Earlier this week on Monday morning at 8am, I had a double hernia operation at Overlook Hospital in Summit, NJ. Ouch! I was originally scheduled to have this procedure in 2020 but the pandemic occurred and I didn’t feel like going into a hospital during this time. When the pandemic was finally over, I was bounced off Medicare (don’t ask) for around a year so I had to wait even longer. I was told that this operation is no big deal but I did turn 70 earlier this year so it takes more time to heal. I am still very sore, healing slowly and trying not to let things stress me too much. No easy feat. Special thanks to my brother Marc for taking me to the hospital, my pal Rich R for coming to visit & deliver some medicine and to the other kind folks (thanks Andy & David G) who have been checking on me and sending their support and love. I hope to be back at work next week but we will see how I feel. I’ve been reading through the novel, “Generation Blues”, whose author came to visit the store last week and sign copies. I do really dig this book immensely and relate to all of those ancient blues songs mentioned throughout, being the Blues fanatic that I am. I hope to do my own review for next week’s newsletter. Thanks to John Mori and Caroline Morton for running the store in my absence and to all of the well wishers out there. I do appreciate your positive vibes. - Peace & Love, Bruce at DMG
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THE DMG 33rd ANNIVERSARY IN-STORE FREE MUSIC SERIES Continues with:
Tuesday, November 19th:
6:30: patrick brennan - alto sax / DAFNA NAPHTALI - electronics-voice / SAM NEWSOME - soprano sax
7:30: AARON RUBINSTEIN - Guitar / DAVID GROLLMAN - Snare / Voice
8:30: KATT HERNANDEZ - Violin
Tuesday, November 26th:
6:30: BLOOMERS
7:30: MICK BARR - Guitar / DANIEL CARTER - Reeds-Trumpet / TAKUMA KANAIWA - Bass / JONATHAN WILSON - Drums
Tuesday, December 3rd:
6:30: SYLVAIN LEROUX - Fula flutes & reeds / HILL GREENE - Contrabass / DAN KURFIRST - Drums
7:30: AYUMI ISHITO - Tenor Sax / KATE MOHANTY - Alto Sax / DANILE CARTER - Reeds & Trumpet
8:30: EVAN PALMER - Contrabass / JAMES McKAIN - Sax / MICHAEL LAROCCA - Drums
9:30: AMALIE DAHL - Solo Sax
Tuesday, December 10th:
6:30: HANS KOCH - Clarinet Soprano Sax / FLORIAN STOFFNER - Guitar
7:30: ALIX TUCOU - Solo Bass Trombone
8:30: KENNETH JIMENEZ - ContraBass / HERY PAZ - Tenor Sax / SABRINA SALAMONE - Violin / DREW WESELY - Guitar
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THE WEEKLY NEWSLETTER BEGINS WITH THE FIRST NEW DISC BY THE LEGENDARY PAINKILLER TRIO IN 30 Years!
PAINKILLER with JOHN ZORN / BILL LASWELL / MICK HARRIS - Samsara (Tzadik 9316; USA) Featuring John Zorn on alto sax, Bill Laswell on electric bass with effects and Mick Harris on electronics. Thirty-three years after their first meeting, Samsara is a spectacular reunion of three of the world's most extreme musical explorers—John Zorn, Bill Laswell, and Mick Harris. Originally formed in 1991, PainKiller is a legendary trio that forged a completely unique language blending jazz, metal, grindcore, ambient, dub, and so much more. Recording again for the first time in over a quarter century, these three master musicians have come up with an intense new musical direction. Mick Harris, performing on his trademark electronics, has created a rich tapestry of beats and sounds that have inspired Laswell and Zorn to some exciting new heights. Samsara presents three old friends exploring some bold new sounds. There is a nice article about this Painkiller release featured in the New York Times today and written by Hank Steamer, one of the best New Music journalists anywhere. The article explains how this release was recorded in different places and assembled with the help of Mr. Laswell’s main studio man, James Dellacoma. I haven’t heard this disc yet but I am just as exited as you are indeed. - BLG at DMG
CD $16
BACK IN STOCK AFTER A FEW YEARS:
PAINKILLER with JOHN ZORN / BILL LASWELL / MICK HARRIS - Execution Ground (Karlrecords KR025LP; Germany) 2024 repress. The seminal 1994 double album Execution Ground, by the original Painkiller with the line-up of Bill Laswell, John Zorn and Mick Harris on vinyl for the first time. When Painkiller started in 1991, their first two albums Guts Of A Virgin (1991) and Buried Secrets (1992) (both released on extreme metal label Earache) were heavy attacks blending grindcore and free jazz that brought together the musical backgrounds of the three protagonists: drummer Mick Harris had just left grindcore legend Napalm Death, John Zorn explored new extremities with his Naked City project while Bill Laswell had as a member of roaring free jazz quartet Last Exit (with Peter Brötzmann, Sonny Sharrock, Ronald Shannon Jackson) proven that he was not only a visionary producer but also an accomplished bassist. But it is their 1994 double album Execution Ground remains the opus magnum of the brilliant trio: Zorn's unmistakable shrieking saxophone, Harris's pounding drums and Laswell's growling sub-bass lines were given heavy mixing desk treatment, resulting in extended tracks that are no less intense than their early works but display the full range of the musicians' skills. Avant-jazz, grindcore, dub and ambient melt into eerie tracks of haunting atmospheres - even more so in the "ambient" versions of the second disc. Mastered and cut by Rashad Becker at D&M Berlin. Available here as a double 180 gram vinyl. Includes a download code and insert.
2 LP Set $26 (Limited Edition 2 LP version, no longer in print on CD / in stock next week]
JENNY SCHEINMAN with BILL FRISELL / NELS CLINE / JULIAN LAGE / CARMEN STAAF / TONY SCHERR / KENNY WOLLESEN - All Species Parade (Royal Potato Family 20286 24848; USA) Featuring Jenny Scheinman on violin, Carmen Staaf on piano, Bill Frisell, Julian Lage & Nels Cline on guitars, Tony Sherr on bass and Kenny Wollesen on drums. I recall hearing good things about Bay Area-based violinist, Jenny Scheinman, when she moved here in the early aughts. Her first album was released on John Zorn’s Avant label in 2000, ‘Live at Yoshi’s’, with a Bay Area quartet and I was knocked right away. Ms. Scheinman then put out two fines discs of Jewish music on the Tzadik, both still sound great. Ms. Scheinman then recorded for the Cryptogramophone label and started working with guitar great Bill Frisell. Scheinman then recorded two discs for the Koch label which also featured her singing. Lo and behold, she had a great voice and was a fine songwriter. For those Koch albums (sadly out of print), Ms. Scheinman used members of Frisell’s bands like Ron Miles and Kenny Wollesen, as well as Frisell himself. Around this time, Ms. Scheinman moved back to the west coast, had a child, organized a new band with Nels Cline, Todd Sickafoose and Jim Black. She self-released a record called ‘Mischief & Mayhem’, which was her best disc yet. Since then she has another fine record on the Sony Masterworks label/series and is now signed to Royal Potato Family (RPF).
This is her third record for the RPF label and she has organized a wonderful all-star band with three alternating guitar heroes: Bill Frisell, Nels Cline and Julian Lage. For the last two records, Ms. Scheinman has been using pianist Carmen Staaf as well as the old rhythm team from the Bill Frisell Trio, Tony Scherr and Kenny Wollesen. While elder picker Bill Frisell plays on all or most of these tracks, Nels Cline and Julian Lage play on different tracks. The opening piece is called “Ornette Goes Home” and it is no doubt dedicated to the iconoclastic composer & saxist Ornette Coleman. Ms. Scheinman has always had a warm, enchanting tone on her violin and this is we find here. The melody is infectious, even gleeful with lovely solos from the violin, Ms. Staaf’s piano, a fine, laid back yet playful solo from Mr. Frisell and a righteous solo from bassist Scherr also. “Every Bear That Ever There Was” has a melody that reminds me of 1970’s sit-com theme, elegant yet stripped down and most charming. This music has a way of making me smile and feel better about life like a ray of sunshine on a cloudy day. “Jaroujiji” has some hushed acoustic guitar (Frisell, I think) with an electric guitar, both working together with Scheinman’s violin in a most elegant way. This piece has a chamber music like grace with the three string instruments working together as one musical force. The title track has a fine, sly, somewhat funky groove which is also infectious. I dig the groove here and almost got up to dance although it is probably best that I rest instead due to my healing process. “Shutdown Stomp” does have a great uptempo stomping groove which recalls a slapstick comedy scene and again makes me smile to hear it. If you are a fan of Mr. Frisell’s Americana-like music, then this disc is for you since it has a similar sound. “House of Flowers” has a lovely, gracious melody and sweep which I find to be most enchanting. “The Cape” kind of sounds like punk-rock with another infectious groove/melody/theme. Surprising?!? Not for me, as that punk rock spirit had a way of waking up some of the snoozing prog or fusion fanes when it erupted in the mid-80’s. And who better than Nels Cline, a great beyond-the-pigeonhole guitarist who used to tour with Mike Watt (from the Minutemen), playing all sorts of rock, jazz, fusion & prog with many different bands. “With Sea Lions” has an ethereal, haunting quality with Frisell squeezing out those quaint, subtle, eerie notes, which is known for doing. On the final piece, “Nocturne for 2020”, the blend of acoustic & electric guitars & violin is a pure delight, rather angelic sounding. This entire disc or 2 LP set has a most enchanting quality that pervades throughout. A wonderful addition to anyone’s collection no matter what type of music that you favor. - Bruce Lee Gallanter, DMG
CD $15 / 2 LP Set $36
DUCK BAKER with EUGENE CHADBOURNE - Breakdown Lane (ESP-Disk 5100; USA) Featuring Duck Baker on flamenco & steel string acoustic guitars with Eugene Chadbourne on guitar on two tracks. When I first discovered the Downtown Scene in the early 80’s, I noticed there were a number of musicians who were from other places, yet came to NYC often enough that I thought they were living here. This list including non-Downtowners included Davey Williams & LaDonna Smith from Birmingham, AL, Henry Kaiser & members of the Rova Sax Quartet (both from the Bay Area) and Duck Baker. All these musicians came from much varied backgrounds and brought something different with them while playing at mostly smaller venues & galleries in the Village and in Soho. I am not so sure when I first heard guitarist Duck Baker play live, but I do remember on a ‘Guitar Trios’ album with Eugene Chadbourne, Henry Kaiser & Owen Maercks, which was released in 1977. I didn’t buy this record until several years later when I had become friends with Eugene Chadbourne, John Zorn and other early Downtown musicians.
Although Mr. Baker was more known for his fingerstyle type of guitar playing, he was also a master of several types of guitar styles from folk, jazz and other ethnic influences. Besides making a number of fine solo guitar efforts he also worked with other pickers like John Renbourne and Stefan Grossman, as well as playing the music of Herbie Nichols and Thelonious Monk. Aside from playing more traditional music and old jazz, Mr. Baker has also been free/jazz for a long time also. This disc captures some 22 years (1976-1988) of Duck playing most free with a few jazz standards as well. The fourteen solo pieces and 2 duos with Eugene Chadbourne show a wealth of influences and styles that Mr. Baker has drawn from over his long career/journey. These pieces come from a wide variety of places and sessions. Many of these were composed or freely improvised with a handful of covers by Ornette Coleman, Billy Strayhorn and Thelonious Monk. Each of the 16 pieces seems to come from a different style or approach. Sometimes Duck swings hard, articulating each note with precision while also pushing the barriers between free and charted territory. Ornette Coleman’s “Peace” comes from ‘The Shape of Jazz to Come’ (rel 1960) and it is well played, stripped down a bit from the way Ornette’s quartet played it then. Mr. Baker has some strong chops and often speeds up, slows down and pushes himself into some frenzied, intense lines/runs. There are some intense free pieces which remind me of when I first heard Eugene Chadbourne playing freely with Zorn, Polly Bradfield, Tom Cora and others in the early 1980’s. Rubbing the strings or banging on the guitar, doing almost anything weird without a melody in sight was what many of the Downtowners were doing then. Mr. Baker plays a flamenco guitar on much of this and sounds like he is influenced by that style of guitar playing as well. This disc is way more diverse than I would’ve imagined and it doesn’t always sound so free. Mr. Baker plays fragmented melodies, scrambled yet focused lines with many unexpected twists and turns. I’ve heard quite a bit of Duck Baker’s releases as well as hearing live on a half dozen occasions. There seems to be his own (mostly) solo release where plays mostly free, showing a very different side to his unique virtuosity. The two duo with Eugene Chadbourne show two avant guitar masters at their best, tossing ideas back and forth, hard to tell who is who. I do love their version of “Take the A Train”, which sounds like no other version that I’ve heard. This is an unexpected treasure for experimental guitar freaks and those who appreciate the way the Downtown Scene has influenced many other Creative Musicians from around the world. - Bruce Lee Gallanter, DMG
CD $13
R*TIME with REUT REGEV / IGAL FONI / JEAN-PAUL BOURELLY / ERIC REVIS / DOUG HAMMOND - Plays Doug Hammond (ESP-Disk 5079; USA) Featuring Reut regev on trombone & flugabone, Jean-Paul Bourelly on guitar, Eric Revis on bass, Igal Foni on drums and Doug Hammond on vocals & compositions. I recall finding records by drummer/composer Doug Hammond during the mid-1970’s, mostly on small labels like Tribe and Idibib (his own). One of these records called ‘Folks’ (from 1980) had a legendary status since the personnel featured Loft Jazz heavies like Byard Lancaster, Muneer Abdul Fataah, Alex Foster, Marvin Blackman and Hubert Eaves. It turns out that Mr. Hammond made 11 albums from 1975 through 2010, many of which I’ve never seen or heard. I’ve often wondered why he rarely (if ever) plays in NYC and how I can find out his releases. It also turns out that Mr. Hammond has been living in Linz, Austria, teaching at Bruckner University and rarely comes back to the US. An Israeli-born couple named Reut Regev (on trombone) and Igal Foni (drums) actually live in the same town as I do (Rahway, NJ) and used to have a monthly gig at the Watt Hotel which is 2 blocks from where I live. Hence, we are good friends and have long admired their Creative Music explorations. Mr. Hammond met the couple a few years ago after a concert they played in Austria and they decided to collaborate. The couple have their own quartet called R*Time which includes guitar giant Jean-Paul Bourelly and bassist Eric Revis. I recall Mr. Bourelly’s playing from several records he made in the 1980’s & 1990’s, as well as his work with Elvin Jones and Jamaaladeen Tacuma. Mr. Borelly has also recorded 15 discs as a leader although I’ve seen the earlier one myself. I’ve caught contrabass great Eric Revis playing with Kris Davis, Avram Fefer & Jeff Parker. You should check out his great leader date on Pyroclastic from 2020.
What surprised me the most is that Doug Hammond is a fine singer and has written some great songs for the disc, singing on 7 of the 11 songs. Mr. Hammond has sung on some of his earlier records although I don’t remember hearing any of them. This is the 4th release from Ms. Regev’s R*Time band. Each song here is pretty different and really puts the quartet through some challenging arrangements. “It’s Now” has an odd yet funky groove with some strong bent-note guitar and a spirited trombone solo. The two lead instruments, Regev’s trombone and Bourelly’s guitar work together well, matching each other and balancing things out perfectly. “Moves” is a touching ballad with some warm, charming, forlorn sounding vocals by Mr. Hammond. Bourelly’s exquisite dreamy guitar and Regev’s lonely trombone are most haunting here. Considering that Mr. Hammond is mainly known for his drumming, his pieces often have quirky rhythmic lines with Mr. Foni often playing a soft cowbell to establish a groove. Mr. Hammond has what I call the sly, hipster, jazz voice which sounds great on the songs where he uses it. In the lengthy liner notes by jazz scholar Howard Mandel, Mr. Hammond discusses the lyric inspiration for each song. He seems to wear his heart on his shoulder, like the voice of a great dad or brother giving us some well needed advice. “With a Tear” is an instrumental ballad and most sublime and enchanting. While the bass and drums do a fine job of playing the skeletal form, it is Regev’s trombone and Bourelly’s guitar that really show a more poignant side to this solemn gem. “Deneka’s Chant” is named after Mr. Hammond’s oldest daughter, the words are like a jazz lullaby for children, so nice. One of the things I like best about this disc is how mellow yet thoroughly well composed. There are a number of unexpected delights here like Mr. Bourelly’s short yet feisty guitar solo on “Riz Bizz” and the fat greasy groove on “Mellow Moments”. I know there are those DMG customers and/or jazz purists who avoid any disc with vocals. I love Mr. Hammond’s suave, laid back voice which fits the songs perfectly and never calls too much attention to itself. Perhaps back in the day when I was listening to more out/free/jazz than anything else, I might not have appreciated this disc. Still, I find this disc to be consistently charming with some great spikey or inventive solos as well. - Bruce Lee Gallanter, DMG
CD $13
BEN BENNETT / MICHAEL FOSTER / JACOB WICK - Carne Vale (Relative Pitch Records RPR 1205; USA) Featuring Ben Bennett on percussion, Michael Foster on sax (tenor or soprano usually) and Jacob Wick on trumpet. I know Philly-based percussionist Ben Bennett from his ongoing collaborations with elder, Free/Music legend Jack Wright and other lesser known musicians. Local sax pioneer Michael Foster is an old friend who plays here at DMG a few times a year and is constantly experimenting with the way he plays sax. Trumpeter Jacob Wick is a bit more mysterious since he moves every few years, plays here at DMG on rare occasions and can be heard on a dozen discs, mostly with limited distribution or promotion. He did live here at one point and has played here in the last couple of years with Kenny Warren, Sean Ali and Carlo Costa.
This is the second disc with this particular trio, the first being released in 2018, six years ago. This session was recorded at Pioneer Works in Red Hook, Brooklyn. In the early aughts there was a type of music which was called lower care or onkyo (in Japan), a more minimal aesthetic which used a good deal of silence or space between each sound. The music here is coming from a similar sound. Mostly we hear a note on the trumpet and then a whispered breath-like sound on the sax and a rubbed or tapped surface of a drum or other piece of percussion. Everything unfolds slowly so that we can savor every sound. After a while, each sound is stretched out. Carefully with each sound becoming a drone. If you can slow down your pulse or expectations, then you can appreciate how this all fits together.
It often sounds like every sound is filled with feeling or meaning. The pace speeds up a bit on the third track, the interplay more thoughtful, each of the two horns in a different place on the audio spectrum. It sounds like both the trumpet and sax are using some sort of mute to all their sounds. I seen/heard Michael Foster use a tube between his mouthpiece and his sax, which he can pluck or stretch to alter his sound. The pace gets busier on the fourth piece with Mr. Wick repeating a goofy line for a short section before things calm down once more. On the last piece, the horns actually play their notes closely together tonal & texture-wise. The percussion matches them just right so it sounds as if there is a solid trio playing together. What I realize is this: the way the musicians shape each sound, alter the tones, bend or stretch their sounds is what makes this work. Once we adjust, there is an entire sonic world which unfolds as we listen and speaks to those who are listening. Most impressive. Just like most of what the Relative Pitch label releases. - Bruce Lee Gallanter, DMG
CD $13
THOLLEM McDONAS - Infinite-Sum Game (ESP-Disk 5088; USA) From the liner notes by Thollem McDonas: "My approach to the piano is unique, based on my lifelong relationship with the instrument. It is also universal, born out of the context of everything and everyone who came before and during. I have been influenced by my classical piano training, my pianist parents, growing up in the culturally diverse SF Bay Area, West Coast punk rock, Kuumbwa Jazz Club, The Cabrillo Music Festival, and my life of traveling and living without a homebase. This album expresses the culmination of my life's experiences in dialogue with the universe and my fellow human beings, including all the artists I've worked with over the years. Those collaborations have continuously helped stretch me into new shapes. An 'infinite-sum game' is the opposite of a 'zero-sum game' in that all of the participants benefit from each other, a symbiosis of sorts, biologically, culturally, financially, politically. It's the heightened state of mind of recognizing that our lives are better when others are also doing well and we put in the effort to facilitate this outcome. Since I was a child, the confluence between musics has been at the forefront of my curiosity. As a result, my music is genre-bending, code-switching, omni-idiomatic, and intersectional. Growing up, all of the composers I was studying were telling me to tell my own story. I was hyper-aware that 'Classical Music' was actually a constant revolution, and that this was the same for jazz and rock and roll too. The greatest way to honor the revolutionaries of the past is to respond to the dynamics of one's own time. I never set out to play a certain style of music, or to emulate anyone, but through my own particular explorational approach, sounds inevitably arise that conjure someone else's music, which is wide open for interpretation. Some of these comprovisations have been included on previous solo albums of mine. I see this recording as the ultimate, and final, document of these pieces. Thank you for listening!"
CD $13
SHAWNECI ICECOLD / FRED LONBERG-HOLM - Sepphoris (Underground Records UG468; USA) Featuring Shawneci Icecold on piano & harmonium and Fred Longberg-Holm on cello. Last week I reviewed a new disc by keyboard wiz Shawneci Icecold which featured Vernon Reid, Matthew Garrison and G Clavin Weston with Icecold on synths. This disc turned out to be the new fusion (jazz/rock) disc that I’ve heard in decades! I hadn’t heard of Mr. Icecold before he sent us these three new discs, but I’m glad he contacted us and sent copies. Each one is great and completely different. Unbeknownst to me, Mr. Icecold has four earlier releases with Downtowners Daniel Carter, Brandon Lopez, Michael Bisio and Whit Dickey.
For this release, Icecold switches to two acoustic keyboards, piano and harmonium. No doubt you know of cello great Fred Lonberg-Holm from his work with Peter Brotzmann, Ken Vandermark, Joe McPhee and many others. This disc was recorded at K-Town Studios in Kingston, NY, not far from Woodstock and close to where Mr. Lonberg-Holm now resides. If you don’t know what a harmonium is, I urge you to check it out on-line. A harmonium is “a keyboard instrument that is a lot like an organ. It makes sound by blowing air through reeds, which are tuned to different pitches to make musical notes. It can be played hand or foot pumped” - Wiki. I’ve long been fascinated by harmoniums and feel like they have a somewhat spiritual sound. I recall when a bunch of members of the Downtown community bought one for Myra Melford and hence she organized a special trio with Dave Douglas & a tabla player. They were incredible live and I’ve long searched for others who use the harmonium to do great things. The liner notes also have a fascinating history of the harmonium.
The liner notes here include a long paragraph about Fred Lonberg-Holm’s background, something I knew little about. This disc begins with the title track, “Sepphoris” which features Lonberg-Holm’s expressive cello along with Icecold’s spiritual sounding piano. “Sepphorsis” is a town in Israel where Mary, Jesus’ mother was supposedly born. Mr. Lonberg-Holm has long been one of the best improvising cellists to emerge in the past several decades and sounds especially expressive here. The other four tracks feature harmonium and cello duos and they are really something else. Since Mr. Lonberg-Holm has done so much free/improv with heavy cats like Peter Brotzmann and Ken Vandermark, most associated with playing most outside/avant jazz or improv. His playing here matches Mr. Icecold’s more enchanting spiritual sound just right. This is a strong duet without a leader as both musicians interact so well together. What stands out is that the harmonium and the cello are playing similar tones or drones, stretching out notes carefully whether by bowing the strings or the breathing pulse which we hear due to the pumping action going on with the harmonium. Although the harmonium has a smaller keyboards than most organs, one would think that this would limit the explorations. The cello, though, has a much longer history and range with Lonberg-Holm weaves between plucked, bowed and other more experimental ideas. Even in more limited ways, Mr. Icecold does a good job of exploring sounds on the harmonium. This is a particularly strong duo effort on several levels. - Bruce Lee Gallanter, DMG
CD $14
THE NECKS - Bleed (Northern Spy 168; USA) The Necks are Chris Abrahams on piano, keyboards & electronics, Lloyd Swanton on bass and Tony Buck on drums & percussion. I’ve been a fan of The Necks pretty much since they started (1st album in 1989). I’ve dug each of their 30 plus albums and have seen them live around a half dozen times. Although they are/were referred to as a “jazz piano trio”, there is much more going on than that. It’s true that they’ve had a formula of sorts of the way that their albums evolve, they are still finding new ways to bring in surprising shifts in detail or flow. It takes patience and concentration in order to really hear what is going on here. Chris Abrahams starts off with one note or chord, giving it space to resonate in our consciousness. There are some sounds here which are hard to identify, bowed bass or rubbed strings inside the piano or electronics/samples or any combination of the above. Tony Buck adds a long drum roll underneath midway while there is a series of drones above. All of the sounds seem to float by yet all sound like they are part of an ongoing tale or story which we can add to with our imaginations. Something I notice is that every sound seems to evoke a different feeling or vibe. The flow that runs throughout is like the pulse which starts in our hearts and runs through our veins. My breathing seems to be at the same rate that this music unfolds at. There is a sense of calm at the center here which feels good after the bad election news last week and my double hernia op this past Monday. Slowly the tempo and density increases, pushing the excitement level up a bit. It often sounds like certain notes or sounds are being stretched out carefully as other sounds float by. Not unlike surfing on a slow wave or drifting on a raft on a calm body of water. I was reading a review of this record on bandcamp that was complaining about this record being disappointing. I don’t think so but I do think that my/our inner vibrations or expectations have an effect on how we connect or not with whatever we spend time working on or thinking about. Today it is in the mid-fifties and the sun is shining. The music, sunlight and breeze feel pretty great to me and makes me happy to be alive. Peace. - Bruce Lee Gallanter, DMG
CD $15 / LP $24
BRIAN ENO // GAVIN BRYARS / DAVID TOOP / MICHAEL NYMAN / HAROLD BUDD / JAN STEELE / JOHN CAGE / MAX EASTLEY / PENGUIN CAFE ORCHESTRA / JOHN ADAMS / TOM PHILLIPS / et al The Complete Obscure Records Collection 1975-1978 (Diaglogo 926Box; Italy) Over the last few years, the Italian imprint, Dialogo, has showed a remarkable dedication to the history of experimental music via reissues of seminal artefacts from the Cramps catalog, and important albums by Piero Umiliani, Ennio Morricone, Bruno Nicolai, Enrico Rava, and others. This initiative now takes on a towering scale with the first ever box set gathering the entire ten album collection of Brian Eno's Obscure Records, originally issued between 1975 and 1978. A truly groundbreaking body of recordings - many of which have remained out of print and difficult to find for decades - it contains some of the most important, influential, and enduring music to emerge during the second half of the 20th Century, which collectively reconfigured the terms of minimalism and laid the groundwork for the emerging movement of ambient music over its short, three-year run. Issued in a deluxe CD edition of 1,000 copies, each box set contains all of Obscure's albums, completely remastered by Andrea Marutti and housed in faithful mini-replicas of their original covers and liner notes, as well as a 130-page booklet, this historic collection marks the first time such a seminal series has received a complete repress. This is certainly one of the year's most interesting, essential, and widely anticipated releases, stunningly produced with the complete involvement of all the artists or their estates. When viewed collectively, the Obscure catalog reveals a remarkable, and previously unexplored counterpoint -- bridging the United Kingdom and the American West Coast -- to the dominant threads of minimal and experimental music, centered in New York that had long dominated the public consciousness. This historic collection marks the first time the seminal Obscure catalog has received a complete repress; simply a dream come true. Featuring Gavin Bryars, Christopher Hobbs, John Adams, Brian Eno, David Toop, Max Eastley, Jan Steele, John Cage, Michael Nyman, The Penguin Café Orchestra, John White, Tom Phillips, Gavin Bryars, Fred Orton, and Harold Budd.
10 CD Box Set $156
INTERMODULATION - Connections (1970-1974)(Paradigm Discs 040CD; UK) Formed in Cambridge in 1969 by Tim Souster and Roger Smalley, Intermodulation started out as a four-piece group with the addition of Robin Thompson and Andrew Powell (who soon moved on to other Cambridge projects, including a pre-Chris Cutler Henry Cow). Powell was replaced by Peter Britton, and this incarnation of the group remained for the duration of their existence. Having released a box set of works by Gentle Fire, it felt necessary to do the same with Intermodulation and thus complete the other half of this missing chapter in British experimental music. Intermodulation had quite a different line up than Gentle Fire, most notably with Peter's percussion, Robin on bassoon and soprano sax, and the shared use of VCS3's and electric keyboards. Nonetheless both groups covered similar ground, appeared at the same European festivals, travelled together with Stockhausen to Iran, and they were generally concerned with a similar repertoire of experimental scores. Although Intermodulation released no records during their existence (and Gentle Fire only the one LP), both groups did appear side by side on the recording of Stockhausen's Sternklang. This four-CD set aims to cover a wide range of their work. CD one contains the entirety of their 1971 concert at Ely Cathedral (a six-minute excerpt of which appeared on the Not Necessarily English Music compiled by David Toop). CD two focuses on their BBC recordings including excerpts from two Prom performances, one of which is the famous 1970 Prom which had Soft Machine taking the stage in the second half. CD three features material held in the archives of three German radio stations and the fourth disc consists of one work; "World Music" by Tim Souster, the 72-minute opus written for the four players plus tape. In summary, Intermodulation plays five Stockhausen pieces (four of which are realizations of his intuitive text pieces), two Terry Riley pieces and one by Cardew. They also play two compositions by Tim and one by Roger, as well performing two group improvisations. The set comes with a 48-page booklet detailing the groups history. This is a numbered edition of 500.
4 CD Box Set $50
CHRISTOPHER TRAPANI - Noise Uprising (New World Records 80843; USA) "The inspiration for Christopher Trapani's (b. 1980) new song cycle is Michael Denning's book Noise Uprising, which chronicles the explosion of vernacular recording that took place in the late 1920s in port cities around the globe. The historical 78 rpm records of this era are the not-so-silent witnesses of the birth of son, jazz, samba, rembetiko, fado, tango, etc. They reveal a kind of B-side of music history, a people's history of music-making driven by the bustling marketplaces of colonial port cities. Noise Uprising (2024) is a polystylistic atlas that unravels a subterranean, cross-cultural network far away from, and with a wider reach than, traditional concert halls. Using Denning's book as a starting point, Christopher Trapani 'fills in the map' by composing a series of pieces for four guitars and two singers, sometimes including live electronics. In studying these 78s as primary source documents, Trapani transcribes and transforms their musical gestures. These recordings are in turn woven into electronic collages, often alongside his own field recordings, made on site in the cities where the source material originated, imagining alternative histories, fictive encounters and cross-pollinations between styles which in reality may never have intersected: gamelan meets tango, fado meets samba. With Noise Uprising Trapani uncovers hidden connections between geographically distant genres, but in doing so he always strives to create work that ultimately represents something more than a travelogue or a book of postcards. The short works he has composed for this cycle call into question notions of cultural appropriation and authenticity, challenge rather than romanticize notions of the exotic, and draw attention to the dangers of 'overtourism' and the unreflective, superficial consumption of place. The guitar, in all its possible variations, forms a common thread. But also the human voice plays a central role in Noise Uprising. This recording features the voices of Swedish-Ethiopian soprano Sofia Jernberg and Puerto Rican soprano Sophia Burgos."
2 CD Set $30
TAPPER ZUKIE & FRIENDS - A Soulful i&i (Kingston Sounds KSCD 092CD; UK) This follow-up album to Tapper Zukie's Bunker Buster set, sees Tapper again rally calling his fellow reggae singers to work up some great songs. This group of tunes lean towards a more soulful sound, yet still holding that reggae feel listeners know and expect from Mr Zukie. The title itself A Soulful i&i suited this set of songs perfectly. The roll call of great singers starts with Prince Alla adding his distinctive feel to the opening track "Children Don't Cry." "Heaven On Earth" features Junior Ross on vocal duties. "Poverty" is richly enhanced by one of Jamaica's greatest vocal bands, Silvertones. Tapper himself follows with the thoughtful "Man-A-Man" and another great reggae trio the Viceroys counter with "Help Me." Dennis Walks guides listeners with "I Wanna Go" and Junior Ross appears again with the timeless "Be On The Right Track." Mr Zukie points the way on "People of Love" and Prince Alla insures listeners that right will always overcome wrong doing with "Good Over Evil." "That Was The Day" is sung so majestically by the Viceroys and leads listeners into the Silvertones' "Magic Touch." Little Roy leads out with "Youth In The Ghetto."
CD $15 / LP $22
PHILIP JECK - rpm (Touch Tone 086CD; UK) With ‘rpm’, Touch wanted to join some of the dots of Philip Jeck's life and involve many other collaborators, early and more recent. Fennesz was a friend and kindred spirit on the same label. Claire M Singer formed a new chemistry and partnership and although their plans must now take a different form, Mary found some sketches Philip had laid out using Claire's organ recordings, for further development. Faith Coloccia and Philip had already released "Stardust" on Touch in 2021. Their live performance together at 2220arts archives, Los Angeles in March 2022 celebrating Touch's 40th anniversary had to be shelved. And in September of that year Iklectik hosted a memorable tribute night with live work from Chris Watson, Liverpool Improvisation Collective, Claire M Singer, and others -- most of all a dedicated audience who knew and felt that this was a future event and not the end of the story. A work in progress at the time of Philip's death, Oxmardyke, a project with Chris Watson, saw the light of day as Touch Tone 83 in early 2023 -- working on recordings Chris had sent, Philip with laptop perched on hospital bed, almost to the end. There were other artists who wanted to actively contribute further, whether in performance or contributing to this album: Jana Winderen had already sent Philip her recordings of pilot whales and the track you hear was finished in March 2022. Cris Cheek was in Slant with Philip and Sianed Jones, who also sadly passed away that same year -- their work together predates Philip's with Touch. Philip owed much in his early years of composing and playing to his collaboration with dancers, theatre and film makers -- in particular, a ten-year working and performing partnership with Laurie Booth, Yip Yip Mix, and the 20th Century, which toured widely during the 1980s and early '90s. An early audio-visual work, Vinyl Requiem (1993) was created with visual artist Lol Sargent, using 180 record players, nine slide projectors and two 16mm projectors producing a live performance on a huge scale. Vinyl Requiem wasn't exactly about the end of vinyl, but the dawn of something else regarding sound recording and music. It was never a final statement but a testament to the work to come. Also featuring Gavin Bryars, Rosy Parlane, Cris Cheek, Faith Coloccia, David Sylvian & Hildur Guðnadóttir, Jah Wobble & Deep Space.
2 CD Set $20
GUNTER SCHICKERT - Samtvogel (Bureau B 475CD; Germany) It's hardly a secret that there was a lot of movement in German pop music during the late '60s and early '70s of the last century, and that many new things emerged then. Countless books have already been published on the subject of "Krautrock," and many LPs from this period have been re-released. Günter Schickert only released two LPs in the '70s: Überfällig (Sky Records, 1979/Bureau B, 2012) and Samtvogel (Brain, 1976). Now, exactly 50 years after its original release, Samtvogel has returned.
"Günter Schickert used only guitars, echo devices and a modest recording technique for Samtvogel. The album is a genuine DIY production -- radical in every respect and not at all in keeping with the zeitgeist of the time. It was perhaps this radicalism that made it difficult to find a suitable record label to release the album. In any case, Schickert initially self-released Samtvogel in 1974 in an edition of 500 copies. It wasn't until two years later that the album was released in a much larger edition on the Brain label. I am sure that Schickert was familiar with the minimal music of Steve Reich, Terry Riley, and Philip Glass. I don't know whether he had also heard Die grüne Reise (1971) by Achim Reichel. Inventions for Electric Guitar by Manuel Göttsching would not appear until 1976. With his version of minimal music, Schickert completely dispenses with electronic sound generators; neither synthesizers, sequencers nor rhythm machines can be heard on Samtvogel. Instead, he enters into a dialogue with the echo device and uses it and his electric guitar to create seemingly simple, almost rudimentary repetitive patterns that only reveal their minimalist nuances on closer listening. What sounds so simple requires a high level of concentration from the player, as he has to react to the relentless echo once it has been set up. If attention wavers for even a second, the piece immediately goes off the rails and chaos ensues. In the studio, you simply start all over again; in a live situation, it's a worst-case scenario. However, Schickert remains absolutely precise on Samtvogel, and yet his music does not have the coolness and/or artificiality found in the electronically produced music of other German musicians." - Asmus Tietchens, 2024
CD $18
HARALD GROSSKOPF - Strom Bureau B 464CD; Germany) "You don't really need to say much about this man: co-founder of Wallenstein, drummer on at least two of the most wonderful Krautrock albums (namely Mother Universe and Cosmic Century), member of the legendary Kosmische Kuriere, records with Ash Ra Temple and Klaus Schulze. Finally, Harald Grosskopf switched from drums to sequencers and created something breathtaking. I listened to his solo debut Synthesist (BB 158CD, 1980) to death, and few days began without 'So weit, so gut.' It was a record that did everything right, that salvaged whatever could be salvaged from Kraut, adding the melancholy with which one suddenly looked back on everything that could still be naively believed and played in the '70s. Then in 1985 came the follow-up Oceanheart (BB 157CD), no less great, albeit already noticeably more minimalist. Manuel Göttsching could be sensed in the distance if you surrendered to the track 'Eve on the Hill' and followed it into the depths. Time passed, the music stayed with me. I lost sight of Harald Grosskopf, even though he did produce an album from time to time. And now: Strom. The evocation of electricity, the virtuosity of the circuit that skillfully intertwines man and machine, an antidote to the triumphal march of desolate musical digitality. If you listen carefully, you will immediately recognize the engineer behind the soundscapes. Right from the opener 'Bureau 39,' everything you would expect from Grosskopf is immediately there: the push toward hypnosis, a subdued pulse, catchy, circling bass lines, layering Moog kaleidoscopes. Sometimes the sounds coarsen, the depths distort into grinding noises (as in 'Blow'), into mechanical gurgling, i.e. into what remains when the path comes to an end, when the music reaches beyond the human. The mid-tempo track with the programmatic title 'After the Future,' grotesquely twisting the word 'Ònever,' points the way there. Time and again, however, the beat pauses, leaving space for the soundscapes -- and then, at the latest, the electronica of the early '80s springs back to life. The two complementary pieces 'Gleich Strom' and 'Spaeter Strom' would also fit in wonderfully on Synthesist. On the other hand, the closing track 'Stromklang' remains resolutely committed to the sinister, even gloomy groove that was previously unknown from this artist and with which he has finally returned to me after far too long. Stylo Kraut ideed." - Philipp Theisohn
CD $18
IGNACIO JULIA // VELVET UNDERGROUND - Linger On: The Velvet Underground (Ecstatic Peace Library 9780997285062; UK) Restocked, new lower pricing. Ecstatic Peace Library announce Linger On by Velvets-obsessed music journalist Ignacio Julià. This sumptuous new volume features interviews with Lou Reed, John Cale, Moe Tucker, Doug Yule, Nico, and the most in-depth interviews ever granted by Sterling Morrison, as well as never-before-published photographs by James Hamilton. The author of Linger On is an internationally respected and trusted Velvet Underground chronicler; he is the Barcelona-based rock n' roll editor Ignacio Julià, who also published books in Spanish and English on American post-punk band Sonic Youth. When members of The Velvet Underground toured in Spain Ruta 66 journalist Ignacio Julià was usually among their entourage, front row center at curtain call, backstage after the gig, in attendance of afterparties and sometimes discovered in the band's hotel rooms until lobby call. Since 1985, Ignacio Julià has obsessively followed the band's career, interviewing and wining and dining the members over the years, and publishing countless articles, intimate profiles and books in Spanish and English on The Velvet Underground. He is known among international Velvets fan clubs as one of the most dedicated chroniclers and archivists of studio bootlegs, live concert recordings, writings, and poetry to the extent that even the band's own members refer to his knowledge for fact-checking purposes. 11.7 x 8.27 inches; Portrait; 244 pages PPC.
BOOK $28
LUIGI NONO // QUARTETTO MAURICE - Fragmente: Stille, An Diotima (Holidays Records HOL 144LP; Italy) Edition of 300 copies. Gold foil printed sleeve. Includes 12-page booklet and two leporello inserts printed on translucent paper. On the centenary of the birth of Luigi Nono, the Maurice Quartet -- Georgia Privitera (violin), Laura Bertolino (violin), Francesco Vernero (viola), and Aline Privitera (cello) -- reinterprets the composition for string quartet by the Venetian composer: Fragmente: Stille, An Diotima, dedicated to LaSalle Quartet on the occasion of the thirtieth Beethovenfest in Bonn, in 1980. The driving force of inspiration must have been Beethoven, understood as a radical innovator of the conventions of his time. This same definition was attributed to Nono after composing this work, so much so that the critics of the time spoke of the "turning point work." An extreme chamber music work, at the same time private and political, which Nono himself summarized as follows: "I have not changed at all. Even tenderness, the private has its collective, political side. Therefore my String Quartet is not the expression of a new retrospective line in me, but rather my current position of experimentation: I want the great, rebellious affirmation with the minimum means." The edition includes a set of evocative photographs of the Giudecca in Venice -- which follow the aesthetics of the fragment -- realized by Sophie-Anne Herin and a precious musicological contribution by Francesca Scigliuzzo. The Maurice Quartet -- active for more than twenty years in the field of experimentation between contemporary music, electronics and multimedia -- joins the numerous homages that the world of music pays to Nono one hundred years after his birth with a recording work of great philological and interpretative relevance, aimed at capturing the most intimate and feverish side of one of the most significant composers of the last century.
LP $38
THE GREAT UNWASHED - Clean Out Of Our Minds (Meds XVI; USA) "The Clean broke up (for the first time) in 1982. After a break, the Kilgour brothers pursued a new aesthetic and started recording on a four-track at home. Poking fun at their past, they called themselves The Great Unwashed. Clean Out Of Our Minds was made in two months at the beginning of 1983 and released on Flying Nun Records. The Kilgour's glorious pop hooks are still at the heart of everything but supplanted with a laid-back charm and maybe some of the spirit and mystery of '60s psychedelic folk. However, rather than hippie cosplay, the vibe is more akin to fellow New Zealanders The Tall Dwarfs and/or Syd Barrett. Beautifully remastered by Tex Houston. Vibrant 3D sound allows you to hear everything better than ever before. Housed in a Stoughton tip-on sleeve and available on vinyl for the first time in years. Don't miss out this time!"
LP $24
MALEEM MAHMOUD GHANIA WITH PHAROAH SANDERS - The Trance Of Seven Colors (Zehra 001LP; Germany) 2024 repress. Zehra present The Trance Of Seven Colors by master Gnawa musician Maleem Mahmoud Ghania and free jazz legend Pharoah Sanders, available on vinyl for the very first time. Originally released in 1994 on Bill Laswell's Axiom imprint, and produced by Bill Laswell, The Trance Of Seven Colors is the meeting of two true musical masters. Maleem Mahmoud Ghania (1951-2015), son of the master of Gnawa music Maleem Boubker Ghania and the famous clairvoyant and "moqaddema", A'isha Qabral, and a master of the traditional Gnawa style in his own right. Mahmoud learned this craft as a youth along with his brothers, walking from village to village, performing ceremonies with his father Boubker and was one of the few masters (Maleem) who continued to practice the Gnawa tradition strictly for healing (the central ritual of the Gnawa is the trance music ceremony -- with the purpose of healing or purification of the participants). With 30 cassette releases of music from the Gnawa repertoire with his own ensemble and performances at every major festival in Morocco, including performing for the King in various contexts, Mahmoud Ghania was also one of Morocco's most prominent professional musicians. In 1994, Bill Laswell and Pharoah Sanders went to Morocco equipped with just some mobile recording devices to record Ghania and a large ensemble of musicians (a good portion being family members) in a very intimate set-up at a private house. Sanders, the legendary free jazz musician, contributed the distinctive tenor saxophone sounds that gained him highest praise as a truly spiritual soul right from the days of playing with John Coltrane and his wife Alice and on seminal solo albums, like Karma (1969). The aptly titled The Trance Of Seven Colors ranks among the best Gnawa recordings ever released, making it onto The Vinyl Factory's list of "10 incredible percussive albums from around the world". 25 years after its original CD release, it is finally available on vinyl. Remastered for vinyl and vinyl cut by Rashad Becker at Dubplates & Mastering, Berlin. 180 gram vinyl; comes in gatefold sleeve; includes download code. "One of the most important albums of Gnawa trance music released in the '90s." - The Attic "first-hand access to Gnawa healing ceremonial music" - All Music Guide
2 LP Set $32 [LTD Edition 2 LP Set, no longer in print on CD)
ALAN SILVA AND HIS CELESTRIAL COMMUNICATION ORCHESTRA with ANTHONY BRAXTON / ARCHIE SHEPP / GRACAH MONCUR III / LEROY JENKINS / DAVE BURRELL / et al - Luna Surface (BYG Records 312LP; Earth) 12th volume in the BYG Actuel series; 180 gram vinyl. "Super-session recorded in Paris on August 17, 1969. Alan Silva collected here many of the top free jazz players of the time, an incredible 11-piece ensemble featuring, among others, Grachan Moncur III, Archie Shepp, Anthony Braxton, Dave Burrell, Leroy Jenkins, and Malachi Favors. As a result, this is a very free record and a historical document of Pan-African high art music. Two tracks."
LP $16
MICHAEL RANTA / TAKEHISA KOSUGI - Multiple Musics (Metaphon 019LP; Belgium)
Previously unreleased live recording from the Ranta archives. The creative duo of Michael Ranta and Takehisa Kosugi performed many times in the 1970s and 1980s. In this outstanding performance, recorded at the Japanese Culture Institute in Cologne in 1987, the application of an advanced multi delay system, independently utilized by both players, plays a central role. The smartly treated cyclic tapestry of the delay system (modulated, transformed, harmonized) injects additional dimensions to the highly coordinated improvisation with voice, percussion, violin and electronics, creating interactive "composition-like" textures being Multiple Musics.
LP $32
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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 / ZEENA PARKINS / NOV 13-16
11/13 Wednesday
8:30 pm - TRIO improvisation - Zeena Parkins (acoustic harp, objects) Nate Wooley (trumpet) Ikue Mori (electronics)
11/14 Thursday
8:30 pm - DUO: LACE MVT II ACTION CARDS
Zeena Parkins (electric harp) Brian Chase (drums)
11/15 Friday
8:30 pm - TRIO improvisation - Zeena Parkins (electric harp) Brandon Lopez (bass) Cecilia Lopez (analog electronics)
11/16 Saturday
8:30 pm - Truth Suite written for Zeena Parkins by Fred Frith and improvisations; Zeena Parkins (acoustic harp) Fred Frith (electric guitar)
THE STONE RESIDENCIES / ANNA WEBBER / NOV 20-23
11/20 Wednesday
8:30 pm - TRIO - Anna Webber (tenor sax, flute) Matt Shipp (piano) Joe Morris (bass)
11/21 Thursday
8:30 pm - QUARTET - Anna Webber (tenor sax, flute) Angelica Sanchez (piano) Adam Hopkins (bass) Tom Rainey (drums)
11/22 Friday
8:30 pm - SEXTET - Anna Webber (tenor sax, flute) Ingrid Laubrock (tenor sax, soprano sax) Chris Williams (trumpet) Yuhan Su (vibraphone) Chris Tordini (bass) Jason Nazary (drums)
11/23 Saturday
8:30 pm - DUO - Anna Webber (tenor sax, flute) Matt Mitchell (piano)
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…
Sunday, November 17, 2024. 8:00 pm
Theresa Wong: Fluency of Trees
A solo work for cello and voice exploring connection to the primal sentience of the natural world.
Thursday, November 21, 2024. 8:00 pm
ICE and Steven Schick: Touch Trace by Zosha Di Castri
A new work exploring the importance of intimacy and human contact in a world marked by forced separation and isolation.
Saturday, November 23, 2024. 8:00 pm
Ali Akbar Moradi & Pejman Hadadi: Sacred Music of Kurdistan (RBA)
A rare NY appearance of two of Iran’s most renowned musicians performing ecstatic Kurdish music from western Iran.
Wednesday, December 4, 2024. 8:00 pm
Wadada Leo Smith and Amina Claudine Myers: Central Park’s Mosaics of Reservoir, Lake, Paths and Gardens; Two legends perform a reflective, meditative, and sonic odyssey concerning nature.
Friday, December 6, 2024. 8:00 pm
Fred Frith Solo
New, solo work for the guitarist, multi-instrumentalist, composer, and improviser's 75th birthday celebration.
Saturday, December 7, 2024. 8:00 pm
Normal Give or Take with Fred Frith, Sudhu Tewari and Lotte Anker
Part two of the guitarist's 75th birthday celebration: a trio with long-time collaborators and friends from very different worlds.
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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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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