Vintage wines from the year '62
It's your thing, it's your thing
What pleases you
Not to be found when you're across town
You think it's an honor girl just to have you around
It's high time that you found
The same dudes you misuse on your way up
You might meet up
On your way down
You think the sun rises and sets for you
But the same sun rise and set and shine
On other folks too
I don't mind you turning round
I myself would even like a little higher ground
It's high time that you found
The same people you walk on on your way up
You might meet up
On your way down
A good old friend of mine, Len Siegfried left me with around 1,000 CD-R’s of live gigs that he downloaded from various websites while working at a recording studio in midtown Manhattan in the 1990’s. This box is a real treasure chest of gems from across the sonic spectrum: Carla Bley Band, Ian Carr & Nucleus, Cream, Jimi Hendrix, Miles Davis, lots of 60’s & 70’s rock bands, many avant & fusion jazz bands, etc. I take a few home every week to check out when I have the time. I recently listened to a live gig by Little Feat from the mid-seventies. During my jazz & prog-snob days at college (1972-1976), I didn’t listen to much rock music aside from the Dead, Little Feat, Steely Dan or some of the Canterbury bands that still were rockin’. I’ve always loved Little Feat, right from the beginning (in 1970), especially their 2nd thru 5th albums (’Sailin’ Shoes’ - ‘The Last Record Album’). The live set I listened to was from a place called Richard’s. The above song comes from their ‘Dixie Chicken’ album and it has a marvelous, simmering, bluesy quality that few bands can pull off. Check out this line "The same people you misuse on your way up you might find, on your way down”. Amongst a number of things I loved about Little Feat was that they blended rock, soul, funk, jazz/rock with New Orleans references/influences into their own tasty gumbo. My favorite album is called ‘Feats Don’t Fail Me Now’, but I must admit that all of their two dozen albums are worth hearing more than once, especially the ones with Lowell George at the helm. I will leave you with this line ‘Rock and Roll Doctor”: “Two degrees in be-bop, a PhD in swing, He's the master of rhythm, he's a rock and roll king”. Long live Lowell George and Little Feat! - MC-BruceLee
*****
THE DMG 34th ANNIVERSARY IN-STORE FREE MUSIC SERIES Continues with:
Tuesday, March 4th:
6:30: KILLICK / HARVEY VALDES - Guitar Duo
7:30: JOHN HAGEN - Tenor Sax / KEN FILIANO - ContraBass / TODD CAPP- Drums
8:30: BASSMOSPHERE: Eli Asher, Caylie Davis, Thomas Heberer, Frank London, Jordan McLean - trumpets, Aaron Pond - french horn, Steve Swell - pocket trumpet/trombone, Westbrook Johnson - trombone & patrick brennan - cornet
Saturday, March 8th, The GAUCI-MUSIC SERIES Continues with:
6:30: RYAN SIEGEL - Alto Sax-pocket trumpet / JARRED CHASE - Drums
7:30: STEPHEN GAUCI - Tenor Sax-Clarinet-Flute / CAROLINE MORTON - Contrabass / NICK NEUBURG - Drums
8:30: T.J. BORDEN - Cello / SAM NEWSOME - Soprano Sax
Tuesday, March 11th:
6:30: MUSIQUE LIBRE FEMMES with CHERYL PYLE - C & Alto Flutes / MARY CHERNEY - Flute /JEONG LIM YANG - Contrabass / YUKO TOGAMI - Drum
7:30: TRIO From ZAGREB
8:30: SYLVAIN LEROUX - Fula Flutes & Reeds / HILL GREENE - Contrabass / DAN KURFIRST - Drums
*******
THE LAST THREE CHAPTERS FROM THE P.A.P.A’S ONGOING LTD ED LIVE AT THE I.U.C.C. SERIES:
PAN-AFRIKAN PEOPLES ARKESTRA with HORACE TAPSCOTT / SABIR MATEEN / BILLIE HARRIS / ADELE SEBASTIAN / ROBERTA MIRANDA / DAUDE WOODS / BILLY HINTON / et al - Live at I.U.C.C. 5/27/79 (Nimbus 7905C; USA) Personnel: Horace Tapscott on piano & direction, Sabir Mateen on tenor sax, Billie Harris on soprano sax, Johnny Williams on bari sax, Lester Robinson on trombone, Adele Sebastian & Aubrey Hart on flutes, Alan Hines & Robert Miranda on basses and Daoude Woods & Bill Hinton on drums & percussion. Pianist/composer/multi-bandleader/community organizer, Horace Tapscott had a monthly live series at International United Church of Christ in L.A. in 1979 and 1980. The NimbusWest label, which was founded by Mr. Tapscott and producer Tom Albach, has been releasing these limited edition CD’s over the last few years and these are the last three. There are compositions here from Sabir Mateen, Arthur Blythe, Jesse Sharps and Mr. Tapscott, each of whom had worked with Tapscott in the past.
Disc 1 begins with Sabir Mateen’s “Village Dance”, which opens with lush, haunting piano from Mr. Tapscott, probing contrabass and conga drumming. The is a sly modal groove going on here with a fine ostinato bassline pumping throughout and an inspired bowed bass solo as well. Reeds wizard Sabir Mateen, who later moved to NYC and became a prominent member of the Downtown Free/Jazz underground/scene, takes a powerful tenor solo here, followed by an riveting soprano sax solo as well by Billie Harris and a wonderful double fluted combination. Black Arthur Blythe was an early member of Horace Tapscott’s bands from the mid-1970’s before moving to NY around 1977. His piece here is called “Future Sally’s Time” and it opens with a long, tasty piano intro. One of the highlights of this disc/band is the congas & drums combination working tightly together. Not sure who is soloing and supporting on bass but I do dig the work of Roberto Miranda who I’ve heard on recordings by Bobby Bradford, John Carter, Tim Berne and Vinny Golia. The last piece on Disc 1 is called “Many Nights Ago” and it is a slow and cerebral ballad with some fine soprano sax leading the way. The arrangements here are rich and thoughtfully composed. Both trombonist Lester Robinson & Mr. Tapscott takes strong solos here.
Disc 2 begins with “Sea Wife”, written by Jesse Sharpe, a former member of P.A.P.A.. Mr. Tapscott takes an impressive introductory piano solo before the rest of the Arkestra comes in. There are some intoxicating harmonies here from the varied saxes, flutes and trombone along with a sumptuous flute solo and righteous trombone solo. This piece is long (27 minutes) and has that great modal, McCoy Tyner-like sound. Tapscott’s own piece, “LTT” is next and is used by some inspired tenor sax (Sabir Mateen) and soprano sax (Billie Harris) as well. The P.A.P.A. comes back to Mateen’s “Village Dance” for a reprise which features a solid layer of congas and other percussion creating some turbulent rhythmic waves. Were folks dancing in the aisles during this section? It sure sounds like a great celebration. Tapscott’s rambunctious piano really tops things off here with both basses and percussionists whipping up a storm together. Like a few of the other recent P.A.P.A. discs, this concert & disc ends with a a gospel song called “Life Every Voice”, which provides a wonderful closing bringing-everyone-together sort of vibe. I hear you Lord! - Bruce Lee Gallanter, DMG
2 CD Set $26 [Limited Edition of 333; sold mainly through subscriptions]
PAN-AFRIKAN PEOPLES ARKESTRA with HORACE TAPSCOTT / LINDA HILL / SABIR MATEEN / ADELE SEBASTIAN / LESTER ROBINSON / ROBERTA MIRANDA / DAVID BRYANT / DAUDE WOODS / BILLY HINTON / et al - Live st I.U.C.C. 2/24/80 (Nimbus 7909C; USA) This version of the Pan Afrikan Peoples Arkestra (P.A.P.A.) features Horace Tapscott on piano & direction, Linda Hill on piano & voice, Sabir Mateen on tenor sax, Ufahamu Uweize on alto sax, Fundi Legohn on flugel & French horn, Lester Robinson on trombone, Adele Sebastian on flute & vocal, Reggie Bullen on trumpet, Roberto Miranda, David Bryant & Alan Hines on basses, Daoude Woods & Billy Hinton on drums & percussion and JuGeGr on vocal. The Pan Afrikan Peoples Arkestra was founded by L.A. pianist, composer and multi-bandleader Horace Tapscott. Mr. Tapscott and producer Tom Albach started the NimbusWest label to document all of Tapscott’s different groups as well releasing records from a number of his collaborators. This disc comes from a series of ten discs where the P.A.P.A. were captured in monthly series at the Immanuel United Church of Christ for around 18 months in 1979 & 1980.
“Lullaby for Linda” was composed by Linda Hill, which also the title track from rare album on the NimbusWest label. This piece is lovely and most haunting with some sublime flutes floating on top and Sabir Mateen’s blustery tenor down below. This piece goes through a bluesy section as well with ore of Mateen’s fine tenor soloing on top. “People Like Us” was composer by bassist Alan Hines, it is a more slow cerebral piece with a sublime flute, a warm cloud of horns and nice vocal by JuGeGr. Alan Hines also composed “HT Heard ya Before ya Got Here”, another fine medium tempo work with a great most expressive trumpet solo and more of Tapscott’s rich piano playing. Mr. Tapscott contributed “Raisha’s New Dance”, which in an incredible solo piano entre, a sort of mini-history of jazz. This disc ends with Roberto Miranda’s “Faith”, a lovely, solemn hushed ballad of sorts. A calm way to bring this great disc to a fine close. - Bruce Lee Gallanter, DMG
CD $20
PAN-AFRIKAN PEOPLES ARKESTRA with HORACE TAPSCOTT / LINDA HILL / SABIR MATEEN / LESTER ROBINSON / ALAN HIMES / ROBERTO MIRANDA / DAVID BRYANT / DAOUDE WOODS / BILLY HINTON / et al - Live at I.U.C.C. - 3/30/80 (Nimbus West 7910c; USA) Featuring Horace tapscott on piano & direction, Linda Hill on piano & vocal, Sabir Mateen on tneor sax, Lester Robinson on trombone, Adele Sebastian on flute, Fundi Legohn on flugelhorn, trumpet & French horn, Alan Hines, Roberto Miranda & David Bryant on basses, Daoude Woods on percussion and Billy Hinton on drums. Review next week.
CD $20
JON IRABAGON with MAZZ SWIFT / PETER EVANS / MILES OKAZAKI / WENDY EISENBERG / MATT MITCHELL / MICHAEL FORMANEK / CHRIS LIGHTCAP / DAN WEISS / LEVY LORENZO - Server Farm (Irabbagast 029; USA) Featuring Jon Irabagon on tenor & sopranino saxes, effects & compositions, Mazz Swift on violin & vocals, Peter Evans on trumpets, Miles Okazaki & Wendy Eisenberg on guitars, Matt Mitchell on piano, Fender Rhodes & Prophet 6, Michael Formanek & Chris Lightcap on basses, Levy Lorenzo on laptop, electronics, kulintang & vibes and Dan Weiss on drums. Ever since saxist & composer Jon Irabagon moved out of town during the pandemic, he has become ever more prolific, assembling various bands, recording each one and releasing a handful of discs every year. We just got in 3 new ones this week (2/26/25) and each one has different personnel and music to deal with.
’Server Farm’ features ten musicians and this is Mr. Irabagon’s most ambitious project so far, utilizing a sort of double band with two horns, two guitars, two bassists and two percussionists. A kulintang is a gamelan gong and this is the first sound we hear, a ritualistic-like intro. Soon the tentet leaps into gear, a great churning groove with a fine Fender Rhodes solo and a slamming rhythm team kicking up a tight storm! The horns are soaring on top with both guitars wailing underneath, the rhythm teams slamming down below. The piece slows down midway so that the horns can swirl with the electronic providing an eerie blend of sounds. The piece goes through a short free section which spins into a furious-paced punk/prog like tight squall. Things begin with another oddly funky groove on “Routers”, with Mr. Irabagon soloing with some funky tenor lines above a sea of simmering horns, guitars, basses and percussion. “Singularities” is a successful blend of free & firey sections emerging over some directed waves which keep crashing underneath. Since this piece is 14 minutes long, it goes through several different sections, each one showing a different approach to what this ensemble can do. “Graceful Exit” begins with some strong bowed contrabass and features some tasty, touching violin and trumpet. “Spy” starts with haunting horns and hypnotic vocals by Mazz Swift. The piece has a slow motion dream-like vibe/soundscape. Underneath Ms. Swift’s voice, the horns, guitars, keyboards and electronics all swirl around one another in waves, building slowly and more intensely over time. The vocals only come in from time to time on certain sections when things become more sparse like a series of emerging scenes from an ongoing and occasionally turbulent storm. It great to hear Jon Irabagon and Peter Evans, who used to be in a band called Mostly Other People Do the Killing, play together again since both are young masters who know how to harness their fireworks and talents in shrewd and successful ways. An extraordinary undertaking from the great Jon Irabagon. - Bruce Lee Gallanter, DMG
CD $15
JON IRABAGON / RAY ANDERSON / URI CAINE / MARK HELIAS / BARRY ALTSCHUL - Axiom Five (Irrabagast 031; USA) Featuring Jon Irabagon on alto & sopranino saxes & alto clarinet, Ray Anderson on trombone, Uri Caine on piano, Mark Helias on contrabass and Barry Altschul on drums. Although not yet a jazz elder, Jon Irabagon is a master saxist who plays various saxes (alto, tenor, sopranino, soprillo & alto clarinet), each one in his own great way. Mr. Irabagon won the prestigious Monk Award more than a decade ago and has continually evolved due to playing with a wide variety of musicians both young and often older and more established as jazz elders. He has more than two dozen discs as a leader, organizing different bands and developing ongoing relationships with Barry Altschul, Mike Pride, Mark Helias and Barry Altschul.
Mr. Irabagon is both the leader here and the youngest member of this fine all-star quintet. This disc/set was recorded at The Stone during Mr. Irabagon’s four day residency in April of 2024. The quintet play two long pieces here and each member is integral to the group's sound and exploration. Things begin with just the alto sax and trombone playing freely together before the rest of the quintet soon join in. This sounds like it is freely improvised yet keeps changing or switching direction time and again. Irabagon soon switches to alto clarinet while Mr. Anderson some twisted (Dixieland-like) lines on his trombone. The piano led rhythm team is always weaving lines in and out, moving between freer and even swinging in short bursts. Since most tof hese musicians have been around for so long and done so many different sessions, they are able improvise together, tightly weaving lines, creating harmonies, textures and melodic fragments which sound like they are being directed or are playing written fragments as well. The is a good deal of respect for each other's abilities so that no one pushes things too far in any one direction before things move into another unexpected area. The musicians are obviously master improvisers and hence I remain surprised at the way things keep switching or shifting. There are also a number of highlights like an incredible sopranino solo by Irabagon on the first piece, the interplay (and occasional solos) by Mr. Caine with Mr. Irabagon and/or Mr. Anderson and the cool craft and interaction of Mr. Helias and Mr. Altschul, two established masters at their heights. Consistently flabberghasting! - Bruce Lee Gallanter, DMG
CD $15
JON IRABAGON / MICK BARR / AVA MENDOZA / MIKE PRIDE - I Don’t Hear Nothin’ But the Blues - Volume 3 Part 2: Exuberant Scars (Irrabagast 027; USA) Featuring Jon Irabagon on tenor sax, Mick Barr & Ava Mendoza on guitars and Mike Pride on drums & percussion. This is the fourth volume of an ongoing series which began with a duo of Mr. Irabagon on sax and Mike Pride on drums and has added another musician on each volume, first with guitarist Mick Barr and adding another fine guitarist Ava Mendoza for the last two volumes. The disc or set was recorded live at The Stone in NYC. Starting with what sounds like a bit of thumb piano, the guitars and sax slowly build and increase in intensity as things unfold. What’s interesting is that each guitarist comes from much different backgrounds, genres, styles and influences. Mick Barr is a metal/prog/math rock virtuoso while Ava Mendoza appears to have rock, jazz, prog and other unnamed influences. Considering this is a quartet, everyone here listens closely, adding layers of lines and is respectful of each other’s talents. Mr. Pride is playing a marimba or xylophone in the first ling section as both guitars shred, exchanging lines without ever stepping on anyone’s toes. Mike Pride has worked in all sorts of jazz groups, hardcore punk and other rock/improv situations so he is just right for this session. There is quite a bit of stimulating interplay going on here. While Irabagon plays a long ongoing tenor solo/stream, both guitars keep shifting directions, trading lines or licks, with Mr. Pride matching both the sax and guitars as they erupt together. The quartet is not full throttle throughout but actually has some quieter sections. Mr. Irabagon, who once won the prestigious Monk Award, is in fine form here playing some most expressive, inventive and consistently compelling tenor sax. I don’t think that either guitarist had played together until they were members of this band. Hence, we do get a chance to hear both stretch out at length, combining forces. As with anything that Jon Irabagon does, this is another gem of free, creative music at its best. - Bruce Lee Gallanter at DMG
CD $15
BACK IN STOCK:
JON IRABAGON TRIO plus ONE with MARK HELIAS / BARRY ALTSCHUL / URI CAINE - Dinner and Dancing (Irabbagast Records 026; USA) Featuring Jon Irabagon on alto clarinet, tenor & sopranino saxes, Mark Helias on contrabass, mixing & mastering and Barry Altschul on drums plus Uri Caine on piano. Multi-sax wonder, Jon Irabagon, played at The Stone last week (4/17-20/24) with four different groups and word is that all four groups were great and completely different personnel and sound wise. I caught one with vibist Patricia Brennan which was fabulous. Award winning saxist, Mr. Irabagon split from his original quartet (MOPDTK) and moved from NYC during the pandemic. He has continued to keep quite busy leading several of his own bands as well as collaborating with Chris Speed, Dave Douglas & Gordon Grdina. This the Jon Irabagon Trio has a previous disc from 2014 on the JazzWerkStatt label plus guest pianist Uri Caine worked with Dave Douglas around the same time that Irabagon did. The music here was recorded at The Stone in March of 2023 and is mainly spontaneously composed. There are two long unnamed pieces here. All of the collaborators here are older than Mr. Irabagon and bring a lifetime of improvisatory experience to the proceedings. The first piece starts off with Irabagon on alto clarinet, the rest of the quartet slowly entering as the energy level builds. Over the past decade, Mr. Helias has been taking on other responsibilities in the studio (or live) by editing, mixing and mastering. Hence the sound and balance here is superb. Uri Caine is a perfect addition to this trio since he is such a fine, creative, inventive and often exuberant pianist. Mr. Irabagon played several different reeds (soprillo, sopranino, alto & tenor saxes) and has mastered each of them. His playing here on alto clarinet (not the most popular of clarinets) is especially engaging. It also sounds as if Irabagon has mastered playing two or three sounds at once on his clarinet, adding some high end multiphonic squeaks and drones to his animated bird-like & other bent-note sounds. There is a section midway through the first piece where the quartet starts to levitate, rising higher before calming down again with a fine, laid back solo by Mr. Altschul and an extraordinary piano solo by Mr. Caine. Mr. Irabagon switches to tenor sax and has a robust, Trane-like tone, choosing each note carefully, adding some soulful notes and adding some shrewd interaction with the piano-led rhythm team. The second piece begins with another fine drum solo. Mr. Altschul has been a master improviser for over 60 years (starting out with Paul Bley) and we can hear this in his playing throughout this disc. Irabagon has obviously studied his jazz/sax history and takes a tantalizing, soul-infested tenor solo here with Mr. Caine adds some great sixties soul/jazz chords. The quartet slowly wind down and become more spacious with Irabagon on sopranino (not shrill!) and Caine adding those warm, funky chords. Overall, this is an extraordinary effort, an example of free improv at its best from a master quartet. - Bruce Lee Gallanter, DMG
CD $14
BURNT SUGAR with JARED NICKERSON / BRUCE MACK / LEON GRUENBAUM / ANDRE LASSALLE / SHELLEY NICOLE / MARQUE GILMORE / BEN TYREE / LEWIS BARNES / et al - If You Can’t Dazzle Them with Your Brilliance, Then Baffle Them with Your Blisluth - Part 2 (Avant Groid; USA) For this disc Burnt Sugar features Jared Michael Nickerson on electric bubble bass, Andre Lassalle & Ben Tyree on electric guitars, Shelley Nicole & Bruce Mack on vocals, Leon Gruenbaum on keyboards, JS Williams & Lewis “Flip” Barnes on trumpets, Anthony “SaxTone” Arrington & V. Jeffrey Smith on saxes, Dave Smith on trombone, Paula Marcus, Chris Eddleton & Marque Gilmore on drums & percussion. It’s been four years since the last great disc by Burnt Sugar has been released. During that time, founding member & leader Greg Tate has sadly passed away. The band has continued with Jared Michael Nickerson now providing direction, doing occasional gigs as well as doing tributes to certain influential musicians/artists/bands (James Brown, Prince, Sun Ra, Jimi Hendrix, Miles Davis…!). According to the liner notes, this is ‘Part 2’ to the first ‘If You Can’t Dazzle them with Your Brillance…” and like the first part, this is a series of live recordings from different places. When this disc begins, we hear Mr. Nickerson’s bubbling el bass providing a great effervescent with layers of sly chicken scratch guitar, sizzling reeds & brass over a swell slamming beat! “Hey Hey Hey” is repeated over and over as the troops get up to dance along, nod their heads and smile underneath their fancy lids (hats). This has a great opening riff so we can all forget about the BS surrounding us and groove together. Midway through this piece, the tempo increases to a furious pace and the group gets freer and more intense. One of the bands that Burnt Sugar has covered live is 70’s staples Steely Dan, doing “Black Cow” from their ‘Aja’ album. Although I am a longtime Steely Dan fan, I found their two albums to be a bit too slick for my tastes. I do dig this version of “Black Cow” which is pretty funky and features soulful vocals (by Shelley Nicole), some greasy organ, Davis Sanborn-like sax and a slamming groove. “Detroit Blisluth Blues Conduction” has a Funkadelic-like groove/melody over another hot, funky rhythm team. Yeah! “Frankenstank” was written by former leader Greg Tate and it is a gem with some righteous vocals, lead & chorus. Burnt Sugar always provides the best of many worlds, with mucho horns (and short inspired solos), wailing guitars and keyboards, funky booty-kicking beats and a party atmosphere that keep your tush and mind ever-engaged. This is almost 80 minutes long and covers a good deal of infectious and thoughtful music. If you are going to a party, bring this disc along so you can get everyone up dancing and grooving. Otherwise you can just dance by yourself or with your roommates/partners at home. Do you dig the taste of Burnt Sugar?!? I certainly do! - MC-BruceLee at DMG CD $15
JOHN DIKEMAN / MARTA WARELIS / AARON LUMLEY / SUN-MI HONG - Old Adam on Turtle Island (Relative Pitch RPR 1203; USA) Featuring John Dikeman on tenor sax & compositions, Marta Warelis on piano, Aaron Lumley on contrabass and Sun Mi Hong on drums. Ever since American born saxist John Dikeman moved to Amsterdam around two decades ago, he has continually worked with an array of strong improvisers from around the world (William Parker & Hamid Drake, Pat Thomas & John Edwards and Ingebrigt Haker-Flaten & Stefan Gonzalez), as well as a number of Europe’s best creative musicians. In 2021, Mr. Dikeman recorded in a quartet with Marta Warelis, Aaron Lumley and Frank Rosaly. The Polish pianist has also been busy over the last few years working with Carlos Zingaro, Andy Moor, Florian Stoffner & Sakina Abdou. Canadian-born bassist Aaron Lumley is also living in Amsterdam and working with Ada Rave and Onno Govaert. I hadn’t heard of Koren drummer Sun Mi Hong before now although she does have five discs out so far. She also won a Dutch jazz competition in 2018 so perhaps she is also based in Amsterdam.
This disc was recorded at Splendor in Amsterdam in November of 2022. From the gitgo, the quartet is strong, focused, free and intense. Bassist Aaron Lumley is often the centering force here, pumping up with a strong throbbing grace. Both Dikeman’s tenor and Warelis’ piano are well-matched spinning out long lines together and around one another. Each of the two pieces here are long and evolve organically over time. The second piece begins quietly, slowly, and is rather sparse at first. Ms. Hong is playing solemn mallets with Ms. Warelis muting the strings with her hand, playing in an ethereal dreamy way. Although free, this piece keeps building and evolving over time. Both Mr. Dikeman and Ms. Warelis start adding melodic phrases together creating lush harmonies as they go, matching and enhancing each other’s lines while the rhythm team also rises and falls with them. Mr. Dikeman is a master of that powerful bent-note tenor sax squall and starts off a segment of this piece with this tone, rambunctiously at first before calming down to a more somber reflective part. Once the quartet bring things down to a calm simmer, they slowly build up again with Dikeman playing some lovely, warm and even tender lines, accompanied by lovely bowed bass, skeletal piano and ever expanding drums. Similar to the way the John Coltrane Quartet plays a ballad. The second long piece is one of the best examples of organically free music played with immense heart and soul. - Bruce Lee Gallanter, DMG
CD $13
MARANATA with JON WESSELTOFT / MARTIN ESCALANTE / DAG STIBERG - Ugly Euphoria (Relative Pitch RPR 1209; USA) Maranata features Jon Wesseltoft on electreonics, Dag Stiberg on bari & alto sax and Marin Escalante on alto sax. Norwegian electronics player & multi-instrumentalist, Jon Wesseltoft, has worked with other sonic extremists like Lasse Marhaug, Maja SK Ratke, Virginia Genta and Anla Courtis. Mexican-born saxist, Martin Escalante is one the scariest and most intense saxists I’ve heard. Check out his work with Weasel Walter, Otomo Yoshihide or Tete Leguia. Scandinavian saxist Dag Stiberg also likes to push out the boundaries, working with other extreme improvisers. This disc was recorded in Oslo, Sweden in April of 2022 and mastered by Lasse Marhaug. Whoa! Opening with a blizzard of glitchy, rumbling electronics, screaming through the sax blasting and frenetic free/jazz eruptions. Their sound is similar to Borbetomagus, the grandaddies of extreme noise/free improv/insanity. After many years of listening to all sorts of avant-garde, experimental, noise and other free-form madness,I can say that I do appreciate and understand what is going on here. Although it sounds like a barrage or monolinth of noise, there is more going on here if you listen closely. All three musicians are working in a similar area and at times it is hard to tell who is doing what. When Mr. Escalante played here at DMG many years back with Matt Mottel, I saw that he took off his sax mouthpiece and blew hard into the sax’s open hole, still creating strange twisted sounds. I realize that most folks who hear this would say, “What is that ugly noise?”. It is more than just that though. Although quite extreme in overall sound, I can hear several layers of sounds throbbing simultaneously. Each of the two saxes do have their own strange voice but still have some common note twisting sounds. It does take some getting used to but those brave enough to submerge will be rewarded. It too much, too much?!?! Or is too much just enough? It depends on your patience and ability to hear what’s buried beneath the wall of sound. - Bruce Lee Gallanter, DMG
CD $13
MICHAEL BISIO / MELANIE DYER / MARIANNE OSIEL / JAY ROSEN - NuMBq (Mahakala Music 086; USA) Featuring Michael Bisio on contrabass & compositions, Melanie Dyer on viola, Marianne Osiel on english horn and Jay Rosen on percussion. I caught Mike Bisio and Matt Shipp at The Stone (last week (2/21/25) and was blown away by their fine duo set. I’ve caught this duo several times as well as checking Mr. Bisio with Kirk Knuffke, Steven Gauci and Joe McPhee. As far as being a leader, Mr. Bisio takes his time between each project he organizes. I’ve heard violist Melanie Dyer working with the Sun Ra Arkestra, Heroes Are Gang Leaders and with Salim Washington, but it is the band, WeFreeStrings, she founded, that I like the most. I hadn’t heard of english horn (oboe-like) player Marianne Osiel before now although she does have a few records out. Former drummer for Trio X (with Joe McPhee & Dom Duval), Jay Rosen has worked with Mr. Bisio in several groups (with Stephen Gauci, Avram Fefer & David Arner).
Jay Rosen is a master of sizzling cymbals so that is the first sound we hear as well as a spirited, distinctive drum solo intro. When the rest of the group comes in, it souls like an ancient chamber quartet playing written baroque-like music. The instrumentation of viola, english horn, contrabass and percussion is completely unique give this quartet its own distinctive sound. Aside from playing what sounds like written passages, the viola and english horn get chances to stretch out a bit and they work together quite well playing their fragile high notes is a marvelous web. Michael Bisio has long been one of my favorite bassists adn I’ve seen & heard him many times live. On this disc, he is often at the center, holding the quartet together taking a few superb unaccompanied solos. The quartet push the boundaries further out on “Broken Waltz”, while the rhythm team speeds up, the viola and english horn spin quickly together in their own stunning orbits. On “Going Home/Amazing Grace”, Bisio opens by himself taking a sublime intro before the eerie viola and english horn join him, swirling around his bubbling bass. While Mr. Bisio solos, the viola and english horn swirl tight around him. There seems to be a strong balance between the further out explorations with the somewhat more directed parts, erupting intensely at times, calming down for a bit before launching off again into another freer world. This is a complete, unique acoustic chamber free-at-times quartet so do check it out, it deserves your immediate attention. - Bruce Lee Gallanter, DMG
CD $14
BOOKER T. WILLIAMS & THE PLASMIC BLEEDS with GARY HAMMON / CHAD FOWLER / MARC FRANKLIN / KELLEY HURT / CHRISTOPHER PARKER / LUKE STEWART / CHAD ANDERSON - Ode to BC/LY... And Eye Know Bo... Da Prez (Mahakala Music 057; USA) Featuring Booker T. Williams on tenor & alto saxes, Gary Hammon on tenor sax, Chad Fowler on stritch, Marc Franklin on trumpet, Kelley Hurt on vocals, Christopher Parker on piano, Luke Stewart on basses and Chad Anderson on drums. It was the late ‘90’s, probably 1999. The place was 125th and Lenox Ave in Harlem, NYC. Roy Campbell had a weekly jam session on Monday nights where I was the pianist played for over a year. One night, a tenor player came in and began to put his horn together. There was a buzz among the musicians. My friend Henry Warner asked me, “Do you know who that is? That’s Booker T. We’re getting ready to play for real!!” Man, was he telling the truth. Fast forward to 2011…..I was practicing with a tenor player in Little Rock, where I now live. He is close friends with another tenor man from Seattle, Gary Hammon. They talk almost daily, and Gary would always call while we practiced. Gary and I also became friends, talking about mutual friends we had in NYC, especially JR Mitchell, a drummer we both knew and loved. Gary grew up with Booker T, in Seattle, and they are close friends to this day. I knew Booker didn’t record much under his own name, or as a sideman. There are 2 albums on Silkheart, one is a Dennis Charles album, Denis Charles Triangle “Queen Mary” on Silkheart and the other is “Go Tell It on the Mountain “ under Booker’s name, with Andrew Cyrille and Saheb Sarbib, but that’s was all I knew about him. He was an underground legend among the true avant garde artists and the uptown and street music scenes. A hero to us, actually. When Gary told me they had been practicing, playing, and even recording, in Seattle, I was delighted. Eventually, the spirit moved me to ask Booker if he would record for Mahakala and he agreed, entirely trusting me to assemble musicians, most of whom he was unfamiliar with, and to organize the session. We congregated in Little Rock, AR in a cold December, and spent a day playing music. Gary Hammon and Booker swept in with their tunes and spirits, and this recording is the result.
Booker reworked some of his tunes, with Mama's Cry and Simontov, stretching from reggae, to post-Coltrane to a beautiful ballad. Gary brought his tune, "Last of the Tribesmen", of which he and Booker certainly are the last of a breed, and another gorgeous ballad “Are You For Me? “ Booker also pays tribute to presidents Clinton and Obama, with Ode to BC/LY, which he plays in 3 different settings. Stay Alert, is Booker’s call to awareness. This album is a true adventure which we hope will inspire and excite the listener. It is also a chapter in our continuing adventures in music….. - Christopher Parker, Little Rock
CD $14
GURU GURU with AX GENRICH / ULI TREPTE / MANI NEURMEIER - Känguru (Made in Germany 03352; Germany) "Känguru" is the third album by Guru Guru, released in 1972 on the Brain label. It was produced by Conny Plank and features the 'classic' Guru Guru line-up of Ax Genrich (guitar), Uli Trepte (bass) and Mani Neumeier (drums, vocals). Känguru" is basically made up of the same ingredients as its two predecessors "Ufo" and "Hinten", which were released on Rolf Kaiser's Ohr label in 1970 and 1971. Känguru" is pure Krautrock, the album contains "only" 4 tracks, all between 10 and 15 minutes long. But the band moves away from the disorganized chaos of the previous two albums and gives the songs more structure, reducing the amount of heaviness. At the same time, the humorous component increases, see for example Mani Neumeier's spoken word in the introduction of "Immer lustig". In short, "Känguru" is a Krautrock gem.
Sometime around 1972, I went to a warehouse with my old pal Bob Grohl (older bro to Dave) and bought my first Krautrock albums from: Amon Duul II, Tangerine Dream, Ash Ra Temple, Faust and Guru Guru. It was my first time hearing any of these bands and I was quite intrigued and it took awhile to absorb and appreciate this music. Each of these were experimental in different ways. I recall thinking that Guru Guru was much closer to psychedelic, jamband rockin’, something that often appealed to stoners of all persuasions. I’ve been listening to this album, ‘Kanguru’, several times over the past few weeks. This version of Guru Guru is unique, wild, freaky and are a guitar/bass/drums power trio yet they use mostly studio effects to alto their sounds in different ways. The trio is mostly instrumental with just minimal vocals sounds or shouts to add to the freaky jams. The more I listen to this, the more I like what’s going on. If you know your krautrock history, you know that the second Henry Cow record is dedicated to their bassist Uli Trepte. Their guitarist, Ax Genrich went on to make several great psych/prog solo albums. And their drummer, Mani Neumeier, recorded prolifically with Irene Schweizer, Mobius, Kazuhisa Uchihashi and more recently with Acid Mother Temple. Ikue Mori once introduced me to Mani Neumeier at the old Stone when he was on tour with AMT. This is my favorite stoner album of the past few years so don’t miss out. - Bruce Lee Gallanter, DMG
CD $17
MORE TITLES FROM THE ONGOING ILK MUSIC CD SALE:
ANDERSKOV ACCIDENT with JACOB ANDERSKOV / KASPER TRANBERG / LAURA TOXVAERD / MADS HYHNE / NILS BO DAVIDSEN / TOM RAINEY - Full Circle (ILK178CD; Denmark) One of my favorite releases so far out of the stack of Ilk stuff that I’ve listened to. Outside of local drummer & percussionist Tom Rainey (who makes his first appearance with the group) and Anderskov (via his Kinetics series in addition to the twenty or so releases many of which have been reviewed in other newsletters) I’m not familiar with any of these players (Laura Toxvaerd - alto sax, Nils Bo Davidsen - bass, Kasper Tranberg - trumpet & amp; flugelhorn and Mad Hyhne - trombone) but I’m eager to hear more.
Recorded live in Copenhagen in February 2011 at the conclusion of a European tour and the band is in fine form, road tested pieces and improv meshing into five compelling pieces that function as suites. Rainey’s drumming and Anderskov’s Wurlitzer playing spar in many pieces creating loose grooves and opening up space for the 3 horns to move about solo and together where they often sound larger than they are. As with any good improv; the egos step aside and who is driving the piece shifts over the duration of each piece.
Highlights include the first piece “Pintxos For Varese” that eases in with horn drones and Rainey’s cymbal washes the brass takes the measured lead building tension until Davidsen’s bass subtly joins and Toxvaerd weighs in with a reedy sax solo cutting perfectly across the mix. Anderskov hangs back initially for this one - this piece hits a slow simmer rather than full steam and that is its strength.
“Three Pieces of Wood (from Post Industrial Stone Age”) kicks off with Anderskov driving a playful Wurlitzer groove along with Rainey’s punctuating hits while the horns move slowly around Rainey and Anderskov’s interplay before taking over. Any of these compositions could stand alone; the fact that they are all part of one live set highlights the skill of these players. I get the feeling that it would have been incredible to catch this date in person but the music is so good that I’ve gladly spun this multiple times while reviewing and heard something new each time.” - Rich Mudge for DMG
CD SALE $10
SOREN GEMMER with PER MOLLEHOJ / TAPANI TOLVANEN / ANDREAS FRYLAND - At First (Ilk Music 202CD; Denmark) The 2013 debut album from pianist/composer Gemmer and his quartet (Per Mollehoj on electric guitar, Tapani Toivanen on double bass and Andreas Fryland on drums) is one for those who like it mellow and minimal with tempos and vibes that are understated and skew toward pianissimo playing suited for ballads. All the players deliver clean, confident performances and while this isn’t exactly my cup of tea (I crave something more caffeinated with more); if you enjoy Grant Green’s ‘Idle Moments’ you are in the right part of town. - Rich Mudge for DMG
CD Sale $10
MARK SOLBORG 4 With ANDERS BANKE / JEPPE SKOVBAKKE / BJORN HEEBOLL - 1 1 1 1 (Ilk Music 129CD; Denmark) Guitarist Solborg is joined by Anders Banke on tenor sax & clarinet, Jeppe Skovbakke on bass and Bjorn Heeboll on drums. The pieces on this CD cook with a steady simmer; never quite reaching full free form improv boil but that’s a-ok. Repeated listens reward patient ears and reveal that these players are locked in tight even in the loosest moments. Banke is a great foil for Solborg and the rhythm section is always on and interesting. Take the opening track for example; “Mind The Gap” starts with odd meter yet somehow funky bass and drums before the guitar and sax join with some lively contrapuntal playing before the guitar and sax take turns at soloing off of various themes all the while supported by the adroit rhythm section.
“Ear-takes” a mellow turn with Banke switching to clarinet and turning in a measured and slow performance. The transition to Naturally Stoned is excellent and flows right out of the mellow Ear before the dirge-like tempo kicks in. Though the tempo is a little too woozy to be a dirge and maybe the title is a bit comically on the nose. About halfway through there is some nice call and response between the saxophone and guitar while the rhythm section sounds on the verge of falling apart but keeps the piece moving - no small feat with a tempo this slow. There are so many more moments like this - I found myself listening to this multiple times and enjoying each more than the last - this disc will cast it's spell on you. - Rich Mudge for DMG
CD Sale $10
LP Section:
THE MODULATORS with BRIAN MARSELLA / REID TAYLOR / KENNY GROHOWSKI plus CYRO BAPTISTA / JON IRABAGON - DriveTime (Chant Records 88295 78949; USA) Featuring Brian Marsella on clavinet, Wurlitzer 200, Yamaha CS60, Fender Rhodes, farfisa, toy piano and other keyboards, Reid Taylor on bass and Kenny Grohowski on drums plus guests: Cyro Baptista on assorted percussion and Jon Irabagon on alto clarinet. Drivetime is the latest album from ultra-prolific madman keyboardist Brian Marsella and presents the debut of The Modulators, with Reid Taylor on bass and Kenny Grohowski on drums. Drivetime is the perfect car playlist, tunes to accompany you whether driving on the open road or stuck in an unrelenting LA traffic jam. From surf rock to punk to glitch synth, psychedelia, circus music, film noir and more, Drivetime never stays in neutral. Throughout the 44 minute journey are sprinkles of references to Twin Peaks and the surreal world of David Lynch. Featuring special guests Cyro Baptista on percussion and Jon Irabagon on clarinet, Drivetime will get you where you want to go in style. (And by the way, despite what your ears may tell you, no guitars were used in the making of this album).
LP $22
JEFF BUCKLEY and GARY LUCAS with STEVE BERNSTEIN / BRIGGAN KRAUSE / JARED NICKERSON / TONY MAIMONE / TONY SCHERR / TONY LEWIS / ANTON FIER / KENNY WOLLESEN - Songs To No One: 1991-1992 (Evolver/KnitWorks 2006; USA) The first six cuts especially have the haunting ethereal guitar backgrounds we know as a trademark of Gary Lucas, accompanying this young singer-songwriter (and future, sadly short-lived, superstar) who had just moved to New York and joined Lucas' Gods And Monsters. Incredibly touching lyrics and vocal performances by the young Jeff Buckley including 1st versions of the songs "Grace" (2 versions here, one a duo and one with Jared Nickerson and Tony Lewis added) and "Mojo Pin" make one wonder how these recordings could have remained dormant so long. (one possible answer: what Gary does in accompaniment is of such sensuous high-quality that the industry ears weren't/aren't ready for it - but only they aren't!). At times I hear touches of Sting in Jeff's voice, if only Sting had such a range, but the style is really entirely his own. "Satisfied Mind" is a duet with Bill Frisell (the only cut without Gary). Starting with the 7th cut "Cruel" (one of 2 tracks with Tony Maimone and Anton Fier), the material takes on a sense of deja vu that harkens back to the special acoustic stomp of Led Zeppelin III for me. One of these latter cuts, "She Is Free", finds the duo augmented by Steven Bernstein's Sex Mob (Bernstein, Briggan Kraus, Tony Sherr, Kenny Wollesen and Brian Mitchell). This is absolutely NOT a cash-in on leftovers (except perhaps for the execs involved); the 11 recordings here, produced and assembled by Hal Willner, uncannily become a unified whole as a high-quality listening experience!
2 LP Set $20
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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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JOHN ZORN - Hermetic Cartography at the Drawing Center- Feb 7th - May 11th, 2025:
John Zorn’s ‘Hermetic Cartography’ will be accompanied by a series of musical performances curated by Mr. Zorn that will be performed in the exhibition. Performances will be held from 7:30 - 9pm on the first Saturday of each month (March - May, 2025) and will be free and open to the public. The Drawing Center is located at 35 Wooster Street, in Soho in Manhattan, NYC. Website: https://drawingcenter.org
Known predominantly as a groundbreaking figure in New York’s avant-garde and experimental music scenes, John Zorn has long been celebrated for his radical innovations in music. However, his abstract drawings—a private language of symbols and notations—have remained a closely guarded secret. Offering profound insight into Zorn’s creative mind, Hermetic Cartography reveals a new dimension of his artistic practice by showcasing works on paper that span seven decades of his visionary engagement with mark-making, improvisation, and the esoteric.
The exhibition includes a diverse array of Zorn’s visual artworks, graphic scores, dense philosophical notations, abstract poetry and artist books, and not only highlights Zorn’s radical approach to marks on paper but also his unique Theatre of Musical Optics and other experimental projects. By exploring these visual elements, the exhibition provides a new perspective on how Zorn's abstract works intersect with and inform his musical compositions.
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THE STONE RESIDENCIES / WENDY EISENBERG / FEB 26-MAR 1
2/26 Wednesday
8:30 pm - SOLO - Wendy Eisenberg (solo guitar)
2/27 Thursday
8:30 pm - TRIO - Wendy Eisenberg (guitar) Laura Cocks (flute) Mari Maurice (pedal steel, violin)
2/28 Friday
8:30 pm - DARLIN' - Wendy Eisenberg (guitar, voice) Lester St Louis (cello) Ryan Sawyer (drums, voice)
3/1 Saturday
8:30 pm - Machinic Unconscious - Wendy Eisenberg (guitar) Trevor Dunn (bass) Ches Smith (drums)
THE STONE STUDENT CONCERTS - TUESDAY MARCH 4 AT 8:30
Admission is FREE
The fourth in a special series of concerts featuring students out of the New School College of Performing Arts. There will be five concerts this season—one Tuesday a month in October, November; February, March, and April. All concerts are at 8:30 and will be curated by the students themselves.
3/4 Tuesday
8:30 pm: Celine Kang: OCTOPI - Celine Kang (guitar) Ivan Chen (piano, keyboard) Ben Rosenbaum (piano, keyboard) Kaizan Connor (bass) Dhruv Jain (drums) Liam Summers (drums)
THE STONE RESIDENCIES / MICAH THOMAS / MARCH 5-8
3/5 Wednesday
8:30 pm: Trio: Micah Thomas (synthesizers) Immanuel Wilkins (electronics) Simon Martinez (guitar)
3/6 Thursday
8:30 pm: Trio - Micah Thomas (piano) Immanuel Wilkins (alto saxophone) Lesley Mok (drums)
3/7 Friday
8:30 pm - Quartet - Micah Thomas (piano) Jessica Pavone (viola) Mary Halvorson (guitar) Lesley Mok (drums)
3/8 Saturday
8:30 pm: Duo: Micah Thomas (piano) Tyshawn Sorey (drums)
THE STONE is located in
The New School at the Glass Box Theatre
55 West 13th Street - near 6th ave
LIVE MUSIC
wed-sat - music at 8:30pm
ADMISSION - $20 per set
unless otherwise noted
cash only payment
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HONK NYC!, Barbès and Loove Labs present
Frank London: Music of Love and Resistance
Saturdays in February, 2025
at Loove Annex
238 N 12 Street,
McCarren Park in Brooklyn
Weekly Performances featuring London w/ Powerhouse Lineups
Sliding Scale Ticket Prices Start at Under $20
February 22 - Polka Loca
Erica Mancini, James Nadien, Lynn Ligammari, Ron Caswell Michael Winograd
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THIS NOTE COMES FROM MY GOOD BUDDY JOEL HARRISON, Gifted Guitarist and Organizer. His yearly concerts at LPR have been a highlight for myself and other Guitar Freaks…
Dear Guitar Enthusiasts … There's a lot going:
—MIDWESTERNERS: please take note of the above dates. I'm lucky to be playing with two of the greatest B-3 organ players alive, and fantastic drummers as well. https://joelharrison.com/shows/
—On March 14 AGS (Alternative Guitar Summit) recordings releases ANUPAM SHOBHAKAR'S LIQUID REALITY, a tour de force on double neck guitar that fuses Indian music, jazz, and rock. If you like John McLaughlin this is for you. Preorder here: https://agsrecordings.bandcamp.com/
—We have uploaded some GREAT NEW PODCASTS to the AGS youtube channel with Ben Monder, Redd Volkaert, and more to come. Please check it out.
https://www.youtube.com/@alternativeguitarsummit
—For a couple of years I have been working on a major piece entitled "Burn Pit." The orchestration is jazz big band and a 16 person chorus. The subject matter is the deadly toxic burnpits from the wars in Iraq and Afghanistan that killed or sickened hundreds of thousands of military personnel. To fulfill my obligation to the NY State Council on the Arts and the Governors Office of NY, from whom I received a generous composition grant, I have posted a video discussing and playing excerpts from this work here: https://www.youtube.com/watch?v=ulyk1Pgrym8
Don't forget to sign up for our summer camp! Kevin Eubanks, Vernon Reid, Kurt Rosenwinkel, John Scofield...come on! https://www.alternativeguitarsummitcamp.com/ - Joel Harrison
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NEW VIDEOS from GUITAR MASTER HENRY KAISER:
https://www.youtube.com/watch?v=xAWxt3EJSPw
https://www.youtube.com/watch?v=VcvoYygehqE
https://www.youtube.com/watch?v=g-6p_Q2Dwxc
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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