If you like country with a boogie beat, he's the man to meet
If you like the sound of shufflin' feet, he can't be beat
If you wanna feel real nice, just ask the Rock and Roll doctor's advice
It's just a country town but patients come
From Mobile to Moline, from miles around
Nagodoches to New Orleans
In beat-up old cars or in limousines
To meet the doctor of soul, he's got his very own thing
Two degrees in be-bop, a PhD in swing
He's the master of rhythm he's a rock and roll king
If you like a country with a boogie beat, he's the man to meet (he's the man to meet)
If you like the sound of shufflin' feet, he can't be beat (I say he can't be beat)
If you, if you wanna
If you wanna feel real nice, just ask the rock and roll doctor's advice
For last week’s newsletter, I included the words to “On Your Way Down” at the top, a song that was performed by Little Feat for their third album. I forgot to mention that this song was actually written by the great New Orleans songwriter, arranger & producer Allen Toussaint. Thanks to a half dozen fact-checkers out there, I was reminded of this fact. Thanks to you who read & respond to the newsletter, I do make mistakes so please do set me straight if you feel I am inaccurate about someting. I hadn’t heard any other version of this song but did check out three other versions this week: by Mr. Toussaint himself, by Lee Perry (https://www.youtube.com/watch?v=zbxiW0tNc5U) and by Sylvester & the Hot Band (https://www.youtube.com/watch?v=rPW4VjwfGIE&list=RDrPW4VjwfGIE). Thanks to Dikko Faust for this info.
Right after I sent the newsletter out last week, I got a call from my old friend Henry Kaiser, who asked my if I knew who the (above) song was about? I didn’t. It turns out the “Rock and Roll Doctor” is about Allen Toussaint, the original rock and roll doctor. I’ve listened to several Allen Toussaint records this past week, all were great, especially ‘The Bight Mississippi’ (from 2009), whose personnel includes Downtowners Marc Ribot & Don Byron. Little Feat’s “Rock and Roll Doctor” comes from the fourth album ‘Feats Don’t Fail Me Now’, my favorite record of theirs and one of my fave records ever. It still makes me feel good whenever I hear it! The first time I heard this album was at an outdoor, all night LSD party on a farm not too far from Glassboro State College where I was attending school around 1975. When anyone arrived, they were given some frozen psychedelic mushrooms by the hosts and everyone partied, danced, sung along, told tales, made love and had immense fun into the wee hours of the night. Word is that I sat in with a jamband that night playing air guitar in my Sgt Pepper suit!?! These were my Glory Days and they still make me smile when I think back to that time (almost 50 years ago!) when life was less precarius. If you haven’t heard much (any?) Allen Toussaint or Little Feat then I urge you to do so, that is if you want to feel good or better than the average bear. Put on your sailin’ (or dancing) shoes and get on down! - MC-Bruce & the Dancing Fools here at DMG
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THE DMG 34th ANNIVERSARY IN-STORE CONCERT CELEBRATION CONTINUES with:
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 - Drums!
7:30: TRIO From ZAGREB
8:30: SYLVAIN LEROUX - Fula Flutes & Reeds / HILL GREENE - Contrabass / DAN KURFIRST - Drums
Tuesday, March 18th:
6:30: AARON RUBINSTEIN - Guitar / MIKE LaROCCA - Drums!
7:30: AARON POND’S INVERSE and OBSERVE: MATTIEE McDONNELL - Accordion / JAMES ILGENFRITZ - Contrabass / MAX GLAZIER - Percussion / AARON POND - Horn-Melodica-Voice
8:30: TY CITERMAN - Guitar / JAMES ILGENFRITZ - Bass / AAKASH MITTAL - Sax!
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THIS WEEK’S SONIC GEMS BEGIN with THE DEBUT SOLO EFFORT BY SUN RA SAXIST MARSHALL ALLEN, Who Turned 100 Last Year!
MARSHALL ALLEN with KNOEL SCOTT / MICHAEL RAY / CECIL BROOKS / BRUCE EDWARDS / JAMAALADEEN TACUMA / GEORGE GRAY - New Dawn (Mexican Summer 3772.2; USA) Two days after his 100th birthday, Marshall Allen embarked on a remarkable journey with the creation of New Dawn, his debut solo album. A revered member of The Sun Ra Arkestra since 1958 and the ensemble's leader since Sun Ra's departure from this realm in 1993, Allen's career has spanned nearly seventy years, yet this marks the first time he has released a solo record under his own name. Rather than bookending an era, New Dawn presents itself as a new chapter for Allen - a love letter to space-time that channels a century of musical transience and transcendence into seven outer dimensional tracks.
A pioneer of the avant-garde, Allen's contributions both inside and beyond the Arkestra are legendary. Allen's voice is one of cosmic spirit, transcending the boundaries of traditional jazz and offering an emotional and spiritual resonance that has drawn comparisons to "Johnny Hodges from outer space." Allen's music has always been more than just sound, journeying through all strata of creative exploration. His mastery of the saxophone, alongside his dedication and demonstration of Sun Ra's teachings, has placed him in a distinct position within the avant-garde jazz universe for decades. New Dawn presents an intimate side of Allen rarely heard before. The album, recorded in Philadelphia in May 2024, was a collaborative effort with Knoel Scott, a fellow Arkestra member and lifelong friend. "Knoel's energy became the driving force behind the project," notes New Dawn producer Jan Lankisch. "He knew Marshall better than anyone, and his deep understanding of Marshall's compositions guided the selection of material for the album." Scott and Allen pored through an archive of unrecorded material, carefully selecting compositions that would showcase Allen's vast musical range. Though the album is informed by the philosophy of Sun Ra, it also marks a significant moment of artistic independence for Allen. New Dawn is more than just an extension of Ra's legacy; it is a testament to Allen's unique voice within the entire cosmos of jazz. As Lankisch describes, "We have created a record that showcases Marshall Allen's musical versatility, including a surprising calmer side we may not have heard before." From the subdued, transdimensional palettes of New Dawn to the boppy big band elements, the album demonstrates Allen's boundless ability to move through genres and emotions. New Dawn draws from Allen's deep well of collaboration to bring together a cast of musicians who share his spectral vision. Scott helped assemble a team of Philadelphia's brightest jazz stars and Arkestra veterans to join Allen in the studio, including Michael Ray and Cecil Brooks (trumpet), Jamaaladeen Tacuma (bass), Bruce Edwards (guitar), and George Gray (drums) amongst other players. Together, they create a space where Allen's compositions can breathe and evolve, with improvisation and spontaneity woven into every track. "New Dawn," the album's title track, is made all the more potent by the addition of Neneh Cherry's unmistakable voice. The song reflects Allen's ability to balance complexity with clarity, moving from serene introspection to explosive musicality. As the track unfolds, it becomes a perfect encapsulation of the album's spirit: the melding of the past and the future, of legacy and discovery. New Dawn is a record that will resonate with listeners long after the final note has been played. It is a cosmic covenant that documents Marshall Allen's unyielding spirit and creative vision - one that has transcended genre, time, and space.
CD $22
JOHN SURMAN with ALAN SKIDMORE / RONNIE SCOTT / MIKE OSBORNE / MALCOM GRIFFITHS / KENNY WHEELER / HARRY MILLER / ALAN JACKSON / et al - Flashpoints and Undercurrents (Cuneiform Rune 515/516; USA) Recently celebrating his 80th birthday and one of Europe’s foremost jazz musicians, John Surman is a masterful improvisor, composer, and multi-instrumentalist (baritone and soprano sax, bass clarinet, and synthesizers/electronics). Every period of his nearly 60 year career is filled with highlights, which is why Cuneiform is exceedingly pleased to release for the first time ever this amazing document of the late 60s 'Brit-jazz' scene.
Surman lived in London during the 1960’s and thrived in the exploding music scene. ‘60s London was the world’s center of popular music, and Surman was a key figure in its core, working with dozens of notable jazz and rock musicians. First appearing on record on a 1966 Peter Lemer recording on ESP, during the 60s, Surman played with Mike Westbrook, John Mclaughlin, Dave Holland, Chris McGregor’s Brotherhood of Breath, Alexis Korner, Mike Gibbs and many others. He listened to everything and worked with scores of bands in London’s melting pot, playing everything from free jazz to hard bop, mainstream jazz, blues, the then-emerging jazz rock, and South African township music.
By the end of the 60s, the British Jazz emerging from London was recognized world-wide as one of jazz’s most vital and creative manifestations. In 1968, Miles Davis visited Ronnie Scott’s and subsequently recruited two Surman collaborators, Holland and McLaughlin, for his American band. Surman’s activities intensified; he appeared on at least 8 recordings, including a compilation live at Ronnie Scott’s, and then played the ‘68 Montreux Jazz Festival with his Octet, winning its award for best soloist. He began recording solo albums, his first in ’68 featuring pianist John Taylor and bassist Dave Holland. Surman would surpass these activities in 1969, his busiest year of the decade. He appeared on 11 recordings that year, including McLaughlin’s Extrapolation , and by the end of the year, he left England to begin working as part of a new, Belgium-based unit called The Trio, which would prove to be a watershed in Surman’s career, launching his international profile.
At the time of the recording released here, Surman had just finished recording his second album as a leader, ‘How Many Clouds Can You See’, so ‘Flashpoints and Undercurrents ‘is a unique chance to get an expanded view of his formative work as a leader and also at the early work of his musical compatriots who appear with him here. For this occasion, Surman led a ten-piece ensemble featuring the cream of modern British jazz players as well as two Austrian musicians.
What's doubly valuable about this release is that it contains a large amount of pieces never recorded elsewhere. Captured in excellent stereo sound, this release is a exceptional and hugely important document that will blow the minds of Brit-jazz fans and will open the ears, eyes and minds of those who don't know the great and distinctive work of these fine musicians! - Cuneiform press info
2 CD Set $21
GARY LUCAS & YASS BODY - Here is The Ocean (My Funky Friend; Earth) Featuring Gary Lucas on guitars and Yassine Murad Boudlal on vocals, lyrics & arrangements. I’ve been friends with guitar god Gary Lucas for around 35 years, checking him out a variety of situations and bands throughout his long music career. His original trio, Gods and Monsters are/were one of the best of the Downtown bands that existed throughout the nineties and have had a revolving cast of rhythm teams and collaborators and still exist today with Ernie Brooks on bass and Calvin Weston on drums. One of the things that I admire about Mr. Lucas is his ability to adapt and seek out a variety of talented collaborators from around the world: Nona Hendryx, Peter Hammill, Najma Akhtar, Dean Bowman and the late Jeff Buckley. From time to time, Gary will give me a disc by some person or group that I’ve never heard of, the results of which are always worth checking out.
I knew nothing about Yass Body or Yassine Murad Boudlal when I got this disc but it turns out that he is a member of a French band called Meurville. There are only 5 songs on this 19 minute EP. “Pain Train” is first and Mr. Lucas is playing his trusty acoustic steel string guitar with Yassine’s vocals gliding nicely on top. Yass sings in English and his voice sounds somehow familiar to me. Mr. Lucas has a distinctive sound on acoustic guitar and adds his own unique reverb sound. Yassine sounds a bit like Jeff Buckley so he sounds just right singing with Lucas’ distinctive guitar playing. Since the lyrics are not listed here, it will take a while to figure what Yass is singing about. A number of Mr. Lucas best records are duos with vocalist since Lucas really knows how flesh out full backgrounds or support for each singer. Since this is is only 19 minutes long, I played it three times in a row and it is growing on me, getting better with each listen. There are a few select overdubbed sounds which always add a bit of mystery or depth to these songs. This is a most impressive treat or dessert so check it out before we run out of copies. - Bruce Lee Gallanter, DMG
CD $10
REMEDY with THOMAS HEBERER / JOE FONDA / JOE HERTENSTEIN - Hipp Hipp Hooray - Celebrating the Centennial of Jutta Hipp (Fundacja Sluchaj FSR 02/2025; Poland) Remedy is Thomas Heberer on trumpet, Joe Fonda on contrabass and Joe Hertenstein on drums. Since moving to NYC in the past decade, ICP trumpet wiz, Thomas Heberer, has kept busy leading and collaborating with a variety of different projects/bands. This is the third disc by Remedy, a collective trio in which all three musicians compose songs for the band. Contrabass master Joe Fonda also keeps quite busy playing in several different groups with Satoko Fujii, Wadada Leo Smith and the great J. & F. Band (with Jaime from the Allman Brothers). Both Mr. Heberer and Mr. Fonda are also members of the current Nu Band. German drummer, Joe Hertenstein is an ambitious musician who has worked with Michael Moore, Alex Von Schlippenbach and Ivo Perelman.
This disc is dedicated to Jutta Hipp, the lovely German jazz pianist who recorded three albums for the Blue Note label in 1956 & 1957. Being female and European shows how rare it was for Ms. Hipp to record for the Blue Note label, yet her records do have that Blue Note sound. At 30, Ms. Hipp migrated to the US where she lived for the rest of her live. Each member of the trio contributed songs for this disc, which are all in the vein of the music the Ms. Hipp played on her albums. Starting with Mr. Heberer’s “Lionel’s Dream”, the trio play a slow, cautious piece, which is stripped down and rather solemn in sound. Closer to the end of this piece, the trio stop and speed up & play a quirky Braxton-like final segment. For Mr. Fonda’s “Detroit Meets Leipzig” the trio play an odd, yet bent swinging phrase which has an infectious, joyful vibe with a fine trumpet solo and the rhythm team shifting through different short segments. Heberer’s “HippHopp” features a great, oddly funky groove in between some marching beat segments. While Heberer plays at a moderate pace throughout, the rhythm section keeps shifting tempos, yet it still works. Earlier today, I listened to Jutta Hipp’s debut album for Blue Note from 1956. Ms. Hipp plays exclusively jazz standards on all of her records, utilizing the talents of an American rhythm team. She definitely has her own unique sound or touch on piano. That said, I am not so sure where her influence is on this disc. What I find most interesting is this: this is a fine disc with a unique and immensely creative trio. The roles and playing of each member is/are constantly changing with the overall music thoughtfully crafted and played. On “Alles Jutta”, Mr. Fonda’s powerful bass is featured at the center of the piece with Hertenstein drums matching every note of Fonda’s daredevil playing. One of the highlights here is on “Hip to Hipp” in which perform a short bit with just their combined singing voices scatting together yet still capturing a rather quirky, delightful spirit. I admit that I really dig this trio and with each disc, they keep getting better as a combined force. A modest tour-de-force from my bubbie buddies. - Bruce Lee Gallanter, DMG
CD $15
MURIAL GROSSMAN with RADOMIR MILOJKOVIC / ABEL BOQUERA / UROS STAMENKOVIC - The Light of the Mind (Dreamland Records DR 16; EEC) Featuring Murial Grossman on tenor, alto, soprano & bari saxes, flutes, harp, tambura, harmonium & percussion, Radomir Milojkovic on guitars, Arel Boquera on Hammond B3, Moog & Fender Rhodes, and Uros Stamenkovic on drums. Around a month ago, a nice woman named Murial Grossman came down to DMG to check out one of our in-store performances. She got a chance to hear/witness and a phenomenal Spirit Jazz quartet which featured Jonathan Resin & Yoni Kretzmer on tenor saxes. This was a particularly strong set and everyone in attendance seemed to agree. Ms. Grossman introduced herself to me, told me how much she loved the set and we ended up hanging out for more than an hour, listening to some of my own Live Dead cassettes, singing & dancing to the music and discussing at length our love of Spirit Jazz and any music which helps to inspire our spirits. We discussed our own lives and musical journeys and letting me know that she played sax and had a number of records as a leader. It turns out that she does have nearly 20 discs out and left me with her latest, ‘Light of the Mind’. I’ve played this disc several times and am much impressed by her playing, music and influences. I hadn’t heard of Ms. Grossman or the other members of her quartet before now which is a unique situation for me since I put up a picture of the two of us on InstaGram and more than 400 folks responded, many saying that they were big fans of hers.
This disc begins with a piece called “Pointing Out (Part1)”, which features a lovely opening drone (harmonium, tambura, Moog?) and some superfine Trane-like tenor sax from Ms. Grossman. So warm, lush and cerebral. The title track, “The Light of the Mind” features Hammond organ & tenor sax frontline over an infectious ancient (60’s/70’s) groove/sound. Muriel mentioned to me that her keyboardist recently acquired a Hammond (B3) organ in order to bring a certain older sound to the band. The organ playing on this piece is a bit greasy and definitely groovy, retaining that wonderful 60's/70's sound. Ms. Grossman plays some tasty, lyrically soprano sax on the “Unison Unveiled”, which has Blue Note-like, sixties funky groove and will certainly make us all feel better with it' s infectious vibe. “Ultimate Awareness” has a dreamy, laid back vibe with some exquisite soprano sax up front. Both guitarist Radomir Milojkovic and organist Abel Boquera take superb, inspired long solos here which are among the highlights of this disc. On “Eternal Laughter”, Ms. Grossman plays a long, thoughtful sax solo, the vibe is most righteous, the solo engaging and spirited with guitarist Milojkovic also taking a fine solo as well as tasty organ solo. The last piece is “Pointing Out - Part II” and the smoky, laid back groove continues. Ms. Grosmman’s tenor solo here is marvelous, warm, joyful and intoxicating. This song is a perfect way to bring this modest treasure to gracious close. If Creative Music is also our Magic Medicine, then this disc is a prime example of what it takes to help us all feel better during these awfully dark times. - Bruce Lee Gallanter, DMG
CD $15
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 & Linda Hill on pianos, Sabir Mateen on tenor sax, Ufahamu Uweize on alto sax, Lester Robinson on trombone, Fundi Legohn on flugelhorn, trumpet & French horn, Adele Sebastian on flute, Alan Hines, Roberto Miranda & David Bryant on contrabasses, Daoude Woods on percussion and Billy Hinton on drums. This is last of the limited edition series of the Horace Tapscott’s Pan-Afrikan Peoples Arkestra, which were recorded on monthly Sundays at the Immanuel United Church of Christ in L.A. in 1979 & 1980. This disc was recorded on March 30th of 1980, almost 45 years ago this month. The first piece, “For Fats” was written by (Black) Arthur Blythe, a former member of the P.A.P.A. who moved to NYC in the late 1970’s. Not sure if this piece is dedicated to Fats Waller, but it does have an ancient jazz playful vibe. Mr. Tapscott (?) takes the first, long rambunctious piano solo here, which is followed by another inspired, brain-blasting solo from Sabir Mateen’s tenor sax, as well as what sounds like a long, thoughtful, story-like soprano sax solo. Drummer, Billy Hinton, also takes a fine drum solo here as well. There is a continuing vamp which repeats throughout this piece. Today it is in the 50’s outside and the sun is shining so perhaps Spring is on its way. The next piece is called, “I Felt Spring” and it was written by a member of one Mr. Tapscott’s other ensembles. This song has a delightful, uplifting melodic theme which is well-played by the flute, other reeds and brass. There are several superb solos here like Fundi Legohn on flugelhorn, one of the contrabassists and another exuberant piano solo. The last piece is an untitled one by Linda Hill, who co-led the Union of God’s Musicians and Artists Ascension (UGMAA) along with Mr. Tapscott. This piece is more laid back yet still charming in its own way. It feels as if it has been slowed down to a more relaxed vibe, stretching out the solos in most elegant somewhat majestic way. Each of the Pan-Afrikan Peoples Arkestra releases capture the large world of modern jazz with other earth elements seasoned in. Each release is well worth examining at length. - Bruce Lee Gallanter, DMG
CD $20 [Limited Edition of 333]
* PHILLIP GOLUB / LESLEY MOK - Dream Brigade (Infrequent Seams IS-1072; USA) Featuring Phillip Golub on piano and Lesley Mok on drums. Before this new disc arrived, I didn’t know very much about pianist Phillip Golub other than that he has worked with Ra Kalam Bob Moses for a recent CD and that he has a recent release out as a classical composer. Drummer Lesley Mok has player here at DMG on a couple of occasions, work with Myra Melford, David Leon and Camilla Nebbia, as well as releasing her own leader date, ‘The Living Collection’, in 2023, another under-recognized gem that I reviewed when it came out.
The duo either composed or improvised all but two of the pieces here which include jazz standards “Darn That Dream” and “Conception” (by George Shearing). The opening piece, “kindling” starts off slow and cerebrally before the tempo picks up. It is filled with suspense and takes it time to unfold. For “Darn That Dream”, the duo strip things down to a sparse landscape, teasing out the melody carefully and then later erupting as the tempo and density increases. One of the things I like about this disc is that the duo often take their time and occasional erupt in spurts together. On “Tunneled Throat”, the piano really takes off in a more forceful way with the drums also exploding together and apart. This piece reminds me of some of those Cecil Taylor and drums duos, something that is mentioned in the liner notes here. It is the more stripped down and sparse piece which make up much of this disc. I like all of these pieces although if you are not a fan of Morton Feldman or the erstwhile/elsewhere school, you might think that there is not much going on. I like the slow, careful way the music unfolds here so that we can hear the texture of each sound. “One man gathers what another man spills” is what some might say. - Bruce Lee Gallanter, DMG
CD $14
* DREAM BRIGADE a/k/a PHILLIP GOLUB & LESLEY MOK will be playing at the Jazz Gallery on Thurs, March 13th at 7:30 & 9:30 - more info: https://jazzgallery.org/calendar
KILLICK HINDS - Imbricate (Habitable Records – HR005; USA)Featuring Killick (Hinds) on a solo electric stringed instrument (guitar-like) with computer augmentation. Although Killick refers to his music/playing as Appalachian Trance Metal, I am unsure that this actually explains his unique sound/approach. Killick has released nearly 20 records since 2003, yet I had only heard a few of these when he recorded with Henry Kaiser and the Shaking Ray Levis. Killick has worked with a number of other gifted players like Susan Alcorn and Camila Nebbia other players I’ve never heard of. Last night (3/4/25), Killick played in a duo with Harvey Valdes here at DMG. I knew of Mr. Valdes since he played here at DMG in the past way back when and I reviewed a disc of his duo with Alvaro Domene. Watching and hearing Killick play at DMG last night was fascinating since he had a strange looking custom made guitar which he plays in his own unique way, adding bits of effects from time to time.
Listening to this disc, I can’t quite compare Killick to anyone else as his sound is completely unique. It sounds like he is both picking and muting certain strings, slowly tapping out his distinctive sound. At times, Killick lets his strings ring out with the lower notes humming like they are about to overload into feedback. The sparseness of this music has a calming quality. On the second piece, he lets those low end sound hum a bit. It sounds like his playing is triggering certain quirky electronic sounds on the third piece. Although he is strumming at times, these sounds also are triggering other odd sounds. Even watching Killick live last night, it is difficult to describe the how he is doing what is he is although I am still fascinated by these strange sounds. For “Full Apostrophe Livin’”, it sounds like someone is playing a flute or other blowable thing but I think that Killick is coaxing some sort of feedback-like sounds from his instrument, as well as adding some effects. On each track, Killick alters the sound of his instrument so the mood or vibe is changing throughout this disc. On “The Heart Inside Little Animals” Killick strums quietly while adding some eerie drones underneath. Killick does a great job of layering his plucked parts with electronic or effects-laden sounds and still coming up with surprising detours. This is (sort-of) a solo guitar release which doesn’t sound like any other solo effort I’ve heard in recent memory. - Bruce Lee Gallanter, DMG t sound like any other solo effort I’ve heard in recent memory. - Bruce Lee Gallanter, DMG
CD $10
HEIKKI RUOKANGAS - Live in New York - Solo Acoustic Guitar (Right Brain Records RBR 077; Earth) Featuring Heikki Ruokangas on solo acoustic guitar recorded by Killick Hinds at the New York Forward Festival in August of 2024. Heikki Ruokangas is a Finnish guitarist who has worked with Noël Akchoté, Kris Gruda and Ernesto Diaz-Infante. I hadn’t heard of Mr. Ruokangas before Killick left us with a handful of copies of this disc. The Forward Festival, where this disc was recorded, is run by the ever-ambitious 577 Records label, which has releases over 200 titles since 2001, many whose recordings feature Daniel Carter, William Parker & Federico Ughi (label founder), as well as obscure gems from international improvisers like Paul Dunmall, Pat Thomas and Eddie Prevost.
The disc begins with Mr. Ruokangas’ acoustic guitar being strummed slowly and carefully. This piece has a bluesy vibe and is solemn at the center. At times time Mr. Ruokangas sounds somewhat like Ralph Towner by with more of bluesy sound. There is a piece called “A Shuffle of Zombies” in which Ruokangas starts quietly and then erupts with what sounds like an angry passage. “The Real Boy” sounds like a jazz standard which has been twisted into an odd shape and pushed beyond its recognizable original shape. The music here is a bit schizoid sounding, quiet passages with occasional over-the top stretches. I actually like those quieter sections more as they feel better to me than some of the explosive bits. The more I listen to each piece, the more I like the diversity of unexpected twists and turns, both musically and emotionally. If you dig solo acoustic guitar records, than you should check this fine effort out. - Bruce Lee Gallanter, DMG
CD $10
ALEXANDRA GRIMAL / GIOVANNI DI DOMENICO - Shakkel (Relative Pitch RPR 1216; USA) Featuring Alexandra Grimal on tenor & soprano saxes and Giovanni Di Domenico on grand pianos, celesta and pipe organ. I know of French saxist Alexandra Grimal from her work with Lee Konitz, Joelle Leandre and Francois Tusques. Even more prolific is Italian keyboardist Giovanni De Domenico (currently living in Brussels, Belgium). Mr. Di Domenico can be found on more than seventy releases since 2010, working with a diverse number of gifted improvisers like Akira Sakata, Jim O’Rourke and Arve Henriksen. Ms. Grimal and Mr. Di Domenico have been recording together for more than a decade with around a half dozen discs released so far.
“komori” begins with stark solo piano, fragile, solemn with Ms. Grimal’s sax slowly coming in with equally soft sounds. As the piece unfolds, Ms. Grimal plays ethereal soprano sax with dream-like piano resonating down below. Mr. Domenico switches to celesta on “request of the stone” which gives the piece a more precious, quietly eerie sound with Ms. Grimal still playing her soprano in a most dreamy yet playful way. “kuden” has a dark yet spacious sound. As the piece unfolds, it becomes more intense and turbulent like a storm brewing in the distance. Both musicians expand their sounds on “sanmai” with Domenico on pipe organ and Grimal on tenor, the sax sounding like a foghorn. Something that I notice about this disc is that each piece creates a different mood or vibe. The last piece is called “yorishiro” which translate as: “In Shinto terminology is an object capable of attracting spirits called kami, thus giving them a physical space to occupy during religious ceremonies.” This piece is short yet it does capture a certain spirit-like sound or vibe. This entire disc has a rather ritualistic vibe which permeates throughout. - Bruce Lee Gallanter, DMG
CD $13
STIAN LARSEN / COLIN WEBSTER / RUTH GOLLER / ANDREW LISLE - Temple of Muses (Relative Pitch RPR 1193; USA) Featuring Stian Larsen on guitar, Colin Webster on sax, Ruth Goller on bass and Andrew Lisle on drums. Recorded in Londonin April of 2022. I am amazed that the Relative Pitch label is able to find hundreds of improvisers from around the world, both known and often little known, with more than 200 releases since they began in 2011. This is a unique quartet with members from different scenes. I knew of Norwegian guitarist Stian Larsen from a duo CD he did on FMR in 2012. London- based saxist Colin Webster is on more than sixty releases with Mark Holub, Alex Ward and Daniel Thompson. Both Andrew Lisle and Colin Webster are members of the Kodian Trio with three discs out on Trost. Italian born bassist Ruth Goller seems to be a bit more obscure with around a dozen discs out of mainly more obscure sessions/bands.
This disc has a freeish, electric, sorta punk/jazz sound with lots for fractured eruptions. “Kingdom of Saliva and Dust” is both free yet focused with the guitar and sax erupting tightly together over the rambunctious rhythm team. The quartet slows down and gets into a sly groove with the guitar and sax bending their together. The quartet strip things down on “Temple of Muses”, with quiet fractured guitar and haunting, solemn sax over a sparse rhythm team. This piece increases in tempo and density as it evolves, building as the tension increases, eventually hitting that full throttle plateau. One thing I noticed here is that there is a certain 80’s/90’s free jazz/rock sound which features skronk guitar and fractured sax, which numerous bands adapted to. Hence, there is a tradition of this particular sound which still exists today. Chris Pitsiokos’ CP Unit is just one example. This quartet also sound like they are coming from that tradition as well. Most impressive, nonetheless. - Bruce Lee Gallanter, DMG
CD $13
SLEEPY JOHN ESTES - The Victor, Decca & Bluebird Releases 1929-41 (Acrobat CD3542; UK) John Adam Estes, born in Tennessee in 1899, was a blues singer, guitarist and songwriter whose work influenced later artists from The Beatles and Bob Dylan to Led Zeppelin. Working as a field hand, he started performing at parties and picnics around the age of 19, often accompanied by harmonica player Hammie Nixon and guitarist, mandolin player James Rachell, who sometimes featured on his recordings. He recorded his first sessions for Victor in Memphis in 1929, followed by more Memphis sessions for Victor/Bluebird in 1930, then sessions for Decca in Chicago in 1935 and New York in 1937, 1938 and 1940, and back with Bluebird in Chicago in 1941. He then largely disappeared from the scene until being rediscovered in 1962, after which he performed and recorded during the folk/blues revival. This 50-track 2-CD collection comprises just about all his releases from those early sessions on which he performs as the lead vocalist, and includes most of the titles he recorded as a member of The Delta Boys towards the end of this era. It features performances with Hammie Nixon, Robert Lee McCoy, (harmonica), John Hardge, Jab Jones (piano), James Rachell (mandolin), Charlie Pickett (guitar), Ham Lewis (jug), Son Bonds (guitar, kazoo) and Raymond Thomas (bass). It naturally includes the songs for which he is best-known like "Milk Cow Blues", "Some Day Baby Blues", "Working Man Blues", "Lawyer Clark Blues" and others. It's an enlightening and substantial overview of the career and music of a notable and important bluesman.
2 CD-R Set $18
THE DEVIANTS - Disposable (Morghan Blue Town CD 057; UK) The Deviants were an influential underground rock band from the UK, active primarily in the late 1960s. Known for their raw, anarchic style, they combined garage rock, proto-punk, and psychedelic influences. Originally formed as 'The Social Deviants' in 1967, the band was fronted by the poet, writer, and provocateur Mick Farren. The Deviants' sound was characterised by its experimental approach, blending bluesy riffs, rebellious lyrics, and chaotic energy. They were a significant precursor to punk and were part of the UK countercultural movement. 'Disposable' was originally released in 1968. A mix of satire, politics, and raw rock music. Although The Deviants didn't achieve mainstream success, they became a cult band with a lasting influence on punk and alternative rock. Mick Farren went on to have a solo music career and became a respected writer and journalist. The Deviants were known as much for their countercultural ethos as their music, making them a key part of the late '60s underground scene.
CD $16 / LP $25
SAEKO KILLY - Dream In Dream (Bureau B 479CD; Germany) Japanese producer Saeko Killy returns for her second album of psychedelic electronics and drum machine workouts with Dream In Dream on Bureau B. In contrast to her first LP Morphing Polaroids (BB 426CD), which was a more collaborative project coming out of the pandemic, Dream In Dream sees Saeko Killy take the lion's share of the controls herself. This time around she wrote and played mostly everything herself, meaning she could arrange her songs exactly how she liked, to draw out their dream-like elements. Occasionally Saeko got around the arm issue by teaming up with her good friend and guitarist Alexa D! saster, who features on "Melancholik" and the album-opener "Kaiju." Right from the start, Saeko invites listeners into her hypnotic musical world, with wide-screen pads, guitars that sound like chants, and dubby reverb slaps, forming the foundation for Saeko's otherworldly vocals. "Melancholik" in contrast, is a moody stomper of up-tempo minimal wave, nodding to her '80s post punk inspirations. These two tracks capture the different sides of Dream In Dream, blissful downtempo dreamscapes next to upbeat excursions for the psychedelic dancefloor. Saeko mixed the album together with Sebastian Lee Philipp aka Die Wilde Jagd, another long-time friend that Saeko was introduced to when she first moved to Berlin. Together in Sebastian's studio, they brought out the harmonics of Saeko's collection of Korgs, Yamahas and other affordable, modern-day versions of classic synths. Music and magic are just some of the languages that appear on Dream In Dream, which also switches between Japanese, English and German. For the track "Jede Farbe" for example, Saeko experimented with each language, to find which would fit the groove best. The result is something that could have been heard booming out of speakers in West Berlin in the '80s. However, the changing languages also place Saeko's songs somewhere between worlds. They sound new wave, but filtered through Saeko's lens of JPop, NDW, and Industrial music. Saeko navigates these in between sounds using signposts from her dreams, guided through the spacetime distortion loops as if by a vision. The true meaning of this vision might not be immediately clear -- but who minds, when the search for that meaning sounds this good?
CD $18
REISSUES & HISTORIC RECORDINGS:
CECIL TAYLOR - Air Above Mountains (Enja 3005; Germany) Air Above Mountains (Buildings Within) is a live album by Cecil Taylor performing a solo piano concert recorded at the Moosham Castle in Langau, Austria on August 20, 1976. The Allmusic review by Scott Yanow states "Except for some brief moments, his music is quite intense, percussive, crowded and overflowing with passion. Taylor's longtime fans will find much to marvel at while newcomers to his music are advised instead to check out his earlier (and less dissonant) sessions from the 1950s first". In a brief tribute to Air Above Mountains in the Chicago Tribune, journalist Jack Fuller wrote: "To breathe Cecil Taylor's rarefied piano atmosphere, you have to have been acclimated. Straight jazz won't do it. Contemporary European art music is closer, thin on conventional harmonic structure and without recognizable melodic line. When you have learned to live in this thin but bracing abstract atmosphere, Taylor's improvisations are as magnificent as a mountaintop: hard, inaccessible and grand Nat Hentoff described Air Above Mountains as "unyieldingly absorbing - in terms of inexorable logic of its structures, the kaleidoscopic swiftness of his melodic inventions, leaps through pulsing time, and the oversize feeling with which all these elements are fused.
CD $12
NELS CLINE with TIM BERNE / STACY ROWLES / ERIC VAN ESSEN / ALEX CLINE - Angelica (Enja 9577; Germany) Originally released in 2019. "Featuring Tim Berne, Stacy Rowles, Eric Van Essen, and Alex Cline. Angelica is simply a beautiful album. Besides the leaders' excellent work on electric and acoustic guitar it features the elegant and so personal sounding alto sax of Tim Berne as well as the emotional trumpet of L.A.'s Stacy Rowles, the daughter of piano giant Jimmy Rowles. The music breathes a certain airy and cool romanticism which is at its most impressive on 'Maria Alone,' dedicated to Maria Farantouri, the great Greek lady of song. Nels Cline began to play guitar at age 12 when his twin brother, Alex Cline, took up the drums. The pair developed musically together, playing in a youth rock band they dubbed Homogenized Goo. He played with jazz musicians Charlie Haden, Gregg Bendian, Wadada Leo Smith, Tim Berne, Vinny Golia, and the late bassist Eric Von Essen, a longtime musical companion in the L.A. jazz group Quartet Music. In 1983, Nels joined the early formation of BLOC. The quintet became a Los Angeles club favorite and garnered much praise from the local press and media. Practically every major label was interested at some point but no major label seemed to have a clue how to promote the multi-talented group."
CD $12
ERIC DOLPHY with BENNY BAILEY / PEPSI AUER / GEORGE JOYNER / BUSTER SMITH - Berlin Concerts (Yellowbird Records YEB 3007CD; Germany) Originally released in 2019. "Reissue of a 1961 concert from one of the all-time greats in jazz, Eric Dolphy. It was originally released as a two LP set in the late '70s and the CD edition on Enja has been unavailable for many years. Personnel: Eric Dolphy (alto saxophone, bass clarinet), Benny Bailey (trumpet), Pepsi Auer (piano), George Joyner (bass), Buster Smith (drums). AllMusic: 'Dolphy mostly stretching out on standards, coming up with very original statements on such songs as 'Hot House,' 'When Lights Are Low,' 'Hi Fly,' 'I'll Remember April,' and 'God Bless the Child' (the latter taken as an unaccompanied bass clarinet solo), in addition to two brief originals. With trumpeter Benny Bailey helping out on half of the selections along with a strong rhythm section, it's the perfect introduction for listeners not familiar with Eric Dolphy's innovative style.'"
CD $12
CHARLES MINGUS with ERIC DOLPHY / CLIFFORD JORDAN / JAKI BYARD / DANNIE RICHMOND - Mingus In Europe, Vol. 1 (Yellowbird Records YEB 3049; Germany) This releease features the Charles Mingus Quintet during their European tour in 1964. Bassist Mingus, Eric Dolphy (on alto, bass clarinet, and flute), tenor man Clifford Jordan, pianist Jaki Byard, and drummer Dannie Richmond stretch out on a 37-minute version of "Fables of Faubus" while the briefer "Starting" is a rare Mingus-Dolphy duet. Although this music could be called avant-garde, there is nothing random about the notes picked or the many emotions expressed. - Scott Yanow, AllMusicGuide
This is a recording from the legendary European tour, of the legendary Mingus group of 1964. That means of course that Eric Dolphy is all over the place. While the vinyl had the unfortunate limitation of space that only allowes for "Starting" and "Fables of Faubus" to make up the package, (with Faubus having to be split between sides due to it's 37 plus minute runtime), the CD version treats us to a fine workout of "Meditations" which is one of my favorite Mingus pieces. I love the way the band bursts out of that contemplative flute into a full swinging ass kick! And while this one swings and kicks ass with the best of them, there are higher quality recordings to be found in the _Town Hall Concert_ and _Live At Cornell University_. But of course the great thing about Mingus is that the tunes are never presented the same way twice so have at it. By the way, this is by no means an album to start someone on a Mingus journey with as "Fables of Faubus" is pretty adventurous, but for a longtime fan, this is pure gold. - Timregler at RateYourMusic.com
CD $12
FREDDIE HUBBARD with KENNY BARRON / BUSTER WILLIAMS / AL FOSTER - Outpost (Yellowbird Records YEB904CD; Germany) Originally released in 2019. "Comparable to his recordings with V.S.O.Q., Outpost marks Hubbard's return from so-called 'fusion': Here he's right back, doin' jazz. 'Playing that music again really made me feel clean' he says, and then you can find him joking about the commercial albums he produced the years before. Anyway, they didn't earn him the smash hit he was looking for. After playing Miles' trumpet part in company with Hancock, Shorter, Carter, and Williams (V.S.O.P.), only the very best musicians were adequate to sit in with Freddie. How else would you classify a rhythm section made up of Kenny Barron, Buster Williams, and Al Foster -- 'Santa Anna Winds' is an almost free-form piece, proving Hubbard to be an adventurous musician, who is breaking new grounds once again in his career. His interpretation of 'You Don't Know What Love Is' shows him handling the popular ballad with complete control and delicate taste. He swings lightly and with sparkling technique through 'The Outpost Blues' and 'Dual Force,' spitting forth jagged bursts and trills, and finally ends up with Eric Dolphy's 'Loss,' that the band gives a solid and down-to-earth rendering. Outpost won Freddie Hubbard some four stars from Downbeat. And, furthermore, the old respect from an audience, that seemed puzzled for a short period."
CD $12
LYDIA LUNCH with ROBERT QUINE / JACK RUBY / DOUGIE BOWNE - Queen Of Siam (Radiation Records 015CD; Italy) After the demise of Teenage Jesus and the Jerks, Lydia Lunch launched her solo career with Queen Of Siam, arguably her greatest LP. In true No Wave style, the album is a mishmash of irritants, but her palette is far broader here, lurching from slow dirges, excessive feminist exhortations, and raucous personal purges to a touch of disco and lounge music exoticism, as conjured by Voidoids/Lou Reed guitarist Robert Quine, Contortions bassist Jack Ruby, and John Cale's drummer, Douglas Browne. Spirited, surprisingly broad and defiantly dissonant, Queen Of Siam's dense layers were designed to provoke and inflame; listen closely to fully decode.
CD $16
LYDIA LUNCH - 13.13 (Radiation Records 017CD; Italy) Recorded in Los Angeles in 1982, 13.13 exists as document to the pandemonium of specters and potential serial killers who twisted the California Dream into a waking nightmare as they snaked through the boulevards, back yards and basements of a sun stroked paradise turning into a blood-soaked inferno of fear, paranoia, panic and lust killings. Lush musical textures provided by members of seminal art punks The Weirdos -- Dix Denney, Cliff Martinez, and Greg Williams -- create a hypnotic backdrop to Lunch's evocative vocals and terrifying lyrics.
CD $16
BACK IN STOCK:
JON IRABAGON'S OUTRIGHT! with RAY ANDERSON / MATT MITCHELL / CHRIS LIGHTCAP / DAN WEISS - Recharge the Blade (Irabbagast Records 020; USA) Featuring Jon Irabagon on soprano sax, Ray Anderson on trombone, Matt Mitchell on piano, Fender Rhodes & Moog synth, Chris Lightcap on acoustic & electric basses and Dan Weiss on drums plus guests: Ben Monder on guitar & Chris Cash on multiple instruments. Jon Irabagon started his Outright! project in 2008 when he recorded his first album as a leader. Outright! is a trilogy where each part features a different sax from Irabagon arsenal of reeds. This disc features Mr. Irabagon on soprano sax (the most unforgiving of saxes according to the liner notes) and it is the last part of the trilogy.
For this session, Mr. Irabagon has put together a fine quintet which employs jazz elder/trombone great Ray Anderson, Downtown/progressive keyboard wizard Matt Mitchell plus a strong Downtown rhythm team of Chris Lightcap on basses and Dan Weiss on drums. The illustrated cover, inside characters and title of this disc, "Recharge the Blade", look more like a heavy metal release than a jazz disc.There are two suites n the this disc, the title suite and “War Trilogy”. “Kilgrave Part 1” begins with a fine piano intro and soon breaks into a hard swinging stomper with the soprano and trombone playing tightly and exuberantly together up front. Both Irabagon on soprano and Anderson on trombone takes spirited solos here with another fine drum solo in the last part of the song. Mr. Mitchell plays some sly, old school electric piano on “Blood Eagle”. The quintet erupt on “Keelhauling” with the soprano sax and trombone soloing at the same time and with Matt Mitchell switching back and forth between interacting with both instruments. Irabagon has a great Trane-like tone for his soprano on “Nightshade”, his harmony with Anderson’s trombone and skeletal to majestic piano are some special to behold (behear?). For “Kilgrave Part 2”, Mr. Anderson trombone leads the band while Irabagon’s soprano solo fiercely on top. The title tracks sounds like a high speed bebopper with the tempo at a furious rate. The soprano sax, trombone and piano all take astonishing solos here so watch out! “Tres Bechet” is a ballad with an incredible old school (Sidney Bechet inspired) soprano solo with rich harmonies from the trombone as well. In many ways, this disc is a tour-de-force for Mr. Irabagon. He has already showed his prowess on alto and tenor sax, with the Monk Award a while back which is no easy feat. This disc shows that Mr. Irabagon is a major contender on the soprano sax as well. The second suite, ˜War Trilogy” shows a darker side to Irabagon’s music. “Quantum Callâ” is an eerie piece with the great Ben Monder adding his atmospheric guitar to the proceedings. Mr. Lightcap switches to electric bass since this piece has a more rock/metal edge with Monder’s sly metal-toned guitar and the soprano swirling around one another. This disc is yet another treasure from the great multi-sax playing wizard, Jon Irbagaon! - Bruce Lee Gallanter, DMG
CD $15
BRIAN MARSELLA / JON IRABAGON - Blue Hour (Irrabagast Records 026; Red Palace Records 005; USA) Featuring Brian Marsella on piano, Yamaha CS-60, Korg BX-3 & Ritm-2 and Jon Irabagon on mezzo soprano, tenor & sopranino saxes. The first two tracks were recorded at The Stone in October of 2022 while the last three pieces were recorded at Eastside Sound (studio) in January of 2022. Over the past few years keyboard wiz, Brian Marsella, has kept very busy in a variety of different projects: John Zorn (in the Chaos Magick quartet, Cyro Baptista, Zion80 and lots more. Even after moving out of NYC during the pandemic, award-winning multi-saxist, Jon Irabagon, also keeps quite busy: playing the music of John Zorn in a quartet with Chris Speed, working with Dave Douglas, Gordon Grdina and many others. One of the things that I like most about Brian Marsella is that he plays numerous keyboards (organ, piano & various synths) and seems to be influenced by a wide variety of genres and styles. The last time I caught him at The Stone for a residency earlier this year (2023), he kept switching a half dozen keyboards to great effect.
All the music seemed to have been completely improvised. "A Day That Will Live in Infamy" is first and begins with quiet, spacious, mystical synth sounds and somber soprano sax. While Marsella plays some spooky, atmospheric synth(s), Irabagon carefully bends and twists each note carefully, the duo creating a soundtrack for an old film noir flick. The sax, synth and then piano start to erupt intensely after a while. Another thing which stands out here is that both of these musicians draw from a number of melodic sounds and themes. Marsella will create a quick bassline with one hand while he plays waves of notes on the piano with the other hand while Irabagon plays a series of lines on his tenor, some inside, some outside but always in response to whatever lines that Marsella is playing at the time. The constant interaction is often astonishing and unpredictable. Both of these players are daredevil improvisers who keep pushing each other higher and into more turbulent sections. I've caught Mr. Marsella play the music of John Zorn both in the solo and in the trio setting and I know he is a most impressive, expressive pianist. His acoustic piano playing here is extraordinary, majestic and in a class of its own. Both of these players can match each other's exploration no matter where they go. The studio pieces are better balanced hence the interplay can be heard even more. This entire disc is nearly 77 minutes in length and it had me at the edge of my seat for the entire long ride. Just incredible! - Bruce Lee Gallanter, DMG
CD $15
LP SECTION:
NUCLEUS with IAN CARR / KARL JENKINS / CHRIS SPEDDING / BRIAN SMITH / JEFF CLYNE / JOHN MARSHALL - We'll Talk About It Later (Be With Records 126LP; UK) With breaks for days and an almost ambient, heavy jazz atmosphere throughout, this is the apex of British jazz-rock fusion. ‘We'll Talk About It Later’ was first released on Vertigo in 1971 and original copies are now very tricky to score. Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. We'll Talk About It Later is arguably Nucleus's best album. Not only that, it's in the top five of all fusion albums. By the time Nucleus entered Trident Studios in September 1970 to record Elastic Rock's successor, they had already won a best group award at the Montreux Jazz Festival. The group work and insane musicianship Nucleus were famed for is in evidence from the off. The intensely funky "Song for the Bearded Lady" features counterpoint riffing segues into a spacious groove and a Carr trumpet solo demonstrating the influence of electric Miles from the period. The stop-start funk of "Sun Child" would appeal to Soft Machine devotees whilst the genuinely touching "Lullaby For A Lonely Child" is a lovely downtempo ballad. Featuring an understated, reflective horn line from Carr and Brian Smith and atmospheric, shimmering bouzouki from Chris Spedding, there's an exotic flavor which contributes to the bliss. The ominous, sleazy title track retains a swaggering menace and is not the only track to lend a sort of heavy stoner rock atmosphere. The guitars and bass are deep and low throughout, conjuring heavy psych moments to go with the actual jazz and even funk. To say this album was in conversation with Bitches Brew would not be overstating the sheer brain-frying brilliance. The Weather Report-adjacent "Oasis" opens Side B, a colossal track featuring nearly ten minutes of steadily building melodic horns, keys and choppy guitar riffs. Spedding adds unique vocals to the undeniable groove of "Ballad of Joe Pimp" whilst saxophonist Smith's duet with drummer John Marshall at the conclusion of "Easter 1916" -- inspired by the Yeats poem about the Irish nationalist uprising in Dublin -- adopts the wildness of the most incendiary free jazz. Remastered from the original Vertigo master tapes by Simon Francis. Cut by Cicely Balston at AIR Studios.
LP $36
THE TONY WILLIAMS LIFETIME with JOHN McLAUGHLAN / LARRY YOUNG - Emergency! (Be With Records 131LP; UK) The Tony Williams Lifetime's Emergency! is a furious, stunning, seminal album. In 1969, it's explosive sound divided critics in both jazz and rock but is now rightly regarded as groundbreaking. A musical statement so bold and irreverent that it was revolutionary. With Emergency!, provocative percussionist Tony Williams unified the most vital sounds of the era and galvanized the creation of jazz fusion. A sprawling double-LP that shattered the boundaries between jazz and rock, it forged fresh frontiers by unleashing dense, courageous and fantastically mysterious music. The group was founded by Tony Williams, a member of Miles Davis's radical 1960s quintet, out of his desire to fuse the influences of modern jazz and rock music. To effectively meld the scorching bop of Coltrane with the raging rock of Hendrix. Like all the very best records, Emergency! takes multiple listens for your brain and body to decipher everything going on, to truly process and appreciate the details that our senses are throwing at us. It's a mesmerizing, rough sound yet the intuitive interplay of all three musicians is super-tight. The tunes are strung out and jamming but retain a tight rhythmic focus. The incendiary title track immediately presents jazz-rock's chaotic birth. After Williams's ominous snare-roll signals the brewing storm, the snarling band blasts its way through the gate in truly breathtaking fashion, fuzzed-up wahed-out guitar riffs vying for prominence with gnarled, insistent organ. Thrillingly, Williams manages to both acrobatically crash over every element of his drum kit while keeping the whole groove undeniably funky. "Beyond Games" is a gloriously volatile freeform, featuring Williams' bugged-out vocals, whilst the 12-minute "Where" is another deep, wild jam. With the buoyant "Vashkar", we begin to experience jazz-rock's many angles; imaginative melodics, taut dynamics and as torrent of searing heat. Perhaps the most economical track on Emergency!, it's the most instant. The laconic "Via the Spectrum Road", a brilliant pop-psych tune, was sampled by Showbiz & AG on their classic debut LP. It oscillates between a tranquil funk groove and strutting improv interludes. The pyrotechnic jam "Spectrum" wakes things up again with pure, molten jazz lava and crazy soloing from all involved. A breathtaking, kaleidoscopic 13-minute cycle through ferocious noise, "Sangria For Three" is a sublimely frenetic detonation of distilled (acid) jazz rock. Closer "Something Spiritual" finishes this jaw-dropping set with a driving, unrelenting heavy guitar and organ freakout, backed high in the mix by Williams's untamed funk before unsettled dissonance rides you out. Mastered for vinyl by Simon Francis and cut by Cicely Ralston for Alchemy at AIR Studios.
2 LP Set $45
KEN KESEY / GRATEFUL DEAD - The Acid Test (Blue Vinyl)(Jackpot Records JPR 042COL-LP; Earth) "Ken Kesey's ultra rare 1966 studio recording of the Acid Test with The Grateful Dead. Legendary documentation of the 1965-66 Bay Area Acid Test scene from 14 hours of the actual trip (recorded in a studio). Lots of amazing mind games and word play with Ken Kesey and Ken Babbs in good form, ad libbed poetry, fractured harmonica solos, tape loops and the Grateful Dead lurking in the background. Originally released in March 1966." Originally released in 1966.
LP $28
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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 / 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 RESIDENCIES / THEO BLECKMAN / MARCH 19-22
3/19 Wednesday
8:30 pm: DUO 1 - Theo Bleckmann (voc/EFX) Mike King (piano)
3/20 Thursday
8:30 pm: DUO 2 - Theo Bleckmann (voc/EFX) Ben Monder (guitar)
3/21 Friday
8:30 pm: TRIO 1 - Theo Bleckmann (voc/EFX) Timo Vollbrecht (sax) Luke Marantz (keyboards)
3/22 Saturday
8:30 pm: TRIO 2 - Theo Bleckmann (voc/EFX) with Endless Field: Jesse Lewis (guitar) Ike Sturm (bass)
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