DMG Newsletter for May 5th, 2023

The savage soldier just sticks his head in sand and then complains
Unto the shoeless hunter who's gone deaf, but still remains
Upon the beach where hound dogs bay at ships with tattooed sails
Heading for the Gates of Eden

With a time-rusted compass blade, Aladdin and his lamp
Sits with Utopian hermit monks, sidesaddle on the Golden Calf
And on their promises of paradise you will not hear a laugh
All except inside the Gates of Eden

Relationships of ownership, they whisper in the wings
To those condemned to act accordingly and wait for succeeding kings
And I try to harmonize with songs the lonesome sparrow sings
There are no kings inside the Gates of Eden

The motorcycle black Madonna, two-wheeled gypsy queen
And her silver-studded phantom cause the gray flannel dwarf to scream
As he weeps to wicked birds of prey who pick upon his bread crumb sins
And there are no sins inside the Gates of Eden

The kingdoms of experience, in a precious winds they rot
While paupers change possessions
Each one wishing for what the other has got
And the princess and the prince discuss what's real and what is not
It doesn't matter inside the Gates of Eden

The foreign sun, it squints upon a bed that is never mine
As friends and other strangers from their fates try to resign
Leaving men wholly
Totally free to do anything they wish to do but die
And there are no trials inside the Gates of Eden

At dawn, my lover comes to me and tells me of her dreams
With no attempts to shovel the
Glimpse into the ditch of what each one means
At times I think there are no words but these to tell what's true
And there are no truths outside the Gates of Eden

Sometime in the past decade I got the large Bob Dylan - Lyrics 1962-2001 book, which is around 600 pages and very heavy weight-wise. Ever since I learned the words to “Blowing in the Wind” at day camp when I was 9 or 10 years old, I have been fascinated by the lyrics of Bob Dylan. I started to buy his albums in 1967 and have been a Dylan freak ever since. In the week after we had that last hurricane, I had lost power in my apt. I had run out of food that first week, couldn’t use my phone or any other electric devices, so I was getting depressed. I had to find a way to entertain and inspire myself. So I pulled out my big Bob Dylan lyric book, read and sang out the lyrics to candlelight each night in order to stay sane and smiling. I still go back my many of my old Dylan albums as well as read through the book of lyrics and I am still astonished by his words. To me, this is what real, strong poetry is about. Mr. Dylan seems to have an understanding of the world and has the ability to articulate what many of us feel. Read through those above lyrics and think about the things that Bob Dylan is saying. I also love his voice (which I know bothers some folks) and the way he gets into these repeating patterns, a hypnotic device like a heartbeat at the center of who we are as human beings. Bob Dylan is still with us, endlessly touring, singing his words & his songs and helping us to look closer at our world and what humanity has in store. A big toast to the greatest lyricist of them all! - Bruce Lee Gallanter, DMG

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THANK YOU ALL! THANK YOU ALL! THANK YOU ALL!

Wow! Last Monday, May 1st, was the actual 32nd anniversary of Downtown Music Gallery, a small record store that has outlasted Tower, Other Music, Jammyland, Kim’s Underground, Freebeing, Sounds of St. Marks and many, many more important music stores. I just wanted to say thanks to all of the well-wishers all over the world (more than 100) that sent us good cheer for our dedication to promoting Creative Music and the hard work needed to keep our ship afloat. Last Sunday, it rained most of the day & we had some flooding but we still had a small party that night. So it was great to see some old friends: Michael Vatcher, Steuart Liebig, Max Kutner and others. The weekly concerts in the store have been most inspiring for those in attendance and myself and I look forward to each & every one. I have continued to post 1 minute segments from each set usually every or every other day so please follow us on Instagram. Thanks to all of you, our trusty subscribers, friends, family and fellow/feline serious music lovers wherever you are. - Peace & Love Always, Bruce Lee Gallanter & all DMG employees present & past.

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THE DMG 32nd ANNIVERSARY IN-STORE FREE MUSIC SERIES Continues with:

Saturday, May 6th: The GauciMusic Series at DMG Continues with:
6pm: NATHAN CHAMBERLAIN - Guitar / PAUL SAKAI - Drums
7pm: STEPHEN GAUCI / MIKE McGINNIS / LIM YANG / JEREMY CARLSTEDT
8pm: RAS MOSHE ENSEMBLE with MASSIMO RICCI - Reeds / CHARLEY SABATINO - Bass

Tuesday, May 9th: Guitar Goddesses and Gods - Four Fab Guitarists in One Night!!!
6:30: SALLY GATES / JESSICA PAVONE / NAVA DUNKELMAN - Guitar / Viola / Percussion
7:30: TOADAL PACKAGE: JAMES PAUL NADIEN / COSMO GALLARO / BRENNA REY
8:30: MARC EDWARDS TRIO: DAVE TAMURA / TAKUMA KANAIWA - Drums / Tenor Sax / El Guitar
9:30: Special Guest: REG BLOOR - Solo Guitar

Tuesday, May 16th: BRUCE GONE TO VICTO FEST! / Guest Host: James P Nadien
7 & 9pm: TONY MALABY - Tenor Sax / CALEB DUVAL- Bass / JAMES PAUL NADIEN - Drums

Tuesday, May 23rd: Guest Host: James Paul Nadien - Guest Host
6:30 - LESLEY MOK - Solo drums
7:30 - JAMES PAUL NADIEN / CHRIS LIBUTTI / TETE LEGUIA - Drums / Guitar / El. Bass
8:30 - JOYCE with YIFEI ZHOU / KAI BURNS / EVAN HASKIN / NOAH MARK - Voice Electronics / Guitar Voice / Guitar / Drums

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THIS WEEK’S DYNAMITE DISCS BEGIN WITH A RARE 1973 SOFT MACHINE LIVE RECORDING:

SOFT MACHINE with MIKE RATLEDGE / KARL JENKINS / ROY BABBINGTON / JOHN MARSHALL - The Dutch Lessen (Cuneiform ; USA) “From their beginnings as a psychedelic rock band in 1966, sharing stages with Pink Floyd and the Jimi Hendrix Experience, to being one of the originators of electric jazz/rock by early 1969, Britain’s Soft Machine were restlessly creative. The Dutch Lesson captures them in late October, 1973.
By 1973 Soft Machine already had a long history of playing in Rotterdam. This time they were booked in a smaller venue, which they filled to capacity at around 400. Part of an arts complex originally known as Ons Huis, De Lantaren had recently been renovated into a theatre and music venue.
In attendance that October night was Bert Boogaard, a record store owner at the time, sitting in the front row with a Uher portable tape machine, and we have him to thank for this excellent ambient recording of the performance.
The band as a whole is a real powerhouse, nowhere better exemplified than on the encore, an infectiously funky fuzz organ-led jam based on the “Gesolreut” riff. Generally the tempos are much faster than usual, making the originals feel leisurely in comparison (“37½” is a case in point), and even when they aren’t, as with “The Soft Weed Factor,” an unexpected switch to double time makes up for it.
Within a couple of weeks of this Dutch mini-tour, Soft Machine would enter a new phase of its history when, initially for a one-off Musicians’ Union workshop, the quartet teamed up with guitarist Allan Holdsworth, a successful experiment repeated on two dates in Ireland before Holdsworth was made a full member in time for the band’s Christmas Party at the Roundhouse.
Expanding the line-up to a quintet was to prove what had been needed to propel Soft Machine and its music to the next level. But although the fifth man would change several times in the interim, the quartet of Mike Ratledge, Karl Jenkins, Roy Babbington and John Marshall would remain in place for nearly three years, until Ratledge’s departure in April 1976—a very long time by Soft Machine’s standards, and a sure sign of shared musical affinity.”
2 CD Set $21

BRANDON LOPEZ - vilevilevilevilevilevile (TAO Forms 11; USA) "This is the exquisite new solo work by virtuosic bassist/composer Brandon López. ‘vilevilevilevilevilevilevilevile’ is about perceptions. More pointedly: it is 'less about -a thing- than it is about perceptions of things, questioning those perceptions, and possibly altering perceptions.' On moving to NYC, López immediately began making himself indispensable in many creative music scenes. From New York Philharmonic's David Geffen Hall to the DIY basements of Brooklyn, López has worked extensively beside many luminaries of jazz, classical, poetry, and experimental music. As with all bass players of great skill and commitment through the ages, López has been prolifically active in collaborations because he has been in duly high demand. The Cleveland Review of Books noted: 'This is virtuosity as vocabulary, a total command of texture, subtlety, and a depth that can be reached into.' López is also an improvising composer of estimable gifts. One recent example is his expansive work in duo with equally astonishing drummer Gerald Cleaver; recently incorporated into a trio with Fred Moten, the inimitable poet, theorist, critic, and 2020 MacArthur Fellow. Among the attention paid to their 2022 debut was an '8.0' review in Pitchfork and a 'Best Jazz Albums of 2022' notice by the New York Times. The brawn which Brandon brings to his playing is abundantly clear on stage, and can be viscerally felt as a force coming out of his recordings. The strings & wood frame are wholly resonant when called forth, by muscles well-developed for the purpose by a longtime gravedigger. Yes, López dug many for a strong spell as a young man. It is also abundantly clear that 'brains over brawn' are a key differential. A Puerto Rican kid growing up working class in North Jersey doesn't perform with the New York Philharmonic (as a soloist, no less) without the brains. López has kept busy during these pandemic years, releasing solo works (and other collaborative stealth recordings) via his Bandcamp page and creating live streams on Instagram. vilevilevilevilevilevilevilevile is, however; by his own telling, only his second 'real one' for solo bass -- an album created with forethought towards wider release."
CD $14 / LP $26 - In stock next week

SAM OSPOVAT / KIM CASS / BRANDON SEABROOK - Rancune - Live @ BLDG57 (Self-produced; USA) Featuring Brandon Seabrook on guitar, Kim Cass on bass and Sam Ospovat on drums & electronics. Former (?) west coast-based drummer, Sam Ospovat, has collaborated with a number of bi-coastal greats like: Moe!Staiano’s Moekestra, Aram Shelton, Unnatural Ways (with Ava Mendoza) and the Flying Luttenbachers. This is Mr. Ospovat’s second disc as a leader, his first disc (from 2019) included both Brandon Seabrook and Kim Cass, both of whom make up Sam’s fab new trio effort. Hotshot guitar demon, Brandon Seabrook has been wowing folks for a long time and has worked with Tomas Fujiwara, Ingrid Laubrock, Simon Nabatov and Three Layer Cake. In demand bassist, Kim Cass has worked with Patricia Brennan, Caroline Davis, Matt Mitchell and Noah Preminger.
This disc was recorded at Bush Terminal in Sunset Park, Brooklyn. “Rib Cage” opens with tight yet free fractured guitar, eerie (amplified) acoustic bass and spacious drums and/or electronics. The sound is somewhat off-kilter and filled with suspense. Mr. Cass plays slo-mo bowed bass on “Psycho Baths” while Mr. Seabrook makes strange sounds on guitar with minimal, skeletal drums added to frame the piece. I am not so sure how much, if any, of this was written out yet the trio does a good job of creating hypnotic moods without ever making anything very dense. On each piece, things build and get more dense or focused, evolving into pulsating groove on “All the Rage” with both the bass and guitar playing quick, slow-burning lines around one another, the drums also providing a thickening cushion underneath. On each piece the trio keeps filling in the space with more notes or sounds, often interweaving different fragments, locking in short grooves in between short free sections. It will take some time to absorb but I do see or hear ceratins parts or sections which sound like they were written or at least directed. On every disc that I’ve heard Brandon Seabrook play, he sounds different, from spacious fragmentary colors to pile-driving post-hardcore insanity. This is a skeletal trio of three gifted ghosts who take their time to balance things just right on their large canvas of space. - Bruce Lee Gallanter, DMG
CD $15

EUPHORIUM_freakestra with WADADA LEO SMITH / AXEL DORNER / URS LEIMGRUBER / ERNT-LUDWIG PETROWSKY / BARRE PHILLIPS / CHRISTIAN LILLINGER / GUNTER BABY SOMMER / et al - Free Acoustic Supergroup (Euphorium Records 029; Germany) Featuring Wadada Leo Smith & Axel Dorner on trumpets, Ernst-Ludwig Petrowsky & Urs Leimgruber on reeds, Oliver Schwerdt on piano (& production), Barre Phillips & Michael Haves on contrabasses and Christian Lillinger & Gunter Baby Summer on drums. The German-based Euphorium_freakeastra started in 1999 and has six previous discs out. I know about some of the original members like Axel Dorner, Frank Mobus and Ronny Graupe, all of whom have discs out on the JazzWerkStatt label. The personnel appears to change on each of their records and they often include special guests like Barry Guy, Burhard Beins and Bertrand Denzler.
There are two booklets included here, one with just pictures of the musicians and the other with text, written in German. The personnel on this disc features a mostly all-star cast of Wadada Leo Smith with mostly European older out-jazz greats. The group has a series of double instruments like 2 trumpets, 2 reeds players, 2 woodwinds, 2 basses, 2 drummers and Friedrich Kettlitz on vocals (with the text in the booklet). The music was recorded in August of 2009 at the Operahaus as p[art of the Leipziger Jazztage. The music is Euro style free improv which sounds organic, sparse in parts and carefully crafted. The spoken word parts are minimal and just start off the beginnings of “Kantake”, which is in two parts. Although it mostly sounds free, the overall vibe if mostly focused and filled with tight eruptions and different combinations of players. There are series of duos that are particularly engaging here, especially since both members of each duu has a different sound or approach and the musicians are well-matched. There is quite a bit of focused, intense and sprawling free music at its best here. Just incredible! - Bruce Lee Gallanter, DMG
2 CD Set $22

1000 with JAN KLARE / BART MARIS / WILBERT DeJOODE / MICHAEL VATCHER - Eintausend Spielt OCJ (JazzWerkStatt/ Umland Records 57/LC 52840; Germany) Featuring Jan Klare on alto sax & flute, Bart Maris on trumpet & piccolo, Wilbert DeJoode on contrabass and Michael Vatcher on drums. 1000 is a unique quartet of musicians from Belgium {Maris), Germany (Klare), Netherlands (DeJoode) and ex-pat US (Vatcher). The group has been around since 2007 and has recorded some seven discs so far. Their disc are not easy to find so thanks to our good friend Michael Vatcher for getting these to us. Half of these songs are group improvs, the rest written by Jab Klare or a couple of them are traditional songs from China and Myanmar. The title track, “OCJ” was written by Mr. Klare and it is an inspired piece which stops & starts and then breaks into a duo section, with the quartet soon split into tow interconnected sections. “Tower Rock Melody SecludedOrchis” is a Chinese traditional song which is deconstructed with the horns playing the theme at the beginning and the quartet erupting freely in between the themes. Half of these pieces were recorded live at the Peitz Jazz Fest (in September of 2021) and the rest were recorded in a studio three months later. It is nearly impossible to tell the difference since the quartet has their own, unique sound no matter where they are. Many of these pieces are stripped down to a skeletal sound yet each piece has its own inner logic or focus. “Hna Lone Tha” is a traditional song from Myanmar, although it is hard to tell since the quartet abandon the melody pretty quickly and go off into other places but still come back to the theme at different points throughout the piece. 1000 definitely have their own sound and each member seems perfect for the group sound. The thing that I’ve long dug about Mr. Vatcher is his ability to play with subtle space while providing some rhythmic support, always balancing the two just right. I also love the way both horns play together, often shadowing each other as they go and playing unique quirky harmonies have their own sound. I often can’t tell the difference between the written and improvised pieces since the quartet work together so well. Each piece here is fascinating in its own way, the more I listen, the more I hear how well it works. - Bruce Lee Gallanter, DMG
CD $15

EFG TRIO with EYAL MAOZ / FRANK LONDON / GUY BARASH - Transliminal Rites (Orenda Records; USA) The EFG Trio is Eyal Maoz on guitar, Frank London on trumpet and Guy Barash on live electronics. Last Tuesday (5/2/23) Israeli-born guitarist Eyal Maoz played a solo set here at DMG with Eyal still playing guitar in his own unique way. You should certainly know of Mr. Maoz who has played with the Lemon Juice Quartet, Abraxas, Nine Volt and several of his own projects like Hypercolour and Edom. Longtime downtown trumpeter Frank London is well known for his work with the Klezmatics, Zion80 and Hasidic New Wave. Guy Barash is a contemporary classical & electronic music composer with great discs out on Innova and New Focus Recordings. There are fifteen pieces on this disc, some quite short, all under 7 minutes. Both of Guy Barash’s own CD’s, which include both musicians here, are concept records so their is a focus or direction involved. This disc appears to be an all improvised affair. Most of what Frank London does is either Klezmer-based, jazz or ethnic music of eastern Europe. Here, Mr. London gets a chance to stretch out with his trumpet often bathed of varying degrees of echo devices. There are some sounds here which it is hard to tell if they are electronic or coming from a trumpet or a guitar so it does keep us guessing. I do hear bits of Jewish or klez-like melodies buried or floating inside. On almost every piece, London’s trumpet is manipulated with different devices. Mr. Maoz’ guitar also uses a number of devices blurring the sound as it blends with the mutant trumpet sounds. I like the overall sounds going on here, somewhere eerie and even alien sounding, perhaps lie a soundtrack to mildly scary sci-fi film. - Bruce Lee Gallanter, DMG
CD $14

EYAL MAOZ / ASAF SIRKIS - The Lie Detectors - Part III - Secret Unit (Chant Records 1809; USA) Featuring Eyal Maoz on guitar and Asaf Sirkis on drums. You might recognize the name of guitarist Eyal Maoz from his work with the Lemon Juice Quartet, Abraxas, Hypercolour or Edom (the last 3 all on Tzadik). I know of israeli drummer Asaf Sirkis less well although he has worked with Markus Reuter, Dwiki Dharmawan and he has some solo discs out on Konnex & Moonjune. This disc was recorded in London and released as a download with a limited edition CD. The music sounds more like post-punk pounding with some metalish guitar. It also sounds like Mr. Maoz is either overdubbing another guitar or looping one while adding some wailing lead guitar on top. On “Go” the duo slow down to a haunting slow-rocking groove with some superb effective lead guitar with a distinctive sustain tone sound. Maoz switches to acoustic guitar on “Closer”, bringing the vibe down to a more cerebral sound with some tasty licks and brushes accompaniment. There are some 12 tracks here and each one employs a different structure or strategy. Each one is captivating in one way or another. A modest effort which is also impressive on a variety of levels. - Bruce Lee Gallanter, DMG
CD $14

SoSoLa - Nu World Trashed (DooBeeDoo Records 95269-03330; USA) Featuring SoSoLa (Sohrab Saadat Ladjevardi) on tenor sax & compositions, Hubl Greiner on electronics, mixing & mastering), Paul Amrod on electric piano, Mike Irish on electronics, Dr. Cornel West - voice, Massamba Diop on talking drum, Mar Gueye on sabar (Senegalese hand drum), David Belmont on dobro, Baba Don Eaton on percussion, Kaveh Haghtalab on kamancheh and Genetic Drugs on drums & synth. I’ve known Sohrab for a decade now and always admire his work as a serious activist for Creative Musicians. He seems to take his time in between records, the last one I reviewed was in 2012. “Welcome to Nu World” opens with haunting tenor sax, eerie electric piano and spaced out electronics (from Hubl Greiner). The overall effect is most hypnotic. On Enough is Enough” both Sohrab and Dr. Cornel West do some effective spoken word vocals, mostly talking about social justice. Mike Irish provides the electronic/sampled groove. On “Mystical Full Moon Hymn for Ornette Coleman”, Genetic Drugs provides a lush electronic groove while Sohrab adds several layers of tenor sax. Nice. “Sad, Sad, Sad Sake” is a hymn of sorts for some soft bluesy dobro, kamancheh (Iranian long neck string instrument) and soft distant percussion. On “Anybody Out There” Sohrab recorded his tenor sax on his I-phone, with Genetic Drugs adding layers of spacious electronics and a slow, sly beat/groove. I like the way several layers of sax harmonies have been added. Most of these songs have visuals as well which are posted on Vimeo. I found that all of these pieces have a hypnotic undertow which allows us to go along for the inner ride if we choose to do so. On “What’s What”, Sohrab asks what is going on in our city (NYC), thinking out loud about things he observes. I like the way the middle-eastern and Downtown sounds are blended here into something new. Got keep listening to SoSaLa’s voice/music/sound to find out where his muse will take us next. Hopefully we won’t have to wait for another decade. Peace. - Bruce Lee Gallanter, DMG
CD $20 [Limited edition of 300, unsigned copy]

EDENA GARDENS - Agar (El Paraiso Records 070CD; Denmark) “On their second album, Edena Gardens manifests itself as a permanent fixture in the El Paraiso catalog. Edena Gardens could have flickered and disappeared in true El Paraiso fashion with a single session album, but the trio emerges with both a new studio album as well as a live album (Live Momentum, EPR 071LP). It's part of the band's DNA: it contains multitudes. There's always a variation or open path, shifting with ease from heady cosmic stoner folk-vibes, to the scorched earth of 12-minute centerpiece, "Veil". "Halcyon Days" opens up a panoramic interlude of beautiful analog warmth, while closer "Crescent Helix" opens in full free-jazz mode, only to travel into an endless crescendo of alt rock proportions rarely found on this side of the '90s. Somehow, Edena Gardens combines the sum of its multifaceted parts in a unified way, perhaps due to Causa Sui drummer Jakob Skøtt's transparent edits and layered treatments. Or perhaps the trio's level of experience and joy of playing simply connects whatever direction they pursue -- Nicklas Sørensen of Papir's glistering guitar lines, backed up by Martin Rude's rumbling baritone guitar strums or solid basslines. It's an album that showcases not only the spontaneous paths taken, but also the vast well of ideas or sounds only implied or briefly touched upon, creating an aggregation of sounds just out of reach. Welcome back to Edena Gardens.”
CD $16

BACK IN STOCK:

DAVID S. WARE with COOPER-MOORE / MARC EDWARDS * - Birth of a Being (Expanded)(Aum Fidelity 096-97; USA) Newly repressed. "Birth Of A Being (Expanded) presents the essential first studio recordings by incomparable jazz saxophonist David S. Ware as a bandleader. Recorded in New York, April 1977, the first disc features material originally released on LP by the Swiss label, hat Hut Records -- out of print for over 30 years. The second disc features a full additional album of top-shelf material from those same sessions that have never been released in any form. This definitive edition was sourced from the original analog 8-track tapes, and was newly mixed & mastered in 2015. Crucial material. Stunning performances & fidelity. Ware's band here, featuring Cooper-Moore on piano and Marc Edwards on drums, was known as Apogee. This long-standing & incessantly active collective trio formed in Boston (Ware attended college there) in 1970, relocating to NYC in the early 70s to create their own space within the jazz loft scene of the time. In 1973 they were invited by Sonny Rollins to open for him at the Village Vanguard. Not long after arriving in NYC, Ware began performing extensively with Andrew Cyrille's group Maono, and, together with Marc Edwards, joined the Cecil Taylor Unit. In 1977, at Ware's request, Apogee reconvened to document their essence in a proper studio setting. Birth Of A Being could not be a more perfect title for these recordings, as it was here that David S. Ware's concepts for jazz ensemble were first elucidated; concepts that would further blossom within the legendary David S. Ware Quartet which he launched a decade after the initial release of this work. Birth features Ware's compositions & the mesh of Apogee's deep foundation of collective synergy with his vision at time of recording. Exceptional clarity, control, and utter logic in elocution; with intent to get to the breathing heart of music itself. The tenderness and intensity of feeling on full display in all of his work here is humbling. This 2CD set is the fitting first in a planned series of David S. Ware archival releases on AUM Fidelity; its release date coincides with the 66th anniversary of his birth (November 7). First edition packaged in deluxe 8-panel digipak."
2 CD Set $18

* MARC EDWARDS will be playing at our store DMG next Tuesday, May 9th at 8:30!

WILLIAM PARKER QUARTETS with COOPER-MOORE / ROB BROWN / JALALU-KALVERT NELSON / HAMID DRAKE - Meditation / Resurrection (Aum Fidelity 104-05; USA) Newly repressed. "Meditation / Resurrection is a double-album presenting a bounty of beautiful new William Parker compositions performed by two of his flagship ensembles, the Quartet -&- In Order To Survive. It was recorded & mixed live during a one-day studio session in late 2016. With the tone of the pieces & performances reflecting our current moment, this is Parker & the groups' follow-up to 2013's epic Wood Flute Songs box (2013). At the core of both groups is Parker's foundational bass together with rhythm twin, drummer Hamid Drake. Their partnership -- two decades deep now -- is one of the greatest in the history of drums & bass. Alto saxophonist Rob Brown -- a supremely gifted improviser, as is every musician here -- is likewise present throughout. Pianist Cooper-Moore features on album/CD2. He has been a very significant catalyst in the world of creative music for over 40 years. As William writes in the notes, 'Cooper-Moore is one of the special people who speaks and plays from the heart all the time with power and grace. If my music has had any success in last 20 years it is because he has been a major inspiration and contributor.' Cooper-Moore will be the Lifetime Achievement Honoree at the 2017 edition of the Vision Festival, NYC. Trumpeter Jalalu-Kalvert Nelson appears on album/CD1. Hailing from Oklahoma City, and a resident of Switzerland since 1994, he is a major figure in his own right as a composer of modern classical and world music, and is well-versed in the language of blues, jazz and improvisation. From the liner notes, 'Jalalu is always able to transform any music situation into a magical experience.' William Parker's exceptional gift as a composer of beautiful melodies and infectious rhythms have long been intrinsic to his art, and it has always been on full display in the work of the quartets featured here. Being that these groups are among the highest caliber jazz bands of our time, Parker's luminous compositions are brought to blossom into vibrant kaleidoscopes of sound. Packaged in deluxe 8-panel digipak with extensive notes by William Parker on the music and more."
2 CD Set $18

NEW YORK ART QUARTET with MILFORD GRAVES / ROSWELL RUDD / JOHN TCHICAI / LEWIS WORRELL / REGGIE WORKMAN - New York Art Quartet Revisited (Hat ezz-thetics 1149; Switzerland) Evolving after a gig in 1963, saxophonist John Tchicai and trombonist Roswell Rudd developed the NYAQ from loft sessions, adding the creative drumming of Milford Graves and bassist Lewis Worrell; ESP was so impressed that they recorded their 1st 1965 album with an Amira Baraka recitation on one track; Reggie Workman then took over the bass chair for their subsequent Mohawk album on the Fontana label.
CD $17

NOAH HOWARD QUARTET with RIC COLBECK / DAVE BURRELL / SCOTTY HOLT / CATHERINE NORRIS / SIRONE / BOBBY KAPP/ et al - To At Juson Hall (Hat ezz-thetics 1152; Switzerland) Saxophonist Noah Howard's move from New Orleans to New York City brought him into the circle of early 60's free jazz players including Albert Ayler, joining Sun Ra's Arkestra, and performing at Slug's Saloon; this release reissues two ESP album, his working band's 1966 Quartet album, and the extended and interestingly orchestrated sextet album, At Judson Hall.
CD $17

ALBERT AYLER with GARY PEACOCK / SUNNY MURRAY / NILS BRONSTED / NILS-HENNING ORSTED PEDERSEN / RONNIE GARDINER - Summertime to Spiritual Unity (Hat ezz-thetics 1151; Switzerland) Remastering and reissuing two tracks--"Summertime" and "C.T"--from saxophonist Albert Ayler's 1964 Fontana album My Name Is Albert Ayler with basssist Nils-Henning Orsted Pedersen, drummer Ronnie Gardiner and pianist Nils Bronsted; and his classic and passionate 1965 ESP Disk release Spiritual Unity with double bassist Gary Peacock and drummer Sunny Murray.
CD $17

HANK JONES with THAD JONES / DONALD BYRD / WENDELL MARSHALL / EDDIE JONES / KENNY CLARKE / ELVIN JONES - The Savoy Albums Collection (Enlightenment 9220; EEC) Henry ''Hank'' Jones Jr, the American jazz pianist, bandleader, arranger, and composer, recorded more than 60 albums under his own name, and countless others as a sideman, including Cannonball Adderley's celebrated Somethin' Else. On May 19, 1962, he played piano as actress Marilyn Monroe sang 'Happy Birthday, Mr. President' to then U.S. president John F. Kennedy. Jones was signed to Savoy as a bandleader, performer and recording artist in his own right in 1955, and he would go on to make numerous albums for the label as leader, co-leader or as part of a group. His first record for Savoy, The Trio (Savoy, 1955) was also one of his finest. Joined by Wendell Marshall on bass and Kenny Clarke on drums, allmusic.com awarded the set 4½ stars and stated; "This is a superb Hank Jones date; highly recommended for fans of piano trio music". Hank made further classic albums for the label between 1956 and 1958, including Quartet-Quintet and Bluebird (both Savoy, 1956) which featured Donald Byrd, plus - on the latter - Herbie Mann. In '58 he contributed to the only record made by all three musical Jones brothers, Hank, Thad and Elvin, Keeping Up with the Joneses (MetroJazz, 1958). This new collection brings together eight of Hank Jones' finest LPs, all presented here in deluxe re-mastered sound, and all from the period when the great man's star shone brightest, between 1955 and 1964. Albums included are: ‘The Trio’, ‘Quartet-Quintet’, ‘Have You Met Hank Jones’, ‘Keeping Up with the Joneses’, ‘Bluebird’…
4 CD Set $18

OCCASIONAL CD SALE LIST / HIDDEN TREASURES:

HYPERCOLOR with EYAL MAOZ / JAMES ILGENFRITZ / LUKAS LIGETI - Hypercolor (Tzadik 7811; USA)
CD Sale $10

EYAL MAOZ'S EDOM With JOHN MEDESKI / SHANIR BLUMENKRANZ / BEN PEROWSKY - Edom (Tzadik 8105; USA)
CD Sale $10

EYAL MAOZ'S EDOM With BRIAN MARSELLA / SHANIR BLUMENKRANZ / YUVAL LION - Hope and Destruction (Tzadik 8147; USA)
CD Sale $10

2000 with JAN KLARE / BART MARIS / WILBERT DE JOODE / MICHAEL VATCHER plus STEVE SWELL / ELISABETH COUDOUX- Plant (El Negocito/Umland Rercords 19; Netherlands)
CD Sale $10

LP SECTION:

ABDUL WADUD - By Myself (Gotta Groove Records 2022LP; USA) "This long out-of-print holy grail private press album, originally released by the late Abdul Wadud himself in 1977, is finally being reissued on vinyl. The release date is what would have been his 76th birthday. There really is no easily comparable album in existence. Abdul Wadud used the cello to make music in a way that was never fore-sought for the instrument, and this album was the first physical representation of his genius. Sourced from the only copy of the original master tapes in existence. However, due to severe deterioration of the tape, the vinyl master lacquers were cut from a DSD transfer of the audio tape. Tape restoration and DSD transfer conducted by grammy-award winning mastering engineer Paul Blakemore. Lacquers cut by Clint Holley and Dave Polster at well-made music. Stampers plated with Gotta Groove Records proprietary groove-coated plating technology. Vinyl manufactured by Gotta Groove Records, and packaged in Gotta Groove anti-static dust sleeves. Contains restoration of original jacket artwork with spot gloss treatment, as well as never before-seen photo of Abdul with his children (Raheem and Aisha), along with a digital download code to redeem a high-resolution digital copy of the tape transfer. This reissue was originally sanctioned by Abdul himself. Unfortunately, he passed away on August 10, 2022. We thank his family, and particularly his son, Raheem DeVaughn, in assisting us see this masterpiece through to become available again on vinyl to a new generation."
LP $34

GRACE SLICK with PAUL KANTNER / DAVID CROSBY / PETE SEARS / DAVID FREIBERG / GARY DUNCAN / JACK CASADY / JOHN BARBATA / et al - Manhole (Floating World Records 6095LP; UK) Limited restock. "The first solo album from the Jefferson Airplane's Grace Slick. In keeping with the spirit of the times, the musicians and composers were all part of the West Coast 'family' of the day. Co-produced by the Airplanes' Paul Kanter who also performs on the album along with David Crosby, Pete Sears, Quicksilver Messenger Services' David Freiberg (who also co-produced) and Gary Duncan who join Jack Cassidy & John Barbata from Jefferson Airplane on this West Coast classic."
LP $22

SATOSHI ASHIKAWA - Still Way (Wave Notation 2)(WRWTFWW Records 030LP; Switzerland) 350gsm sleeve with selected UV high gloss varnish. Liner notes by Midori Takada, Satoshi Ashikawa, and Gareth Quinn Redmond. WRWTFWW Records announce the reissue of Satoshi Ashikawa's Still Way (Wave Notation 2). Initially released in 1982 as part of the Wave Notation series (which includes Hiroshi Yoshimura's Music For Nine Postcards), Still Way is, without a doubt, a seminal Japanese environmental/ambient/minimalism album, often mentioned alongside Midori Takada's Through The Looking Glass (1983) (WRWTFWW 018LP, WRWTFWW 019CD/LP) and Hiroshi Yoshimura's Green (1986) as one of the genre's most important pieces. "Like the moment of stillness, after the wind passes through the garden, when the rain stops for a brief second..." Notably inspired by Erik Satie's Furniture Music and Brian Eno's ambient work, Satoshi Ashikawa aimed to compose music "intended to be listened to in a casual manner, as a musical landscape or a sound object -- not something that would stimulate listeners but music that should drift like smoke and become part of the environment." The result is simply phenomenal, subtle minimalism and emotional elegance exquisitely orchestrated by Satoshi Ishikawa and his team consisting of his wife Masami Ashikawa (on flute), Midori Takada (on vibraphone), Yuko Utsumi (on harp), Tomoko Sono (on piano), and Junko Arase (on vibraphone). In conjunction with Still Way, WRWTFWW Records is releasing Laistigh den Ghleo (WRWTFWW 039CD/LP), a companion album by Irish ambient/minimalist composer Gareth Quinn Redmond, inspired by Ashikawa's approach. Liner notes by Midori Takada, Satoshi Ashikawa, and Gareth Quinn Redmond.”
LP $26

LAST COPIES OF SIX ESSENTIAL HORACE TAPSCOTT TITLES: Take all six & receive $10 off the total:

2022 marked the 60th anniversary of the founding of the Union of God's Musicians and Artists Ascension in Los Angeles by the late pianist and composer, Horace Tapscott. Like Chicago's AACM, the Watts-based collective was created to promote local musicians; but UGMAA's mandate also included dancers, actors and visual artists. Through UGMAA, Tapscott also taught music to hundreds of young musicians outside of a commercial context. Many of these musicians matriculated into Tapscott's Pan-Afrikan Peoples Arkestra, which he also initiated in '61. Even though Tapscott could have easily followed the lead of friends like Don Cherry and Eric Dolphy, and built a high-profile career for himself through touring or moving to New York, Tapscott remained in Los Angeles and worked with the Arkestra and UGMAA's education program. His efforts gained little recognition until the 1965 Watts riots, when he put the Arkestra onto flatbed trucks and, like a fire brigade, played throughout the community to help extinguish the violence. Subsequently, UGMAA received enough state and Federal funding to present regular Arkestra concerts at churches and schools, and stabilize its education program. Concurrently, Tapscott's own stock as a pianist, composer and arranger rose, resulting in two important late-'60s recording dates. The first was Sonny Criss' Sonny's Dream (Birth Of The New Cool), recorded for Prestige in '68, which featured Tapscott's compositions and arrangements (Tommy Flanagan, however, was the tentet's pianist). The second was his 1969 debut as a leader, The Giant Is Awakened, a two-bass quintet date for Flying Dutchman which also introduced alto saxophonist Arthur Blythe. These recordings revealed Tapscott to be a distinctive pianist, whose affection for waltzes leavened the angularity in his playing that is always linked to Monk. The albums also proved that Tapscott's compositional style was not as strident as the avant-garde label affixed to him suggests. Despite the merits of these albums, the Arkestra went unrecorded until 1978. Enter Tom Albach, a hard core jazz fan disgusted with what the major labels were serving up. A professional gambler, Albach approached Tapscott about releasing his music on a label Albach would create specifically for this purpose. Tapscott agreed, and the Nimbus West label was soon inaugurated with the Arkestra's The Call as their first release.
Each and every release from Horace Tapscott whether it is a solo, trio, small group or Arkestra, is a hidden treasure. Grab all of the below titles before they disappear for one and all. - BLG at DMG

HORACE TAPSCOTT / EVERETT BROWN, JR. - At the Crossroads (NimbusWest NS 579; USA) For this fairly rare Lp, pianist Horace Tapscott and drummer Everett Brown Jr. play four fairly free duets. Because Tapscott has always had very impressive technique and a melodic style, the encounters hold one's interest throughout and build up logically. Tapscott's very original style is always fascinating to hear and this adventurous set is one of his best dates.” - Scott Yanow, AMG
LP $25

HORACE TAPSCOTT - Vol. 2: The Tapscott Sessions (NimbusWest 1692 ,USA) Solo piano recordings by Horace Tapscott: the 30-minute Struggle X: An Afro-American Dream by Tapscott; and Many Nights Ago (C. Crunk)
LP $25

HORACE TAPSCOTT - Vol. 3: The Tapscott Sessions (NimbusWest 1703; USA) Five solo recordings of Horace Tapscott originals: The Tuus, Lately's Light-green Blues, Reflections Of Self, Lopkee's Blues, and After The Storm
LP $25

HORACE TAPSCOTT - Vol. 4: The Tapscott Sessions (NimbusWest 1814; USA) Six solo recordings of Horace Tapscott originals: A Dress For Renee, The Hero's Last Dance, Shades Of Soweto, First Call Of The Hummingbird, Toward The Sunset, Forgiving; plus As Of Yet (Arthur Blythe), and Whit (L Spears)
LP $25

HORACE TAPSCOTT - Vol. 5: The Tapscott Sessions (NimbusWest 1925 ,USA) Five solo recordings of Horace Tapscott originals: Stringeurisms, I'll Have One When It's Over, Blues In Pirouette, Perfumes In The Night, Hy-Pocket's Swan Song.
LP $25

HORACE TAPSCOTT - Vol. 6: The Tapscott Sessions (NimbusWest 2036 ,USA) Solo recordings by Horace Tapscott: three originals by Tapscott (Ancestral Echoes, Chartreuse Blues, The Golden Pearl); and Jessica (Roy Porter), Restless Nights (Reuben King), and New Horizon (Kaeff Ruzadun)
LP $25

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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

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Tuesday May 9th 7-8:30pm

ODORUGEN
Rubin Kodheli - cello
Marco Cappelli - guitar
Dave Miller - drums & percussion

Barbes
376 - 9th St
Brooklyn, NY

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Joe Fonda and Bass of Operation
May 26th at Michiko Studios 15 West 39th St., 7pm Start
Joe Fonda - Bass
Mike Rabinowitz - Bassoon
Jeff Lederer - Clarinet ,flute and Piccolo.
Harvey Sorgen - Drums

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ATTENTION TO ALL DMG CUSTOMERS: NEW EMAIL ADDRESS: downtownmusicgalleryofficial@gmail.com

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