You don't get me I'm part of the union
You don't get me I'm part of the union
Till the day I die, till the day I die.
As a union man I'm wise
To the lies of the company spies
And I don't get fooled
By the factory rules
'Cause I always read between the lines.
And I always get my way
If I strike for higher pay
When I show my card
To the Scotland Yard
This what I say.
Oh you don't get me I'm part of the union
You don't get me I'm part of the union
You don't get me I'm part of the union
Till the day I die, till the day I die.
Before the union did appear
My life was half as clear
Now I've got the power
To the working hour
And every other day of the year.
So though I'm a working man
I can ruin the government's plan
Though I'm not too hard
The sight of my card
Makes me some kind of superman.
Oh you don't get me I'm part of the union
You don't get me I'm part of the union
You don't get me I'm part of the union
Till the day I die, till the day I die.
Are you part of a Union? No? For small business owners and independent laborers or artists, unions were created to treat workers more fairly. Labor unions have been and are a large part of the ongoing American Dream (or nightmare, depending on your view). Big businesses/large corporations have a way of denying their workers the right to be treated fairly. I’ve long been fascinated by the labor movement and the rights of individuals over the wealthy folks who try to seize control and manipulate our lives. Have you noticed how the Right Wing is often pointing to the Left and calling them Socialists or Marxists, trying to turn them into the “enemy”. Yet our social programs like Social Security and health care are what makes us better off. There is a film called ‘Matewan’ by John Sayles which is about a coal miners strike in the 1920’s. The labor movement and this film capture some of the bloody antics that were going on at the time. Check it out, it is one of my favorite films. The above song is by the Strawbs, one of my favorite sixties/seventies bands that went from bluegrass to folk/rock to progressive influences. The album that it is from is called ‘Bursting at the Seams’ although the album before it, ‘Grave New World’ is my favorite Strawbs record. A toast to the rights of laborers/free men and women everywhere. - Bruce Lee Gallanter, DMG
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THE 33rd ANNIVERSARY IN-STORE CONCERT SERIES AT DMG CONTINUES WITH:
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: GUEST ARTIST - 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
Tuesday, October 1st:
6:30: lo glow redux: PAUL AUSTERLITZ - contrabass clarinet / IVAN BARENBOIM - contra-alto clarinet / patrick brennan - alto sax / CLAIRE de BRUNNER - bassoon / NICK GIANNI - bari sax / MIKE NOORDZY - contra-alto clarinet / JESSICA LURIE - baritone sax / SARA SCHOENBECK - bassoon
7:30: JEFF PEARRING - Alto Sax / KEN FILIANO - ContraBass / MICHAEL TA THOMPSON - Drums
8:30: DEVIN GRAY - Drums / KEVIN EICHENBERGER - Bass / RYAN EASTER - Trumpet
**********
THIS WEEK’S DYNAMITE DISCS BEGINS WITH TWO BOOKS ABOUT:
DAY OF ZORN - A Fanzine Dedicated to the Music of John Zorn by Flake (FZadik; Earth) One of the best things about working at Downtown Music gallery is the opportunity to meet other Music Freaks like (a/k/a serious music listeners) myself and talk about different musicians and music that inspires us the most. Recently, I met a charming young woman named Sarah Grosser who goes by the name Flake. Ms. Grosser just left us with three books that she’s written, two on John Zorn and one on Frank Zappa. For the first book, a Zorn fanatic/professor friend of hers recommended 19 albums for her to listen to as a “Zorn for Beginners” course. Flake listened to all nineteen one per day and then wrote about each one. Ms. Grosser claims to be (or have been) a “jazz hater”, even writing two small books about “jazz for wankers”. Flake’s reactions to many of these albums are often hilarious and honest and what you might expect from a novice. What is interesting is that although Ms. Rosser knew next to nothing about John Zorn (except for the first Naked City album) when she began her odyssey, she takes her task seriously and discusses at length at times about the music she is listening to, as well as what is going on her life at the time. Throughout the book the Zorn Consultant (ZC) also adds some useful commentary, facts or ideas about the recordings that one might want to know about. If I had been the editor, I might’ve add a few tidbits like the fact that the CD, John Zorn’s ‘Cobra at the Knitting Factory’ was released on the Knit label, included 10 performances of ‘Cobra’ live at the Knit with other prompters (conductors of sorts) other than Mr. Zorn and which Zorn was not happy about its release and made sure when it went out of print that it wouldn’t be reissued. All other versions of ‘Cobra’ on disc are much better than that one. The book is printed and designed well and contains many interesting pictures. I must admit that at first I wasn’t so sure about this book but the more I read and look it over the more I am impressed by the chutzpah of Flake. The book also has an OBI (that black wraparound) found on all Tzadik CD’s & DVD’s. A high quality production. Plus Flake refers to John Zorn as “Johnnie” throughout the book, which I find pretty funny since I’ve never heard anyone call him Johnnie. As someone who has been listening to John Zorn for 45 years, I realize that few folks have got the perspective that I have. Mr. Zorn’s music has a way of attracting some and repulsing others. It can be brutal, challenging, ridiculous, weird, strange, bizarre as well as beautiful, touching, tender, get under your skin and blow your mind completely. This book often reminds me of the absurdities, jokes, surprises and revelations which unfold throughout Mr. Zorn’s long musical journey. If you are a Zorn fanatic, this book should make you laugh and think. If you are not a Zorn fan yet, this book should help you get closer. Bravo to Ms. Flake! - Bruce Lee Gallanter, DMG
BOOK $45 - [148 pages, 6” x 10”, enclosed in a purple metallic envelope with Zorn sticker on the front]
DAYS OF ZORN II - Zorn Again (FZadik; Planet Earth) After 19 days of listening to and writing about 19 John Zorn records in a row, Sarah Grosser, a/k/a Flake, decided to keep going and listen to another 21 discs in a row and continuing her journey into the heart, mind and musical soul of John Zorn. Ms. Flake and her John Zorn consultant (ZC) have done an even better job of exploring and detailing the music and concepts of Mr. Zorn. While writing this book, Flake went to several John Zorn marathons in Germany and in Paris. Witnessing Zorn’s music live is much different than listening to it on record. It is much more visceral,in-your-face and gives one a different appreciation of what Mr. Zorn is doing. One of the main things I like about this book is that it shows how much Flake struggled with and worked on her understanding of Mr. Zorn’s vast catalogue of oddities. Many of Flake’s reviews and observations remind me of the way I write reviews, from the heart and mind of a serious listener who is not a musician or a technician. This book is filled with many colored & B&W photos of album covers, live gigs, studio pics and more. It is beautifully designed and looks like something that the Tzadik label would release. Although skeptical at first, Mr. Zorn himself approves of these two books and has written short blurb of thanks early in this volume. There are some long quotes from Theodor Adorno, Amiri Baraka, Susan Sontag, Ornette Coleman, Miles Davis, Lydia Lunch and even members of Spinal Tap, all of which present a different view of the understanding of the composing, recording, performing and criticizing modern music. Meeting and speaking with Ms. Grosser, I feel as if I’ve met a kindred spirit whose life was transformed by the music of John Zorn. Her sense of humor and honesty are at the heart of these books so… - Bruce Lee Gallanter, Zornographer Supreme at DMG
BOOK $45 - [150 pages, 6” x 10”, enclosed in a orange metallic envelope with a Zorn (“is for Lovers”) sticker on the front]
JASON STEIN with JOSHUA ABRAMS / GERALD CLEAVER / BOON - Anchors (Tao Forms 16; USA) Featuring Jason Stein on bass clarinet & most compositions, Joshua Abrams on bass, Gerald Cleaver on drums plus Boon on guitar (for 1 track). Chicago bass clarinetist, Jason Stein, has been playing in mostly solo, duos and trio situations, as well as working in a variety of Chicago bands: Locksmith Isidore (Stein’s longtime trio), Natural Information Society, Nature Work Hearts & Minds. This trio features Chicago bass-great Joshua Abrams (leader of Natural Information Society) and a former-Downtown drummer Gerald Cleaver. The informative liner notes were someone named Boon who also plays guitar on the opening & closing tracks. The opening and closing tracks are called “Anchors 1 and 2” and were written by Boon, who is also the co-producer with Mr. Stein. “Anchor 1” is a lovely, restrained ballad for acoustic guitar and bass clarinet and it sounds like a nice way to open this disc. The second piece is called “Boon” and it is also a haunting, laid-back trio piece which is most enchanting. So nice to hear the often explosive Mr. Stein play with such charming restraint. On “Crystalline” the trio starts off quietly and builds slowly and organically, subdued and hypnotic. On “Cold Water”, the trio play more freely, increasing the tempo and intensity. Towards the last part of this piece, the trio slows down for a solemn solo by Jason Stein. Mr. Stein starts off “An Origin” with a thick, low end tone which sounds like a foghorn in the distance. Mr. Stein takes another strong, heartfelt solo here, showing himself to be one of the best bass clarinetists around, his playing and his tone refreshing and singular. “Holding Breath” features the trio playing with quiet intensity, Stein using breath-like sounds in the first section. This is the longest piece here and it evolves through a section of walking bass with Mr. Stein telling/ playing a story-like solo, which is long and thoughtfully played. The last piece is “Anchor II” and it is again a lovely, haunting song, short and a righteous way to bring this classic disc to a fine close. - Bruce Lee Gallanter, DMG
CD $14
PATRICIA BRENNAN SEPTET with JON IRABAGON / MARK SHIM / ADAM O’FARRILL / MARCUS GILMORE / KIM CASS / MAURICIO HERRERA - Breaking Stretch (Pyroclastic Records PR 35; USA) Featuring Patricia Brennan on vibes, electronics & compositions, Jon Irabagon on alto & sopranino saxes, Adam O’Farrill on trumpet & electronics, Mark Shim on tenor sax, Mauricio Herrara on congas & other hand percussion, Kim Cass on bass and Marcus Gilmore on drums. I’ve caught vibist Patricia Brennan playing live around a half dozen times so far, in solo and in assorted group situations and she has blown me away on each occasion. This is Ms. Brennan’s third disc as a leader and she continues to make leaps and strides on each release. In the liner notes, Ms. Brennan stated that is was certain Latin bands and late sixties/early seventies horn bands (like B, S & T & Chicago) who were big inspirations for her writing. It makes perfect sense that she would utilize the talents of two Latin-based musicians like Adam O’Farrill and Mauricio Herrera. Oddly enough, Adam O’Farrill’s grandfather Chico O’Farrill, was one of the first musicians to combine Latin and Jazz influences, working with Dizzy Gillespie to combine forces for music that was referred to as “Afro-Cuban”. Although there are only seven musicians involved, Ms. Brennan’s septet sounds much bigger. The first song, “Los Otros Yo (The Other Selves)” has a righteous groove fest going on at the center with Ms. Brennan using some electronics on her vibes plus the horns also using some echo sonics most effectively. The band is super-tight and the vibe is most infectious. The title piece, “Breaking Stretch” refers to pushing things beyond established borders or barriers. It begins with just the horns which are featured throughout the piece. Mark Shim takes an inspired tenor solo here with the vibes-led band supporting him in tight waves. It sounds like someone is playing baritone sax on “555” with all of the horns swirling together, working its way through several tight ensemble passages. Ms. Brennan takes a sensational vibes solo here, showing her to be one the best vibes players to move to New York in the past decade. The production and balance on every piece is most extraordinary. Bassist Kim Cass kicks off “Palo de Oros (Suite of Coins)” with a fine unaccompanied bass solo, after which the entire septet erupts in powerful circular lines. While Adam O’Farrill plays a great trumpet solo, the band creates a tight undercurrent underneath. The ever-engaged Jon Irabagon also takes a smokin’ sopranino solo with Ms. Brennan also taking another rambunctious solo adding some sly sonic (electronic) seasoning. Ms. Brennan’s ensemble writing for the horns on “Blue Coral Dreams” is most mesmerizing, orchestral and ever enchanting. Her vibes solo sounds like an extension of layered horns earlier in the song, the last section is closer to chamber music than jazz, rich and thoughtfully arranged. The septet speeds up for “Five Suns”, while one horn solos the band keeps pushing the boundaries to breaking point. “Mudanza” starts off with a shimmering, simmering marimba and is followed by some scary, dark horns floating on top. The “Manufacturers Trust Company Building” has a large Harry Bartoia sculpture which inspired this piece, which is most explosive and most gripping musically as well. “Earendel” is named after the oldest and most distant star which can be seen. It starts with a brooding, ritualistic bass throb and soon becomes darker and most haunting. Mark Shim takes another impressive tenor solo while the rest of the band keeps the pulse and horns reverberating over a sea of electronics and pulsating horns. What I find most interesting here is that this demanding music is closer to prog/jazz/rock yet doesn’t sound like any other progressive band. CD of the month, no doubt! - Bruce Lee Gallanter, DMG
CD $15
BOBBY BRADFORD / FRODE GJERSTAD / WILLIAM ROPER / ALEX CLINE - FRICE (Listen! Foundation / Fundacja Sluchaj FSR 19 / 2024; Poland) Featuring Bobby Bradford on cornet, Frode Gjerstad on alto sax & B-flat clarinet, William Roper on tuba, travel-tuba & small instruments and Alex Cline on drums. Legendary L.A. cornetist Bobby Bradford’s career stretches back to the late 1950’s when he worked with Ornette Coleman. After that Mr. Bradford collaborated with clarinetist supreme John Carter for more than twenty years. Since Mr. Carter’s passing in 1991, Mr. Bradford keeps busy playing with John Stevens (in SME), Rich Halley, Frode Gjerstad and Hafez Modirzadeh. SME founder, John Stevens, has worked with Norwegian reeds wiz, Frode Gjerstad for several decades, with Mr. Bradford being a member of SME in 1971. Mr. Bradford has also been working with L.A. tuba great William Roper on several records. Both Alex and Nels Cline (twin brothers) have been working & recording with Mr. Bradford over a half dozen discs so far. Over the past decade I’ve become a big fan of tubist William Roper who has worked with Wadada Leo Smith, Vinny Golia & Vijay Anderson.
This disc was recorded in Los Angeles in August of 2022. All five of the pieces here are group compositions, spontaneous improvisations. Considering that there are all older musicians, the playing here is mature, thoughtful, free yet focused. “Abyssopelagic Zone” starts off quietly with swirling cornet, low-end tuba growls, reed squeaks and controlled yet frenzied percussion. The music is carefully recorded, spacious, well-balanced and flows organically. It sounds like Mr. Gjerstad is playing two reeds at the same time near the early part of “Wraiths of Despair”, perhaps Mr. Roper is also playing some small toy-like blowables here as well. Alex Cline, who records infrequently, is a master percussionist and sounds splendid here, weaving orchestral percussion flourishes underneath the rest of the seasoned quartet. The main vibe here is one of calm, free-flowing gracefulness with occasional chattering horns and reeds. “Divalproex Haze” starts with sublime, dreamy cornet and busy drums, working perfectly as one. Mr. Bradford has a warm, golden tone and sounds like he’s been playing for many years which is no doubt the case. Mr. Roper is the magic ingredient or wild-card here, talking/singing through his tuba and adding bits of spooky vocal sounds. That organic flow which runs throughout this disc includes muted brass, odd vocal sounds, hushed clarinet or sax squeaks and tasty hand percussion and/or drums & cymbals. I’ve long thought that the best improv has a magical, ethereal vibe which can be felt but not always easily described. This is Magic Spirit Music. - Bruce Lee Gallanter, DMG
CD $16
IVO PERELMAN / MARK HELIAS / TOM RAINEY - Truth Seeker (Listen! Foundation / Fundacja Sluchaj FSR 06 / 2024; Poland) This album that was released shortly after the first is the energetic and extroverted Truth Seeker (Fundacja Słucha, 2024). On it Perelman joins forces with two adventurous and inventive kindred spirits, bassist Mark Helias and drummer Tom Rainey. The collaborative trio spontaneously creates fiery and stimulating music spread out over seven tracks. The album, recorded in New York in 2022, has definite American (both North and South) sensibilities.
The atmospheric "Devotion" that opens with sparse notes and beats features Perelman's soulful tenor that flirts with dissonance. Helias and Rainey form an angular rhythmic framework around Perelman. The tune evolves into a blues drenched extemporization with Perelman blowing simmering phrases and Helias laying down deeply resonant and muscular lines. Rainey's thundering beats are simultaneously urbane and filled with a primal energy. As the ensemble members push one another to newer heights of spontaneous creativity the performance becomes delightfully riotous with a march like cadence. Then, softly, it fades into an angsty silence.
Meanwhile on "Life's Meaning" Helias' con-arco lines and Perelman's yearning tones form a dynamic tension. Rainey's booming kit, with its cascade of thuds and thrums enhances the cinematic ambience. As Helias bows and Perelman blows his tenor the piece hints at Latinesque sounds, like an otherworldly tango of sorts. Rainey continues to drive the exchanges with agility, switching between polyrhythmic flourishes and darkly moody percussion. The group, demonstrating exemplary camaraderie, let loose with exuberance with an undertone of lyricism, especially at the conclusion.
It may seem redundant to say that with this Perelman's career has reached a new height as this seems to be the case with each release. Truth Seeker, however, is a gem in the saxophonist's uniformly superb oeuvre. Perelman has mastered the knack of finding like-minded "partners in crime" but here he is out done himself. This is his most cohesive band since his synergistic collaborations with pianist Matthew Shipp. - Hrayr Attarian, AllAboutJazz.com
CD $16
PAUL DUNMALL / TOBIAS DELIUS / OLIE BRICE / MARK SANDERS - No Better Than the Butcher Bird (Listen! Foundation / Fundacja Sluchaj FSR 20 / 2024; Poland) Featuring Paul Dunmall on tenor & soprano saxes & clarinet, Tobias Delias on tenor sax & B-flat clarinet, Olie Brice on contrabass and Mark Sanders on drums. Ever since Paul Dunmall put his DUNS CD-R label to bed (67 CD’s, 1999-2010), British sax colossus, Paul Dunmall has continued to discs released on a variety of labels like FMR, Slam, ESP-Disk, Rare Music & smaller labels too many to mention here. Mr. Dunmall continues to have released all sorts of improv sessions with longtime collaborators like drummer Mark Sanders and bassist Olie Brice. This is, I believe, the first time that ICP saxist Tobias Delius has worked with Mr. Dunmall, although the rhythm team here did record a trio session with Mr. Delius in 2015, nearly a decade ago. Since the passing of Misha Mengelberg in 2017, the ICP Orchestra (cofounded by Mengelberg, Han Bennink & Willem Breuker) has continued but slowed down as far as new releases go. Tobias Delius can be found on just a few discs in recent years.
I wasn’t sure what the “butcher bird” referred to in the title of this disc but it turns out the butch birds hail from Australia and are known for their diverse birdsongs. Although Mr. Dunmall and Mr. Delius hadn’t recorded before this session, the quartet sounds tight, seasoned and inspired right from the gitgo. I recall when I first heard of bassist Olie Brice on a duo CD with Neil Metcalfe from 2011. Mr. Brice has come a long way since, playing with a large number of European avant/jazz greats, as well as leading several of his own bands: duos, trios & beyond. Mr. Brice is often at the center of the quartet with the ever-engaging, well-recorded master drummer Mark Sanders. As the bass and drums lock together, providing waves of rhythmic turbulence, the two saxist weave in and out. “Meadow Brown and Marbled White” (both are butterflies) begin with both saxists trading lines before the rhythm team enters. Mr. Dunmall switches to soprano sax midway here and his playing is a stream of endless spirals, the quartet moving in waves around him.
Mr. Brice takes the first solo at the beginning of “Green Man Message” and sounds strong. Soon a clarinet and tenor sax are spinning around one another. There is an elastic sense of flow going on here as the quartet expands, contracts, some musicians speed up as others slow down yet there is a central force or spirit which is holding this together. Some of this is Fire Music, this is not what is consistently going on. This disc is better balanced and not always predictable. The last piece, “Symbols” is the best as it encompasses what this disc is about, sprawling, inside/outside, roller coaster ride, up high, down low, from frenzy to calm, from fire-breathing to sparse, yet always engaging on one level or another. This is much better than the butcher bird. - Bruce Lee Gallanter, DMG
CD $16
TONY BUCK / JOHN EDWARDS / ELISABETH HARNIK / HARRI SJOSTROM - Flight Mode / Live in Berlin 2023 (Listen! Foundation / Fundacja Sluchaj FSR 14 / 2024; Poland) "Legendary saxophonist and improviser Harri Sjostrom knows how to build bands. This has certainly been the case since the Lifting The Bandstand album, but back then the great Cecil Taylor was the leader. This is certainly one of the many lessons Harri Sjostrom has learned from the brilliant pianist and leader. He has since given evidence of this an endless number of times. The latest band he has established is a quartet with Elisabeth Harnik, arguably one of the most important pianists in improvised music today, the great John Edwards on bass and percussionist and co-founder of the legendary band The Necks, Tony Buck. Let's move to Berlin, sit comfortably in the armchairs, we are in for a night flight, the likes of which do not happen often!" - Fundacja Słuchaj
CD $16
JOELLE LEANDRE / ELISABETH HARNIK / ZLATKO KAUCIC - Live in St. Johann (Listen! Foundation / Fundacja Sluchaj FSR 13 / 2024; Poland) Featuring Joelle Leandre on contrabass & voice, Elisabeth Harnik on piano & objects and Zlatko Kaucic on drums & percussion. This disc was recorded live at Artacts Fest, at St. Johann in Tirol, Austria in march of 2013. I recently reviewed a superfine 4CD/1 DVD set called Lifetime Rebel, an entire night of sets featuring French contrabassist supreme Joelle Leandre, from the Vision Fest of 2023 on the Rogue Art label. Although I attended and dug that entire night live, I was still blown away by five discs in which Ms. Leandre played extraordinary contrabass in five different ensembles in one night. Plus checking out Ms. Leandre in a trio with Craig Taborn & Mat Maneri earlier this year (2024) at the Victo Fest was one of the highlights of this years’ festival. Ms. Leandre always chooses her musical partners wisely. Ms. Leandre has been working with Slovenian drummer Zlatko Kaucic with releases so far. Austrian pianist Elisabeth Harnik did a duo disc with Ms. Leandre as well as several other duos or trios with Frank Gratkowski, Dave Rempis and Steve Swell.
The first thing I noticed is that this session/disc is superbly recorded, the balance of the trio is just right. Ms. Harnik is carefully playing inside the piano with small objects, rubbing and muting the strings while the contrabass and percussion cautiously weave around her. Ms. Leandre starts bowing on the first long piece, the trio swirling like fairies flying or bees buzzing around a hive. Ms. Harnik plays a solemn layer of free-flowing piano with her foot on the suspension pedal so we all can float away for a bit. The trio soon gets rambunctious, erupting together intensely for a period, the bowing getting more frenzied while Ms. Leandre also adds some odd yet fitting vocal sounds. Ms. Leandre almost sounds like she is having a conversation or perhaps describing something in French, adding some humor to the serious side of free/improv. On the second piece, the intensity picks up as Ms. Harnik runs her fingers of hands up and down the keyboard while the bass and drums erupt around her. All three members of this trio shine throughout this disc. This is high end improv at its very best. When the disc ended, I was sitting in my kitchen smiling and feeling better about being alive, the good vibes radiating like rays of sunshine throughout the sdark cloud surrounding us at times. Thanks to Joelle Leandre, Elisabeth Harnik and Zlatko Kaucic for their positive creative vibrations. - Bruce Lee Gallanter, DMG
CD $16
THREE NEW DISC FROM THE FINE FOLKS AT SUNNYSIDE RECORDS:
HAPPY APPLE with ERIK FRATZKE / MICHAEL LEWIS / DAVE KING - New York CD (Sunnyside 1751; USA) For over 25 years, the Minneapolis based collective, Happy Apple, has delivered its own enigmatic vision of jazz and improvised music to an adoring cognoscenti of listeners. Though they’ve found favor from the jazz community at large, the trio of saxophonist Michael Lewis, bassist Erik Fratzke, and drummer Dave King remains a band of outsiders, three independent personalities with eclectic tastes and styles providing music with an obtuse Midwestern charm.
Mostly known for their electric live performances, Happy Apple has been a hard beast to capture on record. Though they recorded frequently in the early 2000s, the members admit that much they recorded never truly captured their “real” band sound. So, when Happy Apple decided to record after a long hiatus, they decided to get it right. “New York CD” is the recording that the band agrees finally captures the essence of Happy Apple.
Happy Apple came together during the mid-1990s as an outlet for Lewis, Fratzke, and King’s experiments with improvisation and composition. The group amassed a book of nearly 150 pieces, most of which were never recorded. During the early 2000s, the group found themselves in position to document their music. The typical challenges of recording led to strong, respected albums but albums that the group never truly felt captured their spirit.
Nearly a decade after their last studio effort, Happy Apple Back on Top (Sunnyside, 2008), Happy Apple ramped up their activity with increased performances while members were available. Each band member leads a busy musical life: King has been a member of many well-known bands, most notably with the Bad Plus and Halloween, Alaska; Lewis’s time has been mainly spent in Bon Iver’s touring band; and Fratzke was a member of prog band Zebulon Pike. The increase of Happy Apple performances led the band back to the studio to capture their reignited energy.
The music from “New York CD” comes from two recording sessions a few years apart. The initial return to the studio was held at Justin Vernon of Bon Iver’s April Base Recording Studio in Wisconsin. The group later returned to their regular recording studio, The Terrarium in Minneapolis, to complete the album. The music they recorded included pieces that had been regular parts of their sets for 20 years along with brand new compositions, written especially for the recording sessions. Most of the pieces were done in first takes and without overdubs. - Sunnyside
CD $14
GREG REITAN with JACK DARO / DEAN KOBA - The Bounding Line (Sunnyside 1740; USA) Los Angeles-based pianist/composer Greg Reitan jumped into the scene with an elegant splash in 2009 with his debut recording, Some Other Time (Sunnyside Records). He followed this up in 2010 with Antibes (Sunnyside Records). Both recordings were critically lauded, drawing comparisons to the work of legendary pianist Bill Evans. Reitan possesses a supple Evans-esque touch, with lots of sparkling single note runs sprinkled into his sound. He also employs a pair of terrific trio mates, bassist Jack Daro and drummer Dean Koba, who have helped Reitan shape a trio sound almost as dynamic and distinctive as that of Bill Evans' second great trio with bassist Eddie Gomez and drummer Marty Morell.
The Bounding Line represents a step forward for the trio. Reitan draws inspiration from English poet William Blake's (1757-1827) concept of a "bounding line," the idea that the sharper and more distinct the assigned boundaries are drawn for a work of art, the more potentially perfect the art. On one level, the piano trio—concerning the mainstream jazz piano trio format here; Cecil Taylor is another story—has well-established boundaries. On another level (a subject for some other time) the underlying complexities, subtleties and dynamics of the art form, as well as the convolutions and quirks of the of artists involved, are endlessly complex. To take things further and argue against this line of thinking (who would not want to argue with William Blake?), late-career John Coltrane and Albert Ayler may have disagreed with the bounding line theory—again, a conversation for another time.
With the idea of a bounding line in mind, Reitan—who had been gifted a residency in composer Aaron Copland's home, Rock Hill, in Cortlandt Manor, New York, in the summer of 2019—went to work. Rock Hill became, in Reitan's words," My hideaway, my solitude," where he was allowed to focus on his composing. His tunes that appear on Bounding Line were germinated in Rock Hill.
"The Path" was inspired by Reitan's' evening walks with his wife during their Rock Hill residency, along the pathways that connect the Hudson River parks. "My Love Is An April Song" is a little-known Earl Zindars composition. Reitan and the trio treat it with a soft touch and respect. "Rising Sun" comes from the pen of Dave Brubeck. It appeared on his Jazz Impressions Of Japan (Columbia, 1964). The trio gives the tune a gentle, introspective calmness. The Reitan original, the relaxed and joyful "Summer Days," came from the pianist's reveries behind the large windows of Copland's music room, while his "Starting Point" sets up an endless loop that brings, compositionally, Brad Mehldau to mind.
Saving the loveliest for last, Reitan presents, fittingly, the Aaron Copland gem, "Down A Country Lane," a tune for with, perhaps, the common man in mind—serene, sacred and at the same time of this earth, a beautiful thank you to the Copland House Foundation's generosity. - Dan McClenaghan, AllAboutJazz
CD $14
MATT PAVOLKA with BEN MONDER / SANTIAGO LEIBSON / ALLAN MEDNARD - Disciplinary Architecture (Sunnyside 1734; USA) Matt Pavolka, a seasoned bassist and composer, has carved a distinct niche in the New York jazz scene for over two decades. Initially focused on trombone (studying under the legendary David Baker), Pavolka's path took a sharp turn at Berklee College of Music. There, he switched to bass and blossomed as a composer, earning accolades for both performance and composition. His latest offering, Disciplinary Architecture, is a record brimming with ambition and a unique sonic atmosphere.
The album immerses the listener in a world of raw energy and complex atmospheres. Instrumental interplay is tight, with Pavolka's seasoned band navigating intricate compositions with precision. Inspired by recent global events, Pavolka weaves dialogue and literary references into the music, adding a compelling layer of depth to the compositions.
"An Aged Flamingo In A Dried-Up Pool" showcases the band's ability to build tension with unsettling soundscapes. "And Then We Towed New Zealand Out Into the Sea" is constructed on a pungent groove with a discreet melodic theme, where keyboardist Santiago Leibson and guitarist Ben Monder trade stirring licks.
Certain tracks feature free-form jazz fusion soundscapes with EFX treatments and expansive dialogues, shifting tempos and structured diversions with effective use of reverb, especially for the keyboardist. Throughout, Pavolka guides the ensemble with forceful lines and intricate bass work. "Defeating the Porpoise" boasts a feisty mid-tempo jazz vamp, intersected by Leibson's fluid electric piano soloing and Monder's low-volume crunch chords. The band settles into another engaging groove as Monder raises the intensity with ascending and rippling riffs.
The title track "Disciplinary Architecture" is an offbeat medium-paced workout, led by drummer Allan Mednard's colorful cymbal hits and snappy rimshots. Monder once again elevates the energy with compelling progressions, accompanied by the drummer's dynamic timekeeping and Leibson's edgy phrasings.
While the single-take recording approach amplifies the raw, live energy, it occasionally sacrifices some sonic refinement. Hence, listeners might find themselves craving a wider melodic palette throughout the album's journey. But If your idea of a fun time involves having your musical mind blown, expanded, and reassembled in ways you never thought possible, then strap in, hold onto your beret, and prepare for Disciplinary Architecture to rearrange your musical DNA. - Glenn Astarita, AllAboutJazz.com
CD $14
BLACK ARTISTS GROUP with OLIVER LAKE / JOSEPH BOWIE / BAIKIDA CARROLL / CHARLES BOBO SHAW / FLOYD LeFLORE - For Peace And Liberty: In Paris, Dec 1972 (WeWantSounds 091CD; UK) Wewantsounds presents the release of BAG's first album since 1973, For Peace and Liberty, recorded in Paris in Dec. 1972 when the musicians had recently arrived from St Louis. BAG only released one album during their existence. This long-lost performance, recorded at Maison de l'ORTF in optimal conditions just a few months previously, was thought lost until recently unearthed from the vaults of INA (Institut National de l'Audiovisuel). Here the group unleashes an incandescent 35-minute set mixing free improvisation and spiritual jazz with funk grooves. Released in partnership with the band and INA, the album features sound remastered from the original tapes, plus a 20-page booklet featuring words by Oliver Lake, Joseph Bowie, and Baikida Carroll plus Bobo Shaw's and Floyd LeFlore's daughters as well as extensive liner notes by BAG scholar Benjamin Looker and previously unseen photos by cult French photographer Philippe Gras. The Black Artist Group (BAG) was founded in St Louis, USA, in 1968 to promote local artists from the burgeoning Black Arts movement, including musicians, playwrights, dancers and poets. The BAG quintet heard here pulled together key musicians from the larger organization, including Oliver Lake on sax, Baikida Carroll, and Floyd LeFlore on trumpet, Joseph Bowie on trombone and Charles 'Bobo' Shaw on drums. The musicians emerged from the organization to become a vital force within the late '60s free jazz revolution. Modelled on the AACM and the Art Ensemble of Chicago with whom they had close ties, this subset of BAG musicians followed in the footsteps of their Chicago colleagues, relocating to Paris in the early '70s on the recommendation of Lester Bowie, Joseph's older brother. Arriving in the French capital in Oct. 1972 the group made an instant impact on its underground music scene. In December of that year, Andre Francis, ORTF's jazz supremo invited them onto his "Jazz sur Scene" radio show, which showcased four groups live over two hours. Arriving onto the stage of the prestigious Studio 104 auditorium of the Maison de la Radio, the group delivered a jaw-dropping 35-minute set that left the audience mesmerized. Only thanks to a chance listening of another concert -- where the BAG live set was buried within -- was the recording unearthed making this historic release possible fifty years on. The release counts as an invaluable document, shedding fresh light on one of the most fascinating groups in modern jazz history.
CD $17 / LP $35 [In stock in next week]
JOWE HEAD // JEREMY GLUCK / HEATHER LEIGH / TERRY EDWARDS / et al - Presents: Art for All (Glass Modern 065CD; UK) Art For All is a collection of music-pieces curated by Stephen Bird (aka Jowe Head), based on the theme of visual artists and artworks that have inspired the musicians involved in the project. He writes: "I presented a challenge to various songwriters and musicians that I know around the world: I asked them to express their feelings about a visual artist or their artwork, in a piece of music. I had already composed and recorded material about William Blake, Louise Bourgeois, Joseph Beuys, Pablo Picasso, Joseph Cornell and Hannah Höch, so I was interested to see how other musicians would respond. I allowed them to choose artists as familiar or as obscure as they wished, in a musical setting of their choice. Styles are diverse, encompassing dirty rock and roll, joyful pop-songs, and abstract sound-pieces. Some pieces use electronica or 'found sounds'; some use lyrics, others no words at all. Some pieces are comments on the lives of the artists themselves, others responses to specific artworks. Some of the artists chosen were creating their work centuries ago; some are still alive and producing work today. Some are 'established' artists, considered by curators and art historians to inhabit the respectable world of 'fine art'? The 'Do It Yourself' aesthetic of the early punk community inspired me and others to create without inhibition; the important thing was to "do it", and to learn as we went along. It is vital that we retain the urgency of that creative impulse, without being distracted by the need to 'show off' with tiresome displays of 'cleverness' or technical expertise. The realms of art and music should not be reserved for a privileged elite! Ultimately, convenient categories such as 'pop-art', 'surrealism', or 'impressionism' are meaningless when contemplating the work of an artist whose work is transcendental and sublime in its intensity. The same applies to musical expression; in my view, often the best music is that which defies categorisation." Featuring The Callas, Woog Riots, Luke Haines, Jeremy Gluck & Don Tyler, The NoMen, Heather Leigh, Future Pilot AKA, Seven Headed Raven, SPeW, BMX Bandits, Exploding Flowers, Terry Edwards, and Woog Riots.
CD $15
RENATO SERIO - Il Ginecologo Della Mutua (Beat Records CDCR 151CD; Italy)
Beat Records presents the unreleased original motion picture soundtrack composed by Renato Serio for the movie Il Ginecologo Della Mutua, a movie in the sexy comedy genre directed by great Joe D'Amato with brilliant Renzo Montagnani in the cast along with good actors of the period such as Massimo Serato, Paola Senatore, and Daniela Doria. The score composed by Maestro Serio, collaborator and friend of immortal Armando Trovajoli, color the plot in a sparkling way and sees the collaboration with the latter thanks to the presence of two cues, "Remembering" and "Tema per Luciana," aside "Gotta Get Rich Quick," composed with four hands. Up to nowadays just available on an extended play which featured two cues from the movie' score of "Quando c'era lui caro lei," now complete on CD with 50 minutes of music, a 12-page illustrated booklet edited by Daniele De Gemini, mastering by Enrico De Gemini, liner notes by Fabio Babini and Renato Massaccesi, nephew of Great Aristide.
CD $24
SKINSHAPE - Another Side Of Skinshape (Lewis Recordings 1189; UK) "Skinshape (aka Will Dorey) presents his ninth studio album titled Another Side Of Skinshape via Lewis Recordings. As the album title suggests, Dorey's latest body of work is somewhat unlike anything in his prior discography. However, there is always a consistent Skinshape thread which pulsates throughout all of his music -- a kind of sonic dreamscape which echoes a mystical nostalgia for a sun dappled afternoon. Taking inspiration from childhood memories, Ethiopian rhythms, and even calls to prayer, Another Side Of Skinshape gained access to the most esoteric corners of Dorey's mind. Whilst 'It's About Time' and 'Ananda' display a slightly more synthesized palette than is typical of a Skinshape tune, singles 'Stornoway' and 'Lady Sun' (which features the hazy soul vocals of West London's Hollie Cook) replicate the same lifeblood heard on albums Nostalgia, or Craterellus Tubaeformis. Speaking on the album, Dorey says 'Some songs pay homage to the '90s whilst others the '60s and '70s. Yet you may not perceive all of these in the form that they are presented. In any case I hope that the album is enjoyable and will fit casually into the flow of your day.' Whilst making this album, Dorey experimented with various keyboards and drum machines, which are at times layered over the excellent drumming of Thomas Blunt, who played live onto tape. Blunt is well versed in the Skinshape vernacular, also being part of Dorey's live band. Dorey is a former member of the band Palace, has played Glastonbury, BBC Maida Vale and Shepherd's Bush Empire to name a few."
CD $16
THREE QUARTER SKIES - Fade In (Sonic Cathedral 240CD; UK) Three Quarter Skies -- the new band formed by Simon Scott from Slowdive -- present their debut album Fade In. It was recorded by Simon and mixed with the help of elusive Flying Saucer Attack mainman Dave Pearce. The eight-track album includes the singles "Crows" and "Leave A Light On," a Nick Drake cover and brand-new versions of "Holy Water" and "Pieces Of Roslin," which was originally released on 2023's introductory EP, Universal Flames. While that grew out of a semi-improvised live recording, the new album is as focused as it is ferocious; a cohesive body of work that came together after a fertile creative period following the death of Simon's mother earlier this year. "My creative well was already beginning to overflow and losing my mum pushed me over the edge," says Simon. "I didn't want to write pretty tunes, or sentimental and saccharine music about love or pretend how happy and healthy the world is. Three Quarter Skies' songs are angry, noisy, turbulent, stubborn and petulant." As a result, Fade In is a heavy listen -- opener "Slight Betrayal" has a nagging sense of motion sickness before the fuzzy hopefulness of "Leave A Light On;" there's the post-new normal rumble of "Superwoman," the feedback folk of "In The Night" and "Crows," with its "vivid and surreal" attempts to process grief.
CD $15
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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 / 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 (sax)
THE STONE RESIDENCIES / SARA SERPA / SEPT 18-21
9/18 Wednesday
8:30 pm - QUARTET - Sara Serpa (voice) Yvonne Rogers (piano) Linda May Han Oh (bass) Ches Smith (drums)
9/19 Thursday
8:30 pm - QUARTET - Sara Serpa (voice) Mark Turner (tenor sax) Marta Sanchez (piano) Qasim Naqvi (modular synth)
9/20 Friday
8:30 pm - TRIO - Sara Serpa (voice) Greg Ward (alto sax) Matt Mitchell (piano)
9/21 Saturday
8:30 pm - DUO PLUS - Sara Serpa (voice) André Matos (guitar) Devon Gates (bass) Dan Weiss (drums)
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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Celebrating the release of ‘Soliloquies’
Jason Kao Hwang’s new CD of solo pizzicato violin improvisations.
JASON KAO HWANG - violin
Sunday, September 15, 2024, 4:40pm
440 Gallery
440 6th Ave., Brooklyn, NY, 11215
www.440gallery.com / $10 suggested donation
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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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