I’ve known Jaimie since she moved here a half dozen or so years ago. She’s played the store numerous times and always gave her all whenever I heard her in performance. There was a trio that played at DMG twice with Jaimie, Thomas Helton on bass and Michael Evans on drums. Both performances were extraordinary and since the last one (less than 2 years ago), Michael Evans had also passed away. What I loved about Ms. Branch was her tough-love spirit, she was feisty, funny, honest and not afraid to speak her mind about whatever she saw around her that was worth commenting on. Since moving here, Ms. Branch has evolved steadily in leaps & bounds, organizing several bands (Fly or Die & Anteloper were her main ones) and collaborating with other strong spirits like James Brandon Lewis, Mars Williams and many others. I urge you to check out her main band, Fly or Die, whose three discs on International Anthem are all astonishing. Not just her powerful trumpet playing, but her honest (from the heart) vocals, attitude, band-leading and composing. Jaimie Branch might’ve been young in years but she had an old soul in spirit, not unlike those jazz elders who have been around for a long time and saw the difficulties of leading a Jazz Life, often under-recognized and struggling to survive but continuing to carry on to inspire others. Jaimie Branch will be sorely missed by all who knew her and had witnessed her devoted Creative Music Spirit. Rest in Peace, you will not be forgotten. - Bruce Lee Gallanter, DMG
THE DOWNTOWN MUSIC GALLERY 31st ANNIVERSARY IN-STORE GIG CELEBRATION Continues with:
A Rare Sunday, August 28th event:
6:30: TONY MALABY SUNDAY TURNPIKE TRIO with JOHN HEBERT / BILLY MINTZ
7:30: CAMILA NEBBIA / MICHAEL FORMANEK / VINNIE SPERRAZZA
8:30: GORDON GRDINA
Tuesday, August 30th:
6:30: ARON NAMENWIRTH / ERIC PLAKS - Guitar / Keyboard
7:30: SIMON HANES / ALIYA ULTAN / KEVIN MURRAY - Guitar / Cello / Drums
Tuesday, September 6th:
6:30: ANDY HAAS / DAVID GROLLMAN
7:30: AYUMI ISHITO / REMA HASUMI / YUKO TOGAMI - Sax / Keyboards / Drums
Suggested $10 or $5 donation, most of which will go to the musicians
NEW THINGS THIS WEEK BEGIN with:
ERIC ARN & EYAL MAOZ - Kost Nix (Feeding Tube Records 692; USA) Featuring Eric Arn and Eyal Maoz on guitars. This is our fifth release with the Vienna-based guitarist Eric Arn, and as with each of his albums, Kost Nix (No Cost) is different from all that have preceded it. Eric is a musician whose interests and techniques are constantly evolving, so it has been a pleasure to observe his evolution from a power raunch generator (with Crystalized Movements, then Primordial Undermind) into the wildly unpredictable improviser he has become. This is the third duo album we've done with him, following Paranza Corta (FTR 384LP) with Margaret Unknown, and Hydromancy (FTR 493LP) with Jasmine Pender, and it is another stone killer. Eric's sparring partner this time is Eyal Maoz, the great Israel-born, NYC-based guitarist who has long been an important part of John Zorn's circle. Eyal has had loads of projects and solo outings, and also plays in a dizzying array of styles, so this match-up was a dream date. The recording was done live in October 2021, at VEKKS Vienna, and the set is explosive. Because both players are incredibly mutable (and I have no visual clues), it's all but impossible for me to tell who exactly is doing what. The massive sound of their collaboration creates its own unique sonic field. The grace of their interaction makes it seem like they've been doing this for years, but we can just chalk that up to a combination of good ears and good reflexes. They also display more skill and taste than most musicians can manifest in a year. The three long pieces move through a vast array of moods and tones. 'Quiet Concessions' has passages of almost classical delicacy, merging into tangled webs of zoned space improvs akin to Sonic Youth's extended string break-downs, with nods to the shattered weirdness of the Dead's '68 noise eruptions. 'Luminous Motion' starts like a collaboration between Donald Miller and Hans Reichel, with a drunk baby controlling their knob settings, until it settles into a valley of low twangs and drones. 'Optimus Locus ad Finem' is a slow, damp bramble with light fingered weirdness generating a very special kind of tension. And that's it. The breadth of this collaboration will definitely make you want to see these guys live, if only so you can see who's doing what. How likely that is, I cannot say, but hey -- why not dream big? Life is short, art is long.” - Byron Coley
DANIEL CARTER / EVAN STRAUSS / 5-TRACK / SHERIDAN RILEY - The Uproar in Bursts of Sound and Silence (577 Records 5895; USA) Featuring Daniel Carter on reeds & voice, Evan Strauss on synths, el. & acoustic bass, bass clarinet, tenor sax compositions & production, 5-Track on guitar and Sheridan Riley on drums. The main thing I have long admired about Daniel “have horns, will play” Carter, is that he is also searching out for other musicians most often who most folks have never or rarely heard of. Although I hadn’t heard of the other three members of this quartet, it turns out that Evan Strauss & 5-Track have worked together on other projects: Travis Duo, Glass Goblins & Beyond Captain Orca! For the short opening piece, “Hands, At the Bonfire”, Daniel Carter does some spoken word with his voice bathed in effects while the band plays some sampled beats around him. There two long tracks here, the first is called, “Gemini Rising” and 5-Track plays some eerie guitar along with Mr. Carter’s spacious soprano sax and flute. This piece features along section of strong space-rock/jazz guitar while Mr. Strauss plus some throbbing acoustic bass underneath. The other long piece, “Examination Examination” also features Daniel Carter’s spoken word voice with layers of guitar, reeds & rhythm team pumping underneath. This piece has a strong space-rock vibe with Daniel Carter’s voice weaving its way through the pulsating mass/mess. Great music for all you space-rock stoners out there. The last piece, Aquarian Mars”, is a shorter, groovier, funkier, space/jazz piece with some eerie slide guitar and pungent psych samples. This disc is not really a jazz disc, however if still smoke some spliff or eat edibles, then you might want to play this while you are high. - MC BruceLee, DMG
TREESEARCH with KEIR GoGWILT / KYLE MOTL / NICOLEE KUESTER CELESTE ORAM - birdward (577 Records 5850; USA) Featuring Keir GoGwilt on violin & text, Nicolee Kuster on horn & text, Kyle Motl on contrabass and Celeste Oram on voice (1 track). This is the second disc by TreeSearch, the first was a string duo with just Mr. GoGwilt and Mr. Motl from 2020 and I recall it being pretty strong. The duo are joined by Nicolee Kuester on horn and Celeste Oram on voice for 1 piece. This disc was recorded at UC San Diego (like their first disc) in March of 2020. “Certain Bird” starts off with voice and bass, the spoken words recited quietly and discussing a certain bird. The main duo (Keir & Kyle) have their own unique sound and sound like they’ve been around for a long while. For “Bleach Feathers”, Motl plays that slowly swinging bottom while GoGwilt sails delightful on top. They are joined by the equally quaint, warm tone/playing of Ms. Kuster’s (French?) horn. Ms. Kuester reads and provides the text for “Sort/Preserve”, the words are used just on the intro and are interesting to savor. The music is a bit more demanding, the strings & horn more fractured yet focused. There is one long track here: “Beautiful Bird, quiet birds”, in which Ms. Kuester keeps repeating a few words about “the beautiful dead bird”. This reminds me of Gertrude Stein, who also like to repeat certain phrases over & over & over. The strings, mostly the bass, also keep repeating their own quick strummed parts, everything buzzing together, vibrating like a hummingbird in flight. The last piece, “So Long” features the lovely, haunting voice of Celeste Oram and it is a sublime, solemn song, a nice way to bring this fine disc to a subtle close. - Bruce Lee Gallanter, DMG
TreeSearch with KEIR GoGWILT / KYLE MOTL - Know More Knowledge (577 Records 5836; USA) TreeSearch features Keir GoGwilt on violin and Kyle Motl on contrabass. TreeSearch played a set at DMG last night (8/23/22), as well as trio set with Kevin Murray on drums, which was a tribute to Jaimie Branch, whose passing we just heard about earlier that day. All 3 sets last night were wonderful! This is the second time that TreeSearch have played here at DMG and I must admit that I am a big fan. String duos are relatively rare and this one is something special. As far as new(er) double bassists in town, Kyle Motl is someone to watch. He has played in duos here with Trevor Dunn and Michael Foster and he has a great disc out performing modern classical works for solo bass which was released last year.
This string duo hails from San Diego, CA, which is where this disc was recorded in a studio. Mr. GoGwilt is currently a member of the Mark Dresser Seven while Mr. Motl has worked with drummer Abbey Rader and saxist Peter Kuhn. This duo played here at DMG in September of last year (2019) on the same bill as an ensemble led by Federico Ughi. Mr. Ughi was so impressed with their set that he offered to release a CD by the duo on his own 577 Records label. The songs here are split between four written (3 by Motl, 1 by GoGwilt) and six improvised pieces. John Zorn once made the observation that many folks listen with their eyes rather than their ears. Meaning that they think they will know what something will sound like based on the instrumentation and reputation of the players rather than just listening closely without too much expectation. When this duo played the store, I thought I had an idea what they would sound like but was much surprised by the they were filled with surprises, “XOR” by Mr. Motl, has some challenging, tightly written passages which keep shifting in direction. Although both of these are string instruments, they are opposite ends of the sound spectrum. The bass is thick, throbbing and dense when bowed while the violin is much thinner tone-wise, yet they sound great since the contrast and connection are so well balanced. On the improvised pieces, the duo push each other further out, dancing around the flame of freedom without getting burnt. Another written piece, “Halberd Hands” reminds me of the more intense moments of a Zorn or Bartok string quartet, abrupt, tight and intense and erupting like a volcano near the end. The title piece is my favorite, it begins with a series of loud plucked harmonies on the bass which throb like a pounding heartbeat. The contrast between the bass and violin is well handled, the brooding vibe somewhat disorienting. Another demanding piece is called, “Swords n’ Celery”, which speeds up and slows down but remains focused, connected throughout. So, if you think you know just what this string duo should or will sound like, take a chance and be surprised. - Bruce Lee Gallanter, DMG
CD $14 [This disc was reviewed & listed last year]
ETHAN PHILION with RUSS JOHNSON / GEOF BRADFIELD / VICTOR GARCIA / RAJIV HALIM / et al - Meditations on Mingus (Sunnyside 1666; USA) Featuring Ethan Philion on contrabass & arrangements, Russ Johnson & Victor Garcia on trumpets, Rajiv Halim, Goef Bradfield & Max Bessesen on reeds, Norman Palm & Brendan Whalen on trombones, Alexis Lombre on piano and Dana Hall on drums. I don’t recognize the names of most of the musicians here outside of Russ Johnson (used to live here & work with Jenny Scheinman, Michael Bates & the Other Quartet), Geof Bradfield & Dana Hall (both of whom worked with Ben Goldberg & Darren Johnston).
Ever since I bought my first Charles Mingus album in 1972, ‘Best of the Atlantic Years’ a 2 LP set, I have been a great Mingus fan-addict. I also caught Mr. Mingus live in concert more than a 1/2 dozen times in the mid-seventies at the Village Vanguard, the Village Gate, Bottom Line and Carnegie Hall, each of those concerts was extraordinary. There have been a number of Mingus tribute albums throughout the years, the Hal Wilner one (‘Weird Nightmare’) is perhaps many folks favorite. I’ve heard many of these and still search them out to hear more.
Bassist and arranger, Ethan Philion, has decided to a tribute by playing and rearranging Mr. Mingus’ most political songs, which I think is a great idea, especially since we are in a particularly troubled time for civil rights, mental health and the ongoing injustice to so many others. Aside from the political content, the music is consistently ambitious. Things begin with, “Once Upon a Time There was a Holding Company Called Old America”, which was from ’Mingus at Monterey’. There are a few orchestral themes here which Mingus would morph and use again on some future songs/suites. We can tell that Mr. Philion has worked on the arrangements here since we hear so many criss-crossing lines or layers, with different horns players all get a chance to play short solos, rise and fall as the tide or current keeps moving. It turns out that Mr. Philion is also a fine bassist who is often at the center of these pieces just like Mr. Mingus was. While the music on most Charles Mingus discs was often most exuberant, Mr. Philion, steamlines things a bit yet still keeps the inner spirit burning. Since there is a minimum of soloing going on here, Mr. Philion focuses on the strong, feisty ensemble work here which is consistently tight, intense and soaring to great heights. Considering that this disc is nearly 75 minutes long, it is a winner and one that shows the strength of Mingus’ composing and arranging abilities. - Bruce Lee Gallanter, DMG
FOUR MORE TREASURES from CLEAN FEED and SHHPUMA:
FRIENDS & NEIGHBORS with ANDRE ROLIGHETEN / THOMAS JOHANSSON / OSCAR GRONBERG / JON STRUME STROM / TOLLEF OSTVANG - The Earth is # (Clean Feed 584; Portugal) Featuring Andre Roligheten on tenor & bass saxes, flute & bass clarinet, Thomas Johansson on trumpet & flugelhorn, Oscar Gronberg on piano, Jon Rune Strom on contrabass and Tollef Ostvang on drums & percussion. This is the fourth disc from this Norwegian quintet which includes Andre Roligheten from Albatrosh & Jonas Cambien Trio, Thomas Johansson from Cortex, Jon Rune Strom from the Frode Gjerstad Trio and Tollef Ostvang from All Included & Universal Indians. This disc begins with some eerie, skeletal flute & piano with sizzling muted trumpet, contrabass and subtle percussion all flowing together. The music has a hypnotic, spacious, free-floating sound, with the flute, muted trumpet, piano and rhythm team all swirling together as one organic force. Pianist Oscar Gronberg is featured on “Untitled” and he sounds most impressive, the rest of the quintet is tight and spirited with some strong ensemble interaction. During the late sixties and early to mid-seventies, there was a post-Blue Note sound which usually featured a quintet or sextet with a two or three horn front line and piano trio support. A good example was the Stanley Cowell Sextet from the ‘Brilliant Circles’ LP. This ensemble would both swing effortlessly as well as sail into freer sections yet remain tight and focused no amtter what. This quintet is another good example of this exciting, bristling, immensely impressive sound. The sax and trumpet often exchange lines at high speeds while the rhythm team joins in support or just lays out for short bits while the horn erupt together or around one another. All in all, this is a most extraordinary work and incredible on several levels. - Bruce Lee Gallanter, DMG
FLAK with LUIS LOPES / RODRIGO AMADO / JOSE LENCASTRE / et al - Magpie Live (Shhumpa 74CD; Portugal) Featuring FLAK on guitar, keyboards & production, Luis Lopes on guitar, Rodrigo Amado & Jose Lancastre on saxes, Guilherme Rodrigues on cello, Francisco Rebelo on bass & baritone guitar and Rui Alves on electronic drums. Founding member, in the Eighties, of the Portuguese pop-rock band Rádio Macau, the legendary guitarist known as Flak has a side path in more exploratory and experimental circuits, with projects like A Máquina do Almoço Dá Pancadas (something like The Lunch Machine Kicks), introducing is interest to jazz, and Micro Audio Waves, this one taking him to the domaines of electronic music. For this album, the fourth under his own name, marking 60 years of life and 40 of musical activity, he invited musicians of the fields of avant-jazz, free improvised music and beat music coming out from funk, namely Rodrigo Amado, José Lencastre, Luís Lopes, Guilherme Rodrigues, Francisco Rebelo and Rui Alves, taking another step forward on is brilliant career. This is the result, uniting the worlds of jazz and electronic music in inventive and intriguing ways.” - Clean Feed
The musicians here whose names I readily recognize here are Rodrigo Amado, Luis Lopes and Jose Lencastre, each of whom can be found on various discs from the Clean Feed label. Cellist Guilherme Rodrigues is the brother of Ernesto Rodrigues and both have long worked together for dozens of discs on the Creative Sources label. This disc was recorded live in Lisbon in October of 2021. The title track, “Magpie” is first and it has a sprawling, spacious sound. Instead of a rhythm team, FLAK and/or Rui Alves provide a pulsating electronic sequential groove which soon kicks into a higher more funky gear. When the rhythm groove drops out midway, the horns and guitar continue to spin their lines around one another is a cosmic embrace of space music, eventually another sly, sequential groove enters. Get down all of you space cowboys & girls. “Warming Up with the Moon” has a laid back funky groove which would be great for some radio airplay but not so much for WDMG. What works better is when FLAK layers the sequential and space/jazz lines into a more hypnotic web. Overall, this disc is not quite like anything else on Clean Feed yet remains still worthy of consideration. - Bruce Lee Gallanter, DMG
STEN SANDELL / LISA ULLEN - Double Music (Clean Feed 579; Portugal) Featuring Sten Sandell and Lisa Ullen both on pianos. This one is for all the piano lovers over there. If you’re a fan of the Scandinavian scene, you already know that Sten Sandell is one of the main representatives of that rich cauldron of creative jazz in Europe. And if you’re attentive to what’s new and fresh and creative in the jazz world, you already heard about the Korean-born, but living in Stockholm, Lisa Ullén, also a pianist. Yes, this is a piano duo, playing “Double Music” as the title states. And that means you have piano sounds coming from everywhere, as if you were in the middle of the ocean and there’s nothing but water around you and sun above. That’s why the liner notes of the album are… a poem about music as a ship “traveling at the speed of sound through a sea of chords and discord”, on the lookout for “ways of harboring all the harmonics”. Sandell and Ullén sew a fishnet of pure pleasure, letting themselves follow the music where it takes them wave after wave, “finding paths navigable”. And we go with them, unaware of the liquid travel, seated at our homes, in Summer bliss.”
PEDRO MELO ALVES OMNIAE LARGE ENSEMBLE - Lumina (Clean Feed 581; Portugal) “We sure are alive”, writes Pedro Melo Alves in the liner notes of “Lumina”. It’s true, the music inside is a survival chant: we made it, after two years of a science fiction-like nightmare. And suddenly, there’s some light. The Portuguese composer and drummer was the winner in 2016 of the Bernardo Sassetti Award with the first version of his Omniae Ensemble concept. At the invitation of the Guimarães Jazz Festival in 2020, during a brief interval between lockdowns, he transformed the original septet to a 23-elements large ensemble, adding electronics, tuba, clarinet, flutes, bassoon, cello, classical guitar, three singers and a maestro (Pedro Carneiro, also known as a percussionist in both the contemporary classical and improvised music fields) to the original mix and writing new, defying and more inclusive, in terms of vocabularies and grammars, scores for it. “How do we even start to look for all that ungraspable light?”, Melo Alves asks. Well, this is how.”
THREE OLDER CLEAN FEED DISCS from KRIS DAVIS Finally RESTOCKED:
KRIS DAVIS With INGRID LAUBROCK / MAT MANERI / TREVOR DUNN / TOM RAINEY - Capricorn Climber (Clean Feed 268; Portugal) Kris Davis - a pianist-composer who offers "uncommon creative adventure," says JazzTimes - releases her first quintet album, the characteristically kaleidoscopic Capricorn Climber, via Clean Feed Records on February 1, 2013. Long favored by her peers and jazz fans in the know, Davis has earned high praise from no less than star pianist and MacArthur 'Genius' Grant honoree Jason Moran, who included her in his Best of 2012 piece in Art Forum, writing: "A freethinking, gifted pianist on the scene, Davis lives in each note that she plays. Her range is impeccable; she tackles prepared piano, minimalism and jazz standards, all under one umbrella. I consider her an honorary descendant of Cecil Taylor and a welcome addition to the fold." This sixth album as a leader from the Vancouver-born, Brooklyn-based Davis sees her joined by kindred spirits Ingrid Laubrock (tenor saxophone), Mat Maneri (viola), Trevor Dunn (double-bass) and Tom Rainey (drums). The seeds of Capricorn Climber were sown with an all-improvised show at the intimate club Barbes in Brooklyn, with the quintet lineup meshing so well together that Davis was inspired to compose an album's worth of music for the group - while aiming to retain the fresh, spontaneous feel of that initial performance.
KRIS DAVIS INFRASOUND - Save Your Breath (Clean Feed 322; Portugal) This masterpiece is a major work for Kris Davis and her definitive breakthrough as a major composer in XXI century American music. Grea line up and total dedication from all musicians involved. Soundwise this is also a top recording. If you're following Kris recordings you know that she never repeats herself rather looking for new ways of expression.
PARADOXICAL FROG with KRIS DAVIS / INGRID LAUBROCK / TYSHAWN SOREY - Paradoxical Frog (Clean Feed 183; Portugal) This exciting new trio release sees Drummer Tyshawn Sorey, pianist Kris Davis and reedist Ingrid Laubrock, all extremely thoughtful and engaging composer-improvisers, join forces. German 2009 SWR-Jazz Prize and winner Ingrid Laubrock has recently moved to NY from London. She performed with some of the most important names of the improvised and the avant-jazz scenes such as Tim Berne, Mark Helias, Evan Parker, Mary Halvorson, John Edwards, Django Bates, Tom Rainey, and Veryan Weston. Lyrical and introspective at times, eccentric and restless at others, Laubrock uses both the tenor and the soprano saxophone in a refreshing and unconventional manner.She is also a prolific composer and won the 2006 Fellowship in Jazz Composition by the Arts Foundation. Pianist Kris Davis is possibly one of the most surprising discoveries of the new jazz piano generation. She is an extraordinarily gifted musician, capable of both incisive interventions and delicate sound poems. Performing with Tony Malaby, Kermit Driscoll, John Hollenbeck, Chris Speed, Tom Rainey and John Hebert, Davis is becoming one of the most sought out pianists for her contributions to composed and improvised music. Tyshawn Sorey is one of the most outstanding drummers around and a visionary composer. He has composed numerous commissions and is by now an indispensable figure in the NY Jazz and creative music scene. Tyshawn has worked with chamber ensembles and collaborated with a diverse array of musicians, including Muhal Richard Abrams, Ray Anderson, Wadada Leo Smith, Steve Coleman, Michele Rosewoman, Peter Evans, Mat Maneri, Steve Lehman, Mario Pavone, Ellery Eskelin, Vijay Iyer, Dave Douglas, Mark Helias and Butch Morris, among many others. All three musicians contribute their own unmistakable compositions to the group's sound. AllAboutJazz has described their unique interplay as "a taut set, as if they'd agreed to avoid the easy way to make a fire and instead rubbed sticks telekinetically". On this CD you will find music on a superior level using a wide range of dynamics, density and expression. The music is spontaneous yet deliberate, thought provoking yet trance inducing. 'Paradoxical Frog' is an extraordinarily rare debut that will make the listener want more.”
DAMON & NAOMI - A Sky Record (20/20/20 123CD; USA) "With its meditative tempos and enveloping guitar work by Michio Kurihara -- 'it's like this golden net,' Naomi said of his gorgeous, versatile playing -- A Sky Record offers shelter from the squall. If it has the glow of a long-delayed reunion between friends, that's not accidental: Kurihara hasn't traveled outside of Japan in some time, so Damon and Naomi hadn't recorded with him in nearly ten years. When they finally made it back to Japan in November 2019 for a brief tour, they were elated to book some time with Kurihara at the aptly named studio Peace Music. In those long stretches of quarantine, the tracks they returned from Japan with had distinct moods but not yet any lyrics. (Kurihara works best when trying to conjure a specific feeling or natural image -- after all, he did once make a solo record, Sunset Notes, on which every song was based on a different sunset he'd witnessed...) How to write about the pandemic? How to not write about the pandemic? Naomi first struck upon the appropriate tone when re-reading the journals of one of her favorite abstract painters, Charles Burchfield. She arranged this found language into the lyrics of the iridescent 'Season Without Time,' which also became a tribute to a friend that she and Damon had lost in the last year. From there, the floodgates opened. The wistful and watery 'Midnight' (electrified, towards the end, by the slow screams of a Kurihara solo) conjures Naomi's nostalgia for youthful summers spent at Jones Beach, while the gentle current of 'Sailing By' pays homage to those ritualistic BBC Shipping Forecasts and the waltzing, quintessentially British theme song from which it takes its name." --Lindsay Zoladz "Back to make all your folk-pop dreams melt into the sunset." --Rolling Stone Japanese CD version released by KiliKiliVilla.”
ROBBIE BASHO - Bonn Ist Supreme (Bo Weavil Recordings 029CD; UK) “Subtitled: Live at the Kulturforum, Bonn, Germany, November 24, 1980. Another in the Wooden Weavil series, this time an unreleased live Robbie Basho recording from Germany in 1980. Robbie Basho was one of the great pioneers of the acoustic steel string guitar in the U.S., along with Leo Kottke and John Fahey in the 1960s. This program appears to have been recorded in one go. Robbie scatters his Americana numbers throughout, beginning with "Redwood Ramble," and ending with "California Raga." This date finds Robbie in fine fettle, his playing sharpened by the intensity of touring, his mood seems ebullient, at times (as on "Fandango") he comes off like John Lee Hooker's sun-kissed cousin, stomping furiously along to his playing. There is sweetness to his material, yes, but this is not, as Jack Rose put it, "music for wineries." There is the galloping muscularity of Basho's playing, coupled with the sheer hugeness of his sound; the fearless employment of dissonance as part of his musical make-up; a love for the unexpected chord change. Robbie was a voracious and uncompromising player. Basho's singing was as integral to who he was as his guitar playing, and when he opened his mouth, he filled the room with sound. Say what you like about his lyrics, no one can accuse Basho of dilettantism, of dabbling, or of trying something on merely for effect. Whatever bag he was in, he was in all the way. Liner notes from Glenn Jones and Stephen Basho-Junghans, and beautifully remastered by Glenn Jones.”
FREDDIE HUBBARD with JUNIOR COOK / GEORGE CABLES / MICHAEL CARVIN / KENT BRINKLEY - Music Is Here: Live At Studio 104 Maison de la Radio, (ORTF), Paris 1973 (WeWantSounds 061CD; UK) “Wewantsounds announce the first-ever release of the mesmerizing live performance by Freddie Hubbard and his quintet recorded in Paris at Maison de la Radio (ORTF) on March 25, 1973. Featuring Hubbard with George Cables on Fender Rhodes, Junior Cook on sax/flute, Kent Brinkley on bass, and Michael Carvin on drums, the group interprets four Hubbard classics in deep, spiritual mode. The tapes of the concert were transferred at INA's studios and remastered by Colorsound Studio 1973 was a special year for Freddie Hubbard. He had been one of jazz's brightest young stars for more than a decade and had also recorded as a sideman for such luminaries as John Coltrane, Art Blakey, and Ornette Coleman. After a spell at Blue Note and Atlantic Records, Hubbard signed to CTI records in 1970. Launched by Creed Taylor, CTI was the up-and-coming jazz label at the time, aiming at the pop market with their trademark blend of fusion jazz and highly stylized album covers. There, Hubbard recorded five highly successful studio albums further cementing is reputation as a jazz superstar. In early 1973, after years of working with the cream of the CTI stable of musicians for his albums and concerts, Hubbard decided to put together a new quintet consisting of Junior Cook on sax, Kent Brinkley on bass, plus two young Turks from the thriving post-bop jazz scene: pianist George Cables and drummer Michael Carvin. The quintet, save Carvin, would record Hubbard's Keep Your Soul Together for CTI later that year (his last album for the label) but for the time being, the quintet was busy touring and they all left for Europe to hone their skills as a tight unit. The music they created during that tour, as showcased on this live performance recorded in Paris, is nothing but extraordinary and unlike anything Hubbard had recorded for CTI. The musicians are heard here playing four recent Hubbard classics: "Sky Dive", "The Intrepid Fox", "Povo" and "First Light" in a very different style: the music here is deep and organic, retaining the quintessence of the four beautiful melodies and stretching them in long, spiritual work outs. The concert which was filmed by French TV in beautiful black-and-white by Marc Pavaux and legendary DoP Willy Kurant is a vivid testimony of the musicians' togetherness, caught in full flight on this performance and taking the music to higher grounds. Artwork designed by Raimund Wong. Liner notes by Kevin Le Gendre in conversation with drummer Michael Carvin.”
AKOS ROZMANN - 12 Stations/Tolv Stationer (Ideological Organ 021CD; France) "In 2012 Ideologic Organ released the 2LP set 12 Stationer VI (SOMA 007LP) featuring the last part of a large scale work by the Hungarian-Swedish composer Ákos Rózmann. Here, in 2014 Ideologic Organ is immensely proud to present the complete version of Rózmann 's epic masterpiece presented for the first time in its entirety as a deluxe 7CD set. Akos Rózmann (1939-2005) was born in Budapest where he studied organ and composition at the Liszt Academy. From 1971 to 1974 he studied composition at the Royal College of Music in Stockholm and from 1978 he was an organist at the catholic cathedral in Stockholm. Throughout his life, Rózmann dedicated himself to musique concrete, developing one of the largest and most rewarding bodies of work in this, the most alchemical of all musical genres. In the early '80s, Rozmann started to build a private electroacoustic studio which he installed in the basement of the Catholic Cathedral while continuing to work in tandem at the Elektronmusikstudion (EMS Sweden) where he produced his earlier masterpieces. With an unwavering commitment to the creation of music, Rózmann would often lock himself up in his windowless studio working into the night in order to achieve the results he desired. This combination of vision, passion and stubbornness resulted in one of the most singular catalogs within the field of musique concrète, commissioned by the Hungarian composer Miklos Maros, who requested a five-minute work for piano and voice. Rózmann accepted the offer with the intention of writing a tape piece made from recordings of Miklos' wife, the soprano singer Ilona Maros' and his own experiments with prepared piano. The elements recorded here became the source material for Twelve Stations, a work which flew far from the initial five-minute brief to land 20 years later as a spirit-stretching journey of more than 6 1/2 hours. The compositional process is unique in Rózmann's output due to the 18-year gap between the initial phase and completion of the final work. The first phase made between 1978-1980 consists of an exploration of traditional musique concrète techniques such as speeding up, slowing down, cutting and splicing tape. The last four stations made between 1998-2001 embrace digital technology where small sections of the original recordings from 1978 were fed through an effects processor and improvised on a sampler keyboard. Despite this gap and the different techniques deployed at each period of creation the monumental result sits as a complete and staggering whole. Within the set limitations of the source material Rózmann's skill unfolds in an uncanny ability to coax a vast world of flexible sound from the original piano and voice recordings. The result is a maelstrom of dynamic audio and one of the most daring, challenging and rewarding works of musique concrète from the 20th century. Rózmann was typically ambiguous about the meaning behind his work despite suggesting earlier that the first part of Twelve Stations was an interpretation of the Tibetan Wheel of Life. Twelve Stations is a unique masterpiece of 20th century musique concrète and presents itself as an intensely personal and bold realm of sound, an offering as such, a radical mass open to all." --Mark Harwood; Packaged in a hardcover slipcase with a pull ribbon, a 20-page booklet containing an extensive essay on the composition by the scholar Gergely Loch, photos from the process and of scores and the composer.”
7 CD Set $75
BLOPS - Locomotora (Musica & Entrenimiento 027CD; Spain) “CD reissue, originally released in 1974 as Los Blops. Locomotora is a remarkable example of music that really escapes any typecasting rigid in some style. In it you find from a very particular progressive rock, through jazz rock, a very avant-garde folklore, certain elements of classical music, experimental parts, and even a certain groove with a compressed funky taste. "Locomotora" opens the album and it is a song full of solos and rhythmic breaks, with a lot of percussion, psychedelic sounds, and pure rock, perhaps the most experimental on this album, with its introduction full of strange noises and that lives up to the name that the band had adopted for live performances of that time: "Paraffin", a pseudonym that contrasted the clearly acoustic Los Blops of the first two albums, with these very crazy and electric ones. The album continues with the song written by Villegas, "Pirómano", where the characteristics of the mentioned above, in a theme with many changes, colors and arrangements of each of the members. Following with the songs we came across, as the bizarre composition by Juan Contreras, "Sandokan", which after a beginning where a language taken from another planet or at least non-existent is used -- in the style of the French Magma --, becomes a more melodic theme, but full of rock power and symphonic solos. The album continues with the song of Eduardo Gatti, "Strawberry Tart". With a more melancholic and melodic beginning than the previous one, little by little, the song becomes a more jazzy piece, where the voice of Eduardo Gatti himself and the flute solos stand out, along with guitar and piano. Without a doubt, an absolute classic of Chilean rock that closes with the song "Allegro Ma Non Troppo", where the solid base of bass and drums -- very syncopated -- stand out, serving as a platform for the guitar solos and flute and the strange arrangements of each one of the instrumentalists, within a quite complex structure. There are highs and lows in intensity, with parts of a lot of experimentation and improvisation, where all the instrumentalists demonstrate their technical quality and great sensitivity. This special release includes two singles as bonus tracks that were released later in 1978, "Los Momentos" and "La Francisca". For those who call themselves lovers of progressive rock or the avant-garde, this is a jewel that cannot be missed.”
PANAL - Panal (Musica & Entretenimiento 026CD; Spain) “CD reissue of Panal's self-titled album, originally released in 1973. Panal was born following the IRT director's will to put together a group that would blend folk and rock in a similar way to one of the most successful bands in the Chilean label: Los Jaivas. A roster of very experienced and talented musicians was recruited for this project and this self-titled album was finally released in 1973. Fierce percussions, stunning guitar riffs and filtered voices create a unique sound across this only album by Panal. The guitar of Carlos Corales (also founder of Aguaturbia) shows resemblances of Santana's style and Franz Benko's work on the production adds a fresh twist and renewed touch to the featured repertoire. Shortly after the coup, the group disbanded, leaving behind this masterpiece. Remastered sound from the original master tapes.”
CONGREGACION - Congregacion Viene... (Musica & Entretenimiento 023CD; Spain) “CD reissue of Congregación's Congregación Viene..., originally released in 1972. Psych-folk prog album by one of the most legendary bands of the early 1970s Chilean music scene, that was released at the worst possible time. In spite of not having been a popular band like Los Jaivas, Los Blops and Congreso, they deserve a position of privilege in the history of Chilean rock. Congregación, led by musician and poet Antonio Smith, was from Valparaiso. They wrote lyrics with a significant political, philosophical and religious content, they were a real "celebration of life". Musically, they crafted songs in an Andean style with ethnic atmosphere, we could say they made a kind of psychedelic folk with progressive leanings. They recorded just one LP and a single in 1972. The group was disbanded in 1973 following Pinochet's coup. Their multi-layered music is rich in unexpected nature textures and sounds, emphasizing the deep spiritual and mystic vibe of the album. It features the collaboration of members of Los Jaivas and Amerindios. The music of Congregación has conquered new folk lovers around the world and the original LP is yet a very rare collector's piece. Remastered sound from the original master tapes.”
LOS JAIVAS - La Ventana (Musica Entretenimiento 018; Spain) “After 47 years after its original release on the Chilean label IRT, here it is Los Jaivas' La Ventana, the iconic album that includes the anthems "Todos Juntos" and 'Mira Niñita". Los Jaivas has often been considered one of the most important rock bands in Chile and South America. This influential Chilean band formed in 1963 mixes psychedelic rock and progressive rock with Latin American folk instruments and rhythms. In this album Los Jaivas shows many different artistic facets from improvisation and song writing to the first steps of symphonic creation. Original master tapes have been used for this reissue, following the reels find at the IRT vaults after years unavailable. State of the art technology has also been used to guarantee a top-quality remastered sound that shows music details barely noticeable in the original pressing. The artwork restoration process has been undertaken by Martín Uribe, a member of the band's team, with great attention to detail, by using several copies of the original issue. According to Felipe Domínguez (Al Albordaje Muchachos SPA), supervisor of this reissue project, "we aimed to publish a top-quality release, improving on previous rather average reissue editions. So, when we opened the box containing the tapes of 'la Ventana' and found the reels with all the annotations made at the time, we knew we would be able to make a difference." This is the first in a series of various projects that will make the musical heritage of Los Jaivas available again, including recordings that have remained archived for years and the reissue of other historical titles of the band. This is the aim of the Los Jaivas Cultural Foundation: "to pass on its experience to new generations, along with encouraging a love for music without distinction of race, faith, political color or gender," highlights Mario Mutis, bassist and vocalist of the band.”
JOE GIBBS - Reggae Anthology: King Scorchers From The Early Years 1967-73 (17 North Parade 4151CD; USA) Features Roy Shirley, The Pioneers With Lynn Taitt & The Jets, Errol Dunkley, Stranger & Gladdy With Lynn Taitt & The Jets, Stranger & Gladdy With Lee Perry, Lee Perry & Dennis Alcapone, Keith Blake, Tyrone Taylor, The Pioneers, The Conquerors, The Reggae Boys, The Soulmates, Ernest Wilson, The Soul Sisters, The Young Souls, Ken Parker, Ken Parker & The Destroyers, Johnny Moore, Niney & Slim Smith With The Destroyers, Count Machuki & The Destroyers, Sir Lord Comic & The Destroyers, Nicky Thomas & Sir Lord Comic, Lizzy & Cornell Campbell, Nicky Thomas, Cynthia Richards & Irving Brown, Julie Anne, The Heptones, Jackie Brown, Peter Tosh & Winston Scotland, Peter Tosh With Winston Wright & Larry McDonald, Nicky Thomas & Cat Campbell, Nicky Thomas & Dennis Alcapone, The Ethiopians, Delroy Wilson, Alton Ellis, Dennis Brown & Big Youth, and Big Youth.”
2 CD Set $21
BILL ORCUTT - Music for Four Guitars (Palilalia 068LP; USA) "In a trajectory full of about-faces, Music for Four Guitars splices the formal innovations of Bill Orcutt's software-based music into the lobe-frying, blown-out Fender hyperdrive of his most frenetic workouts with Corsano or Hoyos. And while the guitar tone here is resolutely treble-kicked -- or, as Orcutt puts it, 'a bridge pickup rather than a neck pickup record' -- it still wades the same melodic streams as his previous LPs (yet, as Heraclitus taught us, that stream is utterly different the second time around). Although it's a true left-field listen, Music for Four Guitars is bizarrely meditative, a Bill Orcutt Buddha Machine, a glimpse of the world of icy beauty haunting the latitudes high above the Delta (down where the climate suits your clothes). I've written before of the immediate misapprehension that greeted Harry Pussy on their first tour with my band Charalambides -- that this was a trio of crazed freaks spontaneously spewing sound from wherever their fingers or drumsticks happened to land -- but I'll grant the casual listener a certain amount of confusion based on the early recorded evidence (and the fact that the band COULD be a trio of crazed freaks letting fly, as we learned from later tours). But to my ears, the precision and composition of their tracks were immediately apparent, as if the band was some sort of 5-D music box with its handle cranked into oblivion by a calculating organ grinder, running through musical maps as pre-ordained as the road to a Calvinist's grave. That organ grinder, it turns out, was Bill Orcutt, whose solo guitar output until 2022 has tilted decidedly towards improvisation, while his fetish for relentless, gridlike composition has animated his electronic music (c.f. Live in LA, A Mechanical Joey). Music for Four Guitars, apparently percolating since 2015 as a loosely-conceived score for an actual meatspace guitar quartet, is the culmination of years ruminating on classical music, Magic Band miniatures, and (perhaps) The League of Crafty Guitarists, although when the Reich-isms got tossed in the brew is anyone's guess. And Reichian (Steve, not Wilhelm) it is. The album's form is startlingly minimalist -- four guitars, each consigned to a chattering melody in counterpoint, repeated in cells throughout the course of the track, selectively pulled in and out of the mix to build fugue-like drama over the course of 14 brief tracks. It's tempting to compare them to chamber music, but these pieces reflect little of the delicacy of Satie's Gymnopedies or Bach's Cantatas. Instead, they bulldoze their way through melodic content with a touch of the motorik romanticism of New Order or Bailter Space ('At a Distance'), but more often ('A Different View,' 'On the Horizon') with the gonad-crushing drive of Discipline-era Crimson, full of squared corners, coldly angled like Beefheart-via-Beat-Detective. Just to nail down the classical fetishism, the album features a download of an 80-page PDF score transcribed by guitarist Shane Parish. And while it'd be just as reproducible as a bit of code or a player piano roll, I can easily close my eyes and imagine folks with brows higher than mine squeezing into their difficult-listening hour folding chairs at Issue Project Room to soak up these sounds being played by real people reading a printed score 50 years from now. And as much as I want to bomb anyone's academy, that feels like a warm fuzzy future to sink into." - Tom Carter Recorded Winter/Spring 2021 at the Living Room, San Francisco. Mastered by James Plotkin.
PAUL METZGER - Gedanken Splitter (Roaratorio 014LP; USA) “Paul Metzger continues to pile up the plaudits from critics and peers alike for his virtuosic string-slinging, gaining notice through Three Improvisations On Modified Banjo (2005) and his split LP with Ben Chasny and Chris Corsano on Roaratorio (2006). Metzger's modified banjo is tricked out with additional sympathetic raga strings, although the compositions on Gedanken Splitter are informed by much more than Eastern drone music alone. Recorded in the same period as Deliverance (2007), this is a more jagged and aggressive (although no less accessible) affair. Metzger winds these improvisations around thornier threads than on his previous releases, and while never turning completely abstract, Gedanken Splitter moves even further away from anything resembling typical banjo fare. This is mesmerizing and singular playing. "If Paul Metzger's last album Deliverance evinced his yearning to free the banjo from the shackles of convention, Gedanken Splitter shows what comes after the chains hit the earth; Metzger's attack is unmatched in the new American Primitive camp." - Bill Meyer, The Wire.
LEO KUPPER - Electronic Works & Voices 1977-87 (Sub Rosa 507LP; Belgium) “Perfect follow-up to Sub Rosa's precedent double-LP Electronic Works & Voices 1961-1979, this release highlights Leo Kupper's earliest compositions with his GAME machine -- Générateur Automatique de Musique Electronique (Automatic Generator of Electronic Music) constructed during the 1960s. Purely electronic sounds into new structures, Leo Kupper shows through his four tracks a real spirit of renewal. Released in Sub Rosa's Early Electronic series.
Leo Kupper was born in Nidrum, Hautes Fagnes (Eastern Belgium) on the April 16th, 1935. He studied musicology at the Liège Conservatory, then became the assistant of Henri Pousseur who, in 1958, had just founded the Apelac Studio in Brussels. Kupper started to work on his first pieces there, but he would finalize them only upon putting together his own studio in 1967: the Studio de Recherches et de Structurations Electroniques Auditives (studio of audio electronic research and structuring). That is where he would compose, to this day, over forty works, most of them on instruments of his own design. In the '70s and '80s, he built a series of Sound Domes (briefly established in Rome, Linz, Venice, and Avignon), places where every sound, every phoneme uttered by the listening audience was transformed by hundreds of loudspeakers of various sizes organized in a dome shape. This device transformed sounds through space and time: something said could be morphed into another sound hours, days, perhaps years later. Leo had envisioned that a device like his, a place for contemplation, would be much-needed in cities where nature had been evacuated. In the late '70s, after discovering Iranian music master Hussein Malek, Kupper became one of the very few Western virtuosos of the santur.
The GAME machine: In 1961, having terminated his musicology studies, Leo Kupper left Liège for Brussels. By that time, centers for music research such as those in Cologne, Paris, and Milan had already produced works of experimental music, where pioneers were forging new and diverse routes in electronic music, "musique concrete" and electro-vocal music. The GAME machine was constructed during such period and spirit of renewal and technical exploration. The GAME consisted of a collection of variable "sonic cells" sensitive to modulations of positive and negative voltages and programmable manually through the aid of color-coded cables. Complex electronic loops and sound from loudspeakers and from microphone pick-ups were then either recorded by tape-machines or performed and interpreted by musicians who opened automatic channels, thus triggering automatic sound to exit the speakers. This in turn penetrated the machines by means of microphones and was replayed.”
2 LP Set $35
PETER REHBERG - Peter Rehberg at GRM (Portraits GRM 005LP; Austria) “Shelter Press and INA grm are pleased and moved to present two previously unreleased recordings of Peter Rehberg, two live performances given at the GRM which, each in their own way, vividly illustrate the extent of his sonic palette. On July 22, 2021, Peter Rehberg passed away, leaving a great emptiness in his wake. Many initiatives have already celebrated or will soon celebrate his memory and the titanic work he put at the service of so many artists - a whole musical community, in fact -- through Editions Mego. INA grm, Shelter Press and Stephen O'Malley, who are continuing some of the collaborative Editions Mego sub-labels (Recollection GRM, Portraits GRM and Ideologic Organ), wanted to pay tribute more specifically to the musician Peter Rehberg, and to his immense talent. Peter Rehberg, as an artist, has collaborated with the GRM on numerous occasions, both with Stephen O'Malley (as KTL) and solo. This release features two concerts given for the GRM, each time as part of the Présences électronique festival. The first concert, given on March 15, 2009 at the Maison de la Radio in Paris, marked the first collaboration between Peter Rehberg and the GRM and the beginning of a long and fruitful friendship. The second concert took place on March 6, 2016. Between these two concerts, seven years have passed, seven years in which the ties between Peter Rehberg and the GRM have been strengthened, seven years in which Peter Rehberg's music has flourished. What is striking in these two concerts is how Peter Rehberg's unique musical sensitivity and "grammar" can be heard beyond the instruments. For while the first concert is pure laptop music, the second is extended to the field of modular synthesis. However, in both concerts, the elements that are so personal to Peter Rehberg's music are present and combine in a layering of sonic abrasions, raw sensations and a sensitivity that is as much about formal awareness as it is about the invocation of overwhelming emotions, even though a little hidden behind a radicality that is always a bit provocative. Peter Rehberg offers us a "portrait music", a music that gives some clues about the personality of its author and whose absence continues to deepen an inconsolable sadness.”
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.
THE STONE is a Performance Venue which was founded by John Zorn
THE STONE RESIDENCIES
JOHN KING - AUG 24–27
8:30 pm: String Noise plays John King
Pauline Kim Harris (violin) Conrad Harris (violin)
String Noise plays the works of John King—the old, the new, plus a world premiere.
8:30 pm: IMPROVISATIONS
Michael Wimberly (drums) John King (guitar) Luke Stewart (bass)
New trio formations, improvisations and unities
8:30 pm: OPERANT - Gelsey Bell (voice) Paul Pinto (voice, instruments)
World premiere of OPERANT, JK’s micro tetropera featuring Gelsey Bell and Paul Pinto.
THE STONE RESIDENCIES
ELIAS STEMESEDER - AUG 31–SEPT 3
8:30 pm: QUINTET I - Peter Evans (trumpet) Mark Shim (tenor saxophone) Chris Tordini (bass) Timothy Angulo (drums) Elias Stemeseder (piano, synthesizers)
8:30 pm: WRENS - Ryan Easter (trumpet) Jason Nazary (drums, modular synthesizer) Elias Stemeseder (piano, modular synthesizer, live electronics)
8:30 pm: QUINTET II - Aliya Ultan (cello) Henry Fraser (bass) Nava Dunkelman (percussion) Simon Kanzler (live electronics) Elias Stemeseder (harpsichord, piano)
8:30 pm: PENUMBRA plus guests - Kris Chen Little Injure (drums, electronics) Elias Stemeseder (amplified harpsichord, synthesisers) plus Ikue Mori (electronics) and Brandon Seabrook (banjo, guitar)
ALL CONCERTS AT 830 pm
The Stone is located at: 55 West 13th street, just east of 6th Ave
FOR RESERVATIONS: https://docs.google.com/forms/d/e/1FAIpQLSf5onAqRbXhJkb63PJLEVL2225XRX5wz4aWtDd1tEcK3QXK5w/viewform
THERE IS A RECENT INTERVIEW with FRED FRITH by Rick Rees that is found here: https://rickrees.substack.com/p/fred-frith-interview . Rick Rees has been working on a website/blog/book/whatever about the great producer/manager/instigator/raconteur Georgio Gomelsky. Gomelsky is someone I’ve long admired and Rees is doing a good job of documenting/interviewing numerous Gomelsky associates. The Fred Frith interview is great and if you are a Frith fan, you should want to know about a number of upcoming projects, tours, etc. This interview showed up in my email during the last hour of my birthday last Sunday and it made me smile. Fred Frith & myself are old friends and he is someone whose music and attitude I really admire. - BLG
AMAZING SERIES OF PODCASTS PUT TOGETHER BY THE GREAT GUITARIST SAMO SALAMON:
The wonderful Slovenian guitarist/composer Samo Salamon has an incredible podcast on Youtube entitled "DR. JAZZ". He has interviewed many of the leading lights of contemporary improvisation including Bill Frisell, Hal Galper, Herb Robertson, Ben Monder, Bob Moses etc. and his conversations are deep and enlightening. Highly recommended for all curious listeners across the worlds of creative music. Here is the link below..
https://www.bing.com/videos/search?q=samo šalamon&qpvt=samo šalamon&FORM=VDRE
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… the new one just popped up today, 7/27/22:
Guitarist and DMG-pal HENRY KAISER has a monthly Video Solo Series on Cuneiform’s Youtube page:
My good friend & guitar master GARY LUCAS is playing half hour sets at his apartment in the West village every Tuesday, Thursday & Saturday at 10:30pm Tues, Thurs and Sat on Facebook. Different songs & improvisations on each episode. Here is the link: https://www.facebook.com/gary.lucas.5836/
Sunday August 28th
Live at Scholes Street Studio
Live recording/Live audience!
8pm Rick Parker - trombone
Michael Attias - alto saxophone
Simon Jermyn - guitar
Kate Gentile - drums
9pm Stephen Gauci - tenor saxophone
Shinya Lin - piano
Adam Lane - bass
Kevin Shea - drums
10pm Tony Malaby - saxophones
Caleb Duval - bass
James Paul Nadien - drums
Live recording/Live audience!
$20 at the door (entire evening), cash/venmo
August 28, 2022
@ Scholes Street Studio
375 Lorimer Street, Brooklyn
INDEPENDENT PROMOTERS ALLIANCE Presents:
KEN VANDERMARK, JOE MORRIS (reeds / guitar duo)
@ Michiko Studios, Stage 2
149 West 46th Street
Saturday, SEPTEMBER 10 at 7:00 PM
Stage 2 is on 3rd floor
(Building is not elevator-equipped).
Saturday, September 10, 2022:
Adam Rudolph’s Go: Organic Orchestra!
Featuring Hassan Hakmoun, Dave Liebman, Marcus Gilmore, Graham Haynes, and Brooklyn Raga Massive / Gift of Gnawa honoring Don Cherry / Brandee Younger and Joel Ross /
Plus Angel Bat Dawid - DJ Set
Doors 6 PM | Show 7 PM
SummerStage in Central Park – Free Event | General Admission
Thursday, October 27 and Friday, October 28, 2022
Plays Éliane Radigue, Yasunao Tone,
Ellen Arkbro, Ben Patterson and Phill Niblock
doors 7 pm, shows 7:30 pm
At Blank Forms
468 Grand Ave, 1D,
Brooklyn NY 11238
ATTENTION TO ALL DMG CUSTOMERS: NEW EMAIL ADDRESS: email@example.com