Well, you know that I love to live with you
But you make me forget so very much
I forget to pray for the angels
And then the angels forget to pray for us
Now so long, Marianne
It's time that we began
To laugh and cry
And cry and laugh about it all again
We met when we were almost young
Deep in the green lilac park
You held on to me like I was a crucifix
As we went kneeling through the dark
Oh, so long, Marianne
It's time that we began
To laugh and cry
And cry and laugh about it all again
Your letters, they all say that you're beside me now
Then why do I feel alone?
I'm standing on a ledge and your fine spider web
Is fastening my ankle to a stone
Now so long, Marianne
It's time that we began
To laugh and cry
And cry and laugh about it all again
For now, I need your hidden love
I'm cold as a new razor blade
You left when I told you I was curious
I never said that I was brave
Oh, so long, Marianne
It's time that we began
To laugh and cry
And cry and laugh about it all again
Oh, you are really such a pretty one
I see you've gone and changed your name again
And just when I climbed this whole mountainside
To wash my eyelids in the rain
Oh, so long, Marianne
It's time that we began
To laugh and cry
And cry and laugh about it all again
I recall hearing “So Long, Marianne” and “Suzanne” from Leonard Cohen’s first album on FM radio in 1967. I was enchanted immediately by his wise words, ancient sounding voice and austere, haunting music. I bought that album later that year and was knocked out by every song on it, both lyrically and musically. I continued to buy his records over the years, most of which I still enjoy but I realized that his muse/sound was often quite depressing, perhaps too close to the truths of life. I remember watching the Robert Altman movie, “McCabe and Mrs. Miller” which had a soundtrack of songs by Leonard Cohen, the movie and songs were also pretty depressing, but worked together perfectly. In my last semester at college (Spring of 1976), my roommate Mike D and I would occasionally get drunk on weekend nights and listen to Leonard Cohen or Robert Wyatt records, singing the blues into our drinks. I still love Leonard Cohen and can appreciate that he was an established poet & novelist even before he became a famous singer/songwriter. I can still hear his words and that world-weary voice in my mind singing in my mind as the Titanic sinks into the depths. - Bruce Lee G @ DMG
DMG NEWSLETTER SUBSCRIBERS:
We’ve heard from a handful of newsletter getters out there who claim that they haven’t been getting the newsletters in recent times. Please note that we do send out the DMG weekly newsletter every Thursday around dinner time. I also post the newsletter on our website soon thereafter also on Thursday night. If any of you don’t receive the newsletter by late Thursday night, please write to us at email@example.com and after for a copy. I know that for some strange reason some of you get the newsletter in promotions, spam, junk or trash folders which is unfortunate. We would like all of you who are interested in receiving the newsletter to get it directly. If you have any friends who are having a time getting it or if you know of anyone else who might like to subscribe, let us know. Thanks, as always for your time and support. - BLG at DMG
THE DMG 31st ANNIVERSARY IN-STORE FREE MUSIC SERIES Continues with:
Tuesday, October 4th:
6:30: SYLVESTER GERMAINE / KIRK KNUFFKE / KENNY WOLLESEN
7:30: PATRICK GOLDEN / IVO PERELMAN / JIM CLOUSE / SEAN CONLY - check out that line-up!
Saturday October 8th: The GAUCI-MUSIC SERIES Continues with:
6pm: Igor Lumpert - tenor sax / Christopher Hoffman - cello / Billy Mintz - drums
7pm: Stephen Gauci- sax / Karl Evangelista - guitar / Colin Hinton - drums
8pm: Sana Nagano - violin / Trevor Dunn - bass / Danny Sher - drums
Tuesday, October 11th:
6:30: MAX JOHNSON / SAM NEWSOME - Contrabass / Soprano Sax
7:30: KAREN NG / JARED STADDLER / PRIYA PURUSHOTHAMAN / BOOKER STARDRUM - Sax / Guitar /Voice / Drums
The Independent Promoters Alliance Presents:
“Cosmic Music is the Healing Force of the Universe” - The DMG 31st Anniversary Big Gig!
Friday, October 21st at Artist Space at 7:pm:
7:30: FRANCISCO MORA CATLETT’S AFRO HORN!
9 pm: TISZIJI MUNOZ’s COSMIC ENSEMBLE Celebrates PHAROAH SANDERS!
Taking Place at Artists Space - 11 Cortlandt Alley, New York
212-226-3970 / https://artistsspace.org/
THIS WEEK’S WONDERFUL TREASURE CHEST OF DISCS BEGIN WITH:
JOHN ZORN // JULIAN LAGE / BRIAN MARSELLA / JORGE ROEDER / CHES SMITH - Incerto (Tzadik 8392; USA) ‘Incerto’ is the birth of an exciting new modern jazz ensemble featuring the remark-able trio from Suite for Piano (Brian Marsella, Jorge Roeder, Ches Smith) joined by the brilliant guitarist Julian Lage. A quartet capable of anything, this is the perfect group to realize Zorn’s quirky compositional twists and turns. The music is wildly varied—maddeningly complex, powerfully driving, heartbreakingly beautiful—and embraces complex meter changes, atonal melodies, unusual harmonies, and bizarre structural complexity. Inspired by Sartre, Freud, and the Uncertainty Principle, the music explores possibilities, probabilities, inevitabilities and impossibilities. Modern chamber jazz at its very best!”
CD $16 [In stock this week]
I made a mistake last week when I listed the below new Tzadik CD. I thought that John Zorn was the composer but this is not the case. Metal guitar goddess, Sally Gates, is the leader and composer here and I am completely knocked about by this disc! Also the new John Zorn Organ CD has again been delayed for several weeks.
TITAN TO TACHYONS with SALLY GATES / MATT HOLLENBERG / TREVOR DUNN / KENNY GROHOWSKI - Vonals (Tzadik 4041; USA) “Featuring Sally Gates on guitar, Matt Hollenberg on Fender VI bass, Trevor Dunn on bass and Kenny Grohowski on drums. Born in New Zealand and now residing in New York, Sally Gates is a powerful young guitarist with a striking compositional vision. Expanding her instrumental trio into a quartet with the addition of bassist extraordinaire Trevor Dunn, Vonals takes another step forward into rhythmic and melodic complexity. Pounding grooves, hypnotic riffs, and plenty of fiery solos make this her strongest statement to date. Surrealistic science fiction meets the worlds of metal and improvisation in this searing instrumental masterpiece.”
CD $14 [In stock]
WILLIAM PARKER with DANIEL CARTER / COOPER-MOORE / DAVE BURRELL / BILLY BANG / JOE MORRIS / ROB BROWN / JASON KAO HWANG / GRACHAN MONCUR III / JEROME COOPER / MIYA MASAOKA / GERALD CLEAVER / et al - Universal Tonality (Centering Records 1030; USA) "William Parker's Universal Tonality is an epic archival recording which brings the titular concept to full, vibrant life. An exquisite example of this system in practice, it features a truly once-in-a-lifetime assembly of creative music luminaries and legends, including Billy Bang, Grachan Moncur III, Jerome Cooper, Dave Burrell, Jin Hi Kim, Joe Morris, Miya Masaoka, Daniel Carter, Rob Brown, Jason Kao Hwang, Gerald Cleaver. Clocking in at nearly two hours and featuring six extended pieces flowing across two discs, Universal Tonality documents a performance that took place at Roulette, NYC in December 2002. Parker invited 16 musicians of various ages, cultures and musical backgrounds to join him in an experiment of 'breathing together.' While he provided a score (wonderfully illustrated pages from same are included in the package), all were advised that there need not be adherence to it. Parker's hope with this approach is that each musician will trust their own instincts -- and those of the musicians around them -- enough to let the sound find its shape in real time. That constant current of inspiration, and open, receptive communication, was present at Roulette that night, and it's on full display on this magical recording. Whether embodying a roof-raising big band, or an intimate cross-cultural chamber ensemble, the collective heard here always displays an impressive coherence and sensitivity. When discussing or writing on his Universal Tonality concept as a whole (as on the enclosed, extensive liner notes), Parker can sound like he's outlining a life philosophy. It is both telling and fitting that author Cisco Bradley chose to title his 2021 biography of William Parker after this concept. The results of this one-night-only communion can now take their place among Parker's many landmark works spanning the past three decades, including previously released Universal Tonality-driven pieces like Double Sunrise Over Neptune, and Red Giraffe with Dreadlocks (released on the box set For Those Who Are, Still)."
2 CD Set $20 [In stock]
JAMES BRANDON LEWIS QUARTET with ARUAN ORTIZ / BRAD JONES / CHAD TAYLOR - Molecular Systematic Music Live (Intakt 389; Switzerland) The charismatic saxophonist and composer James Brandon Lewis is the musician of the moment in the broad field of contemporary jazz. After the internationally acclaimed albums Molecular and Code of Being, he now presents a double CD of a memorable concert with his top-class quartet. The demanding but thoroughly melodic compositions of Molecular shine on this live album compared to the studio album in an unleashed form and with much desire to create and courage for open interplay. “The live recording shows not only the great joy of playing and pleasure in interplay and groove, but also the musical maturation process of four great musicians”, writes Florian Bissig in the liner notes about the concert immortalized on this double CD, and, “It was a celebration that made one’s ears perk up...James Brandon Lewis’ saxophone sound seemed to radiate a quivering liveliness and an expressive urgency rarely heard before. The four musicians, for all their precision and refinement of interplay, seemed to be playing as if it were the last time.”
2 CD Set $30 [supposedly in stock this week]
THUMBSCREW with MICHAEL FORMANEK / MARY HALVORSON / TOMAS FUJIWARA - Multicolored Midnight (Cuneiform ; USA) Thumbscrew are Mary Halvorson on guitar, Michael Formanek on contrabass and Tomas Fujiwara on drums. “Thumbscrew...are likeminded souls with decades of experience among them. Encapsulating a rare chemistry, their music offers a virtual masterclass of communal interplay.” – Point Of Departure
At the center of a spiraling musical universe, Thumbscrew is like a reverse black hole radiating brilliant constellations of overlapping ensembles. The all-star trio is at the core, and they’re marking their 10th year as a collective endeavor – 2022 – looking ahead to new sonic territory rather than taking stock of a prodigiously creative decade. Celebrating this anniversary, Multicolored Midnight is the group’s seventh album, a set of 11 original pieces that oscillate between detailed composition, unbridled improvisation, and every gradation in between. It’s another step on an extraordinary journey by three of jazz’s most dauntless and resourceful artists.
The focus that each player brings to Thumbscrew and the dense web of experience they share is part of what makes the ensemble so extraordinary. Thumbscrew’s ongoing evolution is powered by a super-charged matrix of relationships, as all of the players also lead critically acclaimed bands built on the trio’s thrumming creative synergy. Beyond their work as a trio they’re the foundation for Formanek’s Ensemble Kolossus, Tomas Fujiwara & The Hook Up and Halvorson’s Thumbscrew bandmates are the foundation of her song-based band Code Girl. For Halvorson, Thumbscrew has become an invaluable creative foundation. “It’s one of my favorite rhythm sections to be a part of, the power and energy and everything we create together,” Halvorson said. “At this point, all of us have used this rhythm section as leaders.”
‘Multicolored Midnight’ features music that Thumbscrew honed during a three-week residency at City of Asylum, a Pittsburgh program founded as a refuge for writers in exile. Since expanding its purview to include musicians, City of Asylum has become the fourth wheel powering Thumbscrew’s all-terrain evolution as the triumvirate fully utilizes the sequestration to generate and refine new pieces. Three of Thumbscrew’s prior albums had also been generated at City of Asylum.
If there was an agenda for ‘Multicolored Midnight’, it centered on fully incorporating Fujiwara’s vibraphone work into the mix. Marking a decade doesn’t have quite the same panache as a diamond jubilee, “but we do feel like it’s a big deal,” Formanek said. “That’s a lot of time for a cooperative band, and the residencies are a big part of what’s allowed us to dive in deeper and keep creating new music.”
CD $15 [In stock]
SARAH WEAVER // GERRY HEMINGWAY / JOE McPHEE / DAVID TAYLOR / SARA SCHOENBECK / MIN XIAO-FEN / JAMES ZOLLAR / JANE IRA BLOOM / NED ROTHENBERG / DENMAN MARONEY / MARK DRESSER / ROBERT DICK / STEPHEN MOORE / et al - Synchrony Series - Music of Sarah Weaver and Collaborations (Sync Source SS 11111; USA) Over the past few years, I’ve become friendly with composer/conductor/audio-visual pioneer Sarah Weaver. Ms. Weaver has several ongoing ensembles, both large and small, as well as working with singular soloists (like Gerry Hemingway, David Taylor & Joe McPhee), as well as being a specialist in Network Arts, which uses the internet to explore interaction between musicians located in different cities & countries.
This ambitious two CD set features three solo/duo pieces plus two large ensemble works. This disc is titled the “Synchronity Series” since all of Ms. Weaver’s works deal with a series of synchronous ideas, structures or strategies. The first piece is called “Node 111, Volumes 1-3”, for solo drumset performed by Gerry Hemingway, who Ms. Weaver has worked with on previous occasions, developing a good working relationship. For anyone out there who has ever complained about drum solos (a problem that arose when Iron Butterfly’s “In a Gadda Davida” was popular in the late sixties), Mr. Hemingway’s solo playing is much more cinematic or systematic. He seems to be working on certain textures and/or rhythms, ever expanding and contracting, building and then focusing on one sonic area/idea at a time. Each section of this work illustrates a different scene or vibe. I’ve long admired those great drummers who can spin several lines at the same time, they are masters of synchronicity. Hence, I find this entire piece consistently fascinating. The second piece is called “Symmetry of Presence” and it features David Taylor on bass trombone and Ms. Weaver on electronics. I caught Mr. Taylor with the Vinny Golia Orchestra at Roulette a few weeks ago and have been listening to several of his varied releases over the pst few years. As Mr. Taylor starts to explore different sonic techniques/sounds on his bass trombone, Ms. Weaver slowly adds some electronics and samples (an Asian voice chanting?). Ms. Weaver takes her time, dropping out at points and only adding her own sound at certain times which to give the bass trombone space and chances to alter his sound appropriately. “Sound in Peace” is a duo for JOe McPhee on pocket trumpet and Ms. Weaver on spoken word & electronics. I am always impressed by multi-instrumentalist Joe McPhee, who keeps busy playing & recording with a wealth of other diverse musicians: Marker, Evan Parker, Fred Lonberg-Holm and many others. Ms. Weaver begins with spoken words: “Listen for sound at peace”, repeating the line over and over while Mr. McPhee shadows her with quiet breath-like sounds on his small trumpet. There is a calming meditative sound/vibe going on throughout this work which feels good.
“Interhere” is performed by the Sarah Weaver Ensemble which is an 11 piece unit with Sara Schoenbeck on bassoon, James Zollar on trumpet, Jane Ira Bloom on soprano sax, Ned Rothenberg on alto sax and Yoon Sun Choi on voice. This work has an eerie, quietly disorienting vibe and features some nimble, inspired playing on pipa from local legend Min Xiao-Fen. Ms. Weaver’s composing here is most impressive as she carefully creates waves of pulsating currents for reeds, brass and rhythm, sometimes sparse, sometimes more dense. It is great to here from my old pal Yoon Sun Choi, a fine experimental vocalist who plays live and records only on rare occasion. This is a strong, thoughtful and provocative work.
The final piece is called “Universal Synchrony Music: Kepler/K2” and it performed by NowNet Arts Ensemble, which includes nine musicians recorded at different locations: New York, Chicago and Toronto. There are three electronic musicians here: Stephan Moore, Kieran Maraj and Doug Van Nort. The electronics players start things off with some haunting, chiming sounds. Although this work deals with a certain amount of improvisation, there is more of focused, directed sound going on. What I like most about these discs is this: Sarah Weaver has obviously worked hard to capture the sounds/music here, directing these musicians and casting a spell on all who give this a listen. - Bruce Lee Gallanter, DMG
2 CD Set $18 [In stock]
GUNTER BABY SOMMER & LUCACIU 3 - Karawane (Intakt 384; Switzerland) Günter Baby Sommer is at the height of his musical career. The Dresden jazz innovator, who together with the pioneering generation of jazz has unbounded drumming and developed his own sound, presents a refreshing album with a cross-generational quartet with the Lucaciu brothers. “The other three members of the quartet are two generations younger. Günter Baby Sommer’s music and presence belong to the inventory of traditions they feel inspired by and to which they have therefore orientated themselves. Jazz for them is a historical project which they approach with much warmth. Thus between these four musicians there is an electricity feeding on their similarities and differences – not only in age – and not diffused by any concessions”, writes Hans-Jürgen Linke in the liner notes.
CD $18 [In stock]
LUCAS NIGGLE / MATTHIAS LOIBNER - Still Storm (Intakt 386; Switzerland) Hurdy-gurdy meets percussion. Matthias Loibner, the undisputed innovator of this strikingly exotic, medieval instrument and Lucas Niggli, who has been at the forefront of European Jazz for many years team up. Touching and intoxicating, fed by a huge repertoire between classical music, electronics, tradition and imagination, these two exceptional artists paint sounds into the now. In every colour, every note of their vibrant playing, a silent storm lurks, waiting to break loose in rhythmic cascades and avalanches of sound. “The result is an aural experience that is sometimes pondering, sometimes conversational, allowing the listening ear to float away; purely by means of the music. The album, laid out in comparatively short pieces, is made up of acoustic mind games. Haikus, or even more so, Japanese Tankas, evoke the moment. A form of poetry without rhyme, confidently created collectively out of the moment through improvisation, and with an indispensable reference to the present,” writes Johannes Rühl in the liner notes.
CD $18 [In stock]
PAUL AUSTERLITZ with FRANCK DESIRE / MONVELYNO / CHICO BOYER / et al - The Vodou Horn - Asakivle Meets Austerlitz (round whirled records 0084; USA) Featuring Paul Austerlitz on electronic bass clarinet & tenor sax, Franck Desire - director, voice & percussion, Monvelyno - guitar, Chico Boyer - bass and the (7 piece) Asakivle Ensemble on voice & percussion. This disc was recorded in both Haiti and in NYC. Bass clarinet specialist, Paul Austerlitz, has been visiting & studying Haiti for three decades and teaching about various World Music cultures at different colleges. Mr. Austerlitz is also a doctor who has written several books on jazz consciousness. The co-leader here is Franck L. Desire who leads the Asakivle Ensemble, who are a Haitian dance and drumming troupe and who are an integral part of this disc. All of the songs on this disc are traditional Haitian songs arranged by Mr. Austerlitz. The main part of the sound here is the choral singing and layers of of hand percussion (mostly congas). Mr. Austerlitz’s electronic bass clarinet and tenor sax is/are the main featured instruments here. Right from the opening song, “Gade yon rara”, there is a churning, infectious groove going on. Each piece features another great rhythmic groove and sumptuous chorus of voices, male and female, all embracing as one strong connect voice. Each song has a strong spiritual vibe, a churning repeating riff plus some there a a number of inspired solo from Austerlitz either on tneor sax or electrified bass clarinet. At first I wasn’t so sure about enjoying Mr. Austerlitz’s electronic bass clarinet, but uses this often unpopular instrument and doesn’t alter too with any devices so that it still sounds not too distant an acoustic bass clarinet. All of the ingredients here make this disc into a wonderful exercise in modern jazz. The songs themselves sound like they’ve been around for a long time, which is probably the case. Bravo for the strong, spirited Vodou vibe. - Bruce Lee Gallanter, DMG
CD $14 [In stock]
NEW DISCS FROM THE EVER-CHALLENGING RELATIVE PITCH LABEL:
TAMIO SHIRAISHI with LEILA BORDREUIL / AMI YAMASAKI / STEVE BACKOWSKI / et al - Moon (Relative Pitch 1148; USA) Featuring Tamio (Shiraishi) on alto sax in duets with Leila Bordreuil on cello, Steve Baczkowski on sax, Tim Dahl on el. bass, Ami Yamazaki, Nina Dante & Tara Fenimore on voices, Mico on piano, Chris LiButti & Austin Sley Julian on guitars and Michael Sidnam on electronic. Tamio is a legendary figure amongst avant jazz saxists and rather enigmatic as well. I have been checking him out for several decades, mostly playing solo sax on a subway platform late at night, meeting at a specific time with just 1 or 2 fans in attendance. Aside from checking out many solo sets, Tamio has played a few duos with Chris Pitsiokos & Louise Jensen here at DMG on rare occasion.
The ten duos here were recorded at various locations in Manhattan, Brooklyn and Japan over the past decade, at assorted performance spaces (Issue Project Room, Fridman Gallery & MuchMore’s) & galleries. Tamio is a master of multiphonics, those high-end screechy sounds that John Zorn and Chris Pitsiokos both worked hard at developing. Although Tamio does have a distinctive sound, he reacts differently to each musician here. Mico plays mostly quiet, sparse piano, the complete opposite of Tamio’s intense sonic blasts. Since each piece was recorded in a different place, the sound of Tamio’s sax is altered by the environment he is in. His duo with Leila Bordreuil has Leila playing soft distant drones while Tamio also screeches from a distance. Some folks will find Tamio’s tone/playing to be disturbing or at least disorienting, but I find it to be a singular voice/sound that he has worked long and hard to make work. Although all of the instruments are listed on the CD, many of his duet partners also alter the sound of their instrument so that it is hard to tell exactly what they are doing. Is that guitar, electronics or just some noise making device?!? Tamio’s own playing is instantly recognizable throughout. Oddly enough it is the vocalists who at times work with similar odd sounds not so far removed from what Tamio often does. I am a big fan of vocalist Ami Yamasaki whose duo here is one of the highlights. It is often hard to tell who or what Ami is doing since she makes many mysterious sounds which are rather unvoice-like. Guitarist Austin Sley Julian does a good job of matching Tamio’s more bent-note sounds with his own fractured guitar sounds. Another highlight here is the duo with saxist Steve Bacskowski, another master of distinctive manipulated sax sounds. I found this disc to be mostly exhilarating but we do have to adjust to some of those extreme sax sounds which often make us wince. Are you ready for Tamio and his partners?!?! - Bruce Lee Gallanter, DMG
CD $13 [In stock]
FRED MOTEN / BRANDON LOPEZ / GERALD CLEAVER - Moten/Lopez/Cleaver (Relative Pitch 1159; USA) Featuring Fred Moten - poetry, Brandon Lopez - contrabass and Gerald Cleaver - drums. Fred Moten is an award-winning poet (MacArthur Fellowship), author and professor (at NYU currently), who I’ve heard read his poetry at the Vision Fest. I am much impressed by the poetry I’ve heard him read as well as his articular conversations that we’ve shared on a few occasions. Mr. Moten chose two fine Downtown avant/jazz musicians to work with him here, Brandon Lopez and Gerald Cleaver, both of whom keep busy working with many other Downtown (and elsewhere) legends. I am a longtime fan of great poetry & music (especially jazz) recitation. A good deal of thought has gone into producing this disc. It flows just right and you can hear every word. The opening piece, “the abolition of art, the abolition of freedom, the abolition of you and me” blends the thoughts about Art and how we define ourselves. Are our thoughts & observations the same thing as who we are? Consider it. Mr. Lopez and Mr. Cleaver provide a fine cushion, groove (slow & assured) under Mr. Moten’s enchanting voice & words. Mr. Moten’s voice is calm & thoughtful, his words always making astute observations of the present state of our common world while the rhythm team builds in swirling waves. What makes this disc so great is that all three members of this trio are integral to the focused group sound. Even on a musical only level, this disc works to inspire us just with its overall sound. At times, Mr. Moten’s words move closer to describing our collective shared daily nightmare then we might like to admit. The music underneath is just as dark and probing, stirring up the inner rage of that most of feel as we deal with the deluge of misinformation and other Fake News BS. Instead of sitting around and complaining endlessly, it is time to talk about what is happening to us and do something about it. It begins with learning how to express what we feel deep inside and then let it out for others to hear and embrace or discard. This fine disc is a starting point for some of the things that many of us feel but haven’t tried to make sense of yet.
The time to live and balance the extremes is now. I hear you Moten/Lopez/Cleaver! - Bruce Lee Gallanter, DMG
CD $13 [In stock]
BRACKENBURY BIANCO - Wayward Mystic - Improvisations Inspired by the Music of Hildegard von Bingen (Discus Music 140CD; UK) Featuring Faith Brackenbury on violin, viola, vocals & effects pedals and Tony Bianco on drums, percussion and keyboards. Recorded in the Room of Doom at the Stables in December of 2021. Tony Bianco is an American-born drummer who moved to the UK, where he works with Paul Dunmall, Evan Parker and Dave Liebman. More recently Mr. Bianco has been branching out to play with Machine Mass Trio, Decision Dream & Doubt). I don’t know much about British violin & violist Faith Brackenbury, although she does have a rare duo CD out with Martin Speake from Itchy Fingers (UK sax quartet). The music here was inspired by mystic composer Hildegard von Bingen who lived in the 1,100’s. Ms. von Bingen’s music was rediscovered in the 20th century and has been an inspiration to many diverse composers like Sol Invictus, Current 93, Noël Akchoté, John Zorn and most recently Chet Doxas. The Discogs website lists more than 100 releases of her music so she does a long shadow on the recent and past landscapes. Hildagard von Bingen’s music was alleged to have “mirrored the ineffable sounds of heavenly spheres and angel choirs”.
The instrumentation here is: Faith Brackenbury on violin, viola, vocals & effects pedals and Tony Bianco on drums, percussion and keyboards. There is something magical, haunting, precious, uplifting, resonant, heavenly sounding… going on here. We first hear a calm, drifting soft drone from the violin with Mr. Bianco on subdued yet superb, free-flowing mallet-work. This piece is called, “Hymn of Hildegard” and it is indeed like a sublime hymn. There is a strong focused duo dialogue going on, the violin replacing and enhancing a chorus of angel’s voices. Faith uses her voice together with her violin for “O Frondens Virga”, the balance of the soft voice, accordion squoze violin sound and tabla-like drumming is most hypnotic. Eventually Ms. Brackenbury starts to slowly bend the notes a bit keeping us off-guard while Mr. Bianco switches to the rest of drumset and cymbals. Later on “O Quam Mirabilis”, Faith adds subtle eerie effects to her violin while she sings in Latin (?), like a long lost ghost, there are a few layers all resonating together in a most mesmerizing way. - Bruce Lee Gallanter, DMG
2 CD Set $16
MARK HANSLIP & ANDREW CHEETHAM - string and grid (Discus Music 141CD; UK) Featuring Mark Hanslip on tenor sax and Andrew Cheetham on drums. I know of British saxist Mark Hanslip from a handful of discs with Tony Bianco, Paul Dunmall and Keith Tippett, most of which are on the FMR label. I hadn’t heard much about drummer Andrew Cheetham before now although he has recorded with Eugene Chadbourne and Alan Wilkinson. This disc was recorded at Queens Ark Studio in Manchester, UK in August of 2017. The sound here is sprawling, swirling, intense and free-wheeling. Both musicians work well together as they soar together tightly, as one unified force. The first great album of tenor sax/drums duets was John Coltrane’s ‘Interstellar Space’, recorded in 1967. This disc comes from a similar place although it is not nearly as intense, while both players are more measured and not as over-the-top, building in density slowly. There are two pieces here in which the duo lay back and create a more calm dialogue which I like more than the storm-like blusters. On the last piece the duo build from a more restrained beginning and slowly build to an intense frenzy of activity. - Bruce Lee Gallanter, DMG
FOUR GREAT NEW DISCS FROM THE NORWEGIAN HUBRO LABEL:
STALE STORLOKKEN - The Haze of Sleeplessness (Hubro 2616; Norway) “Retro-futurist cinematic synth-fest from Supersilent keyboardist and composer, Ståle Storløkken. Just as radio drama is said to provide the best pictures, so some music can make for a perfect film soundtrack without the need for a film to exist at all. The Haze of Sleeplessness is a case in point: as the album starts to play, the listener's imagination kicks in and does the rest, supplying the necessary plot, character and setting until a full-scale narrative unspools behind one's eyes. A suite of seven movements whose common musical material is continuously recycled into new shapes and sounds, while recurring leitmotifs create a connecting thread of continuity, The Haze of Sleeplessness operates on several levels simultaneously. Most obviously, perhaps, it's an unapologetic synth-fest; a love poem to old-school electronica and analog sound whose squelches, bleeps and blurts can't help but recall the heroic era of Wendy Carlos, Vangelis, and Tangerine Dream. It's also a remarkably original and successful attempt at using by now antique instruments to form a true orchestral palette, building a symphony of sound through combining monophonic sources and their new digital variants into a densely populated audio landscape that is captured with astonishing sonic fidelity. The super-saturated surface of the music fairly crackles with raw electricity, as if the over-amped distortion was about to short-circuit itself, with a wobbly jack plug connection flickering dangerously before finally cutting out. That many of these sounds and their treatment can't help but suggest the retro-futurist setting of a dystopian sci-fi thriller might make the cinematic analogy inevitable, but it doesn't lessen the music's power or cheapen its effect.“
1982 - Chromola (Hubro 2558CD; Norway) Trio of Nils Økland, Sigbjørn Apeland, and Øyvind Skarbø -- apart from the unusual instrumentation of violin or Hardanger fiddle, harmonium and drums, is the empathy displayed by the group as a whole; the hyper-sensitivity with which each individual member appears to respond to the contributions of the others in the pursuit of a collective goal, however obscure or unknowable that goal might be. Such extreme alertness to subtle changes of mood and nuance, and to the evolving sound-world of each, totally improvised, performance is rare in music of any type. 1982 have made it their signature. And because 1982 have so singularly created their own identity and sound, they can do anything they like. Normal conventions of style and genre, format, and duration cease to matter: it is all 1982 music, anchored in the strong personalities of the three players and their respect for the primacy of the group as an entity in itself. Thus, they can record as a trio -- as on the group's first two albums, 1982 (2009) and Pintura (Hubro 2510CD/3510LP, 2011) -- or with guests, as in the acclaimed 1982 BJ Cole (Hubro 2522CD/3522LP, 2012), and the collaboration with composer Stian Omenås and a quintet of wind players for A/B (Hubro 2532CD/3532LP, 2014). There was also the unique "message in a bottle" intervention of "The Bottlemail Project", begun in 2011, whereby 15 copies of a new recording were "distributed" via USB sticks enclosed in bottles and released into the open sea from Bergen and various worldwide locations. The new album, Chromola, as well as marking the group's tenth anniversary, represents a return to the essential identity of the trio playing alone, without guests. Recorded at Sandviken church in Bergen on the day following an evening concert, the album uses material from both occasions, engineered once again by Davide Bertolini, who worked on the band's four previous recordings. As an album it is remarkable for many things, but perhaps most notably for the role of Sigbjorn Apeland, who plays pipe organ on all but one of the seven tracks rather than harmonium, which features only in the closing, seventh, piece.”
SKYDIVE TRIO - Sun Sparkle (Hubro 2596; Norway) “SkyDive Trio: Thomas T Dahl (guitar), Mats Eilertsen (bass), Olavi Louhivuori (drums). SkyDive Trio's second album Sun Sparkle -- which arrives three years after its acclaimed predecessor, Sun Moee (HUBRO 2537CD/3537LP, 2015) -- presents the listener with an intriguing set of paradoxes. A power trio who uses full throttle only very sparingly, the band can appear to play loud music quietly, and quiet music, loud, countering jazz subtlety with rock attack. They also partner the relatively clean and melodic sound of Thomas T. Dahl's guitar with the mountainous riffs and deep, seismic explosions of Mats Eilertsen's bass, rather as if Pat Metheny was being accompanied by Peter Hook of Joy Division and New Order. The great Finnish drummer Olavi Louhivuori somehow bridges the aesthetic gap, alternating crunching four-square rhythms with delicately shimmering percussive strokes.”
LUMEN DRONES - Umbra (Hubro 2607; UK) “The appearance of the second album by Lumen Drones, Umbra, carries the status of a major event. Coming fully five years after the group's startling, self-titled debut recording -- released, in late 2015, on ECM Records -- the long-awaited follow-up marks a significant leap forward. No less experimental than its predecessor, and certainly no less "electric", yet in many ways a deeper and more profound expression of the trio's interests, Umbra is probably some sort of masterpiece. Over nine tracks varying from two to six minutes in length, Nils Økland (fiddles), Per Steinar Lie (guitars) and Ørjan Haaland (drums) create a completely convincing musical world where the conventional boundaries separating different styles seem to disappear. Exactly what type of music this might be, and where it might come from, ceases to matter once one is engaged in the act of listening. Each tune has a distinct identity of its own, and imprints itself on the mind very easily, as does the aesthetic unity of the album as a whole. Indeed, Umbra proves compulsively listenable at whatever level you choose, and repays close attention and repeated exposure. It also takes us far beyond the initial, shock-effect response to the first album, and the perceived incongruity of a musician schooled in folk and classical music collaborating with members of an experimental rock band, the guitarist and drummer from the influential post-rock band The Low Frequency in Stereo. On Umbra, everything fits perfectly. While a convenient image for Lumen Drones could be that of a lone voice (Økland's Hardanger fiddle) crying out in the forest, where it's menaced by the jagged shapes of malevolent trees (Per Steinar Lie's buzzsaw guitar and Ørjan Haaland's rumbling drums), the truth is much less clear-cut. Økland's "voice" can be as wild and as frenzied as either of his bandmates, while they are as capable as Økland of great delicacy and restraint.”
COSEY FANNI TUTTI - Delia Derbyshire: The Myths and the Legendary Tapes (Conspiracy International 2022; UK) “Cosey Fanni Tutti has announced details of a new album, Delia Derbyshire: The Myths and the Legendary Tapes, her original soundtrack recordings for Caroline Catz's acclaimed film about Derbyshire. In 2018, Cosey Fanni Tutti was commissioned to write the soundtrack to director and actor Caroline Catz's acclaimed, intimate portrayal of the composer, musician, and sonic experimentalist, Delia Derbyshire (1937-2001). Best known for her groundbreaking work on the 1963 Doctor Who theme tune, Derbyshire was instrumental in giving easy access to and rewiring a nation's attitudes towards electronic music. Working within the often-stifling confines of the BBC Radiophonic Workshop, her experimentalism -- which saw her manipulating magnetic tape, found sounds and electronics -- is only now being given full credit for the immeasurable impact it has had on the way we hear the world. The new album includes the audio explorations and experiments that lead Cosey Fanni Tutti to the final soundtrack for Catz's film. From the four-minute long "Cornet Lament" to the humorous "Snuff Chorus" (which references an addiction that Derbyshire had for snuff), the album is a journey through both Delia and Cosey's practise -- Fanni Tutti spent time researching Derbyshire's archives (both musical and the more personal ephemera of her life) to create an audio world for Catz's depiction of the artist to inhabit. Fanni Tutti explains, "The compositions are inspired by my research of the Delia Derbyshire audio archive, Delia's original compositional notes and techniques which in combination with my admiration and love of Delia's work provided a way to integrate her style and approach to music with my own. An alliance of our sensibilities." The new album follows the release of Cosey Fanni Tutti's new book, RE-SISTERS: The Lives and Recordings of Delia Derbyshire, Margery Kempe and Cosey Fanni Tutti. The music was composed, performed and produced by Cosey Fanni Tutti in Twickenham Studio 3, London and Studio 47 in Norfork, with vocals by Cosey Fanni Tutti and Caroline Catz, alongside the voice of Delia Derbyshire.
Musician, artist, and author Cosey Fanni Tutti has continually challenged boundaries and conventions for four decades. As a founding member of the hugely influential avant-garde band Throbbing Gristle, as one half of electronic pioneers Chris and Cosey, and as an artist channeling her experience in pornographic modelling and striptease, her work on the margins has come to reshape the mainstream. Her first solo album, Time To Tell (1983) was followed by 2019's Tutti and her debut book, Art Sex Music, was published in 2017.”
MARK PETERS - Red Sunset Dreams (Sonic Cathedral 230CD; UK) “Mark Peters releases a second solo album Red Sunset Dreams on Sonic Cathedral. The follow-up to his hugely acclaimed debut Innerland (SCR 094CD/LP, 2018), which was one of Rough Trade's albums of the year when it came out in 2018, it features a number of guest musicians, including former One Dove singer and songwriter Dot Allison and pedal steel legend BJ Cole. Like its predecessor, Red Sunset Dreams is an album about an imaginary landscape. Whereas Innerland was an introspective psycho-geographic trip inspired by Mark's move back to his hometown of Wigan and the memories it stirred up, Red Sunset Dreams looks outwards, across the Atlantic to the United States of America, but very much through a UK prism; a representation of the subconscious Americana that's buried deep in our collective psyches. The result is an incredibly evocative trip through the landscapes of old Western movies, exploring their links with the North West of England while touching on wider themes such as isolation, freedom and dementia. Sonically, it builds on the palette of the previous record with instrumentation equally inspired by the ascendant ambient Americana movement and classic country-rock. As a result it ends up somewhere between Acetone's peerless I Guess I Would, Diamond Head-era Phil Manzanera and the dusty instrumentals on the second disc of David Sylvian's 1986 classic Gone To Earth. Mark has spent the four years since Innerland recording and releasing Destiny Waiving, his third collaboration with Ulrich Schnauss, and recently followed up 2020's new Engineers recordings (the ambient perambulations of Pictobug) with a reissue series of the band's much sought -after early albums. He has recently put a brand-new band together and will be playing a series of live shows following the release of Red Sunset Dreams.”
LUCID LUCIA - Ever-Changing Light (Sdban Ultra 027CD; Belgium) “Following the release of their critically acclaimed self-titled debut EP in 2021, Antwerp's Lucid Lucia release their debut album Ever-Changing Light via the groove-obsessed Belgian tastemaker label, Sdban Ultra. Searching to unwrap the mystery that is a human life, across nine tracks of jazz and space funk-infused grooves, Lucid Lucia look to the sound of Herbie's Head Hunters and Miles's acid funk of the mid-70s for inspiration. Ever-Changing Light is a mind-expanding celebration centered on freedom and rhythm. Free-spirited saxes, futuristic-sounding keys, monstrous bass lines and shifting drum beats unite, resulting in an uplifting and joyous celebration of jazz, funk, and groove. From the loose, laidback stylings of "Mumpsimus" and the jazz-funk odyssey that is "Pigeons" to the sonic wonders of "Reminiscence" and urgent flow of "Quanked", Lucid Lucia is a marvelous journey of luminous sounds and vibrant rhythms. Elsewhere, the warped aesthetics of "Oneironauts" and improv "Pukti part 1" showcase a tight rhythm section, inventive horns, funky keys and guitar while the spiritual magnum opus "Voor Pieter A." is a magical example of the virtuosity of Lucid Lucia. Born from the ashes of fusion outfit BRZZVLL, Lucid Lucia were founded by saxophonist Vincent Brijs, a household name in Antwerp and the Belgian jazz scene. Former winners of the Jong Jazztalent Gent, BRZZVLL released their debut album Days of Thunder, Days of Grace in 2008 and would go on to release five more albums including teaming up with Trinidad-born poet, novelist and musician Anthony Joseph on the 2014 critically acclaimed album Engines and with hip-hop MC, writer, and producer Amir Sulaiman on the 2016 album First Let's Dance. The 2017 album Waiho (SDBANU 005CD/LP), the band's first instrumental album and final album received glowing praise. To the present day and Lucid Lucia marks a brighter, clearer sound for the sextet. Consisting of Vincent Brijs: (saxophones, EWI), Bart Borremans (saxophones), Stijn Cools (drums), Dries Laheye (bass), Dries Verhulst (guitar), Jan Willems (keys), and James Williams (drums, percussion), they have honed their skills performing with numerous artists from home and around the world including Ursula Rucker, Joseph Bowie (Defunkt), Amir Sulaiman, Anthony Joseph, Zena Edwards, Ayanna Witter Johnson, Baloji, Mo & Grazz, Kain the Poet (The Last Poets), Marie Daulne, Dizzy Madjeku, Ida Nielsen, and many others.”
BLACK JESUS EXPERIENCE - Good Evening Black Buddha (Agogo Records 149CD; Germany) “Good Evening Black Buddha is Black Jesus eXperience's seventh studio album. Inspired by the land we live on and the connection to all that have gone before and will follow, inspired by the multicultural power of our community, inspired by the paradox of the story of the Black Buddha. From the perversity of the pandemic and its imposition of separation comes Good Evening Black Buddha, celebrating togetherness. Darkness is light. At the heart of Black Jesus eXperience's inspiration is Ethiopian/Australian singer Enushu Taye. Enushu's openness and poetic insight, delivered with unique beauty in her own Amharic tongue, lie at the core of Good Evening Black Buddha and all that Black Jesus eXperience (BJX) do. MC Mista Monk (Liam Monkhouse) complements and contrasts with rhymes and flow born of Africa and outback Australia. BJX are joined by their great friends, powerhouse singer Vida-Sunshyne, and crystalline new voice Gracie Sinclair. The songs on Good Evening Black Buddha rove from the lightness of touch of a trio to BJX's full fourteen piece polyrhythmic, polymetric, polytonal Ethiofunk juggernaut with six-piece horn arrangements. Soloists include living national treasure Bob Sedergreen on keyboards, Peter Harper on saxophone, Ian Dixon on trumpet, Zac Lister on guitar, Larry Crestani on guitar and his own invention "kraartar", over the deep grooves of Richard Rose on bass, James Davies on kit, and Kahan Harper on percussion. Black Jesus eXperience is also proud to be joined by conga player Louis Poblete, kraar and masinko virtuoso Endalkachew Yenehun, proud Kuku Nyunkal man and master yiki yiki (dijeridu) player Sean Ryan.”
CONDOR GRUPPE - Gulliver (Sdban Ultra Sdbanu 026CD; Belgium) “Gulliver, the latest Condor Gruppe album, is a nod to yet another spiritual journey in the band's ever-evolving saga. Released via the groove-obsessed Sdban Ultra, the Antwerp-based nine-piece ensemble take you on a hypnotic trip, paying tribute to obscure Italian '70s film soundtracks, krautrock and psychedelic grooves. Fuse the melancholy of Pink Floyd, the heroism of Ennio Morricone and the world grooves of Goat and you get an idea of what Condor Gruppe is. Always looking to push musical boundaries, Condor Gruppe rely on the adventurous use of their instruments and their intriguing musical patter. Melancholic, exotic, surreal, the band's sound is enriched by instruments including the handpan, Jew's harp, darbouka, and tanpura. Diverse sounds, rhythms and melodies build, exciting the listener whilst always remaining familiar. From the thunderous, spacious prog rock sounds of "What Could Have Been", to the loose, laidback grooves of the mystical "Farid" and groovy "Rhymes On Our Mind", Gulliver is a soundtrack for visits to far-flung places and a mesmerizing trip through the band's own record shelves. Condor Gruppe released their debut album Latituds del Cavall in 2014 with nine exotica fueled songs that echo the sound of an intoxicated ride through the desert. This was followed up in 2016 with FROG BOG - A Tribute to Moondog -- an adaptation of the work of the legendary composer and outsider. Containing six Moondog interpretations, trumpet player Dirk Timmermans, saxophonist Matti Willems, and baritone saxophonist Hanne De Backer joined the five original members of Condor Gruppe, with the results a spectacular mix between Moondog's jazzy compositions and Condor Gruppe's dreamy instrumental sound. Second album proper Interplanetary Travels (2018) -- a nostalgic, melancholic soundtrack -- saw the introduction of the Anoushka Shankar-trained Nicolas Mortelmans on sitar. The title hinting at Sun Ra is no coincidence. Condor Gruppe recorded eight songs that give you the creepy feel of a horror scene, the heroism of the best film scores and the hypnotizing grooves of jungle tribes. At this year's Ghent Film Festival, Condor Gruppe performed a live version of the score for the dark, hypnotic, surreal, erotic vampire film Daughters of Darkness (1971), directed by Belgian cult director Harry Kümel. The score was originally recorded by François de Roubaix, famous soundtrack composer. De Roubaix has always been a great source of inspiration for Condor Gruppe.
HISTORIC & ARCHIVAL RECORDINGS, REISSUES & RESTOCKED DISCS:
PHAROAH SANDERS with SUN RA / DON CHERRY / PAUL BLEY / MARSHALL ALLEN / JANE GETZ / ALAN SILVA / DAVID IZENZON / RONNIE BOYKINS / PAUL MOTIAN / et al - In the Beginning 1963-64 (ESP-Disk 4069; USA) The only available Pharoah Sanders on ESP-Disk currently. R.I.P. This four-CD set documents the first recordings of the iconic tenor saxophonist, prior to his well-known association with John Coltrane. Beginning with two previously unreleased sessions with Ornette Coleman alumni Don Cherry and Paul Bley, followed by Pharoah's debut date as a leader for ESP-Disk', and concluding with the first issue ever of the complete December 30 and 31, 1964, concerts with Sun Ra at Judson Hall, Sanders's only known recordings with the Arkestra. The set also includes rare recorded interviews with Sanders, Cherry, Bley, and Ra by project producer Michael D. Anderson. Personnel: Don Cherry, Paul Bley, Sun Ra, David Izenzon, Paul Motian, Jane Getz, Marshall Allen, Alan Silva, Ronnie Boykins and many more!”
4 CD Set $42
ATTENTION ALL CREATIVE MUSICIANS OUT THERE, Around the world.
If you have a link for some music that you are working on and want to share it with the folks who read the DMG Newsletter, please send the link to DMG at DMG@Downtownmusicgallery.com.
NUBLU JAZZ FEST:
SUNDAY, OCTOBER 9, 2022 AT 8 PM
GOLDBERGER / GERMAINE / MANERI / WOLLESEN!
Nublu, 151 Avenue C
Jonathan Goldberger, guitar
Sylvester Germaine - el bass
Mat Maneri - viola
Kenny Wollesen - drums
INDEPENDENT PROMOTERS ALLIANCE Presents:
KEN FILIANO (bass), LOU GRASSI (drums) Special Guest on Piano
Saturday, OCTOBER 22 at 7:00 PM
At Michiko Studios, Stage 2
149 West 46th Street
Stage 2 is on 3rd floor (building is not elevator-equipped)
Thursday, October 27 and Friday, October 28, 2022
Plays Éliane Radigue, Yasunao Tone,
Ellen Arkbro, Ben Patterson and Phill Niblock
doors 7 pm, shows 7:30 pm
At Blank Forms
468 Grand Ave, 1D,
Brooklyn NY 11238
SUNDAY, NOVEMBER 27 8:00 PM
John Zorn’s NEW MASADA QUARTET
509 Atlantic Ave, Brooklyn, NY 11217
John Zorn - sax
Julian Lage - guitar
Jorge Roeder - bass
Kenny Wollesen - drums
THEIR ONLY PERFORMANCE UNTIL SPRING 2023 - DON’T MISS THIS ONE!
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: https://rickrees.substack.com/p/fred-frith-interview . Rick Rees has been working on a website/blog/book/whatever about the great producer/manager/instigator/raconteur Georgio Gomelsky. Gomelsky is someone I’ve long admired and Rees is doing a good job of documenting/interviewing numerous Gomelsky associates. The Fred Frith interview is great and if you are a Frith fan, you should want to know about a number of upcoming projects, tours, etc. This interview showed up in my email during the last hour of my birthday last Sunday and it made me smile. Fred Frith & myself are old friends and he is someone whose music and attitude I really admire. - BLG
AMAZING SERIES OF PODCASTS PUT TOGETHER BY THE GREAT GUITARIST SAMO SALAMON:
The wonderful Slovenian guitarist/composer Samo Salamon has an incredible podcast on Youtube entitled "DR. JAZZ". He has interviewed many of the leading lights of contemporary improvisation including Bill Frisell, Hal Galper, Herb Robertson, Ben Monder, Bob Moses etc. and his conversations are deep and enlightening. Highly recommended for all curious listeners across the worlds of creative music. Here is the link below..
https://www.bing.com/videos/search?q=samo šalamon&qpvt=samo šalamon&FORM=VDRE
Guitarist and DMG-pal HENRY KAISER has a monthly Video Solo Series on Cuneiform’s Youtube page:
My good friend & guitar master GARY LUCAS is playing half hour sets at his apartment in the West village every Tuesday, Thursday & Saturday at 10:30pm Tues, Thurs and Sat on Facebook. Different songs & improvisations on each episode. Here is the link: https://www.facebook.com/gary.lucas.5836/
ATTENTION TO ALL DMG CUSTOMERS: NEW EMAIL ADDRESS: firstname.lastname@example.org