And it might begin to teach you
How to give a damn about your fellow man
And it might begin to teach you
How to give a damn about your fellow man
Or put your girl to sleep sometime
With rats instead of nursery rhymes
With hunger and your other children
By her side
And wonder if you'll share your bed
With something else which must be fed
For fear may lie beside you
Or it may sleep down the hall
And it might begin to teach you
How to give a damn about your fellow man
And it might begin to teach you
How to give a damn about your fellow man
I just read a couple of interesting articles about “sunshine pop” and the band Spanky & Our Gang in a recent issue of Shindig magazine. After being blown away by groups like the Beatles, Rolling Stones & the Animals in 1964, checking them out on Ed Sullivan and soon buying their singles, I started to dig The Mothers of Invention, Cream, Jimi Hendrix, the Byrds & Love, thanks to FM radio in 1967, taking my musical listening more seriously. Even before the Beatles changed everything, I was drawn to protest music (Bob Dylan, ‘The Eve of Destruction’ & Frank Zappa’s lyrics), thinking that the words to certain songs could influence the way I (or we) see the world. Great pop songs had a way of getting into our consciousness, with their hooks and words about things that seemed to matter to us. Although I was still pretty young (age 13 in 1967), I didn’t consider myself a teenybobber but more of a music freak. Hence, I didn’t dig so-called bubblegum bands like the Ohio Express or the 1910 Fruitgum Company (who were from my hometown). There was also something later known as “sunshine pop” which was often more mellow and melodic. Some of it I dug and some of it was too cute for my advanced (ahem) taste. Since I started buying pop singles in 1965, I’ve often felt that a good song is a good song no matter what the intention was. Spanky & Our Gang were considered to be one of those sunshine pop bands. I bought and dug their singles like, “Sunday Will Never Be the Same” and “I’d Like to Get to Know You”. When I later bought the albums, I realized that they were much better than what I would’ve imagined. The above song, “Give a Damn”, was a single from their third album. It started as a message song written for a New York Urban Coalition commercial and became a minor hit even though some folks complained about the word “damn” in the title (oh dear). Jazz/pop songwriter Bob Dorough co-wrote this song and co-produced the album as well. Although it might sound a bit quaint now, I still like this song as well as the Youngbloods’ “Get Together”, since both adhere to a certain hippie like aesthetic. I later discovered a band called The Free Design (1967-1972) who are the best of the Sunshine Pop bands. Their leader & main songwriter was Chris Dedrick who turned out to be an inventive arranger and producer. Dedrick has an obscure solo effort from 2000, which was generally ignored at the time but I think it is a gem. Check them out if you still dig this sort of thing. - MC-BruceLee at DMG
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THE 33rd ANNIVERSARY IN-STORE CONCERT SERIES AT DMG CONTINUES WITH:
Rare Monday #1, August 12th Event: DMG Guitar Fest Volume Two!
6:30: KILLICK HINDS and H R - Guitar Duo
7:30: EYAL MAOZ - Solo or Duo Guitar(s)
8:30: SALLY GATES - Guitar / SIMON HANES - Bass
Tuesday, August 13th:
6:30: TAKUMA KANAIWA - Bass / DANIEL CARTER - Winds & Brass / AYUMI ISHITO - Tenor Sax & Effects / JONATHAN WILSON - Drums
7:30: MAX ARSAVA - Sampler/Electronics / JAMES PAUL NADIEN - Drums
8:30: NICK FRASER - Drums / MAT MANERI - Viola / BRANDON LOPEZ - ContraBass
Rare Monday #2, August 19th Event:
6:30: NOA FORT - Voice / KENNY WARREN - Trumpet / SANTIAGO LEIBSON - Keyboard
7:30: TREESEARCH with KYLE MOTL - Contrabass / KEIR GoGWILT - Violin
8:30: PATRICK GOLDEN - Drums / RYAN SEIGAL - Alto Sax / MATT HOLLENBERG - El Guitar
Tuesday, August 20th:
6:30: JAMISON WILLIAMS - Sax / PATRIZIA FINZI - Electric Bass
7:30: DANIEL GALOW - alto sax / TYLER NEIDERMAYER - bass clarinet & electronics / JAMES JONES - drums
8:30: SANDY EWEN - Solo Guitar
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THIS WEEK’S DMG SONIC DELIGHTS BEGIN WITH THE EVER AMAZING:
MATT MITCHELL with CHRIS TORDINI / DAN WEISS - Zealous Angles (Pi Recordings 103; USA) Featuring Matt Mitchell on piano & compositions, Chris Todini on contrabass and Dan Weiss on drums. Keyboard ace and composer Matt Mitchell is on a roll, whether collaborating with Miles Okazaki, Kim Cass, Jon Irabagon or Kate Gentile or presenting his own sessions in solo, duos and other sized ensembles, Mr. Mitchell keeps busy dazzling us with his spirited and ever-inventive playing. Both Mitchell’s solo 2 CD effort from May of this year and his duo efforts with Anna Webber and Tim Berne, show that he is amongst the most adventurous of the many Downtown keyboard greats. Almost a decade ago (in 2010), Mitchell organized and recorded a quartet with Chris Speed, Chris Tordini and Dan Weiss. Since then Chris Speed moved to L.A. with his family leaving us with the rest of the trio. Bassist Chris Tordini (currently working with Marta Sanchez, Charlotte Greve & Tyshawn Sorey) and drum wiz, Dan Weiss, (one of the most in-demand drummers in NYC).
This is a long and winding disc, clocking in at around 75 minutes with some 17 tracks. Things begins with “sponger” which has a moderate pace. Tordini’s bass is at the center of this piece, playing a flurry of notes, speeding up as the piece unfolds. Throughout this disc, Mr. Mitchell has written a series of challenging lines (song forms) that his trio has to navigate. On “apace” Mitchell juggles two lines, one higher and one lower, repeating them as the rest of the trio move quickly back and forth between the opposing lines. I find these pieces fascinating since we often have to listen closely since there is an ongoing balancing act going on. Things slow down a bit on “angled languar”, in which Tordini’s bass keeps a throbbing line at the center while the piano and drums play a more skeletal structure, the piece slowly increasing in tempo throughout. Each one of these pieces has a slightly different strategy or a series of patterns that the trio manipulates. Often as Mr. Mitchell solos, the bass & drums work tightly together, moving in complex connected orbits, the mastery and pacing are often astonishing to behold. On “zeal”, the trio again start out at a slower pace, playing a repeating melody which is then stripped down as the piano and bass play their fragments together with the drums and/or cymbals adding subtle punctuation. Mr. Mitchell’s gets more sweeping throughout this long piece, adding wave after wave with occasional detours tempo-wise. If this sounds exhausting, it indeed is at times. We had this entire disc playing in the background last Monday (8/5/24) while John and I worked on mail-order and dealt with customers all day. The music seemed to match the ongoing series of mail order sales and customer interaction. And yes by the end of the day, John and I were exhausted but feeling as if we had done quite a bit of good work together. This disc seems pretty long so I guess it might be better to listen to it in sections. This is a monster piano trio and an example of what can be done with just these three instruments working closely together as one strong force. - Bruce Lee Gallanter, DMG
CD $15
LAURA JURD and PAUL DUNMALL with LIAM NOBLE / OREN MARSHALL / MILES LEVIN / et al - Fanfares & Freedom (Discus Music 181CD; UK) Featuring Paul Dunmall on tenor & soprano saxes, Laura Jurd & Chris Batchelor on trumpets, Alex Paxton & Raphael Clarkson on trombones, Oren Marshall on tuba, Liam Noble on piano, Caius Williams on contrabass and Miles levin on drums. This disc was recorded at the Vortex in London, a modest sized jazz club not far from Cafe Oto where I’ve caught Evan Parker and Paul Dunmall playing live in the not too distant past. I hadn’t heard of trumpeter and arranger Laura Jurd before this disc arrived but it turns out that she got a commission to write a piece for a free/jazz and composition based ensemble featuring sax giant Paul Dunmall with is own musicians (Noble, Marshall & Miles Levin, son of Tony Levin from Mujician) plus four other British musicians. I know of pianist Liam Noble from his work with Ingrid Laubrock and Oren Marshall from his work with Graham Collier, Keith Tippett and Steve Noble. I’ve heard the work of trumpet man Chris Batchelor from his work with Harry Beckett and Simon Fell.
“Fanfare 1” kicks things off with a blaze of tight swirling horns with Paul Dunmall playing his robust tenor sax on top. “Opening Out” has a quaint, older, chamber music sort of sound and keeps building more freely as it goes with Dunmall blasting on top of the power horn section and tight piano-led quartet underneath. “Onward Stomp” begins with a long, spirited tube solo, which was followed by some well-written brass parts and Mr. Dunmall’s titanic tenor wailing on top with the entire nine-piece unit providing a tight connection/flow underneath. Except for when certain parts are played doubled up with several instruments, it is hard to tell what is written and what is improvised. “Toddle-oddle” starts off with some mighty fine trumpet and contrabass playing a strong duo. “Chorale” features some lovely harmonies for the five brass players, lush, warm, sublime with Mr. Dunmall’s tender tenor billowing above the horns. Much of the music here is laid back and often enchanting on several levels. This is a gem and unlike anything we’ve heard from Paul Dunmall & his collaborators in the past. - Bruce Lee Gallanter, DMG
CD $14
NATSUKI TAMURA / SATOKO FUJI - Aloft (Libra 102-075; Japan) Featuring Natsuki Tamura on trumpet with mutes & percussion and Satoko Fujii on piano. This is the ninth duo effort that Mr. Tamura and Ms. Fujii have done together since the beginning of their life and music careers together (after being married in 1987). This session was recorded at the Samurai Hotel in Brooklyn by Mike Marciano and it was completely improvised in the studio. The title of this disc, ‘Aloft’, the picture of two geese walking across a beach and the titles of each track refer to birds, which are an inspiration to Ms. Fujii, who claims that since “They have no border and (can) fly to any place without (needing) a passport”. “Migration” opens with a lovely, wistful melody, the vibe is solemn yet also quietly majestic. On “Wintering”, Tamura plays hushed, breath-like sounds, like a distant radiator hissing. Both musicians are playing with a good amount of restraint and the balance is just right. Ms Fujii sounds extraordinary on “Traveling Bird”, which is a collection of fragmented sections, some dark, some lighter, some sparse and some dense. The title of this disc, ‘Aloft’, seems most appropriate since it sounds like the duo are flying together, aloft and sailing through the air. What I like most about this disc is that at the center is a hopeful, positive vibe which feels good to me. I still love the good vibrations found in some Creative Music endeavors. - Bruce Lee Gallanter, DMG
CD $16
JANEL LEPPIN / ENSEMBLE VOLCANIC ASH with ANTHONY PIROG / SARAH HUGHES / BRIAN SETTLES / LUKE STEWART / LARRY FERGUSON - To March is To Love (Cuneiform Rune 529; USA) Ensemble Volcanic Ash features Janel Leppin on cello, piano, composing & artwork, Sarah Hughes on alto sax, Brian Settles on tenor sax, Anthony Pirog on guitar, Luke Stewart on bass and Larry Ferguson on drums. I’ve had my eye & ear on DC cellist Janel Leppin ever since hearing that wonderful duo debut disc on Cuneiform from Janel & Anthony, released in 2012. I’ve dug her collaborations with Eyvind Kang, Oren Ambarchi and Andrea Centazzo, but what impressed me the most was her arrangements of the music of Susan Alcorn for a great LP-only release called ’The Heart Sutra’ (rel in 2020). The rest of Ensemble Volcanic Ash features some of DC’s finest players like guitarist Anthony Pirog (check out the Messthetics!), saxist Brian Settles (check out the Luke Stewart Trio!) and bassist Luke Stewart, who has kept quite busy over the past few years playing with Irreversible Entanglements, William Hooker and David Murray. Saxist Sarah Hughes’ name sounded familiar to me and it turns out that she has recorded with Anthony Coleman and Brad Linde. I hadn’t heard of drummer Larry Ferguson before this disc appeared, although he does play in the Anthony Pirog Group.
This disc begins with “Ode to Abdul Wadud”, a tribute to the great cellist who used to work with Julius Hemphill before retiring from playing music and nearly disappearing for many years. This piece is a short intro which starts with the strong mallet-work of Mr. Ferguson before the ensemble breaks into a powerful, prog/spirit/jazz ensemble blast. Ms. Leppin’s cello is the central sound/spirit for “Tennessee’s a Drag” which features a strong, tugging groove by the two saxes and the guitar. Under-recognized tenorman, Brian Settles, takes the first solo and it is a gem. Ms. Leppin excels at writing for the entire ensemble with a series of spirited arrangements for the two saxes and guitar as the main sound with her cello either adding quirky harmonies or soloing underneath the ensemble in waves, rising and falling beneath the surface. Leppin often writes memorable melodies which are charming on top but seem to get more engaging each time I hear them (they are darker underneath). There is a piece called “Union Art” which has a most hypnotic melody which would fit nicely on an old Cream album (I hear Jack Bruce singing along in my head). Ms. Leppin takes a great, churning cello solo which is followed by one of Mr. Pirog’s better, wailing guitar solos. What I find most interesting is this: these songs are modest, refreshing with thoughtful melodies yet they are also quietly dark and never too far out (most of the time). Oddly enough, the sextet does erupt more outside on “To March is To Love, Part II”, which features some spirited cello, guitar and saxes swirling interplay plus a stirring cello & horns chorus. This disc ends with a righteous solo piano dark lullaby of sorts which feels like a good way to bring this fine work to a gracious close. - Bruce Lee Gallanter, DMG
CD $15
NICK DUNSTON with JACK QUARTET / CANSU TANRIKULU / SOFIA JERNBERG / ISABEL CRESPO PARDO / TAL YAHALOM / et al - Colla Voce (Out of Your Head 027; USA) Featuring Nick Dunston - contrabass, compositions & processing, the JACK (string) Quartet, Cansu Tanrikulu, Sofia Jernberg, Isabel Crespo Pardo & Friede Merz on vocals, Maria Reich on violin & viola, Anil Erasan on cello, Tal Yahalom on guitar and Moritz Baumgartner on drums & percussion. I first heard bassist Nick Dunston play in ensembles by Dave Douglas, Ches Smith, Anna Webber and Mary Halvorson. Mr. Dunston has played here at DMG on a couple of occasions, bringing his own unit here in April of 2022. I know that Mr. Dunston spends time in Berlin, which is where some (all?) of this material was recorded and where most of the folks in his ensemble live. I only know a few of the names here like the JACK Quartet, Sofia Jernberg (with Fire! Orchestra & duo with Alexander Hawkins), Isabel Crispo Pardo (caught at her The Stone recently) and Tal Yahalom (played at DMG on a couple of occasions).
Nick Dunston refers to this work as an anti-opera, which is not a rejection of the opera medium, but an exploration of what an opera is or is supposed to be. He thanks the four singers here for the way they breathe life into this work and the JACK Quartet for adding their classical sound(s). The title of this disc is “Colla Voce” which means within a voice which is what we are listening to or for. The “Ova’Churr” opens with a swirling mass of electronic or sampled sounds. “Designated Antagonist” features some shrewd, scary string quartet weirdness, erupting intensely. Mr. Dunston’s brutal, pumping contrabass is featured on “Psuedocorridor” with the string quartet playing several drone lines together. A subgroup of guitar, bass and drums emerges from the shadows and takes over as the string quartet fades away and then a voice floats in making odd vocal sounds, no words. For “Blinding, Joyous, Fearful”, the string quartet sound like they are exploding together with numerous intense bursts of energy, the siren-like drones also re-entering the scene. The layer of drones has several notes being slowly bent in different directions, the overall vibe is somewhat disorienting. A singular voice is at the center of “Fully Turbulent” which is pretty turbulent when it begins and then becomes more sparse with those haunting, ghost-like string drones entering the picture. Throughout most of this work, the JACK Quartet are featured, erupting, bending and twisting their strings into a series of knots, the muse is tight yet chaotic simultaneously. On a track called, “Oxygen”, there are several layers of strange vocal sounds erupting together to great effect with the vocals stretched out further on the next piece. One of the voices emerges and starts to freak out, screaming and turning her words inside-out. What I find most interesting here is that although some of this sounds like free/improv, I get the feeling that there is much more going on since the sounds/music seem to be directed by an outside force/person. “A Rolling Wave of Everything” sounds like someone turns the dial quickly on a radio receiver, chaotic yet also focused. The final piece is the title track, “Colla Voce” and it features some strange vocal sounds, suspenseful bass and several layers of sampled weirdness. After many years of listening to an array of different experimental or avant-garde music, I remain fascinated by this type of endeavor. Certainly this is not for the average listener but it is rewarding for serious listeners everywhere. - Bruce Lee Gallanter, DMG
CD $14
ALFREDO COLON with LEX KORTEN / STEVE WILLIAMS / CONNOR PARKS - Blood Burden (Out of Our Head Records 029; USA) For what we hear in this remarkable debut album, it’s clear that Dominican-American saxophonist and composer Alfredo Colón has a bright future ahead. As a sideman, he gained some notoriety working with saxophonist Henry Threadgill on the latter’s album The Other One (Pi, 2023) and joining bassist William Parker in a couple of concerts, including an upcoming Vision Festival performance on June 18th.
The emotional quotient of Blood Burden is high, as Colón and his skilled quartet mates give a tremendous punch to the monotony with music that feels refreshingly focused and modern. Inspired by family and its intergenerational traumas, the album serves as a meditation between Dominican folklore and Catholic imagery and ethos.
“V.M.C.S.” opens the album with jaw-dropping alacrity, utilizing complex meter in the process without sacrificing fluidity. The piece, dedicated to Colón’s older brother Vladimir, evokes the spirit of their visits to NYC museums during childhood, climaxing in a blistering saxophone solo delivered with passion and authority. Pianist Lex Korton follows suit, dishing out a sleek, streamlined piano statement.
“Our Simplest Office Clerk” explores the balladic side of the composer, featuring polyrhythmic currents and sophisticated pianism at the fore. The piece then explodes in spontaneous color with a tumultuous saxophone clamor, occasionally adorned with multiphonics. The saxist can sound unabashedly lyrical one minute, carrying a plaintive edge, and ferociously wild the next. Regardless, a keen sense of structure prevails throughout the album.
Dedicated to his mother, “Santo” is elegantly propelled by the scintillating brushwork of drummer Connor Parks, conveying a strange enchantment that sometimes recalls Threadgill’s layered ventures. “Grinning’ in Your Face” is the sole non-original composition on the album. Penned by the Delta blues singer Son House, this 1965 piece channels the modal patterns and spiritual practices of John Coltrane and Albert Ayler with plenty of outside maneuvers. In turn, “Our Armor” relies on robust playing anchored by strong emotion and grit, with Korton’s nimble sweeping over the keyboard creating harp-like waves. He also leaps with obsessive moves and slides chromatically with purpose.” - JazzTrail.net
CD $14
SENTIENT BEINGS with JOHN O’GALLAGHER / FAITH BRACKENBURY / JOHN POPE / TONY BIANCO - Truth is Not the Enemy (Discus Music 183CD; UK) Featuring John O’Gallagher on alto sax, Faith Brackenbury on violin & viola, John Pope on bass and Tony Bianco on drums. Recorded live at the Vortex in London on February 8th of 2024. Over the past few years, I’ve been checking out the playing strings player Faith Brackenbury and drummer Tony Bianco. Faith and Tony have two duo records out, both on the Discus label plus a quartet with Paul Dunmall and John Pope plus Ms. Brackenbury released a leader date in 2023 on her own Lonely Duck label. You no doubt the name of Tony Bianco from the many records he’s done with Paul Dunmall. American saxist, John O’Gallagher, recorded a dozen or so discs for the CIMP, FMR and Whirlwind labels including one with Paul Dunmall.
This gig/session was recorded on the last night of a seven gig tour which the quartet had evolved into something special. Things begin with Mr. Bianco playing mallets around his drums in a swirling fashion with bass churning along and the violin & alto sax dancing together on top. I recently listened to a bootleg live CD from the Fourth Way (circa 1970) with Michael White on violin. Ms. Brackenbury reminds me of Mr. White, who was a more laid back improviser with a fine, organic, amplified acoustic sound. Although the quartet plays freely here, their sound is more cerebral with consistently spirited interaction between the strings and alto sax. The quartet is consistently tight and ever-inventive. Mr. O’Gallagher is in fine form throughout this entire two long track, 70 plus minute disc. The rhythm team here sounds like they’ve been playing together for many years as the rise and fall in waves together. At one point during the first long piece, O’Gallagher plays a folk-like melody with Ms. Brackenbury adding enchanting harmonies to his fleeing melody. The quartet speeds up as the interaction gets more heated and intense. There is a strong feeling of comradery going on here, four musicians working together, having a boisterous yet friendly dialogue which just keeps growing, soaring and exploding on several inventive, expressive winds. This disc/session is consistently engaging, balanced and inspiring throughout. - Bruce Lee Gallanter, DMG
CD $14
JONATHAN MORITZ / MIKE PRIDE - Summertime (Neither Nor Records n/n 025; USA) Featuring Jonathan Moritz on tenor & soprano saxes and Mike Pride on drums, glockenspiel, marimba, autoharp, tenor sax, recording, editing, mixing & mastering. There are a large number of inventive Downtown saxists, a number of whom seem to be below the public’s radar. Jonathan Moritz is one. I do know of Mr. Moritz from his work with Nate Wooley, Chris Welcome & Sanda Weiss. No doubt you know all about former Brooklyn-based drummer Mike Pride from his work with Anthony Braxton, Peter Evans and Jason Stein. There are three tracks on this disc, each recorded in a different location. “MUSHROOMS” was recorded at the Infrequent Seams Festival in June of 2021. This piece begins with what sounds like soprano sax and glockenspiel or marimba, the vibe is eerie and closer to some mysterious modern chamber music. Although this music sounds mostly free, the duo are paying more attention to sounds and textures, none of that over-the-top blasting. Sections are stripped down with odd vocal sounds made through the sax. It often sounds like a conversation between two old friends. The second piece, “TD-2 ”, was recorded in Mike Pride’s backyard in Chester, NY. Considering that this was recorded outside, it does have a more organic sound, like jamming with Mother Nature. Many of the sounds are close mic’d and carefully played & recorded. At times, it is hard to tell who is doing what. What are those sounds coming from?!? The third piece, “By The Stream”, was recorded by a stream in New Gloucester, Maine. Hence, we hear the sounds of water flowing in the stream, odd, disembodied voices, quick-tongued sax sounds, bent sax notes, organic percussions sounds. There is a section midway where Mr. Moritz plays a long sax solo in which he plays those odd multiphonic sounds that John Zorn used to specialize in during the 1980’s. Eventually things mellow out, the duo calming down to a warm, friendly dialogue. There is a playful, light-hearted quality to this piece. Outside of a bit of editing, the sound quality is warm, natural with no distortion or effects. A most impressive excursion to the world outside or outdoors. - Bruce Lee Gallanter, DMG
CD $14
3 ESSENTIAL JOHN ZORN/TZADIK RELEASES FINALLY BACK IN PRINT AFTER a Couple of years:
JOHN ZORN // MASADA BAR KOKHBA CHAMBER ENSEMBLES With MARC RIBOT / JOHN MEDESKI / CHRIS SPEED / DAVE DOUGLAS / MARK FELDMAN / ERIK FRIEDLANDER / GREG COHEN / MARK DRESSER / KENNY WOLLESEN / et al - Bar Kokhba (TZ 7108-2) Masada has quickly became one of John Zorn's most popular and adventurous musical projects. These special arrangements for small ensembles of strings, keyboards and clarinets, shed new light on his book of inspiring compositions expanding the Jewish tradition (210 at last count for Masada Book One). Bar Kokhba presents over two hours of dark, passionate and evocative Jewish music, featuring some of New York City's finest musicians. This double-CD is the long-awaited first American release of Zorn's Masada material, featuring startling new chamber arrangements of music from the first six Masada albums on Avant (Japan). The personnel features: Mark Feldman: violin, Erik Friedlander: cello, Greg Cohen: bass, Marc Ribot: guitar, Anthony Coleman: piano, David Krakauer: clarinet, John Medeski: organ, piano, Mark Dresser: bass, Kenny Wolleson: drums, Chris Speed: clarinet & Dave Douglas: trumpet. TZADIK RADICAL JEWISH CULTURE SERIES
In the early 1980’s when I was still living at home after graduating college, I was listening to some early John Zorn improv in my basement when my mother came downstairs. She listened for a couple of minutes and then asked me if this was music? I thought about it and told her that some folks consider this music and some folks might not. Around 1996 or 1997, I sent my parents (in Florida) a copy of this 2 disc set of Masada songs from the first Book of Masada as a Hanukah present. My Mom called me a few weeks later and told me how much she liked this music and was surprised by the charming Klez-like melodies. She asked if this was the same John Zorn whose music she had thought was too weird when she last heard it. I said it was the same person and she said what happened to him and his music? I explained that Zorn had re-discovered and explored his Judaism when his father passed away in 1992 and decided to write 100 Masada songs in one year, which he did even before the first Masada Quartet gig in September of 1993. By now, 30 years later, Mr. Zorn has written 650 Masada songs in three books. Imagine that. Long live the vast Masada songbook. - Bruce Lee Gallanter, DMG
2 CD Set $20
ELECTRIC MASADA with JOHN ZORN / MARC RIBOT / JAMIE SAFT / IKUE MORI / TREVOR DUNN / CYRO BAPTISTA / JOEY BARON / KENNY WOLLESEN - At The Mountains Of Madness (Tzadik 7352-2; USA) Electric Masada combines the raw power and manic speed of Naked City, the improvisational edge of Cobra and the spiritual lyricism of the Masada songbook. Their second release captures them at the end of a long European tour, at the very peak of their powers. Tight as a drum and as hot as a blow torch, these two incredible live performances will leave you breathless. Featuring a level of musical communication, excitement, versatility and complexity very few bands have been able to attain, this is Zorn at his very best. Astonishing group conductions, searing solos and crazed insanity from one of the most amazing bands Zorn has ever had.
2 CD Set $20
JOHN ZORN With MARC RIBOT/DAVE DOUGLAS/JAMIE SAFT/JENNIFER CHOI/TREVOR DUNN/JOEY BARON - The Gift: Music Romance Vol III (Tzadik 7332; USA) "It is the beginning of spring, the sun is out, the cool breeze is blowing and we are blessed with 'The Gift' from our main man - John Zorn. Many folks are surprised when they hear this music here at DMG, home to all kinds of weird music and surprised to learn that this is a new Zorn release. "Where's that shrieking sax and where's the noisy stuff?" someone asks. There has been a growing interest in exotica, lounge music and the twang of surf/roots guitar over the past few years - both many reissues and even new combos (Tipsy, etc.) doing this music. The most popular release in the 200 title empire of Tzadik is Zorn's Bar Kohkba Chamber Masada's 'The Circlemaker'- which mixes Masada melodies with the Marc Ribot's vibrant, nimble and hypnotic post-surf twang. Zorn has been doing much of his recording in recent months in the relaxed atmosphere of Jamie Saft's studio in Brooklyn and this is the result. The main group here is Ribot, Saft on keyboards, Trevor Dunn on bass, Cyro Baptista on percussion and Joey Baron on drums. The few guests get one track apiece - Ned Rothenberg on shakuhachi, Dave Douglas with a string quartet and Mike Patton's creepy whispered vox. Our groovy journey starts with "Makahaa" which is just the elegant touch of that twang tone, cheesy organ and bongos/minimal percussion - right out of Martin Denny-land. The most appropriately titled "The Quiet Surf" features the quaint tone and ultra-nimble bell-like ringing of Ribot's guitar with an elegant cushion of both plucked and shimmering strings. The high point here is "Samarkan" which bristles with an urgent, simmering psychedelic eastern flavor. Cyro's exotic percussion & jawharp, Joey's high-hat, Ned's shakuhachi, Jamie's suave electric piano, Trevor's bass groovin' and Ribot's swirling guitar blend perfectly! Cyro's exquisite percussion and bird-call vocals add that exotica sound to "Train to Thiensan" - while Jamie plays a series of luscious keyboard parts - el. piano, organ, synth each one softly enhancing the relaxed mood/groove. Both Jamie's electric piano and Ribot's soulful guitar get down and dirty on the slow-burn classic of "Snake Catcher". Another surprise is the somber beauty of "Moa's Moon" - which features Dave Douglas' enchanting and lyrical trumpet supported by romantic 'Chinatown' soundtrack-like strings. "Cutting Stone" seems to feature some un-credited ethnic acoustic string playing along with droning el. piano, hand-clapping and minimal grooving hand percussion. On "La Flor del Barrio" both Ribot's quaint Latin-tinged guitar and Trevor's el. bass play the dreamy theme with somber grace. "Bridge to the Beyond" is another highlight, which features some eerie, hypnotic theremin and Mike Patton's creepy whispering. The groovy opening theme is reprised as the closer, with Ribot's guitar and Jamie's farfisa organ taking us on a surf holiday to the beaches of the Pacific. Although the outside cardboard cover looks like a gift-wrapped present, it is the inside series of animated images of an Asian girl with a gun and the sun shining from between her legs, looking naughty at a urinal, a tortured face with fingers held in the mouth and the eyeball-less glance behind a large mushroom - that are sure to spark some controversy. Otherwise, immensely groovy!" - Bruce Lee Gallanter, DMG
CD $14
THREE MORE KALI Z. FASTEAU RELEASES WE FOUND THIS WEEK, ALL LIMITED, LAST FEW COPIES LEFT:
KALI Z. FASTEAU With KIDD JORDAN / JD PARRAN / MIXSHAWN ROZIE / RON McBEE - Piano Rapture: New Works on Piano (Flying Note 9016; USA) Featuring Kali Z. Fasteau on piano, electric piano & organ, Kidd Jordan on tenor sax, L. Mixashawn Rozie on soprano & tenor sax, flute & djembe, J.D. Parran on alto flute & alto clarinet and Ron McBee on percussion. Although Ms. Fasteau is a wonderful multi-instrumentalist, she concentrates here on piano and organ only fir the first time for an entire CD. She chose three great reeds players, each from a different geographical and historical background, as well as a fine percussionist. It turns out that Ms. Fasteau is as good on piano as she is on any other instrument she picks up. Her opening piano solo is something else: layers of quick waves all over the keyboard. Each piece but one is a duo or a solo piece. Each of the reeds players she has chosen sound great playing with her. Ms. Fasteau will play a repeating theme while the reeds play along and then solo in their own spirited way. Each and every sax, flute or piano solo sounds great, inspired , transcendent. There are two pieces which are dedicated to recently departed musicians and collaborators: John Tchicai and Roy Campbell. Both are stunning and heartfelt tributes. No matter what Kali Z. Fasteau does, she never fails to deeply touch those who give her a serious listen. - Bruce Lee Gallanter, DMG
CD $25
KALI Z. FASTEAU With LOUIS MOHOLO / BOBBY FEW / WAYNE DOCKERY / STEVE McCRAVEN - Animal Grace: Live In Harlem/Live In The Alps (Flying Note 9014; USA) Live in Harlem was recorded at Big Apple Jazzspace on a warm Sunday, June 17, 2007. The synchronicity of Kali's duets with the great South African drummer Louis Moholo-Moholo is amazing. The last time they had played together was in the 70s with Don Rafael Garrett and others in Amsterdam. This spontaneous music shines with abundant energy and momentum flowing freely from these 2 Piscean musicians. Louis' smooth and inventive play with time perfectly complements Kali's contouring sleek waves of sound. Here Kali Z. plays mizmar, piano harp & keys, nai flute, voice, violin and soprano sax. Live in the Alps was recorded at the Uncool Festival of Jazz, Improvised Planetary and Cosmo Music at La Prese, Switzerland in a lovely outdoor setting by a mountain lake, on May 6, 2005. This splendid concert displays the excellent talents of Kali's longtime collaborator, pianist Bobby Few, plus spirited drummer Steve McCraven and bassist Wayne Dockery, both mainstays of Archie Shepp's Europe-based bands. Here Kali. Z. plays soprano sax, nai flute, voice, & drum set. "This magical, mystical disc features music from two different sets featuring the wonderful Kali Z. Fasteau on mizmar, piano, soprano sax, nai flute, violin, sanza, voice & drums. The first half is a duo with South African legendary drummer Louis Moholo-Moholo recorded live in Harlem. The second half was recorded at the Uncool Festival in the Swiss Alps with another legend - Bobby Few on piano, Wayne Dockery on bass and Steve McCraven on drum set. Drum master Louis Moholo finally returned to South Africa after more than forty years to reunite with family and friends, hence his double name since taking over his family. He comes to the US on rare occasion, just a few times over the past decade. Ms. Fasteau was able to get Mr. Moholo for one night in June of 2007 the same week he played at the Vision Fest. The mizmar is an Egyptian double reed instrument and the opening duo features mizmar & drums. The vibe & sound is exotic and compelling with Kali bending those notes inside-out and Louis outlining the rhythms in his own unique way. Although the sound is a bit ragged, the spirit is deep and immensely moving. Each duo piece features Kali on a different instrument and each one is special in its own way. I am reminded of those great loft gigs from the mid-seventies when almost anything could and did happen, the spirit that takes us along for a ride was always there. Kali plays nai, a wooden flute with some echoplex employed while Louis plays with brushes. The dialogue is stunning, as the notes swirl around one another in an endless cosmic stream. Kali's strange vocals and cerebral violin add an otherworldly charm the is most hypnotic piece, while she saves the best for last by playing her soprano sax in the final piece with Louis. Louis Moholo-Moholo is in incredible form throughout this set, just listening to his distinctive drumming is a treasure hearing again & again. The quartet with Bobby Few, Wayne Dockery & Steve McCraven is equally magical, spiritual and even better recorded. Kali and Bobby work together so well with waves of notes flowing one over the other. The quartet has that later Coltrane quartet-like sound, freely flowing together in warm spirals. Whereas I remember Wayne Dockery's name from dates he did on the seventies with Art Blakey & Hal Galper, Steve McCraven's name sounds somewhat more obscure. Still all four members play as if they've been working together for a long time. Kali plays some superb nai flute on "Airstreams" and sublime sanza (thumb piano) on "Melting Ice". The double drums & bowed bass "Jumping on the Drums" is especially strong while the final piece with Kali again on soprano is a righteous way to bring this devastating event to a dramatic close. Completely cosmic from start to finish!" - Bruce Lee Gallanter, Downtown Music Gallery
CD $25
KALI Z. FASTEAU with RASHIED ALI / JAMES JAMISON / ELIZABETH PANZER / BOB CUNNINGHAM / DAVID CORNICK / PAUL LEAKE - Worlds Beyond Worlds (Flying Note 9001; USA) Featuring Zusaan Kali Fasteau on soprano saxophone, piano, ney, shakuhachi, kaval, mizmar, voice, berimbau, mbira & sanza, James C. Jamison on guitar, Elizabeth Panzer on harp, Bob Cunningham on contrabass, Paul Leake on tabla, David Cornick ob percussion and Rashied Ali on drums.
CD $25
THE FOLLOWING TITLES STILL ON SALE, UNTIL WE RUN OUT: Reviews can be found in last week’s newsletter or in the DMG database on-line: https://www.downtownmusicgallery.com
KALI Z. FASTEAU With WILLIAM PARKER / BADAL ROY / RON McBEE / RONNIE BURRAGE / OSCAR BROWN III - Prophecy: The Whale And The Elephant Trade Notes On The State of The World (Flying Note 9003; USA)
CD Sale $10
KALI Z. FASTEAU With NOAH HOWARD / JOE McPHEE / BOBBY FEW / SONELIUS SMITH / WARREN SMITH / MICHAEL WIMBERLEY - Comraderie (Flying Note 9006; USA)
CD Sale $10
KALI Z. FASTEAU With LEE MIXASHAWN ROZIE / OKKYUNG LEE / NEWMAN TAYLOR BAKER / MARVIN “BUGALOO” SMITH / RON McBEE - Oneness (Flying Note 9009; USA)
CD Sale $10
KALI Z. FASTEAU With 'KIDD' JORDAN / BOBBY FEW / SIRONE - Making Waves (Flying Note 9010; USA)
CD Sale $10
KALI Z. FASTEAU / 'KIDD' JORDAN / MICHAEL T A THOMPSON - People Of The Ninth: New Orleans And The Hurricane 2005 (Flying Note 9011; USA)
CD Sale $10
KALI Z. FASTEAU / 'KIDD' JORDAN With NEWMAN TAYLOR BAKER - Live At The Kerava Jazz Festival Finland (Flying Note 9012; USA)
CD Sale $10
KALI Z. FASTEAU With LOUIS MOHOLO / BOBBY FEW / WAYNE DOCKERY / STEVE McCRAVEN - Animal Grace: Live In Harlem/Live In The Alps (Flying Note 9014; USA)
CD Sale $10
LP SECTION:
DIE LIE A DOG with PETER BROTZMANN / TOSHINORI KONDO / WILLIAM PARKER / HAMID DRAKE - Fragments Of Music, Life And Death Of Albert Ayler (Cien Fuegos 032LP; Austria) Brötzmann reflected: "The idea of expressing my love of and admiration for Albert Ayler -- both man and music -- in a musical statement is not new. We both tried to do similar or almost identical things at the same point in time, each independently and without knowing anything about each other -- each of us within his own culture." This album was recorded in August 1993 at Townhall Charlottenburg in Berlin, and was released in 1994 by FMP. Featuring Peter Brötzmann (tenor saxophone, alto saxophone, tarogato); Toshinori Kondo (trumpet, electronics); William Parker (double bass); Hamid Drake (drums, frame drum).
2 LP Set $40
AKIRA SAKATA / JIM O'ROURKE / METTE RASMUSSEN / CHRIS CORSANO - Live At SuperDeluxe: Volume 1 (Trost 231LP; Austria) From the outset this ad hoc quartet hit the gas, launching into a frenzied, high-octane set with alto saxophonist Rasmussen engaging in a furious tightrope-walk of upper register screams while O'Rourke unspools some of the most gnarly guitar noise. The entire recording is a testament to refined listening. Even at the most scorching peaks each player is deftly attuned to one another's sonic projections. Bridging generations, continents, and individual aesthetics, Rasmussen, Corsano, Sakata, and O'Rourke find common cause, convening for an evening of galvanic sound that's simultaneously exhilarating and spiritual. Recorded on May 20, 2017 at Superdeluxe, Tokyo by Joe Talia. Mixed and mastered by Joe Talia. Ceramic artwork "Red Form" from 2003 by Torbjørn Kvasbø.
LP $32
NOUT with MATS GUSTAFSSON / BENAT ACHIARY - Live Album (Live Album 237; Austria) Flute, harp, drums: a rare combination that this trio turns upside down. In the wake of John Zorn's experiences on the borders of jazz and noise, the collaboration between Delphine Joussein, Rafaëlle Rinaudo, and Blanche Lafuente aims at pushing their instruments beyond their limits, with the enthusiasm of a mad scientist. It is no coincidence that the three musicians, considered the missing link between Nirvana and Sun Ra, have already aroused a big curiosity and are constantly touring across Europe. Featuring Delphine Joussein (flute, voice, drums), Rafaelle Rinaudo (electric harp, drums), Blanche Lafuente (drums). Also featuring guests Mats Gustafsson (baritone sax) and Benat Achiary (voice).
LP $18
THE BRIDGE with RODRIGO AMADO / ALEXANDER VON SCHLIPPENBACH / INGEBRIGT HAKER FLATEN / GERRY HEMINGWAY - Beyond the Margins (Trost 240LP; Austria) In this quartet, Rodrigo Amado gathers three of his strongest longtime influences: German pianist Alexander von Schlippenbach, Norwegian double bass player Ingebrigt Håker Flaten, and American drummer Gerry Hemingway. For Amado this band represents a deep dive into his own formative roots, something he has been dealing with more and more in these last few years. With Schlippenbach, Håker Flaten and Hemingway by his side, Amado has the perfect context to explore the classic materials he considers to be the basis of his journey as a musician, an impulse that is part him and part history. This is a quartet whose name really represents, aside from a direct homage to Sonny Rollins, a bridge between different languages, backgrounds and generations, all united through improvisation. Recorded by Bartosz Szkielkowski at Pardon To Tu, Warsaw, October 3rd, 2022. Mixed by Joaquim Monte and Rodrigo Amado. Master by David Zuchowski. Produced by Rodrigo Amado/Konstantin Drobil. Cover painting by Miguel Navas. Design by Rodrigo Amado and Travassos. Liner Notes by Guy Peters.
2 LP Set $40
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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
THE STONE RESIDENCIES / BRANDON ROSS / AUG 7-10
8/7 Wednesday
8:30 pm - FOR LIVING LOVERS PLUS - Brandon Ross (guitars, banjo, voice) Stomu Takeishi (acoustic bass guitar) Craig Weinrib (drums)
8/8 Thursday
8:30 pm - YET ANOTHER PLANE - Brandon Ross (guitars, banjo) Tomeka Reid (cello) Steph Richards (trumpets) Hardedge (soundesign)
8/9 Friday
8:30 pm - PHANTOM STATION - Brandon Ross (electric guitar, soprano guitar) Mauro Refosco (percussion, electronics) Hardedge (soundesign) Charlie Burnham (violin) Kevin Ross (bass guitar)
8/10 Saturday
8:30 pm - BREATH OF AIR - Brandon Ross (electric guitar) Charlie Burnham (violin) Warren Benbow (drums)
THE STONE RESIDENCIES / KEVIN HAYS / AUG 14-17
8/14 Wednesday
8:30 pm: DUO 1 - Kevin Hays (piano) Ben Wendel (sax)
8/15 Thursday
8:30 pm - DUO 2 - Kevin Hays (piano) Kenny Wollesen (drums)
8/16 Friday
8:30 pm - DUO 3 - Kevin Hays (piano) Craig Taborn (keyboards)
8/17 Saturday
8:30 pm - DUO 4 - Kevin Hays (piano) Gilad Hekselman (guitar)
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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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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