There is no other day
Let's try it another way
You'll lose your mind and play
Free games for May
See Emily play
Put on a gown that touches the ground
Float on a river forever and ever
Emily, Emily
There is no other day
Let's try it another way
You'll lose your mind and play
Free games for May
See Emily play
The Summer of 1967 is often referred to as the “Summer of Love”, mostly because many of the young folks at the time were referred to as “hippies”, who espoused “peace and love” as their guiding light/direction. 1967 was also the year that psychedelic music and drugs became an integral part of the way many folks observed what was going on in our world. It was also a year that many bands played or at least indulged in psychedelic music. Although I was a bit too young (age 13) to indulge in psychedelics, although I did notice how many songs and albums had a more psychedelic and experimental sound that year. Even AM radio was filled with a number of those great psych songs. A number of my favorite bands (The Stones, The Beatles, Jimi Hendrix Experience, The Grateful Dead, Jefferson Airplane, Love…) released their best or their most psychedelic offerings that year, hence it remains my favorite year for sixties rock music. A British band called Pink Floyd released the first single (“See Emily Play”) and their first album that year. Pink Floyd were one of the most psychedelic and experimental of all bands during that era. I recall hearing “See Emily Play” on FM radio that year and how much it blew my mind. I’d be walking home from school and listening to my radio and a song would come on, I would listen intensely since it sounded unlike anything else I had heard. I recall hearing songs like “Purple Haze”, “Strawberry Fields Forever” and “Paper Sun” (by Traffic) for the first time on the radio and the way they affected my consciousness. The feeling was profound and it changed the way I heard music and saw the world around me. Many of us are still looking for the release or transcendence through music to help us deal with our present world/situation. Thanks to the Psychedelic Spirit that lives within many of us Older and Newer Freaks. The United Mutations fan club is still looking for members so sign up. - MC-BruceLee at DMG
THE 33rd ANNIVERSARY IN-STORE CONCERT SERIES AT DMG CONTINUES WITH:
Tuesday, September 10th:
6:30: RICH ROSENTHAL - Guitar / JOE FIEDLER - Trombone / DMITRY ISHENKO - Bass / COLIN HINTON - Drums
7:30: JAIR-ROHM WELLS - Bass / BOB MUSSO - El Guitar / TARA TOMS - Vocals & Electronics
8:30: RYAN SIEGEL - Alto Sax - Trumpet / MARC EDWARDS - Drums
Tuesday, September 17th:
6:30: ARON NAMENWIRTH - Guitar / DANIEL CARTER - Reeds & Brass / JOE ROSENBERG - Roland 404
7:30: STAN ZENKOV - bass clarinet-alto sax / NICOLE CONNELLY - trombone / EVAN CRANE and ZACH SWANSON - basses / YUKO TOGAMI - drums
8:30: SYLVAIN LEROUX - Fula Flutes & Other Reeds
RARE Saturday Night Event, September 21st:
6:30: PETER VAN BERGEN - Woodwinds / KRISTIN NORDERVAL - Vocals / MIGUEL FRASCONI - Electronics
Tuesday, September 24th:
6:30: NATHAN CHAMBERLAIN - Guitar / ANJALI SHINDE - Flute / AARON POND - French Horn
7:30: GUILLERMO GREGORIO - Clarinet / BRANDON LOPEZ - ContraBass
8:30: KENNETH JIMENEZ - Bass / LIVIA SCHWEIZER - Flute / SABRINA SALOMONE - Violin
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THIS WEEK’S SONIC GEMS BEGIN WITH:
TRANSATLANTIC TRANCE MAP with EVAN PARKER / NED ROTHENBERG / PETER EVANS / PAT THOMAS / HANNAH MARSHALL / ALEX WARD / SYLVIE COURVOISIER / MAT MANERI / IKUE MORI / SAM PLUTA / CRAIG TABORN / MATTHEW WRIGHT / ROBERT JARVIS - Marconi’s Drift (False Walls 14; UK) This is a most ambitious effort, two ensembles playing simultaneously on either side of the Atlantic ocean, connected through the internet and improvising through the airwaves with each other. The UK ensemble was recorded at The Hot Tin in Faversham, UK and featured Evan Parker on tenor & soprano saxes, Peter Evans on trumpets, Alex Ward on clarinet, Pat Thomas on keyboards, Robert Jarvis on trombone, Matthew Wright on turntable & live sampling/processing and Hannah Marshall on cello; The Downtown ensemble played at Roulette in Brooklyn and featured Ned Rothenberg on alto sax & clarinets, Mat Maneri on strings, Sylvie Courvoisier on piano, Craig Taborn on keyboards, Ikue Mori on laptop electronics and Sam Pluta on laptop electronics. The interactive performances were recorded on December 17th of 2022.
Both Evan Parker and Ned Rothenberg play reeds and have long worked with circular breathing and extended techniques on their instruments, both together and separately. These are the first sounds that we hear on this disc. Slowly other instruments/sounds float in: sampled sounds, electronics, trumpet,various keyboards, trombone… Although the two ensembles are playing across the ocean, the sound and flow is seamless. The music unfolds carefully and we can hear where certain musicians and their instruments are sitting on the stage. The music is rarely too dense or disorienting, there is much attention to detail with many of the sounds cautiously created and placed. One of the things that stands out here is that a number of these musicians, the Downtowners and the Brits, have never played together before this concert, hence here Mat Maneri on viola and Hannah Marshall trading lines and other unexpected combinations of the players involved. There are some full ensemble(s) sections which really take off, making me feel as if I were sailing like a bird on the wind or flying through space on a spaceship. I like that certain combinations of players interact and fragments of melodies appear, expand and then fade into something else. As I listen, I look out my kitchen window, see the sunlight coming through and a nice breeze as well. The music on this disc has a similar organic vibe which unfolds like a plant slowly reaching towards the sun. Most impressive on all fronts. - Bruce Lee Gallanter, DMG
CD $16
ELLIOTT SHARP - Mandocello (zOaR ZCD 169; USA) “The mandocello has been used widely in Celtic and other folk music though rarely in the context of avant-garde and improvised music. With this album, Sharp presents a number of pieces for acoustic and electric mandocello solo displaying his unique approach to both traditional and contemporary extended techniques. The compositions include D Rex dedicated to the pioneering guitar improviser Derek Bailey, Tsuruta for the visionary Japanese biwa player Kinshi Tsuruta, and "Partched" for the iconoclastic composer and instrument builder Harry Partch.
For the acoustic portion of this album, the main instrument used was a mandocello of uncertain origin but appearing to be converted in the 1930s from an archtop guitar as well as a doubleneck mandocello/guitar built by Steve Wishnevsky. For the electric tracks, a Mutantum solid-body electric mandocello was used, constructed by E# in 2019 from a 12-string guitar neck matched with a 1960s Intermark Cipher guitar body.” - Elliott Sharp
Generally around once a month Downtown guitar/composer/bandleader/producer, Elliott Sharp comes to visit us and leave us with a new disc, often on his own zOaR label. Mr. Sharp just left us with a new disc featuring an unlikely instrument called the mandocello. There doesn’t seem to be very many musicians playing this instrument in improvised music, just a few that I could find like Mark Stewart (from the Bang on a Can All-Stars), Geoff Goodman (along with tanbura & tablas) and Mike Marshall (bluegrass pioneer). Mr. Sharp plays two different mandocellos here for the acoustic and electric sections of these tracks which he describes above. Mr. Sharp describes the history of the mandocello in the liner notes along with pictures of three different one on the back cover and inside of the CD. Each one has doubled strings and each looks quite different from the other.
Starting with “Thagomizer”, the doubled strings have a unique sound and resonate in a most distinctive way. Mr. Sharp starts out slowly allowing every note to ring out. In some way, I am reminded of John Fahey who also explored the acoustic guitar in a more turbulent setting. On “Unrest”, the pace is slowed down every more, the suspense larger and the strumming more deliberate sounding. “D Rex” is dedicated to Derek Bailey, the godfather of British freely improvised guitar. E# pushed the envelope even further, bending or muting certain notes in a way somewhat similar to the way that Mr. Bailey also played. On “Vespers” the chords are a bit darker and the strings resonate longer. “Tsuruta” is dedicated to Kinshi Tsuruta, a Japanese biwa (a short necker lute) player. Mr. Sharp bends certain notes in odd ways, giving the mandocello a more eastern sound. This piece builds to an intense conclusion. “Partched” is dedicated to the pioneering composer Harry Partch, who invented numerous instruments as well as scales that no one else had used. Not sure if Mr. Sharp is using any of those scales but I do like the way the mandocello sounds here, with certain notes droning after he hits the strings in his distinctive way. The overall vibe here is that Elliott Sharp is telling a series of short stories or scenes on each piece. This is a tour-de-force for string plucker lovers everywhere. - Bruce Lee Gallanter, DMG
CD $14
ALLEN LOWE AND THE CONSTANT SORROW ORCHESTRA with FRANK LACY / RAY ANDERSON / LOREN SCHOENBERG / URSULA OPPENS / MATTHEW SHIPP / JAMES PAUL NADIEN / MARC BIBOT / et al - Louis Armstrong's America Volume 1 (ESP-Disk 5109CD; USA) Volume 1. One might think that an album titled Louis Armstrong's America is a tribute to the famed trumpeter, and certainly he's a focus here, but a normal tribute would feature compositions by him, or at least associated with him. Allen Lowe doesn't operate in the realm of the predictable, though; instead, the concept -- powered entirely by Lowe compositions -- takes in not just Armstrong's influence but also the evolution of jazz starting with influences (not all jazz) on Armstrong and continuing to the end of his five-decade career in 1971 -- which means that even Albert Ayler is touched on in this wide-ranging album (heck, even indie-rock icon Steve Albini is referenced). In his liner notes, Lowe quotes himself: "I think that Louis Armstrong may have been the first true post-modernist, picking and choosing between a hierarchy of personal and public musical sources and tastes, but without any concern for the way in which hierarchy acted on all of this in terms of class and even, ultimately, race (e.g.; think of Armstrong's reverence for opera and the way it affected his broad and classically expressive method of phrasing). So he fits all the definitions of post-modernism, even as a kind of anachronistic vessel for so much that was still to come not just in jazz but in all of American popular music, in particular but not only through the mediation of black life and aesthetics. Black song, vernacular and popular, is amazingly flexible its ways and means of expression, lyrically, rhythmically, and sonically." Personnel includes Aaron Johnson, Frank Lacy, Ray Anderson, Lewis Porter, Ray Suhy, Will Goble, Rob Landis, Brian Simontacchi, Rob Landis, Loren Schoenberg, Ethan Kogan, Ursula Oppens, Nick Jozwiak, Colson Jimenez, Kresten Osgood, Matthew Shipp, James Paul Nadien, Jeppe Zeeberg, Marc Ribot, Huntley McSwain, and Andy Stein.
2 CD Set $17
ALLEN LOWE AND THE CONSTANT SORROW ORCHESTRA with MARC RIBOT / URSULA OPPENS / LEWIS PORTER / RAY ANDERSON / LOREN SCHOENBERG / et al - Louis Armstrong's America Volume 2 (ESP-Disk 5110CD; USA) Volume 2. One might think that an album titled Louis Armstrong's America is a tribute to the famed trumpeter, and certainly he's a focus here, but a normal tribute would feature compositions by him, or at least associated with him. Allen Lowe doesn't operate in the realm of the predictable, though; instead, the concept -- powered entirely by Lowe compositions -- takes in not just Armstrong's influence but also the evolution of jazz starting with influences (not all jazz) on Armstrong and continuing to the end of his five-decade career in 1971 -- which means that even Albert Ayler is touched on in this wide-ranging album (heck, even indie-rock icon Steve Albini is referenced). In his liner notes, Lowe quotes himself: "I think that Louis Armstrong may have been the first true post-modernist, picking and choosing between a hierarchy of personal and public musical sources and tastes, but without any concern for the way in which hierarchy acted on all of this in terms of class and even, ultimately, race (e.g.; think of Armstrong's reverence for opera and the way it affected his broad and classically expressive method of phrasing). So he fits all the definitions of post-modernism, even as a kind of anachronistic vessel for so much that was still to come not just in jazz but in all of American popular music, in particular but not only through the mediation of black life and aesthetics. Black song, vernacular and popular, is amazingly flexible in its ways and means of expression, lyrically, rhythmically, and sonically." Personnel includes Aaron Johnson, Frank Lacy, Ray Anderson, Lewis Porter, Ray Suhy, Will Goble, Rob Landis, Brian Simontacchi, Rob Landis, Loren Schoenberg, Ethan Kogan, Ursula Oppens, Nick Jozwiak, Colson Jimenez, Kresten Osgood, Matthew Shipp, James Paul Nadien, Jeppe Zeeberg, Marc Ribot, Huntley McSwain, and Andy Stein.
2 CD Set $17
SCOTT FIELDS STRING FEARTET with CAROLIN POOK / ALEX PORATH / NATHAN BONTRAGER - Throws (Between the Lines 71253; Austria) Featuring Scott Fields on acoustiic steel-string guitar & compositions, Carolin Pook on violin, Axel Porath on viola and Nathan Bontrager on cello. This is the third time that American (living in Cologne, Germany for many years) guitar & composer Scott Fields has been commissioned to take an ancient classical masterpiece and reimagine it for his own ensemble. For this disc/session Mr. Fields has taken Beethoven’s Late String Quartets for a re-imagination. This is the fourth disc by Scott Fields’ String Feartet, which is similar in instrumentation to a string quartet with Mr. Fields replacing one of the violins with his acoustic guitar. I went through a phase several years ago and listened to a round a dozen string quartets by Bela Bartok, John Zorn, Morton Feldman, Elliott Sharp, Jurg Frey and several others. I also listened to the Beethoven String Quartets which I especially liked.
I am not so sure much of the Beethoven String Quartets are found here but I do like what I hear. It sounds like Mr. Fields is taking certain short phrases and then adding parts, repeating parts and twisting the music in his own way. The music is often quiet, and the tone & timbre of the guitar fits perfectly. I can’t tell if there are any improvised sections although I can hear a number of written parts. The violin plays a short, eerie phrase over and over throughout “Kotenage”, the guitar takes a long jazz-like solo and then plays some cool chords. The guitar fits in this music just right, often playing lush chords while one string player solos or plays an occasional ensemble section. This disc is nearly 78 minutes long and remains consistently engaging throughout. “Yaguranage” has a mournful melody which is stark and sad at times, the cello almost sounds as if it were weeping. Considering that Beethoven’s music is more than two centuries old, most of the music here sounds much more modern and thoughtfully discordant at times. I have a Beethoven String Quartets CD boxset somewhere at home but I can’t find it at the moment so I could compare versions. Actually it doesn’t matter that much since the music on this disc is consistently engaging throughout. - Bruce Lee Gallanter, DMG
CD $15
STEVE SWELL’S IMBUED WITH LIGHT with HERB ROBERTSON / SARA SCHOENBECK / BEN STAPP / CHRIS HOFFMAN / ROBERT BOSTON / HARRIS EISENBERG - Hommage a’ Galina Ustvolskaya (Silkheart 166; Sweden) One of the great pleasures of listening to music is discovering a new artist you love. It kindles a special "wow" reaction whenever you hear a new sound that touches you. It's the reaction that Steve Swell had when he first heard the music of Russian composer Galina Ustvolskaya. "I just thought, this is so off the charts. How can anybody be doing this?" Swell said. "It's just so out of the box, especially for the time she was composing." Born in St. Petersburg in 1919, Ustvolskaya studied with Dmitri Shostakovich in the 1940s, but didn't start composing in her characteristic style until around 1950. Ustvolskaya's compositions can startle any listener with their focus and intensity. And as Swell listened to Ustvolskaya's work, certain elements resonated with him. For instance, on "Hammer," Robert Boston's hard piano blows echo the explosively rhythmic urgency of Ustvolskaya's music. Her pieces thunder on the edge of a precipice, calling to God, waiting for a reply that never returns from across the void. In contrast, Swell's music--as iconoclastic in its own way as Ustvolskaya's--is bustling and social, spontaneous, lively with sudden contrasts in tempo and mood, balanced but irregular in outline. Enfolded into Swell's compositions, Boston's sharp, clear chords buttress discursive eighth note melodies like a demented Bud Powell, or they add an element of contrast in more peaceful surroundings, or become another rogue element of unpredictability in Swell's multilayered, radically unstable narratives. Swell uses that steady rhythm as a contrasting element in his composition "Rocks Have Lives Too." The same regular beat, highly ornamented by the band, occurs in "Compositie #12," as well. Swell's misty curtain of dissonant sound creates a backdrop out of which soloists skitter forward and retreat. Since improvisation is part of everything he does, he includes five free improvisations showcasing the members of the ensemble. Ed Hazell (excerpt from the liner notes).
CD $16
DANIEL LEVIN / FALA MARIAM / SEI MIGUEL - Panorama (Hat ezz-thetics 1051; Switzerland) Featuring Daniel Levin on cello, Fala Mariam on alto trombone and Sei Miguel on pocket trumpet. It’s been a few years since we’ve heard something new from cellist Daniel Levin, just a couple of duo efforts with his old associates Mat Maneri and Rob Brown. The other two musicians here, Fala Mariam and Sei Miguel, are both Portuguese and have been working together for several years as well as with Rafael Toral. From listening to several earlier discs by Sei Miguel, I recall that his playing/music is often restrained and spacious.
The music here was recorded at both a studio and a gallery space in Lisbon in October of 2022 and in April of 2023. The music is often stark, spacious and carefully created. The trio of pocket trumpet, trombone and cello often sound like they are playing in a similar tonal/textural/timbral area. The trio is well recorded here, warm and well-balanced. The tempo or pace here is often slow and assured, like floating quietly on a raft on a tranquil river. It takes some patience to appreciate what is going on here, which is fine with me. Life often unfolds at its own pace, hence this music sounds organic, free from the hurried pace of life in NYC and closer to the way things happen here is the suburbia of New Jersey where I live. You might find this disc either life-affirming or perhaps boring, it depends on your point of view and how much coffee you’ve drunk that day. I, myself, am quite impressed by the riches found buried within. - Bruce Lee Gallanter, DMG
CD $17
FAUST - Blickwinkel (Bureau B 454CD; Germany) After dipping into the archive to deliver a series of essential reissues, Bureau B continue to encourage the chaotic brilliance of Faust with an LP of brand-new music curated by originator Zappi Diermaier and a band of musical friends, including fellow founder Gunther Wüsthoff. Over the years Faust has become many things, each as separate as the fingers, but as together as the hand which makes up their eponymous fist. From 1971 to 1974 the Hamburg band blazed a bold sonic trail, helping to create the distinct and delirious strand of German music we've come to know as Krautrock. Uncompromising, innovative and experimental, their releases in that period, and the stories accompanying their creation, are nothing short of legendary, and the fact that after a hiatus, the band returned and remained active in a variety of separate and simultaneous incarnations is entirely fitting for these musical revolutionaries. On Blickwinkel, Diermaier's incarnation embrace synchronicity and chance in order to capture the moment in a six-track snapshot of industrial churn, unsettling ambience and psychedelic motorik. Sonically and politically, Blickwinkel is a profoundly Faustian venture, a communal project based on democratic ideals which eschews external influences to create something entirely out on its own. As with the previous LP, Daumenbruch, the journey started with Zappi behind a drum kit at the home studio of his neighbor Dirk Dresselhaus AKA Schneider TM (bass), alongside electronics whizz Elke Drapatz (drum effects). The trio embarked on a session of instant composition, playing wordlessly with a deep empathy to each other as well as the energy in the room. While the Daumenbruch session, which took place in the midst of lockdown, delivered three long-form pieces, this two=hour spell served up six diverse tracks, an audio analogue for the speed of life post-lockdown. Drones, delays, clatter and clang came from all corners -- in fact, only Uwe Bastiansen (Stadtfisch) added melodies, lending long distance support to Dirk Dresselhaus' insistent bass sequences, and channeling the magic of their moment into potent pagan tonalities. The stylistic definitions are constantly disrupted by unexpected guests -- baroque strings, impish horns, found sound breakdowns, or else mind melting phasing and flanging each offering a new combination on this radical and forward-facing record.
CD $18
HISTORIC & ARCHIVAL RECORDINGS:
ALBERT AYLER with DON CHERRY / GARY PEACOCK / SUNNY MURRAY - 1964 Recordings - First Visit Completed (Hat ezz-thetics 2-105; Switzerland) Featuring Albert Ayler on tenor sax, Don Cherry on cornet, Gary Peacock on contrabass and Sunny Murray on drums. "Revisited" in this context will inevitably make some people think of Revenant, the label that in 2004 issued a nine-CD box of Albert Ayler materials, almost all of them rare and unissued. The release prompted some revisionist thinking about Ayler, who has remained a controversial figure in modern jazz, hailed as a genius, dismissed as a hoax or a man in the grip of an autism, an avant-gardist who suddenly decided to be a populist instead ... The procession of different Aylers moves on. In a previous issue of the present material on hatOLOGY, my colleague Andy Hamilton showed how recent thinking had moved away from or at least questioned the validity of the "genius" label. It's a term we associate with virtuosity, which is often a surface phenomenon connected to technique rather than depth or clarity of vision, which can often be expressed in very simple forms.
2 CD Set $18
JOHN MAYALL & THE BLUESBREAKERS with BUDDY WHITTINGTON - Up Close and Personal: Live in Texas (Cleopatra Entertainment 6018; USA) Blues legend John Mayall And The Bluesbreakers with Buddy Whittington on guitar, John Paulus on Bbass and Joe Yuele on drums perform live in Houston, Texas. Filmed in 1998 and 1999 at Billy Blues and Rockefellers, the set includes "White Line Fever", "A Hard Road", "Voodoo Music" and other classics from this legendary Blues frontman!
2 CD/DVD Set $20
LEE SCRATCH PERRY & YOUTH - Spaceship to Mars (Creation Youth Cycdzcd 002; Earth) Legendary Reggae visionary Lee Perry's last recorded studio album. Written with, recorded & produced by Killing Joke's/The Orb's Martin 'Youth' Glover. Without a doubt Lee 'Scratch' Perry is an orphic channeller, a superhero, a Black Ark Magician. He bedazzles and discombobulates, cackling at his own riddles, speaking from another realm.
This album epitomizes the spirit of Lee 'Scratch' Perry and how it lives through those of us who are obsessives of this mystery of a man. He is said to have made something in the region of 2000 albums. This one is one he started with Youth in the third dimension - and oversaw to completion from an unquantifiable one. Each artist featured (Carroll Thompson, Blue Pearl, Zoe Devlin, Radical Dance Faction, Boy George, Hollie Cook and more) is as fervent about Scratch and his works as the next. The psychic rapport is evident. Youth calls it 'voodoo magic meets raiders of the lost ark'. It sums up the cosmic coming together of an album that's been a good seven years in the making.
2 CD Set $24
CITRON CITRON - Mareeternelle (Bongo Joe Records 101CD; Switzerland) Citron Citron is back! The ethereal sister-and-brother duo has worked hard over the past two years on their new album Maréeternelle. Maintaining their majestic compositions, dual lead vocals, and home-made organic sound machinery, Citron Citron delves deeper into their sonic universe, singing about daily life, death, and love with the same poetic and personal vibe. Recorded in their home studio, and with a rare '70s EMS synth handed down from their respected avant-garde artist grandfather Rainer Boesch also making an appearance, Citron Citron's light touch is an analogue charm, measuring up to the giants of the genre's history. Its title, Maréeternelle, is a compound word coined by the duo and translating as "eternal tide." It references the continuous cyclical flow of existence -- day and night; life and death -- and how they, you and I structure our lives around this.
CD $17
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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 / TREY SPRUANCE / SEPT 4-7
9/4 Wednesday
8:30 pm: ELECTROMAGNETIC AZOTH "The Seventh Side of the Cube"
Trey Spruance (guitar, concrète process)
9/5 Thursday
8:30 pm: NT FAN "Early studies in macro structural gravitational resonance"
Ches Smith (coordinated impact events: drums etc)
Trey Spruance (coordinated waveshaping events) plus special guests
9/6 Friday
8:30 pm: UR "Panama Pacific" - Ches Smith, (drums) Matt Hollenberg (guitar) Shahzad Ismaily (bass) Trey Spruance (guitar)
Debut of an entire surf repertoire.
9/7 Saturday
8:30 pm - KODAK QUARTET plays Spruance - Edgar Donati (violin) Martin Noh (violin) Daniel Spink (viola) Blake Kitayama (cello); Works for string quartet, some with radical electroacoustic accompaniment
THE STONE RESIDENCIES / CRAIG TABORN / SEPT 11-14
9/11 Wednesday
8:30 pm
SOLO - Craig Taborn (piano)
9/12 Thursday
8:30 pm - QUARTET - Matt Mitchell (electronics) Craig Taborn (electronics) Dan Weiss (drums) Tim Angulo (drums)
9/13 Friday
8:30 pm - TRIO - Craig Taborn (piano) Tomeka Reid (cello) Ches Smith (drums)
9/14 Saturday
8:30 pm - Weird of Mouth: - Craig Taborn (piano) Ches Smith (drums) Mette Rasmussen (saxophone)
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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Uptown Out
Improvised music in different groupings, this time featuring:
Hilliard Greene (bass), Claire de Brunner (bassoon), Will Glass (drums), and guests.
Thursday, September 12, 7pm
Recirculation, a project of Word Up
876 Riverside Dr
NY NY 10032
$5-10 suggested donation
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ROULETTE has been and remains the best place to experience experimental music and arts since 1978. I’ve attended concerts at Roulette since it began in Tribeca and I still go as often as I can. Founder Jim Staley stepped down earlier this year and a new music director named Matt Mehlan has taken his place. Here is the most of the September calendar below, it looks most impressive…
Thursday, September 12, 2024. 8:00 pm
Silt Trio: Unknown Rivers Album Release
Luke Stewart bass, compositions
Brian Settles tenor saxophone
Trae Crudup drums
Chad Taylor drums
plus Jonathan Finlayson trumpet
Friday, September 13, 2024. 8:00 pm
Tashi Wada: What is Not Strange?
features musicians Julia Holter, Ezra Buchla, Dev Hoff & Corey Fogel with visuals by artist Dicky Bahto
Sunday, September 15, 2024. 8:00 pm
Adam Rudolph: Sunrise Quartet
Adam Rudolph - handrumset, electronic processing, thumb pianos, mouth bow, gongs, percussion
Kaoru Watanabe - taiko, Japanese percussion, noh kan and fue flutes, electric koto and processing
Alexis Marcelo - piano, electric keyboards, kudu horn, percussion
Stephen Haynes - cornets, flugelhorns, trumpet, conch shells, didgeridoos, percussion
Tuesday, September 17, 2024. 8:00 pm
Laura Ortman and Ryan Sawyer
Laura Ortman - amplified violin, vocals, windchimes, electric guitar
Ryan Sawyer - drums, percussion, vocals
Wednesday, September 25, 2024 at 8:00 pm
Biliana Voutchkova & DARA Strings
Isidora Edwards cello
Miya Masaoka koto, electronics
Katinka Kleijn cello, electronics
Joanna Mattrey viola
Biliana Voutchkova violin, voice
Thursday, September 26, 2024. 8:00 pm
Brian Marsella’s iMAGiNARiUM: Album release for MEDIETAS
Brian Marsella piano, keys, vocals
Jessica Lurie alto saxophone, tenor saxophone, baritone saxophone, flute, alto flute, bass clarinet
Josh Lawrence trumpet
Itai Kriss flute
Meg Okura violin
Jon Irabagon soprano saxophone, tenor saxophone
John Lee acoustic and electric guitar
Sae Hashimoto vibraphone, glockenspiel, xylophone, balafon, percussion
Jason Fraticelli acoustic and electric bass
Anwar Marshall drums
Rich Stein percussion
Cyro Baptista percussion, vocals
Saturday, September 28, 2024. 8:00 pm
Belongó: Worldwinds
Worldwinds is a collaborative performance bringing together GRAMMY award-winning pianist and composer Arturo O’Farrill and his Afro Latin Jazz Ensemble with two dynamic dance companies: LaTasha Barnes & The Continuum Collective and Soles of Duende. Over the past several years, O’Farrill has forged artistic collaborations with noted choreographers through Belongó’s Worldwinds residencies, which challenge the boundaries of style and medium. The evening’s program features newly choreographed classics and originals from the Afro Latin Jazz Ensemble’s repertoire, as well as new pieces inspired by the movement and steps of its guest companies.
Roulette is located at:
509 Atlantic Avenue (Corner of Third Avenue)
Brooklyn, NY 11217
Telephone: (917) 267-0363
Web: https://roulette.org/
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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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