That's how they are, so I grabbed out the car; convertible fifty-nine.
Headed for the freeway; tried to find the Pasadena sign.
Ten miles and three quarters more I wasn't feeling any more alive.
'Cause with fifteen kids and a family on the skids,
I got to go for a Sunday drive.
Fifteen kids and a family on the skids,
I got to go for a Sunday drive.
I used to be a minstrel free with a whole lot of bread in my bag.
I used to feel that my life was real, but the good Lord threw me a snag.
Now I'm gonna be the same as me, no matter how I try.
'Cause with fifteen kids and a family on the skids,
I got to go for a Sunday drive.
Fifteen kids and a family on the skids,
I got to go for a Sunday drive.
Turned 'round the car and headed for home; I guess I realized my fate.
Ten miles and three quarters more I pulled up outside the gate.
Twenty more kids were stood inside and that made thirty-five.
'Cause with an orphanage full of thirty-five kids,
I got to go for a Sunday drive.
An orphanage full of thirty-five kids,
I got to go for a Sunday drive.
Sunday morning woke up yawning; filled the pool for a swim.
Pulled down the glass and looked in the mirror just to see if I was in .
Went up the stairs and kissed my women to make her come alive.
'Cause with an orphanage full of thirty-five kids,
I got to go for a Sunday drive.
And orphanage full of thirty-five kids,
I got to go for a Sunday drive.
Back in the mid-to-late sixties I had a handful of friends, each of whom was/were music freaks like myself. Each of these friends had a few bands that were their faves. My old pal Dave Weiner loved two bands: The Bee Gees and Eric Burdon & the Animals. An odd combination? Perhaps, but it made sense to me since I also loved both of these bands. I remember hearing “New York Mining Disaster 1941” on AM radio when it was released in 1967 and thinking what a haunting, sad song it was. The vocal harmonies were recorded in a hallway to get that solemn, sad sound, evoking the feeling of being in a mining disaster. I got the first Bee Gees album that year and was blown away by it, all 14 songs were great, crafty, diverse, bits of psych and well arranged. I still listen to that album today and it still sounds great. I followed the Bee Gees for years and loved their first four albums the best. The next half-dozen were also quite good but I didn’t dig their disco years, thinking that they had “sold out”. The above song, “Molly Purt Drive” is from their fourth album, ‘Odessa’, a double album released in 1969 with a velvet cover. ‘Odessa’ was a concept album that really captured the Brothers Gibb (Barry, Maurice & Robin) at their best. This song has a sort of country/folk rock sound, something the Bee Gees rarely did but it still works. I love the story of an orphanage filled 35 kids going for a country drive. Honest, earthy, organic and innocent in its own way. A toast to The Bee Gees, one of the best bands of their era. - MC BruceLee at DMG
THE DMG 32nd ANNIVERSARY CELEBRATION / IN-STORE SERIES CONTINUES with:
Tuesday, January 24th:
6:30: ROB PRICE / ED PRICE / CLAIRE DALY - Guitar / Bass Clarinet / Baritone Sax
7:30: FLIP CITY: DAVID AARON / WILL McEVOY / DAVID GOULD
Tuesday, January 31st:
6:30: PATRICK GOLDEN / MATT HOLLENBERG / DAVE SEWELSON / JIM CLOUSE / ADAM LANE
7:30: JOHNNY BUTLER / ALEX OLIVA - CD Release Set - Sax / Dance
8:30: SAM OSPOVAT - Solo Drums & Electronics
Tuesday, February 7th:
6:30: MARCO CAPPELLI - Solo guitar
7:30: STEPHAN CRUMP - Solo contrabass
8:30: JAMES PAUL NADIEN - Solo drums
THIS WEEK’S DYNAMIC DISCS BEGIN WITH:
PETER BROTZMAN / TONY MALABY LOS TOSCOS - La Vigilia de las Flores (Matik-Matik; Festina Lente Discos; Colombia) Los Toscos hail from Colombia and feature Enrique Mendoza on electric guitar, Ricardo Arias on balloons & objects, Urian Sarmiento on percussion & gaita (flute), Santiago Botero on contrabass and Mauricio Ramirez in drums. German sax legend Peter Brotzmann and Downtown sax master Tony Malaby each sit in one of the two discs of this set. The avant/jazz scene in Bogota, Columbia has been evolving over time and this is the third disc by Los Toscos, their first one from 2013 also included Tony Malaby as their guest. The personnel of Los Toscos has changed over time with bassist Santiago Botero being the only original member for this disc which was released in 2019. The only musician here with whom I know is balloonist Ricardo Arias who lived in New York in the early aughts and has played with Gunter Muller, Han Tammen and Kim Myhr.
Peter Brotzmann plays tenor sax, clarinet and tarogato with Los Toscos for their one disc. “El Jacinto” begins with Mr. Brotmann on clarinet with the rest of the quintet playing quietly in a ritualistic way. This soon leads to in intense section with a strong, spastic, Beefheartian guitar solo, the rhythm team pumping fast and hard, Brotzmann on tarogato (large Eastern European clarinet) and Mr. Sarmiento on flute, both soloing profusely together, spinning tight lines around one another. The tempo slows down as the sax, flute and guitar play in tight obits around one another. This a fine example of inspired international free/improv with all members listening andbeing integral to a group sound. - Bruce Lee Gallanter, DMG
2 CD Set $30 [Limited Edition/Deluxe Packaging] [5 copies in stock & we are supposed to get another 15-20 in April]
MILFORD GRAVES - Milford Graves: A Mind-Body Deal (Inventory Press 9781941753378; USA) "Milford Graves has been a revelatory force in music since the mid-1960s, liberating the drummer from the role of 'timekeeper' to instrumental improviser and giving rise to the Free Jazz movement, with groundbreaking performances alongside Lou Reed, Min Tanaka, and John Zorn. But musical practice cannot contain the energies of his creativity and intellect. Milford Graves' kaleidoscopic genius led him to develop an unprecedented body of interests -- from medicine to botany, stem cell regeneration to martial arts. A Mind-Body Deal is an attempt to open the doors of his habitat and spark curiosity in our own minds, so we too may learn to weave our mind-bodies with the rhythms of the world around us. A Mind-Body Deal gathers the intricate, multifaceted work of Milford Graves, exploring the practices and predilections of this extraordinary 'jazz mind.' Fully illustrated, this catalogue includes documentation from the eponymous show at ICA Philadelphia, exhibiting a collection of Graves' hand-painted album covers and posters, idiosyncratic drum sets, recording ephemera, multimedia sculptures, photographs, and costumes, with elements from his home and scientific studies." 256 pages. Paperback.
TIM BERNE / MATT MITCHELL - One More, Please (Intakt 395; Switzerland) “Tim Berne and Matt Mitchell are one of the great duets of “this kind of music.” It is strange how memory telescopes. You follow music for decades, and then you notice someone new on the scene. Matt Mitchell in Tim Berne’s Snakeoil, for example. Then a decade-ish passes and you’re still thinking of Mitchell as “the new guy,” except there’s this amazing alluring body of work featuring him and Berne together.
One More, Please is the fourth duet record for these two, which, along with seven Snakeoil recordings, makes Mitchell one of Berne’s most thoroughgoing co-conspirators—and finding co-conspirators to embody his compositions is something that Berne has a talent for.
One More, Please continues a trend that I noticed on Spiders in which Mitchell creates a field that is … I’ve been struggling to find the word. His harmonic language reminds me of Kurt Weill, art song, and Sondheim. The opening track, “Purdy,” is introspective and intense and beautiful. Berne, as he does in a lot of these drumless settings, seems more ardent and less fervid. His improvisations are, for the most part, pitch-based provocations.
To my mind these are songs, and I listen as though these were words—just in a language that does not denote. In fact, I would be completely okay if a post-modern poetic Jon Hendricks came along to write lyrics for Berne-song. There are stories here. I just don’t know what they are. They aren’t chained to meaning, yet.
“Number 2,” by Berne mentor Julius Hemphill, fits right into this thesis of mine. It is a chamber setting that brings to mind “Parchment,” played by Hemphill’s partner, Ursula Oppens. It may be just that I have “Parchment” on my mind, which I do, but the thought of a connection is plausible. Especially at around 6:15, when Berne and Mitchell seem to take gentle flight. Like a bird gliding, taking in the landscape.
The rest of the disc is Berne compositions. “Rose-colored Missive” continues the anxious, lovely, emotion that I’ve been hearing. Both it and “Purdy” are genuinely beautiful out-jazz. “Middle Seat Blues:Chicken Salad Blues” starts in a gospel blues vein right from the first chord. I really want to see someone choreograph an improvised dance to this music. Listening, I keep making connections to other art in my head. Dance. Poetry. Cinema.” - Gary Chapin, FreeJazzBlog
GUNTER BABY SOMMER & THE LUCACIU 3 - Karawane (Intakt 384; Switzerland) “Long recognized as one of the most important exponents of European free jazz, drummer Günter Baby Sommer has refused to rest on his laurels, as he continues to do his part to maintain the legacy of free improvisation and creative jazz in a host of contexts, defying the aging process rather insouciantly while doing so. His historical credentials are unimpeachable, having worked with everyone from Peter Brötzmann to Cecil Taylor to Wadada Leo Smith, but his recent output has remained interesting and vital as well. He made a fine trio album with fellow free-jazz veteran Barry Guy and relative youngster Oliver Schwerdt in 2020, One for My Baby and One More for the Bass (Euphorium), and now he has forged a promising partnership with the Lucaciu brothers, three German musicians of a decidedly younger generation (all born in the 1980s). It's a rollicking good time, and a recording that spans the gamut of approaches to avant-garde jazz.
The title of the album is taken from the work of German Dada poet Hugo Ball, who essentially invented his own nonsense language in "Karawane" ("caravan" in English). The poem is recited/shouted/exclaimed by Sommer on the record's title track, and it exemplifies the album's spirit, as Sommer revels in the linguistic freedom Ball's poem allows, relishing each and every syllable, all while the band maintains an infectious, bouncy groove underneath. Alto saxophonist Antonio Lucaciu generates a dialogue with Sommer, echoing and prodding his ecstatic utterances, while pianist Simon and bassist Robert Lucaciu anchor the piece's driving momentum.
The group tends to stick with strong melodic cores and stout rhythms, as on "Dunkle Wolken," with Sommer unleashing a steady, propulsive beat underneath Antonio Lucaciu's fervid articulation of the folk-like melody. And "Unter Jedem Dach Ein Ach" possesses a loose, post-boppish framework that gives all four players room to stretch out. There are a few restrained moments as well, with a couple pieces composed by Simon Lucaciu ("Zeitwandlerin" and "Dialogue") that are somewhat more abstract and contemplative, and a couple that verge on the freely-improvised, like "Zustände." But the group is at its best when giving full rein to Sommer's irrepressible energy, and there is plenty of it here. "Impressions of Little Bird" carries an unmistakable Albert Ayler-esque feel, with Antonio Lucaciu's fiery soloing over Simon Lucaciu's gospel inflections and Sommer's insistent pulse, and "Pan" offers a shuffling beat and vigorous exchanges between saxophone and piano. There is even a Latin-influenced "Samba Pastouron," one of Sommer's five memorable compositions on the album.
Sommer's free instincts have never overshadowed his rootedness in the jazz tradition, and the gospel-drenched "Hymnus," the album's closer, is a case in point. Heartfelt and resonant, with plenty of Sommer's ardent vocalizations in the background, it nicely encapsulates the joy and delight of this invigorating recording.” - Troy Dostert, AllAboutJazz
CLEMENS KURATLE YDIVIDE - Lumumba (Intakt 382; Switzerland) The Clemens Kuratle Ydivide feature Dee Byrne on alto sax, Chris Guilfoyle on guitar, Elliot Galvin on piano & electronics, Lukas Traxel on bass and Clemens Kuratle on drums, electronics & compositions. This disc was recorded on 12/29/2021 at Hardstudios Winterthur in Switzerland. The great Intakt label has long supported and promoted Swiss musicians from the elder statesmen to the next contingent of young creative musicians. I hadn’t heard of any of the members of this quintet until their promo arrived on the mail earlier this month. Mr. Kuratle is both the drummer and main composer of Ydivide. His writing is both diverse, inspired and modestly challenging to play. “Lumumba” has a long written theme which is well-played by the guitar and sax over a tight rhythm team. While alto saxist, Dee Byrne, takes a strong, soulful solo here, it is that quietly memorable theme/melody which will stick in your mind. “Another One for Rose” begins with a haunting unaccompanied piano solo which then leads to another fine slow-burning churning theme. Guitarist Chris Guilfoyle takes a great solo starting midway after the them and continues in the background when the theme comes back towards the end. “Marvelling” is laid back and spacious with solemn skeletal piano, eerie, distant background electronics and an lush melody played by the piano, guitar and sax. Subtle electronics/echo devices are added to the sax on “They Haven’t Learned Anything”, giving a slightly disorienting vibe with some dreamy guitars also floating around. This leads into “No Cynicism” which features an inspired jazzy guitar solo and more challenging writing/ensemble playing from the quintet. Although the music here is not quite avant/experimental, it is still modestly challenging in its own way. It has a charming, quietly enchanting vibe that most folks could or would appreciate no matter what their background is/was. There is one piece called “Bwegshit” in which Ydivide do push things further out. Eerie electronics panning around the mix with dreamy guitar and sax swirling around one another, showing that this band can still cast a cosmic spell if they want to. An unexpected gem. - Bruce Lee Gallanter, DMG
DAVE LIEBMAN with PETER EVANS / LEO GENOVESE / JOHN HEBERT / TYSHAWN SOREY - Lost in Time, Live at Smalls (Spotted Peccary Musi 004; Earth) David Liebman is considered a renaissance man in contemporary music with a career stretching over fifty years. He has played with masters including Miles Davis, Elvin Jones, Chick Corea, John McLaughlin, McCoy Tyner and others; authored books and instructional DVDs which are acknowledged as classics in the jazz field; recorded as a leader in styles ranging from classical to rock to free jazz. He has performed on over 500 recordings with 200 as a leader/co-leader featuring several hundred original compositions.
Featuring Dave Liebman on tenor & soprano sax, Peter Evans on trumpet, Leo Genovese on piano, John Hebert on contrabass and Tyshawn Sorey on drums. One of my friends was at this gigs and said it was amazing!!! Our copies just arrived today so I haven’t heard it yet. I hope to review it next week. Should be pretty incredible and it is great to hear one of the best of the elder sax giants like Dave Liebman playing with these younger firebrands! - BLG at DMG
DENIS FOURNIER / DENMAN MARONEY - Intimations (Vent Du Sud VDS 115; France) Featuring Denman Maroney on Hyperpiano and Denis Fournier on drums & percussion. Experimental pianist. Denman Maroney moved to France a few years back and has been working with a handful of French musicians. Maroney’s recent disc on Rogue Art featured a trio with Scott Walton and Dennis Fournier. I knew of L.A. bassist Scott walton from some previous discs but not drummer Denis Fournier. It turns out that Mr. Fournier can be found on a some 15 discs going back to 1984 and that he might run this, the Vent Du Sud label which has six of his discs. Hyperpiano is a method of playing prepared piano that was invented by Denman Maroney many years back and in which he still explores sounds inside the piano itself. Right from the salvo, it sounds as if Mr. Fournier and Mr. Maroney have been playing for a while, their unique sounds blend together perfectly, a great mix of percussive, timbral and textural sounds. It sounds as if Mr. Fournier is also playing assorted odd percussive instruments like a zither or other hard to describe objects. The music here is a quick moving stream of percussive sonics, bent strings (rubbed with a special piece of metal designed by Maroney), eerie waves crashing as Maroney or Fournier or both coax some shifting drones from their instruments. Maroney moves from stark, sparse fragments through abrupt fractures chords while Fournier also shifts the density and intensity, the two always listening, reacting and combining their sounds as one massive pulsating serpent-like sound. There are a number of sounds here (like than accordion sound on “Earthly Freight” which are difficult to figure exactly what is happening. The overall sounds and evolving flow does cast a constant spell of wonder and amazement. - Bruce Lee Gallanter, DMG
DANCING with JAMES McKAIN / CALEB DUVAL / JAMES PAUL NADIEN - Long Live Harmolodics (Self-produced; USA) Featuring James McKain on tenor sax, Caleb Duval on electric bass and James Paul Nadien on drums. Over the past few years, there has been an influx in newer young musicians being a part of the ever-evolving, ever-growing Downtown Scene. Now that the Downtown Scene has surpassed its four decade tenure, a deluge of new blood and new ideas is certainly a good thing. My own store has long given many of these young musicians a chance to work and play at our ongoing series of in-store sets. Drummers Dave Miller, Kevin Murray and (currently) James Paul Nadian, as well as Chris Pitsiokos, Frank Meadows and Charmaine Lee, have all been a part of our great crew and each have been integral to our continuing existence. Recently drummer James Paul Nadien (named after Paul McCartney as his parents are Beatles freaks) has been working here as well as playing the occasional in-store set. A recent set with JP, Will Greene (from Trigger) and Tete Leguia (from Peru) was brutal, free, electric improv at its best. Saxist James McKain has also played here at DMG on two occasions. Although I can’t recall hearing Caleb Curtis play before now, he is in a band with Dan O’Brien (just played here last week - 1/14/23) and Mike LaRocca.
The band’s name ‘Dancing’ comes from an Ornette Coleman album called ‘Dancing in Your Head’ (from 1977), some folks claim is the beginning of “harmolodics”, a system of playing/improvising invented by pioneering saxist/composer Ornette Coleman. I’ve read Mr. Coleman’s explanation of what harmolodics is, but I remain mystified as to what it actually means. The music itself, I find consistently engaging. A number of the musicians that have worked with Ornette, like Bern Nix and Jamaaladeen Tacuma, have obviously been influenced by Mr. Coleman’s system. So it is a good thing to find some young musicians also influenced by this music/system. Right from the opening of track 1, we can hear that sprawling, quick spinning harmolodic whirlwind sound. Yowsah! This trio is burning intensely right from that opening blast: the turgid el bass playing with some fuzzy effects is at the center of the storm and takes a scary solo in the middle of the first piece. JP’s drumming is also powerful, expansive, throbbing, pumping underneath while Mr. McKain’s tenor sax blasts a molten eruption on top! The trio calm down a bit in the second half of the first track, yet the resonating massive central force remains intact. The trio sounds like they are on the verge of flying apart much of the time yet remain a powerful, unified force of wonder. Extraordinary and certainly not for the faint-hearted, sensitive listeners out there. - Bruce Lee Gallanter, DMG
THREE GREAT DISCS FROM OUR FRIENDS IN COLUMBIA:
TORTUGA ALADA with VIOLETA GARCIA / MARIA VALENCIA CAMILA NEBBIA / LIVIO MATTOS / JULIANA GAONA / ANA RUIZ VALENCIA / et al - Cuadernos de viaje No. 2 (Sonic Transmissions Records 005/Discos Chichigua 060; Columbia) This is the second disc by Tortuga Alada and it features Violeta Garcia on cello and Maria “Mange” Valencia on bass clarinet & alto sax. Earlier this week (1/19/23), Peruvian reeds player, Maria Valencia, came to visit us and left us with four discs, each one slightly different personnel. Ms. Valencia also left us with the first disc from Tortuga Alada when she came to visit in 2018. Her partner in the group is cellist Violeta Garcia who has a duo disc out with Chris Pitsiokos and is a member of Nicotina os Primavera, a wonderful Argentinian progressive band whose two discs from 2016 and 2018, I thought were both amazing. Another member of Nicotina named Camilio Angeles is also a guest on this disc.
This first thing I noticed on this disc is how well the bass clarinet and cello sound together, their range, sound, texture and timbre are immensely similar. On the opener, “I.O.”, it is hard to tell them apart as both are playing those rich, deep, dark, wooden tones. Midway, the cello & bass clarinet start to stretch out, slowly bending their notes together and apart most carefully. Four of the six pieces are duo improvs and we can tell that these musicians have worked together for a while since their playing is so tightly wound or connected. At times the duo push things further out, bending and twisting their notes/sounds inside-out. “Parientes” was written by Kike Mendoza, a Columbia guitar whose two discs I once reviewed. Again, the cello and bass clarinet play these haunting, droning notes together, the melody is rather prayer-like, a sort of sad lullaby for these difficult times. Ms. Valencia wrote “Saltamontes” which again sounds like it was written for a more solemn choral ensemble. On “Tunel del inicio”, the duo are joined by Camila Nebbia on tenor sax and Juliana Geona on English horn (an oboe-like double reed). Although this piece was improvised, it sounds like a dark, moody chamber work. Ms. Garcia plays some rather Okkyung Lee-like out cello on “Av Cordobe 5283”, with both the alto sax and cello pushing things into the further out zone. The last piece, “Sinalefa hacia el sur” was written by Ms. Valencia and has four more instruments added: tenor sax, accordion, oboe and violin. It is a tour-de-force with some hypnotic accordion drones and shimmering strings and reeds. It sounds like a well-written chamber work and I am deeply impressed by the writing. I would encourage Maria Valencia to work on a solo effort which explores the way she has composed this piece. An extraordinary way to end this wonderful, challenging disc. - Bruce Lee Gallanter, DMG
MIRLITORRINCO with RICARDO ARIAS / MAURCIO RAMIREZ / NICOLAS ECKARDT / MARIA VALENCIA - Odas Mixtas / Para Criaturas Minimas (Discos Chichigua 056; Columbia) Featuring Ricardo Arias on traverse flute, soprano sax & kazoo, Mauricio Ramirez on percussion & jaguar, Nicolas Eckardt on electric guitar & electric bass and Maria “Mange” Valencia on soprano & bass clarinets, alto sax & shenai. Earlier this week, Peruvian reeds player Maria Valencia came to visit our store and left us with four discs from different bands hat she is involved with. I know of former balloonist Ricardo Arias from when he lived in New York in the early aughts. Percussionist Mauricio Ramirez is also a member of Los Toscos, whose most recent disc (with Peter Brotzmann & Tony Malaby as guests), we’ve just gotten in. Maria “Mange” Valencia is also a member of Tortuga Alada (whose new disc is great!) and also with the Meridian Brothers. I hadn’t heard of Nicolas Eckhardt before this disc arrived.
“Mercurio” opens with a great, somewhat funky, new wave-ish groove with sly guitar and two saxes (soprano & alto?) playing that infectious riff. The pieces here are mostly short yet each one is effective and rather catchy. “El Cordero Es Una Especie de Pollo” has another great repeating riff with tight, layered flute & bass clarinet on top. “Mirlitonico” has a sumptuous layer of flutes and saxes interwoven over another cool groove. This quartet obvious has sly sense of humor and sound like they are having fun. Each song is infectious and somewhat silly. In some way, I am reminded of the Penguin Cafe Orchestra, old friends of Brian Eno who I have a soft spot for. Each song has a memorable repeating riff with various reeds playing together harmoniously on top. On “Seis Mascotasmuertas” things start and stop several times with some precise flute & guitar interludes plus glockenspiel punctuation. I like the way the flute is utelized at times with other players playing odd harmonies to keep things off balance. This music is often adventurous and unpredictable yet never too far out or in. There is something charming going on here, modest yet refreshing. Children’s music for odd adults. - Bruce Lee Gallanter, DMG
CALZONCILLO with MAURICIO RAMIREZ / ENRIQUE MENDOZA / SANTIAGO BOTERO - En La Cabeza - Por Perez (In-Correcto; Columbia) Featuring Mauricio Ramirez on drums & vocals, Enrique Mendoza on guitar & vocals and Santiago Botero on bass & vocals. Calzoncillo is an offshoot trio with three members from the free improv band called Los Toscos. Los Toscos have three free-form discs out, two with guest saxists: Tony Malaby and Peter Brotzmann. Their guitarist, Enrique Mendoza has a solo effort out on FMR plus is in a couple of bands like El Ombligo and Mula. Oddly enough, this disc begins with a short spoken word intro by Fabio Mendoza, who just might be Enrique’s father. Soon enough, the trio launch into some great hardcore pink rock with strong chanting vocals. I haven’t heard any hardcore punk music since Naked City broke up in 1993 and it still feels great to hear this pounding, throbbing, hard-rocking, riff-oriented music. On “Che-Cho”, things slow down to a more relaxed groove with a layer of feedback humming and growling throughout. I really like this disc since it captures that great lunk-headed punk-rock energy that I loved to slam & dance to, perhaps even stage-diving if I felt brave enough. In some ways, this band sounds like the Stooges, complete with that great, grinding, throbbing, fuzz-tone growl of the guitar. Bassist Santiago Botero is featured on “En vos confio”, taking a long, inventive free solo in the first half of this piece with guitarist Mendoza also playing an inspired daredevil solo in the second half. “Parientes” has a slow, dream-like, mesmerizing sounds, like drifting thorough a haze or cloud. Both the bass and guitar swirl around each other, floating on waves, keeping us all adrift on our inner rafts. The guitarist takes an impressive old school Robin Trower-like studio-sustain guitar solo as our raft drift into some more stormy waters, things get more turbulent. I can’t say that I’ve listened to much music like this is many years but it still resonates for me capturing that restless spirit we need to to help us deal with our present dangerous world. - Bruce Lee Gallanter, DMG
Last Tuesday (1/17/23),bassist/composer MARC SLOAN, had an event at our store to help celebrate the release of a new LP & CD called “The Divine Bone Collection”. Opening the night was Norman Westberg, longtime guitarist for The Swans. Mr. Westberg played a long solo electric guitar with effects set, which was marvelous. For the second set, Mr. Sloan played in a duo with violinist Gregor Kitzis. Sloan played acoustic guitar, el bass, sang, talked and played some drum machine parts through the PA. This set was also a wonder, each song a marvel of inventiveness with Mr. Kitzis adding some inspired violin bits and solos. I reviewed Mr. Sloan’s new LP/CD last week and didn’t realize what a strong songwriter and singer he was/is. On attendance were a number of friends of Sloan’s from the Downtown avant/punk/post/rock scene of the eighties & nineties like Mark C of Live Skull and Ivan Nahem of Ritual Tension. I hadn’t seen some of these folks in 30 years, so it was for family reunion/gathering of kindred spirits. Marc Sloan, Ivan Nahem, Norman Westberg and soon Mark C, all have (or will) left us a dozen discs that they’ve released over the past decade. I really enjoyed reviewing Mr. Sloan’s latest record since I rarely get a chance to review vocal or rock music for the newsletter. I will be reviewing all of this discs over the next few weeks. - BLG at DMG
MARC SLOAN with ELLIOTT SHARP / GREGOR KITZIS / ANDREW NAHEM / IVAN NAHEM / JOE TRUMP / KIDO NATSUKI / REED GHAZALA / STEPHEN MOSES / et al - Divine Bones (Self-released; USA) Personnel is: Marc Sloan - bass, vocals, songs & production, Andrew Nahem, Elliott Sharp, Knox Chandler & Kido Natsuki on guitars, Gregor Kitzis, Alain Gianatti & Katsui Yuji on violins, Ivan Nahem on vocals, Alex Smith, Joe Trump, Michael Shockley, Michael Grant & Stephen Moses on drums & percussion and Reed Ghazala on OdorBox, circuit-bending & erhu. Divine Bones was/is a band founded by Marc Sloan in the Summer of 1984. This disc compiles 17 tracks recorded in six different studios in Manhattan, Brooklyn and Jersey City, NJ. I recognize most of the musicians here from the various bands that they were a part of in the 1980’s: Elliott Sharp & Joe Trump (from Carbon), Ivan & Andrew Nahem & Michael Shockley (from Ritual Tension) and Knox Chandler (from Psychedelic Furs). I caught all of these bands on numerous occasions way back when.
Marc Sloan always had a distinctive, intense, at times brutal and probing sound on his electric bass. That power bass sound is at the center of most of these songs. “Skeletal Kiss to Steel Rail” opens with Sloan pounding out a great bass riff, backed by former Carbon drummer Joe Trump, another propulsive pounding presence. Sloan’s throbbing bass is also at the center of “This Is What”, with some eerie feedback-like samples resonating through the mix. I dig the rubbery, elastic sound that Mr. Sloan gets on his bass and the way his bass is featured playing great riffs on each piece. I haven’t heard from sonic wizard Reed Ghazala in a couple of decades but do recall a great, experimental solo effort from many years ago. Ghazala is featured on his handmade OdorBox & effects on “Table Tops”, providing some shrewd sonic seasoning to another of Sloan’s great, dark, pounding bass riffs. The aptly titled “Resistor Waltz” has more slamming bass & drums with layers of violin & samples/effects spinning on top. Mr. Sloan has several layers of el basses spinning slowly together on “Raga Bye Bass”, a most hypnotic and dream-like lullaby of sorts. Sloan’s scary, brutal fuzz-bass pushs the intensity higher on “Radionics” with some evil sounding (electric?) violin wailing on top by Mr. Kitzis. “Jammed Landing Gear” has a throttling drum machine groove pounding throughout which reminds me of Big Black, Steve Albini’s old outfit. This disc has some 17 songs and clocks in at nearly 68 minutes. It might be a bit too much to take in at one sitting but I must admit that I was at the edge of my seat for the entirety of the great post/punk/prog/rock gem! - Bruce Lee Gallanter at DMG
MARC SLOAN with KNOX CHANDLER / MARK C / NORMAN WESTBERG / RB KORBET / MICHAEL SHOCKLEY / JIM FOURNIADIS - Divine Bone Collection (Lascaux Easton 002; Earth) Marc Sloan was the brutal electric bassist who played in the great NY post-punk band Ritual Tension as well as with Elliott Sharp’s Carbon in the 1980’s and the False Prophets. During the mid-to-late 1980’s, NYC had a deluge of great bands that were guitar-oriented like Sonic Youth, the Swans, Live Skull, Glenn Branca, Band of Susans, Rhys Chatham, Carbon and Ritual Tension. I caught both of the last two named bands on several occasions and was knocked out on each one. Marc Sloan has continued to work on solo projects as well as in his own band Gawk and is still creating challenging music to this day. This LP is a collection of assorted projects with a variety of collaborators like: guitarists Knox Chandler (Psychedelic Furs), Mark C (Live Skull) & Norman Westberg (Swans), Jim Fourniadis (Rats of Unusual Sizes), RB Korbet (Bush Tetras) and Michael Shockley (Ritual Tension). For this album, Mr. Sloan plays bass, classical guitar, drums & drumsynth, sampler, arranging, producing and songs. This is the second release from Sloan’s Divine Bones, the first one was released in 2019.
“Collagen” opens with Knox Chandler’s guitar and Marc Sloan on el. bass & drum/synth. It has a powerful, throbbing sound, turgid, rocking hard and is filled with tension. Sloan seems to be sampling several sources, hard to tell exactly what. The great Knox Chandler has a great, dark, swirling, psych-like sound. “Lazarus” sounds like an updated version of Velvet Underground or Lou Reed with strong, compelling vocals by Mr. Sloan. “A Life Supreme” rocks hard with some slippery, throbbing bass and awesome, dark guitar(s) by Mark C from Live Skull (perhaps my fave of the brutal guitar bands from that era). “Already in Heaven” has a great, hypnotic, repeating riff with Sloan’s sly voice and a lyric tale that is well worth thinking about, sort-of Dylanish (by way of Mott) in its own way. Bravo! Side B starts with “Marrow Deep” which features guitarist Norman Westberg (from the Swans). This piece has an immense, slow, sludge-like grace that reminds me of all of those scary mid-eighties throb-rockers like Scornflakes, Carbon or early Swans (but not as dark). “SiqOvlt” also pounds out powerfully and is held together by Ritual Tension’s Michael Shockley on drums, depressing yet apt lyrics and howling fuzz bass on top. The final song featuring the words to Gil Scot Heron’s “Whitey on the Moon” with music by Mr. Sloan. Although the vocals by Sloan are rap-like, the music has another throbbing, hard-rocking, pungent groove at the center with wailing guitars by Jim Fourniadis. Although I haven’t heard much music like this in several decades, it still sounds familiar to me due to the dark times we are still dealing with which pound on us oft mellow folks just trying to survive. - Bruce Lee Gallanter, DMG
CD $10 / LP $25 [comes with a great poster & enclosed liner notes]
LEAP OF FAITH with PEK / GLYNIS LOMON / JOHN FUGARINO - Coherent Alternatives (Evil Clown 9310; USA) Featuring PEK on clarinets, saxes, oboe, flute, sheng, electronics, synths, bass, piano and assorted percussion, Glynis Lomon on cello, aquasonic & voice and John Fugarino on trumpets, flugel, trombone and assorted percussion. Once or twice a year Leap of Faith founder Dave PEK sends us another box of 9 or 10 new discs. Yes, this is quite a bit for us to deal with and yes, perhaps there are too many discs in their vast (100 ) CD catalogue. Myself and DMG reviewer Darren Bergstein have reviewed many dozens of these discs already and wonder if they will ever slow down. The thing is this, I do happen to dig each disc that I’ve reviewed and I believe that Mr. Peck has done a great job of utilizing the talents of more than fifty Boston-area based musicians, some known and many not very well known. We just a box in the mail last month which has 9 new releases so Darren and I will review as many as we can find the time to do.
Leap of Faith have been around for more than a decade with two constant members: Dave Peck and Glynis Lomon. Both are on this disc plus another member, John Fugarino. Mr. Fugarino is on just two of the recent batch of 9 discs. As is always the case, this session is well-recorded and starts off slowly with somber trumpet with sparse spooky sounds from PEK and bits of cello and the quirky voice of Ms. Lomon. The trio take their time, slowly working their way through their combined paths, Fugarino on assorted brass instruments, Ms. Lomon on cello or voice and PEK playing one instrument from his large arsenal at a time. PEK moves from melodica to percussion to varied reeds. This might be the most sparse and skeletal of Leap of Faith discs,and it does evolve very slowly. PEK adds bits of echo or reverb to their sound with selective amounts electronics, synths or other subtle sonic seasoning. At 70plus minutes, this disc does take some time and patience to work through but I do find it fascinating for as long as I am listening. - Bruce Lee Gallanter, DMG
ARCHIVAL & HISTORIC RECORDINGS, REISSUES & RESTOCKED ITEMS:
JULIE DRISCOLL with KEITH TIPPETT / ELTON DEAN / MARC CHARIG / NICK EVANS / KARL JENKINS / BOB DOWNES / STAN SULZMANN / CHRIS SPEDDING / BRIAN GODDING / JEFF CLYNE / TREVOR TOMKINS / et al - 1969: Remastered Edition (Esoteric Recordings Eclec 2815; UK) Julie Driscoll's (now Tippetts) first moved away from the blues-oriented pop of the Brian Auger band turned out to be this prophetic slab of wax that revealed her penchant to transcend the trappings of rock and pop for something more adventurous. To this end, Driscoll employed the help of many of the Canterbury scene's best-known musicians, including Karl Jenkins, Elton Dean, future husband Keith Tippetts and guitarist Chris Spedding. The set opens with what would become an anthem for Driscoll, the horn-laden rocker "A New Awakening," in which she details the benefits of the search for new ground emotionally and mentally. In addition, with its knotty, arpeggio-laden horn lines and angular arrangement by Tippetts that puts the track on the left side of the standard rock and pop fence. "Those That We Love," a simple acoustic tune with Driscoll on acoustic guitar and Tippetts on piano and celeste with Jeff Clyne on bass is a striking treatise on how much we hurt the ones we love the most, and how those who love us forget us most. Beautifully textured vocal lines open up all over the body of the tune, soaring into darkened corners and illuminating them. One of the most striking things about this slab is how the listener can hear Driscoll's voice begin to open up to the possibilities of life after pop, that there was an entire universe waiting to be explored in song, nuance, and technique. The band provides not only sympathetic, but inspired support in her stead. Other notables here include the guitar freakout orgy of "Break-Out," the chamber/salon song of "The Choice," and the jazzed out balladry (in Canterbury style) of "Leaving It All Behind." Despite its age, 1969 holds up shockingly well, and is still very forward thinking in its musical approaches. Driscoll's/Tippetts' rugged, open-heart emotionalism is truly transcendent here, and this aspect of her wonderful voice has aged not one bit in over 30 years.”
JULIE TIPPETTS with KEITH TIPPETT / BRIAN GODDING / ELTON DEAN / MARK CHARIG / NICK EVANS / BRIAN BELSHAW / HARRY MILLER / LOUIS MOHOLO - Sunset Glow Remastered Edition (Esoteric Recordings Eclec 2819; UK) "After leaving Brian Auger's band and becoming the musical and life partner of pianist/composer Keith Tippett, Julie Tippetts issued Sunset Glow, her second solo recording [the first was under the name Julie Driscoll], in 1974 on the Utopia label. After her soul, pop, and R&B beginnings, Tippetts redeveloped her voice, taking it and her music in a different direction. She began to extend its reach in improvisation, breath control, and uncommon phrasing. She is one of the most compelling and original singers in recorded music's history. Sunset Glow is a curious recording, one that walks the razor's edge of composition and improvisation. Fans of Robert Wyatt's earlier solo records, Ruth Is Stranger Than Richard and Rock Bottom, will appreciate its strange song structures, varying dynamics, and knockout lineup: Tippetts sings, plays piano, acoustic guitar, and percussion, and she is backed by a host of luminaries from the Canterbury Scene: Brian Godding, guitars; Keith Tippett, piano, harmonium; Mark Charig, cornet, tenor horn; Elton Dean, alto saxophone; Nick Evans, trombone; Brian Belshaw, bass; Harry Miller, bass; as well as African drum master Louis Moholo. The set begins innocently enough with "Mind of a Child," a fairly straight-ahead Baroque pop song with a lilting piano line accompanying Tippetts' plaintive singing. But even here, with the channel-shifting production and suspended chords, Keith Tippett's harmonium providing a baseboard for everything, and the slightly off-kilter horns winding in and out of the backdrop, this is anything but a pop song. From here on it's almost anything goes, as "Oceans and Sky" brings jazz, free improv, prog rock, and blues to bear in a dynamite soaring wail of a tune that was virtually unlike anything else at the time. She pierces the sky with her improvising, opening her voice up with the heaviness and swallowing it whole. Many have criticized the simple lyric lines Tippetts wrote for these songs, but this is philistinism; her lyrics fit these melodies better than anything else could. They adorn simply, speak plainly, and offer the heart of the matter in each case. In that sense, they are truly poetic. If the production styles sound rooted in the '70s, it's all for the better. It's hard to imagine anyone making a record like this today - because this is a singular achievement in any era. The set ends with "Behind the Eyes (For a Friend, R)," which listeners can safely assume is about Robert Wyatt, whose accident took place a bit before the album was recorded. Its stark, simple, shimmering glissando piano walks a simple line under the moaning, imploring, almost chant-like voice of Tippetts. It's a moving track that closes as fine an album as one is likely to hear." - Thom Jurek, AMG
ARCHIE SHEPP with JOHN TCHICAI / ALAN SHORTER / BILL DIXON / ROSWELL RUDD / BOBBY HUTCHERSON /REGGIE WORKMAN / DON MOORE / CHARLES MOFFETT / JOE CHAMBERS /RASHIED ALI / JC MOSES - The Early Albums Collection (Enlightenment 9165; EEC) A defining voice in the 'free jazz' movement, Archie Shepp's vivid musical improvisation and his unrelenting political views that emerged concurrently in the early 1960s maintained his position among the pioneers of the avant-garde form. His blistering tenor solos became a vessel for the anger felt in the Afro-American community, and as he disregarded traditional conventions within the genre. His mixing of African culture with free form composition and arrangement were both pivotal to the development of jazz in the early 1960s and an antidote to the emerging saccharine-sweet vocal forms taking precedence in the US Charts at the time. This 4CD box set chronicles the early years of Archie Shepp's musical career, as an originator, a pioneer and a major contributor to the early 1960s free-form movement. Featuring eight original albums, together totaling over 5 hours playing time, all re-mastered in superb audio quality, this set serves as an ideal introduction to this oft-under-appreciated musical genius, and is a welcome reminder of the great man's inspired vision and extraordinary sound.”
4 CD Set $18
MILT JACKSON with WES MONTGOMERY / CLARK TERRY / HANK JONES / THAD JONES / NAT ADDERLEY / KENNY DORHAM / JAMES MOODY / JIMMY HEATH / RON CARTER / SAM JONES / “PHILLY” JOE JONES / CONNIE KAY - The Riverside Albums Collections 1961-1963 (Enlightenment 9217; EEC) American jazz vibraphonist Milt Jackson, born New Year's Day 1923, was usually considered a bebop player, although he performed in several jazz idioms. He is especially remembered for his cool swinging solos as a member of the Modern Jazz Quartet, and his penchant for collaborating with hard bop and post-bop players. A very expressive player, Jackson differentiated himself from other vibraphonists in his attention to variations on harmonics and rhythm. He was particularly fond of the twelve-bar blues at slow tempos. On occasion, Jackson also sang and played piano. This 4CD set contains eight original albums by Milt Jackson, all made between 1961 and 1963 for the Riverside label. Featuring some of the best music Milt Jackson ever recorded as bandleader, the compilation is a fine starting point for newcomers to this master jazz man's art, and remains too an ideal collection for those already seasoned.” - Release date: 02/03/23
4 CD Set $18
FAIRPORT CONVENTION - And The Band Played On (Mooncrest 118; UK) This 2 disc set was recorded at the Marlowe Theatre Canterbury on the 22nd February 2003. and features: Dave Pegg, Simon Nicol, Ric Sanders, Chris Leslie, Gerry Conway and Andy Gutteridge. I’ve been a longtime fan of Fairport Convention, ever since hearing “Time Will Show the Wiser” (from their first record in 1968) on FM radio, seeing them at the Fillmore East in 1970 (the only Fillmore band to dress down in jeans rather than dress up), then hearing their epic song “Meet on the Ledge” also on the radio (from their second album in 1969, a song that still makes me weep when I hear it, the band had almost broken up after a tragic car accident which killed their drummer and Richard Thompson’s girlfriend), they played at my college in 1975 supposedly to open for Bruce Springsteen who didn’t show, so they played two sets and blew us all away plus their best singer/songwriter Sandy Denny was back in the band. Ex-members include Ashley Hutchings (who formed Steeleye Span & the Albion Country Band), Iain Matthews (who played in Plainsong), Richard Thompson (my favorite guitarist/songwriter/singer)… Although Simon Nicol is the only original member fifty years later, they still sound pretty much the same. I’ve caught them upwards of a dozen times and collect all of their sixty or so albums and still look forward to whatever comes next. They’ve never let me down on record or in concert. I haven’t heard this disc yet but I can hardly wait. Violin virtuoso, Ric sanders, took the place of the mighty Dave Swarbrick and Ric Sanders was also in a later version of Soft Machine?!? If you haven’t heard Fairport Convention, I urge to do so. If you’re a big fan, then grab this two set and jump on board again. - Bruce Lee Gallanter, DMG
2 CD Set $18
IMAMU AMIRI BARAKA - It's Nation Time -- African Visionary Music (Motown 28723LP; USA) “Reissue, originally released in 1972. 2018 release. "Imamu Amiri Baraka's Pan-African manifesto It's Nation Time -- African Visionary Music, out of print since 1972, repressed in 2018 via Motown/UMe. The spoken-word jazz album, originally released on Motown Records' Black Forum subsidiary, has been repressed on 150g black vinyl with tip-on jacket in a faithful reproduction of the original packaging." "In the liner notes for Amiri Baraka's 1972 album It's Nation Time (Motown-Black Forum), Baraka asserts, 'This recording is an institution.' Recording on the heels of the 1970 Congress of African People, Baraka felt that the establishment of a pan-African nation was paramount, but where ought such a nation to be established? Could a recording be an institution? What does a nation sound like? The album, which received a limited release under Motown's progressive Black Forum label, mixes poetry with free jazz, African drumming, and R&B -- melding together the popular with avant-garde and traditional forms of black music. In doing so, It's Nation Time attempts to re-inflect black life with a proud African ancestry and spirituality... It was a call to action for black people to imagine new futures for themselves -- an album that put into action his ideas about black music and Black Nationalism by creating new black sonic space within the dimensions of the stereo LP." --Jessica E. Teague, from Sound Studies: An Interdisciplinary Journal (2015).”
SPIRAL JOY BAND - In the River (Feeding Tube Records 654LP; USA) "Spiral Joy Band are one of the descendants of Richmond VA's legendary musical juggernaut, Pelt. Active and mutating for nearly 20 years, the iteration of the Spiral Joy Band who recorded this session in Madison Wisconsin in 2011 was a trio. Troy Schafer, Patrick Best and Mikel Dimmick play an array of instruments -- violin, viola, harmonium -- to produce lush tapestries of the multiphonic drones for which they are known. I remember Pelt getting called 'The Hillbilly Theatre of Eternal Music' at the '98 Terrastock Festival in San Francisco. And indeed, that was a definite part of Pelt's sound at that point in their evolution. But since 2004, Spiral Joy Band have focused on and explored that particular niche with firm resolve. All versions of the group have reveled in the use of acoustic instruments to create tones to saturate the air with colors, while avoiding the technical shortcuts offered by electronics. The two sidelong pieces on In the River, reportedly inspired by Ka Baird (from Spires That in the Sunset Rise) and the Minneapolis string genius, Paul Metzger, are open-ended musical discussions about the existence of infinity, and how portions of infinite space might be corralled in ways that suggest continuously expanding horizons. Both the pieces are exquisite and function equally well as Furniture Music (as defined by Eric Satie) or active meditation fields, unveiling endless spools of drone in which a listener can wallow deeply. The closer you listen, the more you'll be able to hear. But even as a 'mere' soundtrack to the day, In the River offers the kind of textural beauty that makes everything feel better. Spiral Joy Band are sonic explorers dedicated to very specific corner of the universe, but it's one that contains the sort of magical powers we all need more than ever. If I were a doctor. I'd prescribe a daily dose of their music as an antidote to the rigors of reality as we know it. As Pink Floyd once suggested, 'Take Up Thy Stethscope and Walk.' Words to live by, eh?" --Byron Coley, 2022 Edition of 450.”
HUMAN HAND - Tremor (Feeding Tube Records/Cardinal Fuzz FTR 700LP; USA) “The Human Hand live combo comprises Joe Hollick (Wolf People, Jagjaguwar Records, solo), Karl Eden (John Peel favorites tRANSELEMENt), and Jonathan Dickin (MUMS, Honey Spider, Bleak). Joe and Karl met at an Acid Mothers Temple show in 2012 before realizing they both lived minutes away from each other in neighboring sleepy Lancashire Pennine villages. They performed a number of shows together as a wig-out loose improv duo channeling heavy motorik grooves, Anatolian suffused lead lines, a general layer of Northern skuzz tied together with Joe's signature guitar work. Early HH recordings were juxtaposed by being captured at extremely low volume due to necessity as the only available opportunity was to work on material late at night to avoid waking their young children. Human Hand were augmented and given a live makeover by the addition of Jonny on drums, a former student of Karl's and all round music and literary geek. The trio recorded their debut LP Tremor in a hasty eight-hour session. Tremor is the debut album from Human Hand: a core-trio and broader collective based in the shadow of Pendle Hill, Lancashire, UK. Recorded during two days of post-lockdown cathartic noise. Tremor was created using instant composition, 4 track tape manipulation and immediate overdubs. Personnel: Karl Eden -guitars, monosynth, drums; Joe Hollick -guitars, tape effects, percussion; Johnathan Dickin - drums; Andrew Hargreaves - drums.”
GUNSLINGERS - Supreme Asphalt Doser (Feeding Tube Records/Cardinal Fuzz FTR 706LP; USA) "Twelve years after this French trio's last LP (the mind-ripping Manifesto Zero), guitarist Gregory (GR) Raimo, bassist Matthieu Canaguier and drummer Antoine Hadjioannou have released an album of material recorded back in 2012 (from the sessions as the Massacre-Rock Deviant Inquisitors EP). And it is another wild brew of destructo rock madness played with a timeless ferocity that lends it the sort of proto-punk MASS that defies its actual date of creation. GR has released other nutsloid records in the interim -- The GR Record Head (Cardinal Fuzz) and the mysterious Electric Rockin' Chair LP by Hôpital De La Conception -- but there's a special, uniquely strange grit to the way the Gunslingers put together their material. Parts of Supreme Asphalt Doser have a tightly wound dynamism that makes me imagine what the Groundhogs might've sounded like if they'd been founded by three speed freaks in Detroit in 1974. It's like the most insane power choogling you've ever heard. One spin of the first side would have sent Lester Bangs straight to hog heaven. The flip is equally messed-up, but with more experimental detailing. The component pieces are still, thick raw slabs of blood-rock, but they're assembled in a way that is pure freakery. 'Be-Bop-A-Lula-Louie-Loua' is like something Rudolph Grey and Von LMO might have come up with if they'd had a sense of humor back in the Red Transistor days. And the collage piece, 'Rebop From Arthur Lipsett's Fluxes,' is a great collision between avant-garde techniques and the band's Brutalist tendencies. I doubt here will ever be another combo quite like the Gunslingers, so everyone should thank their lucky goddamn stars this archival treasure was pulled out of the darkness. It is indeed the Supreme Asphalt Doser. I don't think any other Asphalt Doser even gets close." - Byron Coley, 2022
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.
UPCOMING SETS from ALTO SAXIST NICK LYONS:
SAT Jan 14th 8pm, two sets
Endless Life Brewing
Franklin Ave at Pacific St in Crown Heights
Adam Caine Group will Stretch Out
Adam Caine, guitar
Nick Lyons, alto sax
John McCutcheon, drums
Shayna Dulberger, bass
TUES Jan 17th 8-10pm
168 7th St.
MOBKE, a French-American quartet started by bassist Théo Girard debuts in NYC after two successful residencies in France in 2022. It features the Montreuil-based Girard and Sophia Domancich (piano) with myself and fellow Brooklyner Lesley Mok (drums). An exciting blend of musical personalities!
One set at 9pm
8pm set is a fantastic duet by pianist Carol Liebowitz and guitarist Adam Caine
Thurs Jan 19th 6:30-7:30pm
MOBKE again at
Maison Française at Columbia University
Loren Connors: A Coming to Shore
January 28–March 25, 2023
Opening 4–7 PM January 28
Loren Connors and Alan Licht
January 28, 2023, 7 PM
468 Grand Ave #1D
Brooklyn, NY 11238
This from Chuck Bettis:
Sunday, January 29th at 7pm:
Hisham Bharoocha (drums) / Nana Futagawa (shamisen) / Chuck Bettis (electronics) trio
Angels & Demons
(Amirtha Kidambi - voice, Darius Jones - sax)
Mick Barr (guitar)
At Union Pool
484 Union Ave.
Brooklyn, NY 11211
$15 / trains: L to Lorimer OR G to Metropolitan
FROM DAVE MILLER, A fine drummer & longtime DMG Manager:
(The Dancing String)
Marco Cappelli- guitars
Rubin Kodheli - cello
Dave Miller - percussion
Live at Troost!
Monday Feb 6, 2023
1011 Manhattan Ave (Greenpoint)
Brooklyn, NY 11222
G train to Greenpoint Ave. exit north and walk one block.
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: https://www.bing.com/video
Guitarist and DMG-pal HENRY KAISER has a monthly Video Solo Series on Cuneiform’s Youtube page:
ATTENTION TO ALL DMG CUSTOMERS: NEW EMAIL ADDRESS: email@example.com