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DMG Newsletter for September 2nd, 2022

Put it there pal, put it there
Now and then just throw me a crumb
Put it there pal, put it there
Thanks for the help when I needed it, chum
You saw me drowning, you said I was a fake and laughed
Then you jumped right in and used me for a raft
You shot me down with friendly fire
You were all dressed up to play Gun For Hire
The rope you threw me was made of barbed wire
But put it there pal, put it there, pal
Put it there

I know you mean well, call me a sentimental fool
I know sometimes you've got to be kind to be cruel
When you pat me on the back, that was quite some slap
That kind of compliment, it could kill a chap
So I'll drink your health, oh this emotion's given me a thirst
But maybe I'll have my food-taster drink it first
Put it there pal, put it there
You deserve everything you got coming
Put it there pal, put it there
Call me up if you want to come slumming

Some say you're a rattlesnake in the grass
But I say the sun shines out of your arse
So it's no hard feelings, live and let live
With a gift like yours, you're born to give
You're so full of love it leaks out like a sieve

So put it there pal, put it there pal
Put it there
Put it there
Put it there
Put it there, pal
Put it there, pal
Put it there, pal

I caught the Bongos (reunion) last night at a summer series show outdoors at Woodbridge High School and they were fabulous. I hadn’t heard them in 30 years and they still sound fabulous! I used to write for Jersey Beat fanzine, from the late seventies throughout the eighties. I first wrote about local musicians/friends of mine from the Linden area (where I grew up): Psychotic Blues Band (with Rob Paparozzi), all bands which Mitch Eisenberg (my oldest friend) was in, the Mopeds (w/ Owen P & the Monz), Rickey Joyce Transfusion and several others. After I wrote about my friends, I started to get promo LP’s, cassettes & CD’s to review. I soon discovered that NJ was full of many great rock bands: Regressive Aid, Scornflakes, the Feelies, the Young Turks, Frozen Concentrate, Animation, Lunar Bear, Machine Gun, AOD & many more. I would hang out at Maxwell’s in Hoboken, the Court Tavern in New Brunswick & City Gardens in Trenton to catch many of these bands. I ended up befriending many of these musicians, hearing them anywhere I could and even running music fests at Modern Artist Studios in Rahway NJ, a block from where I’ve lived for the past 40 years. Some of my favorite bands from the period were power pop/psych bands like the Bongos, the Feelies, the DBs and Tiny Lights. I hadn’t heard the Bongos in thirty years although I have caught Richard Barone with his band several times, each gig & disc was/were great. They even added Glenn Mercer (leader of the Feelies) at the end to cover “Funtime” by Iggy Pop. Which brings us to Richard Thompson, who currently lives in Montclair, NJ and has played twice at Woodbridge High Outdoors in the past two years.

The above song comes from a great Richard Thompson 2 CD set called ‘You, Me, Us?’ from 1996. When I heard Mr. Thompson play this song around that time and he introduced by saying, “Here’s a song dedicated to an old friend with a one inch penis”. The audience gasped when he said this. Who was he talking about? Not sure. Although revenge is a negative emotion, it often feels good to put someone we dislike in their place. There are some dark vibes going on in this song, both lyrically as well as in the great guitar solo. Mr. Thompson is a master of capturing the darker side of relationships & life in general in his songs. This line still makes me crack up: “Some say you're a rattlesnake in the grass, But I say the sun shines out of your arse”. I’ve been thinking about the way we let out those our darker feelings through songs and the great/nasty guitar solos which capture that spirit. Why does it feel so good to revel in those vibes? Have you ever heard “My Guitar Wants to Kill Your Mama” by the Mothers of Invention? I think we are all waiting for the tides to turn to some more positive times to return. Only we can create a better future for ourselves if we try hard enough. - MC BruceLee at DMG



Tuesday, September 6th:
7:30: AYUMI ISHITO / REMA HASUMI / YUKO TOGAMI - Sax / Keyboards / Drums
8:30: BEN GOLDBERG / ANDREW STEPHENS / RYAN FERREIRA - Clarinet / Cornet / Guitar

Saturday September 10th: The Monthly GauciMusic Series Continues with:
6pm Max Johnson - bass / Erin Rogers - sax
7pm Stephen Gauci - sax / James Paul Nadien - drums
8pm Spirit Clarinet Orchestra featuring:
Paul Austerlitz / Charles Waters / Michael Moss / Randolph Murphy / Zizl Slepovitch

Tuesday, September 13th:
6:30: JOSH SINTON / SIMON KANZLER - baritone sax / laptop!
7:30: DAVE MILLER / MARCO CAPPELLI / DANIEL CARTER - Drums / Guitar / Reeds & Brass



ANTHONY BRAXTON / JAMES FEI - Duet [Other Minds] 2021 (Other Minds OM 1033-2; USA) Featuring Anthony Braxton on alto, soprano & sopranino saxes & electronics and James Fei on sopranino, alto & baritone saxes. This disc was recorded live at the Other Minds 25 Festival at the Taube Atrium Theatre in San Francisco in October of 2021. Since retiring from his teaching post at Wesleyan University, Anthony Braxton has kept busy composing, releasing music on his own New Braxton House label (mostly downloads) and performing live on rare occasions. Although Mr. Braxton has released a number of ambitious box sets (check out the duos with Eugene Chadbourne if you can find one), CD’s on other labels are few and far between. Saxist/composer and currently professor in California, James Fei, first studied and then worked with Mr. Braxton on many releases throughout the 2000’s, as well as working with Peter Evans, Kato Hideki and Roscoe Mitchell.
This disc features Mr. Braxton’s “Composition 429” and it includes a thick booklet with incisive notes by former NY Times journalist Nate Chinen, as well as equally illuminating words from James Fei. Each of Mr. Braxton hundreds of compositions are parts of ongoing systems that he has created. I recall his nearly ten year odyssey of Ghost Trance Music, which both inspired and frustrated his fans in equal measure. For this disc and concert, Mr. Braxton has created a new system called Lorraine. You will have to read the liner notes which go on to explain some of what is going on in this piece. Listening to this disc is something else to explore. Aside from the subtle, somewhat eerie background drone of electronics, both saxes slowly play that notes together, tightly at times yet often bending their notes carefully around one another. The electronics are quietly unnerving at times while the saxes consistently shift tonally and timbre-wise with short solos emerging and submerging. I recognize Mr. Braxton’s tone/sound both his alto and sopranino sax playing from my many years of studying his playing. This sense of familiarity helps to understand who is doing what plus Mr. Braxton’s ever-evolving composing shows the way his different systems work and change over time. Braxton takes an impressive alto sax solo about a third of the way in, but this is just one of several treasures found here. When Mr. Fei picks up his bari sax, he changes the overall sound while Mr. Braxton bends his notes more quickly, the combination works well. The sound of the electronics also slowly changes over time, dropping out at points and adding bits of feedback at times. Mr. Braxton consistently finds ways to challenge us and the other musicians he collaborates with, providing different systems, combinations and focused communication due to preparation and thinking on your feet or in a chair. This is already a masterwork that will take some time to fully absorb and understand. - Bruce Lee Gallanter, DMG
CD $17

HENRY KAISER / ANTHONY PIROG - Figure Ground (Ramble Records RAM 0046; Australia) Featuring Henry Kaiser and Anthony Pirog on guitars. During the Great Pandemic, west coast guitar master, Henry Kaiser, created a weekly video program for the Cuneiform label. I always looked forward to each of these since you could tell that Mr. Kaiser had put a good of thought and preparation in each one. Mr. Kaiser chose a number of other guitarists (Richard Thompson, Fred Frith, etc.), as well as other musicians to collaborate with, drawing from the many genres that Kaiser has embraced throughout his long music journey. Mr. Kaiser has been on a long mission to play with as many of his guitar heroes and fellow pickers for several decades and he is still reaching out to other guitars, known and lesser known. For this disc, Kaiser collaborates with an equally diverse and gifted guitarist named Anthony Pirog. Guitar and other crazed music freaks show know of DC based guitarist Anthony Pirog from his work with the Messthetics (awesome power trio with the Fugazi rhythm team), the Spellcasters (w/ Joel Harrison) and collaborating with James Brandon Lewis, Susan Alcorn & William Hooker. Check out his swell duo with Janel Leppin (great disc on Cuneiform). Mr. Kaiser and Mr. Pirog actually worked in a quintet called Five Times Surprise in 2019.
There are just two long pieces on this disc, “Figure” and “Ground”, both around 22 minutes and subtitled “Ambient Guitar Duo”. “Figure” starts off with an exquisite drone which just drifts into view. Both of these guitarists are masters of effects (pedals & racks), hence they are selectively manipulating this tones. Soon, there are several layers of sustained tones, some sound like bowed strings, others are plucked at different tempos as the solos work their way around one another. The overall sound/effect is a dreamlike haze and a solemn solo dancing on top. Both the delicate solo(s) on top and background drone are well balanced and work together as one connected sonic place/scene. For the second piece, “Ground”, the ambient wavering drones and expanded so that we hear several subtle layers. The main two layers are the high end (most eerie) waves and the rich low-end rumbling drone (rather like a church organ). There are several lines or layers all moving together here, I can Mr. Kaiser’s distinctive sustain-tone playing on top while underneath we are swimming in wave upon wave, surfing on top while a school of fish swims together underneath. Even as Kaiser take a long, intense yet restrained solo on top, it is the what is going on around him that remains equally fascinating as different waves or currents expand, contract and shift. There is mysterious and wondrous going on here so take some time to listen. - Bruce Lee Gallanter, DMG
CD $15

JEFF PARKER / ERIC REVIS / NASHEET WAITS - Eastside Romp (Rogue Art 0113; France) Featuring Jeff Parker on guitar, Eric Revis on double bass and Nasheet Waits on drums. Former Chicago-based guitarist keeps busy by collaborating with wide variety of other leaders: Rob Mazurek, Josh Abrams, Dave Rempis and Makaya McCraven. His own records as a leader drop much less often: a recent duo with Rob Mazurek from last year (2021) and a quintet effort on Not Two from 2019 are his most recent leader or co-leader dates. This seems to be a new group for Mr. Parker as neither of these musicians have worked with Mr. Parker previously. Both Eric Revis (for w/ Peter Brotzmann, Orrin Evans & Avram Fefer) and Nasheet Waits (for Dave Douglas, Amir ElSaffar & Tony Malaby) and busy collaborators with dozens of previous sessions between them. Mr. Parker a few leader dates in the past ut not much recently.
All of the songs here but one were written by members of the trio. The opener however, “Similar Limits” was written by the late saxist Marion Brown. It is a challenging piece that has keeps all three musicians spinning through some difficult crisscrossing rhythms. Jeff Parker’s own “Wait” has a slow, spacious, mysterious sound. It reminds me of a scene from the desert from one of those Spaghetti Western films. The vibe here is most haunting with a nice use of space surrounding each note. Mr. Waits’ “Between Nothingness and Infinity” is again spacious, with a sublime unaccompanied bass intro and has Parker adding layers of guitar parts each one with different effects, giving the piece a cinematic quality as it changes sonic scenes. “Drunkard’s Lullaby” is a more fractured, intense work with Parker’s guitar going through some twisted yet effective manipulation. I dig that Jeff Parker changes the sound of his guitar on each piece to get different effects or vibes, making each piece work to bring to different places within. Nasheet Waits’ “A Room for VG” is most skeletal and haunting, it uses a minimum of notes to sketch an open frame with just the right amount of notes to convey its stark, thoughtful message. What makes this disc so special is the way the trio plays less rather than more notes in order to give us some breathing space and a chance to fill in some of the space with our own expectations or ideas. It sounds like time has slowed down somewhat so that we can savor each and every sound. A blessing for those of us overwhelmed by too much information. - Bruce Lee Gallanter, DMG
CD $16

GORDON GRDINA / MARK HELIAS / MATTHEW SHIPP - Pathways (ABG Records-5; Canada) Featuring Gordon Grdina on guitar & oud, Mark Helias on contrabass and Matthew Ship on piano. Last Sunday (8/28/22), Vancouver-based guitarist & oud player, Gordon Grdina, played the third set of the night at DMG, a night of three great trios. Mr. Grdina played an amazing improv set with Elias Stemseder (on keys & electronics) and Christian Lillinger (German drum wiz, who has only been in the US one time previously) on drums. The set was extraordinary as were the two previous sets by Tony Malaby’s Turnpike Trio and Camila Nebbia’s NY Trio. During the third week in May of this year (2022), Mr. Grdina closed the FIMAV/Victo Fest in Quebec with two different bands who played apart and together. His acoustic band featured Hank Roberts on cello, Mark Helias on contrabass and Hamin Honori on frame drum. This set was one of the best of the 18 set, 4 day festival. Since the pandemic hit, Mr. Grdina started his own ABG label, releasing some dozen discs in the past two years on AMG and the Astral Spirits labels. What continues to amaze me about Mr. Grdina is how many working groups he has (a half dozen plus), each one different and each one great in their own way.
This trio with Grdina, Matt Shipp and Mark Helias had an early CD out on Not Two from 2019. This is a particularly spirited trio with three elder master improvisers. The production by Mr. Grdina and recording/mixing & mastering by Marc Urselli is also extraordinary. The sound of each instrument is superb, a most well-balanced trio. There several layers of heated interaction going on here simultaneously. As soon as one member plays a phrase, the other two join in to complete the ongoing, ever-evolving dialogue. I like how Matt Shipp lays back a bit, adding his own stark yet dark fractured lines, keeping the balance between all three musicians consistently connected. The guitar and piano play a baroque-like section at one point and then soar out to some intense free connected space next. Considering that there is no drummer here, Mr. Helias does a fine job of holding down the rhythmic/bass throbbing center. Mr. Grdina is an extraordinary improviser whether on guitar or oud, he knows when to push the other players by adding different lines or layers of notes or chords to keep things focused. This is an incredible improv date, something that Mr. Grdina keeps doing right by selected the best players around to keep things fresh, interesting and demanding. - Bruce Lee Gallanter, DMG
CD $15

TATSUYA NAKATANI / KYLE MOTL - Quicksand (Nakatani Kobo NKATW-2; USA) Featuring Tatsuya Nakatani on percussion and Kyle Motl on contrabass. Recorded on July 10 of 2019 at Nakatani Kobo Studio. A couple of weeks ago, we had a string duo called TreeSearch play here at DMG with Kyle Motl on contrabass and Keir GoGwilt on violin. Their sets was marvelous and it got better for the last part when they added Kevin Murray on drums, doing a tribute to the recently departed Jaimie Branch. I’ve caught Mr. Motl play here on several occasions and I will tell you this: he is a strong you bassist with a great CD of modern classical works. For this disc Mr. Motl is joined by master percussionist Tatsuya Nakatani, an old friend of mine who has collaborated with Eugene Chadbourne, Mary Halvorson & Assif Tsahar. Tatsuya is now living in the midwest so he doesn’t come to town as often as he used to. You should check out Mr. Nakatani on YouTube as he is an incredibly distinctive, resourceful and riveting percussionist, specializing in playing gongs, bowing or rubbing them in his own way.
Both Mr. Nakatani and Mr. Motl use bows on their respective instruments. Nakatani even makes his own unique bows which he sells to bassists, percussionists and other sonic explorers. This disc opens with haunting bowed sounds, bass or gongs or both? Fascinating and otherworldly nonetheless. Both of these players work extremely well together since both take their time to explore a variety of tones, timbres and unique sounds on their instruments. Tonewise, both musicians are similar in their textures and overall sounds. I found the music/sounds here to consistently edge-of-your-seat engaging. This disc is very limited so please don’t hesitate to get your copy soon. - Bruce Lee Gallanter, DMG
CD $12

MANFRED SCHOOF QUINTET with MICHEL PILZ / RAINER BRUNINGHAUS / GUNTER LENZ / RALF HUBNER - Live In Bremen 1978 (Made in Germany M-1316; Germany) Despite Manfred Schoof's various activities over the years, the number of recordings he released under his own name has remained fairly limited. That could be an indication of the high standards he applies to his publications. All the more delightful that Schoof has agreed to a publication of this performance by his second quintet on May 2, 1978 in the Bremen music club Römer. This music club still exists today, albeit with a different program focus.
On bass and drums, the lineup shows Günter Lenz and Ralf Hübner, members of the original Mangelsdorff quintet. Michel Pilz on the bass clarinet provides uncommon impulses in the wind section and as a soloist (his bass clarinet, rarely heard in productions of this kind, chimes wonderfully together with Schoof's trumpet). Rainer Brüninghaus on piano, e-piano and synthesizer completes this quintet. Schoof later worked with him time and again on various projects. The inclusion of keyboards and synthesizers shows parallels to later solo works by Brüninghaus (then on ECM), of which there are far too few.
The recording of this concert by Radio Bremen is technically of high sound quality and thus offered a welcome basis to undertake a consistent remastering. The whole band is clearly enjoying the performance, this is captured very dynamically and directly; the production is extremely vivacious and timeless—as if you were right at the concert.” - AllAboutJazz
2 CD Set $22

SOFT MACHINE - Bundles: Remastered & Expanded (Esoteric 22812; UK) A remastered 2CD edition of the 1975 album 'Bundles' by the celebrated Jazz/Progressive group Soft Machine. The second disc features an amazing live set from their Nottingham Uni show which was remastered from the original tapes. By this time Alan Holdsworth had jumped ship to join the Tony Williams New Lifetime (PU!) and was replaced by an equally great guitarist named John Etheridge. The first disc is the long overdue reissue of the re-mastered edition of the classic 1975 album Bundles by the celebrated Jazz and Rock group SOFT MACHINE. The album was the band’ s first for EMI’s Harvest label and featured a line-up of Mike Ratledge (electric keyboards, fuzz organ), Karl Jenkins (oboe, piano, soprano sax), Roy Babbington (bass), John Marshall (drums), and new member Allan Holdsworth (lead guitar). An accessible collection, Bundles featured Holdsworth's considerable guitar playing talents and opened a new chapter for the band and attracted much praise upon release, which was well deserved. Unavailable on CD for nearly 15 years, this Esoteric Recordings reissue has been re-mastered from the original tapes and fully restores the original artwork.
"For me, this the last great album by Soft Machine and perhaps the greatest "fusion" album of all time. When I first got into jazz in 1972, fusion was relatively new and still amazing. I witnessed many incredible gigs by Mahavishnu Orchestra, Return to Forever (with Bill Connors & Dimeola), Weather Report, Zappa's Grand Wazoo & the Mothers circa 1973 & '74. By 1975, fusion became commercial, funky and was no longer interesting to me & most of my friends. Occasional bands like National Health were rare: still fresh, whimsical and free of the usual cliches. Then came Soft Machine's 'Bundles' to save the day. The first tune, "Hazard Profile" was originally written for Nucleus (under the name "Song for a Bearded Lady") by Karl Jenkins when he was a member of that band. 'Hazard Profile" is a feature for Alan Holdsworth and contains one of the most incredible, super-fast & well articulated guitar solos of all time. Only Holdsworth & perhaps Olly Halsall could pull off this impossible task. I caught this version of Soft Machine twice in NYC & in Elizabeth, NJ & was blown away both times. Within a year, Holdsworth had jumped ship & landed in Tony Williams New Lifetime who I saw at the Bottom Line. They sucked big time, putting the final nail in the coffin of fusion. Holdsworth was replaced by John Etheridge in Soft Machine, who did a great job & remains today a more tasteful & dependable guitarist. The original vinyl & CD version of this gem was never mastered right. This version finally sounds great, so dig in.." Bruce Lee Gallanter, Downtown Music Gallery
2 CD Set $22

PASCAL COMELADE - Le Non-Sens Du Rythme (Because Music 5610721; France) Following Le Cut-Up Populaire (BEC 5676465/5676466, 2020), Pascal Comelade announces the release of his new album Le Non-Sens Du Rythme. Since his first record published in 1975, Pascal Comelade, a child of the frenzy rock of the '60s and '70s, has developed a profuse body of work including many musical collaborations (PJ Harvey, Robert Wyatt, Jaki Liebezeit (Can), Lee Ranaldo, The Liminanas...) and non-musical collaborations (Jeanne Moreau, Sergi Lopez, Jean François Stévenin, Bob Wilson...) His compositions are reminiscent of MC5, Erik Satie, Nino Rota, Ennio Morricone, Suicide: a language that dances on a musical skeleton in perpetual movement by successive fusions, mixing folklore and underground, repetitive music and French chanson, pataphysical riffs and toy instruments. As a multiple artist, he has developed an aesthetic approach via a particular link to visual arts. He draws, paints and occasionally performs with painters Miquel Barcelo and Hervé Di Rosa. On his new album, Le Non-Sens Du Rythme (to be translated "the nonsense of rhythm", the title says it all), Pascal Comelade almost plays all the instruments, not only multiple pianos but also the Rickenbaker e.bass, the Indian Harmonium, various keyboards, and even the tin can. He remains the undisputed master of the instrumental ritornello inspired by popular music as well as krautrock.”
CD $15

PAULINE OLIVEROS - Reverberations: Tape & Electronic Music 1961-1970 (2022 Edition)(Important Records 352R-CD; USA) “This dense 11-disc retrospective of Pauline Oliveros' early and unreleased electronic work includes her very first piece made for tape in 1961. Organized chronologically, this set not only documents Pauline's earliest electronic music but it also functions as an early history of electronic music itself. Follow as she participates in the establishment of the legendary San Francisco Tape Music Center and then moves to University Of Toronto Electronic Music Studio, Mills Tape Music Center and University of California San Diego Electronic Music Center. This tenth anniversary edition is packaged in a clamshell-style box containing all the tracks from the 2012 edition spread out over 11 CDs each housed in single pocket sleeves. A 36-page booklet includes extensive liner notes and essays from Pauline Oliveros, Alex Chechile, Ramon Sender, David Bernstein, Corey Arcangel.
Pauline Oliveros was a composer, performer, humanitarian and an important pioneer in American music. Acclaimed internationally, she forged new ground for herself and others. Through improvisation, electronic music, sonic philosophy, teaching and meditation she created a body of work with such breadth of vision that it profoundly affects those who experience it and eludes many who try to write about it. Pauline Oliveros built a loyal following through her concerts, recordings, publications and musical compositions written for soloists and ensembles in music, dance, theater and inter-arts companies. She provided leadership within the music community from her early years as the first Director of the Center for Contemporary Music (formerly the Tape Music Center at Mills), director of the Center for Music Experiment during her 14-year tenure as professor of music at the University of California at San Diego to acting in an advisory capacity for organizations such as The National Endowment for the Arts, The New York State Council for the Arts, and many private foundations. She served as Distinguished Research Professor of Music at Rensselaer Polytechnic Institute and Darius Milhaud Composer in Residence at Mills College. Oliveros was vocal about representing the needs of individual artists, about the need for diversity and experimentation in the arts, and promoting cooperation and good will among people. She was honored with awards, grants and concerts internationally. Whether performing at the John F. Kennedy Center in Washington D.C., in an underground cavern, or in the studios of West German Radio, Oliveros' commitment to interaction with the moment went unchanged. Oliveros passed away peacefully on November 24, 2016 but her sonic legacy and philosophy continues to grow and inspire.
"On some level, music, sound consciousness and religion are all one, and she would seem to be very close to that level." - John Rockwell
11 CD Box Set $77

EXPERIMENTAL AUDIO RESEARCH with PETER KEMBER / EDDIE PREVOST / KEVIN SHIELDS / KEVIN MARTIN - Beyond The Pale (2022 Edition)(Orbit 077CD; UK) Although not released until 1996, Beyond The Pale was originally recorded in Northampton, back in 1992 at Angus Wallace's Far Heath Studios. It was the first album from Experimental Audio Research (aka EAR) an experimental music collective formed around Sonic Boom (Pete Kember), founding member of Spacemen 3 (along with Jason Pierce), who, on this project works closely with Eddie Prevost (AMM), Kevin Shields (My Bloody Valentine), and Kevin Martin (God). This CD, consisting of post ambient feedback and electronic sounds was produced and mixed by Sonic and has been repressed in a limited run for 2022. The new, deluxe edition looks so much crisper, brighter and cleaner retains the original artwork, created by longtime E.A.R. collaborator -- artist Anthony Ausgang.”
CD $16

UN DRAME MUSICAL INSTANTANE - Les Bons Contes Font Les Bons Amis (Klanggalerie GG 401; Germany) “Un Drame Musical Instantané were founded in 1976, featuring Jean-Jacques Birgé, Bernard Vitet and Francis Gorgé. Their aim was to promote collective musical creation, co-signing their albums, which they consider as artworks in themselves, or their live shows which they tried to renew every time they played. Their sound was created with many influences: They borrowed their sources from rock (synthesizer player Birgé and guitarist Gorgé, both authors of the album, Défense de); jazz (trumpeter Vitet who founded the first free jazz band in France, together with François Tusques, as well as Michel Portal who played with many American and European jazzmen); classical modern music; as well as movies or world news; they were the first in France to give a new impetus to live music on silent movies. After having improvised freely for many years, they led a fifteen piece orchestra from 1981 to 1986, and from 1989 onwards they produced multimedia shows (live video remix on a giant screen, fireworks, choreographies). Still their music was the most important technique, they called their recordings "blind cinema". The Drame used to mix acoustic and electronic instruments in real time as well as original instruments built by Vitet (a reed trumpet, a multiphonic French horn, a variable tension double-bass, a giant balafon with frying pans and flower pots keyboard, , etc.). After Francis Gorgé left the band in 1992, Birgé and Vitet went on recording and producing with other musicians close to the "family" such as percussionist, Gérard Siracusa, or multi-instrumentalist, Hélène Sage. Un Drame Musical Instantané always remained independent (they always owned their own recording studio and record label GRRR) and stopped its activities in 2008, with 2022 seeing the return of the group with a new album. Les Bons Contes Font Les Bons Amis was the band's 4th album, originally released on 1983 on their own GRRR label. This new remastered features bonus material never published before.”
CD $17

KENNY CLARKE with ERNIE WILKINS / CECIL PAYNE / DEREK HUMBLE / SAHIB SHIHAB / ZOOT SIMS / RONNIE SCOTT / IDREES SULIEMAN / BENNY BAILEY / FRANCY BOLAND / JIMMY DEUCHAR / EDDIE BERT /HANK JONES / WENDELL MARSHALL / - The Complete Albums Collection (Enlightenment 9212; EEC) “Born January 9, Kenneth Clarke Spearman was an esteemed American jazz drummer and bandleader. A major innovator of the bebop style, he pioneered the use of the ride cymbal to keep time rather than the hi-hat, along with the use of the bass drum for irregular accents. This four-disc set compiles much of Kenny Clarke's finest work, including as it does all albums on which he performed as leader or co-leader. While only covering the period during which he performed under his own name, the collection serves as a fine starting point to the work of this maverick jazz pioneer and a delightful reminder of the great man's most accomplished music.”
4 CD Set $18

NESSA LIST: A few years back Nessa left their west coast distributor and their releases became harder to find. We have finally gotten back in ten of their essential back-catalogue disks, CD’s and a few LP’s. I am working on getting a list what is still in print so we can update our database and restock their other avant/jazz gems. - BLG

CD's Back in stock:

AIR with HENRY THREADGILL / FRED HOPKINS / STEVE McCALL - Air Time (Nessa 12; USA) Featuring saxophonist Henry Threadgill, bassist Fred Hopkins and drummer Steve McCall originally came together in 1971 as a group designed to play the music of Scott Joplin for a Chicago theatrical production. Air continued as a unit until McCall left the group in 1983. This session from 1977 catches the band at the midpoint of its existence. 3 compositions by Threadgill and one each by Hopkins and McCall.
I caught Air playing at Kean College in NJ and at a loft space in NYC around the same time. Both sets were outstanding and I became a longtime Henry Threadgill fan ever since. Check any of the six or so LP’s by Air or New Air after Steve McCall left and was replaced by Pheeroan AkLaff. All of their releases were great and many of them are now out of print.
CD $16 or LP $20

LESTER BOWIE With ROSCOE MITCHELL / MALACHI FAVORS / JOSEPH JARMAN [from ART ENSEMBLE OF CHICAGO] - All The Numbers: Complete Numbers 1 & 2 Sessions [2 CD set] (Nessa 31/32; USA) These first recordings under Lester Bowie's name were made in 1967 with his compatriots from the Roscoe Mitchell Art Ensemble. Originally issued in edited form as Numbers 1&2 on a single lp, these two discs contain all the material recorded over two days in the studio, more than three times as much as was ever previously released! The first session was a trio date with Malachi Favors (bass, etc) and Roscoe Mitchell (saxophones, etc). A week later reed virtuoso Joseph Jarman was added to the group. These recordings were the first documentation of the group soon thereafter recognized as the Art Ensemble of Chicago. While repeated takes of the same thematic material can be a boring exercise, in this instance the performances all develop very differently and give insight to the workings of this well known group.
2 CD Set $24

BOBBY BRADFORD With JOHN STEVENS SPONTANEOUS MUSIC ENSEMBLE with TREVOR WATTS / JULIE TIPPETTS /RON HERMAN / BOB NORDEN - Vol 1 & 2 (Nessa 17/18; USA) Trumpeter/composer Bradford has done much of his best known work with Ornette Coleman, John Carter, John Stevens, Trevor Watts and his own Mo'tet. These recordings are the result of his first encounter with drummer John Stevens and saxophonist Trevor Watts in 1971. In addition to these two, this edition of the SME included Julie Tippetts (Driscoll) on voice and guitar, Bob Norden on trombone and Ron Herman on bass. The instrumentation moves from full sextet to trio in the varied program. Part of this marathon session was issued on Freedom in the '70s. Though John Stevens died in 1994, Bobby Bradford continues producing great music in the Los Angeles area and on world tours.
2 CD Set $24

ROSCOE MITCHELL ART ENSEMBLE With LESTER BOWIE / MALACHI FAVORS / PHILLIP WILSON - Old/Quartet: Sessions [2 CD set] (Nessa 27/28; USA) Complete documentation of the 1967 edition of saxophonist/composer Roscoe Mitchell's Art Ensemble with Lester Bowie (trumpet), Malachi Favors (bass) and Phillip Wilson (drums). Disc one was initially issued on vinyl in 1975 as Old/Quartet. The material on the second disc was first released in the limited edition CD box The Art Ensemble 1967/68 (Nessa NCD-2500) which is currently out-of-print.
2 CD Set $24

ROSCOE MITCHELL QUARTET With FRED BERRY / MALACHI FAVORS / ALVIN FIELDER - Before There Was Sound: 1965 (Nessa 34; USA) At this point, the story of the inception of the AACM is relatively well known, particularly with the publication of George Lewis' landmark A Power Stronger Than Itself: The AACM and American Experimental Music. Anyone with a passing interest in the development of American experimental music knows about Roscoe Mitchell's groundbreaking album Sound, which re-contextualized collective improvisation by focusing on the balance of sound and silence, timbre and texture, gesture and line rather than linear interaction or massing of energy and dynamics. Here masterful instrumental technique sidled up against the use of toys, bells, gongs, and the array of "little instruments." Of course Spontaneous Music Ensemble, AMM, Gruppo di Improvvisazione Nuova Consonanza were exploring sound in contemporaneous manners at around the same time, but unlike those European counterparts, Mitchell and his AACM counterparts saw their music as an extension of the jazz tradition and "Great Black Music: From the Ancient to the Future." Documents like Old Quartet, Anthony Braxton's Three Compositions of New Jazz, and Muhal Richard Abrams' Levels and Degrees of Light would follow in short order. But what had been missing, up until now, was a glimpse of the synthesis of this music. Where were the recordings of Muhal's Experimental Band? What was the synthesis of Sound? - Michael Rosenstein
CD $16

ROSCOE MITCHELL QUARTET With TOMEKA REID/JUNIUS PAUL/VINCENT DAVIS - Celebrating Fred Anderson (Nessa 37; USA) Featuring Roscoe Mitchell on reeds, Tomeka Reid on cello, Junius Paul on bass and Vincent Davis on drums. The recent Roscoe Mitchell set of two trios apart & combined at Vision Fest 20 (on 7/7/15) was for myself and many other attendees the best set of this years' week long festival! The great Chicago cellist Tomeka Reid also played at the Vision Fest this year in a great trio with Mazz Swift & Silvia Bolognesi, as well as with Hamiet Bluiett's Telepathic Big Band. I know of bassist Junius Paul from his work with Ernest Dawkins and Kahil El'Zabar, and drummer Vincent Davis from his work with Malachi Favors, Scott Fields and a previous disc with Roscoe Mitchell.
CD $16

ROSCOE MITCHELL With ANTHONY BRAXTON / HENRY THREADGILL / JOSEPH JARMAN / GEORGE E LEWIS / MALACHI FAVORS / MUHAL RICHARD ABRAMS / WALLACE McMILLAN - Nonaah.. Plus! (Nessa 09/10; USA) [pronounced No Nay Ah] Originally a double-LP, this is one of Mitchell's best solo statements - it's tough, so many of his records are amazing - and it's never been on CD! And it now has 5 previously unreleased BONUS cuts - 35 minutes of solo recordings, effectively making this 3 LPs on 2 CDs! Ye Gods! It includes a full-side [old-school LP lingo] treatment of the title cut, solo works, duos with Anthony Braxton (sopranino sax) & Malachi Favors (bass), a trio with George Lewis (trombone) & Muhal Richard Abrams (piano), and an incredible sax quartet with Mitchell, Henry Threadgill (as), Joseph Jarman (reeds), and the undervalued/underrecorded Wallace McMillan (bass). Whew! This truly historic double album was released in 1977 and has long been out-of-print. Don't even bother to vacillate - this BELONGS at your home, in your player. Period! - BLG
2 CD Set $24

WADADA LEO SMITH With KAHIL EL'ZABAR / JOE FONDA / BOBBY NAUGHTON - Procession of the Great Ancestry (Nessa 26; USA) Recorded in 1983 in Nessa's Acme studio in Chicago, Procession of the Great Ancestry is among Wadada Leo Smith's most obscure, but ultimately most satisfying, recordings. Featuring Kahil El'Zabar, Louis Myers, Joe Fonda, John Powell, Mchaka Uba, and Bobby Naughton, this was the first album to showcase Smith's expansive vision, which included all forms of black music -- from the myriad languages of jazz to gutbucket blues, reggae, and various African folk musics as well as a little R&B groove for measure. It was also the first to feature his wonderful vocals as a mainstay on his projects. Fans can think of this disc as Kulture Jazz, Vol. 1, with a band. The disc opens with "Blues: Jah Jah Is the Perfect Love," a deeply moving blues that is equal parts funky backbeat and Nigerian rhythm with a reggae groove. Smith sings with soul as the band weaves a magic spell around him. This is immediately followed by the title track, a gentle but very abstract piece written for Miles Davis that incorporates Davis' modal science and Smith's sense of space and dynamic. This is the first of four pieces for trumpeters; the next work, "The Flower That Seeds the Earth," is for Booker Little, and "The Third World, Grainery of Pure Earth" is for Roy Eldridge. Track six, "Celestial Sparks in the Sanctuary of Redemption," is for Dizzy Gillespie. All of these works are in the free jazz mode, but their gentleness is their attraction. Smith here is playing a poetic balladry for these men, while musically elucidating his cosmology -- the rhythm section is so attuned, so finely restrained and tasteful, Smith could sing it out if he wanted to, but instead he creates long melody lines that whisper to completion. The set closes with "Nuru Light: The Prince of Peace," a short processional in minor mode that has Naughton's vibraharp playing fills under the horn lines and through El'Zabar's brushed drums. After its deeply moving, sonorous theme, a pair of kalimbas and the vibraharp play a lullaby to balance the weight, taking it out with enough grace and elegance to make the listener nod in wonder before playing it again. - Thom Jurek, AMG
CD $16

WADADA LEO SMITH With DWIGHT ANDREWS / BOBBY NAUGHTON / WES BROWN / PHEEROAN AkLAFF - Spirit Catcher (Nessa 19; USA) “The dry and often esoteric trumpeter/composer Leo Smith is featured with his quintet (consisting of Dwight Andrews on tenor, clarinet and flute, vibraphonist Bobby Naughton, bassist Wes Brown and drummer Pheeroan akLaff) on the 19-minute "Images" and the colorful "Spirit Catcher." "The Burning of Stones" (dedicated to Anthony Braxton) has Smith's trumpet joined by three harpists for some unusual music. Throughout the LP the performances are unpredictable, and it's frequently difficult to know where the arrangement ends and the improvising begins. This is thought-provoking music that grows in interest with each listen.” - Scott Yanow, AMG
CD $16

CHARLES TYLER With EARL CROSS / JOHN ORE / RONNNIE BOYKINS / STEVE REID - Saga of the Outlaws (Nessa 16; USA) Other than a couple of obscure ESP dates and two albums for the tiny Ak-Ba label, Charles Tyler was largely undocumented on records before this blowout, one of his strongest recordings. The avant-garde altoist performs the 37-minute "Saga Out of the Outlaws" (which is supposed to depict musically a tale of the old West) with trumpeter Earl Cross, both John Ore and Ronnie Boykins on bass and drummer Steve Reid. Whatever the "plot," the music is quite stirring and features the adventurous Tyler at his best. ~ Scott Yanow, AMG
CD $16


LP $20

LP $16

HAL RUSSELL/MARS WILLIAMS DUO - Eftsoons '81 (Nessa 24 ,USA)
LP $22



BILL LASWELL with TRILOK GURTU / PETER CHRISTOPHERSON / JOHN BALANCE / TETSY INOUE / LORI CARSON - City of Light (Sub Rosa 114LP; Belgium) Reissue on green vinyl. First time ever on vinyl, re-released in our Sub Rosa Blackcore series. City of Light is the sixth solo album by American composer Bill Laswell, released on July 29, 1997. While it may appear an anachronism in his catalog, fans of Bill Laswell will find City of Light an extension of ideas he has explored throughout his career. His strong interest in Eastern music and religion resulted in this 1997 collaboration with Janet Rienstra. Part sacred, spoken word, part meditative soundscape, City of Light takes as its inspiration the holy region of Banaras, India. Said to belong to Shiva, Banaras also contains the Ganges river: a place sought by Hindus for their cremation. Surrounding the texts is some of the most compelling music this genre has produced, featuring Trilok Gurtu on tablas, Coil (Peter Christopherson and John Balance) on electronics, Tetsu Inoue on sound collages, and Lori Carson on vocals. City of Light was recorded in Banaras, India, and mixed in Greenpoint, New York. It is about Banaras, a city older than history, tradition, and legends. It is Shiva's land, founded at the dawn of creation, and it is India's oldest and most fabled city. The Hindus call it Kashi, the luminous, the City of Light. Features a historical introduction by Hakim Bay.”
LP $25

The classical line-up with a twist -- Recorded live at Jazz Villa in St. Louis on May 29th, 1963. George Coleman sitting on tenor sax, right before he left band (with incoming talent Wayne Shorter on the spot). Personnel: Miles Davis - trumpet; George Coleman - tenor sax; Herbie Hancock - piano; Ron Carter - bass; Tony Williams - drums.”
LP $22

MICHAEL CHAPMAN - And Then There Were Three: Live at the Nottingham Playhouse, July 1977 (Lantern Lights 002LP; Italy) “Lantern Heights' personal tribute to the one and only Michael Chapman, a hero in his own right, a "Fully Qualified Survivor" (just to mention one of his most successful creations). An unreleased live album on vinyl in the form of an astonishing trio. A live set recorded at Nottingham's Playhouse Theatre on July 23rd, 1977 by Chapman and a power house rhythm section in Lindisfarne bassist Rod Clements and former John Mayall drummer Keef Hartley. Some of his best-loved songs are showcased in "And There Were Three" -- a jocular reference to Chapman's ever-shrinking band, also known as "a beast with three heads". Fully licensed. 180 gram vinyl.”
2 LP Set $50

ORCHESTRA GOLD - African Psychedelic Rock (Orchestra Gold OG 001LP; USA) "Oakland, California-based ensemble Orchestra Gold offers up a kaleidoscope of sound deeply rooted in the Malian tradition while introducing a genre-bending nod to the future through their rare and artful fusion of African psychedelic rock. Spearheaded by the dynamic Mariam Diakite, whose raw and hypnotic vocal stylings deliver heartfelt and thought-provoking lyrics in the highly symbolic Bambara language. While paying homage to Malian musical traditions, this fierce new sound is supported by heavy swinging rhythms, a funky fresh brass section and cosmic guitar licks." "Mali's musical heritage is vast... and Mariam's voice channels that history." --Banning Eyre, Senior Editor Afropop Worldwide”
LP $36

VARIOUS ARTISTS - Pra Quem Sabe Das Coisas (Discos Nada 009LP; Brazil) Reissue, originally released in 1973. One of the rarest and most enigmatic LPs in the Brazilian discography, Prá Quem Sabe das Coisas is a collective album that gathered a group of students from São Paulo Law School, supported by the organist/pianist Renato Mendes, one of samba-jazz's most important names. Released in 1973 by the label EBRAU, finally has a refined reissue and its mysteries revealed, exactly half a century later, considering that it was recorded in 1971 but put in the market as LP only two years later. Reissue includes original insert replica with lyrics and an extra insert with unseen photos and an exclusive interview that the journalist and researcher Marcelo Pinheiro did with Cau Pimentel adding even more to the richness of this workpiece, composed by many writers and performers in 1971. Features Cau, Liliana, Renato Mendes, Marcão, Eulalia, and Vera.
According to Disk Union/Think Records (released CD reissue of this record): "Mysterious acid bossa psychedelic folk masterpiece recorded in 1971 and released in 1973 on a small Brazilian label. Recorded by students of the law school in São Paulo, under the influence of Sgt. Pepper's mixed with bossa nova. It's a chaotic yet delicate and sophisticated. I can't imagine it being composed or recorded by amateur musicians that they were, except by Renato Mendes, who has been active as a first-class musician since the jazz bossa period and was a Brazilian pioneer recording an album using a Moog synthesizer in 1974. It can be said that it greatly contributes to the miraculous perfection of this work. Known among record collectors as a record that attracts not only Brazilian music fans but also psychedelic and acid folk fans, the original version is a gem and sells for over USD $1000."
LP $28

MORE KLEMENTINES - Who Remembers Light (Feeding Tube Records 644LP; USA) "Four years after their magnificent, eponymous debut, this Connecticut trio returns to vinyl with another brain-blurring set of tunes. Picking up where that last LP left off, drummer Michael Kiefer, guitarist/vocalist Jon Schlesinger and guitarist/bassist/mandolinist/electronics/mark tree-rep, Steubs, dig ever deeper into the pulse of the Earth. The first track here, 'Hot Peace,' sounds like stuttering, shimmering emanations from the core of the planet. Remember that episode of the Superman TV show, where mole men come up out of the world's deepest oil well? The instrumental parts of this album remind me of those little dudes. Because everything they touched started glowing. And even though one gets the feeling there's more than a soupçon of anger in the way More Klementines attack their instruments, who amongst us doesn't believe a little glowing psychedelic aggression is called for in this dismal day and age? The two instrumentals on the flip have more pastoral flows. Guitar tones whirl off into the aether the way piss flies from a carousel, but the way the drops hit your skin makes them feel like beads of the purest dew, quivering in extreme close-up as you squint in the sunlight to make them out. But just when you think the drugs have totally taken over, a searing sequence of riffs emerge that make you sit up straight, so the drums can slap your head back and forth. Indeed, much of this album seesaws between the poles of abstraction and focus. Just like tripping! There's also one vocal track, 'Key of Caesar,' which has lyrics I can't figure out, but makes me think of Bob Pollard doing a blues tune based on 'Take the Skinheads Bowling.' Which is just the kind of thing he might do if he'd deign to swap his frosty mug for a sugar cube. Which ain't happening this week. But Who Remembers Light is happening right now and will continue to do so every time you slap it on the box. Which should be often." --Byron Coley, 2022
LP $24

VALENTINA GONCHAROVA - Ocean: Symphony for Electric Violin and Other Instruments in 10 Parts (Hidden Harmony Recordings 001LP; Estonia) Valentina Goncharova's double-LP fundamental conceptual musical work released in full uncut form as part of Hidden Harmony Lost Tapes series. Restored and mastered from the original 6.3mm analog tapes. A large-scale work comprising eleven parts of varied, brooding, mystical reflection in which the author alters the instrumentation to fit both programmatic and musical character of each section.Ultra deluxe archival release from Hidden Harmony Recordings, based in Tallinn, Estonia. 2x12" 200-gram vinyl records in poly lined inner sleeves, 33RPM, black vinyl. Thick old style tip-on gatefold outer sleeve. Includes a 12-page booklet, which detailly explain the album conceptual basis, background and creation context, and provides insights into unique sound recording and technical solutions adapted during album recording in 1988. Created and written with direct involvement of V. Goncharova and I. Zubkov.
Liner notes: "My task is to allow the listener to penetrate deeper into the music. The music is wholly improvisational. It has no concept in the rational sense of the word. Its concept is purely intuitive. It presumes The Law of Analogies: 'As above so below. Man is the same as the Universe. The Universe is the same as Man.' ('Emerald Tablet' by Hermes Trismegistus). This intuition is a kind of rephrased logic which uses many more symbols which contain not only philosophical but also imaginative meanings/visionary interpretations. This music is a stream of consciousness in its purest form: not an imitation of a stream, as in the 'suggestive poetry' of the 20th century, but a stream where one flow is superimposed on another (a multilateral passage of recording). And, if we think this flow of music will be better understood under the influence of a verbal flow, then the verbal flow should also be more intuitive and associative, as objective for this short write-up you are currently reading. Ocean did not appear within the coordinate system of logical scientific thinking of the last four centuries. It can be said that it is based on an intuitive concept of representations of the world which are captured in music figuratively. Similar to how myths were created in time immemorial with only partial support from verbal associations. Ocean is an experience of passing the human, soul, and mind through the different states of the material world: birth, development, and achievement of perfection, transformation at the points of 'The Way' and 'Silence', the manifestation of the harmony of the world (Om), which until then had remained in a latent state. It is averse to both mainstream contemporary physics and fringe scientific research. It exists outside their explanatory power. Ocean is the source of all forms that can receive their life within time and space. Here it is. It has everything: beautiful and terrible, good and evil, self-sacrifice, and betrayal. Boundless love and inspired creativity. But contact does not happen immediately. The memory of a bygone civilization is still fresh, and of the dearest things left with it."
2 LP Set $36



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


THE STONE is a Performance Venue which was founded by John Zorn


8/31 Wednesday
8:30 pm: QUINTET I - Peter Evans (trumpet) Mark Shim (tenor saxophone) Chris Tordini (bass) Timothy Angulo (drums) Elias Stemeseder (piano, synthesizers)

9/1 Thursday
8:30 pm: WRENS - Ryan Easter (trumpet) Jason Nazary (drums, modular synthesizer) Elias Stemeseder (piano, modular synthesizer, live electronics)

9/2 Friday - Two sets due to New School being closed for the holiday weekend
8:00 pm: QUINTET II - Aliya Ultan (cello) Henry Fraser (bass) Nava Dunkelman (percussion) Simon Kanzler (live electronics) Elias Stemeseder (harpsichord, piano)
10pm: PENUMBRA plus guests - Kris Chen Little Injure (drums, electronics) Elias Stemeseder (amplified harpsichord, synthesisers) plus Ikue Mori (electronics) and Brandon Seabrook (banjo, guitar)
9/3 Saturday: closed for the holidays - planned set moved to previous Friday!

The Stone is located at: 55 West 13th street, just east of 6th Ave


THERE IS A RECENT INTERVIEW with FRED FRITH by Rick Rees that is found here: . 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



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.. šalamon&qpvt=samo šalamon&FORM=VDRE


A Free Outdoor Concert Series in NYC - Sponsored by ArtsForArts

InGardens is an annual, free outdoor concert series in the public gardens of the Lower East Side in New York City. Established in 2008, InGardens is in its 14th year of bringing vibrant sights & sounds to the community. 

Opening on Monday, September 5 - Monday, October 10, 2022
with performances every weekend, These are the dates:

September 5 - Noon — 6pm - El Jardin del Paraiso - 710 E 5th St
September 10 - 1:30 - 5pm at First Street Green Art Park - 33 East 1st Street, NYC
September 11 - noon til 6pm at First Street Green Art Park - 33 East 1st Street, NYC

September 17th, 18, 19 & October 2, 3  
Children’s Magical Garden - 129 Stanton St near Essex Street

Full schedule:
Questions? Email us at


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:


KEN VANDERMARK, JOE MORRIS (reeds / guitar duo)
@ Michiko Studios, Stage 2
149 West 46th Street
Saturday, SEPTEMBER 10 at 7:00 PM
Suggested $20
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

gaucimusic presents:

Live at Scholes Street Studio
Tuesday September 20th
Live recording/Live audience!

7:30pm Kenny Warren - trumpet
Christopher Hoffman - cello
Nathan Ellman-Bell - drums

8:30pm Stephen Gauci - t. saxophone
Santiago Leibson - piano
Adam Lane - bass
Colin Hinton - drums

9:30pm Juan Pablo Carletti's Biggish w/
Juan Pablo Carletti - drums
Rick Parker - trombone
Chrisof Knoche - bass clarinet
Thomas Heberer - trumpet
Yoni Kretzmer - tenor saxophone

Live recording/Live audience!
$20 at the door (entire evening), cash/venmo
@ Scholes Street Studio
375 Lorimer Street, Brooklyn
718-964-8763 /


Thursday, October 27 and Friday, October 28, 2022 

Rhodri Davies
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