DMG Newsletter for June 30th, 2023

Sometime in the early 1980’s while staying with my friend Jon Drogin in Berkeley, CA, for a month, I had become friends with guitarist Owen Maercks who was then playing in MX-80 Sound, thanks to a mutual friend, Henry Kaiser. Mr. Maercks was selling off his FMP album collection so I offered to buy it, around 40-50 records. That collection changed my life! I then discovered musicians like Alex Von Schlippenbach, Peter Brotzmann, Han Bennink, Peter Kowald and many more… I had already done a semester in London (9/75-1/76), checking out and interviewing numerous British musicians from the Canterbury & Avant/Jazz scenes there. After listening to all of those FMP records, I had a number of new heroes from the German and Dutch scenes. I finally caught Mr. Brötzmann live in the mid-eighties and was completely blown away by his unique, powerful sound/playing. Although I always dug everything I heard him do live and on record, there are/were several bands that he was in that really pushed the barriers open wide: Globe Unity Orchestra, Last Exit, Die Like a Dog, the Chicago Tentet, his trio with William Parker & Hamid Drake and many others. Mr. Brötzmann started out as a visual artist and continued to work at it throughout his entire 50 year music career. He did many of his own album covers and the CorbettVsDempsey label has released a number of books of his artwork. His first appearance on record is called ‘Machine Gun’ by the Peter Brötzmann Octet, recorded in 1968 and often considered to the beginning of European Free Jazz. Machine Gun was a nickname given to Mr. Brötzmann by Don Cherry due to the way he blasted out notes on the sax. If you listen to that record, you will exactly why the record is called Machine Gun! I never missed an opportunity to hear Mr. Brötzmann live and still collect each and every of 100 record discography. Brötzmann had been dealing with health issues over the past decade but remained a road warrior until the end, touring as often as he could. Mr. Brotzmann loved to drink liquor for most of his life and when I once picked him up to take him to the airport at 11am, he was already had a beer in one hand and some hard liquor in the other hand. While dealing with immense pain caused by having the gout, his doctor told him that if he quit drinking, the pain would subside. So he did quit drinking for the most part and I noticed that his playing mellowed out a bit, playing the occasional solo concert and even covering a standard, something I had never heard him do. He had a duo with pedal steel player Heather Lee that I heard a few times in the past decade and really dug what they. I am currently going through a dozen or so downloaded recordings that I made of Brotzmann’s live gigs, listening to each one, one at a time and savoring his sound. I just heard a trio date with William Parker and a drummer named Michael Wertmuller from an early Vision Fest in 2000. Mr. Brötzmann was playing tenor & alto saxes, taragato & regular clarinets. His playing and his sound were completely singular/unique. Long live the sound that he produced, his spirit will be with us forever in our collective memories and throughout his many recordings. Peace to Brother Brötzmann! - Bruce Lee Gallanter, DMG

I want acknowledge two other passings that occurred in the past week: Robert Black, bassist for the Bang-on-a Can All-Stars and local sax great, Dave Tamura.

The loss of David Tamura is a great one amongst the community of experimental and improvising musicians in New York City. David was a huge force behind many different projects, and always brought extreme energy and enthusiasm to whatever band he was apart of. He could play the saxophone like any of the greats he idolized; Brotzmann, Ayler, Lowe, Shorter, but could also rock some beautiful piano and noisy guitar. He was a master martial artist, creating his own system called Sifu, and taught hundreds of people his techniques. Also working as a security guard, David held a position at CNN working as one of their head guards, escorting celebrities like Larry King to and from work! David worked as one of the members of Marc Edwards’ Slipstream Time Travel for almost 15 years - still to this day one of NYC’s heaviest bands, featuring David, with Ayumi Ishito, Takuma Kanaiwa, Tor Snyder, Brenna Rey, and Lawry Zilmrah, among other past members. He also worked with such musicians as Von Lmo, Seth Putnam, Kidd Jordan, Ron Anderson, Robert Pepper, Matt Luczak, Lucas Brode, Michael Larocca, Charles K. Noyes, Dave Burrell, Joe Chonto, Cheryl Pyle, Alex Lozupone (eighty-pound pug) and so many other NYC-related free improvisation/experimental musicians.

RECOMMENDED LISTENING:
Charles K. Noyes/David Tamura duo 1978-1979 (Toadfish Tapes) (full album rip on youtube)
Dave Burrell/David Tamura/Joe Chonto - Conception (SRM 004)
The JazzFakers - Here Is Now (ALRN043)
Von Lmo - Red Resistor (VCD 2088)
Ron Anderson / Robert Pepper / David Tamura / Phillippe Petit - Closed Encounters of the 4 minds (PE116)

and forthcoming on the new label, JPN Records:
DAVID TAMURA & TOADL PACKAGE (with Cosmo Gallaro, Brenna Rey, James Paul Nadien) - Final Entrance (JPN001). This recording was made in one afternoon at GSI Studios in Manhattan on April 2, 2023, and David was so excited about it. We’ve decided to call it Final Entrance based on our collective love for Last Exit. You will hear Tamura in TOP FORM on tenor and soprano saxophones and one track where he plays really beautiful piano. David Tamura will be greatly missed. His music and spirit will live on. - James Paul Nadien, DMG, June 27th 2023

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

Rare Monday Event, July 3rd:
6:30: TERRENCE McMANUS / JOHN HEBERT / BILLY MINTZ - Guitar / Bass / Drums!
No Gig on July 4th

Saturday, July 8th: The GauciMusic Series Continues with:
6pm: SAM NEWSOME GROUP: KM / SANDY EWEN / KEVIN MURRAY - 3 Soprano Saxes, Guitar & Drums
7pm: STEPHEN GAUCI UNIT
8pm: RYAN SIEGEL - Sax Trumpet / JARRED CHASE - Drums / MICHAEL GILBERT - Bass
9pm: LUKE MARRANT - Rhodes / SYLVESTER GERMAINE - Bass / JK KIM - Drums

Rare, Sunday, July 9th Event: Two Sets Featuring:
6:30: UNDER THE TURNPIKE TRIO: TONY MALABY / JOHN HEBERT / BILLY MINTZ!

Downtown Music Gallery is located at 13 Monroe St, between Catherine & Market Sts. You can take the F train to East Broadway or the M15 bus to Madison & Catherine Sts. We are in a basement space below an art gallery & beauty salon. We are on the east side of Chinatown, not far from East Broadway & the end of the Bowery. Admission for all concerts is free and donations are always welcomed. We have concerts here every Tuesday starting at 6:30 plus Steve Gauci curates his own series here on the 2nd or 1st Saturday of each month. You can check out the weekly schedule here: https://www.downtownmusicgallery.com/shows.php

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This Week’s Newsletter Begins with a Great Book about Matt Shipp and the Creative Downtown Scene he has long been an integral part of:

SINGULARITY CODEX - Matthew Shipp on RogueArt - By Clifford Allen (Rogue Art; France) This is an excellent, informative and well-researched book. Initially I thought that making a book just about Matt Shipp’s recordings for the Rogue Art label, wouldn’t hold enough interest but there is quite a bit more than that going on here. Clifford Allen is one the better jazz journalists that I’ve really admired over time, due to his sharp, informed reviews and writing about Creative Music. Instead of focusing completely on Matt Shipp, Mr. Allen tells the larger story of the way the Creative Music Scene of the East Village has evolved since the late sixties. I, myself, have been into this scene since discovering and studying jazz at college in 1972. I’ve attended hundreds of concerts since 1968 and went to dozens of loft jazz gigs in the seventies. Mr. Allen does a job of describing the musicians who moved to the Village Scene, the other musicians or bands that they played with and their influence on serious listeners from around the world. Allen centers on Muntu, an early loft jazz ensemble with Jemeel Moondoc, William Parker, Arthur Williams, Mark Hennen & Rashied Bakr and their importance. Allen interviews musicians William Parker, Rob Brown, Whit Dickey, Joe Morris & Matt Shipp, poetess Yuko Otomo (longtime friend & collabotor of Matt’s, widow of the late great poet Steve Dalachinsky), as well as Rogue Art founder Michel Dorbon and studio engineer/producer Jim Clouse. I’ve only read a third of this book so far but I most intrigued. Clifford Allen does a good job articulating what he and Matt’s collaborators find to be unique in Matt’s playing and thinking. Can’t wait to finish. - Bruce Lee Gallanter, DMG
Book $24 [205 pages]

SYLVIE COURVOISIER / CORY SMYTHE - The Rite of Spring - Spectre d’un songe (Pyroclastic Records PR 26; USA) Featuring Sylvie Courvoisier and Cory Smythe on pianos performing Igor Stravinsky’s “The Rite of Spring” plus “Spectre d’un songe” by Ms. Courvoisier. Thanks to becoming a Mothers of Invention freak at the age of 13 in 1967, I started to explore the modern classical composers that Frank Zappa had listed on the inside of the ‘Freak-Out’ album, as well as the composers that Mr. Zappa mentioned in interviews: Edgar Varese, Igor Stravinsky and Bela Bartok. Hence, the first modern classical record I bought was Stravinsky’s ‘The Rite of Spring’ in 1968 or so. I had never listened to any classical music on record or live before this and was amazed at how powerful that piece was to me. I probably have 30-40 different versions on record and heard Pierre Boulez conduct in the early 1970’s. It is still me favorite classical work and I occasionally whistle of hum sections to myself, especially after hearing the Mothers quote a line from it on ‘Absolutely Free’.
Piano duo versions of this piece are pretty rare and I can recall only hearing one from a while back. Sylvie Courvoisier remains one of the finest of all creative pianists of the Downtown Scene, especially her unique approach to playing inside the piano, which must be seen/heard live to get a idea of how she does what she does. Cory Smythe is a classical trained pianist who has been evolving in recent years and playing the music of John Zorn, Tyshawn Sorey, as well as his own music. Ms. Courvoisier had been playing a solo version of ‘The Rite of Spring’ in concert, but when told by the Stravinsky Estate that couldn’t record it, she decided to play the original two piano version that Stravinsky had composed prior to the ballet version. Finding Cory Smythe to do this with was a great idea and Ms. Courvoisier was so pleased with the result that she wrote her own piece for her piano duo, thus titled, “Spectre d/un songe”.
One of the great things about the original ballet/orchestral version of “The Rite of Spring” is the way the cellos, brass and reeds reach up with a powerful force. For this, the two piano version, we hear Stravinsky’s music stripped down a bit but with both pianos also with their bristling intensity. For me, it is odd occasion where I know how the music will evolve since I’ve heard it so many times over 50 years. Still I am impressed by the way this piece is transformed somewhat, both pianos playing those layers of lines and keeping that original primal/jazzy sound at the center. I love the way the two piano version sounds as it get to heart of this music without some of the more dramatic/theatrical orchestral sections. Ms. Couvoisier’s piece, “Spectre d’un songe” (“Ghost of a Dream”), uses idiomatic impressions of “The Rite…”, but with Sylvie’s experimental way of altering it. I can hear some of the devices/sounds that Ms. Courvoisier coaxes from inside the piano going on here. Another thing about Ms. Courvoisier is the way she plays with a certain two-handed intensity, whipping up ways of notes to astonishing heights. Mr. Smythe is also part of this sound as I hear both pianos playing these waves together at points. This piece is a tour-de-force, an extraordinarily inventive work on several levels. All I could say was “Bravo!” when it ended. - Bruce Lee Gallanter, DMG
CD $15

ELIAS STEMSEDER / CHRISTIAN LILLINGER with PETER EVANS / RUSSELL HALL / DOYEON KIM / BRANDON SEABROOK - Umbra (Intakt 405; Switzerland) “Umbra is the new album by pianist, composer, and electronic musician Elias Stemeseder and drummer, composer, and producer Christian Lillinger. As a core duo, they are planning a long-term series of releases, each with guest musicians playing a key role. “Their works explore the principles of time and space, growing from quiet melodies into broad statements. On Umbra, Stemeseder and Lillinger continue to expand their palette, bringing together an eclectic group of collaborators – New York based musicians Brandon Seabrook, DoYeon Kim, Peter Evans, and Russell Hall – to build off of their ideas, combining the textures of strings and percussion to weave together a visceral sonic tapestry”, writes Vanessa Ague in the liner notes and adds: “Each piece on the album offers its own careful examination of sound, peering into every fleeting moment to unearth some new texture or timbre that’s hiding within each instrument.” - Intakt
CD $18

MARIE KRUTTLI - Transparence (Intakt 401; Switzerland) The young jazz pianist Marie Krüttli hails from the French-speaking part of Switzerland and has gained an outstanding international reputation in recent years with her trio and solo work. Now she presents Transparence, her first solo piano album. After a classical education, she became more and more interested in other forms of musical expression, particularly jazz, in which she discovered a music which allows a different physicality and intuition. Krüttli‘s music follows an intuitive approach, with a broad harmonic vocabulary and rhythmic finesse. In the liner notes, Jordannah Elizabeth calls Krüttli “a young visionary and a premiere European jazz pianist whose touching, penetrating compositions make waves throughout the jazz community and beyond.”
CD $18

NEW FROM FMR:

PAUL DUNMALL - meditations for clarinets (FMR 672-0423; UK) Featuring Paul Dunmall on C, A, E-flat and B-flat clarinets. Recorded at a studio in Birmingham, UK in April of this year (2023). There is a long feature article on British sax colossus, Paul Dunmall, from a few months ago in The Wire (May of 2023) that I was pleased to read since Mr. Dunmall is one of the greatest reeds & bagpipe players to emerge from the UK for the past 40 years and he rarely gets the recognition he well deserves. It discussed his early days when he moved to L.A., to study at an ashram with Alice Coltrane and end up blues/funk man Johnny “Guitar” Watson, before moving back to England. Mr. Paul plays quite a few instruments: tenor, alto, soprano saxes & saxello (given to him by Elton Dean’s widow, flutes, clarinets and a variety of bagpipes. Although, he more known for his Coltrane-like tenor sax blasting, he plays each instrument exceedingly well.
For this CD, Mr. Dunmall plays four different clarinets which are pictured inside the booklet, no easy feat. The clarinet is a difficult instrument to play, especially playing it in tune. The first thing I noticed is how well this disc is recorded, warm, clean and clear. The first piece is called, “Every Footprint Leaves a Mark”, and Mr. Dunmall’s tone is tender, thoughtful, well executed. It sounds as if Dunmall is playing an old melody midway that sounds somewhat familiar but then moves on. Dunmall slows down a bit on “The Precious Right of Freedom of Expression”, he tone a bit darker, more somber. I like the way Dunmall takes his time in stretching out certain notes, carefully bending them at times. “My Cry, My Fight” sounds like a series of scenes, some quaint, some tender, some quirky. “Meditations for Clarinets” sounds like a meditation as Dunmall centers in a a few themes or melodic fragments, solemn, thoughtful in their overall feel. Solo clarinet records are relatively rare, I can think of only a few: John Carter, Vinny Golia and a recent recording by Aaron Novik. This one by Paul Dunmall is a treat, since he is laying back a bit and playing his clarinets in a subtle, yet expressive way. - Bruce Lee Gallanter, DMG
CD $14

RESEARCH with JIM DVORAK / VERYAN WESTON / DAN BROWN / GEOFF SERLE - Laws of Motion (FMR Records 655-0655; UK) Research features Veryan Weston on piano, Jim Dvorak on trumpet, Dan Brown on bass guitar and Geoff Serle on drums. I am a longtime fan of British pianist Veryan Weston who has worked with Trevor Watts, 4 Walls and Lol Coxhill. Trumpeter Jim Dvorak is not as well known yet he has worked with a number of Canterbury musicians like Phil Miller, Elton Dean and Keith Tippett, as well as bands like Dreamtime and District Six. I am not familiar with bassist Dan Brown (although he did play in The Fixx & Isotope) but drummer Geoff Serle, I do know from his work with ex-Crimson violinist David Cross (in Radius), as well as his own band Research, who have three other albums out. This disc is a reissue of an album that was released on LP-only Mr. Serle’s own label View 22, which was distributed through Konnex & released in 1982.
The first piece, “crisis” is short, has a funky bass-line and some strong soloing from Mr. Dvorak’s trumpet. For the title track, Mr. Weston sounds like he using a prepared piano or at least muting the strings with an object. There some unusual percussive sounds going on here: perhaps banging inside the piano with percussion interplay while the trumpet & el bass both swirl around one another. At times it sounds like pianist Weston is speeding up his playing to push the others into a more frenetic sound. The interplay between Dvorak’s trumpet and Weston’s piano are often astonishing and intense. Mr. Weston dips into those Keith Tippett-like furiously fast lines at times as the quartet also speeds up to join him. This disc sounds like a one-off compared to the work by Jim Dvorak and Veryan Weston, since it doesn’t sound like anything else that any of the members of this quartet did before and after. There is some inventive and inspired playing nonetheless. - Bruce Lee Gallanter at DMG
CD $14

LIAM NOBLE & GEOFF SIMKINS - Lucky Teeth (FMR Records 659-0423; UK) Featuring Liam Noble on piano and Geoff Simkins on alto sax. I know of British pianist Liam Noble from his work with Paul Dunmall, Ingrid Laubrock and contributing to the Moondog tribute disc with the Saxophonic Ensemble. I didn’t recognize the name of Brit saxist Geoff Simkins before now, although he can found on some six discs between 1980 and today. This disc was recorded live at the Vortex in London in October of 2022. The duo do mostly older jazz standards, one original (by Noble), pieces by Duke Ellington, Steve Swallow, Keith Jarrett and a traditional song. Starting off with then popular standard “Stella by Starlight”, I was struck by Mr. Simkins lovely, lush tone on sax and by the elegant playing of Mr. Noble’s piano. The title song, “Lucky Teeth” was written by Liam Noble and it is a fine, slightly funky standard-like song with a melody you might being whistling after you hear it. The duo do an exquisite, lovely interpretation of Duke Ellington’s “Warm Valley”, warm sounding, lush and laid back. I can’t say that I’ve ever knowingly heard any songs by the pop band Duran Duran. This duo covers their song, “Save a Prayer”. This version is actually lovely, most enchanting with a rich touching melody at the center. The duo’s version of Jim Hall’s “Careful” has a frolicking, infectious vibe which makes me smile. The traditional song, “Black Waterside” was once covered by the John Renbourn Group (in 1977), it has an ancient sounding folky melody and the duo really take off with a jolly, infectious version. Steve Swallow’s “Eiderhorn” was recorded for a Peter LaRocca record called “Basra” from 1965. It has a uptempo, joyous melody which is infectiously played the duo here with a wonderful sassy piano solo by Mr. Noble. Keith Jarrett’s “Memories of Tomorrow”, has been cover several times, most famously by Ulf Wakenius. The duo’s version here is poignant, a savory melody which sounds familiar, a bit solemn and soothing. At first, I wasn’t so sure how I would find interesting on this disc of mostly standards but the more I listen the better it makes me feel, calming down my restless anti-fascist spirit which often get the best of me. Another unexpected gem. - Bruce Lee Gallanter, DMG
CD $14

CONSTELLATION ENSEMBLE - Dove Morde La Taranta (FMR Records 670-0423; UK) The Constellation Ensemble consist of Pino Colonna on tenor sax & shawn (double reed), Alice Tanganelli on clarinet, Emiliano Marrocchi on trumpet, Carlo Mascolo on no-input (?) trombone, Donatello Pisnaello on accordion, Marco Olivieri on piano & synth, Sandro Perdighe on contrabass, Vito Basile on electric bass and Sem Devigus on drums. This disc was recorded in a studio in Monopoli, Italy in September of 2022. The liner notes describe the place where this ensemble was from, a town called Taviano in southern Italy, also known as the Land of the Taranta. Tarantism is a form of hysteric behavior which results in afflicted humans who start dancing maniacally, supposedly due to a poisonous spider bite. Although I am familiar with hundreds of jazz musicians from Italy, none of the names of this octet were familiar to me. The octet play together on just one piece with three trios, three quartets and one duo. I am pretty sure that this was completely improvised although there sounds like there are scattered bits written parts here and there. The band often sounds tight and inspired at creating their own dialogue. The music here if often playful, adventurous, quirky but never too far out. Since I don’t know anything about any of these musicians I can’t compare to anyone else yet I found this music to be consistently engaging and a light sense of humor bubbling under. An unknown yet impressive, modest gem. - Bruce Lee Gallanter, DMG
CD $14

ANTHROPOLOGY BAND with MARTIN ARCHER / CHARLOTTE KEEFFE / PAT THOMAS / ORPHY ROBINSON / CHRIS SHARKEY / ANTON HUNTER / DAVE STURT / ADAM FAIRCLOUGH - Scald - Live 2022; (Discus 155CD; UK) Featuring Martin Archer on tenor sax, saxello & melodica, Charlotte Keeffe on trumpets, Pat Thomas on piano & other keyboards, Orphy Robinson xylo-synth, Chris Sharkey & Anton Hunther on guitars Dave Sturt on bass guitar and Adam Fairclough on drums. Martin Archer organizes different bands for the Discus label, each one different personnel & concept-wise. The Anthropology Band are mostly an electric octet, all of whom have worked with Mr. Archer previously. You should recognize the names of a few of these musicians: Pat Thomas (keyboard wiz for Derek Bailey, Eugene Chadbourne & many others), Orphy Robinson (worked with the London Improvers Orchestra, Louis Moholo and Robert Wyatt) and trumpeter Charlotte Keeffe, who has worked with Paul Dunmall, Julie Tippetts and in Ron Caines/Martin Archer Axis.
Two of the three discs here were recorded at Cafe Oto in London in October of 2022. the third disc is live from the Newcastle Festival of Jazz in September of 2022. Several folks here double on electronics: Archer, Thomas both guitarists and the bassist. Things begins with spacious electronics, something that Mr. Archer has gotten better at over the more than 100 discs on the Discus label, playing saxes & keyboards, arranging and producing. Eventually the band breaks into a groove with (synth) vibes, saxes, guitars and keyboards all swirling tightly together. Considering that this is a live recording, the sound is superb, well balanced and warm. Mr. Archer plays a fine saxello solo on the second piece with a fine, tight electric jazz/rock band backing. Different members of the octet get a chance to solo and shine throughout: Orphy Robinson on Zappa-like vibes, both electric guitarists playing in the Miles Davis-like ‘Agartha’ vibe plus a fine layer of electric piano and/or synth from Pat Thomas. What I like about much of this music are the way the horns, keyboards and guitars slip in and out of the arrangements, helping to keep the music focused and never completely free. Drummer Adam Fairclough (perhaps son of Peter Faircough, who has worked with Keith Tippett, Paul Dunmall & Mr. Archer), kicks off the fourth tracks with a short, powerful drum solo. This piece features an amazing vibes solo from Mr. Robinson, some sly, snarly guitars, a dense, tight package of horns at the center of the storm. There is way too much great music here to discuss it all so I will leave you with this: this is truly the best jazz/rock/fusion release I’ve heard in recent memory. If you thought that great fusion/jazz was dead, you were dead wrong and the proof is in this 3 disc pudding! - Bruce Lee Gallanter, DMG
3 CD Set $21

AHMED BEN ALI - Subhana (Habibi Funk 022; Germany) "Libyan Reggae at its peak grooves courtesy of Benghazi-born Ahmed Ben Ali. After working with Ahmed in 2020 on the 12" hit Subhana, Habibi Funk is back with a full-length release focusing on Ahmed's releases from the mid-2000s. The tracks on the LP represent a blisteringly deep collection of heavy reggae rhythms and synthesized grooves from a singular creative force, inspired as much from Jamaican sonics as from Libyan folkloric styles, as Ahmed says, 'it's the Libyan style, not some bullshit.' As always, both vinyl and CD come with an extensive booklet featuring background on Ahmed, including unseen photos, scans and more. Reggae in Libya has dominated the charts since its arrival in the 1970s and flourished with some of the pioneers of Libyan reggae such as Ibrahim Hesnawi, Najib Alhoush and The White Birds Band. Eventually we were able to connect with Ahmed and our work with him started with a 12-inch released with 'Subhana' on the A-side and 'Damek Majeb' on the B-side (track 4 on this release). After the release, he sent us some more songs, which we loved just as much. Soon after, the idea was born to follow up with a full-length release which Ahmed was happy to commit to. In early 2023, we met in person in Cairo to share a few more stories and to take some photos for the release, which you can find throughout the booklet accompanying the LP and CD. At his home studio, Ahmed operates as sound technician and producer, recording the music in addition to writing the lyrics -- a one-man musical squad. Contextualizing his own style, Ben Ali points out that, 'The Libyan folkloric rhythm is very similar to the reggae rhythm. So, if Libyan people listen to reggae, it's easy for them to relate because it sounds familiar. This is the main reason why reggae became so popular here. We played the reggae Libyan style, it's not the same as in Jamaica. We added our oriental notes to it and if you mix both it becomes something great.' With a bit of laughter, he adds that '... to me it's still original reggae, it's the Libyan style, not some bullsh*t.’”
CD $17

SUN RA and His ARKESTRA - Jazz in Silhouette - Expanded Edition (Solar Myth Records CMR007; USA) This deluxe 2 CD set consists of the ‘Jazz In Silhouette’ (JiS) LP (from 1959) in mono plus four pieces in stereo, all of ’Sound Sun Pleasure”, another Sun Ra recorded around the same time as ‘JiS’ plus four rare bonus tracks. ‘Jazz in Silhouette’ is the quintessential early Sun Ra Arkestra album, recorded & released in 1959, the same year as two other influential jazz treasures, Mile Davis’ ‘Kind of Blue’ and Dave Brubeck Quartet’s ’Time Out’. ‘Jazz in Silhouette’ has long by my (and many others) favorite early Sun Ra album. It sounds closer to a slightly more modern version of the Duke Ellington or Count Basie’s albums at the same time. Aside from to great trumpeters: Hobart Dodson & Lucious Randolph, there are five great saxist who each get a chance to shine: John Gilmore, Marshall Allen, Charles Davis, Pat Patrick and James Spalding. The bonus include a tasty version of “Blues from Saturn” (unreleased until now) and a fun version of “Great Balls of Fire” (a hit for Jerry Lee lewis in 1957). Under-recognized jazz/R&B singer Hattie Randolph is featured on two songs from ’Sound Sun Pleasure’, doing a fine job on “‘Round Midnight”. This two CD set is an essential 2 disc set of some of Sun Ra’s best early sides. Special thanks to archivists Irwin Chusid, Michael Anderson, Joe Lizzy (mastering) and John Corbett for the informative liner notes. - Bruce Lee Gallanter, DMG
2 CD Set $17

DIZZY GILLESPIE with SONNY ROLLINS / SONNY STITT / ERNIE HENRY / JIMMY POWELL / BILLY MITCHELL / PEE WEE MOORE / MELBA LISTON / AL GREY / LEE MORGAN / RAY BRYANT / LES SPANN / JUNIOR MANCE / NELSON BOYD / CHARLIE PERSIP / et al - The Classic Verve Collection (Enlightenment 9139; EEC) “Dizzy Gillespie spent the early 1950s recording for labels such as Savoy, Norgran, Clef and Debut, before signing to Verve Records in 1956. His first release with Verve was 1956's Dizzy In Greece, recorded shortly after the conclusion of Gillespie's State Department-sponsored world tour. In December 1957, Diz recorded with pioneering saxophonists Sonny Stitt and Sonny Rollins. The interplay between the participants resulted in some of the greatest moments recorded by any of them; the resultant album, Duets, came out in 1958. Sonny Side Up from 1959 again featured the same three musicians performing together. Dizzy Gillespie's next release on Verve was Have Trumpet, Will Excite! (1959). In a similar vein, An Electrifying Evening With The Dizzy Gillespie Quintet (1961), was recorded live at the Museum Of Modern Art in New York City. Gillespie saw out 1961 with Perceptions, his final album for Verve; he left the label the following year. The record featured a single composition and arrangement by trombonist J.J. Johnson, which blended jazz overtones with elements of classical music, while simultaneously allowing room for Gillespie's trademark solos. The ensemble was conducted by Gunther Schuller. Following his departure from Verve, Diz recorded for a number of other labels, including Pablo, Phillips, Impulse! and Atlantic, but with none of whom did he ever again reach the artistic heights he had achieved with Verve. This four disc collection, containing over five hours of music in total, features eight of the finest LPs Gillespie recorded for Verve Records during this pivotal period of his career. Showcasing scores of famous names and some of the best playing to grace jazz records of the era, this set will delight Gillespie fans universally, while also acting as a fine starting place for those new to this legendary musician's work.”
4 CD Set $18

OFFICER! with MICK HOBBS / TIM HODGKINSON / ANDY WAKE - Some Songs / Bandagen (Klanggalerie GG 362; Germany) Officer! was founded by Londoner Mick Hobbs. His roots were in the Rock In Opposition scene of the late 70s and early 80s. Initially he worked as guitarist in The Work, subsequently he became closely associated with This Heat and their Cold Storage Studio in Brixton, working with artists like Family Fodder, Catherine Jauniaux or Zeena Parkins. The band's first album "8 New Songs By Mick Hobbs" came out in 1982 on casette only. It was followed by the second album, "Ossification". The third album, "Cough" was recorded and released in France in 1985. It is often overlooked in the band's discography, a fate that many cassette releases share. "8 New Songs By Mick Hobbs" and "Cough" have been collected to form the CD "Earlier Music", which was also made available again by Klanggalerie. Bandagen was originally released as a cassette in 1989 by Swiss label No Records. Half of the music was written for a stage play called Bandagen by Grazia Pergoletti, the other half was originally released as music by Mick Hobbs. This first CD edition has been remastered by Martin Bowes.”
Officer! is mostly a Mick Hobbs solo project with various guests like Tim Hodgkinson (from Henry Cow), Swiss vocalist Grazia Pergoletti, Joey Stack (keyboards & bass for The Lo Yo Yo), Rut Schwegler (in Bogoro) and drummer Andy Wake (for Unrest Work & Play). Mick Hobbs, Tim Hodgkinson and Andy Wake all played in The Momes, who made one record in 1989 on Woof Records. Officer! are a sort of art rock/new wave band and don’t quite sound like anyone else. In some ways, some of these songs sound like normal New Wave from the early 1980’s there is more going on here that meets the eye or ear. There is also some quaint or cute going on here which reminds me of Young Marble Giants at times. The instrumentation is mostly vocals, guitar, organ, vibes or marimba, bass and drums, yet there are unexpected charming moments going on. If you need a break from free or even composed jazz or more demanding progressive rock churning, this is a just the right thing. - Bruce Lee Gallanter, DMG
CD $18

ANNA ST. LOUIS - In The Air (Woodsist 106; USA) "Born of a thousand nights lost in a surrender to stillness and contemplation, In The Air is Anna St. Louis' second full length album and her most considered work yet. It's an outlook on the world that was formed when her immediate one was small. The intervening years since her last album found St. Louis in a small one-bedroom cabin in the middle of the woods of upstate New York with a new love and time to think of what she wanted to express with her music. For weeks on end, the only trips she took were to and from her job as the front desk clerk at a nearby hotel. The previous years she had spent on tour and performing constantly in the venues of Los Angeles felt like they had occurred in another lifetime. St. Louis describes the writing period as one of a slow harvest; a fertile time but one that required a newfound patience. Instead of documenting her first thoughts, she spent more time with each song, going deeper with the themes and ideas she wanted to express. This slower approach also guided the sonic textures of the album. Working with producer Jarvis Taveniere (Purple Mountains, Woods) in two extended recording sessions in Los Angeles in 2021, St. Louis used the studio in a previously unexplored way, opening up her songs to more experimentation featuring brighter tones and a more orchestral sound to accompany her new perspective. To that end, she was aided by a cast of friends and collaborators including Jess Williamson, Kacey Johansing, Oliver Hill (Kevin Morby, Vagabon) on strings, Alex Fischel (Spoon) on piano, Josh Adams on drums (Bedouine, Tim Heidecker) and Keven Lareau (Cut Worms, Hand Habits)." - Justin Sullivan
LP $22 / CD $15 [CD released soon]

CATERINA BARBIERI - Ecstatic Computation (Light-Years 002CD; Italy) “Three years after the original release date of Caterina Barbieri's career-defining album Ecstatic Computation, the Italian artist reissues the record on her newly found own label light-years. The reissue features a beautifully reworked version of the original cover art. Caterina Barbieri is an Italian composer who explores themes related to machine intelligence and object-oriented perception in sound through a focus on minimalism. Ecstatic Computation revolves around the creative use of complex sequencing techniques and pattern-based operations to explore the artifacts of human perception and memory processes by ultimately inducing a sense of ecstasy and contemplation. Computation is turned from being a formal, automatic writing technique into a creative, psychedelic practice to generate temporal hallucinations. A state of trance and wonder where the perception of time is distorted and challenged. Equally nervous and ecstatic, the fast permutation of patterns can create a state where time stands still whilst simultaneously being in motion. Is this propulsive music moving forward or backward? As long as the perception of the present is constantly enhanced and refreshed in an endless sense of loss, re-discovery and the search for self-orientation this question lies mute aside the thrilling and perplexing moment of the matter at hand. CD version includes a previously unreleased song. "Caterina Barbieri uses music to bend time and space around her. It's a warp-speed jump where everything seems to move slower and faster all at once." - Pitchfork
CD $16

AHMED BEN ALI - Subhana (Habibi Funk 022; Germany) "Libyan Reggae at its peak grooves courtesy of Benghazi-born Ahmed Ben Ali. After working with Ahmed in 2020 on the 12" hit Subhana, Habibi Funk is back with a full-length release focusing on Ahmed's releases from the mid-2000s. The tracks on the LP represent a blisteringly deep collection of heavy reggae rhythms and synthesized grooves from a singular creative force, inspired as much from Jamaican sonics as from Libyan folkloric styles, as Ahmed says, 'it's the Libyan style, not some bullshit.' As always, both vinyl and CD come with an extensive booklet featuring background on Ahmed, including unseen photos, scans and more. Reggae in Libya has dominated the charts since its arrival in the 1970s and flourished with some of the pioneers of Libyan reggae such as Ibrahim Hesnawi, Najib Alhoush and The White Birds Band. Eventually we were able to connect with Ahmed and our work with him started with a 12-inch released with 'Subhana' on the A-side and 'Damek Majeb' on the B-side (track 4 on this release). After the release, he sent us some more songs, which we loved just as much. Soon after, the idea was born to follow up with a full-length release which Ahmed was happy to commit to. In early 2023, we met in person in Cairo to share a few more stories and to take some photos for the release, which you can find throughout the booklet accompanying the LP and CD. At his home studio, Ahmed operates as sound technician and producer, recording the music in addition to writing the lyrics -- a one-man musical squad. Contextualizing his own style, Ben Ali points out that, 'The Libyan folkloric rhythm is very similar to the reggae rhythm. So, if Libyan people listen to reggae, it's easy for them to relate because it sounds familiar. This is the main reason why reggae became so popular here. We played the reggae Libyan style, it's not the same as in Jamaica. We added our oriental notes to it and if you mix both it becomes something great.' With a bit of laughter, he adds that '... to me it's still original reggae, it's the Libyan style, not some bullsh*t.’”
CD $17

CHARIF MEGARBANE - Marzipan (Habibi Funk 023; Germany) "Habibi Funk is excited to share Marzipan - our first full length contemporary release courtesy of Beirut's multi-instrumental phenom Charif Megarbane, also known as the man behind prolific Cosmic Analog Ensemble. The LP is a journey into Charif's styling, one he terms 'Lebrary': a vision of Lebanon and Mediterranean expressed through the kaleidoscopic sonics of library music. Drawing from artists that encapsulates the HF sound, such as Ziad Rahbani, Ahmed Malek and Issam Hajali, Charif translates these influences into an LP that is equally at home in '23. Following his previous release of EP Tayara Warak in 2022, Marzipan is a sonic journey that seeks to capture the full scope of Megarbane's habitus. As a composer and producer, Megarbane touts hugely versatile, sometimes volatile musicianship -- his catalogue of projects (including legendary groups like the Cosmic Analog Ensemble, Free Association Syndicate, Monumental Detail, etc.) features a huge domain of sonic direction. This collection was previously developed in Megarbane's own Hisstology label which hosts a wealth of collaborative efforts. Now, Habibi Funk represents Megarbane under his own name. Megarbane finds a sonic through-line in his surrounding soundscapes as he draws on the chaotic energy of the crowded Beirut metropolis ('Souk El Ahad'), the warm atmosphere of the Lebanese countryside ('Chez Mounir'), or the lushness of a Mediterranean beach resort ('Portemilio'). Reflecting the aural composition of his direct surroundings into kaleidoscopic instrumentation provides a unique insight into how one musical phenomenon transposes sight into sound. Habibi Funk is thrilled to share Marzipan and finally throttle this under-the-radar phenomenon into the solo spotlight. Despite the magnitude of his catalog, Megarbane's LP sounds as fresh -- as resolutely inspired -- as a debut record. Marzipan continues down the winding path he trod on EP Tayyara Warak (released December, 2022) which features solid footing in the hectic city sounds Megarbane hears as home. Despite his obvious musical acumen, Megarbane's greatest talent seems to be his open ears. In many ways, Marzipan is a cartographic feat -- it travels and traces a journey across many dimensions (both sonic and physical). Megarbane's instrumental catalogue is vast: toy glockenspiel, harpsichord, pedal steel, a classic Wurlitzer, et al are used liberally on the record. The resultant sound is as sprawling as the musician's instrumental dexterity."
CD $17

FUSION - Top Soul (Lion Productions 673CD; USA) "Impossible to find jazz/soul/funk monster by Fusión, issued in Chile in 1975 by ALBA (ALD-041) -- a fulsome combination of funk, electric jazz, and soul, with Latin roots. Bassist Enrique Luna had lived and studied art in New York, and knew first-hand the last, avant-garde years of John Coltrane, and Miles Davis' mutation from hard bop trendsetter into an electric jazz pioneer; Matias Pizarro had appeared on the scene in the mid-'60s as a young pianist of outstanding technical ability and advanced ideas. Together they formed a band around a core of Peruvian musicians, with soloists including David Estánovich (tenor sax) and Lautaro Rosas (guitar), plus a rhythm trio of Mario Lecaros (electric piano, former Village Trio), and Orlando Avendaño (drums), with guest appearances by trumpeter Daniel Lencina, and young percussionist Santiago Salas (Santa y su gente). Censorship during the Chilean military regime meant heavy restrictions on artists. Thus the Fusión album was pressed in a very limited quantity, and never legally re-issued -- until now. Comes with a bi-lingual booklet which explores the story of Fusión in the context of the rich Chilean rock music scene."
CD $12

LOS VIDRIOS QUEBRADOS - Fictions (Lion Productions 669; Earth) "Some came to make records. Others did not leave any recorded evidence -- they have been reduced (at best) to the testimony of a blurred photograph in an old magazine. But it was a generation of bands from Chile which gave shape to a stream of permeating rock, beat, folk, and psychedelia music influences radiating from the 'first world.' And on that list of pioneers of Chilean rock, Los Vidrios Quebrados ('The Broken Glass') are unanimously considered as the greatest. They had a certain intellectual arrogance. They considered that rock 'n' roll could only be sung in English and refused to sing in their native language, arguing that a cueca (the Chilean national dance) could not be sung in English. They also made their own instruments -- creating their own guitars and amplifiers from furniture and loudspeakers. On one guitar, they replaced a pick-up with a record player needle. It gave an extraordinary sound. That sort of creativity flows freely throughout the music on their only album, the now-legendary Fictions (RCA Victor/UES, 1967). The LP is an excellent collection of songs, recorded in just nine hours, with intimations of psychedelic rock amidst the influence of bands like The Byrds, The Beatles, and The Kinks (with nods to Bach and the classics), all while maintaining a fresh beat sound; Fictions is an album that can compare with the best works of psychedelic pop bands from England and America. Los Vidrios Quebrados is one of a handful of Chilean groups to receive attention around the world; and their songs 'Oscar Wilde' and 'Fictions' are considered among the all-time best tracks in South American rock history. We're pleased to kick off our forthcoming series of crucial Chilean reissues with this bi-lingual, 32-page booklet, which explores the story of Los Vidrios Quebrados in the context of the rich Chilean rock music scene. For the language squeamish -- the song titles are in Spanish, but the songs are in English."
CD $12

LP Section:

TED DANIEL with ENERGY with JOE RIGBY / BYARD LANCASTER / SAM FURNACE / MARTY COOK / JOSEPH BOWIE / CHRIS CAPERS / HILTON RUIZ / PABLO CALIGARO / JOHN BETSCH / ABE SPELLER / HENRY ROBINETTE / YOUSEF YANCY / ART SIMMONS / ROGER DAWSON / KYOTO FUGIWARA / et al - Energy Live at Ali’s Alley (Ujamaa 1006; USA) Featuring Joe Rigby, Byard Lancaster, Sam Furnace, Lee Rossy & Pablo Caligaro on reeds, Ted Daniel, Chris Capers & Yousef Yancy on trumpets, Joe Bowie & Marty Cook on trombones, Hilton Ruiz, Art(ie) Simmons & Eddie Banks on piano, Henry Robinette on guitar, Richard Daniels on synth, Kyoto Fujiwara on bass and John Betsch & Roger Dawson on drums plus vocalist Mary Anne Driscoll (1 track). This spectacular 2 LP set was recorded at Rashied Ali’s club Ali’s Alley on May 18th & 19th of 1973. I lived through and checked out many concerts during the Loft Scene between 1973 and 1980, realizing later how important and influential this scene was due to the many musicians who moved to NY during the era of lower rents and musician run performance venues like Studio Rivbea, Ladies Fort, Environ, Tin Palace and Ali’s Alley (in Soho). Although this scene was not as well-documented as it should be, we do have the 5 LP set called ‘The Wildflower Sessions’, recorded at Studio Rivbea. Since the turn of the millenium, we’ve slowly been seeing/hearing a number of seminal sessions being released: the Muntu box (on NoBusiness), several CD’s by Ted Daniel, Milford Graves rarities on CvsD and Arthur Doyle gems from Homeboy Records.
Old friend and trumpet great, stopped in earlier this week (late June of 2023) and left us with this great 2 LP offering. I do recall hearing Ted Daniel a few times during the Loft Jazz Era, but not his big band. I know of most of the musicians here mostly from future recordings they made, as well as the occasional early recordings by Byard Lancaster (Sunny Murray LP on ESP), John Betsch (living here then but moving to Paris & playing with Steve Lacy), Hilton Ruiz (playing with Rahsaan Roland Kirk and Kyoto Fujiwara who was playing with Joe Lee Wilson a bit later than this.
The name of this band is Energy which was the term for the type of free/energy music that was started by John Coltrane, Sun Ra, Ornette Coleman & Cecil Taylor in the late 50’s/early 60’s and exploded during the Loft Jazz Scene when a number of great saxists moved to town. The first song on Side One is called, “Asayefo” and it is a McCoy Tyner Big Band like explosion of tight energy blasting with some powerful soloing by Joe Rigby on tenor sax, Richard Daniel on synth with some powerful piano pumping throughout. I love the way the horns are arranged, projecting a majestic wave of energy. John Coltrane’ classic song, “Naima” was recorded a day later and the performance is wonderful with superb arrangements by pianist Eddie Banks, a name I don’t really recall. This version features a lovely flugelhorn solo by Ted Daniels. Side B begins with “Celebration Part 1”, a big band blastfest with a smokin’ Joe Bowie trombone solo. The rest of the side is taken up by Pharoah Sanders’ “Upper and Lower Egypt”, which can be found on the first Pharoah album on Impulse (from 1967 with Sonny Sharrock on guitar). This piece simmers at the center with different horns and percussion interweaving. The late, great and under-recognized saxist, Joe Rigby, takes a couple of outstanding solos on sopranino and tenor saxes, as does Chris Capers (from the Sun Ra Arkestra) on trumpet. The energy level rises high on this piece, this is Spiritual Jazz at its best! Nearly 22 minutes of Cosmic Bliss! Side Three begins with short rip roaring nbig band intro before in morphs into “Dream Deferred”, which includes a poem by Langston Hughes, sung by vocalist Mary Ann Driscoll (found on some historic recordings by Jimmy Lyons & Paul Murphy). Ms. Driscoll has a lovely, warm operatic voice which fits this piece just right. “Song of the Salsa Spaceman” (great title) is another winner, Latin Jazz like with some swell solos from Pablo Caligaro (bari sax) & Ted Daniel on trumpet. This entire 2 LP set is an amazing offering on a variety of levels. Special thanks to Joe Lizzi for mastering & sonic clean-up, archivist Ben Young for the informative liner notes and to Ted Daniel for keeping the flame of Creative Avant Jazz flowing/going! - Bruce Lee Gallanter, DMG
2 LP Set $35 [Limited Edition of 600, numbered)

SOUTHERN UNIVERSITY JAZZ ENSEMBLE with ALVIN BATISTE - Live At the 1971 American College Jazz Festival (Now-Again 5243LP; USA) "First ever commercial releases of New Orleans' legend Alvin Batiste's Spiritual Jazz albums created with the college band he instructed and led in Baton Rouge - Goes To Africa With Love and Live at The 1971 American College Jazz Festival. Originally given away as souvenirs at Southern University, these albums contain deep Batiste originals and, on Live, are paired with excellent John Coltrane, Miles Davis and Freddie Hubbard covers. They are some of the most sought-after albums of Americas '70s jazz underground. Each album contains extensive booklet detailing Batiste's life and his time spent honing and recording this remarkable band of young students. That one of the great Spiritual Jazz albums of the era could be found in duplicate New Orleans thrift store in the 1980s goes a long way in illustrating the lack of acclaim this special and overlooked album maintained, even in a city where the Batiste name is musical royalty. The Southern University albums Alvin Batiste offered the world were novelties, not worthy of serious consideration, a moment captured, but not necessarily worthy of being collected or preserved by anyone not immediately involved in its creation. That changes now. With the release of the two Southern University albums, Now-Again continues a conversation begun with the late Kashmere Stage Band director Conrad O. Johnson and the issue of his high school students' music as Texas Thunder Soul, and the continued belief that beautiful music created by youth -- even under the most adverse circumstances -- can always inspire us."
LP $30

SOUTHERN UNIVERSITY JAZZ ENSEMBLE / ALVIN BATISTE (Director) - Goes To Africa With Love (Now-Again 5244; USA) "First ever commercial releases of New Orleans' legend Alvin Batiste's Spiritual Jazz albums created with the college band he instructed and led in Baton Rouge -- Goes To Africa With Love and Live at The 1971 American College Jazz Festival. Originally given away as souvenirs at Southern University, these albums contains deep Batiste originals and are some of the most sought after albums of Americas 70s jazz underground. Each album contains extensive booklet detailing Batiste's life and his time spent honing and recording this remarkable band of young students. Goes To Africa With Love was mixed from the original multi-track tapes and is now presented as a 2xLP with never-before-released instrumentals. That one of the great Spiritual Jazz albums of the era could be found in duplicate New Orleans thrift store in the 1980s goes a long way in illustrating the lack of acclaim this special and overlooked album maintained, even in a city where the Batiste name is musical royalty. The Southern University albums Alvin Batiste offered the world were novelties, not worthy of serious consideration, a moment captured, but not necessarily worthy of being collected or preserved by anyone not immediately involved in its creation. That changes now. With the release of the two Southern University albums, Now-Again continues a conversation begun with the late Kashmere Stage Band director Conrad O. Johnson and the issue of his high school students' music as Texas Thunder Soul, and the continued belief that beautiful music created by youth -- even under the most adverse circumstances -- can always inspire us."
2 LP Set $36

WARREN BYROM - Dreaming the Sun (Feeding Tube Records 627LP; USA) "Newest entry in the Jason Meagher's great Drowned Land series is the long-playing vinyl debut by Lexington, KY's Warren Byrom. Recorded back before the Plague, the idea for Dreaming the Sun emerged when Jason caught a show by Warren and Philly-based pianist Hans Chew, who'd already been involved in lots of bands and recordings with Meagher. The sweet depth of Warren's songs and guitar playing resonated with Jason, and Warren soon found himself in Black Dirt Studios with Nashville bassist Steve Poulton (whose work stretches back to Louisville's legendary Paul K & the Weathermen) and drummer Ryan Jewell (who has played with half the musicians you can name). Other lovely bits were added by Wednesday Knudsen, Ma Turner, Hans Chew, and Chris Sullivan, with some additional seasoning done later in Nashville. The three days of recording at Black Dirt resulted in a classic set of material. Byrom writes and sings tunes that have their base in the rural songwriter tradition, but which are infused with tendrils of knowledge gained through pursuing more avant-garde interests. I would compare his work to the Ranaldo/Gunn/Brokaw wing of musicians. Players whose vision of "inside" music follows their mastery of a more "outside" aesthetic. This may be a projection, but it's what I hear in Warren's tunes. And I know that Jason Meagher is attracted to music that has followed this trajectory. So, sue me! Regardless, Dreaming the Sun is a beautiful album that should wiggle the spines of everyone who hears it. The relative straightness (or not) of Warren's approach is entirely in the ear of the be hearer. What you bring to the album as listener may shape the details of your experience, but its quality is undeniable. Nice damn stuff." - Byron Coley, 2023
LP $24

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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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NEW VIDEO SHOW FROM GUITAR MASTER HENRY KAISER:

https://www.youtube.com/watch?v=yy9PwsO5umk

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THE STONE RESIDENCIES - MARK DRESSER - JUNE 28–JULY 1

6/29 Thursday - 8:30 pm:
Mark Dresser Quartet: Denman Maroney (piano), Matthias Ziegler (flute), Michael Sarin (drums) & Mark Dresser (bass)

6/30 Friday - 8:30 pm
Trio M: Myra Melford (piano) Matt Wilson (drums) Mark Dresser (bass)

7/1 Saturday - 8:30 pm
Crispell, Hemingway, Dresser plays Braxton and more
Marilyn Crispell (piano) Gerry Hemingway (drums) Mark Dresser (bass)

THE STONE RESIDENCIES - LARRY OCHS - JULY 5–8
7/5 Wednesday - 8:30 pm
TRIO: Ken Filiano (bass) Ben Vida (electronics) Larry Ochs (tenor, sopranino saxes)

7/6 Thursday - 8:30 pm
EVERY WINTER TRIO - Nels Cline (guitar) Gerald Cleaver (drums) Larry Ochs (tenor, sopranino saxes)

7/7 Friday - 8:30 pm
QUINTET - Trevor Dunn (bass) Kate Gentile (drums) Larry Ochs (tenor & sopranino saxes) Jason Kao Hwang (violin, viola) Fred Lonberg-Holm (cello)

7/8 Saturday - 8:30 pm
QUINTET - Tim Berne (alto sax) Steve Swell (trombone) Brandon Lopez (bass) Gerald Cleaver (drums) Larry Ochs (tenor, sopranino saxophones)

THE STONE is located in
The New School at the Glass Box Theatre
55 West 13th Street - near 6th ave

LIVE MUSIC
wed-sat
music at 8:30pm

ADMISSION
$20 per set
unless otherwise noted
cash only payment

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FourOneOne / SHIFT

Upcoming schedule:

Weds June 28 - 8pm, doors 7:30pm
David Watson, Bob Bellerue
Luke Stewart/Edward Bear/Madison Greenstone

Thurs June 29 at 7pm:
Living Room: Rebecca Patek/Molly Ross

Sat July 1 at 7pm:
The Evergreen Review presents:
Evergreen Sex Machine: a summer night of erotica and literature

Mon July 3 - 7pm-9pm
Huda Asfour: Improvising Orchestra Workshop
FREE with RSVP

Weds July 5 - 8pm, doors 7:30pm
MV Carbon
Ryan Sawyer, Lester St. Louis, Wendy Eisenberg

Thurs July 6
Isabel Crespo Pardo's el rostro (des)cubierto
with Warp Duo

Is located at
411 Kent Ave., Brooklyn, NY 11249
contact@411kent.org

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THIS FROM EXPERIMENTAL VOCALIST KYOKO KITAMURA:

Matthew Barney's five-channel video installation Secondary [https://secondary.matthewbarney.net] is on view until June 25th, at his huge sculpture studio along the bank of the East River. Late last year, I was a member of a quartet of vocalists working intensively for a month at the studio; Secondary's music has been created almost entirely from those sessions, human voices in its infinite natural extended iterations, masterfully edited by composer Jonathan Bepler for the multi-channel experience. Only when I finally saw the work, did I  begin to understand the depth, complexity, symbolisms and how the elements fit beautifully and powerfully together. (On a side note, I have a small on-screen role as a football referee even though I know absolutely nothing about football, the only sport I worship being F1 motor racing.)

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

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