originally released on Panda Records. This totally insane library album conceived by maestro Alessandro Alessandroni and Giuliano Sorgini, under their pseudonyms Braen and Raskovich respectively, is surely their highest point of collaboration. This is a concept album where the music is just out-of-this-world and way ahead of its time, nothing is quite comparable. War-themed and dramatic music, ranging from the most evil electronics to dark fuzz distortions and huge hip hop beats, all driven by a mental, psychedelic madness. A record coming from hell -- an unbelievable session remastered from the original master tapes. Enjoy the trip! Remastered from the original Panda Records master tape; Exclusive liner notes by Marsellus Wallace; Revised by Alfonso Carrillo (RendezVous; Edition of 500.
MARIA RITA - Brasileira (Selva Discos OMSD 001; Brazil) Selva Discos present an official reissue of Maria Rita Stumpf's Brasileira, originally released in 1988. Brasileira has been on top of collectors' and music lovers' wish list since "Cântico Brasileiro Nº3 (Kamaiurá)" broke out and cast a spell worldwide. Lucky collectors can listen to the whole album -- with gems such as "Lamento Africano/Rictus" and "A Cidade" -- but it's clear that Brasileira is an oeuvre that more people should have access to. Selva Discos is a new label run by Augusto Olivani and Millos Kaiser (the DJ/production duo known as Selvagem) in partnership with JD Twitch's Optimo Music. Here's an extract from Augusto Olivani and Millos Kaiser's sleeve notes about the Brasileira and the label's launch: "We were aware of the originality and rarity of this album since we put our hands on a copy of the Brasileira LP a few years ago, but it took time to learn that Maria Rita from 'Kamaiurá', the track that carried us away as soon as we first heard it, was the same Maria Rita with whom one of us knew since childhood. To reissue Brasileira became a life mission. Also, it turned to be the seed that allowed Selva Discos to bloom." And another extract, taken from Maria Rita's recollection on the serendipity that triggered this reissue: "Many years passed until I got a call from a close friend saying that his son, whom I had known since childhood, was my fan. I found it funny... I was slowly returning to music after years of directing Antares, a company I created and that brought thousands of artists to Brazil. He was a DJ who played my songs at the Selvagem parties and as he said, did not know that I was me, the same Maria Rita who worked with his father. This was a plot twist, a movie thing." Maria Rita Stumpf is now the owner of Brazilian production company Antares Produções, responsible for bringing international artists, such as Philip Glass and Mikhail Baryshnikov, to Brazil for the past 30 years. After distancing herself from the music business since the original release of Brasileira, she's now back in the game. This reissue was overviewed by Maria Rita Stumpf; Remastered from DAT tape of the original release; Artwork updated by Brazilian design studio Colletivo; Features liner notes by Maria Rita.
THE SPIRIT OF INDONESIA - Various Artists (Shiok! Records 003; Singapore) The Spirit Of Indonesia is a newly curated collection of traditional tunes from various regions and ethnic groups of the South East Asian archipelago. These historic live recordings are as "first-take" as it gets, conveying the true soul and spirit of this wonderful region, through discrete pieces coming from very different heritages. 45rpm audiophile vinyl; Limited edition of 300.
EARLY TRADITIONAL INSTRUMENTS IN ASIA - Various Artists (Shiok! Records 004; Singapore) From the metal chimes of the gamelan, to the Burmese harp, passing through the Chinese Hu Ch'in, a traditional and ancient chordophone-bowed lute, Early Traditional Instruments In Asia is a sheer historical document that represents some of the most ancient instruments known to mankind. 45rpm audiophile vinyl; Limited edition of 300.
Bruce Lee Gallanter’s Recommended Gig List for July of 2017
THE STONE RESIDENCIES - TYSHAWN SOREY - July 11th - 16th:
8:30 pm - QUARTET - Peter Evans (trumpet) Tyshawn Sorey (piano/synthesizer) Tim Dahl (bass) Weasel Walter (drum set)
8:30 pm - TYSHAWN SOREY BIRTHDAY DUO - John Zorn (alto sax) Tyshawn Sorey (drums)
8:30 pm - TYSHAWN SOREY SOLO (drum set, percussion, piano, trombone, installation)
(In preparation for an upcoming recording)
8:30 pm - Burning Ghosts - Daniel Rosenboom (trumpet) Jake Vossler (guitars) Richard Giddens (bass) Aaron McLendon (drums); A rare and special concert by this exciting LA band to celebrate their new CD on TZADIK—AVANT-ACTIVIST Metal-Jazz from the LA Underground!!
THE STONE RESIDENCIES - HA-YANG KIM - JULY 11-16
8:30 pm - Hahn Rowe, White Out, Ha-Yang Kim - Hahn Rowe (violin, guitar) Tom Surgal (percussion) Lin Culbertson (electronics) Ha-Yang Kim (cello)
8:30 pm - Judith Berkson (voice) Cleek Schrey (fiddle) Ha-Yang Kim (cello)
8:30 pm - Shayna Dunkelman (percussion) Ha-Yang Kim (cello) Stefan Poetzsch (violin/viola/electronics)
THE STONE AT THE NEW SCHOOL—55 WEST 13TH STREET
STEVE COLEMAN - FRIDAY AND SATURDAY NIGHTS JULY 14-15 AT 830
Steve Coleman (sax) Miles Okazaki (guitar) Matt Mitchell (piano) Marcus Gilmore (drums) Thomas Morgan (bass on friday ONLY)
8:30 pm - Stefan Poetzsch (violin/viola/electronics) Ha-Yang Kim (cello)
8:30 pm - Brian Chase (drums) Zach Layton (laptop) Ha-Yang Kim (cello)
8:30 pm - Miya Masaoka (koto, electronics) Stefan Poetzsch (violin/viola/electronics) Ha-Yang Kim (cello)
All Sets start at 8:30pm Tickets: $20
There are no refreshments or merchandise at The Stone.
Only music. All ages are welcome.
Cash Only at the door. There is no phone.
There is no food or beverage served or allowed
just a serious listening environment.
The Stone is booked purely on a curatorial basis
The CORNELIA STREET CAFE - 212-989-9319
29 Cornelia St in the heart of the West Greenwich Village, NYC
Friday Jul 07
9:00PM PAUL JONES SEXTET - Paul Jones, tenor sax; Alex LoRe, alto sax Johannes Felscher, bass;
10:30PM MATT DAVIS TRIO - Matt Davis, guitar; Ben Bryden, sax; Austin Walker, drums
Saturday Jul 08
9:00PM & 10:30PM PETER BRENDLER QUARTET - Peter Brendler, bass, comp.; Rich Perry, tenor sax; Gary Versace, piano; Vinnie Sperrazza, drums
Sunday, July 9th:
8:35PM ROGERIO BOCATO TRIO - Tony Malaby, tenor sax; Vitor Goncalves, piano, accordion; Rogerio Boccato, percussion
Monday Jul 10
6:00PM KERI JOHNSRUD QUARTET - Keri Johnsrud, voice; Addison Frei, piano; Perrin Grace , bass; Curtis Nowosad, drums
8:30PM NOA FORT & BAND - Noa Fort, voice, piano, composition; Josh Deutsch, trumpet; Dan Loomis, bass; Ross Pederson, drums
Tuesday Jul 11
8:00PM ANDREW VAN TASSEL QUARTET - Andrew Van Tassel, alto sax, soprano sax; Julian Shore, piano; Edward Perez, bass; Colin Stranahan, drums
9:30PM JULIAN SHORE QUARTET - Julian Shore, piano; Dayna Stephens, tenor sax; Petros Klampanis, bass; Colin Stranahan, drums
Wednesday Jul 12
8:00PM JEONG LIM YANG QUINTET, CD RELEASE: DE JA VU - Adam Kolker, tenor sax; Michael Attias, alto sax; Nick Sanders, piano; Jeong Lim Yang, bass; Jesse Simpson, drums
9:30PM YUHAN SU QUINTET - Yuhan Su, vibraphone; Matt Holman, trumpet; Alex LoRe, alto sax; Pablo Menares, bass; Jimmy Macbride, drums
Thursday Jul 13
6:00PM J3 LIVE - Jasper Dutz, winds, compositions; Jacob Shulman, tenor sax, compositions; Jeremy Corren, piano; Hwansu Kang, bass; JK Kim, drums
8:00PM AMANDA MONACO QUARTET, CD RELEASE: GLITTER - Amanda Monaco, guitar; Lauren Sevian, bari sax; Justin Carroll, organ; Matt Wilson , drums 9:30PM AARON BURNETT AND THE BIG MACHINE - Aaron Burnett, tenor sax, comp.; Peter Evans, trumpet; Carlos Homs, piano; Nick Jozwiak, bass; Colin Stranahan, drums
Fri, July 14th:
9:00PM & 10:30PM NATE RADLEY QUARTET - Nate Radley, guitar; John Ellis, tenor sax; Gary Wang, bass; Mark Ferber, drums
Saturday Jul 15
9:00PM & 10:30PM DAN WEISS TRIO - Dan Weiss, drums; Jacob Sacks, piano; Thomas Morgan, bass
Sunday Jul 16
8:30PM NEW BRAZILIAN PERSPECTIVES:ADRIANO SANTOS QUARTET - Dave Pietro, alto sax; Edsel Gomez, piano; Edward Perez, bass; Adriano Santos , drums
10:00PM NEW BRAZILIAN PERSPECTIVES:ENGENHEIROS - Nando Michelin, piano; Ebinho Cardoso, bass, voice; Tiago Michelin, drums; Rogerio Boccato, perc
Shapeshifter July, 2017:
7pm: Young Street
Bass - Reggie Young
DaiQuan Davis - Drums
Anthony Miller - Keys
James Cage - Trumpet
Andrew Swift - Guitar
8:15pm - Makrokosmos Orchestra - Fifteen-player ensemble playing compositions by Tim O’Dell and Richard Nelson, including premiere of O’Dell’s Selfless. Featuring Christine Correa, voice; Peter Bloom flutes; Adam Kolker, tenor saxophone, clarinet; Tim O'Dell, alto and soprano saxophones; Alan Brady, bass clarinet; Marshall Sealy, French horn; John Carlson, trumpet; Jacob Varmus, trumpet, cornet; David Chamberlain, euphonium; Dale Turk, bass trombone; Rick Bassett, keyboards, sound design; Richard Nelson, guitar; Matt Pavolka, bass; Rex Benincasa, percussion; and Rob Garcia, drums.
7pm: Run With Me Ep Release Tour - palatine
8:15 - Loop-n-Roll - Brian Hill
July 12 - A Night of Illusions V featuring:
Edward Gavitt's Group & Daryl's Trifecta
7pm Edward Gavitt's Group
8:15p Daryl's Trifecta:
Alfredo Colon(EWI/Alto Sax) Nat Janoff (Guitar), Sean Wayland(Piano/Synths), Daryl Chen (Electric Bass) & Kenny Grohowski (Drums).
July 13 and 14
7:30pm & 9:00pm - William Parker / In Order To Survive
In Order To Survive
William Parker: bass, compositions
Hamid Drake: drums
Rob Brown: alto sax
$20 @door / $18 online advanced / $15 student/ seniors @door
Shapeshifter is located at
18 Whitwell Place in Brooklyn, NY
R train to Union stop
Friday, July 7th 8:00 PM
Dana Lyn / Yoon Sun Choi
8 pm: Yoon Sun Choi’s Owls at Night –
featuring Yoon Sun Choi on piano and vocals and compositional duty
Vinnie Sperrazza on drums
Dana Lyn on violin
9:30: Mother Octopus
Peter Hess on clarinet
Ty Citerman on guitar
Clara Kennedy on cello
Vinnie Sperrazza on drums
Dana Lyn on Violin and Compositions
Saturday, July 8th 8:00 PM
Drums from Martinique and Cuba mingle with rhythms of Turkey and Bulgaria in the world of percussionist/composer Julian Gerstin. His sextet is fronted by clarinetist Anna Patton, playing with one foot in jazz and the other in Macedonia, and trumpeter Don Anderson, adding a salsa veteran’s heat. Pianist Andy Jaffe brings a fresh and coloristic ear; bassist Wes Brown’s gigs have spanned the history of jazz from Earl “Fatha” Hines to Wadada Leo Smith and Fred Ho; and drummer Ben James has anchored both Camper van Beethoven and free jazz great John Tchicai. The sextet has just released its first CD and is touring this summer.
Friday, July 14th 8:30 PM
Endangered Blood (night 1)
Jim Black – Drums
Chris Speed – Tenor / Clarinet
Oscar Noriega – Alto / Clarinet / Bass Clarinet
Trevor Dunn – Bass
Saturday, July 15th 8:30 PM
Endangered Blood (night 2)
Jim Black – Drums
Chris Speed – Tenor / Clarinet
Oscar Noriega – Alto / Clarinet / Bass Clarinet
Trevor Dunn – Bass
I-Beam is located at 168 7th Street in Brooklyn, NY 11215 - Directions: SUBWAY: Take the F or R trains to 4th Ave & 9th Street. Walk down 4th ave to 7th street. Make a left on 7th and walk past 3rd ave. We are located on the ground floor, the grey doors to the right of the stairs of #168.