If you call this sentimental crap you'll make me mad
'Cause you know that I would not sing
About some passing fad
And if my attempts at rhyming aren't convincing to your ear
Then memories betray you through the passing of the year
I love you still, Caroline
I want you still, Caroline
I need you still, Caroline
You must think it doubtful that I mean the words I sing
Or that all attempts to reach you this way
Could not mean a thing
But you must admit we both thought we'd be man and wife
And that I could make you happy
For the best part of your life
I love you still, Caroline
I love you still, Caroline
I love you still, Caroline
I love you still, Caroline
Robert Wyatt, founding member, drummer & singer for Soft Machine, has long been my main man: my favorite singer, songwriter and whimsical/philosophical poet. Ever since hearing the first Soft Machine album in 1968 (while I was in Jr. High School), I’ve been a huge fan. Mr. Wyatt was an important member of Soft Machine for their first four albums and then forced out in 1971, something that he has never completely gotten over. In 1972, he formed Matching Mole which is similar to Soft Machine in French. This song, “O Caroline” is the opening song on side one of the first Matching Mole album. “The Caroline in the title is specifically English artist, journalist and political activist Caroline Coon. She and Robert Wyatt broke up not long before the first Matching Mole album, as the lyrics make clear.” - online quote. Lyrically, this is a sort of love song yet nothing is what it seems to be when you listen closely to the lyrics of any Wyatt song. Thanks to Soft Machine bassist Hugh Hopper (whom I interviewed when he was a member of Isotope), I was able to meet and spend an evening talking at length with Robert Wyatt and Alfreda Benge in December of 1975 (while doing a semester in London). When I asked Mr. Wyatt about the meaning of certain lyrics from his seminal album, ‘Rock Bottom’, he said that the meaning was elusive and changed over time. The meaning is different for anyone who listens and considers what is going on.
Robert Wyatt is still alive but word is he and Ms. Benge both have health issues. Wyatt retired from working on his own music a decade ago, although he occasionally appears on other musician’s records. He was a special guest for Mary Halvorson’s Code Girl album called ‘Artlessly Falling’ from 2020, singing on three songs. I just read a book by Matching Mole bassist Bill MacCormick called ‘Making It Up asI Go Along’, which I found fascinating. Mr. McCormick was a childhood friend of Wyatt’s so the book includes quite a bit on Wyatt, his time in Soft Machine and afterwards. Thanks to my pal Lester for the book. I continue to listen to any and all records that Robert Wyatt appears on. I find new meaning in anything that he’s composed over his long career/journey and I still cry whenever I listen to ‘Rock Bottom’. A great big toast to Mr. Robert Wyatt from his many friends and fans from around the world! - Bruce Lee Gallanter, DMG
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THE DMG 34th ANNIVERSARY IN-STORE CONCERT CELEBRATION CONTINUES with:
Tuesday, April 15th:
6:30: STAN ZENKOV - Clarinets / PATRICK HOLMES - Clarinet / DAVE MILLER - Drums
7:30: TREVOR BAJUS - Guitar-Tapes / NICK GIANNI - Horns-Synth / DMITRY ISHENKO - Bass / MIKE GOLUB - Drums
8:30: NIKITA MANIN - Solo Clarinet
9:30: LISA CAMERON - Drums / ELI WALLACE - Synth / DREW WESELEY - Guitar / NICK NEUBERG - Drums
Tuesday, April 22nd: RELATIVE PITCH RECORDS Featuring:
6:30: A R - Saxes / CHUCK ROTH - Guitar
7:30: A R - Saxes / NAVA DUNKELMAN - Percussion
8:30: A R / CHUCK ROTH / NAVA DUNKELMAN
Saturday, April 26th, The GAUCI-MUSIC SERIES Continues with:
6:30: RAS MOSHE-BURNETT - Tenor Sax - Flute / TOR SNYDER and DAVE ROSS - Guitars
7:30: STEPHEN GAUCI - Tenor Sax - Clarinet / JEONG LIM YANG - Contrabass / KEVIN SHEA - Drums
8:30: SANA NAGANO - Violin / KIRSTIN CAREY - Guitar - Vocal
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NEW THIS WEEK AT DOWNTOWN MUSIC GALLERY:
PAINKILLER with JOHN ZORN / BILL LASWELL / MICK HARRIS - The Great God Plan (Tzadik 9321; USA) The reunion of PainKiller, the world’s most extreme sax-bass-drums trio, was one of the great musical events of 2024. For the third installment of their new trilogy of albums, Zorn, Harris, and Laswell take a more moody direction, creating two long tracks combining heavy metal intensity with ambient textures and a brooding lyricism. Inspired in part by Arthur Machan’s gothic novella The Great God Pan, the music weaves a frightening tapestry of mystery, horror, and the imagination.
CD $16
JOHN ZORN // IKUE MORI - The Bagatelles Vol. 4 - Ikue Mori (Tzadik 5214; USA) From March to May 2015, John Zorn composed 300 new tunes that were eventually collected into a book of music he called The Bagatelles. After five years of performances around the world in venues large and small, the choicest ensembles have gone into the studio and the results are some of the most exciting and varied music Zorn has ever presented. Volume four features the scintillating soundscapes of electronic music wizard Ikue Mori, and she has arranged these pieces with grace, elegance, and a meticulous sense of detail to create one of the most unique and fascinating renditions of Zorn’s Bagatelles. An April, 2025 release.
CD $18
SCOTT FIELDS / ELLIOTT SHARP - réimsí géara (Relative Pitch RPR 1224 ; USA) Featuring Elliott Sharp and Scott Fields on electric guitars. A few weeks ago (3/31/25), we had a great night featuring three very different guitar duos. The first duo featured Elliott Sharp and Scott Fields on electric guitars. This duo has been around for a decade and have four previous releases, each on different labels. American-born guitarist Scott Fields has been living in Cologne, Germany for 30 years and comes to NYC to visit usually once a year and comes to check out gigs in our store and play here on occasion. Both Mr. Fields and Mr. Sharp are elder musicians, composers and bandleaders who draw inspiration from a wealth of genres or styles. Both guitarists composed four pieces each for this disc, which was recorded in August of 2023 in Sharp’s zOaR Studio in the East Village.
Commencing with E#’s “An Delusional Dog”, the guitars sound tentative as if they were sticking their toes in the water to check the temperature before diving in. Both guitar are using subtle reverb as they play circular lines around one another, playing at a moderate tempo in the early part and then speeding up in the mid section. On Fields’ “Self-Important Potatoes’, the guitars playing more angular, somewhat bent lines, the sustain is expanding to good effect. The tempo increases throughout as both guitars get more explosive, building to an intense frenzy. On “Pop Sci”, both guitars add more sustain as the layers of lines become more dense and a bit harrowing and noisy at times. What I find interesting is that both guitars are often played quietly, the composed parts and textures are still twisted out of regular shapes. The last piece, “Squid and Meatballs” is the longest and goes through several sections. Over time I hear a theme or line which is played by one guitar with the other guitar moving around, both coming together in sections. Although it often takes some time to adjust to this music, the closer I listen, the more I hear going on often below the surface of sounds or notes. It does sound like both of these men are seasoned composers as well as players. The cover was done by Elliott’s son Kai and looks as if Scott and Elliott are melting monsters of sorts. A striking look for some subtle yet scary sounds. - Bruce Lee Gallanter, DMG
CD $13
INGRID LAUBROCK with MARIEL ROBERTS / MATT MITCHELL / BEN MONDER / FAY VICTOR / SARA SERPA / THEO BLECKMANN / RACHEL CALLOWAY / ARI STREISFELD - Purposing the Air (Pyroclastic Records 38/39; USA) Featuring Ingrid Laubrock as the composer with performances by four duos - Duo 1: Fay Victor (voice) & Mariel Roberts (cello), Duo 2: Sara Serpa (voice) & Matt Mitchell (piano), Duo 3: Theo Bleckmann (voice) & Ben Monder (guitar) and Duo Cortona: Rachel Calloway (voice & Ari Streisfeld (violin). Aside from the fact that most successful rock & soul bands (for the past half century) feature lead singers, other types of creative musics have often steered away from featuring singers (aside from opera or jazz). Too often I’ve heard the complaint from a large number of DMG customers that once a creative musician that they like adds a singer to their project, the customer thinks twice about checking out that particular project. Since I’ve always dug weird and unique singers, I rarely have that problem. I brought this up since this project by the great saxist and composer, Ingrid Laubrock, features four duets, each with a different singer and a different instrumentalist. Since I have always dug every release that Ms. Laubrock has done, I will give her the benefit of the doubt to come up with something worth listening to seriously.
All of the lyrics here come from “Mood Librarian - A poem in koan”, by a poet named Erica Hunt. Each of the sixty short pieces on this ambitious two CD set contains one or two lines from Ms. Hunt’s poem, thus the pieces are often stark or sparse. Duo 1 features Fay Victor on vocals and Mariel Roberts on cello. I’ve always dug avant/jazz vocalist Fay Victor from the dozen discs she has with varied ensembles. I’ve heard cellist Mariel Roberts in a variety of setting with the Mivos Quartet, Patrick Higgins, Anna Webber & Henry Threadgill. The sound of her cello playing in this duo is most impressive, warm, tender, haunting, hypnotic and it works perfectly with Ms. Victor’s equally stunning voice. This duo is especially well-recorded so that the cello and voice sound similar in sound. The music is often stripped down or skeletal as is the vocals, making each note or sound count. At times Ms. Victor will use her voice like an instrument, not singing words, just effective vocal sounds. Duo 2 features Sara Serpa on voice and Matt Mitchell on piano. I’ve heard Ms. Serpa with Mycale as well as with her own trio (with Ms. Laubrock & Erik Friedlander) and like her voice immensely. Keyboard wiz Matt Mitchell certainly needs no intro since he remains one the best and most in-demand players in this scene. Similar to the first duo, the voice and piano of Duo 2 are superbly matched and blended. It often sounds like each line of poetry here has one or two observations to consider. Hence the words and music are worth savoring on each piece. There are lengthy liner notes included as well as all of the lines of poetry that each vocalist sings. Ms. Laubrock explains that she grew up in a literary household and that poetry and song lyrics have always been important to her. This makes perfect sense since each of these sixty short duos is/are worthy listening to closely and thinking about as we listen. For myself and probably some of you out there, this is a marvelous work on several levels. Bravo to Ingrid Laubrock and each of the four distinguished duos. - Bruce Lee Gallanter, DMG
2 CD Set $17
WE LISTED THE FOLLOWING CD IN DECEMBER OF LAST YEAR BUT NEVER GOT THE CD COPIES!?!?! Was the CD delayed? Why hasn’t our distributor gotten them in stock??? We finally have CD copies coming in the next few days, hooray!
AVA MENDOZA - The Circular Train (Palilalia PAL 087CD; USA) Ava Mendoza has never made an album quite as personal as her second solo full-length, The Circular Train. Through her decades of collaborations with Nels Cline, Carla Bozulich, William Parker, Fred Frith, Matana Roberts, and Mick Barr -- plus years leading her power trio Unnatural Ways and playing in Bill Orcutt's quartet -- the guitarist's name has become synonymous with virtuoso technique, raw passion, and visceral resonance, a player pushing the edges of the guitar's possibilities. Along the way, from 2007 to 2023, Mendoza was writing these slow-burning, incandescent songs. The Circular Train is comprised solely of her single-tracked guitar playing and, on two songs, her corporeal singing. Her first solo LP of original material since relocating from California to New York City a decade ago, much of The Circular Train was honed amid pandemic years that clarified the virtues of slowing down. This expressive avant-rock is a definitive introduction to one of the most uncompromising and inquisitive visions in creative music. Mendoza's thrilling melange of free jazz, blues, noise, classical training, and blazing experimental rock'n'roll all coheres with ecstatic feedback, with picking and solos that crest with shimmer. Sometimes she sounds like a one-woman Sonic Youth with guttural and poised vocals that equally evoke Patti Smith and blues greats like Jessie Mae Hemphill.
CD $15 / LP $28
FRED MOTEN & BRANDON LOPEZ - Revision (Tao Forms 017CD; USA) "The work of Fred Moten and Brandon Lopez, both powerfully creative and exceptionally perceptive individuals, concerns itself with how one might navigate the ascending reign of long-institutionalized madness while simultaneously keeping humanity and sanity intact. With Revision, the synergistic mesh of these two voices in duo is presented on record for the first time, following two acclaimed works on the Reading Group label in trio with Gerald Cleaver. Inimitable poet, cultural theorist, author, 2020 MacArthur Fellow, Fred Moten creates new conceptual spaces that accommodate emergent forms of Black cultural production, aesthetics, and social life. Moten is a professor of performance studies and comparative literature at New York University concerned with social movement, aesthetic experiment, and Black study. He is also a United States Artists Rockefeller Fellow and was elected to the American Academy of Arts and Sciences. Puerto Rican-American bassist Brandon López is the son of a gravedigger who himself put time in doing the same, developing muscles that serve him well in his thorough command of the upright bass. On moving to NYC, López made himself indispensable within numerous realms of creative music. As the Cleveland Review of Books noted, 'This is virtuosity as vocabulary, a total command of texture, subtlety, and a depth that can be reached into.' RIYL: Nathaniel Mackey, Amiri Baraka, Manley Lopez, Irreversible Entanglements, Gil Scott-Heron, Art Ensemble of Chicago."
CD $14 / LP $25
BRANDON LOPEZ / DOYEON KIM - Syzygy - Vol. 1 (577 Records 5944-1; USA) Featuring Brandon Lopez on contrabass and DoYeon Kim on gayageum. Downtown bass great, Brandon Lopez, has come a long way over the past decade-plus, having become one of the busiest and most in-demand bassists from this scene. I’ve heard & seen Brandon play with dozens of musicians (Rob Brown, Whit Dickey, Guillermo Gregorio & Dave Rempis), as well as his own projects and he is consistently inspired. DoYeon Kim plays a Korean instrument known as a gayageum, which is similar to a koto. I’ve only heard Ms. Kim play on a few occasions with Joe Morris, Agusti Fernandez and Nick Dunston. This disc was recorded at Sear Sound studio in NYC in February of 2024. The music hear is close-mic’d and quite intense. On Part “I”, the balance between the gayageum and the contrabass is focused as if we are listening to one spirit/force. The two string players are well-matched, Ms. Kim also appears to be bowing her instrument as well as plucking it with a pick of some sort. When both instruments are bowed, this creates an most intense sound like free spirits being set free with a series of bent drone-like sounds. On the longest piece here, part “IV”, the droning and groaning notes put in in another world where time is stretched out and those ghost spirits are set loose. I had the feeling that I was on a raft balancing on soft waves or currents which were moving around me, I had to trying standing and not fall in. This is some incredible, other-worldly music which doesn;y quite sound like anything else that I’ve encountered before. The effect is most mesmerizing. There is a balancing act going on here so watch out before you fall into the sonic quicksand of the mind. - Bruce Lee Gallanter, DMG
CD $14
KN CURRENT with patrick brennan / COOPER-MOORE / ON KA’A DAVIS / JASON KAO HWANG - KnCurrent (Deep Dish 106; USA) Featuring patrick brennan on alto sax, Cooper-Moore on diddely-bo, On Ka’a Davis on guitar and Jason Kao Hwang on electric violin. Downtown saxist & composer, patrick brennan, has several different bands or projects that he runs and I admire him for his long, ever-evolving music career/journey. I’ve given him a monthly residency at DMG for the past two years and he brings in a different project each time he plays here. Although one of Mr. brennan’s ongoing projects changes personnel with each gig they do, this quartet has been around for a few years and have played here on several occasions. Cooper-Moore used to known for his rambunctious piano playing, he has also created a number of his own handmade instruments, the diddely bo is one of his more popular creations. Guitarist On Ka’a Davis used to travel the spaceways with Sun Ra, he has since released two fine discs as a leader, the second on Tzadik. Strings wizard, Jason Kao Hwang, has been an important part of the Downtown Scene, starting out during the Loft Jazz Scene of the late 1970’s and having worked with Henry Threadgill, William Parker, Anthony Braxton and many more.
This disc begins with what sounds like strange electronic sounds?!?! Is it guitar with effects or electric violin or perhaps the diddely bow?!? It soon sounds like the el. violin and guitar spinning a web of swirling sounds together. Soon they are joined by Mr. brennan’s ornery alto sax. Even though there are no drums here, Cooper-Moore’s bo diddely is often utilized like a rhythm team, playing both the bass and rhythmic parts at the same time. On Ka’a Davis plays what is known as space-rock guitar with some odd effects added. He opens “micro circus”, with what sounds like a mutated clavinet with Cooper-Moore also rubbing the strings of his diddley bo providing some eerie sounds. Mr. brennan is the main soloist here, often stepping out when he can rise above whats going on below. One of the things I like most about this disc is how restrained yet still spaced out, calm at time with unexpected twists and turns. Instead of soloing, each member provides layers of interconnected dialogue while brennan spits out some fractured phrases somewhere between Ornette Coleman and Anthony Braxton. This quartet seems to have created their own language or sound which is most unique. Extraordinary! - Bruce Lee Gallanter, DMG
CD $14
LUKE STEWART with DANIEL CARTER / BRIAN SETTLES / JAMAL MOORE / CHAD TAYLOR / NO LAND / JANICE LOWE - Silt Remembrance Ensemble (Cuneiform ; USA) Featuring Daniel Carter, Brian Settles & Jamal Moore on reeds & brass, Luke Stewart on bass & Chad Taylor on drums plus No Land & Janice Lowe - poetry (1 track each). Bassist Luke Stewart isn’t afraid of blurring boundaries and blending bands, with astonishing results. An essential creative force in the fertile jazz and improvised music scenes of the East Coast and beyond for nearly two decades, he seized a promising moment to combine musicians from two volatile working combos. As the name suggests, his new album credited to Silt Remembrance Ensemble, brings together two players from his Remembrance Quintet (introduced on an eponymous 2023 album)– Jamal Moore on reeds and percussion and veteran master Daniel Carter on alto sax and flute–and Silt Trio, featuring powerhouse tenor saxophonist Brian Settles and drum maestro Chad Taylor.
What had initially been planned as an album release concert for the Remembrance Quintet project Do You Remember? evolved into an entirely new situation. Stewart had an opportunity to perform at Tonal Park Studios in Takoma Park, MD, around the same time that Silt Trio was recording Unknown Rivers, “and I used the opportunity to gather this special mix of those two groups,” he says. The recording isn’t a document of the two-hour-plus concert. Rather, Stewart crafted the album after the fact, distilling and sequencing the music to create its own narrative arc, “editing and arranging the performance so that it would make sense in an album form,” he says.
Stewart resides at the center of a tangled skein of relationships running between the four other players. They’re joined on several short pieces by spoken word artists Janice Lowe and No Land, with verse that ties this music to the Remembrance Quintet album. Themes of ancestral recall, the flow of time and water, and the preciousness of shared moments run through the session, starting with a setting for text by No Lands designed to feature Carter, it’s a trio piece with Stewart that prepares the audience for the “molten experience” to come. Together, these players share a depth of knowledge and spirit of adventure that makes The Order a milestone collaboration that excavates and honors the past while embracing the unknown.
CD $15 [In stock next week]
ELIAS STEMESEDER / CHRISTIAN LILLINGER plus CRAIG TABORN - UMBRA III - Live Settings (Intakt CD 432; Switzerland) Umbra III is the new album by pianist, composer, and electronic musician Elias Stemeseder and drummer, composer, and producer Christian Lillinger with the outstanding pianist Craig Taborn. As a core duo, Stemeseder Lillinger are planning a long-term series of releases, each with guest musicians playing a key role. Umbra is their musical cosmos, which Stemeseder and Lillinger describe as a “modular ensemble structure with guest musicians.” Now, joined by Craig Taborn, the full spectrum of the European and American avant-garde is present as an inter-textual reference point. Umbra III is the musically inspiring result of a live concert at the Saalfelden Jazz Festival. "This music is an invitation to give ourselves up to unknown sounds, which make mind and body move. Something new has been created here, something untamed, a space in which structure and expression pulsate through hitherto unknown channels and new musical forms find their expression", writes Roland Schmenner in the liner notes. An enriching musical expedition.
CD $18
LOREN CONNORS & ALAN LICHT - The Blue Hour (Otoroku 037; UK) Totally beautiful and rare piano performance from Loren Connors, joined on guitar by long-time collaborator Alan Licht. Celebrating thirty years of collaboration, Loren Connors and Alan Licht performed for two nights at OTO on May 5 and 6th, 2023. On the second night, with the stage lit in blue, Connors took up a seat on the piano stool whilst Licht picked up the guitar. What followed was the duo's first ever set with Connors on piano -- one of only a few times Connors has played piano live at all -- here captured and issued as The Blue Hour. Its spacious warmth came as a total surprise live, but makes complete sense for a duo whose dedicated expressionism takes inspiration from a vast spectrum of emotion. Both opening with single notes to start, it doesn't take long before a surface rises and begins to shimmer. A run up the keys, the drop of a feedback layer on a sustained and bent note. The two begin to exchange notes in tandem and brief touches of melody and chord hover. After a while, Connors picks up the guitar, stands it in his lap and sweeps a wash of color across Licht's guitar. Sharp, glassy edges begin to form, open strings and barred frets darkening the space. When his two pedals begin to merge, Licht finds a dramatic organ-like feedback and it's hard not to imagine Rothko's Chapel, its varying shades of blue/black ascending and descending in the room. When Connors goes back to the piano for the second side, the pair quickly lock into a refrain and light pours in. What is always remarkable about Licht is that his enormous frame of reference doesn't seem to weigh him down, and instead here he is able to delicately place fractures of a Jackson C Frank song ("Just Like Anything") amongst the vast sea of Connors' blues. Perhaps it's the pleasure of playing two nights in a row together, or the nature of Connor's piano playing combined with Licht's careful listening, but the improvisation on The Blue Hour feels remarkably calm and unafraid. There's nothing to prove and no agenda except the joy of sounding color together. Released in an edition of 400 LPs and 200 CDs. Artwork by Loren Connors. Recorded live at Cafe OTO on Saturday 6th May 2023 by Billy Steiger Mixed by Oli Barrett. Mastered by Sean McCann.
CD $17 / LP $30
INTERCOMMUNAL FREE DANCE MUSIC ORCHESTRA with BERNARD VITET / JEAN-JACQUES AVENEL / JACQUES THALLOT / SYLVAIN KASSAP / et al - Vol. 4: Jo Maka (Souffle Continu Records FFL 092CD; France) Music-lovers of all lands, rejoice! Here you have the rerelease of the fourth album of the Intercommunal Free Dance Music Orchestra recorded with the Guinean saxophonist Jo Maka. The title says it all: Vol.4: Jo Maka. But before that, a bit of history: The Intercommunal Free Dance Music Orchestra was created in 1971 by an "old hand" of French free jazz, François Tusques. "Free Jazz" was also the name of the recording made by the pianist and other like-minded Frenchmen (Michel Portal, François Jeanneau, Bernard Vitet, Beb Guérinand Charles Saudrais) in 1965. But, six years later Tusques had had his fill of free jazz. So he then founded the Inter Communal, an association a name under which the different communities could become closer and compose, simply. In 1976, on the first album: L'Inter Communal, listeners can already hear Tusques playing without borders in the company of Carlos Andreu, Ramadolf, Michel Marreand, and Jo Maka (as a conclusion to this Vol. 4, listeners can hear them in 1977 at the Moulin de Prades Le Lez). Over the next decade, the, association kept going with concerts at the Dunois theatre, in 1980 and 1981, it welcomed old hands and new recruits (Bernard Vitet, Jean-Jacques Avenel, Jacques Thollot, Sylvain Kassap). If Vol. 4 : Jo Maka is an homage to the Guinean saxophonist, who passed away a few months before the release of this selection of concert recordings, it also displays a proud collective inspiration! One foot in the blues, and ears open to everything else, Tusques begins with a lament that the Company rapidly transforms into a joyful dance ("Vive la Commune"), weaves a full-blown party piece ("Poses ton fardeau et remets la machine en route," "7 rue des prêcheurs," "Mazir") or gets fabulous with Mingus ("Fable Of Faubus"). And there you have it, with so many revolutions François Tusques is almost back to free jazz. So, your turn with the turntable.
CD $16
INTERCOMMUNAL FREE DANCE MUSIC ORCHESTRA - Apres La Maree Noire: Vers Une Musique Bretonne Nouvelle (Souffle Continu FFL 093CD; France) If the jazz of François Tusquesis is "free," his spirit is even more so: having recorded free jazz with other like-minded Frenchmen (Michel Portal, François Jeanneau, Bernard Vitet, Beb Guérinand Charles Saudrais), the pianist had covered a lot of ground, with Barney Wilen (Le Nouveau Jazz) or even solo (Piano Dazibao and Dazibao N°2), so as not to repeat himself. In 1971 he founded the Intercommunal Free Dance Music Orchestra which, as the notes to this album stated, "is an interpretation of a music which synthesizes the different communities living and working in France." In 1976, on the first album (L'InterCommunal) listeners can already hear Tusques playing without borders in the company of Carlos Andreu (vocals), Michel Marre (trumpet and saxophone), Jo Maka (saxophone) and Ramadolf (trombone). It is a meeting between jazz and music from Catalonia, Occitanie and Africa. So far so good, but what about Brittany, that, Tusques knows "by heart?" Having lived for a long time in Nantes, he would expand his "brittanitude" on the canal linking the city to Brest by playing with, for example the Diaouled-Ar-Menez. With these "devils from the mountain" who, under the baton of Yann Goasdoué, worked throughout the 1970s on the renewal of music from Brittany, Tusques met, notably, Tanguy Ledoré and invited him one day, with trois bombards and some bagpipes (Jean-Louis Le Vallegant, Gaby Kerdoncuff and Philippe Lestrat), to join the ranks of the Intercommunal. And so they set of towards a new music from Brittany, as the title states; Vers une Musique bretonne nouvelle! With percussion from Samuel Ateba and Kilikus, the association launches the "bombardier:" the repetitions and dissonance of the different members all serve a common cause however: the dance, which is always the reason for the party. This sets a whole universe spinning, which can bring to mind Chris McGregor's Brotherhood of Breath ("La rencontre") when not taking on board waltz, swing, blues and gavotta or even revealing mysteries like those of Gurdjieff ("Les racines de la montagne" or "Le cheval" sung by Andreu).
CD $16
THE NORTHWOODS IMPROVISERS are a LEGENDARY ASTRAL SPIRIT/FREE/JAZZ ENSEMBLE with 20 Great Discs under their collective belts! There are just ten of these titles still available so we just got in the only ones left, including two newer titles. Their earlier discs are almost sold out so if you want any of these wonderful Spirit Jazz discs, please order them now, before they disappear for good.
Here’s the two new ones:
NORTHWOOD IMPROVISERS with MIKE GILMORE / MIKE JOHNSTON / NICK ASHTON - Kuhtuhlpa (Copy This! CT001; USA) Featuring Mike Gilmore on vibes, marimba & kalimba (thumb piano), Mike Johnston on bass, wood flute & kalimba and Nick Ashton drums & log drums. The Northwoods Improvisers (NWI) hail from rural Michigan and have been around since 1994. They’ve recorded some 20 single discs, half of which are collaborations with Faruq Z. Bey, an older Michigan-based free/jazz legend who passed away in 2-12. The NWI have continued to record since the death of Mr. Bey, often releasing discs on their own Entropy label. I’ve reviewed most of their discs, as well as acquiring each of their 20 discs aside from their two rare singles on the Qbic label. This cassette-only release came out last year (2024) and it is a rare limited edition work.
The NWI are often percussion based so things begin with kalimba and percussion, unfolding most organically. On “Cat & Mouse”, Mr. Gilmore’s vibes are featured and play a charming, laid back solo. Mike Johnston’s throbbing bass is featured at the center of “Talon”, with more lovely vibes, the groove makes me smile, nodding my head up & down. Gilmore pulls off another fine vibes solo here as well. “Primal Waters” has a slow, sensual, sleepy groove which would be perfect for some slow, close dancing. Although that head-nodding groove continues throughout, Mr. Gilmore takes another sprawling, inspired solo here. “Namaka II” was written by the late Faruq Z. Bey, who this group recorded with at length. This piece features a marimba or a balaphon solo, taking us on a journey to an African village where balaphon playing began. Mr. Johnsotn plays some lovely wood flute “Vimbuza”. Although there a number of fine solos here, thjis music is more about that great, often hypnotic (trance music-like) groove which runs through each piece. This is Ancient Spirit Music meant to help us all feel better. - Bruce Lee Gallanter, DMG
LTD Edition cassette only release $12
DONAVON BOXEY and DOMINIC BIERENGA with MIKE JOHNSTON / MIKE GILMORE - As Iron Sharpens Iron (Bobblehead Records; USA) Featuring Donavon Boxey on saxes, flute, clarinet, recorder, kazoo, percussion & whistle, Dominic Bierenga on saxes, flute, percussion & voice, Mike Johnston on contrabass & bells and Mike Gilmore on acoustic guitar. Recorded on two dates in July of 2017. Both Mike’s are members of the Northwoods Improvisers and are on just 3 of the ten pieces here. After more than a decade of working with Detroit legendary reeds player and composer, Faruq Z. Bey (he passed in June of 2012), the Northwoods Improvisers continued to record and play live sporadically. In 2021, the Northwoods Improvisers were joined by two fine reeds players, Donavon Boxey and M Dominic Bierenga, for a disc called ‘Raft’ (2021) and another one called ‘Fanfares’ (2023). I hadn’t heard of either of these musicians before but when I did hear both of these discs, I was pleased that the NWI had finally found some wonderful like-minded Spirit Jazz collaborators. After doing some research, I found out that Mr. Boxey and Mr. Bierenga had their own self-produced CD which was released in 2017 and which included two members of the NWI, Mike Johnston and Mike Gilmore. After we sold out of the last batch of NWI and Faruq Z. Bey CD’s last month, I decided to reorder around ten titles that are still available, especially since the early titles are almost gone. Hence, we just got in a few copies of the Boxy/Beirenga CD, which is a limited edition disc and is also almost gone.
Although there is no drummer involved, there is some hand percussion and bells which are often utilized throughout. Things begin with “Prayer for an Enemy”. This piece begins quietly and soon erupts into some hypnotic, free/spirit jazz which is calm at the center yet frenzied on top. Although the contrabass is often at the center of these pieces, it is the heated interplay between the reeds and acoustic guitar that keeps things engaging. On “Theme for Lacy” (most likely Steve Lacy), there is some thoughtful soprano sax and acoustic guitar interaction. On “Anthropocene”, we hear just the soprano sax which is joined by a clarinet, both playing together closely. For “Dnuos”, there is a tenor and soprano saxes, some flutes all playing together in a righteous, organic way, quietly and occasionally one at a time, using space preciously to make each note count. Although six of the ten pieces were composed by either Boxey or Birenga, you can tell that these two players have been working together for a while since they always sound connected to the same spirit/force flow. Whomever is playing tenor sax on “Indra’s Net II”, has a great, powerful tone which really reaches deep into our hearts and minds. “Improvisations for Quartet” begins with some Ralph Towner-like acoustic guitar, which is soon joined by saxes and bass. Although it is improvised, the sound is focused and spirited. All the music on this disc is well-recorded, warm and enchanting. We only got a few copies and these are limited so don’t snooze… - Bruce Lee Gallanter, DMG
CD $15
BACK IN STOCK and LAST COPIES OF THESE EARLIER TITLES:
FARUQ Z. BEY with ANTHONY HOLLAND / ROBERT ALLISON / GWEN LESTER / JARIBU SHAHID / MARLENE RICE - “Atlan-Tan Suite” (Entropy Stereo 023; USA) Featuring Faruq Z. Bey on tenor & alto saxes & compositions, Anthony Holland on alto & soprano saxes, Robert Allison on vibes, Marlene Rice & Gwen Lester on violins and Jaribu Shahid on bass & cello. Recorded live on March 13th of 1982 at the Detroit Institute of the Arts. Legendary Detroit saxist, composer, bandleader & distinguished poet/author Faruq Z. Bey was one of the under-recognized giants of the Creative Scene in Detroit for three decades (from 1982-2012), starting out as a founding member of Griot Galaxy (3 LP’s) and then collaborating with the Northwoods Improvisers (a dozen discs). Check any of these recordings and you will become a big fan as well. Both Mr. Bey and saxist Anthony Holland were members of Griot Galaxy as was bassist Jaribu Shahid (longtime work with Roscoe Mitchell). This session was completely different from anything that Bey had done previously or afterwords, using three strings and vibes instead of a regular rhythm team. I had not heard of vibeman Robert Allison before this disc arrived but I Know that violinist Marlene Rice worked with Rob Reddy and that Gwen Lester has worked with Anthony Braxton, the (current) Sun Ra Arkestra and WeFreeStrings. This disc begins with the “Atlan-Tan Suite (Marava Mode)”, a nearly 14 minute work. What we hear is sparse vibes, percussion and plucked strings with both saxes playing their lines in unison. This music has a spiritual, chamber-like vibe/sound. The sextet soon break into a ritualistic repeating phrase and then submerge into a more modern chamber-like poise. The blend of Mr. Holland’s soprano sax with the three strings is most impressive, especially when the vibes enter and add sly punctuation. This is modern chamber music at its best, thoughtful, well-composed and arranged with care. As this piece unfolds, music becomes more complex and the two saxes intersperse fragmented solo bits. Although the music sounds well-connected, there are several overlapping lines which are well interwoven. Since there is no drummer here, bassist/cellist Jaribu Shahid often holds down the bottom end with a pumping pulse in which the vibes add rhythmic or ornamental accompaniment. Mr. Shahid takes a strong bass solo on “Liberty City Rundown”, one of this session's highlights. The final piece, “Kins”, was also the title of a Griot Galaxy album and it is another long, extraordinary suite-like work. While the altoplayer takes a long solo, he is supported by the bass & vibes, the two strings & other sax adding sly harmonies. Vibist Robert Allison also takes a fine solo here. From the mid-fifties through the seventies, there were a handful of musicians/composers which created their own third stream or chamber jazz (Jimmy Giuffre, George Russell, certain AACMers). This music is a fine example of this music as it is in-between established categories and singular in its overall sound. It is indeed a great thing to hear this work finally be available after more than 40 years. Faruq Z. Bey passed away in 2012 but his recorded legacy remains with us thanks to the fine folks at Entropy Stereo. - Bruce Lee Gallanter, DMG
CD $15
NORTHWOOD IMPROVISERS with DOMINIC BIERENGO / DONAVON BOXEY / JACK O’BRIEN / MIKE JOHNSTON / NICK ASHTON - Fanfares (Entropy Stereo 022; USA) Featuring Dominic Bierenga on tenor, alto & soprano saxes, Donavon Boxey on alto & soprano saxes & melodica, Jack O’Brian on cello & bass, Mike Johnston on bass & wood flutes, Nick Ashton on drums & percussion and Mike Khoury on violin & viola (on 2 tracks). The Northwood Improvisers (NWI) were originally an acoustic/ethnic/multi-instrumental trio from Michigan who formed around 1976 with two members, Mike Johnston and Nick Ashton, who have been with them since the beginning. The NWI have released around two dozen recordings, nine with legendary Detroit saxist Faruq Z. Bey (who passed in 2012) and the rest with occasional guests like Mike Khoury, Dennis Gonzalez, Mike Carey and Skeeter Shelton. Starting with their previous release ‘Raft’ from 2021, the NWI have added to fine saxists to their frontline: Dominic Bierenga and Donovan Boxey, who also have an obscure duo recording from 2017, which I have never seen or heard of until now. This disc was released in 2023 and the Northwood Improvisers released just one more offering, ‘Kuthuhlpa’ from last year (2024). This disc begins with a Don Cherry song called “Luna Turca”, which can be found on a rare Cherry album called ‘Om Shanti Om’. This intro goes straight into “Ground Swell”, another of those infectious groove tunes that the Northwood Improvisers specialize in creating. This song was written by saxist Donovan Bierenga and what makes this group sound so great is the way both saxists play together, a joyous vibe rings throughout. “Anointed: from David to Christ” features some superb flute and soprano sax playing above a churning, modal, hypnotic bass line. Although it is the great groove which makes this so alluring, there are some simmering strings (cello & violin) which add even more sly magic to the piece. “Swamp Birds” features more sublime wooden flute and lush tenor sax, the vibe is most haunting. Faruq Z. Bey’s “Fanfare of A.J.”, has both saxes playing its difficult theme tightly together before each sax plays their inspired solos. My favorite piece here is called, “Hymn for Dennis Gonzalez”, Mr. Gonzalez was an amazing Texas-based trumpeter who recorded with the Northwood Improvisers in 2009 and sadly passed in March of 2022. This piece was co-written by Mr. Gonzalez and NWI’s Mike Johnston. Mr. Johnston’s deep bass playing is at the center of this hymn-like work. The solemn vibe simmers through this long work reminding me of the sadness I felt when I heard of Dennis Gonzalez’s passing. We were old friends and he was one of nicest, warmest folks I’ve met plus he was a wonderful musician whose two sons, Stefan and Aaron still play great music in his honor today. The last piece, “In Fields”, features more great sax work from both reeds players. Although it starts off quietly, it soon leaps into a freer section with burning saxes riding on top. This powerful conclusion sounds just right for this special Spirit Jazz treasure. - Bruce Lee Gallanter, DMG
CD $15
NORTHWOODS IMPROVISERS QUARTET/QUINTET with DOMINIC BIERENGO / DONAVON BOXEY / MIKE JOHNSTON / NICK ASHTON / JORDAN PRIES - Raft (Entropy Stereo ESR 021 ,USA) Featuring Dominic Bierengo on alto, tenor & soprano saxes & flute, Donavon Boxey on alto & soprano saxes, clarinet, melodica & wood flute, Mike Johnston on bass, bass recorder & wood flutes, Nick Ashton on drums and Jorden Pries on percussion (on two tracks). The Northwoods Improvisers were initially a trio with Mike Gilmore, Mike Johnston and Nick Ashton, starting around the early 1990’s. After five of their own records, mostly for the Entropy Stereo label, they hooked up with legendary Detroit reeds wizard, Faruq Z. Bey and they made another ten recordings. With the passing of Mr. Bey in 2012, the Northwood Improvisers continued, releasing four more records with the personnel differing slightly on each one. This is the second of the four newer ones and it was released in 2021. This new disc features two saxists from central Michigan, both of whom I hadn’t heard of before now, although they seemed to have an obscure duo record out from 2017 which includes 2 members of the Northwood Improvisers. Mike Johnston wrote five of the nine pieces here with a few by each saxist and one cover by the late Faruq Z. Bey. “Ethiopia” begins with bowed bass, eerie percussion and melodica. Soon a spiritual jazz, ritualistic bassline emerges. Both saxists come in together to play the main theme, the melody of which seems both ancient, contemporary and futuristic. That throbbing central bassline is the cosmic heartbeat, which reaches back in time to the Spirit Jazz of the mid-1960’s. Saxist Dominic Bierenga’s ‘Raft’ (the title piece) is next and it has a lovely, laid back yet quietly cosmic vibe with some sublime & soulful tenor sax. “Burgundy and Green” starts with an impressive drums solo before it breaks into another swirling spirit jazz soaring, burning fest with inspired solos by both saxists. Yeah man! Donavon Boxey’s “Breath” begins with just the reeds (sax & flute) swirling up front before the rhythm team enters. I dig the way the two reeds play together, creating their own connected web. “Woodfire for John Lindberg” starts with just flutes and soft, cracking percussion, bowed bass and skeletal drums. The two reeds again create a magical, free floating cloud with sublime plucked contrabass holding down the center. The music is free yet focused, unfolding organically. “19 Moons” was composed by Faruq Z. Bey, who collaborated with the Northwood Improvisers for several, before he passed away in 2012. This piece swings freely and soars on high with both saxes reaching for the skies together. “Tasbih” is dedicated to Faruq Z Bey and it has an incredibly haunting melodica solo which is backed by just contrabass. Bassist Mike Johnston, who wrote most of the songs here, is a marvelous contrabassist and is often the secret ingredient here, his bass glowing, popping, flowing, drifting and holding things together. If you love the Spirit Jazz Thing, then you will love the Northwood Improvisers. This disc really moved me and helped me get through my difficult day in which the Bad Fake News is a constant reminder of the dark spirits of mankind yet this music is a healing force, the light at the end of the tunnel. - Bruce Lee Gallanter, DMG
CD $15
NORTHWOODS IMPROVISERS with MIKE GILMORE / MIKE KHOURY / KIRK LUCAS / MIKE JOHNSTON / MIKE LIST - Inscribe (Entropy Stereo 020; USA) Featuring Mike Gilmore on acoustic guitars & zheng, Mike Khoury on violin, Kirk Lucas on acoustic guitars, cello, bowed banjo & percussion, Mike Johnston on contrabass and Mike List on tabla, frame drums & percussion. The Northwood Improvisers formed in rural Michigan in 1976, playing electro-acoustic and then all acoustic improv, recording some 20 discs since they began. From 2001 until 2012, they worked with legendary Detroit saxist Faruq Z. Bey. They started to release their own albums about since the death of Faruq Z. Bey in 2012. Four have been released since then and this is the first time we’ve gotten them in since. This is a great thing since every disc that I’ve heard from them was/is great, spirited and inventive. Mr. Golmore and Mr. John are both founding members of the band. This disc was recorded live in the studio at three sessions between 2012 and 2015. All but three pieces were written by separate band members with two groups improvs and a cover song by Charlie Haden. Mike Gilmore’s “Bamboo” starts with an infectious tabla groove and is soon joined by acoustic guitar, zheng (Indian (violin-like instrument) and contrabass. This reminds me of Oregon, one the all-acoustic, organic, cross-cultural, quartets that began in the mid-seventies. That tabla groove is the center here, with a lovely, haunting melody played by the zheng and acoustic guitar. Mike Koury’s “Al-Quds” features violin and acoustic guitar also playing this sensual, Indian-like melody/sound, in a slow and mystical Middle-Eastern groove/vibe. The bowed banjo creates a drone which floats in and out throughout this piece. “Tinariwen” has one of those slow bluesy groove that is/was the sound of the Saharan tribal music bands of which the band called Tinariwen are one of the prime examples of this music. The groove here is most hypnotic and I wished that it had gone on much longer. Charlie Haden’s “Chairman Mao” (which was once covered by Robert Wyatt) seems like a good choice since it has that wonderful, repeating groove and a fine violin solo. “Nuance” is an aptly titled improv, sparse, eerie and suspense-filled. Mr. Gilmore plays nylon string guitar here and plays some inspired interplay with Mr. Koury’s violin, backed by a tabla pulse. “Trouble in the West” which is an improv piece, starts with the cosmic, repeating groove and soon becomes an ethereal, done-like work with the playing in raga-like way. “Water” has one of those most hypnotic repeating grooves with enticing guitar and violin interplay over another bowed violin drone. Violinist Mike Khoury takes a great, blues solo here, which is another of this disc’s highlights. The last piece, “Tasbin’”, has a lush, laid back, bluesy groove and another haunting solo from Khoury’s violin. This entire disc has a magical, middle-eastern sound which is helpful to take us away on a journey. - Bruce Lee Gallanter, DMG
CD $15
FARUQ Z BEY & NORTHWOODS IMPROVISERS With MIKE CAREY / SKEETER SHELTON / et al - Emerging Field (Entropy 019; USA) Emerging Field marks the sixth release of Faruq Z. Bey with the Northwoods Improvisers on the Entropy Stereo label. This release finds the group exploring rhythm and space in a broader sense than previous offerings. Faruq Z. Bey, Mike Carey, and Skeeter Shelton create thoughtful space and intricate conversations in their horn lines evoking a relaxed and passionate response with a solid blues focus. Mike Johnston and Nick Ashton root the group with their sound rhythmic foundation. The track "Mokondi" brings out the strength of this rhythm section. Mike Gilmore floats in and out of the music with vibes and marimba reminding one of some of the fantastic work of the late Walt Dickerson. Among the highlights are Carey's arrangement of Ornette Coleman's "Beauty is a Rare Thing," and Mike Johnston's "Tenere".
CD $15
FARUQ Z BEY & NORTHWOODS IMPROVISERS With MIKE CAREY et al - Ashirai Pattern (Entropy 013; USA) A diverse follow up to their 19 Moons release of 2002. The groups has added longtime Bey collaborator Mike Carey (flute/tenor saxophone) to the ensemble. Ashirai Pattern embodies a higher spiritual plane and elements of mysticism in an aural feast. Instrumentation includes vibes, marimba, voice, bass, drums, tenor saxophone, flute, bass clarinet, violin, and percussion.
CD $15
NORTHWOODS IMPROVISERS - Branches (Entropy 010; USA) Branches represents a slightly different approach for the group. While the Northwoods have collectively used a wide variety of instruments on previous recordings, here they choose to explore the possibilities with the marimba, bass, and drum combination. The album opens with the original composition "Kuntu" which launches into a high energy 7/8 African groove. In fact, rhythms are the key to Branches. Throughout this rich music we hear a generous amount of rhythmic variation, odd time signatures, and polyrhythmic overlays. Another highlight is "Escarpment" an extended piece that draws on the group's free roots and recalls the Art Ensembles' use of sound, space and rhythm. The Northwoods offer a nod to South African pianist and composer Abdullah Ibrahim (Dollar Brand) with their recording of "Ishmael" The Northwoods' treatment of "Ishmael" is as subtle and reverent as their treatment of Sun Ra's God is more than Love could ever be.
CD $15
REMOTE VIEWING ENSEMBLE a/k/a THE NORTHWOODS IMPROVISERS - Remote Viewing Ensemble (Entropy 003; USA) The Remote Viewing Ensemble are a Michigan based experimental or avant-garde group and feature such instrumentation as: Prepared Guitar, Tapes, Cheng, Bone Guitar and Wood Flutes to cite but a few. This band also takes on another identity, which is The Northwoods Improvisors (see AAJ May 99 review). This collective of experimentalist?s dabble in many different genres, some of which may be considered "World" or cross-cultural music yet the gist or perhaps motivational forces gravitates towards free-thinking communal activity. Within these 6 pieces, RVE take the listener on a musical journey, which touches many areas, mainly through percussion and/or subliminal suggestion. The music is at times peaceful, thought provoking, somber and moving but not always in a direct or obvious way. RVE summon the mind?s eye as we may exercise our imaginations and come to our own personal conclusions. Glimpses of rain forests or a hilltop in India came to mind at various times throughout this recording; although, this writer has been to neither. That?s the beauty of it...! Bare in mind, this is not Adult Contemporary Instrumental music. RVE offer subtle complexities, clever implementation of foreign sounding instruments while intelligently utilizing electronics and tape loops for nuance and color. At times these compositions demand the listener?s attention and in many instances the music seems spiritual or ethereal. The Remote Viewing Ensemble are an exciting bunch and befitting of their name approach composition from the outside looking in- and triumphantly succeed in conveying their collective visions. Highly Recommended. **** Glenn Astarita
CD $15
GRIOT GALAXY with FARUQ Z BEY / TONY HOLLAND / DAVID McMURRAY / JARIBU SHAHID / TANI TABBAL - Live at the D.I.A. (Entropy 001; USA) For nearly two decades Griot Galaxy was at the vanguard of the Detroit Music scene. Members of the band performed and recorded with Roscoe Mitchell, Sun Ra, Abdullah Ibrahim and Phil Cohran. The fact that there were only two releases of the band under their own name during this period seems criminal. Entropy Stereo is pleased to present this complete concert performance at the Detroit Institute of Arts from 1983. Beautifully recorded, this is Griot Galaxy at their peak. Griot Galaxy was Faruq Z. Bey, Tani Tabbal, Jaribu Shahid, Tony Holland and David McMurray.
2 CD Set $22
RAVEN CHACON - Voiceless Mass (New World Records 80848-2; USA) Listening is the foundation of Raven Chacon’s (b. 1977) wide-ranging artistic practice. “I am a listener,” he simply declares, but the attention he gives to sound is complex and vast, encompassing far more than what is immediately audible. From his earliest works, Chacon has been dedicated to amplifying the unheard, calling attention to what is absent or unknown. Although Chacon classifies the compositions on this recording as chamber music, all three of these works “zigzag” through his noise studies and sound installations by integrating electronic sounds, extended instrumental techniques, evocations of sociopolitical themes, and, in the case of Voiceless Mass, the condition of site-specificity.
Derived from the Navajo word for “song,” Biyán (2011) [flute, clarinet, violin, cello, and percussion] denotes Chacon’s reflection on the function of singing in Navajo ceremonies, where repetition can continue throughout the night. The work’s three movements, played without pause, are organized in a block structure of repeating patterns, allowing listeners time to dwell in the mesmerizing soundscape and focus on the constantly changing micro-acoustic details.
“Owl Song” (2021), for sinfonietta and voice, “is an acknowledgment of the nocturnal hunting bird, considered by some to have the ability of shapeshifting,” Chacon writes. “Owl Song asks its instrumentalists to cycle through a variety of timbres on their instruments, often with individual speeds to traverse the composition. They are sometimes guided by a voice, her distance unmeasurable from themselves, and must call out not to locate her position, but to see if she is still with them.”
“Voiceless Mass” (2021), for pipe organ and large ensemble, was commissioned by WI Conference of the United Church of Christ, Plymouth Church UCC, and Present Music, and composed specifically for the Nichols & Simpson organ at The Cathedral of St. John the Evangelist in Milwaukee, Wisconsin. The commission offered Chacon a valuable opportunity to address critical issues concerning the legacy of the Catholic Church and the atrocities committed against Indigenous peoples—particularly the residential schools, forced assimilation, and abuse of Indigenous youth—and Chacon was eager to evoke this history directly within the walls of the sanctified institution. “This work,” he writes, “considers the spaces in which we gather, the history of access of these spaces, and the land upon which these buildings sit.” Though the title refers to a “Mass,” the liturgical rite and choral genre common to many Christian denominations, there are no vocal parts and no audible singing. “In exploiting the architecture of the cathedral,” Chacon explains, “Voiceless Mass considers the futility of giving voice to the voiceless, when ceding space is never an option for those in power.”
CD $15
HAMPTON HAWES with HAROLD LAND / SAHIB SHIHAB / CURTIS FULLER / BARNEY KESSEL / TEDDY CHARLES / RED MITCHELL / SCOTT LAFARO / MONK MONTGOMERY / FRANK BUTLER / SHELLY MANNE / STEVE ELLINGTON / CHUCK THOMPSON- The Classic Albums (Enlightenment 9242; EEC) Among the finest and most influential bebop and hard-bop pianists of the 1950s, Hampton Hawes' impeccable sense of timing, swing and expression left a permanent mark on the entire jazz genre. With a sound that drew heavily on that of Earl Hines and other leading players from an earlier time, Hawes also blended elements of blues and gospel into his style while employing the technique of using his right hand to emulate horn lines. This unorthodox approach was later popular with a number of esteemed pianists who followed Hawes, including Horace Silver, Oscar Peterson and André Previn. This collection contains eight of the very finest original albums by Hampton Hawes, consisting of more than five hours of music which celebrates the distinguished career of this magnificent composer and musician. Collating Hampton Hawes' best records as leader, this four-disc set provides the ultimate introduction to this inspirational performer who, despite his premature passing, left an undeniable and lasting impression on the field of jazz piano. Albums includes are: ‘This is Hampton Hawes’, ‘Everybody Likes Hampton Hawes’, ‘With Barney Kessel, Shelly Manne & Red Mitchell – Four!’, ‘For Real!’, ‘The Green Leaves of Summer’, ‘Curtis Fuller And Hampton Hawes With French Horn” and more.
4 CD Set $18
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ROBERT WYATT - Radio Experiment Rome, February 1981 (Rai Trade RTD 014LP; Italy) An unusual detour in the Robert Wyatt catalogue, Radio Experiment Rome was recorded in February 1981, when the ex-Soft Machine drummer had been invited to record some material in-progress for a radio broadcast. The tone of these sessions is characterized by a free-roaming experimentation, laying down eight-track recordings of vocals, piano, hi-hat, jaw harp and a variety of analogue tape effects. This is Wyatt unhinged and completely let loose from the agenda of proper album recording: there's no eye on a finished, commercially viable product here, and the scope of the project takes in jazzy soundscapes like "Heathens Have No Souls," exquisitely melodic piano pieces like "L'Albero Degli Zoccoli," vaudevillian vocal tuning experiment "Billie's Bounce" and the politicized rant-poem "Born Again Cretin," about the imprisonment of Nelson Mandela. "I was invited to go for a week just to record the actual process of my working. Of things like that which I've seen, for example on painters, with the honorable exception of Picasso who worked on a piece of glass, people tend to cheat a bit and do an actual finished performance in front of the cameras. But I thought 'If they really want to see how I work before I know what I'm doing, then that's what they're going to get and if during that week something comes out of it, then it will do, but if it doesn't then that will be more honest.' I deliberately went in there and improvised what I was doing as well as how I did it. The point wasn't to have a finished result that could be listened to, the point was to see a process. It's only in retrospect that I can see that bits of some of them have some kind of coherence." Robert Wyatt recorded for Un Certo Discorso, a Rai Radiotre programme by Pasquale Santoli with Francesca Albini, Teresa De Santis, and Sabina Sacchi Rome, sala M, Centro di Produzione Radio Roma, February 16-20, 1981.
LP $25
THE BILL DIXON ORCHESTRA With BYARD LANCASTER / ROBIN KENYATTA / JIMMY CHEATHAM / JIMMY GARRISON /et al - Intents And Purposes (Parole 105LP; Italy) Featuring composer/conductor Bill Dixon on trumpet & flugelhorn, with Jimmy Cheatham on bass trombone, Robin Kenyatta & Byard Lancaster on alto saxes, George Marge on English horn & flute, Catherine Norris on cello, Jimmy Garrison & Reggie Workman on basses, Robert Frank Pozar & Marc Levin on drums & percussion. Considering that this masterwork was originally released briefly in 1967 on RCA and that Mr. Dixon and his supporters have been trying to get it reissued ever since, it is sad yet telling that it has finally been brought back now, a year after Mr. Dixon's passing. This is a legendary album that many have been hearing about for so many years, yet so few have actually heard. I just got an import copy on vinyl last year after searching for it for more than twenty years. It was well worth the wait. The music was created for choreographer Judith Dunn and the ten-piece line-up is certainly an unusual one. How often does one see an ensemble that includes musicians from such diverse backgrounds as Jimmy Cheatham (for Duke Ellington), Byard Lancaster (Sunny Murray) and two different Coltrane bassists: Garrison & Workman. The music itself is orchestral, most startling and unlike anything else from the same period of time (1967), except for perhaps both Cecil Taylor albums on Blue Note (one of which included Dixon). For "Metamorphosis 1962-1966", Mr. Dixon's distinctive trumpet soars above layers of orchestral waves below. One of the alto saxists (Kenyatta) also gets a chance to stretch out on this long piece, spinning intensely with a riveting cry in his tone while the both bassists and percussionists unleash freer torrents underneath. Dixon creates rich harmonies for the horns and stings while he solos furiously on top. "Nightfall Pieces I & II" feature some immensely eerie flugelhorn and flute floating adrift together. "Voices" is for a smaller group with just cello, bass, drums, bass clarinet and Dixon on trumpet & flugel. Although occasionally stark, this piece is also filled with various dark currents moving around one another powerfully. Even at some 32 minutes in length, this music is consistently fascinating and takes time to full absorb. - Bruce Lee Gallanter, Downtown Music Gallery
LP $26
EVAN PARKER / DEREK BAILEY / HAN BENNINK - The Topography of the Lungs (Otoroku ROKURE 001LP; UK) Restocked! OTOROKU caps off the 2014 celebrations of saxophonist Evan Parker's 70th birthday with a vinyl reissue of The Topography of the Lungs, by Parker, guitarist Derek Bailey, and percussionist Han Bennink -- Parker's first recording as a leader. Originally released in 1970, this was the first LP issued by Incus, the label that Parker founded with Bailey and drummer Tony Oxley. This reissue has been produced from an original vinyl pressing from Parker's archives, carefully transcribed and restored by Andreas (Lupo) Lubich at Calyx Mastering, Berlin.
LP $30
BLUE NOTES with CHRIS McGREGOR / DUDU PUKWANA / JOHNNY DYANI / LOUIS MOHOLO - Blue Notes For Mongezi (Otoroku Rokure 005LP; UK)Restocked! OTOROKU present the first vinyl reissue of Blue Notes for Mongezi, one of the most passionate celebrations of a life in music ever laid to tape. Recorded in late 1975 by Blue Notes, then reduced to a quartet -- Dudu Pukwana on alto sax, whistle, percussion, and vocals, Johnny Dyani on bass, bells, and vocals, Louis Moholo-Moholo on drums, percussion, and vocals, and Chris McGregor on piano and percussion -- and issued the following year by Ogun, the album is a kairos; the first commercial release by one of free jazz's seminal ensembles, captured them 13 years after their founding -- at the height of their powers -- delivering an explosive dirge dedicated to Mongezi Feza, their former bandmate and friend. Blue Notes were founded in Cape Town in 1962 and stand among the most important ensembles in the history of jazz. Artistically brilliant and groundbreaking, they were also the first widely visible multiracial band in South Africa. As a mixed-race band under South African apartheid; this group of friends and like-minded artists -- Chris McGregor, Mongezi Feza, Dudu Pukwana, Nikele Moyake, Johnny Dyani, and Louis Moholo-Moholo -- existed within a context that viewed their mere existence as a dangerous and subversive act. In 1964, as the pressure mounted, they joined an exodus of musicians leaving for Europe, eventually settling in London during the following year. Not long after arriving, and facing continued economic peril, the group buckled. Johnny Dyani left to join Don Cherry's band. Moholo-Moholo and Dyani followed suit and joined Steve Lacy on tour, and the remaining members morphed into a number of ensembles that eventually grew to become Chris McGregor's Brotherhood Of Breath. In late 1975, Mongezi Feza suddenly passed away at the age of thirty from pneumonia. Nine days later, on the December 23rd, following the memorial service to their friend, Pukwana, Dyani, McGregor, and Moholo-Moholo gathered in a rehearsal room in London and set out to play. The resulting double-LP coalesced into four long-form movements that occupy a side each, collectively unleashing an onslaught of free jazz fire, fluidly covering a remarkable range of moods and tactical approaches across its length. A frenzied funeral dirge, a cry, and catharsis, the record rises and falls between playful and joyous movements of deconstructed song, rhythmic and vocal tribalism, and churning, instrumental free expression. A decidedly African vision of free jazz, coalescing as a collective expression of celebration and loss on a cold London day. Transferred from the original masters and featuring an exact reproduction of the original artwork. Remastered by Giuseppe Ilelasi.
2 LP Set $38
LOUIS MOHOLO OCTET with EVAN PARKER / NICK EVANS / RADU MALFATTI / KEITH TIPPETT / HARRY MILLER / JOHNNY DYANI - Spirits Rejoice! (Otoroku Rokure 004LP; UK) Restocked!Otoroku present the first vinyl reissue of Louis Moholo Octet's Spirits Rejoice!, originally released in 1978 on Ogun Recordings. One of the most legendary free jazz records ever produced, Spirits Rejoice! is a high achievement in the movement of the era as it soars beyond oppression with a raucous and spiritually uplifting surge of movement and melody. Featuring Harry Miller, Johnny Dyani, Keith Tippett, Evan Parker, Nick Evans, Radu Malfatti, and Kenny Wheeler, this is former Blue Note artist Louis Moholo's first album under his own name and is a classic example of the cross-pollination between South African and British players. Mongezi Feza's 'You Ain't Gonna Know Me 'Cos You Think You Know Me" alone is enough to make your life a better place. Made with permission and in association with Ogun Recordings. Features an exact reproduction of the original artwork and liner notes, along with new liner notes from Matthew Wright. Remastered by Giuseppe IIelasi. High gloss sleeve.
From Matthew Wright's new liner notes: "The South African melodies, now so familiar, were wholeheartedly taken on board by the individual musicians, their unity of purpose mirroring the belief in the strength of the collective. Stunning solos, often close to the edge, feature throughout -- Evan Parker and Keith Tippett on 'Shine Wherever You Are'; the contrasting trombone styles of Nick Evans and Radu Malfatti on 'You Ain't Gonna Know Me...'; the octet sounding like a full big band; and behind them, the relentlessly rhythmic urgency of the piano, bass and drums. Add to this Kenny Wheeler's moving and all-encompassing trumpet on the elegiac 'Amaxesha Osizi' and the joyous flamboyancy of 'Wedding Hymn' with Parker's relatively straight-ahead tenor and Tippett's dextrous piano solo over a bed of riffing horns, (fast) walking bass lines and a supreme sense of swing. Louis' early hero, Big Sid Catlett, would have loved it!"
LP $25
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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 Concert Series:
THE STONE STUDENT CONCERTS
TUESDAY APRIL 8 AT 8:30 - Admission is FREE
The fifth 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.
8:30 pm
Wolf Robert Stratmann: Project Natural Sound - Wolf Robert Stratmann (double bass, compositions) Freja Høj (voice) Sujae Jung (piano, synth) Paul Sakai (drums, percussion)
THE STONE RESIDENCIES / ANNIE GOSFIELD / APR 9-12
4/11 Friday
830 pm - String Noise plays Gosfield: Pauline Kim Harris (violin) Conrad Harris (violin)
Acoustic and electronic pieces for violin that feature jammed radio signals, drifting satellites, and transformed string noise.
4/12 Saturday
8:30 pm - Dither plays Gosfield: Taylor Levine (guitar) Joshua Lopes (guitar) James Moore (guitar) Brendon Randall-Myers (guitar)
THE STONE RESIDENCIES / WILLIAM PARKER / APR 16-19
4/16 Wednesday
8:30 pm -“ Dedication To Tab Smith " - William Parker (bass) Bruce Barth (piano) Darryl Foster (tenor sax) Dave Sewelson (baritone, alto sax) Bernice Brooks (drums)
4/17 Thursday
8:30 pm - TRIO EXPLORATIONS - William Parker (bass) Matthew Shipp (piano) Rob Brown (alto sax)
4/18 Friday
8:30 pm - “Ion" - William Hooker (drums) William Parker (bass) Amirtha Kidambi (voice)
4/19 Saturday
8:30 pm - “How many Toasters can you buy” and “Music for Aquasonic Orchestra”
featuring various musicians - World Premiere!
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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Zürcher Gallery Presents:
Mini Piano Festival
Thursday, April 24th at 8:00 pm: Uri Caine
Friday, April 25th at 8:00 pm: Han Chen
Saturday, April 26th at 8:00 pm: Marilyn Nonken
Tickets can be purchased at the door.
$25 General Admission. $20 Students. (CASH ONLY).
All proceeds go to the artists.
The Zürcher Gallery is located at
33 Bleecker Street, New York, NY 10012
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ALICE TULLY HALL at Lincoln Center
Friday, April 11th at 7:30:
THE MANNES ORCHESTRA Performs Mavericks:
JOHN ZORN - Contes de Fées with STEFAN JACKIW, Violin
VIET CUONG - Re(New)al with SANDBOX PERCUSSION
LUCIANO BERIO - Sinfonia with eight amplified singers
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Sunday, April 13, 2025, 4:40pm
Briggan Krauss - alto saxophone
Sun, May 18 - Me, Myself and Eye
Noa Fort
The 440 Gallery is located at
440 6th Ave., Brooklyn, NY, 11215
www.440gallery.com
$15 suggested donation
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I-BEAM in Brooklyn
Saturday, April 12, 2025 - 6:00 PM 9:00 PM
6pm: Instrumental Underground
Tamara Yadao and Max Kutner
Tamara Yadao - electronics
Max Kutner - bass, guitar
7pm: New Sextet
Ras Moshe Burnett - tenor saxophone
Jeff Pearring - alto saxophone
Colin Babcock - trombone
Matthew Putman - piano
Trevor Bajus - dubbelizer
Reggie Sylvester - drums
8pm: Stephen Gauci Quartet
Stephen Gauci - tenor saxophone, flute, clarinet
Shinya Lin - piano
Shogo Yamagishi - bass
Kevin Shea - drums
Thursday, April 17, 2025
Eleven O’Five Quintet Dimensionality Quartet
8pm: Eleven O’Five
Claire de Brunner - bassoon
Melanie Dyer - viola
Virg Dzurinko - piano
9pm: Quintet
Carol Liebowitz - piano
Nick Lyons - alto saxophone
Stephanie Griffin - viola
Ken Filiano - bass
Billy Mintz - drums
10pm: Dimensionality Quartet
Ursel Schlicht - piano
Andrea Wolper - vocals
Ken Filiano - bass
Lou Grassi - drums, percussion
Friday, April 18, 2025
8 - 11pm: David Haney, Daniel Carter, Adam Lane, Jimmy Bennington
David Haney, piano
Daniel Carter, reeds
Adam Lane, bass
Jimmy Bennington, drums
I-Beam is located at
168 7th Street
Brooklyn, NY, 11215
Take the F, R or G train to 9th St & 4th Ave
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THE SHAKUHACHI 5
Featuring:
Akihisa Kominato, Akihito Obama, Ken-Ichi Tajima,
Kizan Kawamura, and Reison Kuroda
Shakuhachi Vogue – A Visual Concert
Friday, May 16 at 7:30PM
Followed by a Private Gathering for Artists and Members
A Leading Japanese Instrumental Quintet's North American Debut Concert
At The Japan Society
Located at 333 East 47 Street, between First and Second Avenue, accessible via the 4/5/6 train at Grand Central Station or the E train at Lexington and 53 Street. our box office at 212-715-1258. The box office is open Monday through Friday, 11:00am to 6:00pm
Visit japansociety.org/performing-arts for more information
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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 below 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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From 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