DMG Newsletter for the Week of July 12th, 2024

Thursday, July 11th:
7pm: CHARLES BURNHAM - Violin / MARCUS ROJAS - Tuba / BEN PEROWSKI - Drums
8:15: MATT WILSON - Drums / KAL FERRETI - Trumpet / SPENCER HOEFERT - Guitar / CONWAY CAMPBELL - Bass
9:30: MICHEL GENTILE - Flutes / GARY VERSACE - Piano / JEROME HARRIS - Bass / TOM RAINEY - Drums

Friday, July 12th:
7pm: GUILLERMO KLEIN - Piano / VINICIUS GOMES - Guitar / SEBASTIAN de URQUIZA - Bass / ROGERIO BOCATTO & RODRIGO RECABARREN - Drums & Percussion
8:15: ANNA WEBBER - Tenor Sax / CHRIS TORDINI - Bass / CHES SMITH - Drums
9:30: NOAH PREMINGER - Tenor Sax / ROB GARCIA - Drums / GARY VERSACE - Piano / KIM CASS - Bass

Shapeshifter Lab is located at
837 Union Street
In Brooklyn, NY, 11215
www.shapeshifterplus.org/events

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THE FOLLOWING CONCERT IS BEING POSTPONED: It will be rescheduled sometime soon:

The DOWNTOWN MUSIC GALLERY 33rd ANNIVERSARY CELEBRATION:

Will take place at The New School on:

Monday, July 15th:
TISZIJI MUNOZ / BOB RA KALAM MOSES COSMIC SPIRITS! - postponed!

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THE 33rd ANNIVERSARY IN-STORE CONCERT SERIES AT DMG CONTINUES WITH:

Tuesday, July 16th:
6:30: STAN ZENKOV Reeds / DANIEL CARTER - Reed, Trumpet / KEENAN RUFFIN - Guitar / ZACH SWANSON - Bass / DAVE MILLER - Drums
7:30: HANS TAMMEN - Prepared Guitar / MARCUS CUMMINS - Soprano Sax
8:30: ENTROPIC HOP: ARON NAMENWIRTH - Guitar / AYUMO ISHITO - Sax, Effects / KEVIN SHEA - Drums
9:30: GEORGIA WARTELL COLLINS - Tenor Sax / DEVIN WALDMAN - Alto Sax / STALE LIAVIK SOLBERG - Drums

Tuesday, July 23rd: Guitar Mini-Fest!
6:30: THE 49’ers with ANDERS NILSSON / TY CITERMAN on Guitars
7:30: GIAN PEREZ - Guitar / BRANDON LOPEZ - Bass / WILLY RODRIGUEZ - Drums
8:30: JAMES WENGROW - Guitar / KENNETH JIMENZ - Contrabass / JAMES PAUL NADIEN - Drums

Tuesday, July 30th:
6:30: DAVID AARON / ANDY HAAS / DANIEL CARTER - New Reeds Trio Debut
7:30: NATHAN NAKADEGAWA-LEE - Tenor Sax / SHINYA LIN - Electronics / KEVIN MURRAY - Drums
8:30: BEN GOLDBERG

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THIS WEEK'S SONIC GEMS BEGIN WITH:

* EYAL MAOZ and EUGENE CHADBOURNE - The Coincidence Masters (Infrequent Seams 1062; USA) Featuring Eyal Maoz and Eugene Chadbourne on guitars. There is a long tradition of Downtown/Experimental guitarists playing in duos and trios, starting in the late 1970’s with Eugene Chadbourne, Henry Kaiser, Duck Baker, Randy Hutton and Owen Maercks. Many of these pickers were influenced by Derek Bailey, an elder British gent who was one of the first great guitarists to embrace playing freely improvised music starting in the mid-1960’s. A couple of generations younger is Israeli guitarist Eyal Maoz who has played with a handful of other Downtowners/bands like the Lemon Juice Qt, Edom, Hypercolor, 9Volt and Abraxas (Mahavishnu Orch plays Klez). The last time that Mr. Maoz played here at DMG, he played with another fine guitarist named Eric Arn.
The last time Dr. Chadbourne came to town (playing a residency at The Stone in 2022), he went into a recording studio with Mr. Maoz and recorded their first session together which resulted in this disc. The Downtown approach to improvised guitar playing is one of consistent experimenting and drawing from a variety of genres & techniques. Since Chadbourne started out in the late 70’s/early 80’s, his playing and those who came after him have evolved in different ways. As I listen to this disc, I can hear two guitarists coming from different places who actually sound similar in the way they keep changing their approach and manipulation of sounds. When I first heard Dr. Chadbourne play in 1979, I wasn’t sure if he could actually play, that’s how odd I found his guitar playing. After 45 years of the Downtown Guitar aesthetic, it makes more sense to me. On “Two Guitarists”, the duo play sparsely and ethereally with subtle sustain, an elegant sort of psych sound. Someone is playing an acoustic guitar here (Chad I think) while the other plays an electric, the volume and balance is just right. At times, one guitar will play an odd melody while the other plays around the melody, adding a variety of other bent-note lines, speeding up, slowing down, playing jazz-like runs and chords as well as rock or other (ethnic or avant) lines. I do recognize a handful of distinctive licks that I’ve heard Doc Chad play time and again, yet the direction and manipulation is always changing and going in unexpected directions. What amazes me is how well these two work together, there are so many moments when one will start a riff and the other will finish it or at least going into another direction. On “Unexpected, Also for Us”, I thought I heard a riff from Love’s ‘Forever Changes’ album but that was just one great moment amongst many. What I find most interesting is this: Chadbourne likes to push himself into the further out zone at times, playing as freely and as weirdly as possible. Here though, both guitarists seem to reign in things a bit so that we hear fragments of melodies as well as a great deal of combined resources which keep them and their listeners on their toes or at the edge of their seats. This is by far, the best guitar duo record that I’ve heard in a while. Too marvelous for words, nope just enough! - Bruce Lee Gallanter, DMG
CD $14

* EYAL MAOZ will be playing here at DMG on Monday, August 12th as the DMG Mini-Guitar Fest II with Killick Hinds & Sally Gates also on the bill.

ENRICO PIERANUNZI / MARC JOHNSON / JOEY BARON - Hindsight - Live at La Seine Musicale (CAMJazz 5063; USA/Italy) If it ever seems that the art of the jazz piano trio has gone as far as anyone can reasonably take it – this given the legacy of great artists like Art Tatum, Bill Evans, Cecil Taylor, Ahmad Jamal and Keith Jarrett – the new recording by Italian master Enrico Pieranunzi is a triumphant assertion of the durability and creative vitality of the form. Working with two of the most musical players in the business, bassist Marc Johnson and drummer Joey Baron, Pieranunzi largely avoids the Broadway songbook in favour of original compositions coloured by his deep love and understanding of jazz but also his knowledge of classical and Baroque form, folk and other popular music. // As a title, Hindsight may imply a looking back, but Pieranunzi recognises that that is the only way to move the music forward. The themes here may seem both naggingly familiar and utterly fresh. It’s music of great generosity and openness, not a self-consciously magisterial statement by a great artist content to rest on his own reputation, but a contract of promise with the audience that jazz is far from running out of new things to say and new feelings to express. — Brian Morton
CD $14

DENNY ZEITLIN with BUSTER WILLIAMS / GEORGE MARSH / MATT WILSON - Panopoly (Sunnyside SSC 1741; USA) Denny Zeitlin's Panoply is a diverse array collection of unreleased performances comprising solo piano recordings at the Piedmont Piano Company in Oakland, California, trio sessions with bassist Buster Williams and drummer Matt Wilson captured at Mezzrow Jazz Club in New York City, and duo pieces with drummer/percussionist George Marsh collected over a decade of home recordings at Zeitlin's Double Helix Studio.
The album opens with a trio performance of George Gershwin's "I Was Doing All Right." Supported by the rhythm section's easy swing, Zeitlin demonstrates his nuanced touch and sophisticated improvisational skills. Three of the following four tracks—"Excursion," "Ambush," and "Music Box"—are duo performances with Marsh, each of which demonstrates Zeitlin's prowess in merging acoustic and electronic techniques. The tracks are a testament to his innovative spirit and ability to push the boundaries of jazz.
Bookending these prior pieces are two solo efforts: Bill Lee's number ""Only One" and Ray Noble's "Cherokee." Whether it is a romantic ballad interpretation of the former or the frisky progressive harmonic take on the latter, Zeitlin's piano has a lyrical beauty in where each note is carefully chosen and perfectly placed to maintain a cohesive narrative.
One of the most striking aspects of this release is the interplay between Zeitlin and his musical partners. The three remaining trio takes—Miles Davis' "Weirdo," Stordahl and Weston's "I Should Care" and Billy Strayhorn's "Johnny Come Lately"—are good examples. The Davis number bursts with enthusiasm as the trio shifts through various colours and shapes. The thoughtful " I Should Care" has a glossy radiance and the Strayhorn closer is filled with bubbling repartee. - Pierre Giroux, AllAboutJazz
CD $14

HARRY SKOLER with JOEL ROSS / MARQUIS HILL / GREGOIRE MARET / CHRISTIAN SANDS / DEZRON DOUGLAS / JOHNATHAN BLAKE - Red Brick Hill (Sunnyside SSC 1748; USA) Featuring Harry Skoler on clarinet & compositions, Marquis Hill on trumpet, Grégoire Maret on harmonica, Joel Ross on vibes, Dezron Douglas on bass and Johnathan Blake on drums. A couple of years ago (in 2022) I checked the previous CD by Harry Skoler (also on Sunnyside), which was a tribute to Charles Mingus. Mr. Skoler’s 11-piece band included a string quartet and I thought the playing and arranging was marvelous, a truly heartfelt tribute to one of jazz’s greatest composers.
For Mr. Skoler’s second disc on Sunnyside, he has organized a fine seven piece band which features some young firebrands like Marquis Hill on trumpet, Joel Ross on vibes and Grégoire Maret on harmonica. This disc is dedicated to a childhood friend of Mr. Skoler’s who had committed suicide. Skoler created this music as a way to deal with the feelings of loss that he had over his young friend’s mysterious demise. The opening piece is called “Last Star, Last Night” and it is poignant solo clarinet piece. “NanCee” starts with a soft drone sound from the vibes which is repeated several times like a church bell ringing in the distance. “ascent” is a haunting duo for clarinet and contrabass, which is played with much restraint. “blue, mostly” is a laid back sort of blues with the clarinet and trumpet trading great lines back & forth, it is as if they are continuing each other’s lines. “Last Star, Last Hight” is the full version of this piece which opens & closes this disc. Mr. Skoler’s lone(ly) clarinet is featured and he takes a most touching, skeletal solo which is followed by a tasty, sublime solo from Christian Sands’ piano. “AppleHands” is mostly a trio/quartet for clarinet, vibes, bass & drums with the bass at the center holding the piece together, the clarinet and vibes carefully circling one another. Bassist Dezron Douglas and drummer Johnathan Blake are superb throughout this disc with Mr. Blake taking a short yet auspicious Tony Williams-like drum solo on “Beneath Bequeath”. Then title track, “Red Brick Hill” was named after the house the Mr. Skoler lived in as a child that his father designed. This is the longest piece here and it is a lovely solemn with the clarinet playing a long, storylike solo. All of the pieces here seem to fit together like a long suite which unfolds slowly and which wears its heart on its sleeve. I am going to listen to this entire disc later on tonight as I want to get the feeling of checking it out in its entirety. Perhaps I’ll sip some wine as the sun goes down to accompany the forlorn vibes that emanate throughout this disc. - Bruce Lee Gallanter, DMG
CD $14

ALEX KAUTZ with JOHN ELLIS / MAGOS HERRERA / CHICO PINHEIRO / JOE MARTIN / HELIO ALVES - Where We Begin (Sunnyside SSC 1733; USA) Born and raised in São Paulo, drummer Alex Kautz moved to Mexico City with his parents in 1996. His sound world growing up included his parents' MPB (música popular brasileira), bossa nova and samba, along with North American rock and a bit of classical music. Jack DeJohnette's New Directions (ECM, 1978)—with Lester Bowie, Eddie Gomez and John Abercrombie—turned his head toward jazz in a big way. Chick Corea's Return to Forever (Light as a Feather, Polydor, 1973) caught his ear as well, with Airto Moreira and Flora Purim inspiring him to dig further into his own musical culture, including Afro-Brazilian genres.
After graduating from Berklee College and Manhattan School of Music, Kautz's goal was to become a first-call session drummer, a dream that became a reality in New York, where he has lived since the early 2000s, working with, among others, Tim Ries, Steve Wilson, Victor Prieto, Lionel Loueke and a host of Brazilian jazz players, including Leny Andrade, Nilson Matta, Gili Lopes, Vinicius Gomes and Livio Almeida. With guitarist Fabio Gouvea and bassist Felipe Brisola, Kautz founded Trio Afora (meaning Brazilians away from home), a collaborative ensemble conceived while touring in India. They released an invigorating first project in New York in 2017 (Afora, self-produced). As Brisola described it, the group "has its base in Brazilian music, but we try to keep our eyes and ears open about what is going on in jazz and world music."
With Where We Begin—his debut as a leader—Kautz reveals his personal musical voice, one shaped by his Brazilian upbringing as well as his experiences in the multi-cultural world of jazz. His band is comprised of noted fellow Brazilian New Yorkers guitarist Chico Pinheiro and pianist Helio Alves, along with bassist Joe Martin, saxophonist John Ellis and—in a guest spot—celebrated Mexican jazz singer Magos Herrera.
The album opens with a delightful version of Lyle Mays' "Chorinho" (Lyle Mays, Street Dreams, Geffen, 1988), Mays' nod to Brazilian choro. In Kautz's rendering, the Brazilian roots are revitalized and the piece is updated with a sensibility that extends beyond Brazil's borders. The effect is understated but evident—especially at the top of the tune—achieved through artful instrumentation and shifting instrumental roles. Ellis eschews the jazzier sound of a saxophone in favor of the clarinet, Kautz simulates pandeiro timbres and patterns on his drum kit and Pinheiro's guitar is more prominent in the mix than (the jazzier sound of) Fender Rhodes. As the song progresses, however, Kautz and Martin move the rhythm section further into a samba direction, with Alves' keys still recalling the historical link with Mays. The result is a singular Brazilian choro-jazz-samba style with the kind of soloing and ensemble interaction one would expect from a contemporary jazz group (see YouTube, bottom of this page).
"Elvin da Bahia" closes the album with an equally compelling performance. One of three tunes penned by Kautz (with "Mira Eso" and "Within"), the title is a play on Joao Gilberto's "Eu Vim da Bahia" (I come from Bahia) and the song's ambiance is subtly reminiscent of Gilberto's gentle sound. The form is classic jazz (AABA), though, and the feel is more Elvin Jones, with a triple subdivision of the beat, melodic phrases gracefully draped over meters in five and three and Martin and Ellis contributing strong solos on bass and saxophone.” - Kathchie Cartwright, AllAboutJazz
CD $14

SOFIA SALVO - Rotarota (Relative Pitch Records RPR SS022; USA) Featuring Sofia Salvo on solo baritone sax. The baritone sax is the largest of the four main saxes and perhaps the sax with the least amount of solo effort recordings or concerts. Offhand, I can only recall a few bari players with solo sax recordings: Hamiet Bluiett, John Surman and Josh Sinton. Sofia Salvo is a baritone saxist from Buenos Aires who is currently living in Berlin. This disc was recorded in Berlin in March of last year (2023). The bari sax takes alot of wind to play and is the heaviest (weight-wise) of the four saxes. Ms. Salvo begins slowly, concentrating, playing and expanding one note or tone at a time. I can hear that long note as well as the breath-like sounds as well. A good intro. On “Mas Claro”, Ms. Salvo starts to push things harder, playing quicker and bending notes as she explores the lower end of the sax, occasionally blasting, always focused. On “Garufa Duerme”, Ms. Salvo stretches out each note that she plays, bending the notes slightly and repeating a central note. Some notes are somber while others seem to be on the brink of being stretched into an uneasy section. On “4 De La Tarde”, Salvo bends each note with a certain swagger showing that she has mastered a way of displaying a series of related bent notes, no easy feat. Ms. Salvo concentrates on the higher end of the sax during parts of “Flores Fluor”, pushing certain notes beyond the usual comfort zone. The stretched notes on “Relampagos Cerca” have a vocal-like quality like someone is crying or screaming at times. On “Te Pregunto, A Ver”, Salvo pushes harder, expanding those bent notes carefully. Although some might call this music challenging to listen to, I find that Sofia Salvo does have her own sound or approach which is on full display here. - Bruce Lee Gallanter, DMG
CD $13

MZYLKYPOP with MICHAEL SOMERSET / DAVID LEWIN / SYLWIA DRWAL plus PETER HOPE / STEPHEN MALLINDER / MATTHEW BOURNE / MARTIN ARCHER / BEATRIX WARD-FERNANDEZ / et al - Threnodies and Ad Hocs (Discus 171CD; UK) Mzylkypop is Michael Somerset on multiple reeds, percussion, electronics, vocals & production, David Lewin on keyboards, synths & electronics and Sylwia Anna Drwal on vocals plus seven guest vocalists (including Stephen Mallinder from Cab Voltaire and Adi Newton from the Hafler Trio & Clock DVA). There are another dozen plus guests like Martin Archer (saxello & tenor sax), Matthew Bourne (pianos), Peter Fairclough (drummer for Keith Tippett & Paul Dunmall). A number of these players I only recognize from other obscure discs on this, the Discus label. Martin Archer and his Discus label have a way of gathering usually UK musicians from a variety of scenes (progressive, avant-jazz, electronic and new wave/punk) and finding a way for them to work together. I hadn’t heard of any of the three main musicians from the impossible to pronounce Mzylkypop band, but I do know a few of the other names like Matthew Bourne, Stephen Mallinder and Peter Fairclough.
It turns out that this is the second disc from Mzylkypop. The opening song is called, “Witches in These Parts”, a strange yet compelling new wave sort of ditty. Ms. Drwal sounds a bit like Lene Lovich or perhaps Nina Hagen. Plus some cheesy Farfisa-like organ. Cute, sorta. “Snake Anima” has a sly, groovy theme with strong, sexy vocals by Ms. Drwal with some nifty psych wah wah guitar. “Spiked” is laid back and has a hypnotic with haunting vocals by Ms. Drwal. On “Future Cartography”, the drums are revved up and at the center with some strange male vocals (Mr. Somerset?) doing some effective spoken word. The music here ranges from intriguing to disturbing. It sounds like it was recorded in the late 1970’s/early 1980’s. Although there are only a few instruments on each piece, most of these sounds and vocals have been altered or processed. I recognize that a few of these musicians are veterans of industrial or synth-pop bands but this disc is more disorienting and not commercial. Plus I did dance around my kitchen a bit while I listened so there is some groove factor as well. Weird yet most impressive. - Bruce Lee Gallanter, DMG
CD $14

ESPIAL with JOSEPHINE DAVIES / DAVID BEEBEE / MARTIN PYNE - the act of noticing (Discus Music 172CD; UK) Featuring Josephine Davies on tenor & soprano saxes, David Beebee on electric piano, effects, recording & mixing and Martin Pyne on vibes, balafon, percussion, production & photos. Over time, the Discus label has tapped into a wealth of U.K. musicians, some of which you’ve probably heard of: Keith & Julie Tippett, Tony Oxley and Paul Dunmall and a large amount of UK musicians which have minimal recognition in the US. I hadn’t heard of saxist Josephine Davies before this disc arrived although she does have four discs out as a leader. Both David Beebee and Martin Pyne can be found on a handful of previous Discus discs in a duo, two trios and in a band called Army of Briars.
This is a mostly improvised disc with 3 pieces written by Mr. Pyne or Ms. Davies. The first piece, “warm air heavy with the scent of flowers” is most cerebral with floating soprano sax, simmering electric piano and sizzling vibes. As the CD unfolds, the trio starts spinning more quickly and intensely and playfully. Ms. Davies switches to tenor for “fresh snowfall at dawn”, the trio still playing with somber grace. The piece winds up in a more charted area which reminds me of the spacey sections of the Mwandishi band. The music often had a dreamy, spacious vibe which is fine although at 70 plus minutes is a bit too much or perhaps not enough. - Bruce Lee Gallanter, DMG
CD $14

DURUTTI COLUMN - Vini Reilly (35th Anniversary Edition)(London Records LMS 1725127; France) 35th Anniversary edition of the seminal 1989 Durutti Column album Vini Reilly. Produced by Stephen Street (The Smiths, Blur, The Cranberries, New Order). Remastered and heavily expanded five-disc version, featuring over 75 tracks. Disc 1 features the Vini Reilly album plus three bonus tracks. The original album is presented in the famous (and as to now unseen) "rejected" sleeve by 8vo. Disc 2 features The Sporadic Recordings (28 tracks), a limited-edition CD from 1989. Disc 3 features Womad Live EP, plus bonus live tracks and demos (16 tracks). Disc 4 is an exclusive DVD, Live from Porto 1988. Disc 5 features a bonus one-track 3" mini-CD titled I Know Very Well How I Got My Name, a replica of the bonus addition from the original CD pressing. Expansive booklet includes a new essay by Durutti Column/Factory Records expert James Nice, liner notes by band member Bruce Mitchell, liner notes from Anthony Wilson, interview extracts with Vini Reilly and restored images and outtake images. DVD is NTSC format, region 0.
4 CD / DVD Box $45

INTERCOMMUNAL FREE DANCE MUSIC ORCHESTRA - L’Inter Communal (Souffle Continu Records 083CD; France) The Intercommunal Free Dance Music Orchestra was created in 1971 by French free jazz pianist legend, François Tusques. "Free Jazz" was also the name of the 1965 recording Tusques made along with Michel Portal, François Jeanneau, Bernard Vitet, Beb Guérin, and Charles Saudrais. Six years later, in 1971 Tusques would go ahead of free jazz. Wondering if free jazz wasn't a bit of a deadend together with Barney Wilen ("Le Nouveau Jazz") or even solo ("Piano Dazibao" and "Dazibao N°2"), Tusques formed the Inter Communal Free Dance Music Orchestra, an association under the banner of which the different communities of the country would come together and compose, quite simply. If at first the structure was made up of professional musicians from the jazz scene it would rapidly seek out talent in the lively world of the MPF (Musique Populaire Française). Compiling extracts from concerts given between 1976 and 1978, L'Inter Communal demonstrate the "social function" which inhabited free jazz and popular music at the time calling upon Spanish singer Carlos Andreu along with Michel Marre, Jo Maka, Adolf Winkler, and Jean Méreu. Andreu, claimed Tusques, was a griot "who created a new genre of popular song improvised with our music, based on events going on at the time." L'Inter Communal can start the festivities: on "Blues pour Miguel Enriquez," it is first Thelonious Monk who is invoked in an homage to one of the leading figures of the Chilean revolution, and a victim of Pinochet. The circumstances may be serious, the music, though, is not. The musicians light a bonfire to bring together on the same frequency France and Spain, the Americas and Africa: "L'heure est à la lute," is the new song offered by the Intercommunal Free Dance Music Orchestra. As if proof were needed that their music is still more than timely!
CD $15

INTERCOMMUNAL FREE DANCE MUSIC ORCHESTRA with FRANCOIS TUSQUES - Le Musichien (Souffle Continu Records 984CD; France) The Intercommunal Free Dance Music Orchestra was created in 1971 by French free jazz pianist legend, François Tusques. "Free Jazz" was also the name of the 1965 recording Tusques made along with Michel Portal, François Jeanneau, Bernard Vitet, Beb Guérin, and Charles Saudrais. Six years later, in 1971 Tusques would go ahead of free jazz. Wondering if free jazz wasn't a bit of a dead end together with Barney Wilen ("Le Nouveau Jazz") or even solo ("Piano Dazibao" and "Dazibao N°2"), Tusques formed the Intercommunal Free Dance Music Orchestra, an association under the banner of which the different communities of the country would come together and compose, quite simply. If at first the structure was made up of professional musicians from the jazz scene it would rapidly seek out talent in the lively world of the MPF (Musique Populaire Française). As with L'Inter Communal a few years earlier, Le Musichien follows on from the group of varying musicians that Tusques had conceived as a "people's jazz workshop." In 1981, at the famous Paris address, 28 rue Dunois, the pianist sang with his partner Carlos Andreu "Le Musichien," an Afro-Catalan tale over an exceptional bass line from Jean-Jacques Avenel backed by percussion from Kilikus, saxophones from Sylvain Kassap, and Yebga Likoba and trombone from Ramadolf which presented a myriad of constellations. "Les Amis d'Afrique" is recorded the following year, at the Tombées de la Nuit festival in Rennes, bassist Tanguy Le Doré would weave with Tusques the fabric on which would evolve an explosive "brotherhood of breath." Featuring Bernard Vitet on trumpet, Danièle Dumas and Sylvain Kassap on saxophones, Jean-Louis Le Vallegant and Philippe Le Strat on bombards. With hints of modal jazz inspired by Coltrane or Pharoah Sanders, the Intercommunal Free Dance Music Orchestra is an ecumenical project which speaks to the whole world.
CD $15

DANAVA - Live (Heavy Psych Sounds HPS 310CD; Italy) Brand new live album for the Portland based legendary psychedelic-progressive rockers Danava. First two songs were recorded during Danava's European tour back in 2008, while the other four tracks were recorded during European Tour in 2023. An absolute must have. It turns out that this is the fifth release from this Portland-based psych/prog/stoner rock band whose first album was released in 2006. I checked songs from their previous records and I am impressed. Righteous, psych/hard rockin’ quintet with two guitars and strong singing. - BLG
CD $16

FREDDIE HUBBARD with JUNIOR COOK / GEORGE CABLES / KENT BRINKLEY / MICHAEL CARVIN - Music Is Here: Live At Studio 104 Maison de la Radio, (ORTF), Paris 1973 (WeWantSounds 061CD; UK) Wewantsounds announce the first-ever release of the mesmerizing live performance by Freddie Hubbard and his quintet recorded in Paris at Maison de la Radio (ORTF) on March 25, 1973. Featuring Hubbard with George Cables on Fender Rhodes, Junior Cook on sax/flute, Kent Brinkley on bass, and Michael Carvin on drums, the group interprets four Hubbard classics in deep, spiritual mode. The tapes of the concert were transferred at INA's studios and remastered by Colorsound Studio 1973 was a special year for Freddie Hubbard. He had been one of jazz's brightest young stars for more than a decade and had also recorded as a sideman for such luminaries as John Coltrane, Art Blakey, and Ornette Coleman. After a spell at Blue Note and Atlantic Records, Hubbard signed to CTI records in 1970. Launched by Creed Taylor, CTI was the up-and-coming jazz label at the time, aiming at the pop market with their trademark blend of fusion jazz and highly stylized album covers. There, Hubbard recorded five highly successful studio albums further cementing is reputation as a jazz superstar. In early 1973, after years of working with the cream of the CTI stable of musicians for his albums and concerts, Hubbard decided to put together a new quintet consisting of Junior Cook on sax, Kent Brinkley on bass, plus two young Turks from the thriving post-bop jazz scene: pianist George Cables and drummer Michael Carvin. The quintet, save Carvin, would record Hubbard's Keep Your Soul Together for CTI later that year (his last album for the label) but for the time being, the quintet was busy touring and they all left for Europe to hone their skills as a tight unit. The music they created during that tour, as showcased on this live performance recorded in Paris, is nothing but extraordinary and unlike anything Hubbard had recorded for CTI. The musicians are heard here playing four recent Hubbard classics: "Sky Dive", "The Intrepid Fox", "Povo" and "First Light" in a very different style: the music here is deep and organic, retaining the quintessence of the four beautiful melodies and stretching them in long, spiritual workouts. The concert which was filmed by French TV in beautiful black-and-white by Marc Pavaux and legendary DoP Willy Kurant is a vivid testimony of the musicians' togetherness, caught in full flight on this performance and taking the music to higher grounds. Artwork designed by Raimund Wong. Liner notes by Kevin Le Gendre in conversation with drummer Michael Carvin.
CD $17

AHMED MALEK - Musique Original De Films, Volume Deux (Habibi Funk HAB 027CD; Germany) "Habibi Funk presents a second collection of deep grooves and unreleased songs from Algeria's Ahmed Malek, often compared to Italian heavyweight Ennio Morricone. Malek's music effortlessly switches between thematic jazz, funk, reggae and Algerian folk -- creating indelible soundscapes that intersect the musical innovations made in African jazz by Mulatu Astatke, Bembeya Jazz National along with some of Europe's finest experimental composers like Piero Piccioni and Janko Nilovic. Habibi Funk previously produced a small movie about Malek that Paloma Colombe shot and directed. Musique Originale de Films, Volume Deux is a deep collection of unreleased songs and stemmed grooves from the Algerian master, from jazz, funk, psych to reggae rhythms and Latin flavors, all under the sonic umbrella of 'Planète Malek;' to quote the maestro, 'I didn't choose music, music chose me.' As always, this release comes with an extensive booklet featuring background and interviews with Ahmed compiled through found newspaper clippings and newsreels, also including unseen photos, scans and more."
CD $17

TOGO SOUL / Various Artists - 2 (Hot Casa 079CD; France) Hot Casa Records present Togo Soul 2, selected rare Togolese recordings from 1974 to 1989. A treasure-trove of rare and unusual recordings mostly recorded in Lomé during the '70s and '80s. A fusion of traditional voodoo chants, raw soul and even electro funk. Finding these tracks and their rights holders hasn't become any easier even after a few trips all over this west African country bordered by Ghana, Benin, and Burkina Faso. After eight years, Hot Casa Records, with the kind help of Roger Damawuzan, decided to select thirteen tracks, a snapshot of some hundreds of rare and often forgotten tapes from the most prolific, professional and exciting phase of the country's recording history included international stars like Akofa Akoussah, Gregoire Lawani, and Roger Damawuzan. Many of the tracks featured here are peppered with innovation and experimentation highlighting how diverse the music scene in Togo was at the time even if the political context influenced their creation. Many of the original albums these tracks are taken from high prices online due to their rarity and so with great pleasure Hot Casa present a selection here that evokes a golden boomtime in Togolese music history. Includes biographies and rare photos. Remastered by Frank Merritt. Includes 32-page booklet. Also featuring Ali Bawa, Napo De Mi Amor, Alognon Degbevi & Les Vétérans Jazz, Mamo Lagbema, Koffi Ottytana Bebli, Deg Dos, Tomede Ehue, Mawuli Decker, Palete Wawa, and Agboti.
CD $17

LP SECTION:

SAM LIGHTNIN' HOPKINS - Live From The Ash Grove... Plus! (Liberation Hall LIB 5140LP; USA) "Samuel John Hopkins was born in 1912 to a poor sharecropping family in Centerville, Texas. He immersed himself in the blues at an early age, having met Blind Lemon Jefferson at a church picnic not long after having struck out on his own. In 1946, Hopkins was 'discovered' by Aladdin Records' talent scout Lola Anne Cullum, who convinced him to travel to Los Angeles from Houston. There, he cut sides both as a solo artist and as part of a duo with pianist Wilson Smith. It was during his stint at Aladdin that he acquired his nickname, while his partner was dubbed 'Thunder.' Shortly thereafter, Hopkins returned to Houston, his home base for the balance of his life. The legendary blues guitarist performed at Los Angeles' famed Ash Grove venue on many occasions over the club's decade-and-a-half existence. Ten of the selections on this set are compiled from two separate performances at the club, and none of the performances on the album have previously been available commercially. The album's A-side consists of acoustic tracks from a set recorded on November 29, 1970. The B-side collects a couple of acoustic performances from September 22, 1965, and the disc is rounded out with four electric tracks with his band from Palo Alto's In Your Ear club recorded on August 18, 1971. While most of the tunes are originals, the set lists include some distinctive cover versions of the R&B classics 'What I'd Say' and 'Hi-Heel Sneakers,' along with some folk/gospel nuggets, 'Don't The Moon Look Pretty' and 'How Long Has It Been.' Whether solo or with a band, Hopkins imprints all the tracks with his special electricity; you might call it 'Lightnin'.' The 40-minute live collection LP has a limited-edition pressing on black vinyl. Includes some rare photos and liner notes."
LP $25

THE UPSETTERS - Clint Eastwood (PSP 1014LP; Poland) "An essential collection from Lee 'Scratch' Perry and his house band of Jamaican music hit makers at the peak of their game. From soulful vocal numbers to pumping instrumental tracks, this record is a must for any reggae, rock steady (or Jamaican music in general) aficionado. A tour de force from a talented bunch of individuals conducted by one of the most legendary producers of all time!"
LP $28

THE UPSETTERS - The Good, The Bad And The Upsetters (TBL 119LP; Poland) "The Good, the Bad and the Upsetters is a studio album by The Upsetters, released in 1970. Lee Perry had no direct involvement with this album and never considered it an Upsetters album. In response to the album's release, Perry released an album in Jamaica using the Trojan artwork but with a completely different track listing."
LP $28

GRUPO DE IMPROVISACION TERCER MUNDO - Un Hilo De Luz (Vampisoul 3001LP; Spain) Unknown spiritual jazz gem recorded in Argentina in the '80s, under the influence of Pharoah Sanders, Don Cherry, Archie Shepp, and originally released on Litto Nebbia´s label Melopea. Already supported by Gilles Peterson on his radio show, this mind-blowing album combines ethno-free jazz passages and deep progressive compositions led by saxophonist Marcelo Peralta resulting a very impressive ode to the legacy of Coltrane. This is the first and only album ever released by this band, Grupo de Improvisación Tercer Mundo ("Third World Improvisation Group"), formed by a quartet of young musicians based in Buenos Aires accompanied by drummer Norberto Minchillo (López Fürst, Fernando Gelbard, Jorge Navarro) and Litto Nebbia himself during the recording sessions. They would also organize weekly jam sessions in public spaces in Buenos Aires, getting visual artists, poets and even passersby involved in these communal actions that aimed to promote self-expression in an environment of total freedom. After the gigs they'd gather again for intense listening sessions of deep jazz for hours. "Almas Liberadas" and "Un Hilo de Luz" sound as a clear tribute to Pharoah Sanders, as the subtitle of the latter openly states. First time reissue. Includes extensive notes and many previously unpublished photos.
LP $30

WE ALL TOGETHER - We All Together (Munster Records MR 459LP; Spain) Between 1967 and 1974 Saúl and Manuel Cornejo led a series of epoch-making groups on the MAG label (New Juggler Sound, Laghonia, and We All Together) in the history of Peruvian rock. All these bands were directly influenced by the British invasion and used new sounds from Hammond, phase shifters, synthesizers and tapes played backwards, which stimulated rivalry with other groups. Another hallmark of the brothers was the technical quality of their records, thanks to Saul's supervision of all MAG recordings between 1972 and 1974. At the end of 1971, when Laghonia was working on the last tracks of Etcétera, they met Manuel Antonio Guerrero's (MAG) son, Carlos, who had just got back from the USA, and gladly joined in the choruses of the last songs Laghonia was recording. They met up again soon after to rehearse some of Paul McCartney's songs. As soon as he heard them play, Guerrero Senior urged them to form a group focused on cover versions of foreign hits not yet known in Peru. Initially, the Cornejo brothers weren't enthused by a project so different from Laghonia, but ended up accepting as it gave them the opportunity to spend time in the studio. Carlos' melodic voice was another incentive, although they made it clear that the new group, We All Together (WAT), would stick to the mixing desk: "The group isn't into presentations or shows, we're about recording music and purifying it to the max," stated Saúl at that time. Their first album included four covers of Paul McCartney and Badfinger, several compositions by Carlos Guerrero -- appealing Beatles-style melodies -- and two songs from Saúl and Manuel's archives. "Children," by keyboardist Carlos Salom, opens the LP: a nostalgic description of childhood, with the distinctive piano sound (achieved through mixing) that permeates the record. Although WAT sang and composed in English, they had no intention of undermining or alienating national culture. Their aim was much more innocent: they simply wanted to make it in the English-speaking world. "It's a Sin to Go Away" was composed during Laghonía's lifetime as a band and it features guitars played backwards and a psychedelic-progressive style closely attuned to the era. After being included on several compilations, praise for the song has flowed from Europe and the United States in recent years. The album was released in July 1972 and became one of the best-selling Peruvian rock LPs.
LP $28

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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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THE STONE RESIDENCIES - JOANNA MATTREY - JULY 10-13

7/11 Thursday
8:30 pm - QUARTET - Cleek Schrey (violin, objects) Steven Long (synths, organs, objects) Ethan Philbrick (cello, electronics) Joanna Mattrey (strings, objects)

7/12 Friday
8:30 pm - QUARTET - Loo King (drums, electronics) Alex Zhang Hungtai (sax) Leila Bordreuil (cello) Joanna Mattrey (viola)

7/13 Saturday
8:30 pm - QUARTET - C’ Mil O’ Angggls (flute) C Spencer Yeh (violin) Kwami Winfield (trumpet) Joanna Mattrey (viola)

THE STONE RESIDENCIES / ISABEL CRESPO PARDO / JULY 17-20

7/17 Wednesday
8:30 pm - IIISA: isabel crespo pardo (voice, piano, electronics)

7/18 Thursday
8:30 pm - DUO: isabel crespo pardo (voice) Chris Williams (trumpet, electronics)

7/19 Friday
8:30 pm - QUARTET: isabel crespo pardo (voice) Emmanuel Michael (guitar) Maya Keren (piano, guitar) Selendis Sebastian Johnson Alexander (vibraphone, trombone)

7/20 Saturday
8:30 pm - SINONÓ: isabel crespo pardo (voice) Lester St.Louis (cello) Henry Fraser (bass)

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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IBEAM in BROOKLYN Presents:

Saturday, July 13
4:00pm Improvisation Workshop (open to all!)
Kyoko Kitamura guides participants through Anthony Braxton's Language Music and beyond score excerpts provided
5:00pm Listening Session & In-Person Interview
KAREN BORCA - 90-minutes of immersion into pioneering bassoonist/composer/innovator’s body of FreeJazz works. Moderated by Ben Young. Curated/co-produced by Melanie Dyer
7:30pm Anaïs Maviel - Voice & Piano
8:45pm Ambient Parade (from Montreal!)
Kalun Leung - trombone & custom instruments
Yuma Uesaka - reeds
Special Guest! - trumpet & custom instruments
$20 includes daytime events

I-Beam is located at 168 7th Street, Brooklyn, NY, 11215
info@ibeambrooklyn.com

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Uptown Out
Improvised music in different groupings, this time featuring:
Matt Lambiase (trumpet), Stephanie Griffin (viola), Hilliard Greene (bass), Claire de Brunner (bassoon), and Will Glass (drums).

Thursday, July 18, 7pm
Recirculation, a project of Word Up
876 Riverside Dr
NY NY 10032
$5 suggested donation

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From: Cheryl Pyle 

NEW YORK JAZZ STORIES at DROM NYC

Friday July 19, 2024 music begins at 8:00 pm:

David Haney’s New York Jazz stories! with Steven Bernstein
Matt Lavelle's 12 Houses, 
Cheryl Pyle, Ken Filano, Nora McCarthy

The Meaning of Jazz by Gunter Hampel with 12 Houses with David Haney:
https://youtu.be/oiMJXtTfgog?si=H3T6Fq5BvwNB4TBA

DROM is located at:
85 Avenue A
New York, NY 10009
(212) 777-1157
Subways:
F line - 2nd ave stop
6 line - Astor Place stop
R, W lines - 8th St–NYU stop

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This comes from a friend and STEVE LACY Italian fan, Mauro Stocco:

www.stevelacymemorialscrapbook.org is a recent tribute portal dedicated to Steve Lacy, the great soprano sax genius who passed away twenty years ago, on June 4th, 2004. The website currently features contributions by Alvin Curran, Roberto Ottaviano, Gianni Mimmo, Zlatko Kaučič, Andrea Centazzo, Tino Tracanna, Vincent Lainè, Jason Weiss, and others will follow over time.

After having dedicated many years to collecting records, books and magazines about Steve, having met him several times and organized gigs for him in solo, trio, sextet and with Musica Elettronica Viva, I decided it was the time to create a simple, but heartfelt, tribute.

Steve Lacy was a genius of our time, a sort of Leonardo Da Vinci, capable of interacting with Dixieland, Monk, Ellington, free, Indian music, MEV, Giuseppe Chiari, dance, painting, sculpture, cinema, poetry, Living Theatre, philosophy, Tao, codifying the role of the modern soprano saxophone.

Anyone who feels they have a contribution to make to the site can contact the e-mail address listed.

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NEW VIDEOS from GUITAR MASTER HENRY KAISER:

https://www.youtube.com/watch?v=aWJ20KEHAdQ
https://www.youtube.com/watch?v=CuKk7GFtGls

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CHRIS CUTLER

Formerly of HENRY COW, THE ART BEARS, NEWS FOR BABEL & RECOMMENDED RECORDS (ReR) has been creating an ongoing series of podcasts called the Probes series. I am often fascinated at listening to each of these as Mr. Cutler does an incredible job of showing a deep history of Creative Music in the 20th century & beyond. I usually listen to these on the train to NYC that I take to get to work each day. The most recent Probes (#37) was released earlier this year, here are the links:

https://rwm.macba.cat/en/research/probes-37
https://rwm.macba.cat/en/research/probes-36
https://rwm.macba.cat/en/research/probes-362-auxiliaries

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

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