Lady Window-Shopper with a new one in the hopper
Whips up a chemical brew
Croaking to a neighbour while she polishes a sabre
Knows how to flavour a stew
Never need to worry with a tin of Hurri Curri
"Poisoned especially for you!" (*laughter*)
No use to complain
If you're caught out in the rain
Your mother's quite insane
Cat food, cat food, cat food, again?
Lady Yellow-Stamper with a fillet in the hamper
Dying to finish the course
Goodies for the table with a fable on the label
Drowning in miracle sauce
Don't think I am that rude if I tell you that it's cat food
"Not even fit for a horse!"
No use to complain
If you're caught out in the rain
Your mother's quite insane
Cat food, cat food, cat food, again?
The first King Crimson album, 'In the Court of the Crimson King' was released in 1969 and it had a profound effect to anyone listening seriously to popular music at the time. King Crimson didn't sound like any other band previously and blew many minds with their explosive, powerful, rock/jazz/classical/metal blend. Even the album's cover artwork was like a scream from another world or dimension. Similar to Procol Harum and the Grateful Dead, Crimson had their own lyricist/poet named Peter Sinfield who was an integral member of the band. Sinfield's lyrics were scary, futuristic, bizarre, science fictional and added a sense of impending doom for our collective futures. And weren't take too seriously by some skeptics. The above song "Catfood" is from Side Two of the second Crimson album and features a ridiculously cool completely free, over-the-top piano solo from a young Keith Tippett. Check it out! The shadow and influence of King Crimson has continued ever since, on and off through numerous personnel changes with only original member Robert Fripp still leading the way more than a half century later. Both Manny/Lunch, myself and many others have been Crimson freaks ever since their debut and their music still touches me deep inside. Check out the documentary and/or the book about the history of King Crimson if you are interested or just go back to check out their large catalogue of gems. We all know who the true "21st Century Schizoid Man" really is, don't we!?! - MC-BruceLee at DMG
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THE DMG 34th ANNIVERSARY IN-STORE CONCERT CELEBRATION CONTINUES with:
Tuesday, September 2nd:
6:30: RICH ROSENTHAL - Guitar / DAVE SEWELSON - Bari Sax / NICK GIANNI - Tenor Sax / KEVIN TKACZ - Bass / COLIN HINTON - Drums
7:30: GIAN PEREZ - Solo Guitar
8:30: MOSTLY OTHER PEOPLE DO THE KILLING with MOPPA ELLIOTT - Bass / RON STABINSKY -Keyboard / KEVIN SHEA - Drums
Tuesday, September 9th:
6:30: PATRICK GOLDEN - Drums / MATT HOLLENBERG - Guitar / RICK PARKER - Trombone & Electronics
7:30: DAVE MILLER - Drums
8:30: JOHNNY BUTLER - Sax / ALEX OLIVA - Dance
Tuesday, September 16th:
6:30: JON MADOF TRIO: JON MADOF - Guitar / YOSHIE FRUCHTER - Bass / NATE RAPPAPORT - Drums
7:30: FUNGAL BLOOM with FUNG CHERN HWEI - Strings / SHAWN LOVATO - Bass / COLIN HINTON - Drums
8:30: MICHAEL FOSTER - Saxes & Tubes / SANDY EWEN - Guitar
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THIS WEEK'S WONDERFUL SONIC TREASURES BEGIN WITH:
DEREK BAILEY / JOHN STEVENS - The Duke of Wellington (Confront CORE 52; UK) Featuring Derek Bailey on acoustic & amplified acoustic guitar and John Stevens on percussion & pocket trumpet. Recorded at the Duke of Wellington in London in March of 1989. Both legendary free/jazz icons, Derek Bailey and John Stevens, entered the London Creative Music Scene around the same time in the mid-1960's. Thanks to an earlier generation of London-based jazz musicians like Tubby Hayes, Joe Harriott, Don Rendell, Ronnie Scott and the Blue Notes (South African expats living in London), free/jazz erupted and expanded in a variety of ensembles like AMM, Spontaneous Music Ensemble (SME), Company and ensembles led by Mike Westbrook, Graham Collier, Michael Garrick and Neil Ardley. Derek Bailey's Company and John Stevens' SME were both influential groups which attracted other up & coming musicians like Trevor Watts, Evan Parker, Paul Rutherford, Kenny Wheeler and Keith Tippett. Both Company and Spontaneous Music Ensemble evolved over time, utilizing the talents of numerous creative musicians, continuing to exist from time to time until the deaths of John Stevens (September of 1994) and Derek Bailey (in December of 2005). Derek Bailey developed his own distinctive style of playing guitar, he led by example, working with the cream of the great improvisers from the UK, Europe, the US and Japan. John Stevens was also a teacher and gave workshops for other musicians to help nurture the essence of freely improvised music. Although Derek Bailey was a member of SME in their earlier years, Mr. Stevens and Mr. Bailey only recorded in a duo and in a trio on a few occasions. There is one long out-of-print duo record with Stevens and Bailey which was recorded in 1992, three years earlier than this disc.
There are two long and one short piece(s) on this disc. It is great to hear Mr. Bailey playing acoustic guitar here, especially since he often played and recorded his electric guitar much more often. John Stevens is often known for his ability to play completely free and swing hard when need be. Derek Bailey, on the other hand, moved away from playing the swing or pulse of older jazz early in his career. There is a strong common ground or bond going on here. Both musicians here are listening closely and moving together in a free yet connected way. Mr. Bailey often plays quietly with Stevens matching his subtle explorations. On the second long piece, "What's the Time?", Stevens switches to pocket trumpet in the early part of this piece, both Stevens and Bailey playing softly. Stevens soon moves to his drums (mostly cymbals) while Bailey plays his acoustic guitar through an amplifier. As Stevens starts to play with increased volume, Bailey turns up his amp to match, but soon both are playing with more restraint again. I can hear a bond which unites these two musicians as they match wits on different levels. There is an organic flow which is going on here throughout, both musicians sound connected and are having a thoughtful dialogue like two old friends.
CD $16
EUGENE CHADBOURNE - Live at the Western Front - 1977 (Chadula; USA) Featuring Eugene Chadbourne on solo acoustic guitar at the Western Front in Vancouver, BC in Canada in 1977. Seven tracks: 67:10 - three covers by Leo Smith, Oliver Lake and Leo Smith. This is one of the earliest recorded (and released) live sets from the future Downtown guitar pioneer Eugene Chadbourne. I first heard Eugene Chadbourne in a duet with Fred Frith at Studio Henry in December of 1979. I couldn't figure out what exactly Mr. Chadbourne was doing on the guitar and was surprised that Mr. Frith would choose to play with him. I wasn't sure if he could really play as I was a jazz & prog snob at the time. I asked Mr. Frith why he was was playing with this questionable music and he said to be patient as Mr. Chadbourne was inventing a new vocabulary for playing free form guitar. It took awhile for me to warm up to his playing, as well as the playing of other early Downtowners like John Zorn, Tom Cora, Polly Bradfield. Although the improvisations by the aforementioned musicians confused me at the time, when I listen to live tapes or records from this time, they make much more sense to me now. Outside of a handful of recordings on his own Parachute label, a few sessions with Italian percussionist Andrea Centazzo and an album with Frank Lowe, there are very few recordings from the early Downtowners from before 1980. Hence, I was surprised when Dr. Chadbourne sent me this early session from 1977. I recall that Mr. Chadbourne had moved up to Canada in order to avoid being drafted in the late 1970's, before moving to NYC and hooking up with John Zorn, Phillip Johnston and other members of the early Downtown Scene. This session was recorded live at the Western Front, a small venue in Vancouver, BC where Evan Parker and Tom Cora would also played and were recorded.
There are seven pieces here, four written by Mr. Chadbourne and three covers by Oliver Lake, Leo Smith and Dave Holland. When the disc starts, it is very quiet in the room and Chadbourne's acoustic guitar is closely mic'd, warm and clear in sound. It sounds like Chadbourne's unique style of playing freely is already established or fleshed out. Chadbourne's style of playing quickly, bending and muting certain notes or strings and occasionally using his voice quietly underneath in a subtle dialogue with his frenzied yet focused playing. "Twists" (by Oliver Lake) is filled with long pauses and silences. It took a while to adjust to the sparseness of the playing but it does make sense after a while. On "Preparations #3" Chadbourne is rubbing the strings with an object, perhaps a balloon popping, putting a chopstick (or something similar) between the strings, revving up the energy to a frantic level midway. Due to many years of listening to a wide variety of improvisations from all over, sounds like these make perfect sense to us, the seasoned, serious music listeners. Chadbourne performs Leo Smith's "Kuboxe" which he says is the first time it was performed in public. This piece contains sounds which are quite melodic yet they are still effective at coaxing feelings. For me, the essence of the early Downtown approach was the easing of boundaries between categories like genres, downtown & uptown, serious & silly, expressive & confusing while making music which speaks to us on a different level than what we usually expect. Someone out there might consider this to be not music, but noise, uninteresting or without purpose, but I hear much more going on here. I can see/hear that Eugene Chadbourne had already developed a unique approach to playing a few years earlier than most of us noticed. The music here was most likely transferred from cassette directly to a digital file hence to sound is clear, compelling and fascinating. This is an important release for those of us who have been checking out Downtown Sounds for a long time as well as newcomers. - Bruce Lee Gallanter, DMG
CD $13
Back-in-stock:
EUGENE CHADBOURNE / JAIR-ROHM PARKER WELLS - Fed Up With the Bass (Public Eyesore PECD 163; USA) Featuring Eugene Chadbourne on acoustic & electric guitars & effects and Jair-Rohm Parker Wells on acoustic & electric basses, synth & processing with special guest John Sinclair - poetry on one track. I am always pleased to find out when musicians from different scenes meet up and improvise together, both live and on-line. I've known of and been friendly with early Downtown iconic guitarist since late 1979 when I first heard him in a duo with Fred Frith at Studio Henry. I wasn't sure what to make of him at first but soon realized that he and his then partner John Zorn were inventing new ways to improvise with extended techniques and composing in their own way. I first met & heard bassist Jair-Rohm Parker Wells when he was a member of a NJ band called Machine Gun, a hardcore jazz/rock/noise improv quintet that met while attending Rutgers Jazz College in New Brunswick, NJ in the mid-1980's.
During the pandemic (in 2020), while most of us had to stay indoors, Mr. Chadbourne started an online series called 'The Book of Heads', named after a set of solo guitar pieces that John Zorn had written for Mr. Chadbourne in the early Downtown days (late 70's thru the early 1980's). Chadbourne sent out via email one solo guitar piece each day to anyone who subscribed to his series. Chadbourne asked his subscribers to use any of his solos to work with in whatever way they chose. A number of musicians did play along with Doc Chad's solo but none did this at length like Mr. Parker Wells, who recorded and sent back some 32 duos, all of which are collected here on 2 CD set. Many of these pieces are named after whatever musicians or other ideas (films) that inspired Doc Chad at the time: Karl Berger, Beethoven, Joe McPhee, Joseph Spence, Andrea Centazzo and Thelonious Monk. One of the things that I've long dug about Doc Chadbourne, is that he is/was influenced by all sorts of music: jazz, rock, classical, country, bluegrass, folk, soundtrack, progressive, punk & comedy music. Since both Chad and Parker Well use a variety of effects, it is hard to tell who is doing what at times outside of the more obvious guitar and bass sounds. "!3th Party at Horror Beach" features slow moving acoustic guitar with waves of eerie electronic sounds and/or samples. The music has a rather cinematic quality, perfect for a sci-fi soundtrack. I often recognize certain lines that Doc Chad is playing as Parker Wells adds odd spooky effects. Most of the pieces here are continuous, flowing from one theme or stream to the next. Parker Wells does a great job of keeping his playing & ideas flowing just as Chad also keeps changing his style, acoustic or electric guitar, effects or not. Is that the bass line from "My Girl" on "Birthday Card for Joe McPhee"? No Matter since it soon changes into something else with PW's bowing, shadowing Chad's changes in direction and solo(s). Although all or most of the pieces flow here piece to piece, Jair-Rohm often changes his playing or reacts to Chad's guitar differently on each piece. There is an ongoing dialogue going on here which is always evolving on each piece. The first disc is 74 minutes long so it took some time to adjust to the way things unfold. I felt like I was in a film where the soundtrack kept slowly changing in each scene. Most impressive as long as your patient. - Bruce Lee Gallanter, DMG
2 CD Set $14
* DAVE DOUGLAS with DAVID ADEWUMI / ALEXANDRA RIDOUT / PATRICIA BRENNAN / KATE PASS / RUDY ROYSTON - Alloy (Greenleaf Music GRE-CD-1116; USA) Featuring Dave Douglas (composer), David Adewumi & Alexandra Ridout on trumpets, Patricia Brennan on vibes, Kate Pass on contrabass and Rudy Royston on drums. Master trumpeter/multi-bandleader/composer Dave Douglas always has several projects which are going on simultaneously. This is the second triple trumpet band that Mr. Douglas has organized, the first one was with Roy Campbell and Baikida Carroll plus Douglas also led a band called Brass Ecstasy. Douglas also loves to choose new, up & coming musicians to help put them in the spotlight. I caught trumpeter David Adewumi with Mary Halvorson's current quartet at the Vision Fest earlier this year (2025), as well as playing with Jason Moran, Frank Carlberg & two earlier Dave Douglas records. I don't know much about British trumpeter Alexandra Ridout but it turns out she can be heard on eight releases. I've become a huge fan of NY-based vibes player Patricia Brennan, having caught her live a half dozen times with Mary Halvorson, Tomas Fujiwara and Matt Mitchell. British bassist Kate Pass was another new name for me until we met at The Stone recently, where she volunteers. You no doubt know drum wiz Rudy Royston who has worked with Bill Frisell, Jon Irabagon, Ron Miles and many others.
Dave Douglas is known for composing music every day and for organizing several ensembles as well as founding & still running the annual Festival of New Trumpet. The opening piece is called, "Announcement: Vigilance" and it begins with some three trumpets playing their haunting lines together. This piece has a prayer-like solemn vibe which sounds just right for an opening piece. "Friendly Gargoyle" features the three trumpets playing some odd harmonies and then soloing together over Ms. Brennan's eerie vibes. Midway, Ms. Brennan takes an incredibly inventive vibes solo. The title piece, "Alloy" is a moderate tempo-paced cerebral work with all three trumpets soloing around one another, each one with a distinctive sound. Considering that Mr. Douglas has been evolving and improving as trumpeter, bandleader and composer, his writing here is consistently inspired. The three trumpets sound most charming on "Fields", with short bursts of vibes interplay and amazing solos as well. On "The Antidote" Mr. Douglas takes a long, infectious solo with the other two trumpets creating a warm cushion underneath. It is Mr. Douglas' splendid ensemble writing here which truly stands out. Douglas has all three trumpets floating together on "Future Community Furniture" when it begins, The muted trumpets sound especially hypnotic over the eerie vibes and liquid mallet-work of Mr. Royston. Again, the dream-like sound of the three trumpets here is most mesmerizing. Rudy Royston's tantalizing drums are at the center of the final song, "Standing Watch" which sounds like a blues at times and features three superfine trumpet solos over a sly, slamming groove. Whether you are a big trumpet fan (like yours truly), this disc is a true gem so don't hesitate to get your copy today! - Bruce Lee Gallanter, DMG
CD $15
* Dave Douglas' Alloy & Dave Adewumi's Altus will playing at the FONT Fest on September 5th at the Jazz Gallery - 1158 Broadway, 5th floor at 7 & 9pm;
JACOB GARCHIK'S YE OLDE 2 with BRANDON SEABROOK / MARY HALVORSON / JONATHAN GOLDBERGER / AVA MENDOZA / MILES OKAZAKI / SERAN MORAN / JOSH DION / VINNIE SPERRAZZA - At the End of Time (Yestereve Records; USA) Featuring Jacob Garchik on trombone & compositions, Brandon Seabrook, Mary Halvorson, Jonathan Goldberger, Ava Mendoza, Miles Okazaki, Josh Dion & Sean Moran on guitars and Vinnie Sperrazza on drums. For the past decade, Downtown trombonist has been releasing albums, each with a different concept and with different personnel. This is the second time that Mr. Garchik has used the name, 'Ye Olde' as the title of this disc. The first 'Ye Olde' CD featured three of the guitarists found here and was released in 2015. 8 of the 9 tracks feature the same guitarists as last time with four other guitarists on the two last tracks. The song titles and inside cartoons refer to or illustrate some odd science fiction like themes. On six of the nine pieces, Garchik gives guitarists Halvorson, Seabrook, Okazaki, Mendoza & Golderger a chance to solo. "One Can Only Go Up" sounds like 70's prog-rock with the three guitarists playing their tight lines together while Garchik adds rich harmonies with his trombone and Sperrazza provides ample pounding, rocking support. Ms. Halvorson takes the first solo and shows off her rock god chops/power with a great, sick, invigorating solo which is followed by an inspired Garchik trombone solo. There is an acoustic guitar and haunting trombone which kicks off "Transcending Time" with a melody somewhat similar to early Genesis or Yes. In the second half of this song, the group breaks into a dark, churning King Crimson-like groove. For an old prog-rocker like myself, I find this to be most charming, bringing me back several decades in time. The icing on the cake is an especially inspired rock guitar solo from Brandon Seabrook. The three songs without guitar solos are more catchy or fun, riff-wise, rather like short interludes before the dynamic prog-rockin' kicks in again. Both Mr. Seabrook and Mr. Goldberger take exciting fleet-fingered guitar solos on "Eho Microbiology". There is a piece called "Dyson Spheres" which is a hypothetical megastructure that encompasses a star and captures a large percentage of its power output. And I thought that this was a concept just found on a Star Trek episode. This piece is slow and bluesy and features some a great hypnotic effects-drenched guitar solo by Ms. Halvorson. Garchik does use occasional effects on his trombone, often just to make it sound more prog-like than jazz-like. In many ways, this is one of the most fun-filled discs that I've heard in recent memory as it harkens back to another time (like the mid-1970's) when the prog/science fiction connection was more popular and easy to swallow. This is my fave disc of the week! - Bruce Lee Gallanter, DMG
CD $14
FRODE GJERSTAD / ALEXANDER VON SCHLIPPENBACH / DAG NARVESEN - Seven Tracks (Relative Pitch RPR 1232; USA) Featuring Frode Gjerstad on alto sax & B-flat clarinet, Alexander von Schlippenbach on piano and Dag Narvesen on drums & percussion. Recorded in Berlin in January of 2024. The pioneers of free/jazz piano in Europe emerged in the mid to late 1960's/early seventies with a great cast from different countries: Stan Tracey, Howard Riley & Keith Tippett in the UK, Fred Van Hove & Alex von Schlippenbach (in Germany), Misha Mengelberg (in the Netherlands), Irene Schweizer (in Switzerland), Francois Tusques (in France) and Giorgio Gaslini (in Italy). Each of them came from varied backgrounds and evolved in different ways over a long stretch of time. Most of the aforementioned musicians have since passed away but Mr. Schlippenbach is still with us. Schlippenbach founded the Globe Unity and Berlin Contemporary Orchestras, as well as an influential trio with Evan Parker and Paul Lovens. Mr. Schlippenbach has consistently sought out and worked with other like-minded improvisers like this trio. Norwegian reeds wiz, Frode Gjerstad, is another well-regarded elder whose career stretches back to his cofounding of Detail (with John Stevens & Johnny Dyani). Much younger than either of his cohorts here is Norwegian drummer Dag Magnus Narvesen and who has recorded duo albums with both Gjerstad and Schlippenbach, as well as a dozen or so other spirited improv sessions with Conny Bauer, John Dikeman and Aki Takase.
There are no titles to any of the pieces here, they are just numbered 1 through 7. Although the music here is completely improvised, it sounds like the trio is tight, focused and thinking together as one group-mind. The music is often organic and episodic. Both Mr. Gjerstad (on alto) and Mr. Schlippenbach (on piano) sound like they are sharing the same thought or code or line. I like the way the trio are often creating tension, connecting certain lines and adding space in between the different outbursts. All three members of this trio are integral to their sound. On "Track 5", the trio begin with Schlippenbach playing one melodic fragment with the sax and drums soon adding their own counterpoint or harmonies. Schlippenbach slowly plays around with the initial lines, twisting it, extending it and adding a variety of flourishes which the sax and drums react to . One of the things I like most about this disc/session is the way Schlippenbach often inserts melodic fragments to Gjerstad's more out-there, fractured phrases. This is a wonderful improv date and works well on several levels at the same time. - Bruce Lee Gallanter, DMG
CD $13
WEBB CRAWFORD / MICHAEL FOSTER / JOEY SULLIVAN - Against Proper Objects (Relative Pitch RPR 1234; USA) Featuring Webb Crawford on electric guitar & tenor banjo, Michale Foster on tenor & soprano saxes & tubes and Joey Sullivan on drums. Over the past year or so, the Relative Pitch label has been promoting two extraordinary up & coming young guitarists: Webb Crawford and Chuck Roth. If you are searching for the next great guitarists to emerge from the Downtown Scene, then look no further. Crawford and Roth played a duo set here a couple of months ago and that set was extraordinary. I've known of Brooklyn-based saxist Michael Foster for quite a while now and have always admired his use of extended techniques by placing tubes in between his mouthpiece and his saxes. Philly-based drummer Joey Sullivan has played at DMG on a couple of occasions.
Each of the six pieces here are called "Steps" with an instruction attached as the title. The instructions are somewhat ambiguous yet they might apply to different instruments. Something to consider while listening. If you've never caught Michael Foster or Webb Crawford in concert, I urge you to check them out as there is a visual aspect to what makes them unique. "Step 1" starts off quietly with breath-like sounds on the sax, subtle fragmented guitar and hushed percussives. One thing to remember is that Webb Crawford uses no effects on their guitar, everything is done with her fingers and hands. This music sounds like post-lower case explorations, often quiet, careful and bathed in silence or space at times. The volume and density increases on each piece. Crawford switches to banjo on "Step 3", her playing is somewhere between Doc Chadbourne and Brandon Seabrook, two strong improvising banjo players. As the tempo increases, the interplay gets more heated and intense. Mr. Foster keeps varying his sound or tone here, speeding up, twisting certain notes into odd shapes while Crawford and Sullivan both swirl their parts around one another in connected orbits. Foster switches to soprano sax on "Steps 4 & 5", the soprano and banjo sound great together as they play in a similar tonal range. Things become more exciting as the intensity and density increases on the final "Step". After an eruption in the early part of the piece, things calm down to a more restrained section. What's interesting here is that this trio have invented their own sound/terrain, hence once you or I adjust, we land in a familiar free organic space. - Bruce Lee Gallanter, DMG
CD $13
ANAT FORT with STEVE CARDENAS / GARY WANG / MATT WILSON - The Dreamworld of Paul Motian (Sunnyside Communications SSC 1780; USA) Featuring Anat Fort on piano, Steve Cardenas on guitar, Gary Wang on bass and Matt Wilson on drums. Israeli-born pianist Anat Fort has been living in NY since 1996 and has a half dozen records out (3 on Sunnyside & 3 on ECM). Ms Fort is a longtime admirer of the music of the late Paul Motian, having checked out his different bands and eventually working with him. Ms. Fort decided to do a tribute to Paul Motian, covering his songs here, a few of which have never been recorded. Ms. Fort organized a formidable quartet for this date with Steve Cardenas (a member of Motian's band) on guitar, bassist Gary Wang (longtime members of Ms. Fort's trio) and Matt Wilson (one of Downtown's best bandleaders & composers) on drums. Considering that Mr. Motian recorded nearly 100 records in his long career, these songs come from varied groups and records.
"Dreamworld" opens and it seems like an appropriate title as the piece is solemn and dreamy, hushed and haunting. Mr. Fort (on piano) and Mr. Cardenas (on guitar) play quietly together, like two ghosts waltzing slowly together. "Mumbo Jumbo" was recorded by Mr. Motian several times with different bands. The somber melody sways softly with Cardenas taking a subtle, tasty Frisell-like solo. "Yallah" is rather waltz-like and has an exquisite melody at the center. "Riff Raff" has the piano and guitar speeding up together, spinning quick lines at a low volume with dynamic, sweeping playing by the guitar and piano together. "Tacho" is actually a lovely spoken word piece about an odd character who Paul Motian knew and revered. The piece is most poignant musically and word-wise. "Prairie Avenue Cowboy" has an elegant, playful melody which made me smile: tasty, touching, infectious. "It Should've Happened a Long Time Ago" is also the title of one the Paul Motian trio records on ECM. I recently caught the Steve Cardenas Trio (with Benn Allison & Allan Mednard) at I-Beam and was knocked out by their set, especially Cardenas superb guitar playing. Mr. Cardenas is one of the best under-recognized jazz guitarists in NYC. His playing here is consistently inventive yet often subtle and tasteful. "Byablue" is the title of a Keith Jarrett album that Mr. Motian played on. It is also a unique, quirky song with fascinating interplay between the guitar and piano and is a strong feature for Matt Wilson's inspired drumming. "Arabesque" is another Motian song that he did on several albums as well as being on a few Motian tribute discs. The song has a lovely yet sad melody and reminds me of a woman I once knew who I am no longer in touch with. The guitar and piano shimmer together creating a tranquil, quaint, solemn vibe. The title of this disc, "Dreamworld" seems most appropriate since it does have a dreamy undercurrent which flows or floats like a dream inside our collective minds. - Bruce Lee Gallanter, DMG
CD $14
ALEXANDER HAWKINS & TAYLOR HO BYNUM - A Near Permanent State Of Wonder (Rogue Art 144CD; France) "Two great musicians, here under the tutelary figure of Bill Dixon, which does not prevent them from developing their own expression." I find that when one addresses oneself to the idea that improvisation is composition, things about life become much clearer and begin to make more sense.” – Bill Dixon, Nov. 1971
CD $16
EXTRAORDINARY POPULAR DELUSIONS with ER WILKERSON, JR. / MARS WILLIAMS / JIM BAKER / BRIAN SANDSTROM / STEVE HUNT / et al - The Last Quintet (CorbettVsDempsey 123CD; USA) Two decades ago, an all-star assembly of Chicago improvisers started a new band, drawing its name from an 1841 book by Charles Mackay: Extraordinary Popular Delusions. With weekly gigs at a spot in Chicago called Hotti Biscotti, Jim Baker, Mars Williams, Brian Sandstrom, and Steve Hunt honed their sound, which could be ferocious or nerdy or diffuse, as they moment required. After a couple years, the quartet moved to a regular Monday session at Beat Kitchen, where they were the resident band for more than fifteen years. Williams was from time to time called away on tour, frequently enough that the band invited another horn player, the venerable Edward Wilkerson Jr., to substitute. This inevitably led to quintet convenings with both Williams and Wilkerson, the likes of which are now legend. Without question, although they have only released two previous records, EPD is one of the signal ensembles of Chicago creative music. Mars Williams (1955-2023) had been diagnosed with late-stage cancer when EPD booked a concert at Elastic Arts Foundation at the end of August, 2023. Williams, who lived less than three months more, was on the bill. Nobody expected him to play the way he did. More than an honorary appearance, this was Mars at the top of his game, playing, as it were, for his life. With Sandstrom switching between bass, trumpet, and electric guitar, Wilkerson doubling on saxophone and clarinet as well as oud and didgeridoo, Baker on ARP synthesizer and piano as well as violin, and Hunt on all sorts of percussion, Williams' table of toys and his blazing soprano, alto, and tenor saxophones were in perfect company -- a band that could freely improvise open structures and instantly compose unforeseen suites, while maintaining a level of intensity and intrigue on par with the saxophonist's mastery. Long term relationships extending outside this group, including those with NRG Ensemble, Mars Williams' Ayler Xmas projects, as well as a variety of ad hoc and shorter-lived amalgamations, made this one of the most fertile environments for these players, and this final quintet bore the marks of a classic concert. Which it was. Fortunately, Dave Zuchowski was there to brilliantly document it in all its two-set glory. Corbett vs. Dempsey is pleased to present the entire concert on two CDs, as the fourth installment of CvsD's Mars Archive series, with a cover painting by Timothy Howe.
2 CD Set $18
STEVE MACLEAN - Prime (ReR Megacorp SM8; UK) "A collection of new pieces that range across media and genres, mostly exploring prime numbers and the overtone series and featuring various guitars, a grand piano (played and remote-controlled), a quiet drum station, tube bells, assorted percussion, an amplified wire with an Echoplex, a modular synthesizer system -- and Moog, Roland, Korg and Smith synths. Also featuring bassoon, five-string bass and drums on various tracks. There are tuneful polyrhythmic compositions, timbre-based works, atmospheric meditations, film-music and some exquisite manipulations of sound. This is Steve's ninth CD on ReR Megacorp and in some ways usefully bridges the wide variety of styles and media that have marked his compositions to date. Meticulously produced and mastered. A retired Professor in the Electronic Production and Design Dept at Berklee College of Music, Steve MacLean is a guitarist, composer, producer, and engineer, he has been evolving with music technology since the early '80s, when he worked in a New York City recording studio and had hands-on with early versions of the Fairlight CMI, DX-7, Linn Drum, mixing consoles and digital audio samplers. Later, he founded his own recording and production studio and produced/engineered hundreds of artists and numerous award- winning projects including scores for over two hundred commercials and soundtracks as well as a constant artistic output of his own works. An active performer and composer for over 35 years, including numerous concerts with Roswell Rudd, Chris Cutler, MeRCy, Steve MacLean Ensemble and a host of Boston-based improvisers, Steve was co-founder of the Portland Experimental Music Collective, has performed original compositions at numerous new music festivals, including several pieces for New Music Across America and similar events. An innovator in the new music circuit, he was curator for a series of concerts '2001 New Music Odyssey,' and continues to release recordings internationally on ReR Megacorp and others."
CD $15
STEVE MACLEAN - Box Of Seven (ReR Megacorp SMB1; UK) "To encourage you, here are seven CDs for the price of two: Frog, Bug, Guitar, Computer (featuring what it says in the title); Prime; GPS (Steve MacLean Ensemble's final CD), Year of the Dragon, (featuring Chris Cutler); Bridges (double CD) and Ordinary Objects and Other Distractions (musical manipulations of toys and everyday objects) -- PLUS the great-and-long-out-of-print Radial Circuit (polyrhythmic instrumental band compositions) -- in a sturdy box. Steve MacLean is a musician, composer, producer, and engineer known for his work with music technology, particularly in the early 1980s. He is also a professor in the Electronic Production and Design department at Berklee College of Music (retired). Early in his career, MacLean gained experience with early digital audio and music production tools like the Fairlight CMI, DX-7, Linn Drum, and automated mixing consoles in a NYC recording studio. He has been actively performing and composing for over 30 years. Briefly a member of Nick Didkovsky's Dr Nerve, MacLean then co-founded the Portland Experimental Music Collective, formed his own quartet (with Tim Inman on keyboards, Jim McGirr on bass, and Dave Fields on drums) and released the all-instrumental album The Opposite of War (ReR, 1999). The lively chamber jazz-rock music of Windows Pt 2 and Windows Pt 1 is modulated by a frenzy of tempo shifts, with more than a hint of Frank Zappa's influence. The other tracks, notably 'Branches,' walk a fine line between lounge music, minimalist repetition, neoclassical passages, and exotic rhythms. The double-CD Bridges (2007) compiles works spanning two decades and several styles, from the mechanic ballet No Jazz (1989) to the King Crimsonian prog rock of One Little Life (2001). Its second disc, devoted to electronic experiments, runs the gamut from ambient music to musique concrete."
7 CD Set $40
LEGENDARY PINK DOTS - Apparition (Klanggalerie GG516; EEC) The Legendary Pink Dots are an Anglo-Dutch experimental rock band formed in London in August 1980. In 1984 the band moved to Amsterdam, playing with rotating musicians and having, as core members, singer/songwriter/keyboardist Edward Ka-Spel and keyboardist Phil Knight aka The Silverman. The band was originally called "One Day..." but subsequently changed the name to The Legendary Pink Dots, apparently inspired by pink dots on certain keys of the band's main recording studio piano. In the 1980s the band released albums on Mirrodot and In Phaze; in 1985 they signed with Play It Again Sam for the release of The Lovers. Their music touches on elements of neo-psychedelia, ambient music, electronic music, tape music, industrial, psychedelic folk, synthpop, post-punk, progressive, jazz, noise, pop, and goth rock, with a distinctly experimental/avant-garde bent; their sound has evolved over time and remains distinctive, making it difficult to place the group into a concise style or genre. The group's overall sound combined with Ka-Spel's distinct lyrics and singing have earned comparisons to Pink Floyd and Syd Barrett; the group also has links to the sounds of krautrock bands such as Can, Faust, Brainticket, Magma or Neu! Apparition originally came out in 1982, the same year as their album Brighter Now. The first edition was a cassette only on the band's own Ding Dong label. In 2013 it came out as a limited edition CDR, this 2025 release now being the first ever proper CD release. It has been carefully remastered by Edward Ka-Spel and includes bonus tracks not on the original album.
CD $18
BLAINE L. REININGER - Nine Times (Klanggalerie GG 504CD; Austria) "Blaine L. Reininger needs no special introduction. He is an American post-punk, new-wave and alternative pop singer, songwriter, musician, multi-instrumentalist (particularly violin), writer and performer. He is known for being a member of the group Tuxedomoon since 1977 after co-founding it with Steven Brown and, latterly, for a notable music and theatre career, both as a soloist and contributor to other artists' recordings, including The Durutti Column, Snakefinger, Anna Domino, Savage Republic or Paul Haig. After learning the violin and guitar during childhood and studying music theory in San Francisco, Reininger formed with the band Tuxedomoon with composer, singer, musician and college-mate Steven Brown and appeared on early albums such as Half Mute, Desire and Suite En Sous-Sol before departing early in 1983 to pursue a solo career. He permanently rejoined Tuxedomoon in 1988 and has subsequently appeared on more recent recordings such as 'Vapour Trails,' issued in 2007 by independent label Crammed Discs. Nine Times is Blaine's all-new album, following up Ghost Festival on Klanggalerie. Like its predecessor, it is a mix of classic Reininger songs and pieces of a more experimental nature."
CD $19
WYNONIE HARRIS - Rocks (Bear family CD17746; Germany) Bear Family Records dedicates a complete CD album to 'Mr. Blues' full of echoes to his issues of the time - alcohol, women, gambling joints - in our 'Rocks' series. -Fantastic original rhythm 'n' blues from the late 1940s and early '50s, recorded at King Studios in Cincinnati. -Classics of the genre such as Good Rockin' Tonight, Lollipop Mama or the mischievous Good Morning Judge - Harris created some of the best R&B smashes ever. -Accompanied by a line-up of the best musicians of his era, including Red Prysock, Wynonie Harris rocks like mad on this excellent compilation by Nico Feuerbach. -The liner notes by our Chicago rock expert Bill Dahl shed light on the background of rhythm 'n' blues and the life story of 'Mr. Blues'. Of all the studly blues shouters whose raucous wails in front of jumping, sax-leavened combos provided a vivid blueprint for the rise of rock and roll, none inhabited the role any more enthusiastically than Wynonie Harris. Mr. Blues, as he was known from coast to coast, sang about a world that he knew well, filled with booze, women, gambling, and all manner of sleazy escapades guaranteed to heartily resonate with his massive fan base during the late 1940s and early '50s. Wynonie's rafter-rattling hits for Syd Nathan's Cincinnati-based King Records provide many of the highlights on Bear Family's blistering compilation 'Wynonie Harris Rocks,' led by his '48 R&B chart-topper Good Rockin' Tonight and his similarly rafter-rattling Lollipop Mama, All She Wants To Do Is Rock, I Want My Fanny Brown, Sittin' On It All The Time, Good Morning Judge, and Bloodshot Eyes. Just as potent were Wynonie's mighty houserockers Quiet Whiskey, Bite Again, Bite Again, Shake That Thing, Git With The Grits, and the aptly titled Rock Mr. Blues. Harris' slightly hoarse, frequently leering vocal delivery was as distinctive as it was instantly recognizable; if not for Wynonie and his leather-lunged compatriots, rock and roll might never have happened at all!
CD $22
BOOK SHOP:
IAN THOMPSON - Synths, Sax, & Situationists: The French Musical Underground 1968-1978 (Roundtable Books 9780645492804; USA) 498 pages. At the dawn of the '70s, in a country still reeling from the aftershocks of World War 2, an underground movement of rock musicians resolved to tear it all up and start again. Welcome to France, 1968. Music fans in the English-speaking world are well-versed in the Krautrock scene springing up across the border in Germany, but they are almost totally unaware of the French musical underground. There the radicalism of May '68 collided with the counterculture, post-psychedelic rock, and free jazz to produce some of the most distinctive and vital music made anywhere in the '70s. Synths, Sax & Situationists tells the story of more famous bands like Magma, Etron Fou Leloublan, and Gong alongside almost-forgotten groups like Cheval Fou, Fille Qui Mousse, and Barricade. Forewords from Jean-Jacques Birgé and Steven Stapleton. Also, includes coverage on Lard Free, Red Noise, Maajun, Komintern, Dagon, Bananamoon, Ame Son, Crium Delirium, Clearlight (and Delired Cameleon Family), Moving Gelatine Plates, Contrepoint, Camizole, Jac Berrocal, Birgé Gorgé Shiroc, Philippe Besombes, Heldon, and Ilitch.
Book $33
SOLD OUT LAST MONTH, BACK IN STOCK NOW:
JIMMY LYONS with KAREN BORCA / HAYES BURNETT / HENRY LETCHER / SYD SMART - Rivbea Live! Series, Volume 3 (NoBusiness NBCD 178; Lithuania) Featuring Jimmy Lyons on alto sax, Karen Borca on bassoon (track 1), Hayes Burnett on bass, Henry Letcher (track 1) or Syd Smart (track 2) on drums. Of the great musicians who passed through the different ensembles led by master pianist Cecil Taylor, Jimmy Lyons worked with Mr. Taylor from 1963 until his passing in 1986. As a leader or co-leader, Jimmy Lyons recorded around a dozen discs aside from a long out-of-print 5 CD box set released on Ayler Records in 2003. Since then there has been only 1 release by drummer Paul Murphy (on Cadence Jazz) which features Jimmy Lyons on alto sax. Until now. Thanks to the ongoing Rivbea (Studio) Live! Series on the NoBusiness Records label, this great unreleased session is finally seeing the light of day. It is a joyous occasion for all of us Free/Jazz fan addicts! This disc features two long pieces from two sessions in May on 1974 and June of 1976. The first piece, “After You Left” features Karen Borca (Lyon’s wife at the time) on bassoon, Hayes Burnett on bass and Henry Letcher on drums. Mr. Burnett played with the Sun Ra Arkestra (1976-1982). “After You Left” begins with Mr. Lyons and Ms. Borca playing the opening theme together at a moderate pace with the rhythm team weaving around them. The tempo increases to a more furious pace as Mr. Lyons takes a long, intense and at times frenetic solo. The rhythm team matches Lyons long, sprawling lines. Lyons often sounds like he is playing his own bebop-like zigzagging lines, occasionally grabbing a note and then twisting it before launching into a series of frenzied lines. After Lyons’ long solo, the quartet play the theme again before Ms. Borca also takes a long, inspired and inventive solo. Although the bassoon is better known as a classical instrument, Ms. Borca pushed things further out, pushing the limits of her tricky double reed instrument. This is a formidable organic quartet that works well together as one united force moving in waves. The second piece is a trio effort with Lyons, Burnett and the great Boston-based drummer Syd Smart. Mr. Smart is an especially great, inventive drummer who has worked with Sam Rivers, Raphe Malik & more recently Leap of Faith. This is an amazing, powerful, free flowing trio and they are burning fiercely on this long piece. This disc and this music is like Manna from Free Jazz Heaven! - Bruce Lee Gallanter, DMG
CD $16
DAVE BURRELL / SAM WOODYARD - The Lost Session, Paris 1979 (NoBusiness NBCD 177; Lithuania) Featuring Dave Burrell on piano and Sam Woodyard on drums, recorded in Paris in August of 1979, 46 years ago this month. The first time I heard pianist Dave Burrell play live was at Ali’s Alley around 1975 when Mr. Burrell was playing with Sunny Murray’s Untouchable Factor. The other players were Byard Lancaster on sax, Cameron Brown on bass, Mr. Burrell on piano and Sunny Murray on drums. I recall that I felt that this was the most outside (a/k/a free) music that I had heard and was completely mystified by it, especially Sunny Murray’s strange drumming. I’ve caught Mr. Burrell more than a dozen times live ever since and have collected his catalogue. Mr. Burrell is a rare jazz pianist that can play totally outside and completely inside, from ragtime to boogie woogie to hard swinging to free beyond words. This is a completely unique session featuring Burrell on piano and former Duke Ellington drummer, Sam Woodyard, who was living in Paris at the time. The duo played together for a few months in a club called Campagne Premiere. The music was composed by Mr. Burrell and his partner Monika and was created as an opera known as ‘Windward Passages’. The duo session was at the club where they were playing and was supposed to have been released on Horo Records, but was never released until now. A solo piano version was recorded and released by Hat Hut Records. This session features pieces from the opera as well as a few standards by Billy Strayhorn, Duke Ellington and George Gershwin. “On a Saturday Night” opens and sounds like a history of jazz, moving seamlessly through different eras. The balance, warmth and respect that flows between both of these musicians is marvelous. I heard snippets of assorted melodies which keep changing as the piece evolves. “A.M. Rag” is an uptempo ragtime piece, the groove and/or tempo is most infectious. Strayhorn’s gem “Lush Life” is performed most elegantly with Mr. Burrell’s hands sweeping over the piano like the angels playing harp in the heavens. “Punaluu Peter” sounds like an ancient jazz song which reaches back before bebop took over (around 1945), it speeds up in the second half, unexpectedly switching direction yet somehow sounds somewhat modern or at least contemporary. “Sarah’s Lament” is actually startling with some explosive piano passages by Burrell which fit within the other twists and turns in direction. I’ve heard several versions of Gershwin’s “Embraceable You” over the years, mostly by jazz singers like Billie Holiday, Sarah Vaughn or Chet Baker. This version is most sublime, with some enchanting waves played by Burrell. “Black Robert” sounds rather familiar, like a theme from an old movie with the Keystone Cops running wildly through the streets. This ends with Duke Ellington’s classic “Sophisticated Lady”, a lovely way to conclude this wonderful dynamic duo disc. - Bruce Lee Gallanter, DMG
CD $16
MISHA MENGELBERG / SABU TOYOZUMI - The Analects Of Confucius (NoBusiness NBCD 175; Lithuania) Recorded live at Aoshima Hall in Shizuoka City, Japan, on October 21, 2000, this is not the first meeting of Mengelberg and Toyozumi on record. Their earlier collaboration, The Untrammeled Traveler (Chap Chap, 2013), captured a 1994 performance and already hinted at the extraordinary chemistry between them. A participant in the Fluxus art movement—like Peter Brötzmann and Ryoko Ono—Mengelberg was known for his mischievous intellect and deep roots in jazz history. His music channels Thelonious Monk and Duke Ellington through a deconstructed, often playful, Cecil Taylor-esque lens. The concert opens with the nearly 40-minute "My Guru MM," an expansive, ever-shifting soundscape. The first two minutes are a whimsical dance of piano flourishes, cymbal strikes and buzzing brushwork. Mengelberg then steps aside, leaving Toyozumi to solo for nearly 14 minutes—a tribute as much as an improvisational exploration. When the pianist returns, playing spare and deliberate phrases, Toyozumi responds with bursts of speed and sudden accents, spurring Mengelberg into motion. "Song for AMY" is a brief, introspective solo piano piece that elegantly blends Monk-like angularity with hints of classical formalism. The duo reconvenes for "teremakashi to forest of KEYAGU," perhaps the performance's most dynamic exchange. Here, they channel the wild, often humorous energy of Mengelberg's longstanding duo with Han Bennink. The piece begins as a percussive skirmish, slips into a blues motif, shapeshifts into a folk melody, then unravels into a free-form march. Their encore—an abbreviated take on Monk's "Off Minor"—is a fitting closer. True to form, they disassemble the composition not with irreverence but with care, preserving its contours and tonal fragments, treating them as raw materials for a final, joyous musical dance. The Analects of Confucius captures two master improvisers in dialogue, fusing intellect and instinct, history and innovation, chaos and structure—all in real time. It is a fascinating addition to the ongoing excavation of the global free jazz underground. - Mark Corroto, AllAboutJazz
CD $16
LP SECTION:
THE CONTEMPORARY JAZZ QUINTET - Action A, B, C, E (Formalibera 3FFTCJQ179; Italy) It all started in 1958, when Hugh Steinmetz played trumpet in the school band and got in contact with Christian Mouritzen, a 19-year-old blacksmith who played alto saxophone and would soon change his name into Franz Beckerlee. They were soon joined by young bass player Steffen Andersen. By January 1962 they entered the scene at the Vingaarden club in central Copenhagen where, together with John Tchicai, they had the groundbreaking experience of hearing Cecil Taylor, Sunny Murray, and Albert Ayler. The next step was to enter the scene in the more international Montmartre Jazzhouse. Monday night was "avantgarde night" and The Beckerlee Quartet (still in their late teens) accepted the offer to play for an hour and therefore got the chance to further develop their music. It was there that they came into contact with The New York Contemporary Five -- Don Cherry, Archie Shepp, John Tchicai, Don Moore, and J.C. Moses. Before The New York Contemporary Five left Scandinavia in November 1963, they collaborated with The Beckerlee Quartet for a broadcast on Danish Radio. The gifted drummer Sunny Murray, an inspiring force for the Beckerlee group, was hired in 1964 to play on Action, their first LP, issued the following year by the legendary Debut Records. It was at that time that they changed their name to The Contemporary Jazz Quartet. Action has come to be regarded by many as one of the most important early accomplishments in European free improvisation. It was at this time that members of The Contemporary Jazz Quartet were invited to perform with David Tudor and Michael von Biehl in Charlottenborg, a very important place for the avant-garde in music and visual arts. The group would eventually shift again in membership and become The Contemporary Jazz Quintet, featuring Bo Thrige Andersen, Franz Beckerlee, Hugh Steinmetz, Niels Harrit, and Steffen Andersen, and enter the studio in 1967 to record what would have been the follow up to Action, intended to be also issued by Debut. As a fascinating illumination of the moment, particularly because it predates Miles Davis' revolutionary innovation of electric jazz by roughly a year, new innovations in amplification during that moment that the band began to observe in rock music, provoked them to abandon that album and begin again, eventually producing the LP T.C.J.Q. in 1969, which featured two electrified saxophones, as well as amplified trumpet and double-bass, relinquishing their previous recordings, unreleased, to the vaults. It is those incredible, lost 1967 recordings made by The Contemporary Jazz Quintet, unearthed for the first time in nearly 60 years, that comprise Action A B C E, FormalIbera's new LP dedicated to the group. Includes an insert with liner notes by Mats Gustaffson and Anna-Lise Malmros.
LP $28
FUJIIIIIIIIIIITA - Live at Epsilon Spires (Feeding Tube Records FTR 717LP; USA) "Feeding Tube Records is excited to present the first North American release by this amazing Japanese sound artist. Yosuke Fujita goes by the name FUJI|||||||||||TA, perhaps so he won't be mistaken for the guitarist of the same name who plays with Better Days, or perhaps because he just likes to hear people try to figure out how to say, 'FUJI|||||||||||TA,' properly. Either way, FUJI|||||||||||TA is a wonderful avant-garde project that has been active for almost two decades. In its current iteration, performances involve spontaneous compositions on a mutant pipe organ which is operated by air pumps rather than keys. Using a variety of gestural means to create the long tones that are the basis of his work, FUJI|||||||||||TA's performances (such as this one at an old church in Brattleboro VT) have a choreographic element to match the sonics. As an element for this live session (the first he has released), the artist was also able to weave in sounds from Epsilon Spire's own 1906 3' manual Estey pipe organ. The sonic mix is both organic and ghostly. The process by which FUJI|||||||||||TA works has a deeply spiritual quality that blends seamlessly with instrumental sounds sometimes recalling Charlemagne Palestine at his most oceanic. When FUJI|||||||||||TA adds vocals, things get even better. Sometimes using a technique where he pushes himself to a place where he utters sounds that are beyond his actual range, at others singing long wordless passages with prayer-like qualities, the music is beyond easy description. There are three tracks on the LP, each with a slightly different instrumental approach, but all of a piece. The first has both FUJI|||||||||||TA's mutant organ as well as the church's. The second features the church organ and voice. The third is a church organ and a Japanese free reed instrument called a shõ. Some parts have a single drone line, others commingle multiple sources for extra pleasure. But the entire album is something like waking up in the middle of a very strange and beautiful dream, not exactly certain where you are or even who you are, just drifting on clouds of serendipitous sounds. All we can say is, 'dream on.'" -- Byron Coley, 2025
LP $30
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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 BLGallanter@gmail.com
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THE STONE RESIDENCIES - TREVOR DUNN - AUG 27-30
8/27 Wednesday
8:30 pm - HANNAH HÖCH TRIO
Webb Crawford (guitar) Chris Corsano (drums) Trevor Dunn (bass)
8/28 Thursday
8:30 pm - JOSEPH BEUYS TRIO
Alex Koi (voice) Sae Hashimoto (percussion) Trevor Dunn (bass)
8/29 Friday
8 pm - DIETER ROTH SOLO
Trevor Dunn (bass)
8/30 Saturday
8:30 pm - SOPHIE TAEUBER-ARP QUINTET - Laura Ortman (violin) C. Spencer Yeh (violin) Jessica Pavone (viola) Lester St. Louis (cello) Trevor Dunn (bass)
THE STONE RESIDENCIES / CAROLINE DAVIS / SEPT 3-6
9/3 Wednesday
8:30 pm - TRIO
Caroline Davis (alto sax, electronics) Chris Tordini (bass) Savannah Harris (drums)
9/4 Thursday
8:30 pm - TRIO - Caroline Davis (saxophone, electronics) A Space for Sound aka Rena Anakwe (tape machines, electronics, tank drums, voice) Rajna Swaminathan (mridangam)
9/5 Friday
8:30 pm - DUO - Caroline Davis (saxophone) Angelica Sanchez (piano)
9/6 Saturday
8:30 pm - QUINTET - Caroline Davis (saxophone, flute) Mazz Swift (violin) Josh Henderson (violin) Jessica Pavone (viola) Tomeka Reid (cello)
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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September 5, 2025
Musicians For Musicians Celebrates 10 Years of Music Advocacy with Star-Studded Performance Event at The Cutting Room
Musicians ForMusicians (MFM), a nonprofit association advocating for the rights, recognition, and fair pay of freelance and independent musicians, proudly announces its 10-Year Anniversary Celebration on Friday, September 5, at The Cutting Room in New York City. This special event kicks off at 9:00 p.m., with musical performances starting at 9:30 p.m.; tickets are free for MFM members, and $20 for non-members.
Buy ticket here: https://mfmassociation.thrivecart.com/mfm-anniversary/
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THE FESTIVAL OF NEW TRUMPET will take place from September 5th to 12th:
FONT Music will once again feature exclusive online premieres, debuting on the festival’s opening day, allowing global audiences to experience cutting-edge trumpet music from wherever they are. These virtual sets extend FONT’s mission beyond New York City, amplifying bold new voices and innovative collaborations from across the globe.
The artists featured in Brass Without Borders 2025 are:
Friday, September 5th:
7:00 PM – Dave Douglas Alloy
Dave Douglas, trumpet • Dave Adewumi, trumpet • Alexandra Ridout, trumpet • Sasha Berliner, vibraphone • Kate Pass, bass • Eliza Salem, drums
9:00 PM – Dave Adewumi’s Altus
Dave Adewumi, trumpet • Isaac Levien, bass • Nathan Reising, saxophones • Neta Raanan, saxophones • Ryan Sands, drums
The Jazz Gallery
1158 Broadway, 5th Floor, New York, NY 10001
jazzgallery.org
Saturday, September 6th:
7:00 PM – Dave Douglas Alloy
Dave Douglas, trumpet • Dave Adewumi, trumpet • Alexandra Ridout, trumpet • Sasha Berliner, vibraphone • Kate Pass, bass • Eliza Salem, drums
9:00 PM – Alexandra Ridout Quartet with Alexandra Ridout, trumpet • Yvonne Rogers, piano • Simón Willson, bass • David Sirkis, drums
The Jazz Gallery
1158 Broadway, 5th Floor, New York, NY 10001
jazzgallery.org
Sunday, September 7 – Birdland
5:30 PM – Grace Fox Big Band
Veronica Leahy, alto sax • Erena Terakubo, alto sax • Jade Elliott, tenor sax • Olivia Hughart, tenor sax • Noa Zebley, baritone sax • Summer Camargo, trumpet • Kellin Hanas, trumpet • Chloe Rowlands, trumpet • Janelle Finton, trumpet • Mariel Bildsten, trombone • Laura Orzehoski, trombone • Deb Smith, trombone • Becca Patterson, bass trombone • Naomi Nakanishi, piano • Anna Abondolo, bass • Eliza Salem, drums
Birdland Jazz Club
315 W 44th St, New York, NY 10036
birdlandjazz.com
Monday, September 8 – Nublu
7:00–10:00 PM – 3 Valves & The Truth at Nublu:
Frank London’s Conspiracy Brass w/ special guest Caylie Davis
A night of trumpet music dedicated to Herb Robertson, Butch Morris, Lester Bowie, and Don Cherry.
Frank London, trumpet • Josh Roseman, trombone • Marcus Rojas, tuba • Reggie Nicholson, drums • Caylie Davis, trumpet
Steven Bernstein’s ResoNation Trio with Steven Bernstein, trumpet • Scott Colley, bass • Tom Rainey, drums
Nublu - 151 Avenue C, New York, NY 10009 (between 9th & 10th Streets)
nublu.net
Tuesday, September 9 – The New School - Tribute to BILL DIXON
2:00 PM – Bill Dixon’s Index: Centennial Celebration and Score Reading Directed by Taylor Ho Bynum who leads a brass-heavy ensemble through Index, Bill Dixon’s rarely performed orchestral work. Includes lecture, demonstration, and live performance.
The New School, Theresa Lang Community and Student Center
Arnhold Hall, room i202
55 West 13th Street, New York, NY 10011 - newschool.edu
Wednesday, September 10 – Public Records: Michael Sarian & ALLISON PHILIPS:
7:30 PM – Michael Sarian’s ESQUINA - Michael Sarian, trumpet/fx • Santiago Leibson, keys • Marty Kenney, electric bass • Nathan Ellman-Bell, drums
9:00 PM – Palmedo Philips - with Allison Philips, trumpet/electronics • Tree Palmedo, trumpet/electronics
Public Records
233 Butler St, Brooklyn, NY 11217
publicrecords.org
Friday, September 12 – The Statuary: TEDD CHUBB / LEE HOGANS / TERELL STAFFORD:
7:00 PM – Gratified Never Satisfied: A Tribute to William B. Fielder - A celebration of the late trumpet master and educator William B. Fielder, whose legacy shaped generations of modern trumpeters. The evening features three of his musical heirs:
7:00 PM – Ted Chubb Quintet - Ted Chubb (trumpet), Bruce Williams (alto sax), Oscar Perez (piano), Tom DiCarlo (bass), Jerome Jennings (drums)
8:00 PM – Lee Hogans & Pursuance - Lee Hogans (trumpet), Jesse Fischer (piano/Fender Rhodes), Liany Mateo (bass), Jerome Jennings (drums)
9:00 PM – Terell Stafford Quintet
Terell Stafford (trumpet), Tim Warfield (saxophone), Bruce Barth (piano), Graham Kozak (bass), Justin Faulkner (drums)
This special event honors legendary trumpet educator William B. Fielder, whose teachings shaped generations of trumpeters including all three featured artists. Suggested donation: $25.
Presented in partnership with The Statuary and FONT Music, with support from RiverviewJazz.org and the Jersey City Arts and Culture Trust Fund.
The Statuary - 53 Congress St, Jersey City, NJ 07307
thestatuary.org
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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=rgcxTkoIgQI
https://www.youtube.com/watch?v=xAWxt3EJSPw
https://www.youtube.com/watch?v=VcvoYygehqE
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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