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DMG Newsletter for August 11th, 2023

And (and) (and) you put the load right on me
I picked up my bag, I went lookin' for a place to hide
When I saw Carmen and the Devil walkin' side by side
I said, "Hey, Carmen, come on let's go downtown"
She said, "I gotta go but my friend can stick around"

Take a load off Fanny
Take a load for free
Take a load off Fanny

And (and) (and) you put the load right on me
Go down, Miss Moses, there's nothin' you can say
It's just ol' Luke and Luke's waitin' on the Judgment Day
"Well, Luke, my friend, what about young Anna Lee?"
He said, "Do me a favor, son, won'tcha stay and keep Anna Lee company?"

Take a load off Fanny
Take a load for free
Take a load off Fanny
And (and) (and) you put the load right on me

Crazy Chester followed me and he caught me in the fog
He said, "I will fix your rack if you'll take Jack, my dog"
I said, "Wait a minute, Chester, you know I'm a peaceful man"
He said, "That's okay, boy, won't you feed him when you can"
Yeah, take a load off Fanny

Take a load for free
Take a load off Fanny
And (and) (and) you put the load right on me

Catch a cannon ball now to take me down the line
My bag is sinkin' low and I do believe it's time
To get back to Miss Fanny, you know she's the only one
Who sent me here with her regards for everyone
Take a load off Fanny
Take a load for free
Take a load off Fanny
And (and) (and) you put the load right on me

I started collecting rock magazines like Hit Parader and Song Hits in 1966 when I was 12 years old. I used to listen to AM radio much of the time & bought 7” singles starting in 1965. The main reason I bought those magazines is that I was fascinated by song lyrics and the way they captured things that were going around me. I remember learning the words to “Blowing in the Wind” (by Bob Dylan), “The Eve of Destruction” (written by PF Sloan) and “Trouble Every Day” (written by Frank Zappa & performed on the Mothers of Invention’s ‘Freak-Out!’ LP). I came to realize how lyrics had a profound influence on the way many of us see the world. In 1967, when I turned 13 (and was Bar Mitzvahed & became a man), I started to listen to FM radio and buy full length LP’s. I had become a music fanatic, listening to as much current rock, soul, R&B, psych, etc as I could find. Almost six decades later, I am still fascinated by great songs and great lyrics.

I had become a big Bob Dylan fan around the same time (1967) so I had heard about The Band (originally called the Hawks & Dylan’s backing band for several tours) before their first album was released. I remember hearing the above song, “The Weight” on the radio, as well as “Chest Fever” and “This Wheels on Fire”. I was hooked on The Band as they didn’t quite sound like anyone else at that time. Most rock bands wanted to be psychedelic in 1967 and soon afterwards, but this was not what The Band was about. Although four of their five members were Canadian, The Band sounded more American than any other rock group at the time. Their songs embraced American history and mythology in a unique, honest way. There is something magical about “The Weight”, it tells a tale and captures a Southern spirit that is hard to define yet it works on several levels. Especially the way each person sings their part. I bought every Band album as they were released and still enjoy all of them, especially the first three. Robbie Robertson was the leader of Band, their lead guitarist, their main songwriter and occasional singer. He rarely sang lead since he had three other singers (Richard Manuel, Rick Danko & Levon Helm) who were perfect for the songs he/they wrote. I read Mr. Robertson’s book about the history of The Band last year. I knew that The Band members were often tragic figures, plagued by drugged and other problems, but Mr. Robertson’s book showed how much he loved to work with them, getting the best out of them.

While working on the newsletter yesterday, I heard about the passing for Robbie Robertson. It is the end of the era as The Band’s music was some of the best music to emerge from the late 1960’s, a time when there were hundreds of great bands, great singers and great songwriters. Tonight I will listen to ‘Music from Big Pink’ once again and I know it will make me feel good to hear it and bring back memories of when I first heard it in 1968. I will drink some wine, smile and sing along, “take a load off Fanny”. Long live Jaime Robbie Robertson and The Band! - Bruce Lee Gallanter, DMG


TRISTAN HONSINGER Passes / American/Dutch Cellist, Icon & Dadaist (10/23/49 - 8/5/23)

Last Saturday, I got a text informing me that Tristan Honsinger had passed away. I’d heard that Mr. Honsinger had just toured in Japan and was in Italy with some of his family when he passed. I have many fond memories of checking Mr. Honsinger live with the ICP Orchestra, Cecil Taylor Quintet (at the Village Vanguard) and in a trio with Nicolas Caloia & Josh Zubot (at Victo & at DMG). Watching him play & occasionally conduct or direct the ICP Orchestra was always a hoot. Tristan loved to do odd things on stage, make silly faces and spout out unexpectedly odd dialogue. I remember him repeating the words, “Connecticut” and “Massachusetts” at an ICP concert which had everyone either confused or laughing out loud. Turns out that Honsinger was born in Vermont, which is close to the two aforementioned states. Honsinger was a longtime member of the ICP Orchestra and lived in Amsterdam for many years. I often thought he was Dutch since his odd sense of humor fit that Dutch institution so well. Tristan Honsinger was also a brilliant and completely unique cellist. Check out his playing with Derek Bailey, Toshinori Kondo, Cecil Taylor, Michael Moore, Evan Parker and many others. In 2017, Tristan toured in a trio with Nicolas Caloia (bassist) & Josh Zubot (violin), both from Canada. That trio played at the FIMAV Fest and soon after played here at DMG. I was honored to have them here and they were wonderful live! Check out their great disc on Relative Pitch or their rare self-produced CD-R which we might still have a copy or two in stock. In December of last year, Tristan came to NYC for a period with Michael Vatcher. Michael Vatcher (American-born drummer who also lived/lives in Amsterdam) invited me to his place uptown to have dinner with Tristan & Michael’s son. We ate, drank wine, smoked herb & talked for hours. I realized that Tristan was not really the madman that I saw onstage. He was a smart, enthusiastic, inventive and charming person and I was glad to have spent time in conversation with him & Vatcher. It was great to get to know him better and I am deeply saddened by his passing. Let’s have a toast to a truly original artist… Tristan Honsinger. - Bruce Lee Gallanter, DMG



Saturday, August 12th / THE GAUCIMUSIC SERIES Continues with:
8pm: MICHAEL LAROCCA - drums / LUKE ROVINSKY - guitar / CALEB DUVAL - bass

Tuesday, August 15th:
6:30: T Z - Accordion / SEAN ALI - Contrabass
7:30: F.T.D. with CAMERON CAMPBELL / LEMUEL MARC - Keyboards/Trumpet/Synth/Melodica/Drums
8:30: KYLE JESSEN - Solo Sax

Tuesday, August 22nd:
6:30: T.J. BORDEN / VARUN RANGASWAMY - Cello / Bassoon
7:30: STEVE SWELL - Solo Trombone

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 welcome. 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: I post 1 minute segments from these sets almost every day on our InstaGram feed, so please check them out and come down to visit when you can. - BLG/DMG


The DMG Newsletter Begins with a Great John Zorn CD, which was delayed for 2 months:

JOHN ZORN // JULIAN LAGE / BRIAN MARSELLA / JORGE ROEDER / CHES SMITH - Full Fathom Five (Tzadik 9301; USA) The newest CD by Zorn’s most recent quartet “Incerto” is a beautiful and moody suite of nocturnes inspired by the night imagery of Shakespeare. Heart wrenchingly beautiful, the music carries you to a lush romantic world of modern lyricism, blending elements of jazz balladry with classical atonality and minimalism into a vibrant new sound world. Featuring four of the most accomplished musical masters out of the Downtown scene—trusted members of Zorn’s inner circle — this is modern chamber music at its very best!
CD $16

MAT MANERI QUARTET with LUCIAN BAN / JOHN HEBERT / RANDY PETERSON - Ash (Sunnyside Records 1700; USA) Featuring Mat Maneri on viola & most compositions, Lucian Ban on piano, John Hebert on contrabass and Randy Peterson on drums. Mat Maneri and Lucian Ban have been collaborating for a round a decade, playing in a duo, trios (with John Surman, Evan Parker & Albrecht Maurer) and doing projects like two tributes to classical composer George Enesco. They’ve obviously developed a bond in the way they work together. Another longtime bond is between Mr. Maneri and drummer Randy Peterson who’ve been playing together for more than 30 years. Mr. Peterson records infrequently, around 2 dozen discs in three decades, most of which feature Joe and Mat Maneri, (as well as with Dave Ballou, Pandelis Karayorgi & David Murray).
Mat Maneri composed 4 of the seven pieces here with two written by Lucian Ban and one quartet improv. For each piece, a poet named Denver Butson provides a short poem which illuminate some essence of what the piece is (possibly) about. The title of this disc is ‘Ash’, which is also the name of the first piece. It seems that a certain earthiness (like ash, dust or earth) is explored in each piece. “Ash” opens and has that slow, dreamy, bent-note sound that seems to epitomize Mr. Maneri’s sound/approach. “Dust to Dust” was written by Lucian Ban, yet is till has that somnolent sound. It takes time to adjust to that eerie, quietly dark, dream-like sound/vibe. “earth” is based on a melody written by Mat’s late father Joe Maneri, an influential longtime professor at New England Conservatory. It sounds like Mat Maneri and Lucian Ban are playing a haunting melody together, interweaving some fragments while bass & drums also provide a similar hazy cushion underneath. Mr. Peterson takes a drum solo near the end of the piece which extends the flow of the piece just right. “Brahms” is based on an “Adante” from Brahm’s “Viola Sonata No. 1”. Since I’ve heard so little Brahms (I own 1 or 2 LP’s only), it is hard for me to tell, although what I do notice is that Maneri is again taking a melody and twisting it in his unique way. “Glimmer” is another piece by Mr. Ban. Maneri and Ban play the theme together as if they were both inside a hazy dream sequence, shadow each others in ghost like swells. It often sounds like this quartet are one being or force, moving together consistently. It took me a while to adjust to this but now I am convinced of their magical mantle. - Bruce Lee Gallanter, DMG
CD $14

JEFF PLATZ / JOE MORRIS / STEPHEN HAYNES / MATT CRANE - Sun Spells (Setola Di Maiale 4610; Italy) Featuring on guitar & electronics, Joe Morris on acoustic bass, Stephen Haynes on cornet and Matt Crane on drums. I generally hear from Boston-area based guitarist Jeff Platz every year or two with a new release. Mr. Platz has recorded with Stephen Haynes and Matt Crane several times in the past, but only with Joe Morris once (with Joe on guitar) and that was more than a decade ago (on ’Skull Session’ from 2011). This session was recorded in a studio in Providence, Rhode Island in June of 2022. Although most listeners know of Joe Morris from his distinctive guitar playing, he has also been acoustic bass on more sessions over time. I always look forward to hearing brass specialist Stephen Haynes, who doesn’t seem to record very often. Check out his work with Bill Dixon or Taylor Ho Bynum to hear how special he is.
Mr. Haynes’ cornet kicks things off as the quartet starts to soar on “Sun Spells”. Mr. Platz is playing electric guitar and is using a wah wah pedal or a similar device, giving the quartet an electric Miles-like sound somewhat. The rhythm team here plays with a tight-knit, spinning force. The cornet-led quartet erupt intensely on “Absolute Magnitude”, with Platz adding some electronics underneath. I really like the way this quartet plays together, the guitar & cornet take turns soloing as well as weaving their lines around one another. The rhythm team is most organic sounding, always flowing together as one stream. The way that Mr. Platz bends notes, gives him a Blood Ulmer-like sound at times, making the quartet sound rather harmolodic. On “In Roads, Out Roads”, Platz plays this sly, twisted line over and over, giving the piece a most mysterious vibe. Since Joe Morris is a guitarist himself, his bass playing here works well with Jeff Platz’ equally twisted, oft furious lines, shadowing the inner fury just right. This is the most exciting and inventive date from different perspectives. - Bruce Lee Gallanter, DMG
CD $15


JOHNNY HUNTER / MARK HANSLIP / OLIE BRICE - Divisions (Discus 153CD; UK) Featuring Mark Hanslip on tenor sax, Olie Brice on contrabass and Johnny Hunter on drums & compositions. Thanks to the Martin Archer’s Discus label, (as well as FMR & Slam), a couple of dozen British musicians, both older & younger, have been given an opportunity to compose, record and have released around 150 discs over the past decade plus. I’ve heard the work of saxist Mark Hanslip through his collaborations with Paul Dunmall, Tony Bianco & Nostalgia 77 (with Keith & Julie Tippett). Brit bassist Olie Brice has also worked with Paul Dunmall as well as with Alex Ward, Ingrid Laubrock & Neil Metcalfe. Drummer & main composer, Johnny Hunter, has worked with the Ron Caines/Martin Archer Band & other Archer projects. This disc was recorded by Mr. Archer in 2019 with all songs composed by their drummer, Johnny Hunter.
This disc is broken into four pieces, each named “Divisions”, parts 1-4. “Part 1” starts off as a modest, piece with a thoughtful written theme up front and a bit freer in the midsection which includes an expressive bass & drum solo (superb mallet work). “Part 2” begins with a bristling, spirit-jazz bowed bass intro, sublime mallet-work and sprawling, slow-burning tenor. “Part 3” has one of those great, hypnotic, memorable, repeating bass lines at the center. As the piece evolves, the trio’s tempo picks up as the tension starts to simmer. “Part 4” has a medium-paced into which soon erupts into a furious, pumping, quick, tight, powerful and soaring thoughtfully. Olie Brice’s inventive acoustic bass playing is at the center of the trio’s sound, speeding up, slowing down, walking quickly and always working tightly with the drums and tenor sax simultaneously. This is a most formidable trio who always sound focused, free-wheeling but rarely completely free. Each piece is between 8 & 11 minutes and each one is episodic, a small series of connected scenes or short stories. - Bruce Lee Gallanter, DMG
CD $14

PAT THOMAS / CHRIS SHARKEY / LUKE REDDIN-WILLIAMS - Know: Delirium Atom Paths (577 Records 5910; USA) Featuring Pat Thomas on keyboards, Chris Sharkey on guitar and Luke Reddin-Williams on drums. British keyboard wiz Pat Thomas always seems to have another ace up his sleeve as he keep shape-shifting between genres and assorted opportunities to play. Mr. Thomas has worked with Derek Bailey, Eugene Chadbourne, John Butcher & Lol Coxhill, on both acoustic & electric keyboards. Like Pat Thomas, guitarist Chris Sharkey has been recording for Martin Archer’s Discus label in a variety of projects. Drummer Luke Reddin-Williams is a new name for me.
This disc was recorded at the Hyde Park Book Club in Leeds, UK in March of 2020. Pat Thomas is a master keyboardist who also employs synths, odd keyboards & tapes to his arsenal. This disc contains one nearly 45 minute work. The music here is quick paced and Mr. Thomas is fully engaged at spinning long lines on different keyboards, keeping the guitar & drums rhythm team ever-engaged and grooving up a storm. Drummer Luke Reddin-Williams is a groove-meister and whips up a storm of churning, rocky and occasionally funky rhythms. This disc sounds like an exciting roller-coaster ride, soaring higher & higher and then shifting between different streams. Guitarist Chris Sharkey finally enters midway when Reddin-Williams switches to mallets and Mr. Thomas plays those Sun Ra-like space synth keyboards. The drums start to sound tribal here as we soar into the air in our collective spaceship. It often feels like we are watching an eerie science fiction film, sailing through inner & outer space inside our minds and outside as well. - Bruce Lee Gallanter, DMG
CD $14

CECILE BROCHE with RUSS LOSSING / SATOSHI TAKEISHI - 3D@Paris (Discus 156CD; UK) Featuring Cécile Broché on electric violin, field recordings & compositions, Russ Lossing on piano, Fender Rhodes & Hammond organ and Satoshi Takeishi on drums & percussion. I know of Belgian violinist Cécile Broché from her work with Lou Grassi & Chris Joris plus she’s played here at DMG on a couple of occasions. This disc was first recorded live in Paris in surround sound with eight speakers employed. What’s interesting is that Ms. Broché chose to use two Downtown musicians who live in the NYC area. Pianist Russ Lossing has around 19 discs out on labels like Sunnyside & Steeplchase. Satoshi Takeishi is a unique drummer whose set-up if different from most, recording with a variety of local (& otherwise) heroes: Shoko Nagai, Janet Rigler, Daniel Carter & Marco Cappelli.
Ms. Broché recorded the sounds of Paris and uses throughout for this entire session. “Lully’s Dream, Lully’s Nightmare” sounds like a sparse lullaby, with lovely piano floating above a skeletal dreamscape. When Ms. Broché’s violin comes in, the pace & intensity picks up. On one hand the trio seems to playing short, thoughtfully composed or directed pieces which are interwoven with field recording taken from Paris: in a subway, in a bakery, a concierge in a hotel, etc. Ms. Broché has a classic sound on her electric violin, using effects subtly and remaining musical throughout. Instead of soloing, Russ Lossing often frames these pieces by playing short melodies or rhythm or bass lines on his piano, electric piano or organ. Many of the pieces are stripped down, playful and rarely dark. The found sounds are used more like sonic seasoning to add some depth or counterpoint to the trio’s charming music. On “Saint-Sulpice”, Ms. Broché’s sampled subway sounds sizzle around an uptempo, moving subway-like melody. Many of the pieces are self-contained jazz/pop tunes, infectious & fun & never very long. In some ways, this entire CD sounds like we are taking a subway in Paris and stopping off at a bakery, a hotel or a museum and then getting back on the subway. All the 20 pieces here are continuous, flowing into one another as we go on our journey into the Paris under and above ground stops. This is one of the most fun-filled endeavors I’ve heard in recent times so please do check it out for yourself. - Bruce Lee Gallanter, DMG
CD $14

GISELE with LOUIS BEAUDOIN-de la SABLONNIERE / DAVE CROTEAU / ALEX DODIER / MIRIAM PILETTE - Aldo (Self-Produced; Quebec; Canada) Gisele is Louis b de la s (de la Sabonniere) on 7-string guitar, Alex Dodier on saxes & effects, Miriam Pilette on guitar and Dave Criteau on drums & percussion. One of the main joys of working at DMG is the nearly daily bunch of customers, friends, musicians & assorted serious listeners from all over the planet who to come to visit us and listen to the music & conversation that goes on here. I’ve had a long & loving affinity to folks from Quebec, especially since attending the FIMAV Fest in Victoriaville (almost) ever year since 1987, visiting Montreal & Quebec City as well. I am longtime friends with Jean Derome, Joan Hetu & Rene Lussier, all off whom were/are involved with the Ambiances Magnetiques label at some point. There are several generations of Creative Musicians from Quebec, documented by labels like Constellation and more recently by the Tour De Bras label.
A guitarist named Louis Beaudoin de la Sablonnierre came to visit us (DMG) last week and left us with 2 newer discs of two different bands he is involved with. Both are self-produced. Gisele is a quartet of musicians, none of whose names I don’t recognize previously. Although things start off with a bit of noisy guitars, the quartet break into a a great, somewhat Beefheart-esque two bent guitar led which shifts between some mellow familiar-sounding jazz sax bits with those tight twisted rock sections. The pieces are well-written, thoughtfully compact with tight shifting sections. Often one guitar, sax & drums play the themes while Louis’ plays short, crafty solos. “Opera et Fanny”, starts with a slow, laid back sax led section which is followed by a rich, somber yet-laid back section, interspersed with some crafty guitar bits. “Tel un roman d'amour ..” has some powerful, double guitar harmonies & interplay, even a Crimson-like section later on. Math rock or prog, probably somewhere in between. Often with three musicians play their tight riffs, the fourth will solo on top. There a re number of unexpected sections or detours which blend prog or film noir soundtrack or post-surf interludes with occasional noise guitar or bent-note sax solos. often short and never overdone. For those of you open-minded progressive/jazz-rock fans, this is like Manna from Heaven. Great cover art, too! - Bruce Lee Gallanter, DMG
CD $12 [Limited edition]

QUINOS with LOUIS BEAUDOIN-de la SABLONNIERE / MATHIEU LETOURNEAU / GUILLAUME TREMBLAY - Quinos (Centre d’experimentation Musique CEM; Canada) Featuring Louis Beaudoin-de la Sablonniere on 7-string guitar, Mathieu Letourneau on drums and Guillaume Tremblay on alto, soprano & bas saxes & Fender Rhodes electric piano. A few weeks ago, Quebecois guitarist Louis Beaudoin-de dropped by our store and left us with two CD’s, a single and a triple CD set. I didn’t know of Mr. la Sablonniere before he stopped in although we probably crossed paths at the FIMAV Fest in Quebec in May of this year (2023). Aside from the Ambiances Magnetiques & Victo labels, which have been around for three decades, a few other labels have emerged like Constellation, Alien8 and Tour De Bras, to document the ever-evolving Quebec creative music scene. Although I didn’t recognize the names of the other two musicians here, both come from different bands: Guillaume Tremblay plays with Orloge Simard while Mathieu Letourneau plays with Gras Trance.
Each of the three CD’s here is named so perhaps each one has a different theme. CD1 is called “Lune de miel” which mean honeymoon. Louis Bdl S plays a 7-string guitar, a rarity that’s only seen a few jazz guitar players use. He also has several discs out on the Tour de Bras albel which I will be searching for. The first song is called, “Groove taoiste” and it does have an infectious groove/ melody which makes me smile. The title track is next and it is has a slow, spacious, dark groove/vibe with spirited interplay between the sax and the guitar, closer to sinister jazz/rock than anything else. “Hipster Blues” seems aptly titled although I would add that the groove is rather funky yet changes tempos throughout. Some of the pieces start off mellow wit low-key somber guitar and then turn into a progrock groove blast like “Boogie Chretien” which does boogie or throb just right. “Rock Epicurien” has a powerful, dark, churning Crimson-like sound/vibe, with a bellowing bass sax squall at the center. It sounds as if the trio spent a good deal of time inventing each piece, as all are different and sound like various types of jazz/rock prog or similar sounding styles.
CD2 is titled, “Heavy Single Jet-Wash used for Hand Shower and Shower Hose”. Not sure what that means but it is an interesting title. The title track is first and it has a punk/jazz-like vibe/sound. While the guitar and drums play this dark, churn groove, the sax erupts on top, slowly at first. On “Omega3” the guitar and sax player their twisted bent-note lines tightly together, kind of fractured rock with some noisy guitar & sax squalling. Like CD1, each piece is different and draws form a variety of forms. “Morning Free 2” has a great, laid back, memorable melody played by the sax with some powerful, repeating guitar & drums licks. Like the first disc, each piece has a riff, pattern or melody worth savoring, often with a spirited solo from the sax.
CD3 is called ‘Live au Lab_49’. Each piece is titled “Musique d’appellation incontrolee” which refers to free or improvised music. Each piece again involves a different structure, design or strategy and it does sound live much of the time. It sounds like this trio has been working together for quite some time as each piece is tight or well-played and based on certain thoughtful riffs. Both the saxes and guitar come up with an assortment of grooves or licks. When the saxist switches to electric piano, he and the guitarist still come up with strong material which evolves over time. Drummer, Mathieu Letourneau gets a chance to stretch out on the fourth piece and he also sounds great as the center of the piece with space/rock guitar simmering on top. Considering that this is a three CD set with more than 3 hours of music, everything here is spirited, compelling, inventive and filled with many a surprising twists and turns. This is one of those treasures that comes along once in a while from some creative musicians with whom I didn’t know before these discs arrived. Will wonders never cease?!? I certainly hope not. - Bruce Lee Gallanter, DMG
3 CD Set $18

SONIC YOUTH - Live In Brooklyn 2011 (Silver Current 055CD; USA) "The final U.S. show, a triumphant and blistering bookend to the storied career of one of the most influential bands in rock music, featuring a unique and expansive eighty-five minute set list that spans Sonic Youth's nearly three decade catalog. Mixed from multitrack by longtime live engineer Aaron Mullan and mastered and cut by Carl Saff."
2 CD Set $18 / 2 LP Set $32

ALVIN LUCIER - One Arm Bandits (Important Records 514CD; USA) "One Arm Bandits is an hour-long piece in four parts, scored for four cellists. The cellists play only open strings, thus using only their right arms, never fingering the strings with the left hand. Recorded in Alvin Lucier's dining room, this work features cellists Tyler J. Borden, Laura Cetilia, Charles Curtis and Judith Hamann. Lucier oversaw and produced the recording, and approved the final takes. One Arm Bandits was an important project for Alvin Lucier. The idea for the piece goes back to conversations we first had in 2007 about the relationship between bow direction changes and shifts in phase. In the summer of 2015 we worked these ideas out in long sessions with Judith Hamann and T. J. Borden in New York, and the resulting piece received its first performances in Graz and Zürich in 2016. Alvin thought of One Arm Bandits as a radical statement, I think primarily in view of the severe reduction in material -- even in the context of his music -- and the physical restraint required in performance. The unusually long duration attests to Alvin's recognition that an expansion of scale was required in order to magnify acoustical details of such subtlety. In November 2021 Alvin saw proofs for the CD artwork. He passed away at the age of 90 on December 1, before he could see the album in its final form. Work with Alvin was always joyful, stimulating, and surprising. We dedicate this recording to the continuing spirit of this remarkable musician and friend." - Charles Curtis
CD $16

PRINCE FAR I - Under Heavy Manners (17 North Parade 4218CD; Earth) "During the latter half of the seventies very few came close to emulating the success of the productions of Joe Gibbs and Errol Thompson. 'The Mighty Two' took the greatest of Kingston's musical and technical innovations and transformed the cutting edge into a commercial proposition that crossed over the rest of the world. Under Heavy Manners was an essential purchase as well as a defining statement on the somber mood of the times in the year that 'Two Sevens Clash' and forty years after its original release, the raw reality of Under Heavy Manner continue to hit home."
CD $17

BONNIE 'PRINCE' BILLY - Keeping Secrets Will Destroy You (Drag City 890CD; USA) "Bonnie Prince Billy has made a number of them, and heard a bunch more in his time of knowing. He's found them hewn from moments, admired them as small and accountable -- the communication of music in emotion, release and catharsis; to edify, to entertain, in two sides and less than an hour. There's room for albums in everyone's home, and there's a place for everyone to listen -- or space for just one person at a time, when privacy is needed. Keeping Secrets Will Destroy You presents simply -- an album made as it was meant to be heard, in a room. The sound of people together -- a sound we'd so recently feared that we'd lost -- playing, communing, strings and wood and keys and voices singing. In the starkness of space, the complexities of life and time are unfurled, then refurled again. As strings ebb and flow with voices and their words, careful hands unwrap the gift of paradox in its many forms -- and rewrap, for regifting. For giving to everyone. Keeping Secrets Will Destroy You presents simply, and is sung along easily and happily with in time BUT -- Is it family portrait or fairy tale? How does it think the world was made, and will end? . . . This record, you might could call it a bastard child of Master and Everyone and The Letting Go. You might say lots of things. But you can't say this ain't a record that sings and dances, repeatedly, through moments of joy and terror and together . . .Keeping Secrets Will Destroy You was recorded in Louisville by Nick Roeder, featuring Sara Louise Callaway on violin, Kendall Carter on keys, Elisabeth Fuchsia on viola and violin, Dave Howard on mandolin, Drew Miller on saxophone and Dane Waters' voice. The presence of so many local educators in the band (Sara Louise runs the Louisville Academy of Music, Kendall is the director of music at his Louisville church, Dave runs the Louisville Folk School and Dane is a music educator as well) lends not only to a flow of moments so fluidly encompassing a wide range of musics from classical to traditional Hawaiian and elsewhere, but perhaps even more importantly, to the sense of community, heredity and the triumph of inheritance that is the marrow and life blood of this music..."
CD $15

ROKY ERICKSON & THE EXPLOSIVES - Halloween II: Live 2007 (Steadyboy Record 11602CD; Earth) "Best live recording from Roky's 'comeback' era of 2005-2008 with The Explosives. Recorded at the Bowery Ballroom, New York City, NY on April 15, 2007. This is a complete, unedited recording of a fiery performance representative of what Roky and Explosives were doing in the 2005-2008 'comeback' years. Excellent song selections and killer performance from top to bottom. Roky is in great voice and the band is in full force. The ONLY official release from this time period."
CD $18

PRAED - Kaf Afrit (Aukophone 1042CD; France) “New album of the Swiss/Lebanese experimental duo (Raed Yassin and Paed Conca). Praed is a band whose musical oeuvre can be described as a mixture of Arabic popular music, free jazz, and electronics. Since then, the band has frequented numerous international music festivals and toured intensively world-wide, spanning Japan, Europe, and Canada. Through these endeavors, the band has created a large global network with other renowned musicians as musical collaborators. CD version comes in digipack; edition of 300.”
CD $17

BENNETT WILSON POOLE - I Saw A Star Behind Your Eyes, Don't Let It Die (BWP ZAP 002CD; UK) “Nearly five years on from their acclaimed debut, Bennett Wilson Poole reveal the follow up. That eponymous first album was only ever intended as a one-off collaborative project. A response to the murder of MP Jo Cox, it was something of a fresh take on Crosby Stills Nash and Young's classic protest song "Ohio." The release saw Bennett Wilson Poole embraced by the Americana community, playing live on the Andrew Marr show and crowned as "UK Artist of the Year" at the 2019 UK Americana Awards. The new album came together in similar fashion; Robin (Bennett) and Danny (Wilson) started writing new songs late into the night whilst on tour to promote the first record, and before they knew it, there were enough songs to begin recording an unplanned second album. Where the first record drank deep from '70s US west coast folk-rock, the second has been heavily spiked with 1960s British psychedelia, even featuring a cover by legendary counterculture artist John Hurford. Tony Poole's meticulous and inspired production has spun Robin and Danny's fresh batch of songs into a delicate web of musical delight. Fans of the "spot the reference" game Tony started on the first record won't be disappointed this time either, as there are plenty more to be found here. As with the first album, the lyrics don't shy away from current affairs -- by the end of that year of touring, the band were already playing "I Wanna Love You (But I Can't Right Now)," reflecting on the state of US politics, yet optimistic that the problems are only temporary. Many of the tracks on the new album feature live rhythm section Fin Kenny (drums) and Joe Bennett (bass) for the first time on a BWP record. The title of the album comes from the lyrics of "Help Me See My Way," the first single, a prayer for strength in difficult times, the trippy animated video for which was originally issued during lockdown. The dreamy positivity of the line "I saw a star behind your eyes" is tempered with the plea "don't let it die away", a message which feels as important as ever two years on.”
CD $15

MICHAEL ALLEN Z PRIME - Bioelectrical Music (Paradigm Discs PD 039CD; UK) “Paradigm Discs have not had a physical release by composer and ecologist Michael Prime since the release of Borneo in 2007. This new three-CD set brings us up to date with a series of recordings from across the years. It also sees a new refinement in his working practice as well as a new extension to his original name. Bioelectrical Music by Michael Allen Z Prime consists of recordings that fall into three defined categories: Bioelectrical Compositions, Bioelectrical Field Recordings, and Bioelectrical Installations. All three use the bioelectrical potentials generated by plants and fungi, although these sound sources are now no longer purely seen as raw material available for multi-tracking or further electronic processing of the signal path. Now, the bioactivity signals themselves form the basis of the music. Following a framework of self-imposed rules that restrict the extent that the source sounds can be altered, such that the essential voice of the living sound sources remain identifiable. The development of this framework is a direction that Prime's music has been moving towards for some years now, and this box set collects various recordings made between 1990 and 2019 that fall into the remit of this new development. The pieces included here range from short sound studies to lengthy compositions and installation recordings made at a wide variety of locations. The 3CDs are accompanied by a 44-page booklet with an essay by Prime outlining the history and development of the understanding of plant neurophysiology. There is also a short piece written by author and fungal enthusiast Merlin Sheldrake. Edition of 500 (numbered). “
3 CD Set $48

OWL / SUNNYSIDE CD SALE: Reviews/blurbs further below:

RAN BLAKE - Wende (Owl/Sunnyside 3516; USA)
CD Sale $12

PAUL BLEY & GARY PEACOCK - Partners (Owl/Sunnyside 3503; USA)
CD Sale $12

PAUL BLEY / JIMMY GIUFFRE / STEVE SWALLOW - The Life Of A Trio: Sunday (Owl/Sunnyside 3515; USA)
CD Sale $12

JIMMY GIUFFRE 3 With PAUL BLEY / STEVE SWALLOW - Fly Away Little Bird (Owl/Sunnyside 3504; USA)
CD Sale $12

LEE KONITZ / KENNY WERNER - Unleemited (Owl/Sunnyside 3511; USA)
CD Sale $12

STEVE KUHN / STEVE SWALLOW - Two By 2 (Owl/Sunnyside 3526; USA)
CD Sale $12

CD Sale $12

OWL/SUNNYSIDE SALE CD’S with Blurbs added:

RAN BLAKE - Wende (Owl/Sunnyside 3516; USA) Recorded in 1976 in Boston for France's Owl label and first released on compact disc in the early '90s, Wende is pianist Ran Blake solo at his most playful and adventurous. On "Field Cry," which opens the set, Blake is fooling with the blues and ragtime, subverting time and lyric changes without losing the feel. The title track is one of those spooky Blake ballads where the eerie and lyrical come together to whisper and sing. And so it goes -- there are songs here, and traces of them, as Blake picks them up from the night air and lays them out on his keys. His sparse phrasing comes from the heart of jazz and blues as articulated through the decades, with bits of the new added and bits of the old left in the night to sing their way in. It may not be clear, but as in his many fine solo albums, Blake is in complete control of both his hearing and his muse. These are very much song-oriented pieces, and Blake is a master of texture, space, and tension. His articulate mid-register playing uses time and melody while undoing both in the process and melding them back together as something entirely new -- check "Blues for Wheatleigh" or "Jim Crow." Wende is a beautifully tender album, full of memory, longing, sadness, and joy, by a pianist whose middle name should be "Ghost." Thanks to the Sunnyside label for bringing back the treasures of the Owl imprint. - Thom Jurek, AMG
CD Sale $12

PAUL BLEY & GARY PEACOCK - Partners (Owl/Sunnyside 3503; USA)Fifteen solos and duos from this longtime partnership that have been playing together since the fifties. Paul Bley plays piano and Gary Peacock plays contrabass. This was first released in 1990 and has been a hard-to-find release ever since. All originals, except for Ornette's "Latin Genetics".
CD Sale $12

PAUL BLEY / JIMMY GIUFFRE / STEVE SWALLOW - The Life Of A Trio: Sunday (Owl/Sunnyside 3515; USA) NY studio session 12/17/89 In 1990, the Jimmy Giuffre 3 of 1961 got back together for a reunion, resulting in a couple tours and some recordings. Comprised of Giuffre on clarinet and soprano, pianist Paul Bley, and electric bassist Steve Swallow, the group to an extent continued where it had left off in 1961. Much of the music is fairly free yet thoughtful and quiet. Giuffre playing soprano instead of tenor and Swallow now heard exclusively on electric rather than acoustic bass were obvious changes from the earlier group. All of the musicians (particularly Bley, who gets first billing due to being first alphabetically) had grown during the decades since. This would be among Giuffre's final recordings before he began to decline from worsening health. Of the 16 originals found between the Saturday nad Sunday CDs, released individually, (some of which are just brief sketches), there are six trio performances, seven duets (in all possible combinations), two piano solos, and one unaccompanied clarinet piece. The music is primarily laid-back and introspective... - Scott Yanow, AMG
CD Sale $12

JIMMY GIUFFRE 3 With PAUL BLEY / STEVE SWALLOW - Fly Away Little Bird (Owl/Sunnyside 3504; USA) This enigmatic and enchanting trio first got together and recorded three superb records in the early sixties: 'Fusion' & 'Thesis' in 1961 and 'Free Fall' in 1962. They reunited over a quarter century later to record two more, 'The Life of a Trio: Saturday and Sunday Nights' in 1989. This rare reunion brought them together once again for a studio date in April of 1992. Multi reed player and professor Jimmy Giuffre here plays soprano sax and clarinet, Paul Bley plays piano and Steve Swallow continues to his electric bass since around 1970. They play their quirky originals, as well as some standards like "I Can't Get Started", "All the Things You Are" and "Loverman". What is special about this trio is the way they play so exquisitely, using a minimum to notes to float through space let those haunting melodies just drift, with notes gently caressing each other. Swallow has a pure and precious and melodic tone on his el. bass which uses just right to play his elegant solo piece, "Fits". Beautiful stuff.
CD Sale $12

JEANNE LEE with LEO SMITH / GUNTER HAMPEL / MARK WHITECAGE / JEROME HARRIS / AMINA CLAUDINE MYERS / et al - Natural Affinities (Owl/Sunnyside 3509; USA) Featuring Gunter Hampel on vibes & flute, Leo Smith on trumpet, Mark Whitecage on alto sax, Jerome Harris on guitar, Amina Claudine Myers & Paul Broadnax on piano & vocals, Dave Holland & Lisle Atkinson on basses and Newman Baker on drums. Finally! When the marvelous jazz vocalist Jeanne Lee passed away last year, she sadly left us with no recordings under her own name in print and only two out-of-print. She did have a few duo/trio efforts with Ran Blake, Mal Waldron and Jimmy Lyons and all but the Lyons are gone. She is also on a couple dozen recordings with her former husband Gunter Hampel, but it is mostly his music. 'Natural Affinities' is a rare reissue from 1992 which I have never heard of and it is a certainly fabulous offering. Jeanne has chosen the words of Charles Mingus, Lao Tse, Wadada Leo Smith, Sharon Freeman, Ntozake Shange, as well as herself with great care, so that there is a thread which runs through this entire effort. Themes of hope, peace, freedom, birds in flight and other provocative ideas are explored. At the very center of this is Jeanne's enchanting voice which so deep, rich and filled with a gripping presence takes us to many places inside and outside of all of us. Jeanne Lee's second superb duo release with Ran Blake was also on Owl, so we can only hope that this will also see the light of day sometime soon. That trio with Jimmy Lyons should be back soon, as well. Check out Gunter Hampel's Birth label website to see which titles Jeanne is on.
CD Sale $12


STUART DEMPSTER - Underground Overlays From The Cistern Chapel (Important Records Imprec 485LP; USA) "This is where you have been forever and will always be forever." Stuart Dempster, speaking about what it feels like to be in a cistern where time seems to stop. Stuart Dempster created Underground Overlays From The Cistern Chapel in the same cistern where the legendary Deep Listening album was recorded. Reverberating with powerful, deep tones, this double LP is intended as a companion to the acclaimed Oliveros/Dempster/Panaiotis album Deep Listening. Underground Overlays From The Cistern Chapel is one of the deepest drone albums ever recorded. Nine trombones, didjeridu and Tibetan bells fill the massive two-million-gallon cistern with dense sonic reverberations that are both haunting and healing. Packaged in a heavy-duty paper sleeve printed with metallic gold ink to match the Deep Listening design.”
2 LP Set $42

ISLANDMAN Featuring OKAY TEMIZ and MUHLIS BERBEROGLU - Direct-To-Disc Sessions Night Dreamer ND 013LP; UK) “Balearic folktronica meets percussion genius on a unique one-take recording that finds Turkish downtempo specialist Islandman in triple conference with legendary percussion innovator Okay Temiz, and contemporary saz virtuoso Muhlis Berberoğlu. Recorded in Amsterdam for Night Dreamer's ground-breaking Direct-To-Disc series, the session captures the innovative brilliance of the great Okay Temiz in full flow over Islandman's trademark Balearic-tinged production, alongside the modern Anadolu folk sound of Berberoğlu's saz. Expanding beyond their electro-acoustic DJ formula into a wider sound world of experimental instruments, neo-traditional rhythms and folk improvisation, Islandman's vision on this Night Dreamer disc seeks to reconnect cerebral downtempo beatmaking with the folkloric and ritual bedrock that their music has always rested on. Bandleader Tolga Boyuk's vision has always been expansive, and the link-up with Night Dreamer was a chance to try out a more spontaneous style of playing and recording. Known for his inventive genius on percussion instruments ranging from the berimbau to the bricklayer's trowel, Turkish percussionist and drummer Okay Temiz is one of the world's foremost improvising musicians. In the course of a career stretching back to the mid-1960s, he has collaborated with jazz greats including Don Cherry and Johnny Dyani, led his own Oriental Wind unit, and played with countless musicians across dozens of genres. Approached for the project by Islandman's drummer Eralp Güven, the always open and experimental Temiz was enthusiastic to participate. To complete the unit, Boyuk turned to Muhlis Berberoğlu. The session unfolded with controlled unpredictability. Boyuk arrived at the studio with simply produced tracks, and from there the ensemble let improvisation and organic synergy take control. The brilliant wildcard was the effervescent imagination of Temiz, who came equipped with an eclectic mix of homemade instruments including an electrified flute made of industrial bathroom piping, and a shaker with a contact mic wired to a wah-wah pedal. Combined with Islandman's subtle and responsive beat-science and Berberoğlu's scintillating agility on the saz, Temiz's visionary rhythm force leads the session into unknown territories of improvised future-folklore, strictly for the heads.
2 LP Set $36

HENRY THOMAS - Complete Recorded Works 1927-1929 - Texas Worried Blues (Colored Vinyl)(Yazoo 1080C-LP; USA) "These recordings, dating between 1927 and 1929, are a unique body of work: work songs, minstrel numbers, rags, and what we now define as the blues, all offered in an unpretentious form that would have been every bit as compelling had Henry Thomas cut them this way 40 years later. Songs such as 'Arkansas,' 'Fox and the Hounds' (featuring the reed pipes that Thomas also excelled at playing), and 'Little Red Caboose' represent a brand of upbeat dance music associated with late-19th century entertainment, a tradition already largely lost or becoming lost when Thomas cut these numbers. Yet Thomas, who was already in his 50s when he recorded these tracks, sings and plays them with a beguiling ease and honesty, not to mention a dexterity on the guitar that makes him sound every bit as vital and urgent as Big Bill Broonzy or any of the other up-and-coming blues legends just starting out at the time these sides were laid down. The blues numbers, including 'Shanty Blues,' 'Woodhouse Blues,' 'Honey, Won't You Allow Me One More Chance?,' and 'Bull Doze Blues' are compelling in their own right -- they display musical and lyrical virtuosity and, in the latter two cases, offer a chance to hear the sources for classic works by Bob Dylan and Canned Heat, respectively. Luckily for historians, Henry Thomas recorded for Vocalion and not for one of the truly lost labels like Paramount, and all 23 surviving sides of his work sound very good on this CD." --Bruce Eder, AllMusic
2 LP Set $18

ALY EISSA - Gouda Bar (Aukophone 1045LP; France) “An original instrumental music project led by composer and Oud player, Aly Eissa. Featuring his diverse musical influences, Eissa's compositions create versatile and twisted meditative atmospheres throughout the musical experience. Aly Eissa is a composer and Oud player based in Cairo, Egypt. He was mentored by legendary composer Abdo Dagher and Oud virtuoso, Hazem Shahin. Eissa's style is deeply-rooted in the Egyptian classical and folk traditions, and influenced by various western genres. Since 2012, Eissa has been regularly performing his compositions with an ensemble for live audiences in Cairo, offering a meditative musical experience with a twist. One of Eissa's musical approaches is the experimenting approach through a unique trio formation including the Belgian synthesizer player Jonas Cambien and the Egyptian percussion player, Ayman Mabrouk. In this trio, Eissa is trying to explore a different sound and space in the originally composed Arabic music. Includes CD with bonus tracks.”
LP CD $28

JOEL VANDROOGENBROECK - L'immagine del suono (Musica Per Immagini MPI 011LP; Italy) “Reissue, originally released in 1972. Joel Vandroogenbroeck was an arranger, conductor, producer, and, above all, a unique multi-instrumentalist in the world of music. The Belgian artist was also famous for being the only permanent member of the group Brainticket and the main promoter of its creativity, often renewed with the contribution of exotic instruments. At the dawn of the Seventies, this versatile musician began a parallel life as a composer of singular music libraries tailored to comment documentary images. L'immagine del suono was one of them, originally released by Italy's Flirt Records and now reissued on vinyl by Musica Per Immagini for the first time. This album circulated, however, unnoticed in a limited number of copies among insiders, only rediscovered later by fans, thus raising Joel Vandroogenbroeck as a real pioneer of ambient and new age music. It is appropriate to consider the twelve short-lived pieces of L'immagine del suono as a sort of continuous and visionary experiment, with the addition of electronic gasps, a strong dose of inevitable psychedelia, fragments of synthesized jazz, all coming from experiences both internal and external, hallucinatory and hedonistic. All of this combined creates a mysterious and abstract hybrid. Sonic raw material is sculpted with artisanal care, at times twisted and cryptic, characterized by a transversal irony, to the point that the interference of rock elements in the course of the set divert the listener's attention and momentarily interrupt the flow of consciousness. L'immagine del suono is a concentrated example of the avant-garde, free from categorization of any kind, developed in a non-commercial key and, equally, is drawn from a direct line via what was previously expressed within the folds of the then contemporary works of Brainticket.”
LP $36



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8/9 Wednesday
8:30 pm - DRUMS & DRONES
Brian Chase (drums, electronics)

8/10 Thursday
Zeena Parkins (harp) / Brian Chase (drums)

8/11 Friday
8:30 pm - QUARTET SONGS -
Matteo Liberatore (guitar) Vanessa Baish (voice) Brian Chase (drums) Manami Mizumoto (violin)

8/12 Saturday
8:30 pm
ARCADES DUO - Anthony Coleman (piano) Brian Chase (drums)


8/16 Wednesday
8:30 pm - HEMPHILL STRINGTET - Curtis Stewart (violin) Sam Bardfeld (violin) Stephanie Griffin (viola) Tomeka Reid (cello)

8/17 Thursday
8:30 pm - DUO: Tomeka Reid (cello) Alexander Hawkins (piano)

8/18 Friday
8:30 pm: ARTIFACTS:
Tomeka Reid (cello) Nicole Mitchell (flutes) Mike Reed (drums)

8/19 Saturday
Tomeka Reid (cello) Jason Roebke (bass) Tomas Fujiwara (drums) Mary Halvorson (guitar); World Premiere: Three and Three

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

music at 8:30pm

$20 per set
unless otherwise noted
cash only payment


Saturday, August 12:

@ Public Records
233 Butler St, Brooklyn, NY 11217
doors 7pm / one set 8pm

mutli-kulti-trance-groove-meditational-dance music
Adam Rudolph - percussion, electronic processing, cajon, sintir, thumb pianos
Alexis Marcelo - electric keyboards
Damon Banks - electric bass
Harris Eisenstadt - bata, shekere
Mir Iqbal - tabla, percussion
Neel Murgai - electric sitar, overtone singing and electronics
Tim Kieper - percussion, dusu n’goni
Tripp Dudley - cajon, dumbek, frame drums, percussion


JOHN ZORN @ 70 - Year Long Celebration:

Sunday, August 13, 2023 AT 8:00 pm
Wendy Eisenberg guitar
Taylor Levine guitar
Cha Cha La Fox violin
Alexandra Simpson viola
Michael Nicolas cello
John Medeski organ
Brian Marsella piano
Ikue Mori electronics
Trevor Dunn electric bass
Jorge Roeder bass
Kenny Wollesen drums, vibes
Sae Hashimoto vibes, percussion
Ches Smith drums, percussion
John Zorn prompter

Sunday, August 27, 2023 at 8:00 pm

ZORN@70 at ROULETTE PART FOUR: Four World Premieres:
featuring The Junction Trio, Jennifer Choi, Jorge Roeder,
Ches Smith, Peter Evans and Sam Jones
Thursday, September 14, 2023 at 8:00 pm

To purchase tickets:
Roulette is in Brooklyn & not far from the Brooklyn Academy of Music
It is located at 509 Atlantic Avenue (Entrance on the Corner of Third Avenue;
Accessible Entrance on Atlantic Ave), Brooklyn, NY 11217 - phone: 917-267-0363
Box Office, General Information: - 917-267-0368

JOHN ZORN @ 70 FESTIVAL - August 30th - September 3rd, 2023
15 concerts at The Great American Music Hall in San Francisco, California

Live at National Sawdust
September 16th & 17th 2023
6:30pm doors / 7:30 pm

JOHN ZORN - Composer / JESSE HARRIS - Lyricist
Featuring: PETRA HADEN - Vocals
JORGE RODER - Contrabass

Love Songs tells the story of a young woman, her friends, their relationships both past and ongoing, and struggles with identity and trauma. This world-premiere concert performance features the remarkable voice of Petra Haden, accompanied by Brian Marsella on piano, Jorge Roeder on bass, and Ches Smith on drums. Blending influences from Burt Bacharach, Stephen Sondheim, Kurt Weill, and the Tin Pan Alley/Brill Building tradition, this is a lyrical and dramatic tribute to contemporary song that will appeal to young and old alike.

National Sawdust
80 North 6th St
Brooklyn, NY 11249
646 - 779 - 8455


Thursday August 17th at 8pm

Carol Liebowitz / Nick Lyons Duo

IBeam - 168 7th St., Brooklyn

Two sets of music - $15


Rhythm in the Kitchen Festival 2023
Hell's Kitchen, NYC
@ Prime Produce
424 W 54th St, New York, NY (bet 9 & 10)

Friday Sept 8:
- 3pm William Hooker / Yaching Cheung / Ayumi Ishito
- 4pm Patrick Brennan
- 5pm Solastaltia
- 6pm dinner time
- 7pm John King (Duet)
- 8pm Barbiana Complex
- 9pm Sarah Bernstein Solo
- 10pm Sam Day Harmet's Soundpainting Orchestra

Saturday Sept 9:
- 3pm James Paul Nadien Toadal Package
- 4pm Sana Nagano Ensemble
- 5pm Laura Feathers Ensemble
- dinner time
- 7pm Phill Niblock
- 8pm Indeterminate Ensemble
- 9pm Chuck Bettis
- 10pm Third Eye Electric Band

Sunday Sept 10: MC BruceLee - MC
- 3pm Jason Hwang Trio
- 4pm Marc Edwards Slipstream Time
- 5pm Theo Woodward, David First, DJMagic Clowns, Mo Kubbara
- 6pm dinner time
- 7pm William Hooker Group
- 8pm Shelley Hirsch / Ka Baird
- 9pm On K'a Davis 3D Veve
-10pm Mohammed Kubbara Sextet


FourOneOne / SHIFT

Sep 9, 2023
Bahauddin Dagar
Church of St. Luke & St. Matthew
520 Clinton Ave, Brooklyn, NY 11238

Sep 16, 2023
Bahauddin Dagar
2220 Arts Archives
Presented by Black Editions
2220 Beverly Blvd, Los Angeles, CA 90057

Shift is located at
411 Kent Ave., Brooklyn, NY 11249


John Cage's Japan at Japan Society
An Original Performance Series
Celebrating the Composer's Relationship with Japanese Culture

September 28 and September 29 at 7:30 pm
Paul Lazar's Cage Shuffle
Directed by Annie-B Parson

October 21 at 8:30 pm
John Cage's Ryoanji
with Tomomi Adachi, International Contemporary Ensemble (ICE),
Hitomi Nakamura (hichiriki), and Maki Ota (voice)

November 16 at 7:30 pm
Tomomi Adachi's Noh-opera / Noh-tation: Decoding John Cage's Unrealized Project
with Gelsey Bell (voice), Wakako Matsuda (noh), and ICE

Thursday, December 7 at 7:30 pm
Cage Shock: An Homage to his First Japan Visit
with Tania Caroline Chen, Victoria Shen, Tomomi Adachi, and ICE

All Programs Commissioned and presented by Japan Society
Tickets On Sale to the General Public August 17 at
They called it the "Cage Shock." In 1962, the iconoclastic American composer John Cage toured Japan for a legendary series of concerts that served to draw attention to the rhymes between his works and the sounds of avant-garde and classical Japanese music. The tour cemented Cage as a pivotal figure in the East but the impact of that trip reverberated both directions. Cage had found truth and validation for his creative philosophy in Japan and returned to his experiences abroad as a wellspring of inspiration for the rest of his life.