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DMG Newsletter for September 16th, 2022

Sometimes travelin' through the darkness
At the summer comin' home
Foreign faces by the wayside
Look as if they hadn't known

All the sand was in their eyes
And the desert that's dry
In the country town
Where the life was found

Oh, the dancing and the singing
Oh, the music when they play
Oh, the fire that they saw there
On the grave of no return

Sometimes they found it
Sometimes they kept it
Often lost it on the way
Pawnee shadow to possess him
Sometimes ride inside of day

Oh, the sand was in their eyes
And the desert that's dry
In this country town
Where the map was found

Oh, the sand was in their eye
And the desert that's dry
In this country town
Where the wagons bound

One of the first records I bought in the summer of 1967 at age 13 was ‘Fresh Cream’ by a trio known as Cream. Cream was called the first “supergroup” and it featured Eric Clapton on guitar, Jack Bruce on bass & vocals and Ginger Baker on drums. Considering that ‘Fresh Cream’ was released in 1966, it still sounds pretty fresh/powerful today. I was and remain a big Cream fan more than a half century later. Although I wasn’t old enough to catch them live in their heyday (existing from 1966-1968), I did catch Blind Faith (with Clapton & Baker) in 1970 at Madison Square Garden and the Cream reunion gig in 2005 also at MSG. Although Eric Clapton was one of the greatest blues/rock/psych guitarist in the sixties, I have long since given up on his music career after Derek & the Dominoes split in 1971. Ginger Baker certainly was one of the greatest drummers of his time, I still collect his many records throughout his long bumpy career. Check out that documentary on him to see what a odd/obnoxious character he was. I have long loved Jack Bruce for his bass playing, singing and songwriting, although after his first two vocal records, ’Songs for a Tailor’ and ‘Harmony Row’, his career was spotty at best, as far as solo efforts or bands go. As a sideman, Jack Bruce has done quite a bit of great records with Carla Bley, Kip Hanrahan (I caught Jack Bruce fronting Kip’s band at the Public Theatre in the late seventies!) and Tony Williams. The above song, “Theme for an Imaginary Western” was featured on Jack Brown debut album, ’Song for a Tailor’ from 1969. It is my favorite record by Jack Bruce and better than anything that Mr. Clapton or Mr. Baker had done at that time. Mr. Bruce’s longtime lyric partner was Pete Brown, a great British poet before and after Bruce’s work with Cream and one of my favorite lyricists/poets of all. Pete Brown founded Battered Ornaments and Piblokto in 1969 & afterwards. He continues to write great poetry/lyrics and records/plays live with different bands today. I am currently reading a book called ‘The Stars of David’, which lists / interviews some 50 rock/pop/folk musicians from the sixties onwards and their relationship to Judaism. I find this book fascinating being a Jew is a mostly goyish world. I never realized how much there is a spiritual link between all or most Jews in the Arts World. Check out some of Pete Brown lyrics, especially when he worked with Jack Bruce. - BLG/DMG


Tuesday, September 20th: Rare Four Set Night of Diverse Creative Music Performances:
7:30: DEVIN GREY / SIMON KANZLER / JOHNNA WU - Drums / Electronics / Violin
9:30: EVENT HORIZON - Post-Vaporwave with Double EWI’s and Sensory Percussion

Tuesday, September 27th, 2022:

Tuesday, October 4th:



A few Sundays ago, I was interviewed at length by Dawoud Kringle for the Musiciansformusicians (MFM) podcast. The podcast was founded by Sohrab Saadat Ladjevardi, musician/activist, with whom I’ve become friends with over the past few years. On a number of occasions, Sohrab, has taken my intro’s to the DMG newsletter, added pictures & links and added them to MFM website. Sohrab does a good job of selecting the intro’s I’ve written and rebroadcasting them to other musicians & serious listeners. I really appreciate his support. I listened to my entire interview recently and realized that I talk too much at times. This is a problem I’ve struggled with all my life. In an effort to be honest or candid, I say things which might embarrass some of the folks/friends that I am discussing. I know that I was a bit embarrassed by some of the things that I said. The bottom line is that I did say what I believed to be true although some might argue with my version of the (my) truth. Thanks to Sohrab and Dawoud for giving me this opportunity. Here’s the link:


September 2022 is JOHN ZORN’s Birthday Month. Happy Birthday to my Main Man John Zorn!

For the first time in many years (ever?), John Zorn’s Tzadik label didn’t release a new disc in August of this year. So in September, Tzadik were supposed to release three new discs, all look to be phenomenal! It turns out that all three have been delayed until the end of the month or the beginning of October. No need to pre-order these yet as we have no idea when they will be in stock. This is what will be released sometime soon:

CD $16

JOHN ZORN // SALLY GATES / MATT HOLLENBECK / TREVOR DUNN / KENNY GROHOWSKI - Titan to Tachyons: Vonals (Tzadik 4041; USA) I have been hearing about Downunder guitarist Sally Gates from some of my metalhead connoisseur buddies so I just ordered Ms. Gates’ first self-produced disc on her own label. It is awesome! She recently moved to NY so I look forward to checking her out live and hearing her upcoming Tzadik CD!
CD $16

JOHN ZORN - The Hermetic Organ Volume 9 - Liber VII (Tzadik 8391; USA)
CD $16



INGRID LAUBROCK / TOM RAINEY - Counterfeit Mars (Relative Pitch Records; USA) Featuring Ingrid Laubrock on tenor & soprano saxes and Tom Rainey on drums. This is the fourth duo disc that Ms. Laubrock and Mr. Rainey have recorded for the Relative Pitch label. During the Great Pandemic (from March of 2021 onwards), Ingrid & Tom released a weekly duo session on line for the better part of year. I checked out out each one and marveled that they could consistently come up with something new and different each week. This disc was recorded in a studio in August of 2021 in Brooklyn with Ms. Laubrock writing five of the 13 pieces, Mr. Rainey composing one, the rest are duo improvs. Ingrid and Tom have been working together as a duo a well as each other’s projects so their playing together has evolved over time. The first piece, “Andy’s Eye” features Ms. Laubrock playing some tart, punchy Trane-like blasts with Mr. Rainey plays sizzling cymbals only , building to short yet powerful conclusion. Mr. Laubrock’s “Virtual Nature” features her on soprano sax, the duo playing some of their phrases in tight-knit way. “Uneven Surfaces” seems like an apt title since the duo play a number of bent lines together, with tight, intense results. Mr. Rainey is one of the most inventive and distinctive drummers in NYC, he has a way of sounding organic or natural while adding odd bursts of rhythm ideas, ever enhancing whomever he is playing with. His drumming is featured on a handful of these pieces, using suspense, space, somewhat jagged lines and often with unique results. Ms. Laubrock has also come a long way since moving here a while ago. Aside from being one of the best new composers and bandleaders around, her playing continues to make strides in oft unexpected ways. The sound on this disc is superb, warm, direct and thoughtfully recorded and mixed (by Weasel Walter). I like the way the duo play a series of stripped down sounds on “Orbiting Orbits”, with skeletal breath & vocal-like sounds on the soprano and sly spinning brushes underneath. Most of these pieces are relatively short yet they all work together as a collection of related works, never overstaying their welcome. This is a winning combination of talents, ideas and explorations. It works as a whole, which means when it ends, you feel as if you have heard a grand story on several level at the same time. - Bruce Lee Gallanter, DMG
CD $13

CHRIS PITSIOKOS - Art of the Alto (Relative Pitch Records; USA) Featuring Chris Pitsiokos on solo alto sax. For the past decade Chris Pitsiokos has been one of the distinctive avant alto saxists on the Downtown Scene, playing in solos, duos & trios and leading several great bands, his own CP Unit are at the top of the heap of Downtown art-rock/post-punk/free-jazz/noise bands that have emerged since the turn of the millenium. Mr. Pitsiokos has obviously worked hard on developing his own way of playing solo sax, his efforts are best appreciated by those who savor the tradition of solo sax exploration. In the eighties, there were pioneers like John Zorn, Ned Rothenberg, Roscoe Mitchell, Anthony Braxton & Tamio, each of whom had their own approach/sound. Ever since, there has been a younger generation of solo saxists have learned from the elders and created their own approach. I’ve been fortunate to have watched Mr. Pitsiokos evolve over time, he worked here at DMG for 4-5 years and I was always glad to give him an opportunity to play here and elsewhere. Although Mr. Pitsiokos can be found on around 20 releases so far, his solo efforts are few, just two previously as far as I can tell. Mr. Pitsiokos moved to Berlin last year and that is where is currently living, hence we can only hear him live when he come back to visit, a couple of times a year.
This disc was recorded in January of this year (2022) in GSI Studios. Right from the first few times I hear Mr. Pitsiokos play, I could tell that he had studied some of multiphonics and extended techniques that folks like John Zorn, Ned Rothenberg and Evan Parker had developed. Since then, Pitsiokos has continued to develop and extend those sounds/techniques. The first track here has Pitsiokos blasting out one dense low note/sound over and over while adding high-end multiphonics in repeated and slowly altered as they go patterns. Those high end squeaks are most unnerving and no doubt that some folks will wince when they hear these sounds. Although they are also hard to control, Chris has mastered them and they are part of his distinct vocabulary. In the second half of “Dolomite” starts off with a series twisted patterns that sound like difficult exercises. As Pitsiokos spins those circular lines, the patterns keep changing over time. The way he shifts these patterns/lines reminds me of Anthony Braxton, whose early solo sax album was released in 1968. Even while he repeats certain lines, he keeps shifting or bending each note in his own way. On “Basalt”, Chris takes one long bent note and keeps twisting it, carefully shifting the tone and shape of the drone note as he goes. By using his tongue, he varies the speed and attack of the central note/sound. On each piece, Mr. Pitsiokos focuses on a certain unique sound or approach and then varying the way the line of notes move, speeding up, slowing down, shifting the patterns in different ways. On “Shale”, his lines increase to a daredevil tempo, the fractured notes spinning faster & faster, he also adds two (or three) patterns simultaneously, a difficult trick that John Zorn has long used but only occasionally employs. Mr. Pitsiokos has pushed the limits of this idea even further out, sometimes varying his lines in unpredictable ways. No small feat, I can assure you. Each of the eight pieces here is named after a precious stone, most likely since each piece is a gem in its own way. Challenging music for challenging times. - Bruce Lee Gallanter, DMG
CD $13

JON LIPSCOMB - conscious without function (Relative Pitch Records; USA) Featuring Jon Lipscomb on solo guitar. I can’t tell you much about guitarist Jon Lipscomb, aside that he hails from Malmo, Sweden and is a member of two bands: Swedish Fix and LOPLOP. If I hadn’t listened to quite a bit of experimental guitarists (like Fred Frith, Dr. Chardbourne or E#), then I might not have a clue as to what is going on here. Nonetheless Mr. Lipscomb is already tapping and rubbing the strings of his (electric) guitar, perhaps banging on the strings with a utensil of some sort. Mr. Lipscomb uses a minimum of effects to alter his sound, most just bits of sustain or distortion. He does pick furiously at times, bending and stretching out notes with his own sustained sound. He also uses a a liberal amount of feedback by pushing his sound into the red zone selectively. At one point during “Desacralization”, Lipscomb strats strumming and sounds like he is about to break into “Waterfall” from the first Hendrix Experience album. He doesn’t but I dig the way he takes a fragment of the melody and adds several lines of bent not patterns around it. Although it does take a while to adjust to, I can tell that Mr. Lipscomb has invented his own sound/approach. He takes short segments of sounds, notes or lines and then varies them with speed, breaking up or extending certain patterns. He doesn’t quite sound like anyone else I can think of although I do recall an old album by Clark & Hutchinson where their guitarist does a bit of freaking out, not unlike some of unpredictable freak-outs here. It takes a label (or their founder Kevin Reilly) to find someone like Jon Libscomb and out him in the spotlight for all of serious listeners to contemplate what they/he does. Kudos. - Bruce Lee Gallanter, DMG
CD $13

FRANCISCO MELA / ZOH AMBA - Causa y Efecto Vol. 1 (577 Records 5878; USA) The first volume of powerful free playing and intimate conversation bringing together two New York-based improvisers, Cuban native drummer/percussionist Francisco Mela and Tennessee native reed & wind player Zoh Amba, both sharing a mountain region upbringing that brings a uniquely reflective quality to their playing, fortified by the exploratory NY improv scene.
CD $14

JESSICA PAVONE / MATT MOTTEL / LUKAS KOENIG - Spam Likely (577 Records 5903; USA) "The world is breaking apart, but this trio holds it together. Made up of Jessica Pavone (viola, electronics), Lukas Koenig (drums) and Matt Mottel (Keytar, 3-string Guitar), all three players are drawn to the improvisational, experimental nature of their self-described, "free-range sonic stew," a constellation of instruments served up for hungry ears.
Their first performance together in 2019 was marked by the tragic, unexpected death of Steve Dalachinsky, a poet and artist well-known in their shared community, who had passed the day before. The night was full of cathartic music-and since then, their sound has been influenced by kindred spirits, merging images, and resonant emotions. Throughout the two wryly-named, extended tracks, Mottel lays thick keyboard and keytar riffs, while Pavone and Koenig contribute interlaced tremolos, and sharp sopranos.
The album's title, Spam Likely, plays on the increasing number of spam calls everyone's receiving these days, asking the obvious question: what happens if you pick up?" - 577 Records
CD $14

PAN PROJECT with gamin / JEFF ROBERTS / NED ROTHENBERG / YING-CHIEH WANG / WOONJUNG SIM / SAE-YEON JEONG - PAN Project (Neuma 148; USA) The PAN Project features gamin on piri (small Korean double reed) & saenghwang, Ned Rothenberg on shakuhachi & bass clarinet, Jeff Roberts on guqin (Chinese 7-string small koto-like), Ying-Chieh Wang on erhu (Chinese 2-string bowed instrument), Woonjung Sim on Korean percussion and Sae-Yeon Jeong on vocals (guest). I recall checking out the band Oregon in the mid-seventies (live & on LP) and marveling at the way they blended Eastern & Western instrumentation with modern jazz, ethnic and Free Music influences. Ever since then, I’ve marveled when an ensemble blends these varied instruments, genres and ideas successfully. The PAN Project combines Chinese, Korean and Japanese instruments / traditions with six musicians from varied backgrounds. I’ve been a fan & friend of Ned Rothenberg since hearing play at Studio Henry in 1981 and he continues to surprise me with each project he is involved with. The only other musician here that I am previously familiar with is piri player gamin who I’ve heard with Adam Rudolph.
The first song is called “Kangwon” and it is an improvisation based on a Korean folk song. At the center is the subtle rhythm throb of a janggu, which is a Korean slim waist drum. As the Korean drum gets more intense, there is a powerful solo from the erhu with excited interplay between the piri, shakuhachi and guqin. “Yi Gu Ren” is a sublime ballad for Mr. Roberts on guqin and Mr. Rothenberg on shakuhachi. According to the lengthy liner notes, each piece is based on an ancient melody which the musicians then adapt through their improvising talents. “Sugungga (Song of the Sea Palace)” is a five-part suite which features the voice/recitation of Sae-Yeon Jeong in Korean. Although I don’t know what the words mean, the expressiveness of the voice with the instrumental interaction is fascinating throughout. It turns out that the words are translated in the liner notes, the suite is captivating for me either way. I love the mysterious sounding subtle note-bending sounds on “Si Xiang Gi”. The original folk melody on which it is based is supposed to evoke nostalgia, reflection and longing for home and I do get that feeling when listening to this piece. “Gutgeori” is based on a 12 beat Korean rhythmic cycle, so it does have a central rhythmic groove. I love the way the piri, shakuhachi, erhum guqin & janggu all swirl their unique notes around one another. Each instrument has its own voice, its own spirit, its own unique sound. It sounds like a quintet of ancient spirits all dancing around one another, bring themselves and us listeners together as part of their great ritual. The final piece, “The Bell Rings Deep Blue” closes this disc and was written by Ned Rothenberg for a previous Tzadik CD with different instrumentation. This piece is quite haunting and somewhat disorienting. It reminds me of the precarious situation that I find we are all within due to not knowing what to expect during these troublesome, divisive times. The piece is relatively short and sounds like a fine conclusion to a marvelous disc of diverse wonders. - Bruce Lee Gallanter, DMG
CD $12

* We are having a large Ned Rothenberg CD Sale which is listed further down below

PAUL AUSTERLITZ with BENITO GONZALEZ / ISAIAH RICHARDSON / SANTI DeBRIANO / ROYAL HARTIGAN / ROZNA ZITA - Water Prayers for Bass Clarinet (Round Whirled Records 0083; USA) Once a month, Downtown saxist Steve Gauci curates a night of music here at DMG which features three sets of music from different groups. This past Saturday (9/10/22), the GauciMusic series ended with the Spirit Clarinet Choir, an octet of clarinet players led by Paul Austerlitz. This was the first time in our 31 years of in-store sets that we had a clarinet ensemble and the set was fabulous! I knew that I recognized the name of Mr. Austerlitz and it turns out that he has (at least) two discs out on Innova, a fine trio effort and jazz/poetry collaboration. It turns out that Paul Austerlitz taught at Brown University and left us three of his own discs as a leader, each with different personnel and a different concept. The three discs are part of a recent trilogy.
For this disc, the personnel features Paul Austerlitz on bass & contrabass clarinets & tenor sax, Isaiah Richard on clarinet, Benito Gonzalez on piano, Santi Briano on bass, Royal Hartigan on drums plus Rozna Zito on vocals. I recognize some of the names of the musicians here from previous associations: pianist Benito Gonzalez from his work with Azar Lawrence and Franklin Kiermyer; bassist Santi Debriano is perhaps most well-known musician here, having worked with Oliver Lake, David Murray & Archie Shepp and drummer Royal Hartigan we know from working with Fred Ho, Hafez Modirzadeh & David Bindman.
It turns out that Mr. Austerlitz has studied Haitian Voduo music at length as well as the spirituality that links a variety of global cultures together. Each of his three newer discs explores different aspects of ethnic spirituality. “Legba non baye-a” is a traditional Haitian song with Mr. Austerlitz bass clarinet featured. Benito Gonzalez takes the first of several spirited two-handed McCoy Tynerish piano solos. “Rara Indivisible” also features a powerful bass clarinet solo by Austerlitz that sounds like he is using a wah-wah pedal at some point, overdubbing several bass clarinets slyly together. “Finnish Waltz” is an actual traditional Finnish song as well as a waltz. It is also a ballad with a sublime, soulful bass clarinet solo by Mr. Austerlitz and a superb piano solo from Mr. Gonzalez. Each of the dozen songs on this disc has a story which is listed in the notes, and each story is illuminating, especially since Mr. Austerlitz has put so much thought and preparation into piece. “Rara Indivisible” also features a powerful bass clarinet solo by Austerlitz that sounds like he is using a wah-wah pedal at some point, overdubbing several bass clarinets slyly together. “Finnish Waltz” is an actual traditional Finnish song as well as a waltz. It is also a ballad with a sublime, soulful bass clarinet solo by Mr. Austerlitz and a superb piano solo from Mr. Gonzalez. “Bara Suwa Yo” is a traditional Afro-Cuban song where Mr. Austerlitz layers several bass & regular clarinets in a most haunting, hypnotic way. “prayer to the Primal Wind” features an arrangement of traditional Voduo invocation with some deeply spiritual vocals by Rozna Zita. Incredible! Austerlitz solos on contrabass clarinet, not an easy instrument to play and does a fine, most poignant solo. When a reeds player adds effects to their horn or adds/overdubs layers of reeds parts, it rarely works especially when one covers spiritual material. This is not the case here as Mr. Austerlitz’ spiritual vibes sound consistently authentic and from the heart and soul. I never know when a visiting musician when leave me a disc that changes my life for the and inspires me. Thanks to Paul Austerlitz for this marvelous treasure! - Bruce Lee Gallanter, DMG
CD $14

MIKKEL PLOUG - Day in The Sun (Songlines 1635; Canada) “Danish guitarist/composer Mikkel Ploug's second solo acoustic guitar record is one for connoisseurs of the instrument. It again features beautiful compositions and performances ranging across jazz, folk and classical styles and techniques, which he combines in different and innovative ways. This time, in addition to performing on his vintage 1944 Gibson LG-2 Banner, he debuts a newly built flamenco-classical hybrid model from Granada master luthier Manuel Bellido.
Ploug is internationally known in the jazz world (three of his groups have featured saxist Mark Turner) and has recorded as a leader for Sunnyside, Fresh Sounds New Talent and Whirlwind. His co-led avant chamber-jazz group Equilibrium has three releases on Songlines. During the early months of the pandemic he became famous online for daily streamed solo performances from his balcony in Copenhagen, documented on the Balcony Lullabies CD.
From the classical world Ploug has studied and been influenced by the piano compositions of contemporary Danish composer Bent Sørensen ("Barcarola" is an interpretation of one of his pieces) and the great Danish composer Carl Nielsen. Ploug writes: "Sørensen's piano nocturnes have a fantastic use of space, counterpoint and melody - I just feel connected to his music like it's the continuation of Carl Nielsen's music from my childhood. So I feel like there's a deep historic and cultural connection there. Nielsen wrote hundreds of short melodic pieces that carry so much weight and beauty."
CD $15

RGG featuring MARTA GRZYWACZ / ARTUR MAJEWSKI / DOMINIK STRYCHARSKI - October Suite (Listen! Foundation FSR 09/2022; Poland) RGG features Lukasz Ojdana on piano, Maciej Garbowski on bass and Krysztof Gradziuk on drums plus guests Artur Majewski on cornet, Dominik Strycharski on block flutes (looks like a large recorder) and Marta Grzywacz on voice. This disc was recorded live in October of 2020 at Krukowski Hall in Warsaw, Poland. The only musician here whose name I was previously familiar with is Artur Majewski who worked with Agusti Fernandez, Zlatko Kaucic and Anna Kaluza. The RGG trio did work with Evan Parker in 2017 for an earlier record on Listen! Foundation.
Although RGG is a piano fronted trio, for this disc/session, RGG has expanded into a sextet with cornet, wooden flutes & vocals. This seems to be a mainly improvised set, yet is sounds directed or focused. On “Part One”, the piano trio plays spaciously with haunting cornet, flute and voice simmering like ghosts floating in the mix. Ms. Grzywacz sings softly with odd sounds but no words, she is an integral part of the ensemble and a gifted improviser. Although this disc/set is live, the sound is superb, mysterious, mesmerizing. There are a few sections where it does sound like certain parts were composed, like when the piano and glockenspiel play the same notes together. Much of this music is subtle, exquisite and carefully crafted. The three guests here are featured throughout and all three are strong, spirited, inventive musicians. Over time pianist Lukasz Ojdana also stretches out, the trio taking off into free connected flights of fancy. What I like most about this disc is that it all flows together most organically, it feels like we are sailing in a hypnotic dreamscape with a ghost-band floating in and playing only when they feel like they need to. It feel just right, like when things work out unexpectedly. - Bruce Lee Gallanter, DMG
CD $15

JOHN CAGE // APARTMENT HOUSE - Hymnkus / Thoreau Drawings / Two Format (Another Timbre AT 198; UK) The UK avant ensemble Apartment House performs three of John Cage's later works: Two (1987), a number piece using randomly-determined time brackets specifying pitch & dynamic; Hymnkus for up to 14 instrumental parts each of 17 elements blending the concepts of a hymn and a haiku; and Thoreau Drawings, the score twenty unnumbered pages on which Cage drew shapes onto a grid of six systems, each divided into 5 7 5 parts, following the form of a haiku.
CD $17

TERRY RILEY // JOHN TILBURY - Terry Riley played by John Tilbury: Keyboard Studies (Another Timbre 193; UK) “There is uncertainty of when pianist John Tilbury recorded these three solo keyboard works by his associate and friend, legendary minimalist composer Terry Riley, performing "Keyboard Study #1" and #2, along with "Dorian Reeds" using piano, electric organ, harpsichord & celesta, captured with excellent quality in superb performances from Mr. Tilbury at the height of his powers.”
CD $16 [Back in stock after selling out last month]

DOMINIC LASH / PAT THOMAS - New Oxford Brevity (Spoonhunt SHCD 004; UK) After twenty years of collaboration including bands BleySchool, The Locals and Valid Tractor, this is surprisingly the first duo recording between British improvisers, pianist Pat Thomas and Dominic Lash, the latter more typically on double bass but here on electric guitar, and Thomas on the grand piano at St. Anne's College in Oxford, as the two improvise six fascinating dialogs.”
CD $15

RICHARD YOUNGS - New Emptiness (Fourth Dimension 137CD; UK) “Similar to 2021's Iker album on Fourth Dimension, this CD album idea sprang into life following our hearing some of Richard Youngs' experiments with loops and tones online and, subsequently, a few discussions via email about such music, its shortcomings, its appeal and, indeed, how it can be pushed into new spaces. Which is exactly what the pieces on New Emptiness do. Each one of the five compositions here may use tones or oscillating loops as something of a starting point, but true to form Richard Youngs teases each one into new shapes where different shading applies as well as an unexpected rhythm or, on final cut "Annulus II", his manipulated voice enter the fray. Anybody familiar with Richard Youngs' work, now spanning a few decades, will be aware that it can go all over the place, from avant-folk, "noise" or hybrid forms of electronica and drone music. Fourth Dimension Records has long championed his work yet generally pushes the more uneasy listening ends of it. New Emptiness might not sit quite so uneasily, but drawing from both the avant-garde of contemporary minimalist music and his own tendency not to settle for half-measures, it is still an album that requires a little sweat oozing from the ears of the listener.”
CD $16

LAWRENCE ENGLISH - Approach (Room40 4200CD; Australia) “In 1985, Mangaka Yoshihisa Tagami penned Grey. Now, seemingly all but forgotten, it remains historic as it led the vanguard of manga translated and serialized in the west. Approach is Lawrence English's homage to the lasting impression the manga left on him as a 13-year-old. After rediscovering it in 2021, he was struck by how internalized some of the manga's themes had become and was compelled to create a soundtrack as a form of distorted mirror to its pages. What results is an intensely episodic study of Tagami's renderings of the humans, landscapes, and technologies that haunt the speculative world he depicts. Approach is a potent and affective work which acts a distant sonic pyre of a smoldering future that feels acutely more tangible than it did when Tagami first imaged it.
From Lawrence English: "... This album, Approach, is an echo that has travelled with me for 33 years, even if I wasn't fully aware of it. It's a record about memory, about how seemingly cursory encounters shape us and how experiences accumulate in time . . . The record draws its root from Yoshihisa Tagami's seminal manga Grey. In many respects this album is a soundtrack to that manga. What makes Grey unique, in the west at least, is that it was among one of the first manga to be translated and distributed outside of Japan (yes, even before the touchstone that is Akira). It was one of the first droplets that has since become a torrent pouring outward from Japan. It was also the first manga I bought for myself, when I was 13, and read as a serial. I tend not to think or speak very much about my teenage years. I had some profound experiences that have carried forward, I forged deep emotional partnerships that carry to this day. The majority of that time however was something of a slog, a day-by-day performance of self-preservation . . . All boys' schools, one of which I attended, are a maleficent prison if you are not participating in, or as was my case you are maintaining an antithetical position to, hegemonic masculinity . . . It's difficult for me to quantify how much cultural consumption happened during my teen years, but I recognize now how formative so many of those exposures have become. An example of this came into sharp focus last year when I happened to remember, and then reread Tagami's Grey. As laconic and occasionally unlikable as the main character, Grey, might have been I associated deeply with their sense of determination. Grey's rejection of societal expectation, and his refusal to accept the immobility of systems, and social codes, clearly resonated with me . . . This record then is also a kind of sonic postcard retrospectively drafted for that very unsteady and volatile version of myself..."
CD $19

BKO - Djine Bora (Les Disques Bongo Joe 081CD; Switzerland) “In response to the current political and ecological turmoil, the famous Malian quintet BKO appeals to the magical spirit of the djinn with Djine Bora (the appearance of the genie). An explosive and mystical third album, embodied by a music of resistance, the fruit of their unique experimentation with Mandingo music and their extraordinary history. The three letters B.K.O. are the code for Bamako airport. It is in the Malian capital that the group has been rehearsing since 2012. In the same year that Mali declared a state of emergency, no one could have imagined that these musicians would be responsible for three albums and over 450 concerts in 25 different countries. BKO fights, does not fail, unifies and looks like no one else. In this album, the band delivers an abrasive music where tradition is tinged with rock, polyphonies, distortions and shrill breaks. They invoke ancestral spirituality by marrying for the first time in Mali two diametrically opposed traditions. In the course of the ten tracks of Djine Bora, BKO propels the traditions within a powerful and hybrid universe, just like Bamako. In this bewitching atmosphere, crackling concrete and ritual ceremonies meet. The group has released one of its most accomplished albums, tinged with trance, enigmatic melodies (the Peulh prayer of "Ntiaro") and unifying messages ("Maya", "Bamako", "Toumaro”).”
CD $17

MASCHINENZIMMER 412 (MZ. 412) - Macht Durch Stimme (Cold Spring Records 306CD; UK) “Macht Durch Stimme -- the debut release of Maschinenzimmer 412, a.k.a. MZ. 412 -- is the milestone in the history of Swedish black Industrial music. This is the release that initiated a 35 year long career of relentless industrial rituals; darkness fused with machines, your fears and your power all fused into an expression of the coldest music imaginable. In 1987, Henrik Nordvargr Björkk, Jouni Ulvtharm Ollila, and Leif Holm forged a band that would be an outlet for blasphemous prophecies, yet from a unique sonic spectrum. The unholy triumvirate were already hitting hard as Pouppée Fabrikk, with Maschinenzimmer 412 unleashing their deepest, darkest personas. Jonas Drakhon Aneheim joined in 1995, replacing Holm and thus enacting the change of name to the abridged MZ. 412. Originally released in 1988 by Swedish tape label Mechanik Cassettes (run by Memorandum's Petter Marklund) in a tiny edition of just 50 copies, this definitive edition has been painstakingly remastered from the original 4-track tapes. It also contains a previously unreleased, exclusive track that was rediscovered when listening through the old master tapes. MZ. 412 are an act that continues to cover the earth in a nightmarish black veil. Rare releases and even rarer performances have only added to the cult status of these prime movers. Digipak with elegant new artwork by Abby Helasdottir (Gydja).”
CD $17

WE BE ECHO - Ceza Evi - Compleat Edition (Cold Spring Records 311CD; UK) “Occupying a halfway point between Throbbing Gristle and Cabaret Voltaire without ever quite sounding like either, We Be Echo is Kevin Thorne. Thorne's first foray into music came after a chance meeting with Throbbing Gristle on Tottenham Court Road in 1979. A few months later he met Raye Calouri at the legendary Throbbing Gristle/Cabaret Voltaire/Rema Rema gig at Central YMCA, London. Soon after, the duo formed the short-lived Third Door From The Left. After the demise of TDFTL, Thorne formed We Be Echo. The debut album Ceza Evi -- featuring Genesis P-Orridge and Iham on Tibetan thigh-bone trumpet -- was released in June 1983, followed by a special edition later the same year, originally available only to readers of Nanavesh. The music was recorded using the built-in microphone on a dual cassette recorder, then the next layer was recorded whilst playing the first tape back. Very lo-fi, no editing, no remixing, all spontaneous and raw. As with TDFTL, who recorded in the same way, it all just seemed to fall into place. Compleat Edition: disc one contains the original tracks for the Ceza Evi special edition release. The remaining tracks on disc two are from the original cassette release of Ceza Evi, plus bonus tracks recorded between 1981-1983. Briefly pushing We Be Echo back into the light, a handful of these tracks appeared on the 2009 compilation Decades (Vinyl On Demand). Now, bringing together all these tracks for the first time ever, this Compleat Edition cements Ceza Evi as one of the most important underground releases of the early '80s. Mastered by Attrition's Martin Bowes.’
2 CD Set $22

COLOSSLOTH - Promethean Meat (Cold Spring Records 315CD; UK) “Rhythmic industrial noise -- grinding and churning, drenched in crushing doom-laden guitars -- drapes the sacrificial bones of the new album from esoteric electronic alchemist Colossloth. Building on this trademark sound, pushing and striving for reinvention and renewal, Colossloth has also utilized live instrumentation and ethereal vocals, and black metal blast beats on certain tracks for the first time to enhance the intent behind the music. Digitally-driven soundtracks for transfigured cities and myths born in the wilderness of Albion. Digipak.
"An unknown voice deep within the landscape reveals a clandestine location. A place of arcane mechanics, a cathedral of divine engines suspended in primal matter. Turbulence forms amidst amorphous strata, the polarized elements stretch out and then return once more to a singular form, gauging an ecology of discordant time down newly formed vertices. Crystallized dreams spin wild atmospheres into the horizons and fill the localized spaces with the remnants of passive machinations and distant mutterings, the devices allocating into their framework the offerings set forth."
CD $17


BETHLEHEM ASYLUM - Commit Yourself To Bethlehem Asylum (Liberation Hall 5097; Earth) “Southern rock fused with early jazz influenced prog rock. Their only 2 albums on a single CD, unavailable since the original releases in 1970-71. Bethlehem Asylum's only two albums, combined into this CD, provide an insight into the future of fusion and prog rock artists that will follow. The first album ("Commit Yourself") offers a more jazzy instrumentation and superb work on piano, sax and flute. The eponymous second album has more harmonizing but the psychedelic sounds of the late 60s are on full display, with rock and jazz fused and then veering into more spacey prog rock They originated from the St. Petersburg/Tampa area in Florida. Although they toured extensively all around the South, had a respectable reputation as a live band and were often double billed with The Allman Brothers.
CD $15

BOURBONESE QUALK - Bourbonese Qualk (Klanggalerie GG 414; Germany) Fifth album by UK postpone Industrial group Bourbonese Qualk, originally released in 1987, first time on CD. Bourbonese Qualk were an experimental music group from England who where active from 1979 until 2003. The group were always obsessively and uncompromisingly focused on controlling their work - they ran their own record label, recording studio, tour organization and music venue and refused to integrate into the commercial music racket.They saw their music as a revolutionary cultural force - a belief that radical musical forms must be part of positive social change. Despite this position, the group avoided dogma, cliché and propaganda, preferring to let their audience come to their own conclusions - their work was often ambiguous and directly critical of cynical power-politics of any colour - often irritating members of the traditional 'organized left'. In 1984 Bourbonese Qualk occupied a large empty building on the Old Kent Road in South London which they turned into a base for their activities and a co-operative for artists, specifically as a co-ordinating centre for the 'Stop The City' anti-capitalist riots of 1984-1986. They never recorded in a 'proper' studio (not that they could ever afford to), choosing instead to work with their own extremely basic equipment (at a time when home studios were very unusual - the unique raw sound of these recordings is the result of their choice - which now, ironically, is in vodue due perhaps to the overwhelming obliquity of 'clean' audio digital production tools. If Bourbonese Qualk have a legacy, it is that 'culture' should be reclaimed, re-defined and owned by the people, wherever they are, however small and not by the state or the market and that 'culture' is a vital vehicle for debate and radical change. BQ was the band's fifth album and was originally released on New International Recordings in 1987. It was recorded by the band's core members Simon Crab and Steven Tanza, the latter leaving the band after the recording of the album to form his own project The State.”
CD $18

PHIL GUY & JIMMY DAWKINS - Classic Chicago Studio Session 1982 And Live In 1985 (JSP 2508; UK) "Phil Guy was always guaranteed to tear the joint up. Once he plugged in his battered Fender Telecaster, he took no prisoners." Julian Piper "Jimmy Dawkins came of age in the late 50s and early 60s alongside Magic Sam and Otis Rush... he plays as if his guitar were on fire. David Whiteis Born in Lettsworth, Louisiana, on April 28th, 1940 Phil Guy was the younger brother of Buddy Guy. He learned to play Buddy's acoustic guitar and was soon sneaking from home to hear a harmonica player John Tilley, better known as 'Big Poppa'. "I moved up to Chicago probably in '69 because in Baton Rouge there was just no work. I was tired of my job at a law firm and I wanted to travel and get into the blues. I just wanted to move out of Louisiana because the blues scene was in Chicago." On arrival in Chicago he joined Buddy's band who were booked for a U.S. State Department sponsored tour of Africa. By 1970, Phil was a member of brother Buddy and Junior Wells' band opening for the Rolling Stones on a European tour including three nights in Paris in September. Phil even managed to squeeze in session work in Paris on a Memphis Slim album. He said of himself: "I'm a north side - south side player. I never play the west side - I'm going to try to play the west side because they really like the blues. They stick to guitars and drums, they don't use keyboards too, much like the south side players do." Jimmy 'Fastfingers' Dawkins hailed from Tchula, Mississippi. "I got my first guitar in 1953, or late 1952. My mother bought it for me from a Chicago mail order house for a very expensive price, at that time, of $11. I was always around the bands of Smiley Lewis, Guitar Slim and Fats Domino. I would say I liked their styles better than the Chicago sound. Then I came to Chicago in '55 and I see harmonica, two guitars and a drummer. They still sounded full. But I couldn't understand it. This wasn't what I expected to find, but I liked it once I did discover it."
2 CD Set $22

ARTHUR GUITAR BOOGIE SMITH - Guitar Boogie: The Singles Collection 1938-59 (Acrobat 3440; UK) “Arthur Smith was a country guitarist, banjoist, composer and record producer, who was also a popular radio and TV host, with The Arthur Smith Show becoming the first nationally-syndicated country music show on US TV. Born in 1921 in South Carolina, in 1944 he made the landmark recording of his instrumental composition "Guitar Boogie", which became a national hit a couple of years later, and was highly influential in the pop market, generating hit cover versions in the rock 'n' roll era, as well as becoming incorporated into his stage name. Many musicians cite him as an influence, including the legendary country star Glen Campbell. This great-value 55-track 2-CD set comprises selected A and B sides of his releases on the Bluebird, Super Disc and MGM labels during this era, with his music encompassing instrumental compositions as well as songs performed in his characteristic 'talking blues' style and more mainstream country material. It features all his career hits in the country chart, including the Top 10 entries "Guitar Boogie", "Boomerang" and "Banjo Boogie". He was a brilliant instrumentalist who provided a template for performers that followed in later years in both country and pop arenas, and this collection provides a substantial and entertaining showcase for his unique talents.”
2 CD Set $17

FARM - Farm (Guerssen Records 068CD; Spain) “Reissue. Originally released as private pressing in 1971, the Farm album is highly sought-after and revered by collectors. Recorded by this Southern Illinois band in 1971 at the legendary Golden Voice studios, it's chock full of jammy, bluesy guitar psych with heavy dual guitars, organ, congas, harp... Recommended if you like Quicksilver, Allman Brothers, Canned Heat, Ten Years After... Remastered sound; original artwork; includes booklet with photos and extensive liner notes by Kevin Rathert (It's Psychedelic Baby) "A vital album for fans of vintage guitar action." - Patrick Lundborg (Acid Archives).”
CD $18


The first time I caught Ned Rothenberg live was around 1981 (more than 40 years ago!) at Studio Henry with Fall Mountain, a trio with Bob Ostertag on synth & Jim Katzin on violin. The trio was great and the second time I caught them shortly thereafter, it was their last performance. I also recall some early Ned Rothenberg solo sax gigs and was impressed by the way he played, using circular breathing and multiphonics, he had already developed his own sound/approach. Ned and John Zorn were the first two musicians who I checked out playing solo sax sets often in the early & mid-1980’s. I’ve caught every other project that Mr. Rothenberg has organized as well as dozens of free improv sets with many of Downtown’s finest. Ned plays alto sax, bass & regular clarinets and shakuhachi and has led many diverse bands throughout the last 40 years. I caught his new quartet last month with Sylvie Courvoisier, Mary Halvorson & Tomas Fujiwara. Their set was amazing, can’t wait to hear their debut disc when it finally comes out. Mr. Rothenberg just left us 20 discs from his large back catalogue and I must admit that I dig each & every one. I will include some reviews at the of the list. Any orders for five or more will receive a free disc of our choice. It will take 1-2 weeks to fulfill these orders so please be patient. - BLG at DMG

SEMANTICS with NED ROTHENBERG / ELLIOTT SHARP / SAMM BENNETT - Bone of Contention [plus 3 bonus tracks] (Klangallerie GG 398; Germany)
CD Sale $10

SEMANTICS with NED ROTHENBERG / ELLIOTT SHARP/ SAMM BENNETT - Semantics (Klanggalerie 306; Germany)
CD Sale $10

CD Sale $10

NED ROTHENBERG - Intervals (Animul 101/2; USA)
2 CD Set $14

EVAN PARKER & NED ROTHENBERG - Live At Roulette (Animul 106; USA)
CD Sale $10

NED ROTHENBERG- The Lumina Recordings - Solo Works 1980-1985: Trespass/Portal/Trials Of The Argo (Tzadik 7615; USA)
2 CD Set $15

NED ROTHENBERG & VLADIMIR VOLKOV - Live at DOM: Duo Music for Nicolai Demitriev (DOM 90801; Russia)
CD Sale $10

CD Sale $10

CD Sale $10

CD Sale $10

NED ROTHENBERG & SATOH MASAHIKO - Decisive Action (BAJ 24; Japan)
CD Sale $12

'SLAVA' GANELIN & NED ROTHENBERG - Falling Into Place: Live In Jaffa (Auris 07; Israel)
CD Sale $10

NED ROTHENBERG - World Of Odd Harmonics: Solo Clarinet (Tzadik 8085; USA)
CD Sale $10

CD Sale $10

CD Sale $10

CD Sale $10

NED ROTHENBERG & MIVOS QUARTET - Quintet For Clarinet And Strings (Tzadik 8073; USA)
CD Sale $10

CD Sale $10

NED ROTHENBERG SALE DISCS with reviews added:

NED ROTHENBERG & SYNC with JEROME HARRIS / SAMIR CHATTERJEE - Harbinger (Animul 104; USA)SYNC is Samir Chatterjee on tabla, Jerome Harris on acoustic guitar and acoustic bass guitar and Ned Rothenberg on clarinet, bass clarinet, alto sax & shakuhachi. It has been quite a while since that last SYNC CD was released and after hearing this new treasure, it has been well worth the long wait. Ned has been concentrating on his clarinet playing over the past few years and has gotten better. We can never hear enough from the great Jerome Harris who can also be heard in Ned's great double band on el. bass and el. guitar. Samir's superb tabla playing can also be heard in that rare trio with Dave Douglas and Myra Melford on harmonium, that have recorded so little so far. 'Harbinger' begins with "March Hair" which features Samir's exquisite tablas and subtle vocal percussion as the central player. Jerome's acoustic bass guitar has an immensely, enchanting tone, so warm, so pure. Ned's clarinet has a delightful, playful and wooden tone that sounds just right. "Richie Havens" features Jerome on acoustic guitar and is reminds of some of my favorite Oregon records. Samir keeps the sublime groove going as the clarinet and guitar sail together on a magic carpet, taking us along for the ride. The rhythmic drive is infectious as Ned and Jerome swirl their raga-like lines around one another, with Samir's fluttering lines buzzing with ultra-quick activity. This is a beautifully balanced trio in which each member is one part of the whole sound, each getting a chance to solo as well as retain the inner flow throughout. Ned has written some truly enchanting melodies throughout and had me humming along numerous times. Ned's bass clarinet and Jerome's acoustic guitar sound so precious and haunting together on "Phrygian Dream", another pure delight. "Miss Chief" has a somewhat funky and enticing groove, another great finger-snapping, head-bobbing treat. SYNC are certainly one of the best (mainly) acoustic trios that we've heard in a long while, their distinctive blend of different cultures and genres is especially helpful in the world closer together, rather than further apart the way politicians often do with their unnecessary wars. There is a calming vibe at the center, an inner peace that feels just right. I hope that SYNC plays out live soon, we do need some of their spiritual balm. BLG at DMG
CD Sale $10

NED ROTHENBERG & SYNC with JEROME HARRIS/SAMIR CHATTERJEE - Sync: Port Of Entry (Intuition 3249; EEC) With each & every Ned Rothenberg release, we find Ned challenging both himself & us, in some new & unexplored context. Wonderful solo sax recordings, nifty duos with Evan Parker and Sainko Namchylak, ongoing great woodwind trio of New Winds, the colossal Double Band to the slightly larger Powerlines unit. And who could forget Fall Mountain, Odd Job or Semantics!?! Once again, Ned has put together a perfectly balanced trio of three musicians totally in Sync! He's joined by Jerome Harris (Double Band) on nimble & swirling acoustic guitar and the warm toned wonder of his acoustic bass guitar. Completed by Samir Chatterjee tabla, dumbek & assorted percussion. Samir is also a current member of yet another new Dave Douglas project with Myra Melford on harmonium. Ned adds superb clarinet to his plate this time along with his mesmerizing circular breathed alto sax flow, excellent spirited & swinging bass clarinet and even some suspenseful shakuhachi on "Lost in a B lue Forest". Often reminding me of the early magic blend of Oregon, with their fourth & world and east/west/raga sound. Ned claims to be the wink link here, but it is his circular flow that keeps his trio on their toes. Spirits sailing to the heavens. - Bruce Lee Gallanter, DMG
CD Sale $10

NED ROTHENBERG & VLADIMIR VOLKOV - Live at DOM: Duo Music for Nicolai Demitriev (DOM 90801; Russia) Recorded live in Russia in April of 2009 and featuring Ned Rothenberg on alto sax, clarinets & shakuhachi and Vladimir Volkov on contrabass. While Ned Rothenberg heels from a recent bicycle accident in a neck brace, new releases continue to come out and remind us how special he is as a musician. Vladimir Volkov is considered to be one the best contrabassists on this planet, having recorded with Umezu, Marc Ribot and Slava Ganelin. No doubt that this is an amazing disc. Let's all send Ned Rothenberg our collective love for a speedy recovery, the downtown scene won't be the same until he returns to live performances.
CD Sale $10

'SLAVA' GANELIN & NED ROTHENBERG - Falling Into Place: Live In Jaffa (Auris 07; Israel) Featuring Slava Ganelin on grand piano, synth & percussion and Ned Rothenberg on clainet, bass clarinet, alto sax & shakuhachi. This includes outstanding solos and duos from two masters, recorded live at Mandel in Tel-Aviv, Israel on March 18th of 2004. This is/was a superb gig and is very well recorded. It begins with Ned playing a fine, contemplative bass clarinet solo and then Slava performing an epic (34 minutes) keyboard solo, for piano and synth, which builds hypnotically with layers of majestic synth sounds and suprb piano. This is followed by another two solo pieces featuring Ned first on clarinet and then on alto sax. Ned has worked long and hard on developing his solo reeds offerings and here we find fine examples of his most creative efforts. Utilizing circular breathing and accentuating certain notes as he weaves his lines, we hear him developing ideas as he shifts different dynamics within the flow. A most marvelous and utterly fascinating display of unique talents. The last third (about 20 minutes) of this extraordinary disc is an expansive duo for both of these kindred spirits. Wow! And what a magnificent duo it is! This suite is broken into five shorter pieces, each featuring Ned on a different reed. There is an incredible balance between the two musicians, who work their lines together in and around each other in magical ways. They sail together, sparsely in places, as well as rambunctiously. Answering each other and ascending higher together, they evolve as one voice. A most outstanding performance. - BLG
CD Sale $10

R.U.B. with NED ROTHENBERG / KAZUHISA UCHIHASHI / SAMM BENNETT - Are You Be (Animul 103; USA) Some of you will remember percussionist, sampler wiz and former downtowner Samm Bennett from work with Tom Cora in Third Person, Elliott Sharp in Semantics or in Samm's band Chunk. Mr. Bennett married a Japanese woman and moved to Japan in the past decade, we only hear from him on occasion from his work with Japanese players like Haco and Altered States guitar great Kazuhisa Uchihashi. Kazu recently visited NY, played a marvelous solo set here at DMG, as well as with an all-star downtown ensemble at Tonic and here also plays daxophone, as well as guitar and bass with effects. Ned Rothenberg is another longtime downtown reeds hero who has recently added clarinet to his alto sax and bass clarinet to his small arsenal of instruments. Ned is a master of the mesmerizing, circular breathing sax technique and this release begins with his revolving lines with Kazu's humming guitar sonics. I have always felt that Samm's specialty is the way he creates odd enchanting lines and utilizes his sampler by picking mystifying sounds. He is perfect foil for Ned and Kazu, as he chooses his nifty drum and sampler rhythms to create crafty beats to jam with. Ned and Kazu often switch roles as one will solo while the other plays along the beat established by Samm. Sometimes Kazu will set up the groove ("work-a-day") on his guitar, while Ned spins lines on top and Samm just adds his own sly rhythmic spice. Samm even adds a few drum'n bass lines to "undercurrent" which shifts tempos a few times and has a hazy sort of vibe. Samm and Kazu set up a soft, dreamy groove on "fond illusion" while Ned weaves elegant clarinet spice to this somber delight. Both Ned and Kazu play their twisted toned lines together on "mal venus", while Samm plays that subtle, funky beat. There is a mysterious ambiance on "blue grit" with strange, soft electronic samples, alien bass clarinet sounds and spacey drones floating. "reacharound" has an enticing melody the Ned plays on alto, as Samm sets up another somber drum sampler pattern to sway to and Kazu plays a hypnotic backwards guitar solo. "gobble" is an aptly titled piece for squeaky daxophone and clarinet fragments. All three players weave their fractured lines cautiously on "scenic route" which is skeletal, hushed and just slightly bent. What I dig about 'are you be' is that it has a certain odd charm, which rarely gets too far out, something that many of those old downtown classics used to excel in. - Bruce Lee Gallanter, DMG
CD Sale $10



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


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. 

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

Full schedule:
Questions? Email us at

Sunday Sept 18 ,2022 Music at 4:00
Howling for Jeremy Steig Solo Flute Festival - LIVE!
A solo flute festival of improvised solos from the most wonderful jazz flutists, to remember Jeremy Steig ♪*.¸¸.*¨¨*♪ღ♪**¨¨♪*.¸¸.*¨¨*♪ღ♪**¨¨
Remembering Jeremy Steig
(September 23, 1942 - April 13, 2016)
With flutists : Cheryl Pyle , Haruna Fukazawa, Gene Coleman, Jay Rodriguez, Nick Gianni ,
Sylvain Leroux, Connie Grossman, Premik Russell Tubbs, Mary Cherney, Chip Shelton

6BC Botanical Garden
624 East 6th street ( btw Ave B and C )
Curated by Cheryl Pyle for our fifth year and part of the Village Trip Festival 2022


Sunday, 18 September 2022 11:00 AM
Funkadelic studios
209 West 40th St.,NYC
free admission

Sunday, 18 September 2022 AT 1:30 PM
Magical Garden
Norfolk and Stanton, NYC.
In Gardens Concert:
WILLIAM HOOKER TRIO w/ Sarah Manning(sax), Jair-Rohm Wells(bass)

Sunday, 25 September 2022 12 noon
6950 Maple St. NW,Washington, DC
FILM SCREENING: The Lost Generation - Outside the Mainstream
Sunday September 25 * 7pm * MASKS, VAX REQUIRED * TICKETS
Join us for a screening followed by Q&A (conducted over Zoom) with William Hooker.

Upcoming at Zurcher gallery:

Monday, September 19th at 8:00 pm
Zoh Amba- Saxophone, Flute
Micah Thomas - Synths
Trevor Dunn - Bass
Billy Martin - Drums

Wednesday, September 28th at 8:00 pm
Erik Friedlander, cello
Satoshi Takeishi, percussion
Mark Helias, bass

Zurcher Gallery
33 Bleecker St
New York, NY 10012-2432


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 /


Shift 23: Sept 21
Loren Connors
Jeff Fuccillo / Disturbed Strings
Az Yashir performed by Ayal Senior & GRAY/SMITH

**Curated by Jay Sanders**
Doors 7:30pm, show 8pm
411 Kent Ave, Brooklyn, NY 11249
$10-15 sliding scale (all proceeds to musicians)


Arto Lindsay with Melvin Gibbs

September 22nd, 8pm
The Sultan Room
234 Starr St, Brooklyn
Tickets $20 in adv :


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



509 Atlantic Ave, Brooklyn, NY 11217

John Zorn - sax
Julian Lage - guitar
Jorge Roeder - bass
Kenny Wollesen - drums


A surprise and rare appearance of John Zorn’s newest and most exciting ensemble, the New Masada Quartet. Performing classic compositions from the Masada songbooks, NMQ is a tight unit of like-minded virtuosi and one of the best groups Zorn has ever had. Bristling hot guitar master Julian Lage, bass wizard Jorge Roeder and 30-year Zorn veteran Kenny Wollesen perform with a crackling live energy that brings the Masada music to life like never before! Led by Zorn’s versatile sax and stop and start conducting, the music is filled with burning solos, telepathic group interaction, heartfelt lyricism and hypnotic grooves.

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:


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


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: