Where have all the people gone my honey
Where have all the people gone today
There's no need for you to be worrying about all those people
You never see those people anyway
I thought I heard a young man mourn this morning
I thought I heard a young man mourn today
I thought I heard a young man mourn this morning
I can't walk you out in the morning dew today
Walk me out in the morning dew my honey
Walk me out in the morning dew today
I'll walk you out in the morning dew my honey
I guess it doesn't really matter anyway
I guess it doesn't matter anyway
I guess it doesn't matter anyway
Guess it doesn't matter anyway
“Morning Dew” opens up the second side of the Grateful Dead’s debut, self-titled album, released in the Spring of 1967. The song was written by a Canadian folkie named Bonnie Dobson and first released in 1962. The Dead covered this song more than 250 times during their long reign, from late 1965 to the summer of 1995. “The song is a dialogue between the last man and woman left alive following an apocalyptic catastrophe.” - Wiki. For me the Dead version captures the spirit of the post-apocalyptic nightmare that were all feared during the mid-1960’s. The Dead often did this song late in the second set after a long psychedelic jam from “Dark Star” or “The Other One”. It has a feeling of transcendence that comes after the world has been blown to bits. Recently it was covered by The Third Mind, a newer band which features Dave Alvin (from the Blasters), David Immergluck & Victor Krummenacher (both from Camper van Beethoven), Michael Jerome (from the Richard Thompson Trio) and special guest vocalist Jesse Sykes (from the Sweet Hereafter). This version is stunning. If you still dig sixties psych/jam bands, then you should check out either/both CD’s or LP’s by this band, they rule! - Peace and Love Always, MC-BruceLee at DMG
THE DMG 33rd ANNIVERSARY IN-STORE FREE MUSIC SERIES Continues with:
Tuesday, October 29th:
6:30: BEYOND FLUTE GROUP: CHERYL PYLE - C & alto flutes / SYLVAIN LEROUX - fula & C flutes / MICHAEL EATON - Soprano sax
7:30: JONATHAN REISIN - Tenor Sax / CERIDWEN McCOOEY - Cello / JARRED CHASE - Drums
8:30: SUNJAY JAYARAM - Violin-Viola / TIM WATSON - Guitar / RYAN GHASSEMI - Bassoon
9:30: SYLVESTER GERMAINE - Guitar / JOHN HEBERT - Contrabass / JEFF DAVIS - Drums
Tuesday, November 5th (Election Night, Don’t forget to vote!):
6:30: MATT HOLLENBERG - Guitar / DANIEL GALOW - Alto Sax / JON ROSEN - Bass / PATRICK GOLDEN - Drums
7:30: CLAUS BOESSER-FERRARI - Guitar
8:30: K B - Solo Daxophone
9:30: STEVE HIRSH - Drums / STEVE SWELL - Trombone / DANIEL CARTER - Reeds / Trumpet
A RARE Saturday, November 9th event:
3-5pm: BENNETT KELLY Book Release Celebration for his book ‘Sensation Blues’
*********
THIS WEEK’S COSMIC SOUNDS BEGIN WITH FRED FRITH’S FABULOUS COSA BRAVA!
COSA BRAVA with FRED FRITH * / ZEENA PARKINS / KARLA KIHLSTEDT / MATHIAS BOSSI / SHAHZAD ISMAILY - Z Sides (Klanggalerie 486; Germany) Cosa Brava is an experimental rock and free improvisation group formed in March 2008 in Oakland, California, by multi-instrumentalist and composer Fred Frith. The band comprises Frith on guitar, Zeena Parkins on keyboards and accordion, Carla Kihlstedt on violin, Matthias Bossi on drums, Shahzad Ismaily on bass and The Norman Conquest on sound manipulation. All About Jazz described their music as somewhere between folk, Celtic, modern chamber, Latin, funk, Eastern, and prog-rock. Cosa Brava recorded their first album, ‘Ragged Atlas’ in San Francisco in December 2008, which was released in March 2010. John Kelman in a review at All About Jazz said that the album transcends time and genre and is one of 2010's most auspicious debuts. A second album entitled ‘The Letter’ was released in March 2012. Fred Frith’s career began as a rock musician with Henry Cow in 1968, but has since diversified into a number of different genres, from avant-garde jazz to contemporary classical music. He has written scores for film and dance, and music for orchestras and string quartets. He became Professor of Composition in the Music Department at Mills College in Oakland, California in 1999. The motivation behind the formation of Cosa Brava arose out of Frith’s nostalgia for rock music. He said, “I really miss what you can do with a rock band. I miss developing material through the push and pull of cooperative rehearsals, I miss what happens when you move away from the parts and start formulating things with a collective ear, I miss the single-minded commitment to a group identity. Z Sides is the group's third album. Cosa Brava may appear from their studio recordings to be all about songs. However, in live performances these songs were constantly interspersed with improvisations of all descriptions. Z Sides, the brainchild of The Norman Conquest, compiles his stunning live mixes of this material into an imaginary stand-alone performance.”
Ever since retiring from his teaching gig at Mills College several years back, Fred Frith has kept busy composing for various ensembles, playing in several bands like the Fred Frith Trio and Cosa Brava and touring with assorted musicians, known & not-so-well known like Lotte Anker, Susana Santos and Nuria Andorra. Mr. Frith has also played gigs with old friends (from Henry Cow) Chris Cutler & Tim Hodgkinson, as well as working on his first opera. This disc was recorded at various locations in Quebec, Austria, Slovenia, Italy and Norway, between 2008 and 2012. Although the two studio records by Cosa Brava were mostly songs, these live recordings feature quite a bit of improv from all members of this mighty sextet. Everyone in the band except for The Norman Conquest (live mix) uses their voice in odd ways. The music here is in-between categories, strange, unpredictable and progressive in unusual ways. The sound quality here is superb and often doesn’t sound live. In actuality, there are few songs here, most focused group improvs that are consistently fascinating. - Bruce Lee Gallanter, DMG
CD $18
* Fred Frith will be playing in a duet with Zeena Parkins at The Stone on November 16th at 8:30
JOE FONDA QUARTET with WADADA LEO SMITH / SATOKO FUJII / TIZIANO TONONI - Eyes of The Horizon (Long Song Records 163/2024; Italy) Featuring Joe Fonda on contrabass, flute & compositions, Wadada Leo Smith on trumpet, Satoko Fujii on piano and Tiziano Tononi on drums. This disc was recorded at Firehouse12, a recording studio in New Haven, Conn in December of 2023. The Italian-based Long Song label is run by Fabrizio Perissinotto and has been around for a decade, releasing more than 60 discs of all sorts of creative music from American and Italian musicians. They’ve released seminal discs by Satoko Fujii, Raoul Bjorkenheim, and Tiziano Tononi. Long Song has been a good outlet for bass master Joe Fonda, who co-leads the J. & F. Band with Jaimoe, the original drummer for the Allman Brothers Band. All four J. & F. Band CD’s are true gems of blues/rock/jazz, with some strong music inspired by the Allman Brothers band. Long Song has also released a series of duo CD’s with Satoko Fujii and Joe Fonda,
For this disc, Mr. Fonda organized an all-star quartet with his former teacher Wadada Leo Smith and two previous collaborators, Satoko Fujii (on piano) and Italian free/jazz legend Tiziano Tononi (drummer). Since Mr. Fonda put together an all-star quartet of veteran musicians, he decided to compose new music for them instead of the free-from improv. “Inspiration Opus #1” opens with Mr. Fonda’s exquisite bowed bass playing tightly together with trumpet, piano and drums as one. Although the quartet plays skeletally, their sound is calm and dream-like. “My Song Opus #2” is elegant and filled with suspense. The dream-like atmosphere is quietly hypnotic, rather prayer-like with Wadada playing some solemn muted trumpet. “We Need Members Opus #4”, features an extraordinary duo for majestic piano and intricate bass. The immensely prolific Satoko Fujii sounds wonderful, her ongoing duo discs with Mr. Fonda rank amongst my favorites. The rest of the quartet joins in the second half with Mr. Smith taking a robust Miles-like solo. Mr. Fonda takes a nimble, thoughtful bass solo in the last part of this piece which tells a story. “Like No Other” is dedicated to vibesman Bobby Naughton, an underrated musician who both Mr. Fonda and Mr. Smith worked with for many years. The bowed bass and muted trumpet create these ghost-like images who are/were meant to illuminate/commemorate Mr. Naughton’s unique sound on vibes. All of the music here has a restrained undertow and is often spacious, making every note count. The quartet erupts on “Listen to Cornel West”, the rhythm team rumbling together with the trumpet and piano playing the dramatic theme on top and on target. Wadada takes one of those astonishing solos that only he can do which is followed by a great drum solo by Mr. Tononi. Tononi also sounds great playing a duet with Wadada on “Bright Light Opus #5”, with Mr. Fonda adding some exquisite flute on top midway. “Eyes on The Horizon, Opus #3” is often stark yet stunning with several episodes which occur, each one evoking a different vibe or scene. Considering that all four of these players are mature, well-seasoned musicians, the group sound is consistently spirited, inventive with many brilliant and surprising moments. It doesn’t get any better than this! - Bruce Lee Gallanter, DMG
CD $15 [In stock early next week]
PAUL DUNMALL with PERCY PURSGLOVE / JAMES OWSTON / JIM BASHFORD / et al - Red Hot Ice (Discus 186CD; UK) Featuring Paul Dunmall on tenor & C soprano saxes & compositions, Percy Pursglove on trumpet, Richard Foote on trombone, Alicia Gardener-Trejo on bari sax, James Birkett on electric guitar, Andrew Woodhead on synths, organ & Fender Rhodes el piano, Glen Leach on piano & Lorenzo organ, James Owston on contrabass and Jim Bashford on drums. After many years of recording many free/improv sessions, Paul Dunmall has been composing and directing for several different ensembles in recent years. For this studio session Mr. Dunmall organized a nine piece band with some regular collaborators (Mr. Pursglove, Mr. Foote, Mr. Owston & Mr. Bashford), as well as some newer names that I wasn’t quite familiar with. Discus labelhead Martin Archer and vibesman Corey Mwamba produced, edited & mixed this session as well as adding some reeds & percussion.
The medium-sized ensemble here is pretty different from anything we’ve heard from Mr. Dunmall in the past since he is working with two keyboard players, both of whom are new names for me. “Prepare for Peace” opens with one of those Spirit-Jazz modal repeating riffs with layers of keyboards, reeds & horns. Bassist James Owston is the central figure here, providing a pulse which speeds up and slows down while different members of the band add their parts. The ensemble moves in waves together from calm to turbulent. Bassist Owston kicks off “Say Hi to Your Evil…” with a splendid unaccompanied bass solo. When the rest of the ensemble kicks in, it sounds like a 70’s jazz, somewhat funky organ-led groove fest which swings hard. Things quiet down midway with the piano and organ rumbling together as the intensity increases and some eerie synth is added. Eventually the ninetet breaks into a phat, soul groove with some sly wah wah guitar. Mr. Dunmall wrote some sublime, haunting ensemble work for “The Past” with hypnotic horns, keyboard/synth interaction and a spirited bari sax solo. “Red Hot Ice” is the longest and most ambitious piece here. Things begin peacefully and build from there. Again, it’s Dunmall’s ensemble writing which stands out here, layering the different chattering horns, several subgroups weaving in and out, like scenes from someone’s dreams, the intensity and free waves rising higher throughout. Unexpectedly the ensemble breaks into the riff from Hendrix’s “Foxy Lady” towards the last part of this piece which is a pleasant surprise. This disc ends with a lovely prayer-like song called, “Dearly Departed”, which has some fine haunting horns floating on top. I found this entire to be most enchanting throughout, completely different from anything I’ve heard from Mr. Dunmall in the past. - Bruce Lee Gallanter, DMG
CD $14 [In stock next week]
THUMBSCREW with TOMAS FUJIWARA / MICHAEL FORMANEK / MARY HALVORSON - Wingbeats (Cuneiform Rune 520; USA) Thumbscrew features Mary Halvorson on guitar, Michael Formanek on contrabass and Tomas Fujiwara on drums & vibes. Thumbscrew is a true cooperative in which all three members compose, lead and collaborate equally. ‘Wingbeats’ is their 8th release in the past decade since they began in 2014. I’ve played this long, ambitious disc every day for the past week at the store and realize that it is another treasure from three great, crafty musicians. What I’ve always liked about Thumbscrew is that there are always a number of surprising twists & turns in the composing and playing throughout.
The title track is first and was composed by Mr. Fujiwara. I like the way the guitar and bass both play separate intricate lines which move around one another with the drums balancing both parts. On Ms. Halvorson’s “Greenish Tents”, Mary plays several guitar parts, one of which rings like a piano note being struck. Mr. Fujiwara plays counterpoint on the vibes with the bass holding down the central pulse. The sound of the trio here is closer to chamber music than modern jazz. What makes this trio so special is the way the vibes and guitar work together, each one seems to enhance each’s sound with both sublime and thoughtful harmonies. On “How May I Inconvenience You Today?”, the bass is at the center with Ms. Halvorson’s guitar playing here spikey (slightly bent) lines tightly and tastefully, all three musicians as one. The trio strips things down for “Irreverent Grace”, which has some lush harmonies for the delicate guitar and vibes. The bass plays the melodic theme on “Pyrrhic”, with Ms. Halvorson taking a long, story-like solo while the rhythm team increases and decreases the tempo in a most organic way. Ms. Halvorson plays so gracefully on “Wayward”, it sounds like we are entering a dream-like state where every bent note alters our reality a bit. “Knots” does sound like the trio is trying to wrestle with a variety of knotty twists which keep shifting throughout. Although Mary plays the lead on “Singlet”, it is the way the bass and drums embellish things by adding their own rhythmic/melodic colors that makes this so engaging. The trio speeds up on “Somewhat Agree”, which includes some intricate ensemble work, all three sliding around one another yet somehow connected. The last piece is their only cover, Charles Mingus’ classic “Orange was the Color of Her Dress, Then Blue Silk”. The trio put their own stamp on this song while playing the bluesy melody playfully with some occasional twists. This is yet another great date from Downtown’s best trio, Thumbscrew. - Bruce Lee Gallanter, DMG
CD $15
SYLVIE COURVOISIER - To Be Other-Wise (Intakt 429; Switzerland) Featuring Sylvie Courvoisier on solo piano, recorded at SWR Studio in Freiburg, Germany in February of 2024. Ever since moving to NYC in the late 1990’s, Swiss pianist, Sylvie Courvoisier has been a musician to watch & hear, as far as the future of Creative Music making. She is a master pianist and in a class of her own. Ms. Courvoisier has played in a series of duos with Lucas Niggli, Ellery Eskelin, Mark Feldman, Mary Halvorson and many others. She has also had her own trio, as well as with Mephista, a trio with Joëlle Léandre & Susie Ibarra and several others. Plus numerous quartets and occasional larger projects. As far as solo offerings, there was only one called ’Signs and Epigrams’ (on Tzadik from 2007). This is her second solo effort as far as I can tell.
If you’ve ever had the opportunity to check Ms. Courvoisier live, you know that she has her own approach to playing inside the piano and using masking tape to mute certain strings. She is a master at this so check her out on Youtube to see what I mean. This disc contains 12 pieces, each one dedicated to someone (musicians, composers, artists) who has inspired her in some way, as well as her three cats. “La Descente des Alpages” is first and already Ms. Courvoisier muting strings inside the piano and creating odd yet fascinating sounds. She sounds like she is rubbing the strings with an object, playing the keyboard and varying between the muted and unmuted strings. Incredible! On “Hotel Esmeralda” Sylvie begins with her distinctive fluttering muted explorations at the high end of the piano before slowing down to a more sparse, suspense-filled section. Ms. Courvoisier selectively uses the piano pedal to let certain phrases resonate, adding a hypnotic vibe to her playing. On “Chilling”, Sylvie plays the muted strings with her hand on the keyboard and the other banging inside the piano, as if she were playing with herself. This effect of playing two lines or ideas simultaneously is something that Ms. Courvoisier has been developing over time and which she employs here on many of the pieces, each time slightly different in the balance of ideas or phrases. “Preluding” is dedicated to Conlon Nancarrow, the pioneering American-born composer who composed mostly for player pianos, since his music was often too difficult to be played by humans. Ms. Courvoisier bounces between extremes here in a most exhaustive way. On “Soliloquizing” (for Wadada Leo Smith), Ms. Courvoisier plays some sparse notes, muted, plucked and tapped on the keyboard, each note surrounded by silence or space, something that Wadada Leo Smith (collaborator with Sylvie) often employs to great effect. Each piece here seems to employ a different strategy, stretching out certain sounds or lines, adding another layer and/or shifting between frenzied and more calm moments. If you get the chance, I urge you to check out Ms. Courvoisier in concert and you will see/hear what a singular musician she really is. If you can’t, then you should listen to this disc numerous times as more treasures will be revealed on each listen. - Bruce Lee Gallanter, DMG
CD $18
ANNA WEBBER / MATT MITCHELL / JOHN HOLLENBECK - simpletrio2000 (Intakt 430; Switzerland) Featuring Anna Webber on tenor sax, flute, bass flute & compositions, Matt Mitchell on piano and John Hollenbeck on drums. Anna Webber’s SimpleTrio has been around since 2015 and this is their third release. I’ve been a big fan of the playing and composing of Anna Webber for a decade, checking out her different bands as well as numerous collaborations with Harris Eisenstadt, Devin Gray, Dave Douglas and Jacob Garchik. Piano and keyboard wizard, Matt Mitchell, seems to keep in a variety of different projects, his most recent solo and piano trio offerings are both astonishing. Multi-bandleader, John Hollenbeck, also juggles several bands, both small and large, as well as teaching in Montreal. Check out his recent pop quartet named George, which also includes Anna Webber.
I didn’t know quite what to expect from this trio as their efforts are few & far between (two previous ones in 2015 & 2017) plus Ms. Webber seems to be juggling several bands at once, as well as teaching in Boston. This disc begins with “SlingshOt”, starts with a repeating sax riff which is matched by the drummer and has Matt Mitchell adding several lines on the piano. The repeating riff is quite hypnotic although Ms. Webber varies the riff slightly before taking a marvelous tenor solo. This systematic music which recalls Phillip Glass in its construction yet sounds somewhat unpredictable. “Idiom VII” is also riff-based yet it keeps changing the riff as it repeats. The trio speed up the riff in the second half with Mr. Mitchell taking a powerful piano solo. “Fixed Do" starts off with a simple unaccompanied sax line which slowly expands and is joined by the piano midway. Ms. Webber switches to flute and has a marvelous sound, taking a fine solo over the slow pulse underneath. On “Foray”, while Mr Mitchell repeats a riff, the drums spin tightly around him, speeding up and slowing back down with Ms. Webber adding punctuation with her flute. The repeating riff on “Five Eateries” changes throughout, with slower and quicker sections alternating and a compelling piano solo in the last section. For “8va”, the riff is slowed down and rather hypnotic with Ms. Webber stretching out each note as the suspense slowly builds. Webber takes a fine, solemn, pulsating solo here with Mitchell tinkling at the high end of the piano to great effect. Something I noticed here is that although every piece is riff based and often repeated, each riff is very different and a challenge to play, repeat and solo with or against. Recently, we received a large collection donation of 1,000 plus CD’s which included 100 Phillip Glass titles. The thing about Phillip Glass is that I only like a few of his pieces, too many of them bore me. On this disc, the minimal aesthetic is more diverse and interesting. Bravo once more to Anna Webber, Matt Mitchell and John Hollenbeck for another sonic treasure. - Bruce Lee Gallanter, DMG
CD $18
CAROLINE DAVIS with MARQUIS HILL / JULIAN SHORE / CHRIS TORDINI / ALLAN MEDNARD - Portals: Volume 2 - Returning (Intakt 424; Switzerland) Featuring Caroline Davis on alto sax & compositions, Marquis Hill on trumpet, Julian Shore on piano, Chris Tordini on contrabass and Allan Mednard on drums. I am often pleasantly surprised whenever alto saxist and composer Caroline Davis has a new offering since I never know what to expect. On her last effort, ‘Portals - Vol. 1’, she had the same quintet but with different guests. This time she has different guests including flutist Nicole Mitchell and vocalists Jen Shyu & Nappy Nina. Ms. Davis lived in Chicago before moving to NYC and still works with Chicago musicians like Marquis Hill and Nicole Mitchell. Commencing with “Gate of the Year”, the quintet is spinning their lines with the alto sax and trumpet in tight orbits with Mr. Shore taking a delightful piano solo midway. The great Jen Shyu does spoken word on “Olympian Air” (poetry by Joan Anson-Weber, Ms. Davis’ grandmother), which has an M-Base like circular riff which runs throughout the piece. Both Ms. Davis on alto sax and Mr. Hill on trumpet takes a strong, inspired solos here. Instead of the M-Base like intensity, this is more cerebral and enchanting. Julia Easterlin sings coyly & righteously on “Kites”, whose words were written by Ms. Davis and which states “Life is funny when it doesn’t work”. According to the liner notes, which were written by (guitarist) Wendy Eisenberg, these songs deal with grief and sadness. I do hear some forlorn vibes flowing throughout this disc. Vocalist Nappy Nina recites/raps the words on “Only the Names have Changed”, which seems to deal with the way things evolve, the more they stay the same. On “Everlasting Fire”, there are a couple different vocalists, alternating spoken word and lovely singing, both touching us in a similar way. “City Flora” features the great flutist Nicole Mitchell, who plays a wonderful note-bending, vocalized flute solo. The ensemble playing underneath is especially enchanting here. The final piece is called, “Cover Up” and it features the voice of Jen Shyu with shrewd words by Ms. Davis and inspired flute by Nicole Mitchell. This piece has an undertow of dark currents, which swirl around us like quicksand. Ms. Shyu’s voice and the higher toned instruments work well together and crash like waves over us. I get the feeling that there is quite a bit more going on here than one listening can provide so I look forward to several listenings which will reveal how deep the vibrations will go. Unsettling and somehow inspiring as well. - Bruce Lee Gallanter, DMG
CD $18
STEVE COLEMAN and FIVE ELEMENTS with JONATHAN FINLAYSON / RICH BROWN / SEAN RICKMAN - PolyTropos / Of Many Turn - Live in France: Paris and Voiron (Pi Records 105; USA) The Five Elements are now a quartet featuring Steve Coleman on alto sax & compositions, Jonathan Finlayson on trumpet, Rich Brown on bass and Sean Rickman on drums. After some 38 years and around 30 releases under his belt, alto saxist/composer/bandleader, Steve Coleman has continued to evolve his own unique cyclic music mostly through his ongoing band, the Five Elements. By now, the Five Elements have two dozen releases, their personnel changing slowly over time. Both trumpeter Jonathan Finlayson and drummer Sean Rickman have been members of the Five Elements for quite a while while bassist Rich Brown is the newest member. Steve Coleman composed all but two of the songs here with a cover of Billy Strayhorn’s “Lush Life” and Monk’s best known classic, “‘Round Midnight’.
The first piece on Disc 1 (live in Paris) is called “Spontaneous Pi” and it starts with just Mr. Coleman’s lone alto sax, playing slowly and quietly. Soon Coleman starts to play the riff and the rest of his quartet joins in. That riff has that M-Base like funky/bop-like groove/structure and the quartet plays the riff together as one unit. While the sax and trumpet play the riff together, they both switch off soloing in spurts, as well as altering the riff slowly as it evolves. Bassist Rich Brown holds things down while drummer Sean Rickman, revs up and down, pushing the groove into a frenzy at times. Over time, the riff slows down as the sax and trumpet play around the riff, often trading lines or soloing for short periods of time. On “Spontaneous One”, Coleman again starts slowly by himself playing a poignant intro. The quartet soon break into the second riff when is even funkier than the last one with bassist Rich Brown pumping it up adding some funky riffs of his own. The groove here actually had me dancing in my kitchen as I listened, a rare occurrence while reviewing discs for the DMG newsletter. “Spontaneous All” stars with just a single bass riff with drummer Rickman expanding and contracting, speeding up and slowing down and showing off his rhythmic prowess before Mr. Coleman leaps in with a searing sax solo. Both Coleman on alto & Finlayson on trumpet are well-matched and play a series of interlocking lines with and around one another in a most engaging way. The quartet sounded well connected throughout, playing and varying the licks as they evolve. Although many of these pieces are cyclic (with repeating riffs), each one is unique with different members of the quartet stretching out, twisting the structure, trading and soloing. I still feel like dancing to certain grooves here as well as listening to the way the quartet organically travels throughout groove-infectious spaceways, taking us along for the ride again and again. - Bruce Lee Gallanter, DMG
2 CD Set $18
JAMES EMERY NEO TRIO with CHRIS JONAS / CYRUS CAMPBELL - Inner Drive (Modern-Sounds; USA) Featuring James Emery on D’Aquisto Excel archtop guitar & compositions, Chris Jonas on tenor & soprano saxes and Cyrus Campbell on contrabass plus guests on one track: David Fortano on percussion and Ed Petersen on flutes & tenor sax. After several decades with the String Trio of New York (1977-2018), Mr. Emery moved to the west coast and released a duo CD with bassist Cyrus Campbell earlier this year. For this new disc, Mr. Emery adds former east coast saxist and Anthony Braxton collaborator, Chris Jonas to Emery’s duo. To be reviewed in the future.
CD-R $15
GERALD CLEAVER - The Process (577 Records / Positive Elevation Perec006; USA) “Sold out at source, last copies *300 copies limited edition* Drummer-Turned-Techno Manipulator Gerald Cleaver Transforms the Evolution of Detroit’s Music Scene into Infectious Electronic Music in Fourth Album with 577 Records and Positive Elevation. The electronic album you’ve all been waiting for has arrived! Detroit-born drum slayer Gerald Cleaver is making this summer even better with the upcoming release of a new, mysterious electronic ensemble that takes us to the next level of his unique avant-garde approach. The Process is brought to you by 577 Records and its sub-label, Positive Elevation, which is focused exclusively on electronic experimentation and avant soul. It marks his fourth collaboration with the companies.
Known for his ability to use the unpredictability of improvisation to deliver an unbelievable experience, Cleaver explains that the theme of The Process is the “celebration of the freedom and power of the Black American male.” Its very name bears the idea of persisting, of becoming everlasting. He likens The Process (both the album and his methods) to the evolution of Detroit’s robust music scene, highlighting the importance of reaching a younger audience to keep its “Electrifying Mojo” alive and thriving.
“I want this record to be heard like a long mix because this inspiration came from my song, ‘El Permanente’, which you hear near the end,” the musical genius says. “The joy in it ([and in] every electronic album) for me is it plays off of my heart’s passion: improvising. I create an inspiring sound, then I start improvising. That’s the legacy of Roscoe Mitchell. For me, it’s one of the most profound lessons (musical and otherwise).” The son of beloved drummer John Cleaver, Gerald picked up percussion effortlessly at an early age. You may recognize him from his involvement in projects like Welcome Adventure (also featuring Daniel Carter, Matthew Shipp, and William Parker) and Into the Wilderness (with Hprizm a.k.a High Priest and Brandon Lopez). He’s performed and collaborated with diverse artists, including Roscoe Mitchell, Tommy Flanagan, Eddie Harris, and many others. He introduced the world to his mesmerizing electronic creations as a composer and producer in 2020. Every note on The Process weaves together Gerald’s deep love and appreciation for the city that shaped him, its rich culture, and his relentless passion for creating transcendent yet relatable music that is to be felt (not only heard).” - www.soundohm.com
CD $14
THE SUN RA ARKESTRA / SALAH RAGAB / CAIRO JAZZ BAND - Meets Salah Ragab in Egypt plus the Cairo Jazz Band (Strut 266CD; UK) Featuring Sun Ra on keyboards, Salah Ragab on congas & compositions, John Gilmore, Marshall Allen, Danny Thompson, Leroy Taylor & James Jacson on reeds, Tyrone Hill on trombone,Eric Walker, Chris Henderson & Claude Broche on drums plus the 17-piece Cairo Jazz band. There are lengthy liner notes here from Harmut Geerken, a German musician and composer, who worked for the Goethe Institute in Cairo, Egypt and collaborated with Art Ensemble of Chicago and John Tchicai. This disc is a rare reissue of an obscure album that was first released on the Praxis label (from Greece) in 1983 and later reissued on CD by Leo Records in 1999 (with one more long Sun Ra piece included). All the compositions were written by Salah Ragab, who was the leader of some 3,000 musicians from the Egyptian military. Mr. Ragab was also a drummer, composer and organized the Cairo Jazz Band, selected from his favorite musicians. The music was recorded at El Nahar Studio in Cairo in May of 1983. The first two pieces feature the Sun Ra Arkestra with Salah Ragab sitting in on congas. Sun Ra plays electric piano & space organ on “Egypt Strut”, which has a rather hypnotic Ra-like groove/vibe. “Dawn” features some spooky flute(s) over another laid back yet cosmic groove. The multiple saxes churn together with some inspired solos emerging. The overall groove is most infectious. Although the compositions are by Mr. Ragab, they do have that Sun Ra-like space/ethnic/jazz sound. “Ramadan” by the Cairo Jazz band features layers of drums, horns and a chanting vocal chorus. It reminds me of some of the better arranged, stirring Stan Kenton music from the 1950’s. Mr. Ragab is a great drummer and he is featured as the rhythmic fuel for “Oriental Mood”, which also features several inspired, swirling flutes. The last piece is called “A Farewell Theme” and it features the great Cairo Jazz Band. It has layers of percussion, horns and reeds and again has that Cosmic Sun Ra sound. The Cairo Jazz Band is a bit tighter than Sun Ra’s Arkestra and play as exuberantly as the Arkestra. This piece has a triumphant, spiritual groove/vibe which feels so good to savor, plus a few marvelous solos. This entire disc is most stirring from the beginning to the righteous ending. Don’t snooze or you might lose. “Give some credit where credit is due or the same thing will happen to you” - Sun Ra, circa late 1970’s. - Bruce Lee Gallanter, DMG
CD $16
ORCHESTRE TOUT PUISSANT MARCEL DUCHAMP - Ventre Unique (Bonjo Joe Records 104CD; Switzerland) Orchestre Tout Puissant Marcel Duchamp's latest album, Ventre Unique, is a dynamic exploration that seamlessly blends folk, krautrock, post-punk, and African rhythms, delivering an emotionally charged yet exuberant listening experience. Helmed by Geneva-based Vincent Bertholet, the orchestra's ever-evolving lineup and distinctive sound pay homage to both African music traditions and avant-garde artist Marcel Duchamp, while pushing the boundaries of contemporary music. Recorded over ten days in the outskirts of Paris at Studio Midilive, the album features an eclectic international cast of 12 musicians. The result is a beautifully organic sound that balances Bertholet's simple, loop-based compositions with intricate arrangements of marimba, horns, strings, and angular guitars. Ventre Unique is the group's sixth album and follows their acclaimed 2021 release, We're Ok But We're Lost Anyway (BJR 073LP). While their previous work captured the disarray of the world during the pandemic, Ventre Unique reflects on shared human experiences, inviting listeners to find common ground through music.
CD $17 / LP $30
SAINKO NAMTCHYLAK - Lost Rivers 2 (Klanggalerie GG473; Germany) Sainkho Namtchylak is a singer originally from Tuva, an autonomous republic in the Russian Federation just north of Mongolia. She is known for her Tuvan throat singing or Khöömei. Her music encompasses avant-jazz, electronica, modern composition and Tuvan influences. Once the Soviet Union had collapsed, she moved to Vienna, making it her base, although she traveled widely, working in any number of shifting groups and recording a number of discs that revolved around free improvisation. Amongst them are collaborations with Evan Parker, Ned Rothenberg, The Moscow Composers Orchestra and Wolfgang Puschnig. Lost Rivers 2 is the follow-up album to Sainkho's seminal release on FMP in 1991. The album is divided into three parts, all of which are focusing on the singer's experimental work of sound poetry and the extreme use of the human voice to express the strong power of nature, the human scream. Such techniques were an important resource in extraordinary situations, for example at the beginning of a tribe hunting or the start of hostilities. The first part is a recording of Sainkho with Ned Rothenberg on clarinet. Part two is the trio of Sainkho, Hamid Drake on drums and William Parker on double bass. Part three is the purest version of Lost Rivers: Sainkho's voice combined with self-made instruments by Slumberland. An album that will appeal to fans of free improvisation and jazz, but also lovers of extreme music and noise.
CD $17
ABBEY LINCOLN - The Classic Albums 1957-1961 (Enlightenment 9236; EEC) Anna Marie Wooldridge, known professionally as Abbey Lincoln, was an American jazz vocalist. She was a civil rights activist beginning in the 1960s. Lincoln made a career out of delivering deeply felt presentations of standards, as well as writing and singing her own material. This 3CD set features the finest music Abbey Lincoln ever recorded, featuring as it does the absolute cream of her music from the golden years of her career. A true pioneer, Abbey always worked with the finest musicians and whilst not a household name, this new compilation serves equally as a perfect starting point for those new to the lady's music and a fine reminder for everyone else.
3 CD Set $18
LP SECTION:
LEGENDARY GRAPE with JERRY MILLER / PETER LEWIS / BOB MOSLEY / DON STEVENSON - Legendary Grape (Del Val Records 006LP; Earth) 2003 LP release on Veronica Breth's Del Val label ('the real follow-up to their pizzazzed debut'). "Legendary Grape is an album by Moby Grape -- original album was issued in 1989 as a five hundred copy, cassette-only release on Herman Records. The album was at the time credited to The Melvilles, being one of the names used by Moby Grape during the course of their protracted dispute with former manager Matthew Katz over ownership of the band name and related royalties. The album was recorded by original Moby Grape members Peter Lewis, Jerry Miller, Bob Mosley, and Don Stevenson. All group members contributed songs, as had been the case during all of the band's history. However, whereas in the past Jerry Miller and Don Stevenson had generally written together, including some of Moby Grape's best-known songs, both were now writing exclusively separately. Founding member Skip Spence was not well enough to perform, though one of his songs was included on the recording. It was the practice of Spence's bandmates to try to include at least one of his songs on every Moby Grape recording, irrespective of Spence's ability to participate in the recording." Very old stock, copies have edge warp not affecting play.
LP $15
HOWLIN' WOLF - Howlin' Wolf (Dol 929HG-LP; Russian Federation) "Howlin' Wolf's second album brings together some of the blues great's best singles from the late '50s and early '60s. The so-called Rockin' Chair Album represents the cream of Wolf's Chicago blues work. Those tracks afforded classic status are many, including 'Spoonful,' 'The Red Rooster,' 'Wang Dang Doodle,' 'Back Door Man,' 'Shake for Me,' and 'Who's Been Talking?' Also featuring the fine work of Chess house producer and bassist Willie Dixon and guitarist Hubert Sumlin, Rockin' Chair qualifies as one of pinnacles of early electric blues, and is an essential album for any quality blues collection." - Stephen Cook, AllMusic
LP $22
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ATTENTION ALL CREATIVE MUSICIANS OUT THERE, Around the world.
If you have a link for some music that you are working on and want to share it with the folks who read the DMG Newsletter, please send the link to DMG at DMG@Downtownmusicgallery.com
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THE STONE RESIDENCIES / YUKA HONDA / OCT 23-26
10/23 Wednesday
8:30 pm - CUP - Nels Cline (guitar) Yuka Honda (electronics)
10/24 Thursday
8:30 pm - Theia - EUCADEMIX (Yuka Honda solo electronics)
10/25 Friday
8:30 pm - Control Burn - EUCADEMIX (Yuka Honda solo electronics)
10/26 Saturday
8:30 pm - Farm Psychedelia
EUCADEMIX (Yuka Honda solo electronics)
THE STONE RESIDENCIES / CYRO BAPTISTA / OCT 30-NOV 2
10/30 Wednesday
8:30 pm - THUNDER STORM - Marcus Rojas (tuba, percussion) Tim Keiper (drums, percussion, voice) Ze Luis Oliveira (sax, flute) Brian Marsella (piano, percussion) Cyro Baptista (percussion, voice)
10/31 Thursday
8:30 pm - SPOOKY STORIES - Bill Gordh and Cyro Baptista
11/1 Friday
8:30 pm - CHAMA - Felipe Hostins (accordion) Ze Luis Oliveira (sax, flute) Jason Fraticelli (bass, quatro) Tim Keiper (drums, ngoni) Cyro Baptista (percussion, voice)
11/2 Saturday
8:30 pm - VIVAVIDA - Ikue Mori (electronics) John Zorn (sax) Brian Marsella (piano) Jim Staley (trombone) Cyro Baptista (percussion)
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…
Friday, October 18, 2024. 8:00 pm
Fred Moten & Brandon Lopez
Sunday, October 20, 2024. 4:30 pm
Roulette Open House // featuring Laraaji
Tuesday, October 22, 2024. 8:00 pm
Ellen Christi Ensemble featuring Patricia Nicholson
featuring Dave Burrell, Ken Filiano, Michael T.A.Thompson
Wednesday, October 23, 2024
Sylvie Courvoisier: Poppy Seeds
With Patricia Brennan (vibraphone), Dan Weiss (drums) and Thomas Morgan (bass)
Thursday, October 24, 2024. 8:00 pm
Zeena Parkins and Ikue Mori: Phantom Orchard plays the world of Izumi Suzuki
Monday, October 28, 2024. 7:00 pm
Charles Gayle Memorial 2024 Featuring:
WILLIAM PARKER BASS CHOIR
MICHAEL TA THOMPSON & JASON KAO HWANG
DRUM CHOIR
MATT SHIPP / MIRIAM PARKER / PATRICIA PARKER
KYOKO KITAMURA / ELLEN CHRITI / LISA SOKOLOV
ISAIAH COLLIER / WILLIAM PARKER / DAVE BURRELL
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=g-6p_Q2Dwxc
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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