Another Day, Cool and Gray
Where is the Sunshine When We Need it?
Savoring the Sounds is What We Want
So Let’s Take the Time to Listen More Closely
The Bagatelles Marathon was a Blast, Almost too Much for Some!
The October Revolution in Philly was also Amazing
According to My Many Friends who Attended
This Weeks Worthy Sounds are Coming from
Ben Goldberg, Steve Bernstein and George Lewis…
For those of you who don’t live nearby, check out the demanding sounds from:
Fred Frith / Lotte Anker / Samuel Duhsler! Borderlands Trio: Kris Davis / Stephan Crump / Eric McPherson! Scott DuBois QT: Gebhard Ullmann / Thomas Morgan / Kresten Osgood String & Woodwind Quartets! Scott Robinson/Sun Ra Tribute: Marshall Allen / Frank Lacy/ JD Parran!
Gunter Hampel Quartett! Heath Watts & Blue Armstrong! Plus Archival Discs from: John Surman Rainbow! Lindsay Cooper! Two from Tubby Hayes! Teddy Charles & Shelly Manne 4 CD Sets! The Residents & Renaldo and the Loaf! Asmus Tiechens! Laaraji! Merzbow rarity! And More..!
THE DMG 26TH ANNIVERSARY SERIES OF SONIC CELEBRATIONS Continue with:
Sunday, October 15th:
ROBERTO OTTAVIANO - Rare Solo Sax Set has been Canceled due to Visa problems!?!
6pm: BRANDON LOPEZ - Solo ContraBass & CD Release Set
7pm: JUDI SILVANO & BRUCE ARNOLD ELECTRO-ACOUSTIC DUO - CD Release Set
Sunday, October 22nd:
6pm: XPANDED RōNIN PHASING: PATRICK BRENNAN - Alto Sax & Comps. / JASON KAO HWANG - Violin / PATRICK HOLMES - Clarinet / BRIAN GRODER - Trumpet
7pm: LUIS CONDE from Buenos Aires & JOSH SINTON from NYC - International Multi-Reeds Duo!
Sunday, October 29th:
6pm: FLIP CITY: DAVID AARON / WILL McEVOY / DAVE GOULD
Sunday, November 5th:
6pm: CHERYL PYLE / MICHAEL EATON / CLAIRE DALY / MATT LAVELLE / GENE COLEMAN -
C & Alto Flutes / Soprano Sax / bari sax/ bass clarinet / C & Bass Flutes
7pm: JONATHAN MORITZ / SEAN ALI / CARLO COSTA - Tenor Sax / ContraBass / Percussion
Sunday, November 12th:
6pm: ROBERT DICK - Solo Flute
7pm: GIACOMO MEREGA / ANDREW SMILEY / ELI ASHER - Electric Bass / Guitar / Trumpet
DMG is located at 13 Monroe St. (between Catherine & Market Sts) in a basement below a small gallery. Take the F train to East Broadway or the 6 train to Canal or the B or D to Grand, or the M-15 bus to Madison & Catherine. Come on Down, the Sunday Music Series is Always Free & the Vibes are Always Cosy
FRED FRITH / LOTTE ANKER / SAMUEL DUHSLER - Storytelling (Intuition ITU 71324) “Everything you need to know about Fred Frith can be found on this album. It is in the music, every single improvised note of it, played live at the theater Gutersloh on March 18, 2017, in a trio with the Danish saxophonist Lotte Anker and the percussionist Samuel Duhsler from Switzerland. A tricky concept, improvisation, and one which the 68-year-old guitarist and composer from Yorkshire, who lives and teaches in Oakland and Basel, embodies. “I had a crisis in 1981”, he said in the interview for his ''European Jazz Legends'' article in the magazines Jazz thing. “I did a solo tour of Japan...and I was fixated on the idea that, if I was really an improviser, I would never repeat myself. How dumb can you be? But anyway. I got so fixated on this that it became a struggle to actually play at all. One night I came off stage with my fingers bleeding. Both hands. And then I understood that something wasn't right here. I mean, I was pathologically obsessed. And I think it was a good experience to have gone through to understand, that it's actually totally irrelevant. I have an instrument, I have my resources, all I have to do is be empty. So if I'm empty, I don't know what's going to happen. That's where you should start from.” Being a man of his word, in more ways that one, Fred Frith ambled through the backstage area that night singing something slightly operatic while joining his musical partners on their way to the stage, and began to play.”
CD $16 (In stock early next week)
BORDERLANDS TRIO [STEPHEN CRUMP / KRIS DAVIS / ERIC McPHERSON] - Asteroidea (Intakt 295; Switzerland) Featuring Kris Davis on piano, Stephan Crump on contrabass and Eric McPherson on drums. Recorded at the Samurai Hotel in Queens in December of 2016. Downtown pianist Kris Davis seems to be everywhere nowadays, juggling several bands or projects: solos, numerous trios with Tony Malaby & Nick Fraser, Ingrid laubrock & Tyshawn Sorey, Eric revise & Gerald Cleaver and groups with Tom Rainey & Max Johnson. Bassist Stephan Crump also is ubiquitous, with a number of duos, trios and quartets, too numerous to mention here. In-demand drummer Eric McPherson also gets around working with a diverse cast of greats: Andrew Hill, Jackie McLean, Fred Hersch and Rex Abbasi.
In the last few years, Ms. Davis has been experimenting by muting strings inside the piano with pieces of masking tape. This gives certain notes, certain ares in the piano an odd, muted sound. This motes notes don’t resonate in the same way as the other notes. The long opening track, “Borderlands”, features those strange muted notes, giving the trio its own, unique, rather mysterious sound. While the bass and drums keep a pulse flowing, speeding up, slowing down organically, Ms. Davis also weaves in assorted clusters. Ms. Davis has a magic touch, the way she uses and alters those muted notes are her signature here. The trio moves together as one focused unit here, extraordinary throughout! The rest of the pieces on this disc are shorter yet no less inventive, organic sounding and transcendent in their own unique way. Although all this music was improvised, it sounds as if the trio did have someone directing which holds things altogether. There are moments of peaceful calm which are lovely, absolutely riveting in the sublime grace. Each member of this trio is integral to the overall creative spirit which is balanced just right between free and fixed points. Astonishing! - Bruce Lee Gallanter, DMG
SCOTT DuBOIS With GEBHARD ULLMANN / THOMAS MORGAN / KRESTEN OSGOOD - Autumn Wind (ACT 9856; Germany) Featuring Scott DuBois on guitar & compositions, Gebhard Ullmann on tenor sax & bass clarinet, Thomas Morgan on contrabass and Kresten Osgood on drums plus a strong quartet and a woodwind quartet. Around two years ago, New York-based guitarist, Scott DuBois, had his fourth disc released by his ongoing international quartet. I dug the previous disc very much but the last one, ‘Winter Light’, was by far their best and reminded me the enchanting sound of Miles’ ‘Bitches Brew’ or Soft Machine ‘Four’, both classics of early jazz/rock. I was certain that Mr. DuBois couldn’t top the last one but he has decided to up the ante by adding two quartets to his own ongoing quartet, a string quartet and a woodwind quartet. The results of which are most impressive and show his willingness to stretch out the possibilities of his arranging with a bigger palette of players. The title of this disc is ‘Autumn Wind’ and each of the 13 pieces is named after what we perceive to be the changing of natural things as they evolve through the Fall. The first piece begins with just solo guitar and another instrument is added on each piece until all 12 musicians are utilized. “Mid-September Changing Light” opens with a dark, suspense-filled aura, similar to the haunting vibe of ’Bitches Brew’. The next piece, “Late September Dusk walk” is for guitar and contrabass and that hushed, hypnotic, sunset vibe is central to this piece. Gebhard Ullmann’s sublime bass clarinet is added on “Early October Insect Songs”, the melody has a touching, folky type of theme, which is most charming. When the great, ubiquitous Danish drummer, Kresten Osgood is added on “Mid-October Migration” and Mr. Ullmann switches to tenor, the quartet start to soar together, like birds coasting on the turbulent wind. By adding another instrument on each piece, DuBois changes the vibe by introducing another voice with another related theme. Something even more magical happens when string(s) is added on “Early November Bird Formations”: while the guitar and tenor sax swirl together, buzzing strings provide a wonderful cushion underneath. Eventually the cello comes in on “Mid-November Moonlit Forest” and we enter a wonderful, warm, resonant world, a strong autumn-like breeze blowing over us. Scott DuBois’ guitar sails with flurries of notes cascading around us, Ullmann’s bass clarinet sounds like Bennie Maupin’s and Mr. Osgood’s drumming propels the group in a Tony Williams’ like way. The strings are at their most haunting and lyrical here, touching the nerves of our hearts. There is something most uplifting going on here. When I first put this disc on earlier, the day was cool and dark. As this disc draws to a close, the sun has burst through, providing some warmth to help us make it through the day. The same can be said about the music here, it is organic medicine for the heart and souls of those who want to listen… - Bruce Lee Gallanter, Downtown Music Gallery (10/12/17)
SCOTT ROBINSON With MARSHALL ALLEN / FRANK LACY / JD PARRAN / DANNY RAY THOMPSON / PHILIP HARPER / MATT WILSON / et al - Heliosonic Toneways - Vol. 1 (ScienSonic SS 10; USA) Featuring Scott Robinson on tenor sax, piccolo, bass marimba, Wurlitzer el. piano, theremin & weird percussion, Marshall Allen on alto sax, EVI, piano & bass marimba, Philip Harper on trumpet, Frank Lacy & Tim Newman on trombones, JD Parran bass clarinet, Yosvany Terry on alto sax, Danny Ray Thompson on bari sax & flute, Pat O’Leary on acoustic bass and Matt Wilson on drums. This disc celebrates the 50th anniversary of two early records from the intergalactic visionary composer & bandleader Sun Ra: ‘The Heliocentric Worlds of Sun Ra - Volumes 1 & 2’. Master Ra played the incredibly rare bass marimba and tuned bongos on those seminal recordings. Multi-instrumental extraordinare Scott Robinson organized these sessions which include tow members of the Sun Ra Arkestra, Marshall Allen and Danny Ray Thompson, plus the original engineer Richard Anderson, who worked wonders for many of the ESP albums from the same period. Mr. Robinson composed all new music for these sessions, yet that wonderful, mysterious, space/jazz vibe remains.
Mr. Robinson has put together an extraordinary ten=piece unit which he calls the Heliosonic Tone-Tette. He chose a number jazz legends like Frank Lacy, JD Parran and Philip Harper, as well as the unstoppable spirit of Marshall Allen, who is now 94 (!) and an original member of the Sun Ra Arkestra since the late 1950’s and the current leader for more than 20 years. The bass marimba, which is so large that one must stand on a chair to play it, resonates which deep, low-end notes. This is how this disc opens with Marshall Allen on EVI (electronic valve instrument) which sounds quite like the early synthesizers that Sun Ra was known to utilize way back when. The music has that hypnotic, cerebral, free-flowing vibe. The music has a relaxed, calm vibe yet also has that eerie, space-traveling aura as well. There are sections where it sounds as if the music is being conducted or directed since it moves in waves that seem to flow together like a school of fish or a flock of birds. There are a number of sections where those chaotic horn eruptions take place, something the Sun Ra Arkestra always utilized to the fullest since they have always had a number of saxists and brass players who were masters of multiphonics, sound/techniques that were invented and developed by John Gilmore and Marshall Allen more than sixty years ago. Matt Wilson is one the best jazz drummers we have in the vast Downtown music scene and he is often at the center of the storm here, helping to steer the currents as they flow through many different rapids. Nothing here remains free or chaotic for very long since things keep shifting gears throughout. The best thing I can say about this disc is this: it sounds like one of the best and most focused Sun Ra sessions I’ve heard, the only things missing are those uplifting chants which help bring us together to sing along. These are the Heliocentric Worlds which we have entered here. Welcome back… - Bruce Lee Gallanter, DMG
GUNTER HAMPEL QUARTETT With JOHNANNES SCHLEIERMACHER / BERND OEZEVIM / CAVANA LEE HAMPEL - Bounce - Live at the Theatre Gutersloh (Intuition 71325; Germany) “Music is a timeless force, constantly ebbing and flowing, a steady sea of sound. At once reliable and unpredictable, there are few people who personify the ever changing and evolving nature of music- of Jazz in its freer forms in particular- better than Gunter Hampel. Going on eighty at the time of this live recording, he plays bass clarinet, vibes, flute and saxophone, and contributed all of the compositions here. “It is important to never stop learning, to stay curious,” he says during the interview at the end of this album. “And that’s why the joy never left- and then you get to be so old doing this.” Born in Gottingen, Germany, Hampel has been living and playing Jazz around the world for more than seven decades, befriending and recording with likeminded masters such as Anthony Braxton, Marion Brown, Steve McCall, Leo Smith, John Tchicai, Archie Shepp, John McLaughlin, as well as Miles Davis, Charles Mingus or Thelonious Monk. The concert starts from the back, literally, with Hampel and his “Berlin-New York Quartet” with Johannes Schleiermacher on sax and flute, Bernd Oezsevim on drums, and his daughter Cavana on vocals, entering the venue from the rear of the auditorium and making their way to the stage in a Conga line to the aptly titled “Kindred Spirits.”
CD $16 (In stock early next week)
HEATH WATTS / BLUE ARMSTRONG - Bright Yellow With Bass (Leo 758; UK) Featuring Heath watts on soprano sax and Blue Armstrong on double bass. It seems hard to believe that is has been been 9 years since Philly saxist Heath Watts had his first Leo release out, ‘Breathe If You Can’ (Leo 506). Mr. Watts’ first disc was another duo effort with Dan Pell on drums. This time Mr. Watts is joined by bassist Blue Armstrong, yet another under-recognized musician who sounds fine here. This disc was recorded in Montana in 2013. Philadelphia does have a long tradition of great saxists who have lived there: John Coltrane, Jimmy Heath, Odean Pope, the Grubbs brothers, George Bishop, Elliott Levin… so Mr. Watts seems to be coming from a long line of creative spirits. Right from the opening, the duo are taking their time and building together. Watts is bending and twisting his notes on soprano carefully without screaming or playing to loudly. His partner, Blue Armstrong, also sounds like a great match, quietly bending his notes in similar ways to the way Watts’ does. Although Mr. Watts doesn’t quite sound like anyone else, he does remind me of Lol Coxhill at times with the way he keeps his sense of humor (or perhaps lightness of touch) central to the proceedings. As this disc evolves, the duo do go further out without going too far. Watts also sounds a bit like Steve Lacy but without any of the jazz (Monk-like) influence. Watts has obviously worked hard at exploring the soprano in his own way as he keeps coming up with a variety of fascinating sounds. There is a strong, spirited dialogue going on here as both players give each other a chance to stretch, bend and weaver their notes tightly around one another. This disc is a most modest gem, much easier to get into without too much of the free/jazz excess. There is a sense of calm at the center of the storm. Perhaps we will get these two to play here at DMG in the future. - Bruce Lee Gallanter, DMG
Landmark Historic & Archival Recordings, Reissues & Restocked Items:
JOHN SURMAN - Rainbow Band Sessions (Distribution 13/ Losen Records 831058; EEC) “It's been nearly two decades since British saxophonist/clarinetist John Surman last did a large ensemble disc, with the exception of Free and Equal (ECM, 2003), which teamed the duo of Surman and drummer/pianist Jack DeJohnette with the London Brass ensemble. But the last time Surman did a swinging session beyond a quartet was The Brass Project (ECM, 1993), and that was in collaboration with Canadian expat John Warren, another longtime Surman partner dating as far back as How Many Clouds Can You See? (Vocalion, 1969) and the entirely Warren-penned Tales of the Algonquin (Vocalion, 1971).
All of which makes The Rainbow Band Sessions even more special. This time, Surman is listed as "director," even though this mini-big band record, featuring 14 players configured into a variety of nonets, still weighs heavily in favor of the absent Warren, who contributes half of the eight-song program, along with two Surman charts, one by largely forgotten British composer Eddie Harvey and a simmering version of "Off Minor"—a well-covered Thelonious Monk title, with Knut Riisnæs delivering a gritty tenor solo and pianist Erlend Slettevoll playing with suitable idiosyncrasy.
The Rainbow Band Sessions has plenty more to recommend it. For those who think of Norwegian jazz in terms such as Nordic cool, Surman—now living in Oslo with his wife, sublime singer Karin Krog—proves there's plenty of jazz tradition to be found in the land of the fjords. A number of familiar Norwegian musicians prove their mettle in a vibrant program that swings from start to finish, whether it's drummer Andreas Bye, of pianist Espen Eriksen's lyrically understated trio, supporting the buoyant opener (Warren's contrapuntal blues "Bedrocks Inn") with unexpected power and firm propulsion, or altoist Frode Nymo, who winds his way through Harvey's mid-tempo "The Wizard" with unshakable (and potent) aplomb.
The session, as the title would suggest, took place at Oslo's legendary Rainbow Studio, where (between its two locations of the past few decades) a bevy of legendary ECM titles have been recorded. This time, heralded engineer Jan Erik Kongshaug is behind the desk, but also wears the producer's hat. What's lesser known is that he's also a fine guitarist (with two albums as a leader), and while he's not given any solo space, his mainstream disposition makes him a great addition to the ensemble throughout, but in particular on Surman's "Going for a Burton," last heard on the saxophonist's Brewster's Rooster (ECM, 2009), but here reworked for a larger group, with Kongshaug's warm-toned hollow body leading the thematic frontline.
Surman is his characteristically egalitarian self when it comes to assigning solos, but it's a real treat to hear him cutting loose on baritone ("Bedrocks Inn" and Warren's balladic closer, "Longing") or soprano (on Warren's bolero-driven "My Sketchy Spanish" and the fomenting heat of Surman's own "One Last Waltz"). Brewster's Rooster aside, Surman's recent ECM albums have been largely pensive and introspective, but The Rainbow Band Sessions makes abundantly clear that not only can he still pull out the stops when he wants to, but he's got plenty of players in his relatively new home with whom he can do it.” - John Kelman, AllAboutJazz
LINDSAY COOPER With FRED FRITH / CHRIS CUTLER / PHIL MINTON / LOL COXHILL / SALLY POTTER / MARILYN MAZUR / SALLY POTTER / et al - Rags / The Golddiggers (ReR LCD1; UK) Composer/multi-instrumentalist & activist Lindsay Cooper explores the song form on her 1st post-Henry Cow releases, "Rags" & "The Golddiggers", here combined in one 74 minute CD, including extensive booklet filled w/ photos & texts.. Features Sally Potter, Phil Minton, Georgie Born, Fred Frith, Chris Cutler, Marilyn Mazur, Kate Westbrook, Collette Lafont, Eleanor Sloan, Lol Coxhill & Dave Holland… Ms. Cooper's musical restlessness was the perfect balance for the members of Henry Cow, who included Fred Frith, John Greaves, Dagmar Krause, Peter Blegvad, Tim Hodgkinson, and Chris Cutler. Cooper recorded two albums with the band, Unrest in 1974 and Western Culture in 1979, and also recorded both Slapp Happy albums with them -- Desperate Straits and In Praise of Learning, both released in 1975 -- and played on Steve Hillage's 1975 Fish Rising album. In addition, she reunited briefly with Comus, recording one album with them called To Keep from Crying (1974), played with Egg on their Civil Surface recording (1974), and contributed to Hatfield and the North's The Rotters' Club disc (1975). By 1975 Cooper had helped to found and become the musical director for the City, a theatrical rock band and first encountered the personages of Lol Coxhill, Evan Parker, and Derek Bailey. She began to improvise and play with them later that year. Henry Cow broke up in 1978, and the aforementioned illustrious Western Culture arrived the following year, with one side of the album devoted solely to Cooper's compositions. This was no mean feat for a woman coming out of the rock world in the late '70s. She joined National Health for a short time but left as the group struggled through lineup changes and record company indifference during the ascent of punk. She recorded her first solo album, Rags, in 1980, which featured her first collaboration with Phil Minton along with Born, Potter, Chris Cutler, and Fred Frith.
TUBBY HAYES With JOE HARRIOTT / STAN TRACEY / JOHNNY DANKWORTH / et al - Without A Song: Rare Live Recordings 1954-73 (Acrobat 9042; UK) Featuring 22 previously unissued live tracks, this new 3-CD anthology is the ultimate celebration of the genius of the late, great Tubby Hayes, tracing his meteoric career from teenage wunderkind to youthful veteran. Heard on all four of his principal instruments - tenor saxophone, soprano saxophone, flute and vibes - as well as leading a series of quartets, quintets and big bands, Hayes is also featured in ultra-rare collaborations with leading British jazz figures including Joe Harriott, Tommy Whittle, Stan Tracey, John Dankworth and Tony Lee, many of whom he worked with only rarely. The collection includes new versions of Hayes' classic compositions like "100% Proof" and "Off The Wagon", alongside items which don't appear anywhere else in his studio-recorded discography. Recorded in clubs throughout the UK and at festivals, rehearsals and informal private jam sessions, this release also contains a comprehensive booklet essay by noted Hayes authority and award-winning saxophonist Simon Spillett, together with rare memorabilia and press cuttings from the period. This is Tubby Hayes as you've never heard him before!
3 CD Set $20
TUBBY HAYES With RONNIE SCOTT / JIMMY DEUCHAR / GORDON BECK / VICTOR FELDMAN / DIZZY REECE / STAN TRACEY / et al - New Edition: Rare Radio Recordings 1958-62 (Acrobat 3097; UK) Throughout his all-too-short career, radio broadcast appearances formed a major part of the workload of the legendary saxophonist Tubby Hayes. Barely a month went by without Hayes featuring on the airwaves and this unique collection - assembled to mark the 40th anniversary of his untimely death - contains highlights from his peak years, the late 1950s and early 1960s. Hayes is heard co-leading the famous Jazz Couriers with fellow saxophonist Ronnie Scott and heading his own quartets and quintets including the cream of British jazz. He also featured as a member of the one-off all-star Jimmy Deuchar big band and makes a rare guest appearance with the John Dankworth Orchestra. Featured players include Gordon Beck, Victor Feldman, Allan Ganley, Dizzy Reece, Ronnie Ross and Stan Tracey. Hayes is also heard during his 1962 visit to the America - in blistering form at the Washington Jazz Festival - the only existing live recording of him on US soil. With previously unreleased material - much of which Hayes never recorded elsewhere - and a comprehensive booklet essay by noted saxophonist and writer Simon Spillett, this new collection is the ultimate celebration of a much-missed genius.
2 CD Set $16
TEDDY EDWARDS With HOWARD McGHEE / PHINEAS NEWBORN, JR. / LES McCANN / LEROY VINNEGAR / JOE CASTRO / BILLY HIGGINS / ED THIGPEN / et al - The Complete Recordings: 1947-1962 (Enlightenment 9128; EEC) Alongside such pioneers as Dexter Gordon and Wardell Gray, Teddy Edwards earned his place in jazz history as one of the most influential young tenor saxophonists of the late 1940s. However, unlike most of his Afro-American contemporaries who operated from the East coast, Edwards spent much of his career is Los Angeles as part of the cool West Coast scene. During a six decade career, he performed and recorded with such musical legends as Charlie Parker, Max Roach, Clifford Brown, Joe Castro, Roy Milton, Wynonie Harris, Houston Person, Benny Goodman and even Tom Waits. However, Teddy Edwards was an accomplished composer too, and a natural leader, thus his finest work was witnessed when fronting his own groups and on his own albums, most notably during the middle part of his career when he recorded for a host of different labels, including Contemporary, Pacific Jazz and MetroJazz. This collection features four CDs which together collate Teddy Edwards' entire catalogue as bandleader from his earliest 78 recordings to his final albums with Contemporary. Running at almost five hours in total, with all audio faithfully restored, this box set will form the perfect introduction to this unique musician and a welcome reminder of the man's very best work.
4 CD Set $18
SHELLY MANNE With BILL SMITH / CHARLIE MARIANO / RUSS FREEMAN / JACK MONTROSE / ANDRE PREVIN / LEROY VINNEGAR - The Classic Albums Collection: 1955-1962 (Enlightenment 9129; EEC) Among the most versatile and hard-working drummers in jazz, Shelly Manne performed in just about every style and sub-genre within the entire idiom in his lifetime. During a career that spanned more than 45 years, Manne indulged in Dixieland, swing, bebop, avant-garde, Third Stream and jazz fusion, among other styles, and appeared on the soundtracks to hundreds of films and television programs. He also featured on the albums of a wide array of other legendary musicians, including those by Chet Baker, Ornette Coleman, Benny Carter, Bill Evans, Ella Fitzgerald, Stan Getz, John Lewis, Gerry Mulligan, Stan Kenton, Oliver Nelson and Frank Sinatra. It is generally accepted however that Shelly Manne's finest work and playing appeared while leading his own bands, most notably during the early years of his solo career. This four CD collection, containing nine original records, collates the finest of Shelly Manne's early studio output as bandleader. Featuring more than five hours of faithfully-restored and remastered music, this set is the perfect tribute to a musician whose work remains a blueprint for those who believe that every style has room for development, change and, when appropriate, radicalization.
4 CD Set $18
THE RESIDENTS & RENALDO AND THE LOAF - Title In Limbo (Special Edition)(Klanggalerie GG 200-2; Austria) "OK, we know you all waited for this a very long time, but now the wait is over. We are happy to be able to present you a special 2 disc edition of Title In Limbo including the legendary 4 Daze! Many of you have heard about this legendary recording for a long time, now over 35 years after its recording it is made available to the public for the first time. Title In Limbo is an album that was recorded with The Residents in San Francisco in 1981.The bands played a very experimental jam session together and went back to these recordings 2 years later, in 1983. Title In Limbo finally came out in November of that year on vinyl. 1998 saw the first complete CD release as a numbered limited edition on Ralph America, copies of which are scarce and now collectors' items. But that CD differed from the vinyl in that some tracks had short fade ups applied to them which did not truly reflect the original release. So we are excited for the first time on CD to now offer this album re-mastered with all tracks fully restored to their originally recorded states. The second disc is the legendary 4 Daze recording. Also included is a booklet with rare photographs and of course the lyrics for all the songs. In this case, all Klanggalerie can say to you is: Buy or die."
2 CD $25
ASMUS TIETCHENS - Eisgang (Klanggalerie 250; Austria) "Asmus Tietchens is a sound artist and composer from Hamburg, Germany. He got interested in musique concrete by listening to a German radio program when he was 10 years old. In 1965, at the age of 18, Asmus started experimenting with tape loops and turned them into musical collages. Soon, the use of synthesizers was added. In 1980 his debut album Nachtstücke was released, produced by Peter Baumann of Tangerine Dream. This was soon followed by a series of albums of electronic pop music for the Sky label, home of many Krautrock bands. Tietchens often uses special source materials for his compositions such as water ('Seuchengebiete'), human voices ('Von Mund zu Mund'), paper ('Papier Ist Geduldig'). He is associated with the Industrial music scene through his collaborations and releases on labels such as United Dairies, Esplendor Geometrico or Dom Records. Tietchens never studied composition, he has no academic background, everything he does is self-taught or learning-by-doing. Nevertheless, he was professor for sound design in Hamburg in recent years. The album Eisgang was originally released on Dutch Korm Plastics label in 1995 as a limited edition vinyl LP only. It was later reissued as a double CD with Dämmerattacke. For this latest edition, we have added another bonus track making the CD 20 minutes longer than the LP."
Adventurous Ethnic Music from the Glitterbeat label:
LARAAJI - Ambient 3: Day of Radiance (Glitterbeat 027; Germany) Recently remastered reissue. Includes lengthy interview with Laraaji. Laraaji's glistening 1980 debut Ambient 3: Day of Radiance has from the beginning been considered an outlier. Though widely celebrated at that the time of its original release (as the third installment in Brian Eno's emerging ambient music series), the album also brought with it an aura of mystification. Where did it fit in? An uncharted synthesis of resonating zither textures, interlocking hammered rhythms, and 3-D sound treatments (courtesy of Eno), Day of Radiance seemed to push open many doors at once, ambient music being only one of them. Though there are certainly aspects of the album that find sonic common ground with other Eno-related "ambient" projects (on the tracks "Meditation #1" and "Meditation #2" in particular), the album is not easily boxed into a singular genre. Day of Radiance also mines the ethereal spiritualism of late-'70s new age music (of which Laraaji is considered a pioneer), the harmonic and rhythmic repetitions of American minimalists Terry Riley and Steve Reich, and traditional global sounds from India and Java (particularly gamelan music). And while Laraaji never explicitly embraced the "Fourth World" theories of fellow visionary and Eno collaborator Jon Hassell, Day of Radiance echoes a kindred exploratory exoticism. In the late '70s Brian Eno had relocated to New York City from London and had begun a period of fertile intersections with musicians in his adopted home. Laraaji recounts how he and Eno first crossed paths: "I was playing [zither] in Washington Square Park and I usually play with my eyes closed because I get into meditative trance states that way, and opening my eyes and collecting my little financial reward from that evening, there was a note, on notebook paper -- it looked like it had been ripped from somebody's expensive notebook -- there was a note that says 'Dear sir, kindly excuse this impromptu piece of message, I was wondering if you would be interested in talking about participating in a recording project I am doing, signed: Brian Eno.'" The album was completed in two sessions; the first one produced the faster, pulsing "Dance" compositions (on the A-side) and the second session yielded something closer to Eno's own ambient constructs -- slow zither washes and waves with more pronounced sound enhancements (on the B-side). While the album is deceptively simple in its construction, closer listening reveals its extraordinary depth of field and its polymath influences.
BIXIGA 70 - III (Glitterbeat 026; Germany) Five years after their 2011 inception, the São Paulo-based Brazilian group Bixiga 70 continues to travel musically forward, only to find themselves more and more at home. The band's aptly named third album, III , is a luminescent and energized admixture of Atlantic cultures. The album's hyper-contemporary dialogue journeys between the sounds and rhythms of Brazil and Africa, and between the band's ten musicians and their distinctive musical identities. Their collective influences include jazz, funk, and Afro-Brazilian music, and stretch further afield into dub and reggae, electronics, cumbia and carimbó, Ethio-jazz, and samba. Bixiga 70's III is a breathtaking rhythmic storm in which inspired solos, harmony and dynamics, and beats and improvisation all mesh together in vital and unpredictable ways. Spanning a joyous danceability, a sharp sense of humor, and committed political reflections, the life-blood of this ten-piece unit is instrumental music, but it is an instrumental music that speaks profoundly. Self-produced by the band in their own studio in São Paulo (and mixed by Victor Rice), all the compositions on III were written and arranged by the entire Bixiga 70 collective. The process of creation is decentralized and acknowledges the importance of each musician in the room. The album was recorded live in the studio to further assure the depth of this collaborative spirit and to accentuate the intensity of the band's sonic experiments. Throughout its nine tracks, styles merge and original syncretisms come to life. The album shapeshifts contemporary Afro-funk, Moroccan cumbia, spiritual jazz, adapted Afro-Brazilian chants, sounds from São Paulo's Black Rio movement, Arabian dub, Malinké drumming, Angolan guitar music, and traditional bamboo fife bands. There is no doubt that Bixiga 70 is one of the guiding voices of Brazil's contemporary instrumental music scene and III clearly demonstrates why. They are a band that deftly searches for untracked and thrilling musical spaces to occupy. And most importantly, they are a band that succeeds in finding them. Décio 7: drums; Rômulo Nardes: percussion; Gustávo Cék: percussion; Marcelo Dworecki: bass; Mauricio Fleury: keyboards and guitar; Cris Scabello: guitar; Cuca Ferreira: baritone sax; Douglas Antunes: trombone; Daniel Nogueira: tenor sax; Daniel Gralha: trumpet.
AZIZA BRAHIM - Abbar el Hamada (Glitterbeat 031; Germany) Western Saharan musician and activist Aziza Brahim's second solo album, Abbar el Hamada (Across the Hamada), is a commanding and compassionate musical statement about, and for, the tumultuous age in which we live. Raised in a Saharawi refugee camp in the Algerian desert, and living in exile for more than two decades (first in Cuba and in Barcelona at the time of this release), Brahim's life and music embodies both the tragedies and hopes of the present-day migrant and refugee experience. As walls and borders are again being raised across the world, Aziza Brahim's passionately sung poetic defiance is especially timely and profound. Brahim's previous album, the resplendent Soutak (GB 009CD/LP, 2014), spent an unprecedented three months atop the World Music Charts Europe, and was the chart's top album for 2014. The album was also selected as one of Songlines magazine's "Top Ten" albums of the year and appeared on several other year-end lists. On Abbar el Hamada, Brahim has consciously extended her reach deeper into the sounds of contemporary West Africa. This move has been reinforced by the introduction of Senegalese percussionist Sengane Ngom and drummer Aleix Tobias (who has studied drumming in Gambia and Senegal) into her band, and the return of Malian guitarist Kalilou Sangare from the Soutak sessions. Bassist and arranger Guillem Aguilar and guitarist Ignasi Cussó also return from the previous band. Recorded in Barcelona in the summer of 2015 with Soutak producer Chris Eckman (Bassekou Kouyate, Tamikrest), Abbar el Hamada is a wholly persuasive example of Brahim's panmusical vision and her most compelling and varied album to date. From the pulsing desert rock of "Calles de dajla" and the Afro-Cuban inflections of "La cordillera negra" (evoking '70s recordings by the Super Rail Band) through the dusky elegance of "El canto del la arena" and the raw balladry of "Mani" (featuring Malian bluesmaster Samba Touré on guitar), the music and lyrics on Abbar el Hamada masterfully reflect the restless, imaginative search for home explicit in the album's title. "Hamada" is the word used by the Saharawi people to describe the rocky desert landscape along the Algerian/Western Saharan frontier where tens of thousands of their people are stranded in purgatorial refugee camps. "For me, Abbar el Hamada (Across the Hamada) is a title that synthesizes our destiny as a country over the last 40 years," Brahim explains. "We are suffering an injustice that condemns us to try and survive in an environment as inhospitable as the Hamada." Innovation, naked truth, humility, and political outcry: these are the raw materials of Aziza Brahim's ever-expanding musical vision. On Abbar el Hamada she fuses and fashions these elements into an unforgettable work that is both deeply inspired and deeply inspiring.
M.A.K.U. SOUNDSYSTEM - Mezcla (Glitterbeat 034; Germany) With their fourth album, the eight-piece M.A.K.U. Soundsystem reflect the US through the eyes and ears of Colombians who've made their homes in New York City. Mezcla is a relentlessly honest record. The music hits the feet and the hips, powerful and overwhelming, while the lyrics reflect the lives the band members live, while embracing darker political questions that don't have easy answers. Every moment of Mezcla mixes the musicians' past and their present. "Let It Go" builds from a percussive root born in Colombia by way of Cape Verde, hits a groove straight out of West Africa, then adds bright retro Moog that comes from a '90s club, and tops it with horns that edge into jazz. It's a perfect culture-clash, the immigrant melting-pot on disc. As Jon Pareles of The New York Times noted, the band merges "Afro-Colombian rhythms with hints of Afro-beat, delivering exhortations as dance grooves." Colombia remains the foundation, but they've erected their own house on top of it, a structure that continues to grow and change. Afropop Worldwide praised the "frantic terrain" the band explores, while NPR's Anastasia Tsioulcas raved about their "driving and gritty energy," exclaiming, "this raw-edged, punk-tinged band explodes with the propulsive force of traditional rhythms and urban restlessness." Mezcla captures the live sound of the band, that thrilling rawness where the rough edges become a vital part of the whole, with plenty of freedom alongside a tightness honed by night after night of gigs. It's passionate and blazing, turning from anger to tenderness, to endurance and hope. Produced by M.A.K.U. Soundsystem. Mixed by Victor Rice at Copan Studio, São Paulo, Brazil. Moris Cañate: alegre drums; Liliana Conde: percussion and vocals; Andrés Jiménez: drums; Juan Ospina: bass and vocals; Felipe Quiroz: synths; Camilo Rodriguez: guitar; Robert Stringer, trombone; Isaiah Richardson, Jr.: clarinet and saxophone; Carolina Olivieros: background vocals.
MERZBOW - Hyakki Echo (Dirter Promotions 133; UK) Hyakki Echo is a brand new release from Merzbow and it sees a totally new direction for this true innovator. Whatever you may have expected, this will surprise and thrill. With much more of a foot in free improvisation than the more traditional psyched-out, extreme "noise" that you may have come to expect, Hyakki Echo is a masterpiece in experimental music. The format should surprise and intrigue too. One side is a three-minute piece that is a vinyl record, the other a full-length CD. The package comes with the necessary adapter you need to play the vinyl side. Artwork by Masami Akita (Merzbow). The set is packaged in a die cut digipak sleeve. Note: This disc must not be used with a "slot-in" CD player. Limited edition ands almost sold out as of now (10/11/17)
2 CD Set $22
Rare LP-Only Section:
JOHN WIESE - Escaped Language (Gilgongo 005; USA) "Recorded during Ina/GRM's 2016 Présences Électronique Festival in Paris, John Wiese's Escaped Language is a concise and calculated piece which slowly evolved in various settings over a number of years. While 2015's Deviate From Balance double-LP was expansive and chronicled performances and works employing many other musicians, here, Wiese dissects and reassembles portions of his vocabulary alone. Simultaneously dense and sparse, delicate and abrasive, free and tactical, the resulting recording stands as a substantial document of his approach to sound, twenty-five years into his prolific tenure."
ALESSANDRO CORTINI & MASAMI AKITA [MERZBOW] - Alessandro Cortini & Masami Akita (Important Records 431; USA) Alessandro Cortini (Nine Inch Nails) and Japanese noise legend Masami Akita (Merzbow) share a mutual love for the EMS Synthi, a British synthesizer from the early '70s notorious for its patch matrix, portability, and distinct tone. Astonishingly, these two disparate artists meld into a single sound as they flex the analog circuitry of the EMS Synthi in new ways; giving this classic synth a modern workout and proving that, in capable hands, a 40-year-old analog synthesizer is a tool for the ages. Metallic shimmer print on heavy duty jackets; 180 gram vinyl.
2 LP Set $36
WORKSHOP DE LYON With FRANCOIS TUSQUES / LOUIS SCLAVIS - La Chasse De Shirah Sharibad Souffle Continu Records 032; France) Souffle Continu Records present the first ever reissue of Workshop De Lyon's La Chasse De Shirah Sharibad, originally released in 1975. In France, in the years 1960-1970, musicians pondered over how to transpose the political struggle of free jazz onto a completely different political terrain. One of the first to do so was pianist François Tusques (agitator, theorist and militant) who recorded 1965's Free Jazz (CACK 020LP), and then continued with Le Nouveau Jazz (1967), French equivalents to the American "New Thing". The word spread, and was picked up by the Free Jazz Workshop which became the Workshop De Lyon in 1975 with the arrival of clarinetist-saxophonist Louis Sclavis. Still a source of joy, this lyrically feverish second album maintains a narrative dimension however subtle the textures developed through the contrasting collective improvisations. With their ever-inventive melodics, the Workshop De Lyon invented an imaginary folklore on this album which is unlike any other. It is a knowing mix of the avant-garde and the traditional, collective playing vying, with panache and complexity, with the inspired urgency of the soloists. Even without filmed images the theatricality and humor of the group's live performances, essential components of their identity can be felt during the long thematic suites which are both expressive and full of joy. What better way to honor their imaginary mentors, Albert Ayler or the Art Ensemble Of Chicago! More, More! Licensed from Bisou. Reverse printing; 12-page booklet; Obi strip; Edition of 700.
FREE JAZZ WORKSHOP - Inter Frequences (Souffle Continu Records 031; France) Souffle Continu Records present the first ever vinyl reissue of Free Jazz Workshop's Inter Fréquences, originally released in 1973. The Free Jazz Workshop came into being in 1967 but their first album, Inter Fréquences, only appeared in 1973. Unfortunately there is no recorded trace of the group including the first drummer Pierre Guyon before he was replaced by Christian Rollet in 1970. One of the slogans doing the rounds at the time sets the tone: "Aesthetic liberation is but a prelude to the liberation of humanity." The trajectory of the Free Jazz Workshop (which became the Workshop De Lyon in 1975 with the arrival of clarinetist-saxophonist Louis Sclavis) is emblematic of the emancipation of the mindset of certain French musicians during this period. It has been an exceptionally long-lived trajectory a "half-century" as the members say, during which the group -- in Christian Rollet's own words -- went from being "an exploratory workshop who claimed to take no account of the musical certitudes of the majority" to becoming something of a classic institution. Right from this first album it is clear that the group would function as a collective with no designated leader. The legacy and influence of American free jazz can be heard throughout: Albert and Don Ayler, or Ornette Coleman and Don Cherry for the horns of Maurice Merle and Jean Mereu; Cecil Taylor for the pianist Patrick Vollat, absent from the group after the second album released in 1975 La Chasse De Shirah Sharibad (FFL 032LP); Gary Peacock and Barre Phillips for the bass; Sunny Murray or Milford Graves for the rhythmic agitation; but also the Art Ensemble Of Chicago for the collective aspect. This lyrical, incandescent album, alongside those released by François Tusques and the Cohelmec Ensemble at the same period, represents one of the high points of free jazz produced by French musicians. Licensed from Bisou. Reverse printing; 12-page booklet; Obi strip; Edition of 700.
WORKSHOP DE LYON - Tiens! Les Bourgeons Eclatent... (Souffle Continu Records 033; France) Souffle Continu Records present the first ever reissue of Workshop De Lyon's Tiens! Les Bourgeons Eclatent..., originally released in 1978. The collective methodology of the Workshop De Lyon led to the creation of the Association Searching for an Imaginary Folklore (ARFI) in 1977, their aims were very much a mission statement "encourage improvisation, spread diverse musical styles and provide means of expression to others with similar ideas, establish a folklore..." Their reference was the Association for the Advancement of Creative Musicians (A.A.C.M.) created twelve years previously with the similar idea of providing material assistance to and defending the interests of creative musicians, in order to encourage the emergence of new music. The open-structured ARFI self-produced their music thanks to their own label, on which almost all of the albums of the Workshop De Lyon appeared, from Concert Lave (1980) onwards. Their third album, Tiens! Les Bougeons Éclatent... is a perfect example of how the group sounded when it was released in 1978, about a year after the studio recording. Pianist Patrick Vollat had left but was still very much a part of ARFI (in particular as part of the excellent La Marmite Infernale), so the Workshop De Lyon stabilized to a quartet of Louis Sclavis, Maurice Merle, Jean Bolcato, and Christian Rollet, and already had at the time an unparalleled repertoire. This never ceased to expand, through the meetings and personnel changes, while losing nothing of its generosity, nor showing any signs of aging. This proffers on the Workshop De Lyon a certain universal dignity which honors their original models, Albert Ayler or the Art Ensemble Of Chicago to name but two, transfiguring them into a new, exciting aesthetic approach bursting with openings and exchanges. Irresistible. Licensed from Bisou. Reverse printing; 12-page booklet; Obi strip; Edition of 500.
Bruce Lee Gallanter’s Recommended Gig List for October of 2017
THE STONE RESIDENCIES - BEN GOLDBERG - OCT 10–15
THE STONE AT THE NEW SCHOOL—55 WEST 13TH STREET
STEVEN BERNSTEIN - FRIDAY AND SATURDAY NIGHTS OCTOBER 13–14 AT 8:30PM
FRIDAY OCT 13— Sexmob: Briggan Krauss (sax) Tony Scherr (bass) Kenny Wollesen (drums) Steven Bernstein (trumpet)
SATRUDAY OCT 14—Oct 14 Steven Bernstein’s Millennial Territory Orchestra: Doug Wieselman (reeds) Peter Apfelbaum (reeds) Erik Lawrence (reeds) Charlie Burnham (violin) Curtis Fowlkes (trombone) Ben Allison (bass) Kenny Wollesen (drums) Steve Bernstein (trumpet)
8:30 pm - MATMOS Nels Cline & Ben Goldberg - Ben Goldberg (clarinet) Nels Cline (guitar) Drew Daniel, Martin Schmidt (electronics)
8:30 pm - Invisible Guy with Eli Crews - Ben Goldberg (clarinet) Michael Coleman (keyboards) Hamir Atwal (drums) Eli Crews (live electronics)
Ben Goldberg Trio
Ben Goldberg (clarinet) Kris Davis (piano) Billy Mintz (drums)
THE STONE RESIDENCIES - OKKYUNG LEE - OCT 17–22
8:30 pm - Nels Cline (guitar) & Okkyung Lee (cello)
8:30 pm - Chris Corsano, Ches Smith (drums, percussion) Okkyung Lee (cello)
830 pm - Banff Night I - Alec Aldred (trumpet) Sasha Berliner (vibes) Gabriel Chakarji (piano) Cole Davis (bass) Jhoe Garay (guitar) Maria Grand (saxophone) Okkyung Lee (cello) Nicolino Locche (drums) Steve Williams (bass)
THE STONE AT THE NEW SCHOOL—55 WEST 13TH STREET
FRIDAY AND SATURDAY NIGHTS OCTOBER 20–21 AT 8:30PM
FRIDAY OCTOBER 20— Oscalypso: Friedlander's tribute band plays new originals inspired by Oscar Pettiford as well as some of OP's most well-known masterpieces like "Bohemia After Dark" and "Tamalpais Love Song" Erik Friedlander (cello) Michael Blake (saxophone) Uri Caine (piano) Michael Sarin (drums) Michael Bates (bass)
SATURDAY OCTOBER 21—Friedlander's new quartet "Throw A Glass" plays Artemisia a new hypnotic, absinthe-inspired project that will be released in 2018. Erik Friedlander (cello) Uri Caine (piano) Ches Smith (drums) Shanir Blumenkranz (bass)
8:30 pm - Banff Night II - Noah Becker (alto saxophone, clarinet) Conner Duke (bass) Jasper Dütz (bass clarinet, saxophone) Noa Fort (voice) Noah Abrahams Gershwin (guitar) Alex Hamburger (flute, baritone saxophone) Colin Avery Hinton (drums) Okkyung Lee (cello) Chien Chien Lu (vibes) Prawit Siriwat (guitar) Jonah Udall (guitar) Theo Walentiny (piano)
830 pm - Liberty Ellman (guitar) & Okkyung Lee (cello, composition)
8:30 pm - Maeve Gilchrist (harp) Okkyung Lee (cello, composition) Eivind Opsvik (bass) Jacob Sacks (piano)
All Sets start at 8:30pm Tickets: $20
There are no refreshments or merchandise at The Stone.
Only music. All ages are welcome.
Cash Only at the door. There is no phone.
There is no food or beverage served or allowed
just a serious listening environment.
The Stone is booked purely on a curatorial basis
The CORNELIA STREET CAFE - 212-989-9319
29 Cornelia St in the heart of the West Greenwich Village, NYC
Friday Oct 13
6:00PM 4 HORSEMEN OPEN MIC POETRY - Robert Gibbons; Mindy Matijasevic; George Wallace; Ron Kolm, Eve Packer; Evie Ivy, Hillary Keel; Ronnie Norpel; Demetrius Daniel; Francine Witte, Linda Lerner; Bob Heman; David Elsasser
8:35PM PAUL JONES SEXTET, CD RELEASE: CLEAN - Paul Jones, tenor sax, comp.; Alex LoRe, alto sax; Matt Davis, guitar; Sullivan Fortner, piano; Desmond White, bass; Jake Robinson, drums
Saturday Oct 14
8:35PM GILAD HEKSELMAN & PETER BERNSTEIN DUO - Gilad Hekselman, guitar; Peter Bernstein, guitar; Colin Stranahan, drums
Sunday Oct 15
6:00PM FLUTE & GUITAR MUSIC - Kenji Haba, guitar; Melanie Chirignan, flute
8:01PM NEW BRAZILIAN PERSPECTIVES: FLAVIO SILVA QUARTET FEATURING SEAMUS BLAKE - Flavio Silva, guitar, comp.; Seamus Blake, tenor sax; Alex Apolo Ayala, bass; Kush Abadey, drums
Mon Oct 16th:
6:00PM DORIAN DEVINS QUARTET: NEW SONGS FOR FALL - Dorian Devins, vocals; Richie Vitale, trumpet; Lou Rainone, piano; Paul Gill, bass
8:35PM VICTOR LIN - Victor Lin, piano; Kanoa Mendenhall, bass; Jeremy Dutton, drums; Ben Flocks, saxophones
Tues Oct 17th:
8:00PM ANDRE MATOS QUARTET - Andre Matos, guitar; Tony Malaby, tenor sax; Mai Kalamuchi, bass; Billy Mintz, drums
9:30PM ADAM KOLKER TRIO - Adam Kolker, tenor sax; Steve Cardenas, guitar; Billy Mintz, drums
Wed Oct 18th:
8:00PM ALEX WYATT GROUP - Alex Wyatt, drums; Kyle Wilson, tenor sax; Jon DeLucia, alto sax; Danny Fox, piano; Pablo Menares, bass
9:30PM SALO - Kyle Sanna, guitar; Andrew Smiley, guitar; Red Wierenga, keyboard; Ben Gallina, bass; Alex Wyatt, drums
Thursday Oct 19th:
9:30PM MATTHEW SHEENS QUARTET - Matthew Sheens, piano; Alex Goodman, guitar; Sam Zerna, bass; Rogerio Boccato, percussion
Friday Oct 20
8:35PM DAN WEISS TRIO - Dan Weiss, drums; Jacob Sacks, piano; Ben Street, bass
Saturday Oct 21
6:00PM THE POINT SCHMOINT! Matt Robbins, vocals, keys; Dave Levy, trumpet; Caleb Curtis, alto sax, flute; Jeremy Powell, tenor sax, clarinet; Eric Burns, guitar; Adrian Moring, bass; Britt Ciampa, drums
8:35PM LAGE LUND QUARTET - Lage Lund, guitar; Sullivan Fortner, piano; Matt Brewer, bass;
Sunday Oct 22
6:00PM GEMINI JOURNEY PRESENTS: MOVIE MUSIC MAGIC! - Diane Block, violin; Terry Batts, cello; Fred Simpson, percussion/poet; LinDel Sandlin; Bernard
Block, special guests Gemini Journey presents: Movie Music Magic! image
8:01PM SARA SERPA TRIO - Sara Serpa, voice; Kris Davis, piano; Chris Tordini, bass
Friday, October 20th 8:30 PM
Chris Cochrane – guitar
Stuart Popejoy – bass
Scott R. Looney – piano
Sarah Bernstein – violin
Reuben Radding – bass
I-Beam is located at 168 7th Street in Brooklyn, NY 11215 - Directions: SUBWAY: Take the F or R trains to 4th Ave & 9th Street. Walk down 4th ave to 7th street. Make a left on 7th and walk past 3rd ave. We are located on the ground floor, the grey doors to the right of the stairs of #168.
October 2017 at Shapeshifter:
7 PM: Marko Djordjevic & Sveti
8:15 PM: Justin Mullens group
9:30p - David Acevedo's eyehear
David Acevedo - Trumpet
Joseph Freund - Guitar
Sean Kim - Keyboard
Conner Duke - Electric Bass
Daniel Mesko - Drums
7pm: BOKCO MASS
New Voices & Interactive Arts
Malcolm J. Merriweather, Choral Director;
David Grubbs and Helen Richardson, PIMA Co-Directors
Shapeshifter is located at
18 Whitwell Place in Brooklyn, NY
R train to Union stop
Sound It Out series @ Greenwich House – Concerts, October 2017 2017
November 10: Ricardo Grilli
November 11: Double-bill – Marc Hannaford Trio Satoshi Takeishi, etc
December 14: Mike Baggetta & Anders Nilsson with Jerome Harris & Satoshi Takeishi
Greenwich House Music School:
46 Barrow Street, just west of 7th Avenue South in New York City’s West Village
www.greenwichhouse.org / 212-242-4770.
An evening of jazz with
LOUIE BELOGENIS & SHANIR EZRA BLUMENKRANZ
Friday October 13th - 8pm
33 Bleecker St
New York, NY 10012