This is how you're gonna sink, now
I don’t care whatever you may think, now
I'm gonna bring my wrath down on you, now
So you'll feel the weight of truth, now
Gonna drop you like a rock of ages in the sea
And disappear like a pebble in eternity
Nobody wants to save what’s best left dead
A tidal wave is gonna dig your grave
Never ever again will you ever hear
The sweet sound of no beautiful singer's voice
No angels playing guitars
Or plucking on they harps
No flutes, no trumpet players
Will be left back of Bouchon
Ain't gonna be no ditch diggers, no construction workers
No pimps, no hustlers, no jaw jerkers
No city lights, no pretty sights
Will ever shine on you again
No more actors, no Max Factors
Will smog your mind and leave you blind
No politicians, no higher religions
To guide you from the dark
No more Love-Ins, no more Human Be-Ins
Will light up Griffin Park
On your hands is the blood of the prophets and all the holy ones
Everyone you executed with your machine guns
You're bringing about your own destruction, Babylon
Last night, before I launched into my nighty Live Dead 1 hour marathon (in chrono order, currently at 12/5/71) of their transcendent jam music, I decided to play an album that I hadn’t heard in a long while. I put on Dr. John’s second album, ‘Babylon’ and marveled at how great it has remained, more than 50 years later. It was released in 1969, a year which I feel was a seminal stepping stone from psych & experimental rock into the beginning of progressive & jazz/rock, which would dominate the first half of the seventies. Similar to the spooky, swampy, blues/funk/gospel/psych of Dr. John’s debut album, ‘Gris Gris’ from the previous year, ‘Babylon’ appears to me more political as far as the lyrics go and it also has that sly tongue-in-cheek humor that peppered the first album. “Babylon” was an ancient city in Mesopotamia, known for its luxuries. In the bible, “Babylon represents the corporate global rebellion (Final Beast) before God that is destroyed at the very end of this present evil age.” Hmmmmm, does this seem familiar at present?!? For some of us, Babylon represents the current Satanists: Putin/Trump/all other Right Wing Fascists/Dick-Taters/Nazi’s who are trying to take over our planet, their religion/direction is governed by Greed and Power and the Dark Forces that surround us. It seems as if you believe whichever news/opinion/propaganda you believe is real or fake, this is the side you’ve chosen. The lyrics to each song on ‘Babylon’ are worth exploring, check out “Lonesome Guitar Stranger” which mentions both Jimi Hendrix and Gabor Szabo in the lyrics. It is hilarious! “Babylon has been laid to waste, Egypt’s burning in hot flames….” - appropriate early Quicksilver quote. - MC BruceLee
THE DOWNTOWN MUSIC GALLERY 31st ANNIVERSARY IN-STORE PERFORMANCE SERIES Continues with:
Tuesday, October 18th:
6:30: NICK LYONS/ CHERYL RICHARDS / CLAIRE de BRUNNER / ADAM CAINE - Sax/Voice/Bassoon/Guitar
7:30: DANIEL GALOW / MATT HOLLENBERG - Sax / Guitar
8:30: KYLE MOTL / NICOLEE KUESTER / CARLO COSTA - Bass / French Horn / Percussion
Tuesday, October 25th:
6:30: KEVIN MURRAY - soprano sax / MICHAEL LAROCCA- drums
7:30: KENNY WARREN / CAMILO ANGELES / /JOHANNA MATTREY / CARLO COSTA - trumpet / sax / viola / percussion
* The Independent Promoters Alliance, Downtown Music Gallery & Artists Space Presents:
On Friday, October 21st at Artist Space:
“Cosmic Music is the Healing Force of the Universe” - The DMG 31st Anniversary Big Gig!
7:30: FRANCISCO MORA CATLETT’S AFRO HORN Featuring SAM NEWSOME / DD JACKSON / BOB STEWART / ROMAN DIAZ!
9 pm: TISZIJI MUNOZ’s COSMIC ENSEMBLE Celebrates PHAROAH SANDERS with PAUL SHAFFER / DON PATE / TONY FALCO / ADAM BENHAM / ZULFUGAR BAGHIROV!
Taking Place at Artists Space -
11 Cortlandt Alley, New York
212-226-3970 / https://artistsspace.org/
Tickets are FREE but you music sign up/RSVP at: https://www.eventbrite.com/e/tisziji-munoz-with-francisco-mora-catlett-and-afrohorn-tickets-432742623837
* I’ve been working on this gig for several years now, especially since my man Tisziji Muniz hasn’t played in NYC in many years. I urge you to consider going to this event as it will feature some Cosmic/Free Spirit/Avant-Jazz with Latin rhythms in the undertow. And it is FREE admission but you must RSVP. There are just 100 seats & a few dozen standing room. It will be the Cosmic Gig of the Year, I guarantee it! - Bruce Lee Gallanter, founder of Downtown Music Gallery and partner in the Downtown Promoter’s Alliance
THIS WEEK’S DYNAMIC DISCS BEGIN with A NEW JOHN ZORN, ELTON DEAN/KEITH TIPPETT QT & MORE..!
JOHN ZORN // JOHN MEDESKI / BRIAN MARSELLA / MATT HOLLENBERG / KENNY GROWHOWSKI - Multiplicities - Volume 1: A Repository Of Non-Existent Objects (Tzadik 8393; USA) ‘Multiplicities: A Repository of Non-Existent Object’s is a book of twenty new Zorn compositions in the form of musical aphorisms. Inspired by the writings and thought of French philosopher Gilles Deleuze, the music is wildly imaginative and meticulously structured, filled with unexpected twists and turns jumping from rock, jazz, and classical, to funk, metal, and more. This first volume presents the first ten aphorisms performed by Zorn’s dynamic new ensemble Chaos Magick. John Medeski, Brian Marsella, Matt Hollenberg, and Kenny Grohowski (four members of Zorn’s innermost circle) perform with an intense passion and painstaking attention to detail. Filled with fiery solos and bizarre juxtapositions, this is a multifaceted exploration of instrumental music at its wildest extremes.
FOR THOSE OF YOU WAITING FOR JOHN ZORN’s ‘HERMETIC ORGAN - Volume 9’ (TZ 8391), it has been delayed once again, no idea when it will be released. Any Zorn fans out there who are waiting to have it shipped along with the previous Zorn disc ‘Incerto’, we suggest that you can add ‘Multiplicities’ instead if you want it. Otherwise we will ship the order without ‘Hermetic 9’ by the end of the weekend. - BLG at DMG
ELTON DEAN QUARTET with KEITH TIPPETT / HARRY MILLER / LOUIS MOHOLO - On Italian Roads - Live in Milan 1979 (British Progressive Jazz 012STC; UK) Featuring Elton Dean on saxello & alto sax, Keith Tippett on piano, Harry Miller on double bass and Louis Moholo on drums. Recorded February 25 of 1979 at Teatro Cristallo in Milan, Italy. Holy sh*t! This is a previously unreleased treasure of British Avant Jazz at it very best! An amazing all-star cast: Elton Dean (from Soft Machine 1970-1972), Keith Tippett (KT Group, Centipede & Ovary Lodge), Harry Miller (Brotherhood of Breath & ever in-demand South African bassist) and Louis Moholo (founding father of the Blue Notes, Brotherhood of Breath & Dedication Orchestra). The opening tracking here is long (20 minutes) and soars with power, illumination and intense energy. Both Elton Dean’s saxello & alto sax and Keith Tippett’s piano are beyond believe, beyond the intensity level that we often take for granted. Bassist Harry Miller and drummer Louis Moholo, the later Blues Notes/BoB rhythm team are in colossal form as well! Unbelievable on all levels! - Bruce Lee Gallanter, DMG
CD $16 [Limited edition CD copy of 300, we have 15 only now]
GRAHAM COLLIER with HARRY BECKETT / TED CURSON / STAN SULZMANN / TONY ROBERTS / NICK EVANS / KARL JENKINS / PIERRE CAVALLI / JOHN MARSHALL / et al - Hamburg 1968 (British Progressive Jazz 008STC; UK) This is an early version of the Graham Collier Ensemble and it features Tony Roberts, Stan Sulzmann & Karl Jenkins on reeds, Harry Beckett & Ted Curson on trumpets, Nick Evans & John Mumford on trombones, Pierre Cavalli on guitar, Graham Collier on bass & compositions and John Marshall on drums. I feel fortunate to have become friends with British jazz composer and band-leader Graham Collier. I first met Mr, Collier around 1978 when he came to NYC to sign papers since he was excerpting some passages from a Malcolm Lowery book for an album he was working on. He left me with 5 albums from his own label to hand deliver to 5 or so jazz journalists in NYC plus copies for myself. After listening to each one, I became a big fan of everything he has done on record (upwards of 20 releases). We went out for dinner again in the mid-nineties when he was in town to do a workshop at Julliard, thanking me for reviewing and promoting a number of his reissues for the Disconforme label. He later moved to Spain and then Greece, sending us copies of his last few self-produced releases, as well as a book about jazz that he authored. Although most of his back catalogue was agin reissued by BGO, none of his titles, except perhaps for two on Cuneiform, are currently in print. Sad but true until this one just showed up…
Graham Collier’s first record as a leader was called, ‘Deep Dark Blue Centre’ and it was released on Deram in 1967. Mr. Collier played bass and composed for his own band, known as Graham Collier Music, eventually giving up the bass (in the late 1970’s) to concentrate on composing and conducting his own music. His second album, ‘Down Another Road’ was released in 1969. This disc was recorded in Hamburg, Germany in December of 1968 and none of the tracks are to be found on the either of his first two releases. Perhaps he wasn’t able to record this music in the studio at the time some some reason. Starting off with “Backtrack”, Mr. Collier has several layers of horns all tightly swirling around one another in a marvelous kaleidoscopic way. All solos are kept short so that the varied horns can work together at creating a slow evolving tapestry of connected threads. Multi-instrumentalist Karl Jenkins (on bari sax, oboe, soprano sax & piano) keeps switching around, doubling some of the bass parts on bari sax and then being featured on oboe for “Indian Flower”. Mr. Jenkins would soon join Nucleus in 1970 and Soft Machine in 1973. Guitarist Pierre Cavalli, a fine player with whom I know little about except for his work with Wolfgang Dauner & Sahib Shihab, plays both electric and acoustic guitar and is an integral part of this ensemble. Although Mr. Jenkins’ sly oboe solos throughout this piece, it is the layered harmonies of the swirling horns that makes this so impressive. “Indian Rock” is the longest piece here and perhaps, the most impressive at its features some wonderful ensemble passages with a number of strong, inspired solos (Tony Roberts on tenor sax, Pierre Cavalli on bluesy guitar), the rest of the ensemble moving in waves around or underneath the soloists. “Across the River” is also long and begins with a sumptuous haunting duo with flugelhorn (Harry Beckett) and trombone. The entire piece is slow and eerie at times with a number of strong solos from Tony Roberts on bass clarinet and one of the trombonists. The last piece, “View from Hungerford Bridge” is an eerie, restrained piece for exquisite simmer oboe, flute, acoustic bass & acoustic guitar, closer to modern chamber music than regular jazz. It extremely calm and somewhat peaceful, a lovely way to bring this wonderful release to a fine close. This is a limited edition release so grab it soon. - Bruce Lee Gallanter, DMG
CD $16 [Limited edition CD copy of 300, we have 15 only now]
LLOYD MILLER with JEF GILSON / ALAIN TABAR-NOUVEL / PIERRE CARON / HENRI TEXIER / PRESTON KIES / DON WEST / DICK BEESON / TOM BURTON / et al - A Lifetime in Oriental Jazz (Jazzman Jmancd 028; UK) American born multi-instrumentlist, Lloyd Miller, was a fascinating figure, his life and travels are of mythic proportions. He was born in L.A., started playing piano at 3 and was playing cornet, banjo, clarinet, sax & trombone as a teenager. Mr. Miller and his family moved to Tehran in Iran in the mid-fifties, learning the language and studying the music there before moving to Germany, working as a jazz musician in Frankfurt and Mainz, playing mostly piano & cornet. Miller became homeless for a period and then was helped by his mother and moved to Geneva, Switzerland to attend school, eventually making his way to Stockhom, Sweden and later to Brussels, Belgium, playing with an revolving crew of musicians. Miller soon moved to Paris and was befriended by legendary pianist, Jef Gilson, whose band he joined. Since both Gilson & Miller played piano, Mr. Miller ended up learning balaphon (an African marimba-like instrument), baritone horn, tuba and micro-organ. Miller moved back to the US around 1960, attending school in Utah, learning to play more ethnic instruments: the santur (a Persian hammered dulcimer). He called his music “Oriental Music”, but it did combine a variety of cultures. Miller’s own music draws from the time he spent in Iran as well as going to Afghanistan, central Asia and the Middle East in the early 70’s. Miller continued to study, teach and learn varied instruments from different cultures: oud, dan tranh, tambura and tablas. Mr. Miller made around a half dozen albums throughout his long journey and all are hard to find. Two of those, ‘Oriental Jazz’ and ‘Jazz at the University of Utah’, have been reissued on vinyl but both are not currently in stock at our distributor.
This disc includes music from each of those sessions as well as some rarities. The personnel, instrumentation and concepts are somewhat different on each of the 14 tracks here. “Gol-e Gandom” (which means “Wheat Flowers”) features Mr. Miller on santur (hammered dulcimer). Both the piano solo by Preston Kies and santur solo by Miller are splendid modal revelations. Mr. Miller plays santur and clarinet on “Gozel Guzler” (“Amber Eyes”), which has another hypnotic modal theme and is absolutely mesmerizing. Mr. Miller plays a micro-organ & Khene (mouth organ with bamboo pipes) on “Le Grand Bidou”, which features the Jef Gilson Sextet. This piece features an inspired soprano sax solo by Alain Tabar-Nouval. What make this piece special is the multi-layered drones that Miller created by using a squeezing a piece of paper in between the keys of his organ to hold a note down throughout. On each piece, Miller finds a way to push the recognized barriers of the music by altering the instruments or his playing. Miller plays an extraordinary opening oud solo at the beginning of “Gozel Guzler” (version 2). Each piece has several marvelous sounds/ideas/experiments going on which make this music most compelling. I keep playing this long disc (78 minutes) over and over since there is so much incredible music found here well worth exploring. - Bruce Lee Gallanter, DMG
CENTIPEDE with KEITH TIPPETT / JULIE TIPPETTS / MAGGIE NICOLS / ELTO DEAN / DUDU PUKWANA / IAN McDONALD / GARY WINDO / ALAN SKIDMORE / KARL JENKINS / NICK EVANS / BRIAN GODDING / IAN CARR / MONGEZI FEZA / ROY BABBINGTON / HARRY MILLER / ROBERT WYATT / JOHN MARSHALL / et al - Septober Energy (Esoteric Eclec 22813; UK) This is a legendary all-time classic of '70s Avant-British Jazz! Keith Tippett's 3rd album from 1971 is a 50 piece orchestra including (hold onto your pates!) Mongesi Feza, Marc Charig, Elton Dean, Dudu Pukwana, Ian McDonald, Larry Stabbins, Gary Windo, Alan Skidmore, Karl Jenkins, Nick Evans, Paul Rutherford, John Marshall, Robert Wyatt, Roy Babbington, Harry Miller, Jeff Clyne, and vocalists Maggie Nichols, Julie Tippetts, Mike Patto, Zoot Money and Boz Burrell, and guitarist Brian Godding (replacing Robert Fripp from the tour, who was too busy producing this recording!). Tippett's brilliantly structured and arranged 4-part suite allows for plenty of free expression from the indivdual players. Influenced by (but not derivative of) great composer/arranger suites of Mingus, Ellington et al!
This incredible 2 LP (now 2 CD) set was a massive undertaking and it utilized the cream of British avant/jazz and progressive jazz/rock scene. It has been reissued several times on both CD and LP but hasn’t been in-print on CD in a long while. Esoteric has done a fine job of making the sound/production even better than before. This incredible 2 LP set was first released on RCA-UK in 1971, a major label with some financial resources to spare. Word is that RCA hired a plane to bring the entire 50-piece orchestra around Europe for several historic concerts and that there were a number of hilarious/notorious incidents of wild sex & drug use on the plane flights. I did ask several original Centipede members about this when Keith Tippett’s Tapestry Large Ensemble played at FIMAV in 2002. All of whom I spoke with just laughed and winked without revealing any saucy details so we will have to use our imaginations… This classic gem is a must-have for you Canterbury/Proghead/Jazz-Rock completists. - BLG at DMG
2 CD Set $24
ANDREW CYRILLE / ELLIOTT SHARP / RICHARD TEITELBAUM - Evocation (Infrequent Seams 47; USA) Featuring Andrew Cyrille on drums & percussion, Elliott Sharp on 8-string guitarbass, bass clarinet & Richard Teitelbaum on computer, piano & sampler. This disc was recorded live at Roulette in October of 2011. I’ve long admired the playing of legendary jazz drummer Andrew Cyrille since he has played with many respected elders like Cecil Taylor, Bobby Bradford & John Carter, Muhal Richard Abrams, Carla Bley and David Murray. Mr. Cyrille is also a strong bandleader with some two dozen releases, from solo to quintet, under his belt. Over the past decade, Mr. Cyrille, has been stretching out his bandleading talents by having a quartet with Bill Frisell, Richard Teitelbaum & Ben Street plus a trio with a trio with Enrico Rava & William Parker and a duo with Bill McHenry. It turns out that Mr. Cyrille has been working together with Mr. Teitelbaum for a long time since they both played on a Leroy Jenkins record from 1976, collaborating on a rare duo effort recorded in 1981 and a quartet with Bill Frisell, Teitelbaum & Ben Street from 2016 (CD on ECM). Elliott Sharp is another Downtown multi-instrumentalist who had not worked with Mr. Cyrille or Teitlebaum before this date to my knowledge. I’ve caught Mr. Teitelbaum live with MEV on several occasions as well as with a few of his own projects and have always dug the way he uses his electronics.
The set starts off with soft chattering bass clarinet, subtle percussion and eerie, simmering electronic sounds. I’ve found that Mr. Teitelbaum often takes whatever he has sampled at his last gig or recording, he brings into the next live or studio date. Hence, we hear some spoken word voices floating in the earlier part of this set or disc. The entire set flows from one section to the next and sounds most organic in the way it unfolds. Mr. Cyrille starts off “Singularity to Unity” with some subtle percussive sounds, which are followed by Mr. Sharp’s distinctive tapping of the strings of his guitarbass. Soon the density starts to thicken as the sounds speed up with several swirling sounds moving around one another. Teitelbaum adds a layer of electronic whizzes and static sounds while switches between sustain guitar fragments & occasional bass clarinet phrases with Mr. Cyrille taking his time to add a variety of shades & shadows, rarely adding any repeating percussive lines. Mr. Teitelbaum is very selective about the things he samples or creates, a cow mooing, birds or insects chirping and assorted electronic sounds or sound effects. At times it is difficult to recognize who is doing which sound but it doesn’t really matter if the sounds/music is thoughtfully created and manipulated. The overall effect is most mesmerizing, sparse at times yet still dreamlike. - Bruce Lee Gallanter, DMG
PAYTON MacDONALD / BILLY MARTIN / ELLIOTT SHARP / COLIN STETSON - Void Patrol (Infrequent Seams 43; USA) Featuring Payton MacDonald on marimba & direction, Elliott Sharp on strings & electronics, Colin Stetson on saxes and Billy Martin on drums & percussion. During the great pandemic of 2021, musicians had to stop playing live and doing concerts for more than a year and figure out how to collaborate with other musicians without leaving their homes or local studios. Australian percussionist & composer Payton MacDonald organized this all-star international quartet, recording his marimba parts first and then sending to each musicians with a set of directions to help navigate his ideas/directions. I didn’t know much about Mr. Payton before this disc aside that he has a rare solo marimba disc from 2011 and that he was a member of Mr. Sharp’s SysOrk-ReGenerate Ensemble. Most of you/us know all about Mr. Sharp, Mr. Stetson and Mr. Martin, since each is well recognized for a variety of popular projects/bands they’ve done. I must admit that I’ve long enjoyed the many solo bari & bass sax sets I’ve caught Colin Stetson throughout the years and earlier this year (2022) at FIMAV in a duo with Scandinavian saxist Mats Gustafsson for a most impressive set.
The first thing that is apparent here is that Mr. MacDonald has worked hard at considering an overall structure or direction by recording a series of marimba parts which are at the center of all or most of this music. “Antares” is first and it has an alluring hypnotic repeating marimba line, parts of which are doubled by Billy Martin’s sly drumming plus throbbing electronics and spiraling sax up front. Mr. MacDonald’s marimba lines start to change and speed up midway, the sax & electronics all resonating together. For “Rigel”, the marimba groove is quick & steady (occasionally dropping out) while the drums play around the groove nicely, the electronics and distant sax pulsating together on top. For “Sirius”, E#’s signature throbbing guitar and Stetson’s swirling soprano both swirl together over the multiple rhythmic grooves of the marimba & percussion. Mr. Stetson speeds up while circular breathing long, flowing, stream of notes, the effect is quite mesmerizing. Mr. MacDonald’s pulsating marimba is at he center of the storm, expanding and contracting over & over. The marimba lines fall between Steve Reich & PhilipGlass-like repeating patterns but are varied enough to keep them from being predictable. Longtime drummer for Medeski, Martin & Woods & the Lounge Lizards, Billy Martin, is the secret weapon/ingredient here. Martin has studied percussion music & instruments from around the world and adds bits of ethnic, jazz, rock and other odd percussives. Although all of the musicians here recorded their parts in their own studios, the overall sound is focused, sounding like a rich, unified Creative Music Quartet. Delish! - Bruce Lee Gallanter, DMG
JOEL FUTTERMAN / WILLIAM PARKER / CHAD FOWLER / STEVE HIRSH - The Deep (Mahakala 038; USA) Featuring Joel Futterman on piano, Chad Fowler on stritch, William Parker on contrabass and Steve Hirsh on drums. A couple of weeks ago, we had a quartet with Ivo Perelman & Jim Clouse on saxes, Sean Conly on bass and Patrick Golden on drums here at DMG. It was the first time that this particular quartet played together and the set was fantastic! Mahakala founder and saxist Chad Fowler was in attendance so I got chance to speak with him at length, discussing how consistent his label is at capturing Cosmic Free Spirit Jazz Music in all of its glory. We just got six new CD’s on Mahakala and I dig each one. This disc features Free/Jazz giant monster pianist Joel Futterman (originally from Chicago), contrabass extraordinaire William Parker (Downtown’s finest), Mahakala label founder Chad Fowler on stritch a straight, elongated alto sax (once made famous by Rahsaan Roland Kirk) and Steve Hirsh on drums. I didn’t know about Mr. Hirsh until he turned on several records discs on Mahakala including a superfine quartet disc with Eri Yamamoto. From the opening salvo, this is indeed some powerful Free Spirit music, pounding, throbbing, pulsating, spinning in furious waves. No one sounds like Joel Futterman on piano, whipping up a storm and hitting those lightning-like lines while Mr. Fowler matches him on frenzied stritch (alto) sax. Fowler has a strong, powerful and probing tone on sax and sounds like he is riding some powerful tidal waves that the piano-led trio/quartet is spinning. There are several dialogues going on here throughout this entire disc. The piano and sax pushing each other higher & higher as the the rhythm team provides a cushion, sometimes explosive, sometimes laid back for short stretches. There is also a balancing act going on between the more extreme parts of the quartet and the music that is being spontaneously created. The balance is most organic in the way that it unfolds. Everyone in the quartet gets their chance to shine and/or soar and interact in wabe after wave. The Mahakala label is dedicated to providing us with inspiration by promoting Free/Spirit Music in its best form. The rewards are great for those who listening closely. - Bruce Lee Gallanter, DMG
CHAD FOWLER / WILLIAM PARKER / ANDERS GRIFFEN - Thinking Unthinking (Mahakala 037; USA) “Saxophonist-producer Chad Fowler has been prolific since launching his label Mahakala Music. His latest releases - Thinking Unthinking and Broken Unbroken - realize his decades-long dream of recording in a trio with bass and drums. Bassist William Parker and drummer Anders Griffen each made their debut recordings with saxophonist Frank Lowe, albeit over 20 years apart, and originally made their musical connection at the turn of the millennium. Parker works with Fowler in Mahakala's inaugural band, Dopolarians.
These two titles were both recorded on the same day in August 2021. The music is completely improvised except for a couple melodies Fowler brought to the date - heard on "Kongerei" and "Marker" - but Parker and Griffen were not privy to these. Working together for the first time, the trio finds an easy rapport and takes advantage of the unlimited space afforded to them while exploring a range of textures and dynamics and everything from serene to aggressive.”
The following are in stock and will get reviewed for the next edition of the DMG Newsletter (if time allows):
CHAD FOWLER / WILLIAM PARKER / ANDERS GRIFFEN - Broken Unbroken (Mahakala 040; USA)
CHRISTIAN BUCHER / SIMON TAN / RICK COUNTRYMAN - Sacred Fire of the Free (FMR CD 637; UK)
UDU SCHINDLER & ERIC ZWANG ERIKSSON - Blow & Swirl (FMR CD 635; UK)
CARLO MASCOLO / MIGUEL MIRA / MARCELLO MAGLIOCCHI - Bridge in the Dark (FMR CD 638; UK)
SUNDAY SEXTET - Lih Kadim (FMR CD 645; UK) Personnel: Marko Jenic - violin, Jure Borsic - reeds, Andrej Bost Jancic Ruda - electric guitar, Jaka Berger - live sampling & modular synth, Jost Drasler - double bass and Vid Drasler - drums. Recorded in February of 2021 in the Hall of Cultural Centre in Slovenia.
PAOLO SORGE with SANTI DE LA RUBIA / GIUSEPE CAMPISI / LLUIS NAVAL - Mirroring (Blue Mama Records BMR 009; Italy) Featuring Paolo Sorge on guitar & compostions, Santi De la Rubia on tenor sax, Giuseppe Campisi on double bass and Lluis Naval on drums. Italian guitarist Paolo Sorge first stopped in at DMG in 2008 and left us a few of his discs from the Improvvisatore Involontario label, several of which were led by drummer Francesco Cusa. More than a decade later, Mr. Sorge came to visit us again and left us with three of his newer discs. This one features Mr. Sorge’s current quartet, none of whom’s personnel I am familiar I am previous familiar with. The first thing I noticed is that it is Mr. Sorge’s quirky composing that stands out. “Reperto” is laid back and not so far from the way Bill Frisell writes his own pieces.
JASON PURTILL with LEO GENOVESE / SEAN CONLY - Simple Twist (577 Records 5911; USA) Meeting in the studio with an open mind to approach, guitarist Justin Purtill and long-time friend, pianist Leo Genovese, are joined by bassist Sean Conly to record this set of original Purtrill songs, along with songs by John Hurt, Joe Price, and the title track by Bob Dylan, a relaxed and expressive session of jazz-based originals and interpretations.
ROBERT ASHLEY // THOMAS BUCKNER / “BLUE“ GENE TYRANNY / JOAN LA BARBARA / et al - Dust (Lovely Music 1006CD; USA) ‘Dust’ is an opera by Robert Ashley and Yukihiro Yoshihara (video direction) whose imaginary setting is a street corner anywhere in the world, where those who live on the fringes of society gather to talk, to each other and to themselves, about life-changing events, missed opportunities, memory, loss, and regret. Five "street people" recount the memories and experiences of one of their group, a man who has lost his legs in some unnamed war. As part of the experience of losing his legs, he began a conversation with God, under the influence of the morphine he was given to ease his pain. Now he wishes that the conversation, which was interrupted when the morphine wore off, could be continued so that he could get the "secret word" that would stop all wars and suffering. Personnel: Robert Ashley, Sam Ashley, Thomas Buckner, Jacqueline Humbert, Joan La Barbara - Voices; "Blue" Gene Tyranny - synthesizer; Tom Hamilton - live mixing and sound processing; electronic orchestration by Robert Ashley, Tom Hamilton and "Blue" Gene Tyranny; sound effects for "Friends" composed by Tom Hamilton. Double CD comes in a jewel box and includes the 160-page libretto in a slipcase.”
2 CD Set $24
ALVIN SINGLETON // MOMENTA QUARTET - Four String Quartets (New World Records 80832; USA) "Alvin Singleton's (b. 1940) approach to music-making has all along been involved in an interplay with listeners and their psychology. While this does not mean he has been centered on simply pleasing his audiences, his work seems to constantly draw his audience into confronting challenges of listening, and they tend to end up pleased. Therefore, with so many of his pieces, they might be extremely complex and masterfully crafted, but seldom do you feel he presents the listener with something they cannot understand on at least a basic level. When asked recently about why ordinary listeners seem to 'get' his music, he answered: 'Perhaps because it's structurally filled with surprises, a lot of silences, and spaces in my compositions...' Contrasts both big and small, long and short, vigorous and subdued, loud and quiet, are important to his music. Maybe a passage is presented that happens loudly over and over again followed by sudden silence. Suddenly the listener notices how loud that silence seems. In a way, it is the relationship with the listener that he regards as making serious music a serious matter. And his pieces are more than what is normally thought of as just pieces of music. One finds them that, yes, but as much as anything, they are experiences -- almost 'theatrical' experiences you can hear. Singleton's string quartets span the arc of his career -- the first (untitled) written in 1967, the fourth in 2019 -- and trace his stylistic evolution as a composer. Suggestively and somewhat enigmatically titled -- No. 2 (1988) is Secret Desire to Be Black; No. 3 (1994) is Somehow We Can; No. 4 is Hallelujah Anyhow -- they serve as an excellent introduction to his work and constitute a substantial contribution to the string quartet repertoire by one of this country's most distinguished African-American composers. Three of the four quartets are world-premiere recordings."
JAMES ROMIG // MIKE SCHEIDT - The Complexity of Distance (New World Records 80837; USA)“"At the onset, we hear a single, heavily distorted power chord. The chord fades, and then we hear three more iterations of the chord in regular, pulsed attacks. To some, especially fans of metal and its many subgenres, this sound is welcoming and familiar. To others, this sound is surprising, perhaps arresting -- an unexpected opening from a composer known for music of quiet, prolonged stillness. This chord and its four attacks signal the opening of The Complexity of Distance, a 58-minute collaboration between composer James Romig (b. 1971, 2019 Pulitzer Prize finalist) and guitarist Mike Scheidt (founder/guitarist/vocalist of the doom metal band YOB). For Romig, the chord came to symbolize his 'self' and his ' place' in the process; as the composition of the piece evolved and developed, it became the chord to which he could relate. For Scheidt, the chord takes on several meanings: the physical (a moment of rest); the spiritual (like the OM syllable in a Buddhist mantra); the psychological (its cyclic recurrence becoming hypnotic); a defiant 'assertion of intention.' These four attacks also set the piece's formal and harmonic structure into motion. The Complexity of Distance is completely built upon a 13:14:15 ratio, which Romig describes in the program notes: 'The work's formal structure comprises three simultaneously unfolding strands of evenly spaced rhythmic pulses, each articulating a unique pair of foundational chords that mutate and combine only when heard coincidentally with, or in close proximity to, others. The first rhythmic strand alternates, at a time-interval of 13 beats, between chords with roots written E and G (sounding A and C in A-standard tuning). The second strand alternates every 14 beats between chords with roots written C and D (F/G). The third strand alternates every 15 beats between chords of B and A (E/D). Beginning and ending with a unison pulse in all three strands, the 13:14:15 ratio takes 2,730 beats to resolve. At a metronome tempo of 48, the cyclic process lasts nearly an hour.' Similar to how a percussionist will choose specific instruments and mallets in order to achieve the particular timbral quality of a particular piece, Scheidt took great care and precision in choosing the materials to express Romig's score. In collaboration with engineer Billy Barnett of Gung Ho Studio and the Hult Performing Arts Center in Eugene, Oregon, Scheidt assembled a wide-ranging arsenal of equipment to craft the sound of this recording."
OLIVIA DE PRATO - I, A.M. - Artist Mother Project (New World Records 80838; USA) "The inspiration and theme for these six new compositions is 'Artistry and Motherhood.' The perennial question of whether a woman can be both an artist and a mother has been on my mind for a few years, having started a family myself in 2016. Important as it is, this topic is not often discussed in modern society, especially not in the frenetic environment of New York City. How did this life-changing experience influence our artistic vision and creativity? How do we fit into a society that still believes women must choose between family and art? The women collaborating with me on this project have committed to be dedicated mothers while still pursuing their goals and dreams in music and art. The music stands alone on its own merits but invites listeners to examine the practical realities and societal position of the artist-mother. This project highlights the rich and diverse talent of each artist while giving us a platform to discuss how the challenges and benefits of motherhood shape our artistic endeavors." - Olivia De Prato
GYEDU-BLAY AMBOLLEY - Gyedu-Blay Ambolley and High Life Jazz (Agogo Records 139CD; Germany) “Gyedu-Blay Ambolley is revered as the Simigwahene in Ghana, the king of Simigwa-highlife. Because of his deep, soulful, and funky highlife sound, he is also sometimes referred to as the "James Brown of Ghana". And not without reason. His blend of highlife, funk, jazz, soul, and proto-rap was and is still exhilarating. He learned music from outstanding artists like Sammy Larteh and Ebo Taylor, with whom he played in the Uhuru Dance Band. Together they founded the Apagya Show Band in 1974. Now, after more than 40 years active in music and his numerous albums, Gyedu-Blay Ambolley is a living legend, too. Gyedu-Blay Ambolley exploded on the music scene in 1973 with a jazzy, funky, and soulful highlife sound he called "Simigwa-Do". Building his own Simigwa style and leaving traces around the world, today the versatile, irrepressible and highly revered singer, composer, bandleader, multi-instrumentalist, producer, and "musical-life-force" has more than 30 music albums to his credit. On his new album Gyedu-Blay Ambolley And Hi-Life Jazz you can hear his versions of some classic jazz tunes like "Round Midnite", "Love Supreme", "Footprints", and "All Blues" as well as some new compositions by the Simigwa-man himself. For fans of: Ebo Taylor, Orlando Julius, Dele Sosimi, Wayne Shorter, Herbie Hancock.”
ANDREW TUTTLE - Fleeting Adventure (Basin Rock 014CD; UK) “Andrew Tuttle's Fleeting Adventure is a musical adventure through a reimagined journey from the Australian ambient producer and banjo player. Golden plucks of banjo, gauzy electronics and cosmic guitar shimmer into gloriously expansive melodies that conjure peace and space, comfort and wonder. A deepening sense of life, love, health, loss, and luck shaped the outlines of Tuttle's fifth, and most collaborative album to date. Following a surprising exhilaration and exhaustion from the hitherto most innocuous of moments in mid-2020 -- a half-hour drive to collect an online order, the furthest distance he'd traveled in months; Tuttle commenced working on new musical ideas loosely based around navigating the aftermaths and interregnums of a restless era. Thinking of musician friends and peers around the world -- each confined to their own immediate surroundings -- Tuttle's generative and collaborative musical practice became a silvery through-line, connecting American innovators Steve Gunn, Chuck Johnson, Luke Schneider, and Michael A. Muller (Balmorhea), to French/Swedish violinist Aurelie Ferriere and Spanish guitarist Conrado Isasa, back to Australian friends such as Voltfruit (aka Flora Wong and Luke Cuerel) and Darren Cross (Gerling) -- among many others -- each fitting seamlessly into Tuttle's vibrant musical world. Whilst previously a feature of Tuttle's music, the exploration of space and texture found within Fleeting Adventure feels particularly vast and generous. The involvement of Chuck Johnson and Lawrence English mixing and mastering the album respectively, as with their work on Tuttle's previous and breakthrough album Alexandra (RMSG 022CD, 2020), inspired Andrew to develop songs that are as serene and patient as he's ever sounded. Stripping elements back, the idea of pulling the songs apart somewhat, was just as important as adding the work of Andrew's collaborators. The road to Fleeting Adventure has been both long and short, but it sits as a tender and perhaps even vital reflection of an era in progress, in retrospect and in anticipation. A poignant contemplation on the many bonds that make up our lives from friends and family to the myriad places we inhabit and pass through along the way. The idea that an adventure doesn't necessarily have to be a grand statement Andrew Tuttle has gathered up a number of his contemporaries and crafted something quietly spectacular, a new beginning to familiar habits.”
KIERAN ADAMS / MATTHEW DUNN / ANDY HAAS - Future Moons (Ansible Editions 002; Canada) Featuring Andy Haas on sax, fife, hojok & live electronics, Matthew Dunn on keyboards, electronics & photography and Kieran Adams on sampler, drum machine & drums. I’ve know Andy Haas for some thirty years and have watched him evolve through many different bands and projects: Martha & the Muffins, Hanuman Sextet, Radio I-Ching, the Holy Ghost Spermic Brotherhood plus collaborations with John Zorn Makigami Koichi, Ken Aldcroft and Ikue Mori. Although I remember him playing mostly alto sax over the long haul, he often branches out to use exotic instruments like didjeridoo, piri, hojok and electronics. For this new trio effort, Mr. Haas is working with Matthew Dunn and Kieran Adams, both of whom hail from the Toronto area, a place that Andy lived many years back. I recall that Mr. Dunn has worked with Sunburned Hand of Man and MV/EE. Drummer Kieran Adams is/was a member of The Cosmic Range with Mr. Dunn plus can be found on some 40 releases along with a number of other Canadian musicians, most of whom have names that I don’t recognize.
When this LP begins, we hear somber, eerie (soprano?) sax, a childlike toybox keyboard and skeletal percussion, quite nice and rather dreamlike. The piece soon moves into some rather disorienting electronic sounds, kinda like falling through a hole into another unrecognizable dimension. Things soon quiet down but remain quietly psychedelic. Mr. Haas’ sax seems to float in from time to time, sometimes a bit altered, sometimes not. Further on on Side A, Mr. Haas’ soprano sax (or similar double reed) speeds up with some strong, bent-note (Zornish) lines which add some excitement to this otherwise more dreamy soundscape, the drummer does a fine job of shadowing the quick lines that Haas pulls off while the keyboard player adds some old-style shimmering organ chords underneath. This entire album is superbly produced and well-balanced, with some strong attention to sonic details. If you like Acid Mother Temple or Gong-like or any other sort of space jams, then this record was made for you fellow psych travelers. A few nights ago, I played the latest CD by Garcia Peoples, a great Jersey-based psych, Dead-influenced band that I’ve grown fond of over the last few years. I played the second side of this LP after and it seemed like a perfect companion plus I was a bit stoned out so I was feeling really good. Ommmmmmmmmm. - Bruce Lee Gallanter, DMG
LP $20 [high quality, clear vinyl, limited]
RAYMOND SCOTT - Powerhouse (Honey Pie Records 064LP; Italy) “Visionary composer Raymond Scott was a pure genius largely known thanks to the massive recycling and adaptation of his music for cartoons. "Powerhouse" the title track of this beautiful collection is one of his best-known compositions for Warner Brothers animated cartoons. Scott's Quintette recorded "Powerhouse" in New York on February 20, 1937. The first use in a cartoon occurred in the 1943 Looney Tunes short "Porky Pig's Feat" and since then, you can count hundreds of apparitions, versions, and quotes, from Bugs Bunny to The Simpsons via Kronos Quartet and Don Byron's versions. In other words: a true classic piece of music beyond time and genres. The Raymond Scott Quintet: Raymond Scott - piano, celeste; Dave Wade, Russ Case - trumpet; Pete Pumiglio - clarinet; Dave Harris - tenor saxophone; Lou Shoobe, Fred Whiting - bass; Johnny Williams - drums.”
ROBYN SCHULKOWSKY & GEBRUDER TEICHMANN - Time Bends (Noland 009LP; Germany) “Turn up the volume and look how time bends before your eyes because that is what Robyn Schulkowsky and Andi and Hannes Teichmann do with their music. They bend time. They make a ring out of it or some sort of ellipse, and then they pull it straight again, they transform it into a rope, and then, of course, they balance on it, forwards, backwards, half speed, double speed, 33 rounds per minute, or was it 45? Just try both. World percussion meets techno and Berlin club culture, one might be tempted to say. One would be wrong to do so. This is not just crossover, this is just not an "encounter" between different generations, different experiences, different cultures, traditions and attitudes and form associations of expressions, or, to put it in a more simple way, an "encounter" between drums and gongs and bells and stones and on the other side hardware-electronic and sequencing, delay and reverb. This is far more complex. No need to put a label on it." --Roland Schimmelpfennig (excerpt).
2 LP Set $40
MILES DAVIS QUINTET FEATURING JOHN COLTRANE - 1960-04-09 Kurhaus Scheveningen, The Netherlands (WHP 1454LP; Italy) “Stunning European live performance from Miles Davis with his early quintet featuring the magic of a young and talented John Coltrane. Personnel: Miles Davis (trumpet), John Coltrane (tenor saxophone), Wynton Kelly (piano), Paul Chambers (bass), Jimmy Cobb (drums).”
CURTIS FULLER with JIMMY HEATH / FREDDIE HUBBARD / CEDAR WALTON / et al - Soul Trombone And The Jazz Clan (Sowing Records 019LP; Italy) “Reissue, originally released on Impulse! in 1962. Soul Trombone And The Jazz Clan was a major statement from one of the great trombone players in American jazz. Here, Curtis Fuller displays an outstanding hard-bop ensemble based on a bunch of great individuals all at the top of their game. Fuller himself is part of a super strong horn section with trumpeter Freddie Hubbard and tenor saxophonist Jimmy Heath, while the groove is assured by a hard swinging rhythm section with pianist Cedar Walton, bassist Jimmie Merritt, and drummer Jimmy Cobb. Fuller gives lots of space to his musicians who naturally respond and empathize with great solos. In one word: outstanding! Clear vinyl.”
MARC RICHTER - Diode, Triode (Cellule 75 006LP; Germany) “First release under Black To Comm's real name: Marc Richter. This album presents two multichannel works recorded at the seminal INA GRM Studio in Paris and ZKM Institute in Karlsruhe respectively, mixed to stereo at the composer's Cellule 75 Studio in Hamburg with excellent mastering by Rashad Becker. While his releases under the Black To Comm moniker often touched the fringes of acousmatic techniques and musique concrete this is Richter's first foray into a more abstract spatial music. Recorded in the week leading up to the Paris terror attacks at the GRM studio, "Diode, Triode" is loosely based on a reading of (and, in parts, a failure to understand) "Le Parasite" (1980) by Michel Serres, a philosophic metaphor about human interaction and communication (which can also be interpreted as a lyrical essay on capitalism; part confusion, part enlightenment). As core elements Richter is using speech synthesis and the transformation and distortion of concrete sounds, instruments, voices, and breathing. Abstract incognizable sounds are combined with strings, reeds, and percussion while dismembered musical fragments emerge and vanish rapidly. Chunks of interfering noise are followed by long periods of silence; chaos and order are alternating. Choirs of synthetic and processed human voices are recounting stock market values, seemingly random sequences of numbers and inscrutable lyrics while parasitic sounds are trying to crack, collapse and fractionize the compositional stream and sonic interactions. Finally, a haunting piano chord is wrestling with a broken Publison machine. Like the book, it's part confusing, part enlightening -- and a radical piece of sonic art. "Diode, Triode" was premiered on the Acousmonium at INA GRM's Akousma Festival in Paris, January 22, 2016 alongside new works by François Bayle, Robert Hampson, Leo Kupper, and Ragnar Grippe. The second piece "Spiral Organ of Corti" has been composed in 2014 for the 47-speaker Klangdom concert hall at ZKM Karlsruhe at the foot of the Black Forest (where Richter was born and raised). How does one listen with closed ears? Sine tones, alienated human voices and breathing noises build a labyrinthine puzzle alternating between the natural and the artificial. Human sounds merge with winds and strings, sine tones morph into metal sounds. Acoustic illusions confuse the listener, and dense noise-clouds slowly emerge from deceptive silence. "Spiral Organ of Corti" is yet another extended composition that proves Richter is on a path of his very own. "Spiral Organ of Corti" is dedicated to the late Gary Todd. Edition of 300.
MER-DA - Long Burn The Fire (Cosmic Rock 010LP; Italy) “Reissue, originally released in 1972. Once there was Black Merda, such a funny a name if you happen to have any Italian heritage. To be true, that was meant as "Black Murder", but something went wrong along the way. For their second album the proto black rock band changed their name, turning simply into Mer-da. Long Burn The Fire was their last effort ever, soon came darkness and all of a sudden the group disbanded, before being praised in the early 2000s as forerunner of a young black generation. Officially a funk combo the band shared more than a moment with The Jimi Hendrix Experience and George Clinton/Funkadelic. Their acid-fuzz numbers brought similarities with early '70s psychedelic nomads, while some vocal harmonies had a more contemporary late-60s soul vibe. Coming from Detroit rock city, they became sort of a local legend.”
MATTEO TORCINOVICH - 1977 - Don't Call It Punk (Goodfellas Edizioni 978889977026; Italy) “1977 is the year of the punk movement's enormous productivity, the moment was characterized by a huge musical and aesthetic impact with its epicenter in London. '77 is recounted through a detailed chronicle that day by day reminds you of the sensational news events -- often out of proportion -- by the British scandal press, the countless record releases, shows, books, fanzines, and reviews in the leading Anglo-Saxon music magazines. The publication is a very rich almanac enriched by a collection of anecdotes generously told to the author, Matteo Torcinovich, by those who lived through that era firsthand. Musicians, writers, photographers such as Gaye Black of the Adverts, legendary Roxy Club founder Andrew Czezowski, Ana da Silva of the Raincoats, photographer Peter Gravelle, Lora Logic of X-Ray Spex, journalist Kris Needs, and many more... 1977 - Don't Call It Punk provides research and insight that will guide you through an explosive artistic/musical mix generated in this period. 20x25; 496 pages with pictures and illustrations; text: English/Italian.”
Book [496 pages, 20x25, text: English/Italian] $60
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.
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
November 22nd, 2022
Live at Scholes Street Studio
Tuesday November 22nd
Live recording/Live audience!
7:30pm Mara Rosenbloom - piano
gabby fluke-mogul - violin
Tcheser Holmes - drums
8:30pm Stephen Gauci - tenor saxophone
Santiago Leibson - piano
Adam Lane - bass
Colin Hinton - drums
9:30pm Kevin Shea - drums
Jonathan Goldberger - guitar
Live recording/Live audience!
$20 at the door (entire evening), cash/venmo
@ Scholes Street Studio
375 Lorimer Street, Brooklyn / 718-964-8763
gaucimusic.com / https://www.facebook.com/events/3307967336145215
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..
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