I may be vile and pernicious
But you can't look away
I make you think I'm delicious
With the stuff that I say
I'm the best you can get
Have you guessed me yet?
I'm the slime oozin' out
From your TV set
You will obey me while I lead you
And eat the garbage that I feed you
Until the day that we don't need you
Don't go for help, no one will heed you
Your mind is totally controlled
It has been stuffed into my mold
And you will do as you are told
Until the rights to you are sold
That's right, folks
Don't touch that dial
Well, I am the slime from your video
Oozin' along on your livin' room floor
I am the slime from your video
Can't stop the slime, people, look at me go
I am the slime from your video
Oozin' along on your livin' room floor
I am the slime from your video
Can't stop the slime, people, look at me go
I attended Glassboro State College from 1972-1976, graduated and moved back home (Linden, NJ) from the fall of 1976 onwards. During my time at Glassboro, none of my roommates or myself owned or watched a TV, aside from a few episodes of ’Twilight Zone’ in my sophomore year and watching ‘Saturday Night Live’ at a few parties which took place on Saturday nights. When I would come home for winter or summer vacations, I would often argue with my family to not watch TV as they often did each evening after dinner. I didn’t like how most folks would zombie out watching TV every night instead of talking amongst ourselves or doing something more interesting (to me). I saw how TV often distorted the truth and manipulated people through commercials and fake happy-ending stories. My parents used to tell me that I was stuck up due to not wanting to watch the boob tube. I did start to watch TV again in the 1980’s, mostly the different versions of ‘Star Trek’. I remain a big Trekkie to this day. Mostly because it takes place in the future when mankind has eliminated poverty, racism and the many diseases that plague us now.
My first real hero in music was and still is Frank Zappa, especially the original Mothers of Invention, his first solo efforts and the Grand Wazoo ensemble. I could always relate to the many observations the Zappa made about life in America and the way folks are manipulated by outside sources. The above song, “I am The Slime”, comes from a later Mothers album called ‘Overnite Sensation’, which was the first Zappa record that I didn’t like in its entirety. Parts of it are great, some of it is silly humor rather than the humor that makes you question what you think and some of it is misogynist BS (like “Dynamo Hum”). Zappa was always great at nailing the evils of society or culture and the above song provides a cynical look at how watching TV can and does affect our behavior. I recall seeing a video for this song which was pretty hilarious, check it out if you can. I’ve been reading through Sarah Grosser a/k/a Flake’s fanzine/book, ‘Zappa Every Day’, and thinking about my own long odyssey of appreciating Frank Zappa’s vast array of records, films, interviews and such. I still go back to ‘Freak-Out’’, Uncle Meat’, ‘Hot Rats’ and/or either Grand Wazoo albums and marvel at Mr. Zappa’s genius and influence. “I’m sure that Love will never be a product of plasticity”, so says Zappa on ‘Absolutely Free’. A grand toast to Mr. Frank Zappa! - Bruce Lee Gallanter at DMG
***********
THE 33rd ANNIVERSARY IN-STORE CONCERT SERIES AT DMG CONTINUES WITH:
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
Tuesday, October 8th:
6:30: WaterghOst and WEBB CRAWFORD - Guitar duo
7:30: DOT ISO: VIVEK MENON - Violin / DYLAN DELGIUDICE - Guitar-Sax / ORCHID McRAE - Drums, Perc.
8:30: MARC EDWARDS & SLIPSTREAM TIME TRAVEL: AYUMI ISHITO - Tenor Sax / TOR SNYDER, NATHAN CHAMBERLAIN / DYLAN DELGIUDICE - Electric Guitars / TAKUMA KANAIWA - El Bass / MARC EDWARDS - Drums
**********
THIS WEEK’S SONIC TREASURES BEGIN WITH TWO NEW DISCS From The TZADIK LABEL:
JOHN ZORN // BARBARA HANNIGAN / IKUE MORI / JAY CAMPBELL / STEVE GOSLING / SAE HASHIMOTO / CHRIS OTTO / JORGE ROEDER / CHES SMITH / et al - Hannigan Sings Zorn Volume Two (Tzadik 9314; USA) Volume Two documenting Barbara Hannigan's collaboration with Downtown alchemist John Zorn presents four dramatic pieces for voice and ensemble, with three composed expressly for Ms. Hannigan! Liber Loagaeth, a meditative composition for voice and string quartet that lies somewhere between a spell and a prayer—Star Catcher, a powerful tour-de-force for voice, piano, and rhythm section—Ab Eo, Quod, scored for voice, cello, vibes, electronics, and drums—and a Zorn classic, Pandora's Box, his dramatic take on the Lulu legend, and who better to interpret it than the definitive 21st century Lulu—Barbara Hannigan! A fabulous and varied program highlighting the productive and inspiring relationship of one of the world’s greatest sopranos with one of our most adventurous and uncompromising composers!
CD $16
DOUGIE BOWNE with MATT NELSON - The Stars Are Indispensable (Tzadik 4051; USA) Dougie Bowne is a producer, drummer, electric guitarist, and composer of remarkable versatility. An early member of the New York Downtown scene, he has worked with John Cale, Iggy Pop, Ryuichi Sakamoto, Yoko Ono, Laurie Anderson, The Lounge Lizards, Cassandra Wilson, Jack Bruce, Marianne Faithful, Cibo Matto, and many, many others. Here he uses all of his formidable talents to create a bass, drum/guitar duo recording unlike anything you have ever experienced. Intense and hypnotic, this is an unusual presentation of improvisation based music at its very best, and one of the most unique and edgy projects Mr. Bowne has ever created. Fabulous!
CD $14
BASSDRUMBONE with MARK HELIAS / GERRY HEMINGWAY / RAY ANDERSON - Afternoon (Auricle Records; USA) Featuring Mark Helias on contrabass, Gerry Hemingway on drums and Ray Anderson on trombone. Recorded at the Samurai Hotel (studio) in Astoria, NY in July of 2023. BassDrumBone, an avant/jazz trio began in 1977 and were a part of the ever-evolving Loft Jazz Scene in lower Manhattan. Although the trio gets together periodically, all three members keep busy during a myriad of activities like teaching, composing, producing, bandleading and working with a long list of collaborators. Right before this disc was recorded, the trio played a set at Zurcher Gallery on Bleecker Street in the Village which was mostly improvised. I was there and glad to be there as these cats are all old friends of mine and the set was wonderful. The trio recorded this disc several days later, performing improvised pieces as well as one new original piece by each member. “Afternoon Begins” is first and is a trio improv. Mark Helias’ ebullient contrabass is at the center here with the trombone and skeletal drums providing thoughtful counterpoint. “Ain’t Nuttin’ Butta” has a loose, bluesy groove/sound with some especially greasy, soulful trombone and funky rhythm team action. You could actually dance to this tune if you were so inclined. Mr. Helias’ “Shone Eyes” is stripped down and has a somber, forlorn sound/vibe and a touching, tender trombone solo. “Afternoon Continues” is long, trio improv piece. Mr. Anderson starts off using a mute making his trombone sound like it is crying with Mr. Helias playing nimble swirling lines along with Mr. Hemingway’s skeletal yet swinging undertow percussion. You can tell that this trio has been working together for a long while since they have a group sound which seems to keep shifting through a series of short scenes or episodes. Ray Anderson has always had one foot in the past and one foot in the future, his playing moving from swinging, older origins to more free and experimental excursions. His piece here, “Bright Wabash” is in between these barriers or divisions. It is both somewhat funky at points yet keeps changing with a section that reminds me of unexpected Braxtonian weirdness (stopping and starting several times). The last piece, “Afternoon Ends” is the final trio improv and the trio play freely swirling around one another yet still sounding as if they are one spirit/force. The trio take their time and move through a few different sections, swinging softly and then freeing up the groove. This is yet another gem from the legendary BassDrumBone who will fifty in 2027! - Bruce Lee Gallanter, DMG
CD $15
TERRENCE McMANUS / ELLERY ESKELIN / GERRY HEMINGWAY - Music for Chamber Trio (ROWhouse Music 04; USA) Featuring Terrence McManus on guitar & compositions, Ellery Eskelin on tenor sax and Gerry Hemingway on drums. Last year Downtown guitarist Terrence McManus released a guitar/bass/drums CD on his own label called ‘Karacelli’. It turned out to be one of the best jazz/rock/fusion records of the year, much better than anyone would’ve expected from this fine, modest, under-recognized guitar great. There are way too many great musicians in the ever-evolving Downtown Scene who deserve more recognition for their efforts. For this disc, Mr. McManus has chosen two older Downtown heroes, tenor saxist Ellery Eskelin and drummer Gerry Hemingway (currently living & teaching in Switzerland). I am a longtime fan of Mr. Eskelin no matter which project he is involved in. I can’t recall any current releases from him except for his trio with Christian Weber & Michael Griener and his work in Stephan Crump’s Rhombal, both of which go back a ways. Mr. McManus and Mr. Hemingway’s working relationship does go back a bit, having recorded in a duo & a trio, as well as with Mr. Hemingway’s quintet (from a decade ago).
All of the pieces on this disc are named as “Parts 1 - 7”. Things begin quietly with sparse tenor sax, guitar and drums playing with suspense, the trio slowly building as the density and intensity grows. This is a well-balanced, thoughtful and crafty trio which works well together, improvising organically. The piece moves through some eerie, dreamlike sections the three instruments swirl tightly yet loosely around one another. Although this music sounds mostly free, there seems to be an inner thread or flow going on. In one part, the tenor & guitar are playing a tender ballad of sorts with Mr. Hemingway adding some skeletal punctuation. Most of the pieces here are pretty long and go through a variety of sections or scenes. The trio erupts intensely on “Part 2” as the tempo and intensity increases to near boiling point, the excitement factor hits the top of the scale for several minutes. Things mellow out again for “Part 3” with Mr. McManus playing some lovely, delicate guitar as Mr. Eskelin plays haunting tenor sounds underneath. The pieces that are sparse sound like there was some direction in mind, getting to flow from one scene to the next. On “Part 4”, McManus taps on his guitar quietly as his chords resonate like a series of thoughtful whispers. On “Part 5”, the minimal or sparse sounds here are similar to blank canvas with subtle flecks carefully placed amongst the space or silence. As this piece unfolds, McManus plays some harp-like flourishes on his guitar, the pulse and flow continue to grow and evolve throughout and eventually lead to a stunning written chamber-like section. Overall, the music here reminds me of a soundtrack to film of nature scenes which change over time. The sun breaks through some dark clouds to radiate warmth when things looks or feels a bit too cool. This disc is completely different than Terrence McManus’ previous disc yet it is still a thoughtful, careful excursion into other inner worlds where there is some calm at the center of whatever is going on top. - Bruce Lee Gallanter, DMG
CD $16
MARK HELIAS - Snapshot (Radiolegs 95269 29790; USA) Featuring Mark Helias on solo contrabass. For some strange reason certain instruments/players have been disparaged or made fun of: drummers, banjo-players, accordionists and bassists. When I first started to go to jazz gigs in the early 1970’s, some folks would whisper or sleep through bass solos. This used to bother me, especially when I got to hear Dave Holland, Charles Mingus and Malachi Favors in concert. For me, it doesn’t matter which instrument you play as each one can inspire serious listening if you are great at what you do. I’ve sat through many bass solos as well as solo bass sets and have been blown away by many of the greats: Barry Guy, Joelle Leandre, Peter Kowald, William Parker and Mark Dresser. I’ve known of bassist Mark Helias for more than 50 years as he was a teacher to some friends of mine in the early 70’s. There are a number of bassists that I’ve seen/heard on many occasions and they still knock me out each time: Mario Pavone (R.I.P.), Joe Fonda, Mark Dresser and Mark Helias.
As far as I can recall, this is Mark Helias’ first solo bass recording. Over the past decade or so, Mr. Helias has been producing a number of sessions for other leaders/composers, hence he has gotten better in the studio as far as getting great sound and balance. For this recording, Mr. Helias had received a new bass which was commissioned/built by Martin Penning and he diced to record that bass which is what we have here. The first thing I notice here is how great this disc sounds, larger than life. On ”Waterslide”, Mr. Helias is bowing intensely, creating an eerie aura with some inner spirits being set free. “Common Ground” has an ancient, throbbing line which sounds like the heartbeat or pulse that flows through us all. I’m sure how much the piece “Curtis Counce” (West Coast bassist from the 50’s/60’s) was inspired by this bassist but Mr. Helias' quick bowing is most astonishing. Each piece seems to evoke a different vibe or feeling or tell a short story. On “Leggo”, Mr. Helias taps on the strings to get a series of harmonics, a sound that I’ve felt has a magical, a somewhat transcendent ring. On “Hominy”, Helias bows short bits on his bass, expanding his sound as he bows in different ways. Bowing tends to stretch out the sound or note and the way the sound/note is stretched affects us in different ways. Mr. Helias has a strong, unique sound which is on full display here as he works his way through a variety of bass sounds. On “Shadow Puppets”, Helias hits certain notes and then lets them ring out, both tapping on and plucking the strings, each note or sound has a way of also plucking at our hearts and minds, muting some notes, strumming and plucking out lines forcefully as well. Each piece here tells a different tale or sets a different scene. A wonderful undertaking on several counts so dig in.. - Bruce Lee Gallanter, DMG
CD $14
ANTHONY BRAXTON - Solo Bern 1984 - First Visit (Hat Ezz-Thetics 103; Switzerland) Thirteen years after his breakthrough solo saxophone album For Alto, Anthony Braxton is heard in an inventive solo concert on the same instrument, performing at the Altes Schlachthaus Theatre in Bern, Switzerland for a set of original numbered compositions, the standards "Alone Together" and "I Remember You" and two Coltrane pieces: "Giant Steps" and "Naima".
CD $18
CECIL TAYLOR UNIT with JIMMY LYONS / RAMSEY AMEEN / ALAN SILVA / JEROME COOPER / SUNNY MURRAY - Live at Fat Tuesday’s February 9, 180 - First Visit (Hat Ezz-Thetics 101; Switzerland) A superb and extended live performance from 1980 at NYC's Fat Tuesday jazz club, from the outstanding sextet of forward-thinking free improvisers, Jimmy Lyons on alto sax, Ramsey Ameen on violin, Alan Silva on double bass & cello, Jerome Cooper on drums & African Balaphone and Sunny Murray on drums, led by Cecil Taylor on piano in an ecstatic concert never previously released.
CD $18
PAUL DUNMALL / PAUL ROGERS / TONY LEVIN - The Good Feelings (577 Records 5891; USA) A first time issue for these 2009 studio recordings between Paul Dunmall on tenor & soprano saxophones and bass & b-flat clarinets, Paul Rogers on 7 string acoustic bass and Tony Levin on drums, bringing to light both a great trio session that's sat on the shelf too long, and a superb example of the late great drummer Tony Levin's important contribution to UK free improv.
CD-R $14
LUC HOUTKAMP / SEBI TRAMONTANA / STEVE BERESFORD / MARTIN BLUME - Frush (FMR CD697-0524; UK) Featuring Luc Houtkamp on tenor sax & clarinet, Sebi Tramontana on trombone, Steve Beresford on piano & objects and Martin Blume on drums & percussion. Recorded at The Loft in Cologne, Germany in November of 2023. Starting in the mid 1990’s, the British-based FMR label has specialized in creative music, first from the UK and then expanding to the rest of Europe (and beyond) as far as musicians and composers go. Aside from a handful of historic recordings & reissues from Mike Osborne & Amalgam, they released a deluge of discs from Paul Dunmall (100 ), Glasgow Improvisers Orchestra and Szilard Mezei. Over the past decade plus, FMR has been releasing a large number of improvised sessions which often feature musicians from around the world. Most of these improvised sessions show that there is common language free/form communication which often crosses borders and questioning the expectations that many of us serious listeners make.
The quartet on this disc is a good example of musicians from different backgrounds/cultures working together to come up with something new, exciting and unexpected. Dutch saxist Luc Houtkamp ran his own X-Or label for years before ending up on FMR. Italian trombonist, Sebi Tramontana, is a respected elder of the Italian avant jazz scene and can be heard on a couple dozen discs on the Splasch & Leo labels. Brit pianist Steve Beresford is the wild card here since we never know which genre/band/situation he will be involved in next. German drummer, Martin Blume, can also be found in a wide variety of sessions with Damon Smith, Xu Fengxia and Ken Vandermark.
Wow! I love the way this quartet sounds as they slowly interact, erupt, exchange lines, play quiet and intense as well. “Fidther” starts with a hushed clarinet, muted trombone, tapping the strings inside the piano and rustling percussion. There seems to be an organic flow going on here, an ongoing story with different scenes or combinations of players and their respective instruments. Even when one instrument solos, the others respond and interact as one force or current. There are sections where things get dense and then open up to more sparse, the balance is always well crafted and thought out. I’ve always dug Euro-style free/improv when it is well done and this disc is a great example of that. - Bruce Lee Gallanter, DMG
CD $14
BRAD BARRETT / TAYLOR HO BYNUM / JOE MORRIS - Geologic Time (Fundacja Sluchaj FSR 18/2024; Poland) Featuring Brad Barrett on double bass, cello & effects, Joe Morri on guitar & effects and Taylor Ho Bynum on double-belled cornet, flugelhorn & pBone mini. Recorded at Dimension Studios in Jamaica Plain, MA in May of 2023. Boston-area based bassist & cellist, Brad Barrett, has been working with guitarist Joe Morris on three previous discs. After a long series of collaborations with Anthony Braxton and leading several bands, multi-brass great, Taylor Ho Bynum got a teaching gig at Dartmouth College in 2017. Since then, Mr. Bynum has been recording less, although two of his longtime bands, Geometry & Illegal Crowns, still release new records from time to time. A new disc from Geometry (w/ Joe Morris, Tomeka Reid & Kyoko Kitamura) will be released next month (October of 2024).
“Geologic time divides the history of the earth into periods of time characterized by evolutionary breakthroughs, distinct ecosystems and specific geologic events.” Each piece is named after a period in geologic time. The first things I heard on this disc are a contrabass with what sounds like something being attached to the strings, muting the strings and turn them into a more percussive-sounding instrument. Much of this is slow moving, careful and thoughtfully improvised. On “Devonian Tidepool”, Mr. Morris sounds as if he is playing acoustic guitar and muting his notes as he plays while Mr. Bynum also plays with a different type of mute getting those subtle wind-like sounds that were once part of the lower-case vocabulary. Although all three musicians do use some effects or extended techniques, they remain engaged and are consistently pushing each other higher, with two players often trading lines furiously while the third provides a slower counterpoint. What impresses me most here is that these three musicians are consistently changing or reinventing what they do so that their sound keeps changing while the interaction remains exhilarating throughout. - Bruce Lee Gallanter, DMG
CD $16
SZILARD MEZEI QUARTET with IVAN BURKA / ERVIN MALINA / ISTVAN CSIK - Jaguar-Flower (2023)(FMR CD-687-0524; UK) Featuring Szilard Mezei on viola & compositions, Ivan Burka on vibes & percussion, Ervin Malina on contrabass and Istvan Csik on drums & percussion. Hungarian violist and composer, Szilard Mezei has way too many records out, considering that his first records start around 2003 and that he has passed the count of 50 in recent times. The odd thing is that I would never complain about how many discs he has since each one of the dozens that I’ve reviewed, I do enjoy on several levels. Whether playing in solos, duos, trios, quartets, quintets, up to orchestras, his playing, improvising and composing is consistently strong and spirited. Although Mr. Mezei has worked with musicians like Jon Hemmersam, Samo Salamon & Phil Minton, he has long worked with other Hungarian creative musicians, none of whom I had heard of before I started to review his many discs.
All four members of the quartet here can be found on many of his previous discs, so I’ve gotten to know about each of them over time. This disc was recorded in a studio in Novi Sad in Serbia in August of 2023. For this disc, Mr. Mezei has reworked a few of his pieces from earlier recordings. In essence, this quartet consists of two strings and two percussion instruments. “Hep 35” is the longest piece here at nearly 30 minutes and different sections which were written for different sized ensembles. Mr. Mezei’s distinctive viola is often the main soloist here, yet each member of the quartet gets a chance to stretch out, solo and play those complex ensemble sections. This long piece balances some strong free sections with written chamber-like sections. Viola-led bands and compositions for Viola soloists are relatively rare yet Mr. Mezei is in top form throughout. Each member of the quartet is/are integral to the music here, hence we get inspired solos or heated, crafty interplay in different combinations throughout. What I like most about Szilard Mezei and his varied projects is that every release sounds like a great deal of work was put into it. This is not just another free/form excursion of Euro jazz at its best, it is something much more focused, composed or directed and rich in detail and depth. - Bruce Lee Gallanter, DMG
CD $14
SZILARD MEZEI QUARTET with IVAN BURKA / ERVIN MALINA / ISTVAN CSIK - Old Book for Quartet (FMR CD-686-0524; UK) Featuring Szilard Mezei on viola & compositions, Ivan Burka on vibes & percussion, Ervin Malina on contrabass and Istvan Csik on drums & percussion. No time for a review this week as we just got a dozen new discs from FMR just in!?!?!
CD $14
SABU TOYOZUMI / RICHARD ALLAN BATES / RICK COUNTRYMAN - Lovely Tago (FMR CD679-1023; UK) Featuring Sabu Toyozumi on drums, Richard Allan Bates on electric upright bass and Rick Countryman on alto sax. Recorded in concert at Tago Jazz in Cubao, Quezon City in the Philippines in February of 2024. After receiving and reviewing some two dozen discs from American-born, Philippines-based saxist Rick Countryman, I decided to take a break from reviewing so many “free/jazz” CD’s as we were getting in too many for yours truly to review each week plus Stephen Gauci’s monthly Free/Music series at DMG was starting to make me numb. I needed a break and so did Mr. Gauci, so for the summer of 2024, Mr. Gauci took a much needed vacation. The GauciMusic series will start again in October with just two bands per night, once a month. Plus it’s time to give Mr. Countryman and legendary Japanese drummer, Sabu Toyozumi another chance. Although I didn’t recall the name of bassist Richard Allan Bates, he can be found on some ten discs with Sabu Toyozumi, Yong Yandsen and others.
Both Rick Countryman and Sabu Toyozumi are Free/Jazz elders and they sound like they’ve been doing this for a long while. “Temple of Wah” begins with just the throb of the contrabass, a somber yet brooding sound is simmering underneath until the rest of the trio enters. The trio take their time, the restless energy building as they start to soar together. There is a wonderful, warm, organic flow which is going on here, getting busier, more intense and throttling as it evolves. The trio sounds very much connected to each other and flow together through the varied rapids or currents. “Hidden Sound” is a quieter, calmer version of free/jazz, the trio taking its time and playing in spirals around and with each other. I like the way they simmer here, never pushing things too far out or screaming like free/jazz often does. Anyway you approach this disc it is a great example of free/creative/music at its best. - Bruce Lee Gallanter, DMG
CD $14
DMG BOOK DEPARTMENT:
JOE BOYD - And the Roots of Rhythm Remain (Ze Books 9798988670025; USA) "When Paul Simon first heard the Zulu accordion flourish that would open his multi-platinum album Graceland, he told Joe Boyd that it seemed to proclaim, 'You haven't heard this before!' Yet the 'world music' boom of the 1980s that Simon's album helped to usher in had roots that extended back through the decades and across continents: tango on the eve of World War I, Latin dance across the '30s, '40s and '50s, reggae in the '70s, pre-War samba and pre-Beatles bossa nova, Eastern European ensembles filling capitalist concert halls during the Cold War, Indian ragas changing rock and roll in the 1960’s, gypsy music inspiring classical composers of the 19th and 20th centuries. As far back as 1853, the music that had intrigued Simon had captivated London during a Zulu choir's extended run there. (Only Charles Dickens dissented.) Like that of other far-flung musical traditions sweeping the globe, the story of Zulu music and its relationship to neighbors, invaders, appropriators, and admirers -- from brutal 19th century massacres to 'The Lion Sleeps Tonight' -- is more controversial, colorful, and complex than many imagine. Joe Boyd was part of a small group of label heads and journalists who chose 'world music' as their marketing slogan in the 1980s. Already the legendary producer of artists including Pink Floyd, The Incredible String Band, Soft Machine, Fairport Convention, Nick Drake, Toots and the Maytals, and many others, Boyd had little idea how fast and how wide those simple words would spread, or how far back the history went. He would soon learn, producing pathbreaking music in Cuba, Brazil, Bulgaria, Mali, Hungary, Spain, and India under his label Hannibal Records. Following the success of his book White Bicycles: Making Music in the 1960s, a self-published smash hit, Boyd now sets out to explore the stories behind the world music he had helped to popularize. He has traveled across continents and interviewed dozens of musicians, producers, and academics, and spent years reading, listening, and writing. The one-of-a-kind result is And The Roots of Rhythm Remain: a riveting, symphonic, globetrotting tour of the music that shapes the world. Hardcover. 900 pages."
BOOK [900 pages, hardcover] $50
FLAKE - Zappa Every Day - A Fanzine Dedicated to Music of Frank Zappa (Floppo Records; Germany) After two delightful books/fanzine about John Zorn, Sarah Grosser, a/k/a Flake, decided to explore the vast catalogue/music of Frank Zappa. Frank Zappa was a unique bandleader, guitarist, composer, vocalist, humorist, producer, recording engineer, visionary and critic of life in America, often poking fun at many aspects that make the USA both great and not-so-great. He was a pioneer while working in recording studios and one of the most diverse composers of the 20th century and no doubt a genius with certain flaws. Flake’s friend, here known as the Zappa Consultant, picked 30 of Mr. Zappa’s albums, which Flake listened to and commented on, one per pay day for 30 days. Ms. Flake’s observations are often honest, hilarious and at times on-the-money. On occasion, she is a bit perhaps a bit too honest, talking about some of the silly or odd things that are going on in her life at the time of her listening. The Zappa Consultant also gets a good amount of space discussing things about Mr. Zappa that Flake (or the reader) might want to know. While Ms. Flake was working on both of the John Zorn books and the Frank Zappa book, a number of folks offered to help edit, give copyright advice, design advice, etc, all of which makes this book a pleasure to look at. It is filled with color pics, quotes from Mr. Zappa and others, numerous curse words which Mr. Zappa himself liked to express or use to get a rise from his fans. I must admit that I really dig this book since it will hopefully get a few of you out there a chance to consider or reconsider your feelings about Frank Zappa and hopefully gets some laughs as well. - Bruce Lee Gallanter, Zappa-fanatic and head honcho at DMG
BOOK / Fanzine [160 pages / 6” x 10” softcover / high quality printing /Limited Edition] $45
GINGER BAKER’S AIR FORCE with GRAHAM BOND / NEEMOI SPEEDY ACQUAYE / KENNY CREADDOCK / et al- What A Day (Beatclub 1970)(Made in Germany 03112; Germany) After Eric Clapton left BLIND FAITH in late 1970, Ginger Baker came up with the idea of forming a kind of big band that mixed African music with popular Western music. This innovative concept was ahead of its time and would later be called "world music". He brought together an all-star ensemble (Steve Winwood, Ric Grech, Chris Wood, Graham Bond, Denny Lane, etc.) and played two concerts at the Royal Alber Hall in London and the Town Hall in Birmingham. Shortly after the concerts, the live double LP "Ginger Baker's Air Force" was released in Europe and America. It was a very idiosyncratic mix presented to fans accustomed to rock, but the critics praised this musical excursion and Ginger was surprised by the remarkable sales figures.
He decided to continue the project, recruiting new young musicians for his AIR FORCE and entering the studio to record the follow-up album "Air Force 2". In October 1970, the band traveled to Germany with the current line-up to play some concerts and made a detour to the north to perform at the TV studio of Radio Bremen on the legendary music show Beat Club. AIR FORCE also drew on Cream classics such as "Sunshine Of Your Love", which was rearranged in an African big band sound and flowed seamlessly into "Toady". A 9-minute epic by the band with numerous solos and a Ginger Baker bursting with energy, drumming one of his best solos. Now this session is available on audio and video, on CD and DVD, with all the takes recorded that day, not just the ones that were finally broadcast at the Bremen Beat Club in Germany on Saturday afternoon, October 24, 1970.
2 CD/DVD Set $20
IKE TURNER - Rocks (Bear Family; Germany) "Ike Turner proved to be a challenging and polarizing character, considered moody, irascible and aggressive, even towards his partner. Despite all his contradictions, Ike Turner the musician is considered an influential figure in RnR, a talent scout, producer, pianist and pioneering guitar stylist. Bear Family Records gathers the very best early rockers and instrumentals by this brilliant musician on a CD. Chicago music historian Bill Dahl has studied Turner's life and work in great depth and describes the significance of the RnR eccentric in the illustrated and detailed liner notes. Sometimes you have to separate the man from the music-seldom a wiser course of action than in the case of Ike Turner. No matter your feelings regarding the man himself, the recordings he made during the 1950s rocked with an unbridled vengeance, whether Ike was laying down supple boogie piano underpinnings or whammy bar-laden guitar magic. This collection largely concentrates on Turner's pre-Tina years, when his band, The Kings of Rhythm, operated like a well-oiled machine and Ike was the picture of polished professionalism. He and The Kings bounced from one label to the next (Chess, Modern, Federal, Cobra and Sue are all amply represented), spotlighting an array of extraordinary vocalists. Many of them are showcased on this set, beginning with Jackie Brenston's immortal Rocket '88,' a 1951 R&B chart-topper and a genuine rock and roll landmark. Dennis Binder, Billy Gayles, Clayton Love, Tommy Hodge, and Jimmy Thomas all had big, booming voices when they fronted Ike's combo -- a must, since Turner was going insane behind them on his lethal axe. That was especially true on the band' 1956-57 Federal sides; 'I'm Tore Up,' 'Sad As A Man Can Be,' and 'Gonna Wait For My Chance' are downright intimidating in their rollicking intensity. This is truly some hellraising stuff."
CD $20
OPIKA PENDE - Africa At 78 RPM (Dust-to-Digital 022CD; USA) 2012 Grammy nominee for Best Historical Album. Opika Pende: Africa At 78 RPM is a 4CD collection featuring 100 tracks taken from rare 78rpm recordings of African music (1909 to mid-1960s), none of which have ever been issued on CD until now. Pan-African in scope and wildly diverse, Opika Pende is a testament to the deep riches found in early recorded music across the continent. 112-page softcover book with 4 CDs in a separate portfolio -- all housed in a deluxe cloth slipcase. Jonathan Ward is a Los Angeles-based collector, researcher, and writer. In 2007, he began the well-known web site Excavated Shellac, which features a wide range of scarce, international 78rpm records from across the globe with extensive commentary. In 2010, Jonathan released his first LP in a series for Dust-to-Digital's vinyl imprint Parlortone. Titled Excavated Shellac: Strings (PT 2001LP), it contains 14 exemplary performances on string instruments from across the globe, all from his collection of 78s.
4 CD Set / Book $46
RAPOON - Moka 24 (Klanggalerie GG479; Germany) Founded in 1992 after Robin Storey left Zoviet France, Rapoon soon became an outstanding ethno-dark ambient project that has gained a cult following all over the world. More than 80 albums have been released over those nearly 30 years, some more beat driven, others more playful and with ambient sounds and ethnic influences. Rapoon has never stopped evolving - think of Cultural Forgeries, an album full of unplugged acoustic music. Or Downgliding, full of compositions on the piano. Recent Klanggalerie albums include Waiting by the River, an album that introduced vocals to the Rapoon sound, or Little Rocket Man which was inspired by the political situation in 2018 with Trump as president in the United States. Moka Efti is the fictional name of a night club in the series Babylon Berlin. Set in the decadence and turmoil of the 1920's the series incorporates real historical events into an imaginary narrative. This set of recordings is a modern take on that era set in the declining West of 2024. Tracks vary wildly but are all unified within the same setting. An aural cabaret of sounds that depict and define a certain moment. A moment that has already existed in the past, exists in the present and will exist in the future, varying only slightly in time and space, the expressions are the same in intent and purpose. Moka 24 is an escapist world existing outside of the prevailing social clamour. Not in rebellion against the contemporary moire, but rather ignoring it. "Time is a flat circle. Everything we've ever done or will do, we're gonna do over and over and over again....for ever." - Rust Cohle/Nietzsche.
CD $18
WHITE HILLS - Beyond This Fiction (Heads on Fire Industries 002CD; UK) A sanctuary of adoration, creation and imagination, duo White Hills' lair in Brooklyn is also the nerve center of their record label Heads on Fire Industries. It's the site where the final mixes of Beyond This Fiction took shape. For nearly two decades, White Hills have been blowing minds with their sonic alchemy: a unique mix of neo-psychedelia, art rock, and post-punk -- at once original and recognizable. Their cult reputation emblazoned in celluloid following their performance in Jim Jarmusch's sultry vampire romance Only Lovers Left Alive (2013), the duo has toured vigorously since their inception. With a vast catalog that astounds and a relentless punk ethos, time seems to energize the duo, making them increasingly daring and prolific. Founding member Dave W, whose signature other-worldly guitar sorcery defines the White Hills sound, grabs his Les Paul to record a melody lingering in his head from last night's dream before it escapes. Outside, the sound of passing sirens, honking horns and bits of conversation remind you that you're in the middle of New York, a city so flush with rock legacy and artistic innovation it would take lifetimes to drink it all in. Committed to a vocation marked by extremes, doubt, struggle and moments of ecstasy, Dave and Ego Sensation Sensation (drums/bass/vocals) continue this torrid affair with music bearing their latest fruit Beyond This Fiction. Inspired by the ideas of Joseph Campbell, the writer/philosopher known for the book The Power of Myth (1988), the album explores the idea of "riding between opposites" -- forging one's own path unrestrained by the dualistic constraints of society. Recorded with Martin Bisi, known for his iconic NYC sound developed through his work with no-wave titans Sonic Youth, Swans, and Lydia Lunch, Beyond This Fiction sees Dave W (guitar/vocals/synths) and Ego Sensation (drums/bass/vocals) orchestrating their distinct guitar heavy meditations into songs with a stronger focus on vocals than previous albums. The album harnesses the seductive accessibility of 2015's Walks For Motorists while evoking the tempestuous soul of the band's seminal H-p1 (2011). Notorious shapeshifters, White Hills make Beyond This Fiction a familiar surprise. Back in the lair, Dave draws eyes on his hands in preparation for the day's video shoot. Ego reaches inside the closet pulling out the red velvet jacket she wears on the cover of Beyond This Fiction where she stands in a NYC alley holding a glowing orb.
CD $16
ADJUNCT ENSEMBLE - Habits Of Assembly: Live at Cafe OTO (Touch Sensitive Records 030CD; UK) Incendiary live set of free jazz, experimentalism and politicized spoken word for fans of Irreversible Entanglements, Matana Roberts, Jaimie Branch, etc. 2023's critically-acclaimed collagist anti-opera Sovereign Bodies/Ritual Taxonomy (Diatribe Records) as its starting point, composer Jamie Thompson invited three open-eared improvisers, Stephen Davis (drums), John Pope (bass) and Sam Comerford (tenor saxophone) to join him (on piano and electronics) in entangling themselves not only with the textual and political themes of the record -- migration, racist linguistic taxonomy, nationalism, Europe's deadly borders policies -- but with its powerful vocal presence; the poet Felispeaks. Extracting eight poems from the album, as well as developing three new texts in rehearsal, the group developed swirling collective improvisations over three days in early November 2023, which were imbued with a devastating new urgency in the shadow of yet more Palestinian suffering. Indeed, the track "Territorial Irregularities" is a desperate cry for solidarity not only with Gazans, but with people suffering ongoing catastrophes in Sudan and Syria which have displaced millions, many of whom are seeking, and deserve, safety and sanctuary in Europe. Adjunct Ensemble's narrative of refusal; to spurn capitalism's insistence to participate in its genocidal pursuit of endless growth, endless war, ecological destruction and subjugation of the world's poorest is what spurs them to make their music. As they declare in the opener "Communal Refusal", "we refuse to make ourselves believable in the eyes of capitalism; we reject its inheritances." CD in lush six-panel wallet and six-page booklet; design by Rinky Taking.
CD $19
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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 / 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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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…
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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BURNT SUGAR SMOKE-HOUSE 2024:
Saturday, October 5th from 6:30 to 10pm
Brooklyn Museum’s Birthday Bash
Celebrating 200 years
Brooklyn Museum
200 Eastern Parkway
Brooklyn, NY, 11238
FREE admission -
Registation required
at Brooklynmuseum.org
For more info: Burntsugarindex.com
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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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