Tried to talk to a friend today
But the wound goes so deep
What he’s calling progress sounds like
People shouting at each other
No one seems to listen
Wrong is right and right is wrong
Facts turn into fiction
Easy to know what you want
Hard to get what you need
Easy to call wisdom
Your own belief
Everything is broken
I can’t find the fix
Everything is broken
I know the size but it won’t fit
I don’t know what’s going on
I don’t know when we will ever get along
Out of many one they say
They print it on the dollar
Here we are in a new civil war
And it makes me want to holler
So easy to get locked up
So hard to be free
The older I get the more I crave
Everything is broken
I can’t find the fix
Everything is broken
I know the size but it won’t fit
I don’t know what’s going on
I don’t know when we will ever get along
I just hope that we can finally get along
There must be a common purpose
Below the surface
A direction, a connection
All nations my relations
There must be a common purpose
Below the surface
I was reviewing a new CD from Joel Harrison & the Stardust Reunion Band yesterday (listed below in the newsletter) and this song popped up and reached out to me. I know how Joel feels since I often feel the same way. Everything (we used to believe in) does seems to be broken and hard to fix. We keep hearing about the so-called Radical Left and their “Woke Agenda”. To me “woke” refers to every good lesson we learned during the late 1960’s: pro-democracy, anti-fascism, pro-civility and equal rights for all human beings no matter what they look like or believe in, positive social systems (not socialism, Marxism or Communism or any other words meant to piss off the liberals), fair working conditions for all without being exploited by greedy corporations, women’s rights to be treated fairly, Peace & Love over Hate & division, Freedom to think for yourself without being manipulated by commercials, subliminal and not-so-subliminal advertising (like the Right Wing Echo-chamber), etc. You can call me naive or misinformed or worse, but at least I am not a MAGAT zombie. I can still see the difference between what is right and what is wrong very clearly. I still hold on to my Moral Compass and worry about the future for myself, my family, my friends and everyone who cares about having a better, safer, more sane world in the near future and beyond. - MC BruceLee
THE DMG 32nd ANNIVERSARY CELEBRATION / IN-STORE SERIES CONTINUES with:
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
7:30: STEPHAN CRUMP - Solo contrabass
8:30: JAMES PAUL NADIEN - Solo drums
Tuesday, February 14th: Love Songs for Valentines’ Day & Blues Song for Mother Earth!
6:30 - STEW CUTLER - Solo Guitar
7:30 - GARY LUCAS - Solo Acoustic Guitar
JOHN ZORN with JULIAN LAGE / JORGE ROEDER / KENNY WOLLESEN - New Masada Quartet, Volume Two (Tzadik 8396; USA) The first release by John Zorn's newest and most exciting ensemble, New Masada Quartet was one of Tzadik's best selling and most popular recent releases. Here the quartet returns to perform eight more classic compositions from the Masada songbooks.
One of the best bands Zorn has ever had, here they are tighter than ever, and the performances are filled with burning solos, telepathic group interaction, heartfelt lyricism, and hypnotic grooves. Spontaneously structured by Zorn’s ever surprising conducting techniques, a crackling live energy brings the Masada music to life like never before. Masada at its passionate best.”
CD $16 [Initially delayed, in stock sometime next week]
HENRY COW with FRED FRITH / TIM HODGKINSON / JOHN GREAVES / CHRIS CUTLER / LINDSAY COOPER / GEORGIE BORN / PHIL MINTON / MARTIN DITCHAM - Glastonbury and Elsewhere (ReR HC20; UK) “A further collection of missing pieces uncovered since the release of the 18 CD Henry Cow Box that fills in parts of the story still undocumented (even on the bootleg circuit), Glastonbury, Chaumont, Bilbao and the Lions of Desire contains: The earliest and only known stage recording of the band as it was in June 1972 (Martin Ditcham, Fred Frith, John Greaves and Tim Hodgkinson) at the first Glastonbury Fayre. The recording is quite clean, though the mix heavily favours bass and guitar, which ini a way makes it of special interest, both musically and historically. • The brief two-week iteration of Henry Cow from April 1978 that featured Fred, Tim, Chris and Phil Minton, and an eclectic programme that included a lot of Westbook/Orkhestra materials, none of which has been released before. • Taken from a concert in Bilbao in 1977, some otherwise unrecorded compositions from the late Cow repertoire bound into a typical mash up of different compositional snippets. • Further unusual extracts from the Chaumont concert in 1976, as well as a brief studio moment captured by a film crew during the recording of Half Awake, Half Asleep, in 1973. This collection supplements the 19-volume Henry Cow Redux Box set released in 2019. Further additions may follow.” - ReR
When I first got a copy of the first Henry Cow album, ‘Leg End’, late in 1973, I was completely mystified by it and kept listening to it over and over. I came to realize after a while that Henry Cow was/were the culmination of everything I appreciated about “progressive” music. They successfully blended progressive or forward-looking rock with avant (free-form & written) jazz and modern classical influences. Their music was experimental and difficult to pin down. The production on their first two albums was absolutely brilliant, unlike anything I had encountered before. They seemed to be been influenced by the original Mothers of Invention (my fave 60’s rock band), both production-wise, the use of extended techniques in their playing and the use of effects to alter their sounds. They also had a sharp, sly sense of humor (like the Mothers) and were known to be Marxists. I wrote to members of Henry Cow through the Virgin label in between their 1st and 2nd albums and received letters from Fred Frith, Chris Cutler & Tim Hodgkinson. My roommates at college & myself read those letters many to times to help us figure what Henry Cow was all about. In December of 1975 I met Fred Frith & Chris Cutler for a drink while I was doing an exchange program in London. Sadly, I never had a chance to see Henry Cow live. In November of 1978, I finally caught Frith, Cutler, Peter Bledvad (member of Slapp Happy & Henry Cow) & Billy Swann from the Muffins at the Zu Manifestival in NYC. Mr. Frith moved to NYC in 1979 while Henry Cow were in the midst of breaking up. Mr. Frith became good friends when he moved here and I owe him a good deal of gratitude for introducing me to the other members of the emerging Downtown Scene: John Zorn, Eugene Chadbourne, Tom Cora, Wayne Horvitz, Robin Holcomb, Bob Ostertag, Ned Rothenberg and many others. I have also stayed in touch with Chris Cutler,Tim Hodkinson & Peter Blegvad through the years and have been lucky to have met Dagmar Krause & Geoff Leigh as well. They are still my heroes as well as friends.
Henry Cow recorded 5 studio records and 1 live record during their reign from 1973 to 1979. All brilliant and well worth exploring at length. I have also followed the long careers of each member, acquiring each release and checking out of them live whenever I’ve had the opportunity. If you own all or some of the Henry Cow discs, you should also check out the Art Bears and News from Babel, as well as any of the other solo or collaborative projects from all members of the band. Chris Cutler founded ReR Megacorps (distribution) and Recommended Records (a/k/a RecRec or ReR), a great label for varied progressive/experimental musics. Three box sets were released in 2008 for the 40th anniversary of Henry Cow, one for the official studio releases and the two boxes featured 9 live discs (all unreleased) and a live DVD. A decade later in 2019, ReR released ‘The Henry Cow Box Redux’ which includes all of the discs from the previous boxes (17 CD’s, a DVD & a thick booklet). All essential music for serious listeners & collectors. Since there has been a handful of unreleased live sets which have been discovered. This new disc, ‘Glastonbury and Elsewhere’ is the first of the batch with more to come. - Bruce Lee Gallanter, DMG
SUSAN ALCORN / PATRICK HOLMES / RYAN SAWYER - From Union Pool (Relative Pitch Records 1160; USA) Featuring Susan Alcorn on pedal steel guitar, Patrick Holmes on clarinet and Ryan Sawyer on drums. Recorded live at Union Pool in Brooklyn in March of 2022. Relative Pitch Records has a knack for finding (or even organizing) unlikely sessions with improvisers from different scenes or backgrounds. Experimental pedal steel master, Susan Alcorn, has worked with ace drummer Ryan Sawyer on several previous occasions: mostly with/for Nate Wooley and in Ms. Alcorn’s great quintet, which had a CD released in 2020. Ryan Sawyer is a longtime Downtown drummer who has worked with Glenn Branca, Zeena Parkins, Thurston Moore and Matana Roberts. I’ve known clarinetist Patrick Holmes for many years, especially since he’s played the store a number of times and also comes down here to shop. Aside from working Daniel Carter and Sabir Mateen, Mr. Holmes hadn’t appeared on very many records until the past few years. He does play here at DMG from time to time (1/10/23 - most recently) and I always dig whatever he does.
Although Ms. Alcorn did play in country bands when she was living in Texas many years back, yet her sound/approach on pedal steel comes from a more expansive/experimental palette for more than a decade or so. As this piece begins, we hear a swirl of electronic, drone-like sounds with Mr. Holmes acoustic clarinet quietly playing in the center. As Ms. Alcorn’s swirls and/or drones resonate, Mr. Holmes is also moving his clarinet closer to and away from the mic, altering his sound carefully. Ms. Alcorn is a gifted improviser who takes her time to stretch out, adding varied layers of sound, some of which sounds like a pedal steel but other more eerie and ghostlike. Mr. Sawyer adds subtle contours and shade with his skeletal drum playing. In a sense the electronic or amplified sound of the pedal steel and the most acoustic clarinet seem to come from much different places, yet both players are strong listeners and sympathetic partners so things sound quite balanced on several levels. Ryan Sawyer is also a great choice as he also balances things and adds the right amount of rhythmic flourishes here and there. As things evolve, the sounds get more dense and intense at times with some strong, shrewd improv/connection/flow. When the audience enters at the end of one of these pieces, it sounds as if the hoots & hollers in the audience are part of the piece. Marvelous synchronicity. Is that a member of the audience or one of the musicians creating that sound?!? Ms. Alcorn is in especially fine form here, creative varied waves, lines or sounds which keep mutating as they evolve. I love when an improv group really expands and explores, creating a new world or sonic place/scene. This is what is going on here, which often leaves us at the edge of our seats as we listen closely to this new world. - Bruce Lee Gallanter, DMG
METTE RASMUSSEN / PAUL FLAHERTY / ZACH ROWDEN / CHRIS CORSANO - Crying in Space (Relative Pitch Records 1149; USA) Featuring Mette Rasmussen on alto sax & objects, Paul Flaherty on alto & tenor saxes, Zach Rowden on double bass and Chris Corsano on drums. Recorded live at Firehouse12 in New Haven, CT in June of 2019. This is one of those Relative Pitch sessions where the members of an eclectic quartet play together in strong, spirited ways although this was the first time that this quartet played together. Danish-born, Norway-based saxist Metta Rasmussen has been recording since 2015 (age: 35) and has worked with an impressive list of players: Tashi Dorji, Julien Desprez and Zeena Parkins. Ms. Rassmussen’s first two discs were a duo with Chris Corsano and a trio with Paul Flaherty & Corsano. Bassist Zach Rowden has recorded with Tyshawn Sorey as well as with those oddballs Crazy Doberman. Chris Corsano used to tour and record often with Paul Flaherty but the duo had a falling out from what I heard. Mr. Corsano is one of the most distinctive drummers around and has kept busy playing all over with Rangda (w/ Sir Richard Bishop), Evan Parker, Akira Sakata and Bill Orcutt. Paul Flaherty is one of the elders of free jazz sax, having records out since around 1982 and is currently 75 years old. There is probably a 40 year difference between both frontline saxists here. The thing is that age and background info are not important when free improvisers meet. Whatever happens when they hit the stage is what is important.
From the git go, there is something special going on. Both saxes are bending their notes towards one another creating what sounds like spiritual jazz. The quartet is both intense and focused without going over the top for too long. The music evolves here an a most organic fashion, calming down at times, erupting as well. The rhythm team is most impressive throughout, churning, levitating, throbbing, proving a constant cushion for the two great saxists. Midway through “The Hesitant Nature of Doubt”, Flaherty slows down, playing some blast-like drones while Rasmussen also matches his tone just right. Although this disc is live, the sound is superb, lifelike, real. When the two saxes lay out together, the bass & drums come together and sound like they are entering from another dimension. There is an immensely eerie section where the bass sounds like a low-end groan science fiction monster. On the second long piece, “What to Expect When Faking Your Own Death”, the saxes play unaccompanied, one at a time, stretching out each note carefully and perhaps moving around a bit on the stage. Ever since early avant-jazz albums like Ornette’s “Free Jazz” or Trane’s records with Pharoah Sanders, there’s a tradition of that Cosmic, Free-Flowing, Spirit Storm which is nearly six decades old. This mighty fine quartet are coming from a similar place. I love when they back and get into some more calming waters for a short while, fading into near silence at one point. Is that Corsano playing some birdcalls in the distance? Is that Metta vocalizing or playing her sax inside-out or both perhaps?!? Is Flaherty making some weird vocal sounds or talking through his sax? Unsure all the way around. This is wonderfully transcendent disc, from the beginning to the righteous end. - Bruce Lee Gallanter, DMG
* JOEL HARRISON and The STARDUST REUNION BAND with JON COWHERD / LIBERTY ELLMAN / JAMES BRANDON LEWIS / CHUTE GATEWOOD / JERRY MARROTTA / JAMEY HADDAD / STEVE GORN / et al - Joel Harrison and The Stardust Reunion Band (Alternative Guitar Summit Recordings; USA) The Stardust Reunion Band features Joel Harrison on guitar & voice, compositions & direction, Liberty Ellman on guitar, James Brandon Lewis on tenor sax, Steve Gorn on bansuri flute, Jon Cowherd on keyboards, Chute Galewood on bass, Jamey Haddad, Josh Dion & Jerry Marrotta on drums plus a horn section and five vocalists. Besides running the Alternative Guitar Summit Festival and writing a great book about other creative guitarists, Joel Harrison has had a long career of his own, with some twenty plus recordings as a leader. Every record of Mr. Harrison’s has a different theme with different personnel as well. I’ve always dug whatever Mr. Harrison has released or performed live but have no clue what will come up next. I am familiar with around a 1/3 of the musicians here: Liberty Ellman, Jon Cowherd, James Haddad & James Brandon Lewis.
The Stardust Reunion Band features 15 musicians plus four vocalists aside from Mr. Harrison himself. A few years back, I caught Mr. Harrison playing at Poisson Rouge for a tribute to the Woodstock festival, which occurred in 1969. Mr. Harrison a fine band and they covered several songs from the Woodstock album. It was the first time I had heard Mr. Harrison sing and I thought their set was marvelous, earthly, soulful, tasty and touching, much like the original spirit that Woodstock captured a half century ago. This disc sounds like it was created with the same spirit/vibe in mind. The opening song, “Peace Love and Gratitude”, featuring some fine smokey vocals from a soulful chorus, a swell, somewhat funky groove, interlocking rhythmic parts, greasy organ and a fine guitar solo from Mr. Harrison. The soul chorus sounds like Earth, Wind and Fire, which does make me smile. “Everything is Broken” (not the Dylan song) is especially charming and funky. The woman lead singer (Nicki Richards?) has a great, feisty voice and the slamming groove makes me want to dance which I am doing now in my kitchen at home. Every song on this disc is great and had me singing & dancing along. It is closer to sixties soul than anything else. I would think that this disc would sound great on the radio to be listened to by normal folks who don’t know from more avant types of music. Mr. Harrison’s arranging for the voices and the great earthy grooves and playing make this sound like a hit. I would hope that Joel Harrison could hire a promote team to get this heard by the masses and perhaps get a million hits on Youtube or one of those other media darlings. Perhaps I’m dreaming. Nice work Joel, I feel so much better now after taking a cold walk in the snow earlier today (1/25/23). - Bruce Lee Gallanter, DMG
CD $14 (* Joel Harrison has a special concert presenting New Works at Roulette in Brooklyn tonight (1/26/23), presenting some of the songs from this disc: https://roulette.org/event/joel-harrison-new-works/)
DENMAN MARONEY / ROBIN FINCKER / SCOTT WALTON / SAMUEL SILVANT - Covid Variations (Self produced; France) Personnel: Denman Maroney on hyperpiano & compositions, Robin Fincker on tenor sax & B-flat clarinet, Scott Walton on bass and Samuel Silvant on drums. Recorded April 19-20, 2021 at That Sound Studio in Pompignan, France. Since moving to France a few years ago, hyper-pianist Denman Maroney has been working with a number of fine French musicians. French saxist Robin Fincker has worked with Bill Frisell, Daniel Erdmann and Vincent Courtois. I am not sure so sure where former L.A. bassist Scott Walton is currently living but he has worked with Alex Cline, Vinny Golia & Larry Ochs and was a member of Cosmologic. French drummer Samuel Silvant has also worked with Larry Ochs, Mars Williams & Jim Baker.
Denman Maroney composed all but one of the songs here with a cover by Thelonious Monk. The opening track, “Din”, has a sly, oddly shaped groove, lumbering in a Monk-like way. I like the way the theme is broken into connected fragments yet it still flows. Mr. Maroney takes a slightly twisted piano solo while rubbing the strings inside the piano softly. “Nero” begins with rubbing the strings inside the piano but soon breaks into charming, laid back quirky sort of jazz song with a dream-like sax solo. I dig that these songs are modest yet still quietly inventive in their own way. Maroney excels in creating two lines which are played by the piano and sax, in which both players are inter-connected below the surface. On “If I Were You”, the piano and bass clarinet twisted themselves into odd shapes while still playing tightly together. The quartet juggles several intersecting lines on “Durfortois”, it sounds effortless yet is well-written, assembled from a number of tight fragmented layers. I like the way the piece speeds up, slows down, yet remains focused as one flow of ideas continues throughout. In a way, this music has a chamber-like counterpoint, yet it also has a charming sense of child-like innocence as well. A most quaint gem, unlike anything I’ve heard in recent times. - Bruce Lee Gallanter, DMG
GIACOMO MEREGA and CAMERA CON CAMERA with TODD NEUFELD / REMA HASUMI - Udnie (el Negocito 078; Netherlands) Featuring Giacomo Merega on bass guitar, chanting & compositions, Rema Hasumi on voice & synth and Todd Neufeld on drums. Although we’ve had hundreds of gigs at our store, we’ve only a small number of electric bass players. The only ones that come to mind are Simon Jermyn, Giacomo Merega and recently Tete Leguia (from Peru). Most bass players who play here play mostly acoustic bass. From time to time, Mr. Merega has contacted me about a new CD and/or doing an in-store performance. In the past I’ve heard Mr. Merega collaborating with Noah Kaplan, Marco Cappelli, Dave Tronzo and Josh Sinton. Most of these folks like to play quietly and often deal with odd intonation. Mr. Merega also worked with guitarist Todd Neufeld in trio with Josh Sinton (from 2020). I’ve had my eye on guitarist Todd Neufeld for several years, since he works with Tyshawn Sorey, Carlo Costa & Samuel Blaser. Ms. Rema Hasumi plays piano in a trio with a live CD out on the GauciMusic label. For this record Ms. Hasumi plays synth and uses her voice, but plays no piano. The first three pieces here are for solo bass guitar, something that we rarely hear about. Mr. Merega has a lovely, warm sound on his bass guitar. The three solo bass pieces stark, thoughtful and rather quaint sounding. Although they are restrained, they do have a certain subtle quality which is I find to be charming. The trio for bass guitar, voice and el guitar has its own unique sound. Mr. Merega’s bass is often at the center played those thoughtful written lines. Ms. Hasumi’s hushed wordless voice and Neufeld’s guitar aoften play some counterpoint to Merega’s insistent bass lines. The voice and guitar often use some haunting swirls weaving in and out of the throbbing bass lines. The overall effect is rather dream-like yet often skeletal. Time slows down and subtly reigns supreme here. At times, Mr. Neufeld plays just a few fragmented notes/sounds, let each note hang in the silence between the other notes. Although Ms. Hasumi sings no words, her voice still conveys some unique feelings of solemnity. I can’t think of any other disc I’ve heard in recent times that sounds quite like this. This is a most modest and still tasty gem. - Bruce Lee Gallanter, DMG
FRANZ HAUTZINGER / MAZEN KERBAJ - Abu Tarek (Creative Sources 025; Spain) An album of extended and unusual techniques between German trumpeter Franz Hautzinger and Beirut trumpeter Mazen Kerbaj, opening with only the errata of their instruments through breath and thump, slowly adding identifiable brass sounds contrasted with rich utterance and elusively electronic-sounding output, always maintaining a solid and fascinating dialog.
SIMULACRUM with PEK / BOB MOORES / ERIC ZINMAN / JOEL SIMCHES / ALBEY on BASS - Reincarnations (Evil Clown 9309; USA) One track? Check. Seventy-minutes? Check. An instrument list that would gag a marauding Viking orchestra? Check. I am, of course, referring to another Evil Clown joint, spearheaded by the restless, unstoppable force that is Dave PEK, and along with his usual coterie of like-minded minions (Bob Moores, Eric Zinman, Joel Simches, and Albey onBass) they’re here to wreck and rock your world. Nicked as a further take under the Simulacrum guise, Reincarnations isn’t so much a re-upping of past glories or spirits having flown, but an all-out extension of the improvisational gusto this outfit regularly births onto an unsuspecting populace. A YouTube livestream broadcast in June of ’22, if you by perchance gazed upon Simulacrum duking it out in their little corner of the cosmos you’d have been nigh on overwhelmed, titillated, blown-back, and probably utterly fixated on their big, brash noise. PEK & Co., explore a more electronic-oriented part of the EC universe as Simulacrum, though PEK’s megalodon-sized assortment of horns and pipes still trace gargantuan contours in the burnt studio sky. But both his & Moore’s psychedelic ’tronix are the main arbiters of ‘pulse’ here, decorative, expansive, mysterious, & myth-making in their irruptions, chirrups, and fluctuations. The Sun Ra-esque tableau painted by these instruments are often augmented by strafing runs of bass and guitar/amp distortion, which can paint some air of Merzbowian menace across the music's tumbling bow. Roughly 12 minutes in, drums and cymbals fence in sharply-textured combat, while PEK blows fierce coils of Coltrane-colored intensity. Moore and Zinman seem to lock synthesized horns on numerous occasions, but the sheer magnitude of their collective din is virtually impossible to pick apart; theirs is a tightly-controlled noise. What remains remarkable across the Simulacrum catalog is that this stuff never seems to glorify or revel in its illustrious chaos: everything splayed out, improvised with vigor, executed with imaginative abandon, feels cohesive and adroitly-planned, which consistently says a great deal about these players. Sometimes brittle, often brutal, but never less than gripping, you could play this thing a hundred times and always get the sensation differently each exposure. Yowza. - Darren Bergstein, DMG
SIMULACRUM with BOB MOORES / ERIC WOODS / JOEL SIMCHES / MIKE CAGLIANONE - Meditations on Reality (Evil Clown 9313; USA) The follow-up to their earlier YouTube livestream from June of 2022, Meditations on Reality find both the Simulacrum group of ringleader Dave PEK, Bob Moores, Mike Caglianone, Eric Woods, and Joel Simches, and, indeed, the listener, examining their phenomenological authenticity as they collectively attempt to navigate this utter derangement of the senses. This is a real space trip, every bit as infinite and intergalactic as the most out-there Hawkwind blast-offs, or early Cosmic Jokers, or even some unholy merging of Beaver & Krause with Pharoah Sanders. Bottom line is that Simulacrum don’t let their guard down for a minute, as if every fiber of their being(s) is in service to some ancient hymnal rite that sees fit to conjure the majestic, molten, supernatural power latent with Lovecraftian overtones emanating from the Old Ones. PEK & crew interject sci-fi warblings, snippets of film dialog from 50s potboilers, obscurantist spoken word channelling both Bukowski and Crowley, and just about everything but the kitchen sink to erect this preening, monstrosity of sound. PEK’s horns seem to do the impossible, reaching ecstatic flights of fancy so stratospheric you worry he’ll blow his spleen out the bell. Moore, Simches, and their colleagues splatter the studio walls with all manner of gothic electronic entrails, where bits of sequencer bubble out of the maelstrom like superheated mercury, and percussive attack ships on fire point the band towards the farthermost shores of Orion. That improvisational ‘jazz’ (of which this only barely qualifies) could be this demonstrative speaks volumes about PEK and Simulacrum’s innate ability to wrestle the very guts from their instruments, sound, and splintered genre. As always, quite awesome, life-altering, and pretty much like nothing else out there. - Darren Bergstein, DMG
ANOTHER CHAPTER IN THE MARC SLOAN / RITUAL TENSION STORY:
MARC SLOAN with ELLIOTT SHARP / DANNY BLUME / MARCO BENEVENTO / GUY THILLET / PABLO SHINE / SIMON FISHBURN - Portrait of The Musician As Forever Moonlight (Tree of Nerve Endings 85306; USA) Featuring Marc Sloan on classical guitar, Martin bass, vocals, songs & production, Elliott Sharp on slide guitar, Danny Blume on mandolin & recording, Marco Benevento on accordion, Guy Thillet violin, Pablo Shine on congas and Simon Fishburn on drums. Marc Sloan tells us that he started out as a songwriter, playing guitar and singing his own songs. In the mid-eighties, Mr. Sloan played electric bass for Carbon, Ritual Tension and GAWK. Mr. Sloan has continued to write songs throughout his career, some for Ritual Tension, Gawk or other projects. Over the past few years, Mr. Sloan went through his vast back-catalogue and has released 4 CD’s & an LP of various projects. This disc features 13 of Sloan’s songs with help from Elliott Sharp (from Carbon), Danny Blume (for John Lurie, Frank London & Uri Caine). Another collaborator is Marco Benevento (for Bobby Previte & a variety of Jam-Bands). Things begin with “Freight Train Blues”, a sort of blues/rock/rockabilly standard, once covered by Roy Acuff. These songs are closer to old style folk or folk/rock with a handful of inspired solos for the violin and slide guitar (by E#). Most of these songs sound like old folk or blues/rock standards. It sounds almost as if Mr. Sloan has a southern singing accent, his voice honest, righteous and somehow authentic (from the heart or downhome). Sloan covers “Deep El’m” a/k/a “Deep Ellum Blues”, a great folk song once covered by the Dead during the acoustic stage. His version is strong and sincere sounding. Conga player Pablo Shine adds quite a bit to most of these songs with his supportive, unfussy playing. The sentiment of honest observations/thoughtful unadorned voice is what makes this so compelling. This is a dusty gem the shouldn’t be overlooked. - Bruce Lee Gallanter at DMG
MARC SLOAN with CHARLIE MORROW / ALAN WALKER / JIM FOURNIADIS / MARK C / MUMBLETRAIN / BLACKHOLE FACTORY / et al - Reel to Real - Volume 1 (Quarantine Recordings; USA) For this disc, Marc Sloan sent out a rhythm track (just acoustic bass & drums) to ten artists from varied backgrounds and had them add their own music to the basic rhythm team sounds. I only recognize half of the names but Mr. Sloan does include a paragraph about each one so we have an idea of where they are coming from. Each artist adds their own playing & ideas and hence each track is pretty different. Alan Walker some sly guitar(s), organ and violin to the slow, solemn groove. The vibe is a late night, laid-back simmer session with some cool, smokey post-surf guitars. Jim Fourniadis sings in a slow, Tom Waits or Nick Cave-like voice, wise and assured, his words also like an old hipster with a great, bent-note rock guitar solo. Although Charlie Morrow is often known as a sound poet, he takes the rhythm part and slows it down and stretches out without adding any words. Mumbletrain adds more percussion, a few fine mellow voices, speeds up the groove a bit, making this piece more enchanting. Blackhole Factory features Elke Utermohlen and Martin Slawig. Elke’s (?) haunting voice floats on top with a haunting string section added underneath with eerie echoes also included. Black Sifichi chops up the rhythm parts, looping a few parts while adding his suspense-filled spoken word voice. Mark C played guitar in Live Skull, one of the best of the Downtown post/rock/punk bands in the late 1980’s. His track here here has some fine floating guitar, hypnotic vocal samples and well-utilized spoken words. Bart Plantenga writes fiction and adds some thought-provoking spoken word ideas/lines to the mix. R.B. Korbet was in too many Downtown bands to name here. She adds quaint keyboards, some fine psych fuzztone guitar and the blend gets more dense as it evolves. Marc Sloan’s version of the theme or groove is last and does a fine job by adding his own sly voice and strings (mellotron perhaps?). It is that insistent, hypnotic groove that runs throughout almost the entire CD which brings everything together. Kinda like variations on a similar theme. Very well handled. - Bruce Lee Gallanter, DMG
BACK IN STOCK AFTER A YEAR:
GUNDA GOTTSCHALK / XU FENG XIA / PETER JACQUEMYN - in memoriam global village (el Negocito Records 069; Netherlands) Featuring Gunda Gottschalk on violin, viola & voice, Xu Feng Xia on guzeng & voice and Peter Jacquemyn on contrabss & voice. I recall fondly when Gunda Gottschalk contacted me in the mid 1990’s to play a solo set at DMG. She was already a part of Peter Kowald’s workshop ensemble and came to play the gig with her mother in tow. Her set was great and I caught her again at the Victo in a group with Peter Kowald, as well as in duos with Xu Feng Xia & Peter Jacquemyn, as well as in a trio with Mr. Kowald or Joe Fonda on bass. I’ve also seen & heard German bassist, Peter Jacquemyn, who also once played at DMG in a duo with vocalist Anna Homler. This disc is dedicated to the late great bassist & free/spirit traveler Peter Kowald who passed away suddenly in NYC in 2002. Mr. Kowald called his workshop/ensemble Global Village and all three members of this trio were involved in it. The music here is most extraordinary, high-end ethnic string trio improv at its best. Ms. Feng Xia’s guzheng (Chinese plucked zither) has a rich sound, not unlike plucking the strings inside a piano or an acoustic harp. While the violin and contrabass are somewhat similar in sound and the way the strings are played (plucked, rubbed or bowed), the guzeng adds another dimension which is rich in timbre and tone. All three musicians here also vocalize at times adding other colors to the evolving rainbow of sounds, at times adding some exciting exclamations. There are moments when all three musicians play together, push each other, exchanging ideas and erupt into a joyous organic chaos. I recall several solo contrabass sets by Peter Kowald (once at DMG) in which he chanted those throat-singing sounds into his bass, the affect was quite hypnotic. This trio also moved into similar dark waters at times with some eerie sounds from all three players. There are moments here when thing erupt and the excitement grows more intense. Considering that this is an all acoustic trio of strings with sparse voices, one might think that this is closer to modern chamber music, which it is at times. Since these three musicians enjoying going further out, it is a wonderful to go along for the inner roller coaster ride. - Bruce Lee Gallanter, DMG
WARPED DREAMER with ARVE HENRIKSEN / STIAN WESTERHUS / JOZEF DUMOULIN / TEUN VERBRUGGEN -Lomahongva (el Negocito Records 047; Netherlands) Warped Dreamer features Arve Henriksen on trumpet, flute & voice, Stian Westerhus on guitar, Jozef Dumoulin on Fender Rhodes and Teun Verbruggen on drums with all four also playing some electronics. This is a half Belgian, half Norwegian quartet with each member coming from very different collaborations. I recall all of their name from different places: Arve Henriksen (various bands on Rune Grammofon), Stian Westerus (Bushman’s Revenge & w/ Sidsel Endresen), Jozef Dumoulin (w/ Haino Keiji & Bureau of Atomic Tourism) and Teun Verbruggen (BoAT & Flat Earth Society). An odd mix to be sure. This is a live recording from January of 2015 done in Antwerp, Belgium. This disc starts off with some brooding, spacious, swirling sounds, suspense-filled Jon Hassell-like trumpet, dark, rumbling electric piano, swirling drums and ghost-like electronics all interwoven and moving in cosmic waves. There are several layers of electronic sounds which keep shifting like organic winds. Since all four members play electronics, there are a variety of odd, strange electronic sounds & soundscapes which are also woven together and shift through different moods or scenes. I dig the multi-layered electronic sections here since they are well put together and are not too difficult to listen to, mostly fascinating to behold. Mr. Henriksen takes a couple of splendid dreamy solos which seem to float out of the ether. The balance between all of the disparate elements here are especially effective throughout our trip. - Bruce Lee Gallanter, DMG
DRY THRUST with GEORG GRAEWE / MARTIN SIEWERT / DIETER KERN - The Less You Sleep (Trost 218CD; Austria) “Austrian based collaborators of free jazz, improvisation, and sound experiments releasing the long-awaited debut album of Dry Thrust -- the new project by the trio of German pianist and composer Georg Graewe, Martin Siewert (Radian, Trapist, Also), and Dieter Kern (DEK Trio, Bulbul, Fuckhead). Graewe, has since been leading a variety of ensembles since the early '80s -- ranging from trio to chamber orchestra formats -- which have involved some of the leading instrumentalists in contemporary music. His compositions include works for full orchestras as well as scores for films, theater, and radio drama and have been performed and broadcasted around the world. Dry Thrust is one of the very rare occasions Graewe plays organ instead of piano. Recorded by Martin Siewert, in June 16-18, 2020 in Vienna. Mixed and mastered by Martin Siewert. Artwork by Georg Graewe. Personnel: Georg Graewe - organ; Martin Siewert - guitars, electronics; Dieter Kern - drums.”
ROBERT FORSTER - The Candle And The Flame (Tapete Records 525CD; Germany) Acclaimed Australian singer-songwriter Robert Forster releases his eighth solo album, The Candle And The Flame. It's an album for Forster that has taken a very different path in creating than his previous works. The first single is titled "She's A Fighter". It reveals only part of what became a journey of creating music with family and friends with a need to find joy and solace in the face of adversity. Robert explains: "'She's A Fighter' is the last song I wrote for The Candle And The Flame album. I wrote the music for it in June 2021. I liked the tune and the quick energy of the song, but I didn't know yet what it was going to be about. In early July, Karin Bäumler, my wife and musical companion for thirty-two years, received a cancer diagnosis. In late July, with a series of chemotherapy sessions about to begin, Karin talked of fighting for her health and a path through chemotherapy to recovery. The phrase, 'She's A Fighter' came to me. I liked it. And I knew immediately that it would work with my new melody. I needed just one other line for the lyric. 'Fighting for good.' The song was finished. I had written my first two-line song. I had just out-Ramoned The Ramones! Because the song has so much meaning to us, we decided to record it as a family. The only time this happens on the album. Karin sings and plays xylophone. Our daughter Loretta plays electric guitar. Our son Louis plays guitar, bass and percussion. And I strum an acoustic guitar fiercely and sing. And that's 'She's a Fighter'." That coming together musically as a family is captured in the video for "She's A Fighter". The Candle And The Flame consists of nine songs written by Robert. Produced by Robert, Karin Bäumler, and Louis Forster (The Goon Sax), the album was mixed by Victor Van Vugt (Nick Cave and The Bad Seeds, PJ Harvey) and features former Go-Betweens and Warm Nights bass player Adele Pickvance as well as Scott Bromiley and Luke McDonald (The John Steele Singers), who worked on Robert's Inferno (TR 429CD/LP, 2019) and Songs To Play (TR 324CD/LP, 2015) albums. "The recording sessions for the album were done sporadically over six months. Sometimes just one or two days a month. As that was all Karin's strength and condition allowed her to do. So we had to record 'live', catching magical moments and going for 'feel'. And that became the sound of the album." says Robert.“
MEG BAIRD - Furling (Drag City 782CD; USA) "Meg Baird's songs are rarely made up of tidy stories. In fact, for Meg, mystery itself is often the medium. With Furling, Meg's fourth album under her own name, she explores the breadth of her musical fascinations and the environments around them -- the edges of memory, daydreams spanning years, loose ends, loss, divergent paths, and secret conversations under stars. Furling moves through these varied spaces with the slippery, misty cohesiveness of a dream -- guided by an ageless, stirring voice that remains singular and unmistakable. Since co-founding the beguiling and beautiful Espers in the mid-aughts amid Philadelphia's fertile underground music community, Meg's solo recordings have constituted just a fraction of her work. Her first solo LP, the disarmingly out-of-time Dear Companion (2007), saw her carve a quiet, sunlit space away from the flickering swirl of Espers. Since her last solo releases, Seasons on Earth (2011) and Don't Weigh Down the Light (2015) Meg has lent thunderous drumming, lead vocal, and poetry to Heron Oblivion (Sub Pop) . . . She collaborated with harpist Mary Lattimore on the mesmerizingly hazy Ghost Forests (2018). She's played drums with Philadelphia scuzz-punks Watery Love (In The Red, Richie Records) and explored her deep familial folk roots in the Baird Sisters (Grapefruit Records). She also contributed her vocal arrangements to albums from Sharon Van Etten, Kurt Vile, Will Oldham, and Steve Gunn, and toured with Angel Olson, Dinosaur Jr., Bill Callahan, Thurston Moore, and Bert Jansch, among others. Yet Furling is the album that most irreverently explores the span of her work and musical touchstones. It showcases her natural tether to '60s English folk traditions. But it also reveals her deep love for soul balladry, the dubby Bristol atmospherics of Flying Saucer Attack, the solitary musings of Neil Young shackled to his piano deep in the foggy pre-dawn, the melancholy memory collage of DJ Shadow's Endtroducing, and the delicious, Saturday-night promise of St. Etienne. Furling was primarily recorded at Louder Studios by Tim Green (Bikini Kill, Nation of Ulysses, Melvins, Wooden Shjips). Additional piano and vocal recording were captured at Panoramic Studios in Stinson Beach, CA with Jason Quever (Papercuts). It was mastered in Brooklyn by Heba Kadry, who mixed Bjork's Utopia and mastered LPs for Slowdive, Cass McCombs, and Beach House. For all its adornments, Furling remains deeply intimate. The entire album was performed by Meg and her longtime collaborator, partner, and Heron Oblivion bandmate Charlie Saufley. While her prior solo work hinted at more expansive horizons, Furling explores the idea of Meg Baird as a band much more freely. Venturing beyond the musical confines of fingerstyle guitar, she plays drums, mellotron, organs, synths, and vibraphone over her piano and guitar foundations. Her distinctive, simultaneously elegiac and uplifting vocals, meanwhile, connect surreal dream montages, graft sunshine sonics to swooning meditations on romantic solidarity in trying times, and weave odes to the simple gestures of friendship -- and the loss of family and friends..."
LOSCIL // LAWRENCE ENGLISH - Colours Of Air (Kranky 236; USA) "The union of composers Lawrence English and loscil aka Scott Morgan is seamless, sublime, and long overdue. Born of a conversation centered on the notion of "rich sources" as a forge for electronic music, Colours Of Air is a collection of recordings of a century old pipe organ housed at the historic Old Museum in Brisbane, Australia, which were then processed, transformed, and elevated into eight majestic electro-acoustic threshold devotionals. The timbre of the instrument and spatial fluctuations of room tone infuse the music with a subdued, sacred feel, like vaulted light in a nave of stained glass. They describe the album as 'an iterative project, a reduction and eventual expansion,' sifting the swells and drones of the organ for every shivering shade of radiance. The tracks are named for the hue each piece suggests -- from the gauzy levitational miasma of 'Yellow' to the pulsing melancholic mirage of 'Violet' to the seething twilit sandstorm of 'Magenta.' Morgan and English are both adept at conjuring moods of muted grandeur, like landscapes veiled in dusk, still looming and luminous. Here their combined powers open pathways to heightened realms of deep listening and bewitching restraint, finding flickering infinities in ancient configurations of wind, brass, stone, and dust."
ADAM BOHMAN - Music And Words 3 (Paradigm 038CD; UK) “Coming eight years after Volume 2 and 23 years after the first installment, Volume 3 of Music And Words is the fourth solo release by Adam Bohman on Paradigm Discs. All four releases have focused on his earliest recordings, mostly from the '80s, mostly domestic and all using cassette recorders. There are four principle styles that are employed in this early phase of Adam's work -- most unexpectedly there are songs, often constructed with trumpet as the lead instrument, then more typically there are improvised experimental pieces using homemade stringed instruments. Thirdly, you have "pause pieces" -- consisting of rapid edit collages using found media (typically radio and bargain bin LPs), and the fourth element is Adam's spoken word recordings. Anyone who has met Adam will have seen him recording his observations and thoughts onto a small tape recorder, documenting his way through life. In fact, the Music And Words CD series is roughly 50% composed from these peripatetic "talking tapes". On Music And Words 3, you hear him at the seaside in both Brighton and Clacton-On-Sea. Overall, the CD ranges widely over these various styles, and bursts with ideas and humor. In addition to the four solo releases on Paradigm Discs there is also a compilation track plus his contribution as a member of Morphogenesis on three further CDs. Six-panel card wallet with a four-page insert; Edition of 500.
HEN OGLEDD with RICHARD DAWSON / RHODRI DAVIES - Hen Ogledd (Streamline ST 1040CD; UK) "The story of Hen Ogledd (Welsh for Old North), one of Britain's more colorful and unusually unpredictable contemporary bands, begins with this duo recording of Richard Dawson and Rhodri Davies, first released in 2013 on an LP in an edition of 250 copies by the Alt.vinyl imprint. This Streamline edition is its first-ever CD release. Hailing from Newcastle, Richard Dawson should not need any introduction, as he has made his name with numerous solo and collaborative outings, while Welshman Rhodri Davies, known for his involvement with the British school of reductionist free improvisation, has collaborated with and performed for a great number of improvisers and composers. Guitar playing singer/songwriter Dawson met with Davies (who is featured here on pedal harp, amplified lap harp, electric harp, percussion and electronics) to produce these five pieces of heavily distorted improvisation that veer refreshingly away from any academic background one might expect at such an encounter. Instead, we find a highly energetic blend of lo-fi rock, improvisation and imaginary folklore that suggests jam sessions between Captain Beefheart's legendary Magic Band and Northern English noise champions The New Blockaders. While this analogy does not seem fully satisfactory and one struggles for words for an appropriate reference, the uniqueness of Hen Ogledd becomes apparent once again. The fact that Hen Ogledd has already become its own best reference here should speak for itself. Hen Ogledd has been remastered for CD from the original source recordings by Jim O'Rourke and is presented in mini-LP sleeves replicating the original LP artwork."
CHRISTIAN MARCLAY - Christian Marclay (JSP Editions 9783037645970; Switzerland) "Blending Fluxus, pop and performance art, Marclay has tested and reinvented the relationship between art and sound over the past four decade. Published on the occasion of Christian Marclay's major survey at the Centre Pompidou, Paris, this volume explores in depth his popular and influential multimedia art. From his early performances in the 1970s to his iconic Guitar Drag (2000) and large-scale video installations such as All Together (2018), Marclay has ranged freely across mediums -- photography, modified musical instruments, videos, prints and paintings, objects and graphic scores -- exploring auditory existence through strategies of sampling, shuffling and montage. Designed by Zak Group and extensively illustrated, the publication gathers together new essays by writers Polly Barton and Nathalie Quintane, art historians Michel Gauthier and Marcella Lista, and design specialist Catherine de Smet. It also features a conversation with Marclay by the exhibition's curator, Jean-Pierre Criqui, an anthology of texts from an international array of writers and art historians -- Clément Chéroux, Dennis Cooper, Jean-Pierre Criqui, Wayne Koestenbaum and David Toop -- and a comprehensive chronology by Annalisa Rimmaudo. London- and New York-based visual artist and composer Christian Marclay (born 1955) was born in California, raised in Geneva, Switzerland, and studied sculpture at the Massachusetts College of Art in Boston. He won the prestigious Golden Lion award at the 54th Venice Biennale for his video The Clock and has had solo shows at the Hirshhorn Museum and Sculpture Garden in Washington, DC (1990); the Museum of Contemporary Art, Chicago (2001); the San Francisco Museum of Modern Art (2002); and the Whitney Museum, New York (2010)."
HISTORIC / ARCHIVAL RECORDINGS:
ALBERT AYLER QUINTET with DONALD AYLER / MICHEL SAMSON / WILLIAM FOLWELL / BEAVER HARRIS - Lost Performances 1966, Revisited (Hat Ezz-Thetics 1146; Switzerland) In 1966 tenor saxophonist Albert Ayler toured northern Europe with his ensemble of Donald Ayler on trumpet, Michel Samson on violin, William Folwell on double bass & Beaver Harris on drums, a stellar group performing some of Ayler's most substantial compositions, heard in concerts in Rotterdam and Helsinki, and in the soundtrack to a film recorded in Munich.
BRAHJA [DEVIN WALDMAN] - Watermelancholia (Cortizona 018LP; Belgium) “Devin Brahja Waldman is a New York saxophonist, drummer, synthesizer player, and composer who leads the group Brahja. Waldman has accompanied his aunt, poet Anne Waldman, since the age of ten. Waldman is a co-founding member of Radical Reversal, Diva of Deva Loka, and Notable Deaths. He has performed with Patti Smith, William Parker, Nadah El Shazly, Malcolm Mooney, Thurston Moore, Godspeed! You Black Emperor, Charles Hayward, Luke Stewart, and Yoshiko Chuma. Waldman is also a member of NYC's Heroes Are Gang Leaders (led by poet Thomas Sayers Ellis and saxophonist James Brandon Lewis), of Sam Shalabi's Land of Kush, and of the Norwegian hardcore group MoE. As a youngster, Waldman was taken under the wing of avant-garde giant Paul Bley. Along with Anne Waldman and cousin Ambrose Bye, Waldman is a co-producer for Fast Speaking Music, a NYC poetry and music label which has released recordings with Amiri Baraka, Meredith Monk, William Parker, Laurie Anderson, Eileen Myles, CAConrad, Fred Moten, Daniel Carter, Clark Coolidge, Thurston Moore, Joanne Kyger, and many others.
The moment the first bass note of Luke Stewart kicks in on Watermelancholia, followed by the swelling drum roll of Malick Koly and the lush leading voice of Janice Lowe you feel Devin Brahja will take you on a deep mind-blowing spiritual journey. Channeling wild seventies Impulse vibes on "O.P.K" or, could you say, even resonating the guts of early Art Ensemble of Chicago and the tempering spirit of Max Roach's We Insist era: Brahja is soul searching their spirit on Watermelancholia. A poetic stream of consciousness, backboned by top-notch musicians, transcending the cosmic universe, trying to find answers and musically connecting. Watermelancholia is a meditation on healing the inner schism between the sense of self -- the ego -- and the inner being. It is about bringing the ego to justice; putting it on trial, as it were. Includes booklet with extended liner notes.
"Ancient to the future 2.0. Watermelancholia is about the law of Karma: a law so obvious that it often goes unspecified and ignored. Neglecting this law invites a world of chaos. It's been articulated in endless ways. Some have called it Cosmic Law or Natural Law. Others translate it as Do No Harm." --liner notes excerpt
JOSEPH JARMAN / DON MOYE - Earth Passage - Density (Black Saint 120052V; Italy) “Reissue, originally released in 1981. An outstanding yet obscure release by two Art Ensemble of Chicago members, multi reeds player Joseph Jarman and drummer Don Moye, along with legendary bassist Rafael Garret (mostly remembered for his presence on Coltrane's masterpiece Kulu Se Mama) and young lion Craig Harris on trombone. Four great individuals digging deep between ancient African rituals and modern urban multidimensional grooves. A tribal ecstatic sound based on a multitude of instruments: reeds, bamboo flutes, didgeridoo, trombone, conch shell, panpipes, and a sea of percussion. A beautiful example of AACM "Ancient to the Future" aesthetic. A magic mixture of elements from the African American music continuum.”
LOL COXHILL / PIERRE COURBOIS / JASPER VAN'T HOF - Toverbal Sweet (Lantern Heights 004LP; Italy) “Reissue, originally released in 1972. Released on cultish London based label Mushroom, this album brought together the anarchic genius of saxophone player Lol Coxhill, with the pure magic of a Dutch rhythm section: Pierre Curbois on the drums and keyboard player Jasper Van't Hof. A clash of the titans as a matter of fact, with the more classical and impro sounding lines of Coxhill and the straight -- almost jazz-rock -- harmonies of the other two players. A fascinating record comparable to Keith Tippett small groups and the rise of the most peculiar impro-jazz scene. Fully licensed. Edition of 500.”
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
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