DMG Newsletter for September 5th, 2025

She prepares her face at last
Taking off the piece of glass
Wrapped 'round her eyes
She doesn't cry
She's very young and very bright to die

Then so quickly she stands up
Takes her shoes off in a lump
She lays them down, lately she has drowned
Checks to see her room is neat
Making sure her clothes are clean
Dying, death in dirty clothing puts you down

Looking outward through my pain
Looking through my window pane
See her face turn into rain

Then so quickly she stand up
Crouches low, prepares to jump
Quite properly, pretends she's in gym shooting a basketball
Floating downward through the air
Remembering the state of her hair
She falls, and nobody hears it at all

Looking outward through my pain
Looking through my window pane
See her face turn into rain

Yes, as I look outward through the rain
It has washed her mind away
I went ahead and made my bed
Nothing really need by said
But she is dead

You can have it
'Cause I don't want it
If you want it
You can have it
I can't take it, I'm falling, I'm calling
Please, please, please, help me
Please, help me

One of the first singles I bought in 1966 was "Society's Child" by Janis Ian. The song was considered to be controversial since it discussed a troubling interracial relationship in which the narrator questions why society looks down upon so-called forbidden relationships. Janis Ian was only 15 when this, her first single, was released. It was even banned on many radio stations at the time. I still love that song and have always been moved by what some call "protest music". Ms. Ian's next single was equally compelling lyrically and was also released as a single with the lyrics printed above. Although Ms. Ian was considered to be a folkie, she went beyond those categories when she was in the recording studios. Check out the above song, it is beyond regular pigeonholing and its words are powerful: is the narrator considering suicide?!? The song is under three minutes long but it captures a unique feeling or vibe. I still love the first five albums that Ms. Ian produced and realized that most folks only know her later hit single, "At Seventeen". I once read Janis Ian's autobiography and found it to be a great story. In the mid-1060's most singles were under three minutes long but still captured a unique picture or observation of the world we were living in. Janis Ian is still around and I still search for and listen to her many different records. A toast to her and her unique body of work. - MC-BruceLee at DMG

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HAPPY BIRTHDAY TO JOHN ZORN!

   On Tuesday of this week (September 2nd) John Zorn turned 72. I first met Mr. Zorn in December of 1979 when he played a duo with Fred Frith at Studio Henry, a funky basement space at Morton & Bleecker Sts in the west village. Mr. Frith had moved to the east village when Henry Cow broke up in 1979. Frith was one of my music heroes as Henry Cow were/was one of my favorite progressive bands ever. Thanks to Mr. Frith, I soon was introduced to a number of early Downtown musicians like Eugene Chadbourne, Tom Cora, Polly Bradfield, Wayne Horvitz, Robin Holcomb, Lesli Dalaba, Elliott Sharp and others. When I first heard Mr. Zorn, he had a table with dozens of sax & clarinet mouthpieces, bird or game calls and a cup of water. He didn't assemble his sax completely and made strange sounds which I found confusing and somewhat ridiculous. Could this cat actually play the sax?? It took a year or so to realize that Mr. Zorn actually had developed his own style on sax, played bebop in a quartet and was composing game pieces which were unlike any other type of music that I had encountered before. I became a big fan of Mr. Zorn and the rest of the emerging Downtown Scene and many of us became longtime friends. I also recorded as many concerts as I could since documenting the scene became an important goal of mine. I ended up with around 4,000 cassettes & DAT's from 1975-2005, which are currently being downloaded into a hard-drive for future streaming.

   I have followed Mr. Zorn's progress ever since and continue to check out whatever he does on several artistic fronts. His musical/artistic empire is now quite vast. His current label Tzadik Records started in 1995 and has over 1,000 releases, perhaps a third of which feature Zorn's own music. Mr. Zorn had a three month exhibition of his artwork at the Drawing Center earlier this year, another one of his many talents that few knew about. Mr. Zorn also curates The Stone, a serious performance space at the New School, which has challenging music on Wednesdays through Saturdays each week, one set at 8:30 each night. Mr. Zorn has released a new CD practically every month for the past decade and is the most prolific composer that I've ever encountered. My store, DMG does the fulfillment for the Tzadik website so come visit if you want to purchase Tzadik or other Creative Music releases.

Mr. Zorn always does something special for his birthday month so there are three event this month:

1.JOHN ZORN's Cobra - at Roulette in Brooklyn, Wednesday, September 17th at 8pm. Zorn has composed 25 game pieces over 25 years and Cobra is the most popular one. In order to help understand the way the piece works, you must witness a live version. Both exciting to watch and challenging to play! You can purchase tickets here: https://ci.ovationtix.com/36368/performance/11675851?performanceId=11675851

2.'THE OCCULT HARRY SMITH' BOOK RELEASE EVENT – LIVE PERFORMANCE BY JOHN ZORN, IKUE MORI, JORGE ROEDER and CHES SMITH - At Anthology Film Archive, 32 Second Avenue New York, NY 10003; Thursday, September 18th at 7:30 - to purchase tickets: https://ticketing.uswest.veezi.com/purchase/4686?siteToken=bsrxtagjxmgh2qy0b6p646xdcr

3.THE NEW MASADA QUARTET with JOHN ZORN, JULIAN LAGE, JORGE ROEDER & KENNY WOLLESEN will be playing for a week at the Village Vanguard (178 Seventh Ave South, NYC) from September 23rd - 28th, 2 sets per night at 8 & 10pm. Tickets at: https://vv.squadup.com/artists/john-zorn-new-masada-quartet I've caught this quartet a half dozen times live so far and they are the best avant/electric jazz band on the planet! I mean this most sincerely, the New Masada Quartet rule! - Bruce Lee Gallanter at Downtown Music Gallery

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THE DMG 34th ANNIVERSARY IN-STORE CONCERT CELEBRATION CONTINUES with:

Tuesday, September 9th:
6:30: PATRICK GOLDEN - Drums / MATT HOLLENBERG - Guitar / RICK PARKER - Trombone - Electronics
7:30: DAVE MILLER - Solo Drums
8:30: JOHNNY BUTLER - Sax / ALEX OLIVA and ANNIE WHITE - Dancers

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

Saturday, September 20th: The Gauci-Music Series continues with:
6:30: RAINER JANCAS - Guitar / TIM DAHL - Electric bass / KEVIN SHEA - Drums
7:30: STEPHEN GAUCI - Tenor Sax - Flute - Clarinet / SANDY EWEN - Prepared Guitar
8:30: TJ BORDEN - Cello / GRANT BEALE - Guitar / LEMUEL MARC - Trumpet

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THIS WEEK'S SONIC TREASURES BEGIN WITH:

NED ROTHENBERG - Looms & Legends (Pyroclastic Records PR 41; USA) Featuring Ned Rothenberg on alto sax, B-flat & A clarinets and shakuhachi. I’ve been checking out reeds wiz Ned Rothenberg since first hearing him with a trio called Fall Mountain at Studio Henry around 1980. I had never seen & heard a solo sax set live before 1980 (except for Lol Coxhill in London in 1975) although I did have a few solo sax records from Anthony Braxton and Roscoe Mitchell. In the early eighties I did catch both Ned Rothenberg and John Zorn play solo sax sets at places like Studio Henry & Soundscape. I once book an evening of four solo sax sets at Soundscape with Gary Windo, George Bishop, Mr. Rothenberg and Mr. Zorn. Checking out several of Rothenberg’s and Zorn’s solo sax sets was often challenging and I learned to appreciate what they did. Over some 45 years, I’ve heard Mr. Rothenberg lead or co-lead several bands: the Double Band, the Semantics, Sync plus loads of great improv sets. As far as playing solo sax, Mr. Rothenberg has continued to evolve, releasing just a few solo reed efforts.
   Although it has been a  long while since his last solo effort, Mr. Rothenberg is back with a fine solo sax, clarinets & shakuhachi disc. Over the long haul, I’ve noticed that Ned has certain sounds and patterns that are part of his unique approach. The first piece, “Dance Alone” has Rothenberg spinning a continuous line, repeating certain notes while altering other notes as the pattern slowly changes. One of the things that Rothenberg does well is balancing between two different lines, one from the higher end (tonewise) and one from the lower end. On “Denali”, he sounds like he is playing certain notes backwards by fading in before a note is struck. Each of the 14 pieces was/are composed  by Ned with just one cover at the end. Each piece creates a different story or sets a different scene. On each piece, Rothenberg takes a different line or group of notes and repeats them as he alters different parts of those sounds, bending them in different ways. Some pierces evolve in unexpected ways. On “Bounding Not Binding”, Rothenberg jumps around, playing a few different fragments without really repeating anything over and over. I recall when certain customers of DMG claimed that they didn’t like or purchase solo instrumental efforts. I realize that I am a different sort of listener. Whether solo, duo, trio, quartet and up to orchestras, I often find that there is much more going on than one would imagine. I find each piece here to be interesting, thoughtfully created and carefully captured. The final piece is Monk’s classic “‘Round Midnight” played on a shakuhachi (Japanese bamboo flute).  The version of the song here is slowed down, most haunting and it has a forlorn sorta tone/vibe. It sounds like a perfect, righteous ending to a strong solo date. If you get a chance do check out Ned Rothenberg when he does a rare solo date in concert. If not, please check out this disc, a true gem, - Bruce Lee Gallanter, DMG
CD $15

ROBIN HOLCOMB / PEGGY LEE - Reno (Songlines 1637-2; Canada) Reno is the first recording of Seattle singer/songwriter/pianist Robin Holcomb's duo with Vancouver cellist Peggy Lee, which has been active for two decades. It features several of Robin's enigmatic songs but is mostly focused on fairly short instrumental pieces. The intimacy and improvisational creativity of their music-making is remarkable, as is the realism and beauty of the sound. This music is hard to classify - it reaches far beyond jazz. The soundworld and poetic vision of Holcomb's songs is linked to American folk music going back centuries, which she probes and references to reflect on the turbulent realities of today. Her pianism, notable for its unique harmonic language, and Lee's texturally gorgeous cello playing, combine a rigorous, contemporary classical focus with the freedom and the extended techniques of avant-jazz. The result is a highly expressive kind of modern art music that invites the listener into the conversation. As Meredith Monk has said about Robin, "Her music goes to the heart, to the bone and touches the soul."
CD $16

* JOHNNY BUTLER - Meet me in the Wayback Field (Hi Forehead Records 049; UK) Featuring Johnny Butler on tenor sax, effects, flute, Korg Prologue8 (synth) and this disc was recorded live while Mr. Butler was playing the sax and dancing at the same time. There are three dancers who perform for this disc: Alex Oliva, Annie White & Caleb Patterson. Brooklyn-based saxist, Johnny Butler, played here at DMG several years ago, playing solo sax while he danced with two different woman dancers. I recall it being a great set and unlike any other performance that we've had since the dancers movements were an integral part of what was going on. I didn't know anything else about Mr. Butler's background until I just looked at his profile on Discogs. It turns out that Butler has played with around a dozen different bands, mostly Brooklyn-based and none of whom (except for Afuche, a Cuneiform prog band), I've heard of before.
   I've been about the fact that: are there any other saxists who (dance) movements are integral to the music that is being created as well. I can't think of anybody else off hand. Right from the opening, Mr. Butler's sax is bathed in some sweeping echo effects which make him sound somewhat like a church organ. Mr. Butler's tone on "Prelude" is warm, hypnotic and drifting in waves. On "Swimming", it sounds like Butler is using a sequencer, rather like mid-period Tangerine Dream with somber, skeletal sax drifting on down. The synth is featured on several pieces and it gives this disc a most dreamy, pulsating sound. Often the synth and sax play together making waves which crash over and over. On "The New Old Piece", Butler's sax sounds bigger, warmer and more enchanting with sliding synth waves washing over it. Rather Krautrockish at times. Although this disc is mostly solo sax and synth, the music is not that avant. The sax is more often warm and inviting without having to play too hard or do any screaming or note bending. A most hypnotic delight. - Bruce Lee Gallanter, DMG    
CD $14

* JOHNNY BUTLER will be playing solo sax (with 2 dancers) here at DMG next week on September 9th at 8:30

MAGDA MAYAS and JIM DENLEY - One Another (Relative Pitch Records RPR 1218; USA) Featuring Magda Mayas on piano & objects and Jim Denley on flutes. I’ve had my eye on Berlin-based pianist Magda Mayas since her first disc was released in 2008. She has continued to work in assorted duos and trios with other improv greats like Tony Buck, Christine Abdelnour, John Butcher and many others. I've known Australian reeds wizard Jim Denley even longer, hearing him with Machines for Making Sense, Mural, the Trondheim & Splinter Orchestras. Mr. Denley played here at DMG on several occasions, once with Mural and more recently playing a unique solo bass flute set. His own recordings go back to 1980 while I first checked him out in the mid 1990's when he played a set at the first DMG location with Stevie Wishart. Both Ms. Mayas and Mr. Denley has worked at length with a variety of extended techniques. This disc/session was recorded at Tempe Jets in Gadigal County in Sydney, Australia in June of 2023. Both instruments appear to be close mic'd so we can hear the textures, timbres and subtle changes most carefully. Denley concentrates on ethereal long tones or drones while Ms. Mayas taps cautiously on the strings inside the piano. Both Mayas and Denley play slowly by concentrating on each note or sound. Ms. Mayas often plays mostly inside the piano, occasionally tapping out musical fragments on the keyboard. There is a good deal of suspense going on as the sounds both musicians make have a ghost-like sound, quite eerie and somewhat mysterious. As certain notes slide around, being bent into odd shapes, it is hard to tell who is doing which sounds. At times, it sounds like Mayas is bowing or rubbing the strings with an object although it is hard to determine exactly what is going on. The creaky sounds of a haunted house is what this sounds like at times with gusts of wind blowing through the shutters. It sounds like this duo is creating another strange world where we are all somewhat confused about what we are hearing. The more closely I listen to this disc, the  more fascinating it gets. I am often reminded of a spooky scene in a science fiction film where they coax a sinister effect through creative sounds. The music or overall sounds are consistently mesmerizing. A great way to take an inner journey to another world. - Bruce Lee Gallanter, DMG   
CD $13

KATIE PORTER - Conversation No. 1 / Collecting Rocks from the Places We've Been (Relative Pitch RPR SS048; USA) Featuring Katie Porter on bass clarinet & pre-recorded bass clarinet. Utah-based clarinetist Katie Porter has played here at DMG on a couple of occasions and has collaborated with composers & musicians like Michael Ranta, Peter Gordon, Lucio Capece and Michael Pisaro. For this disc she plays just bass clarinet plus adding pre-recorded parts as well. For a long time, Eric Dolphy & Benny Maupin were the most revered bass clarinetists on the New York scene (throughout the 1960's) but over the past decade, a number of fine bass clarinetists have arrived. Check out Chicago's Jason Stein to hear one the best bass clarinetists we have. Hence, solo bass clarinet releases are still pretty rare.
   This disc was recorded at Issue Project Room in February of 2024. None of the 14 pieces are named, they are just given numbers. The first piece consists of two mostly drones, one live and one previously recorded, one higher raspy toned and one lower bass-end tone. Ms. Porter slowly stretches the higher tone, twisting it by bending the reed carefully. The lower tone sounds like solemn feedback pulsating underneath. The lower end softly pulsating drone continues as Porter adds ghost-like phrases on top, a series of eerie sounds which are cautiously crafted and create odd harmonies for the bottom end drone which continues throughout. Ms. Porter concentrates on each note, stretching it in different ways so that the harmonies shift as changes to the tone of her bass clarinet. That bottom drone sounds like a foghorn which is throbbing in the distance. By track 6, Porter adds another, thicker bass clarinet drone underneath while adding shifting ghost-like harmonies on top. Both layers become richer in harmonic complexity as this piece/work evolves. The work seems to evolve organically since the drone sounds like it is breathing or perhaps pulsating the same way we do as we live and breathe. There is an ongoing solemn vibes which runs throughout this work, a ritualistic feeling as if we are in a church or synagogue praying together, surrounded by ancient ghosts or spirits. - Bruce Lee Gallanter, DMG    
CD $13

ALVIN LUCIER - Sferics/Music For Solo Performer (Lovely Music LCD 5013CD; USA) Restocked. 2009 release. Alvin Lucier on Sferics and Music For Solo Performer: "Sferics is the shortened term for atmospherics, natural radio-frequency emissions in the ionosphere, caused by electromagnetic energy radiated from nearby or distant lightning. . . . My interest in sferics goes back to 1967, when I discovered in the Brandeis University Library a disc recording of ionospheric sounds by astrophysicist Millett Morgan of Dartmouth College. I experimented with this material, processing it in various ways -- filtering, narrow band amplifying and phase-shifting -- but I was unhappy with the idea of altering natural sounds and uneasy about using someone else's material for my own purposes. I wanted to have the experience of listening to these sounds in real time and collecting them for myself. When Pauline Oliveros invited me to visit the music department at the University of California at San Diego a year later, I proposed a whistler recording project. Despite two weeks of extending antenna wire across most of the La Jolla landscape and wrestling with homemade battery-operated radio receivers, Pauline and I had nothing to show for our efforts. . . . Sferics was recorded by the composer on August 27, 1981, in Church Park, Colorado. The sound material was collected continuously from midnight to dawn with a pair of homemade antennas and a stereo cassette tape recorder. At regular intervals the antennas were repositioned in order to explore the directivity of the propagated signals and to shift the stereo field." "Music For Solo Performer was first performed on May 5, 1965 at the Rose Art Museum, Brandeis University, with the encouragement and participation of John Cage. I sat on a landing between the two floors of the museum, electrodes attached to my scalp. The mono output of the alpha amplifiers was routed to the inputs of eight home stereo amplifiers, the outputs of which were sent to 16 loudspeaker-percussion pairs deployed around the museum. During the course of the 40-minute performance Cage randomly raised and lowered the stereo amplifiers' volume controls channeling the alpha signal to various instruments around the room. . . . This recording of Music For Solo Performer was produced under the supervision of Wesleyan professor of music Ron Kuivila with the assistance of graduate students Ivan Naranjo and Phillip Schulze and undergraduate Forrest Leslie, at the Wesleyan University Experimental Music Studio, on December 8 and 9, 2007."
CD $14

KEIJI HAINO & SUMAC - Into This Juvenile Apocalypse Our Golden Blood To Pour Let Us Never (Thill Jockey 568CD; USA) Originally released in 2022. "Thrill Jockey Records presents Into This Juvenile Apocalypse Our Golden Blood To Pour Let Us Never, the third collaborative album by Japanese free music provocateur Keiji Haino and expressionist metal trio SUMAC. Into This Juvenile Apocalypse captures Haino and the three members of SUMAC live on stage, navigating a series of spontaneous compositions in front of an attentive audience, with no prior discussions or planning involving the direction of the music. All four participants agree that Into This Juvenile Apocalypse finds the quartet navigating the push-and-pull of creative interplay with bolder strides and stronger chemistry. Recorded on May 21, 2019, at the Astoria Hotel on Vancouver BC's notorious East Hastings Street as a one-off performance during a short North American tour for Haino, the six compositions comprising Into This Juvenile Apocalypse showcase a musical unit bouncing unfiltered ideas off of one another, mining a trove of textures and timbres from their armory to buoy and bolster these living and breathing pieces. Like so many albums documenting free music, the thrill here is in the tight rope walk, the wavering moments of uncertainty, and the ecstatic moments of shared brilliance. The album opens with 'When logic rises morality falls Logic and morality in Japanese are but one character different,' a pensive exploration of melody spearheaded by Aaron Turner's fractured arpeggiated guitar chords. Drummer Nick Yacyshyn and bassist Brian Cook step to the forefront on track two, 'A shredded coiled cable within this cable the sincerity could not be contained.' As with American Dollar Bill and Even For Just The Briefest Moment, Into This Juvenile Apocalypse Our Golden Blood To Pour Let Us Never is an unfiltered and undoctored document of a specific moment in time. There are equipment failures. There are ideas left dangling in the ether. There are the technical handicaps of recording in a dingy hotel dive bar in a bad neighborhood as opposed to the optimal acoustics of a proper recording studio. But there is also an electricity in the air, and a continuous sense of creative elation and goosebump-inducing inspiration. It's an hour-long exercise in seeking out happy accidents and reveling in the wreckage."
CD $16

JACK ROSE - Luck In The Valley (Thrill Jockey 229CD; USA) Originally released in 2010. "A native of Virginia and resident of Philadelphia since 1998, Jack Rose first rose to prominence with the drone/noise/folk unit, Pelt. Pelt can be counted among the early influential new music underground bands such as UN, No Neck Blues Band, Charalambides, Tower Recordings and Six Organs of Admittance. Rose recorded and toured with the band up until 2006. Rose released his first solo LP in 2002, Red Horse, White Mule, of post-Takoma, American primitive guitar. Along with the influences of John Fahey and Robbie Basho, Rose also incorporated North Indian classical, early American blues, bluegrass and minimalism into his singular style. Luck in the Valley is the third album in a set of recordings that Rose jokingly refers to as his 'Ditch Trilogy.' Rose continues his exploration of pre-war American music with a set brand new material featuring the Twigs, Jones, Harmonica Dan and Hans Chew along with a handful of solo pieces. This recording set out to capture the energy and feel of the classic three-track shack recordings by the Wray Brothers and Mordicai Jones. Luck In The Valley was written and recorded over a period of nine months off the road, an unusually long time for Rose to be at home and woodshedding. The album finds Rose employing new themes and techniques that haven't appeared on previous releases. Like all pre-war recordings and all of Rose's releases, this album was recorded live. It was not created using overdubs but rather by recording a few 'takes' and selecting the best performance out of those. Also Included in the set are three covers: 'St. Louis Blues,' 'Everybody Ought to Pray Sometime,' and 'West Coast Blues.' All of these pre-war classics are Rose's unique arrangements. The album title refers to the old red light section of St. Louis and was a code for procuring the services of a prostitute. An avid record collector with an encyclopedic knowledge of pre-war American music, Rose has been acknowledged as a rising star among contemporary guitar players. Luck in the Valley finds Rose at his best surrounded by like-minded friends on a recording that is enriched by a sense of history but entirely new, vibrant and warm."
CD $16 / LP $25

BILL ORCUTT / STEVE SHELLEY / ETHAN MILLER - Orcutt Shelley Miller (Silver Current SC 063CD; USA) "Orcutt Shelley Miller is an avant-rock trio comprised of three highly celebrated figures of experimental music: Bill Orcutt (Harry Pussy), Steve Shelley (Sonic Youth) and Ethan Miller (Howlin Rain, Comets On Fire). Following in the footsteps of the high-firing free jazz and European outer-rock bands of the '60s and '70s and the Pacific Rim's subterranean reimagining of 'rock' form in the '90s, Orcutt Shelley Miller utilize explosive group chemistry, focused intention and chance to pursue the creation of song in its rawest, purest form."
"The landscape Orcutt Shelley Miller inhabits lies deep in the stoner American bedrock, fed by volcanic riffage and hypnotic phrasing with rhythmic nods to the SoCal '60s and atonal slash piled on a mid '80s SST punk-fusionoid substrate, ultimately blasting a 'big rock statement' that treads the line between good times and blown minds." - Tom Carter
CD $17 / LP $28

ALBERT AYLER REAWAKENED with JUKKA ORMA / PEPA PAIVINEN / DIMITRI GRECHI ESPINOZA / VILLE RAUHALA / SIMO LAIHONEN - Albert Ayler ReAwakened (Eclipse Music 2024226; EEC) A remarkable ensemble of jazz innovators: Jukka Orma (guitar), Pepa Päivinen (saxophone), Dimitri Grechi Espinoza (saxophone), Ville Rauhala (bass) and Simo Laihonen (drums), grouped up for Albert Ayler Reawakened, a bold homage to the free-jazz pioneer Albert Ayler. With new arrangements and original compositions inspired by Ayler's avant-garde legacy, the ensemble offers a fresh and powerful reinterpretation of his work, fusing deep improvisation with dynamic creativity. While this is a truly collaborative project, it also brings together two prominent figures in Finnish music history. Guitarist Jukka Orma, known for his groundbreaking work in rock and experimental music, has long been a pivotal figure in the Finnish music scene with his genre-defying sound. Saxophonist Pepa Päivinen, a leading voice in the Finnish jazz scene, is celebrated for his exciting approach and fearless improvisation. Both artists have extensive histories in redefining the limits of jazz and contemporary music, and their collaboration with Espinoza, Rauhala and Laihonen creates an ensemble of seasoned musicians who each bring their unique voice to the table. Together, the ensemble taps into Ayler's spirit of freedom, chaos, and beauty, offering audiences an electrifying blend of modern creativity and a deep reverence for the pioneering free-jazz sound. Albert Ayler Reawakened reintroduces Ayler's music in a way that resonates both with the past and the present, inviting listeners into a rich, expressive soundscape.
CD $17

SAICOBAB with YOSHIMI O / YOSHIDA DAIKITI / AKITA GOLDMAN / MOTOYUKI HAHAMOTO - Sab Se Purani Bab (Thrill Jockey 445CD; USA) "SAICOBAB is the Japanese quartet of vocalist YoshimiO (Boredoms, OOIOO), Yoshida Daikiti (sitar), Akita Goldman (bass), and acclaimed in Japan Motoyuki "Hama" Hamamoto (percussion, gamelan). SAICOBAB masterfully blend traditional Indian music with melodies and unexpected rhythms using unorthodox instrumentation to create utterly distinct modern ragas. On their debut album Sab Se Purani Bab, YoshimiO's leaping, animated, affected vocal melodies dance fluidly through Daikiti's intricate sitar patterns. The entrancing synergy of Goldman and Hama's rhythmic pulse drives and shapes the aptly named SAICOBAB's sound to one that is at once rooted in ancient tradition, and wholly new. SAICO means 'the most ancient,' and 'BAB' stands for 'baby' in Japanese. Sab Se Purani means 'the most ancient baby girl' in Hindi. The connections made are a reflection of the deep connections made musically between traditional Indian and Japanese music and spiritual practices. In classical Indian music, there is a diverse rhythmic system that can be expressed in mathematical equations, and similarly in Japan, there are mathematical concepts such as numerology, yin and yang, and hakuginhi (silver ratio), that have been used in music and performance since ancient times. SAICOBAB's intricate melody and rhythm of the sitar, double bass, voice, and riq (a middle-eastern tambourine), are largely recorded live, but are also manipulated in subsequent editing to create bursts and distortions, such as the vocal scatterings of 'AWAWAW' or the stuttering percussion of 'One.' The artwork was created by longtime collaborator and artist Ooido Syoujou. Since YoshimiO and Daikiti formed SAICOBAB in 2001, the group has expanded beyond their initial improvisations and into an ensemble as formidable in talent as it is in originality. YoshimiO is clearly able to ignore the rules with ease and singular creativity, however she and Daikiti understand that in order to be able to ignore the rules, you need 'to train yourself to be aware of the most ancient rules of the universe.' SAICOBAB's deep understanding of traditions enables them to transform ancient cultural practices into modern playgrounds of creativity."
CD $15

KEVIN MILLER / JUKKA-PEKKA KERVINEN - Primordial (Ramble Records RAM-199-CD; Australia) Featuring Jukka-Pekka Kervinen on electric guitar, electric bass, trumpet & electronics and Kevin Miller on electric guitar. I continue to get in dozens of promo releases every week from varied musicians, record labels, promo outlets, distributors, etc and I try to give a listen to almost all of these discs. We just got a couple of promo discs from a guitarist named Kevin Miller, who name I quite recall. Although Mr. Miller is still in his twenties, he has some 20 discs out, most of which are digital only. Although Mr. Miller has recorded with known players like Samo Salamon, Dmitry Ishenko and Dan Blake, he has recorded with Finnish guitarist Jukka-Pekka Kervinen around a half dozen times so far. I know even less about Jukka-Pekka Kervinen although has around ten releases as a leader.
I have been listening to quite a bit of experimental/improv/free jazz guitar, having checked out releases & live sets from Dr. Chadbourne, Gian Perez, Rich Rosenthal, Chuck Roth and Webb Crawford, so I am primed for this one. Not sure who's who here but I do dig the sound of two guitars playing furious, fractured lines together. As this disc unfolds, the guitarists (on bass as well), slow down, tossing off more tight yet focused lines. When Mr. Kervinen switches to trumpet, he plays odd, breathy lover case-like sounds. Both guitarists seem to favor the more furious tempos with intense, note bending and layers of fractured lines. If I didn't know bettewr, I might guess that I was listening to Doc Chadbourne and Henry Kaiser at times. Although some of this is pretty extreme, I am impressed nonetheless as these two pickers have found a common area and continue to explore the outer fringes of free form freak-out explorations. - Bruce Lee Gallanter, DMG
CD $14

THOMAS MILOVAC ENSEMBLE - Graphic Scores (Cosmo Sonic Collective 010; USA) Personnel: David Scharfstein & Fernando Cruz on tenor saxes, Mick Pepper on trombone, Abigail Gruber on violin, Andre Gruber on guitar & violin, Evan Ruffino on guitar, Thomas Milovac on bass guitar & conducting, Will Gutierrez on piano, Nick Perera & Eric Bailey on drums. Thomas Milovac recently played a fine solo bass set here at DMG (8/23/25) and left us with a handful of self-produced CD's from his own CSC label. Mr. Milovac hails from Florida and this disc was recorded at a museum in Jacksonville in June 2022. I know of the ongoing noise scene in Miami which I first heard way back in 1988 while attending the New Music America Fest. I know about musicians like Sam Rivers who led a big band in Orlando for years, Kenny Millions (saxist & madman) and Rat Bastard Falestra (noise & creative music promoter) but rarely here about other scenes in the sunshine state.
Graphic scores have long been an integral part of the Creative Music Scene worldwide thanks to composers like John Cage, Karlheinz Stockhausen, John Zorn and many others. Each composer has their own approach to the way these scores are interpreted by the musicians who are performing the music. I don't recognize any of the names here. The music begins slowly and is sparse at first, slowly building and getting a bit more dense and chaotic at times. There is obviously some direction or conducting going on here, as the dynamics and interaction flow from one episode to the next. There is a three movement piece called "Three Pieces for Improvising Ensemble" which are rather fascinating, moving together like a whirlwind gathering forces, spinning higher and higher as it goes. Occasional solos pop up to add to the ongoing excitement. The last part of this suite begins with spacious acoustic guitar, swirls through more dense and less dense sections. It often sounds like there is thread holding things together due to the composing and/or directing with quite a bit of the quieter sections. The quieter section stand out and sound composed, like older chamber music with some roots in the Renaissance period. I wish there was some liner notes here to describe the way the graphic scores were made but I do like this music on several levels. One (or both) of the guitarists here is especially gifts and plays a few marvelous solos throughout. Another unrecognized gem from the swampland of Florida. - Bruce Lee Gallanter, DMG
CD $12

LP SECTION:

AKI ONDA - In The Depth Of Illusion: A Soundtrack For Nervous Magic Lantern (Room40 4207LP; Australia) A Note from Aki Onda: "This album was recorded as a soundtrack for Ken Jacobs' Nervous Magic Lantern at Spiral Hall, organized by Sound Live Tokyo, on November 3, 2015. It was probably one of our best performances. Before the performance, Ken explained to me the selected slides he uses and the ordering he employs, so that I would better understand the flow. Some slides are black-and-white and some color. For a given performance, Ken selects ten slides or so. However, he might play with just one slide for the entire show or change the order -- there was plenty of room to improvise. On my side, I also had a structure and the order of tapes, quite independent from Ken's visual. But I made the system easy to extend or shorten, duration-wise, in order to respond to Ken's ordering and mood. I dedicate this album to Flo Jacobs who passed away just recently. Flo was deeply involved in Ken's creative process; as he says: 'This is a mom-and-pop business.' From the first day of working together, she was always there with us and took care of all practical matters. Ken is a dreamer and thinks and works intuitively. But Flo -- an exceptionally beautiful woman in and out -- is rooted in the real world. Not just a pragmatist, however, Flo advises Ken on artistic decisions. Ken always asks to hear her thoughts, as I did as well. As film critic and their decades-long friend Amy Taubin once described it, 'Florence Jacobs is nothing less than a producer of Ken Jacobs' cinema.' What a perfect couple, and it was an extremely joyous journey with them!"
LP $27

ASSOCIATION P.C. with PIERRE COURBOIS / TOTO BLANKE / JASPER VAN'T HOF / SIGGI BUSCH / PETER KRIJNEN - Earwax (Music on Vinyl MOV 3918LP; Netherlands) "Released in 1970, Earwax marked the debut album of Dutch Free Jazz ensemble Association P.C., recorded in Wageningen, The Netherlands, and produced by Dutch Jazz pioneer Wim Wigt. The album fuses Free Jazz with Jazz-rock, showcasing an adventurous sound led by drummer Pierre Courbois. The line-up includes guitarist Toto Blanke, bassists Siggi Busch and Peter Krijnen, and Jasper van 't Hof on electric piano. Members Courbois, Blanke and van 't Hof are considered as the early inspirators of the Jazz-rock and German Krautrock sound. Now, 55 years later, Earwax by Association P.C., finally sees its first-ever reissue since its original release. This long-awaited edition consists of six tracks and is presented in a gatefold sleeve, featuring details about the musicians involved."
LP $44


MORE TITLES FROM THE OGUN & CADILLAC LABELS BACK IN STOCK: Reviews further below:

HARRY BECKETT'S JOY UNLIMITED with RAY RUSSELL / BRIAN MILLER / DARYL RUNSWICK / NIGEL MORRIS - Joy Unlimited (Cadillac SGCCD 017; UK)
CD $16

BLUE NOTES with CHRIS McGREGOR / LOUIS MOHOLO / DUDU PUKWANA - Blue Notes For Johnny (1986)(Ogun 532; UK)
CD $16

JOHNNY DYANI/OKAY TEMIZ/MONGEZI FEZA WITCHDOCTOR'S SON With DUDU PUKWANA et al - Rejoice Together (Cadillac 12/13; UK)
2 CD Set $20

EDQ with ELTON DEAN With KEITH TIPPETT / LOUIS MOHOLO / CHRIS LAURENCE - They All Be On This Road [with Bonus tracks](Ogun 048; UK)
CD $16

ELTON DEAN'S NINESENSE With ALAN SKIDMORE / HARRY BECKETT / MARK CHARIG / NICK EVANS / RADU MALFATTI / KEITH TIPPETT / HARRY MILLER / LOUIS MOHOLO - Happy Daze/Oh! For The Edge (Ogun 032; UK)
CD $16

JAZZ DOCTORS with BILLY BANG / FRANK LOWE / RAFAEL GARRETT / WILBER MORRIS / DENIS CHARLES / THURMAN BARKER - Intensive Care: Prescriptions Filled (Cadillac SGCCD 020; UK)
CD $16

CHRIS McGREGOR- In His Good Time: Expanded Edition (Ogun 038; UK)
CD $16

CHRIS McGREGOR'S BROTHERHOOD OF BREATH With DUDU PUKWANA / MONGEZI FEZA / EVAN PARKER / GARY WINDO / HARRY BECKETT / MARC CHARIG / NICK EVANS / RADU MALFATTI / HARRY MILLER / LOUIS MOHOLO - Live at Willisau (OGCD 001l UK)
CD $16

HARRY MILLER With KEITH TIPPETT / TREVOR WATTS / LOUIS MOHOLO / ALAN WAKEMAN / ALAN TOMLINSON / DAVE HOLDSWORTH / et al - Different Times, Different Places - Volume Two (Ogun 045; UK)
CD $16

LOUIS MOHOLO-MOHOLO'S VIVA-LA-BLACK & CANTO GENERAL with KEITH TIPPETT / JULIE TIPPETTS With ROBERTO OTTAVIANO / BEPPE CARUSO / et al - Viva La Black Live At Ruvo (Ogun 020; UK)
CD $16

MIKE OSBORNE / STAN TRACEY - 'Original' (Cadillac 1002; UK)
CD $16

MIKE OSBORNE TRIO With HARRY MILLER / TONY LEVIN - The Birmingham Jazz Concert, November 7 1976 (Cadillac 10/11;UK)
CD $16

OVARY LODGE with KEITH TIPPETT / JULIE TIPPETTS / HARRY MILLER / FRANK PERRY - Ovary Lodge [Live] (Ogun 021; UK)
CD $16

EVAN PARKER / JOHN STEVENS - Corner To Corner / The Longest Night Volumes 1 & 2 (Ogun 022/023; UK)
2 CD Set $20

S.O.S. with ALAN SKIDMORE / MIKE OSBORNE / JOHN SURMAN - S.O.S. (Ogun 019; UK)
CD $16

******

BLUE NOTES with CHRIS McGREGOR / LOUIS MOHOLO / DUDU PUKWANA - Blue Notes For Johnny (1986)(Ogun 532; UK) “In the mid-'60s, the South African quintet called the Blue Notes emigrated from South Africa to England, both to escape the apartheid rule in force there and to search for more fertile ground to develop their unique combination of township music and avant-garde leaning jazz. Tragically, their brilliant trumpet player Mongezi Feza died in 1975 and their bassist, the extraordinary virtuoso Johnny Dyani passed away in 1986. This album is a loving tribute, by turns mournful and joyous, to Dyani by the three remaining members of the Blue Notes. The trio consists of saxophonist Dudu Pukwana, pianist Chris McGregor, and drummer Louis Moholo. Aside from Dyani, the musical spirit of Abdullah Ibrahim, another celebrated South African expatriate, hovers over the proceedings. McGregor's piano in particular recalls that of Ibrahim, especially his earlier, wilder work. Pukwana has a singular sound on his reeds, ranging from a soulful strut reminiscent of Arthur Blythe to free-form cries and screams. The looseness of the trio's approach allows for an emotional range of "conversation" to take place as they recall their late comrade. When they play "Ntyilo Ntyilo," a traditional tune often performed by Dyani, the emotion is palpable and deep, and makes this release a fine memorial to one of the under-recognized giants of the bass.  - Brian Olewnick, AllMusicGuide
CD $16

HARRY BECKETT'S JOY UNLIMITED with RAY RUSSELL / BRIAN MILLER / DARYL RUNSWICK / NIGEL MORRIS - Joy Unlimited (Cadillac SGCCD 017; UK) The Barbados-born trumpeter Harry Beckett moved to Britain when he was 19. His first known recording session came in 1961 alongside Charles Mingus. This happened during the London sessions for the Tubby Hayes album All Night Long (Fontana, 1962), which was chronicled in the 2020 All About Jazz article Jazz & Film: An Alternative Top 20 Soundtrack Albums. To debut with Mingus was an auspicious beginning and Beckett never looked back. Seemingly loved by everyone who met him, his music and personality reflected each other and both are perfectly caught by the title of this upbeat album. Joy Unlimited, originally released by Cadillac in 1975, is jazz rock infused with a dash of Calypsofied funk. It is played by a killer sextet of musicians' musicians with guitarist Ray Russell and keyboard player Brian Miller sharing most of the solo spotlight with Beckett. Exuberant and energizing, it has catchy tunes and frill-free arrangements. It is the absolute, total, care-free flipside of the moody contemporaneous work of Miles Davis and makes great summertime listening. Beckett passed in 2010. During an eventful recording career he worked with many of Britain's most significant jazz and jazz-rock bandleaders and township-jazz expats, plus along the way important Americans such as Mingus, Oliver Nelson and David Murray. Like the alto saxophonist Joe Harriott (with whom he recorded), he was an early pioneer of a culturally distinct strand of Caribbean and African-enriched jazz, which in 2020 is a key ingredient in the new London jazz of players such as Shabaka Hutchings, Nubya Garcia, Binker Golding and Camilla George. - Chris May, AllAboutJazz
CD $16

BLUE NOTES with CHRIS McGREGOR / LOUIS MOHOLO / DUDU PUKWANA - Blue Notes For Johnny (1986)(Ogun 532; UK) “In the mid-'60s, the South African quintet called the Blue Notes emigrated from South Africa to England, both to escape the apartheid rule in force there and to search for more fertile ground to develop their unique combination of township music and avant-garde leaning jazz. Tragically, their brilliant trumpet player Mongezi Feza died in 1975 and their bassist, the extraordinary virtuoso Johnny Dyani passed away in 1986. This album is a loving tribute, by turns mournful and joyous, to Dyani by the three remaining members of the Blue Notes. The trio consists of saxophonist Dudu Pukwana, pianist Chris McGregor, and drummer Louis Moholo. Aside from Dyani, the musical spirit of Abdullah Ibrahim, another celebrated South African expatriate, hovers over the proceedings. McGregor's piano in particular recalls that of Ibrahim, especially his earlier, wilder work. Pukwana has a singular sound on his reeds, ranging from a soulful strut reminiscent of Arthur Blythe to free-form cries and screams. The looseness of the trio's approach allows for an emotional range of "conversation" to take place as they recall their late comrade. When they play "Ntyilo Ntyilo," a traditional tune often performed by Dyani, the emotion is palpable and deep, and makes this release a fine memorial to one of the under-recognized giants of the bass.  - Brian Olewnick, AllMusicGuide
CD $16

ELTON DEAN'S NINESENSE With ALAN SKIDMORE / HARRY BECKETT / MARK CHARIG / NICK EVANS / RADU MALFATTI / KEITH TIPPETT / HARRY MILLER / LOUIS MOHOLO - Happy Daze/Oh! For The Edge (Ogun 032; UK) Ninesense were the late Elton Dean's dream band and they were quite extraordinary. This disc features both of their amazing LP offerings - Oh! For The Edge is live in '76 but minus Malfati as an octet; Happy Daze is a 9tet studio recording from '77 - and clocks in at about 76 minutes. This nine-piece all star ensemble went from the sublime to the explosive with inspired solos from Elton (alto & saxello), Alan Skidmore (tenor), Harry Beckett, Marc Charig (trumpets or flugel), Nick Evans & Radu Malfatti (trombones) and of course the ever-incredible Keith Tippett on piano. The rest of the rhythm team of Harry Miller on bass and Louis Moholo on drums are amongst the best ever, anywhere at what they do. There several Elton Dean solos (especially on saxello) that still send chills up & down my spine. Reissue of the year? Without a doubt! - Bruce Lee Gallanter, Downtown Music Gallery
CD $16

EDQ with ELTON DEAN With KEITH TIPPETT / LOUIS MOHOLO / CHRIS LAURENCE - They All Be On This Road [with Bonus tracks](Ogun 048; UK) Featuring Elton Dean (alto sax, saxello), Keith Tippett (piano), Chris Laurence (bass), Louis Moholo (drums). Why is Paul Morley my favourite music writer? Might have something to do with the second review that he did for the NME, which was of the Elton Dean Quartet live at Manchester's Band On The Wall, back in early 1977. In his review he enthusiastically argued that the likes of Dean, Tippett, Trevor Watts, Derek Bailey, etc. were as punk as the punks, if not more so, in their quiet radicalism. As an extremely impressionable 13-year-old reader, I reckoned that if Morley could be so right about improv, then he must be equally right about the subject of his first review for NME - the Buzzcocks. Thus are new doors opened. This particular album was recorded at the Seven Dials pub in Covent Garden and might be subtitled The Popular Elton Dean. Side one is given over to a 20-minute take on Coltrane's then untouchable "Naima," with which the quartet manage to do remarkable things. But the wild card here is Chris Laurence, depping for Harry Miller, as he brings something of a new perspective to the group's music. Laurence really plays on career-peak form here, forever seeking out unexpected harmonies and accents, and the other three musicians are noticeably affected by his imagination. Side two sees the quartet tackling some standards, including "Easy Living" and "Nancy With The Laughing Face," but the highlight is a storming version of Dean's own "Dede-Bup-Bup" where Tippett plays with such intensity in his solo that it's a surprise that he didn't demolish the piano. Amazing stuff! - Marcello Carlin This session was recorded live at the Seven Dials club. This reissue has a whole second LP'ss worth of material. When we were going through the tapes we came across two that looked as if they had been mixed, and low and behold, we had what looked like a second album all ready to go but never released! As good as the original album (as you'sd expect) with precious and never heard compositions by Elton and Keith to whom this release is dedicated. We'sve also added some new photos and David Ilic has masterfully reworked the sleeve. Gearbox Records did a great job on the transfers and mastering.  - Ogun Recordings
CD $16

JOHNNY DYANI / OKAY TEMIZ / MONGEZI FEZA WITCHDOCTOR'S SON With DUDU PUKWANA / et al - Rejoice Together (Cadillac 12/13; UK) “Johnny Mbizo Dyani was a South African bassist and composer who came to London as an apartheid exile with his compatriots in the racially-mixed Blue Notes group in 1964, and played a key role in the creative impact they made on British jazz in that era, before his death in 1986. This double album, also celebrating the 40th birthday of London jazz label Cadillac, catches the nimble and dramatic Dyani in a scorching free-jazz trio with the likewise shortlived trumpeter Mongezi Feza and classically trained Turkish drummer Okay Temiz, and a hollering, joyous, township-grooves septet including the great Blue Notes saxophonist Dudu Pukwana. Feza, a fizzing blend of Miles Davis and Don Cherry, leads the trio set with his fast, impulsive, fearlessly haphazard attack, while Dyani fuses implacable walks, richly sombre chordwork and audacious free-jazz countermelody. But the septet tracks are this collection's most openly attractive features “ featuring Dyani on electric keys and vocals, the robustly sublime Pukwana on alto sax and whistles, and a powerful electric lineup. It's mostly about catchy Dyani songs and a party vibe, but there's enough of the inimitable Pukwana's talkative, cajoling, and sometimes romantically smoky horn to keep the jazzers smiling.  - The Guardian, UK
2 CD Set $20

CHRIS McGREGOR- In His Good Time: Expanded Edition (Ogun 038; UK) This long-awaited reissue comes directly from the original unedited analogue tapes and boasts a wealth of bonus material, restoring in its entirety the first set of the evening, a continuous performance of original works and arrangements of traditional South African folksongs. Five tracks edited from the second set complete the collection. (The LP only contained part of the first set) This rare treasure features Blue Notes and Brotherhood of Breath (BoB) leader Chris McGregor on solo piano, recorded live in Paris at the Palais des Glaces in November of 1977. This was during the golden era of the Brotherhood of Breath who were an influential orchestra featuring members of Blue Notes (long removed from South Africa) and their British brethren (Evan Parker, Gary Windo, Mike Osborne & John Surman). Between the original Blue Notes landing and then living in England in 1964 and the birth of the Brotherhood in 1969, McGregor recorded a handful of small group albums, from a trio to a septet. I believe that this was Chris' one and only solo effort and this reissue includes more material not found on the original LP which is nearly impossible to find anyways. As the leader and main composer for the Blue Notes and the Brotherhood, Chris wrote most of the songs on this disc except for two traditional songs (from South Africa?) and two covers by his bandmates, Mongezi Feza and Dudu Pukwana. If that wonderful melody to Mongezi Feza's "Sonia" sounds familiar to you, it should since it was recorded earlier by Robert Wyatt for his album, 'Ruth is Stranger Than Richard'. Starting with "Green Hymn", which has a lovely, laid back, rather poignant melody to savor, there is an undercurrent of somber spirits which I find both soothing and breathtaking in their grace. There is a warmth and soft glow to this music which I find completely enchanting. I recently went back and listened to Dollar Brand's "Cape Town Fringe" which sounded just as magical as when I heard it on jazz radio in the seventies. There is a certain earthy, almost gospelish quality that I find in much jazz music from South Africa. Mr. McGregor also dips into the same well of charming ancient spirits so I get a similar hypnotic vibe here. This music is so good that you don't want it to end. I love the way McGregor will take what sounds like a simple folk-like theme and then expand upon it, embellishing it with tasty nuances like those magic spices that make life feel better. This disc contains 13 songs and each one is special and at 73 minutes long enough to paint an entire picture of one of the greatest pianists of them all. This is an essential reissue for any of you who need your souls healed by the well woven cosmic threads. - Bruce Lee Gallanter, Downtown Music Gallery
CD $16

CHRIS McGREGOR'S BROTHERHOOD OF BREATH With DUDU PUKWANA / MONGEZI FEZA / EVAN PARKER / GARY WINDO / HARRY BECKETT / MARC CHARIG / NICK EVANS / RADU MALFATTI / HARRY MILLER / LOUIS MOHOLO - Live at Willisau (OGCD 001l UK) McGregor (piano); Harry Beckett, Marc Charig, Mongezi Feza (trumpets); Nick Evans, Radu Malfatti (trombones); Dudu Pukwana (alto sax); Evan Parker, Gary Windo (tenor saxes); Harry Miller (bass); Louis Moholo (drums). The original derivation of the term "kwela" for the form of South African township music previously known as "penny whistle music" comes from the exclamations of the policemen who would periodically come to arrest, take away, beat up and/or kill various township residents who had the temerity to be black. As they were being rounded up and cattle-prodded into the police vans they would exclaim "Kwela! Kwela!" meaning "Get up! Move it!" Thus a symbol of oppression was turned into a symbol of defiant celebration - the words "Get up! Move it!" now meaning "let's dance." With the Brotherhood of Breath, Chris McGregor was able to marry his love of kwela music, the Protestant hymns with which he had grown up as a child and post-Ornette all-comers free jazz in a large, sprawling band with a South African core and involving, at various times, virtually everyone of consequence on the British modern jazz and improv scene. They were capable of producing the most atonal and demonic of improvisations, yet the imperturbable rhythm section of Louis Moholo and Harry Miller anchored their explorations at all times, such that you were dancing as you flew into post-Sun Ra outer space. Frequently, in concert the "traffic jam" syndrome would make itself apparent, with all of the dozen or so horn players queuing up to solo, or just storming in anyway; often musicians would wander around the stage at their own free will, or jam the bells of their horns into microphones to produce overtones. Somehow it all held together and gave us the most glorious group of musicians of any genre ever to exist, a band who seemed to provide everything I wanted in music, post-Ellington in make-up and yet also strangely proto-punk in attitude. Their two studio albums for RCA were generally well-behaved affairs, even if the second was somewhat looser than their Joe Boyd-produced debut. But their three live albums from the '70s - and there's another double CD package due shortly from Cuneiform Records, comprising more newly-found tapes of gigs from 1971 and 1975 - present a far more raucous and anarchic assemblage. Live In Willisau was recorded in Switzerland in January 1973 on the same tour which also produced the Radio Bremen broadcasts reissued in 2001 as Travelling Somewhere, and both should be heard in tandem if possible. The Radio Bremen gig has a slightly different line-up - Mike Osborne, who was too ill to perform at the Willisau gig, appears on second alto, and Malcolm Griffiths deps for Malfatti on second trombone - but both sets of music are equally wild. Live At Willisau, even with CD remastering, still sounds as though it were recorded at the back of a bus queue, and while this necessarily means that some of the finer details of the improvised ensembles are lost - the trumpets and saxes seem a distant blur, while the two trombonists are in your face - the rawness of the music seems to be a good match for the basic sonics. Those still trying to figure out what Evan Parker was doing in that duo with Paul Lytton would do well to listen to his contributions here - his tenor feature on "Do It" is, however abstract it becomes, still fundamentally relevant to the rhythmic and melodic momentum of the piece. The breakneck pace of the Brotherhood compels Parker towards emotional directness, and his retention of the latter while still utilising his jaw-dropping technique is brilliantly achieved. Malfatti provides a suitably droll commentary on the mock march of "Kongi's Theme" while Evans blows suitably mournfully on "Ismite Is Might." Hovering above all of this, however, is the ghost of Mongezi Feza, a musician who would have been a core regular on Ogun albums had he lived; as it turned out, this is the only Ogun album on which he appeared in his lifetime, and his main feature on "Tungi's Song" is perhaps the best solo he ever recorded, full of casually astonishing technical brilliance and a goodly portion of sheer cheek and deep emotion. Happily this album is one of the few which have been reissued on CD, in this case with over half an hour of extra material from the gig. Interestingly the performance of the ballad "Davashe's Dream" is more restrained than the explosive take recorded for the band's debut, while the version of "Andromeda" gets a little too messy (you can hear an audibly vexed McGregor trying to cue the horns back in halfway through), but nonetheless this is an absolutely vital record. - Marcello Carlin
CD $16

HARRY MILLER With KEITH TIPPETT / TREVOR WATTS / LOUIS MOHOLO / ALAN WAKEMAN / ALAN TOMLINSON / DAVE HOLDSWORTH / et al - Different Times, Different Places - Volume Two (Ogun 045; UK) A second volume of valuable documents from the Ogun archives by label co-founder Harry Miller. the tracks come from three sessions spanning 1977-1982. All feature Harry on bass with Louis Moholo-Moholo behind the drum kit and Trevor Watts on sax, other musicians included are Alan Wakeman (sax), Bernie Holland (guitar), Keith Tippett (piano), Alan Tomlinson (trombone), Dave Holdsworth (trumpet). This joyful music, at times rough around the edges but full of life and spirit, conviction and enthusiasm. Just like Harry.
CD $16

LOUIS MOHOLO-MOHOLO'S VIVA-LA-BLACK & CANTO GENERAL with KEITH TIPPETT / JULIE TIPPETTS With ROBERTO OTTAVIANO / BEPPE CARUSO / et al - Viva La Black Live At Ruvo (Ogun 020; UK) For its appearance at the 2004 edition of the Ruvo Festival, Canto General founder and festival director Pino Minafra invited Tippett, Tippetts and Moholo-Moholo to guest with the orchestra and the Faraualla singers. With a repertoire drawn from Mongezi Feza, Dudu Pukwana, Harry Miller and some Keith Tippett originals, the musicians paid tribute to those who had sought to bring forth light and sound through jazz from beneath the desperate dark shadow of apartheid. Featuring our dear Italian friends Pino Minafra, Roberto, the Canta Generale, the Faraualla singers, led by Keith Tippet, Julie Tippetts and Mr Moholo-Moholo. A great live concert playing Keith's music, plus Dudu's, Mongezi's and Harry Miller's. The spirit and warmth fitted into the Ogun ethos so very well, I highly recommend it. - Hazel Miller Piano, Conductor: Keith Tippett Voice: Julie Tippetts Louis Moholo-Moholo's Viva-La-Black: Drums: Louis Moholo-Moholo, Vincenzo Mazzone Acoustic Bass, Electric Bass: Francesco Angiuli, Giogio Vendola Alto Saxophone: Vittorino Curci Piano, Keyboards: Livio Minafra Soprano Saxophone, Alto Saxophone: Roberto Ottaviano Tenor Saxophone: Fabrizio Scarafile, Felice Mezzina Trombone: Beppe Caruso, Franco Angiolo, Lauro Rossi, Michele Marzella Trumpet, Flugelhorn: Nicola Mitoli Canto General (voices): Cinzia Eramo, Gabriella Schiavone, Gianna Montecalvo, Loredana Perrini, Maristella Schiavone
CD $16

MIKE OSBORNE / STAN TRACEY - 'Original' (Cadillac 1002; UK) In the early 1970s, London’s jazz scene thrived as a hotbed of innovation and collaboration, with venues such as the 100 Club on Oxford Street, the Swan at Stockwell, and Greenwich Theatre regularly showcasing some of the most adventurous musicians of the day. Among these, Stan Tracey and Mike Osborne emerged as key figures, frequently sharing the stage in performances that pushed the boundaries of British jazz. Their live dates—from the Stan Tracey Quartet’s August 1971 appearance at the 100 Club featuring Osborne alongside Dave Green and Bryan Spring, to intimate duo sets at the Swan in April 1972 and Greenwich Theatre in July—captured the growing musical rapport between these two innovators. These gigs not only deepened their artistic connection but also helped shape a new, distinctive voice within the UK jazz landscape.
Parallel to this vibrant performance scene, John Jack’s role as a jazz writer for Sounds magazine throughout 1972 offered crucial support and context to the burgeoning British jazz movement. Sounds, founded in 1970 by ex-Melody Maker staffers, was known as a left-leaning weekly championing progressive rock and jazz, often spotlighting underground and experimental music overlooked by the mainstream press. Jack’s Jazz News columns detailed the myriad weekly sessions across London—from the New Merlin’s Cave and the Phoenix to the informal but fertile Peanuts Club—hailed for fostering inventive music and a gathering point for Osborne and his peers. His insightful coverage helped frame the era’s eclectic energy and anticipation, set against the backdrop of growing festivals and an expanding audience eager for new sounds, shortly before Cadillac Records’ inception.
It was in this rich cultural and musical environment that “Original”, the extraordinary duet recording by Tracey and Osborne, took shape. Capturing the immediacy and daring of their live interplay in a studio setting, the album stands as a testament to their shared commitment to exploration and improvisation. This newly remastered reissue not only celebrates their enduring legacy but also offers a rare window into a transformative moment in British jazz history—when clubs buzzed with creative risk-taking, and passionate advocates like John Jack chronicled the scene’s vibrant evolution. “Original” remains a compelling document of two remarkable artists united by a fearless musical vision.
Half a century after its original release, “Original” still bristles with the urgency and imagination of the moment it was born. Recorded live in April 1972 at Surrey Hall, Stockwell—a striking modernist community centre designed by George Finch—the session brought together two giants of British jazz at pivotal points in their careers. Stan Tracey, long established as a leading composer and pianist but facing a leaner 1970s, had been persuaded by younger firebrands like Mike Osborne to step into the world of the New Thing. Osborne, already regarded as perhaps the finest alto saxophonist of his generation, played here with a mixture of fierce attack and lyrical intensity. The architecture surrounding them mirrored the music’s own character: bold, angular, egalitarian, built to transform lives. Offered to Cadillac Records’ fledgling founders on a whim—“Of course we would,” John Jack recalled—the tape became the label’s second-ever release in 1973. This meeting of minds remains a vivid snapshot of British jazz’s restless early seventies energy.
From the first notes of “Original (Part One)”, the interplay is immediate and combustible. Tracey’s piano, at once percussive and harmonically probing, sets up a shifting landscape over which Osborne’s alto darts, soars, and occasionally howls with a raw emotional charge. The improvisation is unhurried yet never static, each phrase sparking a response, the conversation twisting into unexpected shapes. “Part Two” digs deeper still—more abstract in its opening exchanges, yet gradually building to passages of driving momentum where both players seem to push each other beyond known limits. It’s music of risk and trust, utterly of its time yet still startlingly alive.
Fifty years on, this remastered edition of “Original” offers more than just a document of two master improvisers at full stretch—it’s a reminder of a moment when British jazz embraced risk, change, and cross-generational dialogue. The clarity of the new transfer from the original tapes brings fresh presence to every exchange, letting the listener feel the air in Surrey Hall and the physicality of the performance. As with George Finch’s architecture, the music still stands boldly against time’s erosion: uncompromising, full of character, and made to last. For anyone interested in the fearless spirit of early seventies British jazz, this is essential. - Steve Williams, UKVibe.org
CD $16

MIKE OSBORNE TRIO With HARRY MILLER / TONY LEVIN - The Birmingham Jazz Concert, November 7 1976 (Cadillac 10/11;UK) NEVER PREVIOUSLY RELEASED! Osborne's is the great 'what-might-have-been' story of the UK scene - a brilliant and tempestuous player who blazed through the 60s and 70s in the Westbrook band, in Brotherhood of Breath, in S.O.S. with Alan Skidmore and John Surman, in Kenny Wheeler's Big Band and in multiple other line-ups; as well as on a small number of his own recordings. Yet his voice was silenced by illness in 1982 and he was never able to perform again until his death in 2007. So any new material is welcomed with open arms by the ever-growing audience for what is now rightfully acknowledged as a particularly fecund time and place for jazz. This 2CD live set is eagerly and gratefully received. From the sleeve notes - Founder George West reminisces thus: I founded Birmingham Jazz in 1976 with the help of six other enthusiasts; we each put L25 on my dining room table and said we would promote some concerts for as long as the money held out. Birmingham Jazz has promoted live jazz ever since - a remarkable achievement. Our first concert was with Barbara Thompson's Paraphernalia; I'm not sure who were our second but Mike Osborne's trio with Harry Miller and Tony Levin was the third, on 7 November 1976. These concerts took place in the Warwick Suite of the Grand Hotel, Colmore Row, Birmingham that was our home base for the first five years. The musicians gave me permission to record the concert as a souvenir on my Maxwell C180 tape and Yamaha recorder, and it subsequently remained unplayed in my files until unearthed in 2009; amazingly the tape had not deteriorated in any way and gives a very high quality documentation of an outstanding evening's music making. As there had been no announcements of tune titles, several have proved slightly controversial despite being auditioned by a number of musicians who had known and played with Mike over the years he was active. But what is unquestioned is the creative quality of the Trio's performance.
CD $16

OVARY LODGE with KEITH TIPPETT / JULIE TIPPETTS / HARRY MILLER / FRANK PERRY - Ovary Lodge [Live] (Ogun 021; UK) "Ovary Lodge was co-founded between Keith Tippett and myself some time in 1971. I had moved down from Mildenhall in Suffolk in early January 1970 to live in North London, being as there were only a handful of musicians creating the kind of improvised music that I was into and they were all based in London. Keith Tippett had formerly created Septober Energy featuring a very large band and was looking to explore small group improvisation. He founded the Keith Tippett Trio which featured Roy Babbington on bass and Keith Bailey on drums. Apparently Keith was having some difficulty with Keith Bailey at the time in the group and Harry Miller and a few other musicians recommended he try me. He rang and then came to visit me. We talked and I played a bit for him. Keith immediately replaced Keith Bailey with myself and within days we were doing gigs. Two weeks later and we were in the recording studio finishing the LP Blueprint! (on RCA/Victor). This is why Keith Bailey features on some tracks and myself on others. Shortly afterwards Keith wanted to change the name of the group and to find something of an umbrella name that would allow other musicians to join and occasionally expand the trio. He wanted to call it White Lodge. However, Roy Babbington wasn't happy with this, feeling it wasn't sexy enough. I came up with Ovary Lodge and everybody was happy with that. So we went on to record the LP Ovary Lodge for RCA/Victor to follow up from Blueprint. Some time later Roy left to play more with Soft Machine and Harry Miller replaced him; as well Keith's wife Julie Tippetts joined the group on occasions [such as the live quartet recording from Nettlefold Hall, London 6 August 1975 on this CD] When Harry was tragically killed in a 1983 road accident, Marcio Mattos took over the bass stool. Keith has always said that there is no Ovary Lodge without me. And nothing has come out or been performed under that name that hasn't had myself playing in it." - Frank Perry "And this is a visionary classic, perhaps the best and most concentrated music that the Tippetts have yet made. You have to love a record whose track titles include 'A Man Carrying A Drop Of Water On A Leaf During A Thunderstorm,' of course, but this is proto-New Age improvisation (Frank Perry in particular was doing New Age for at least two decades before anyone else) which makes mincemeat out of all offal released under the banner of New Age; limpid, beautiful and genuinely transcendental music which isn't afraid to raise the temperature/passion when required - the closing sequence of side one constitutes some of the most violent music you are likely to hear on any Ogun release, Julie screaming, Keith hammering, Harry throbbing and Frank pounding his sacred Tibetan gong into the next universe." - Marcello Carlin
CD $16

EVAN PARKER / JOHN STEVENS - Corner To Corner / The Longest Night Vols 1 & 2 (Ogun 022/023; UK) Featuring Evan Parker, soprano saxophone; John Stevens, percussion, trumpet. A triple length set of work from the team of Evan Parker and John Stevens – presented here as a 2CD set! The first part of the package features both volumes 1 and 2 of the Longest Night sessions from 1976 – very free duets between these two ex-partners in the Spontaneous Music Ensemble – a session with very little structure at all, and sounds that are almost more FMP than other Ogun albums of the time! Evan Parker plays soprano sax throughout – and Stevens alternates between percussion and cornet – using mostly the former, but sometimes a bit of the latter in ways that have a surprising sense of presence. Parker's notes are nicely shaped on the best numbers – bringing in occasional more human moments amidst more Lacy-like bleats and blonks on the soprano. Next up is the album Corner To Corner – recorded in 1993, nearly 20 years after the first 2 records – but with a quality that's amazingly similar, and which shows both Parker and Stevens to still be at the farthest, freest edges of British jazz. - JazzMessengers.Com
2 CD Set $20

S.O.S. with ALAN SKIDMORE / MIKE OSBORNE / JOHN SURMAN - S.O.S. (Ogun 019; UK) Alan Skidmore tenor sax, drums, percussion; Mike Osborne alto sax and percussion; John Surman baritone and soprano saxes, bass clarinet, and synths. "It is wonderful to have this album available for the first time on CD - and scary to realise that it was recorded and released in 1975! It is worth dwelling for a moment on how the (jazz) world has changed in the intervening years. In 1975, the idea of an all-saxophone group was unheard of; the countless legions of saxophone quartets, now two-a-penny, all lay in the future. It was noteworthy, and commented on by reviewers at the time, that SOS did not have a drummer, yet the group's music managed to remain compellingly rhythmic. And Surman's use of synthesiser and electric piano, later developed on his own ECM albums, was considered either revolutionary or eccentric. That's remarkable today, given how many musicians have electronics at the end of their list of credited instruments. One of the many strengths of SOS was that each of the three members was a giant in his own right; this was a meeting of equals. Although the album abounds with fine solos from all three, the saxophones frequently combine to create an ever-shifting kaleidoscope of sound as they weave in and out of each other, none of them actually soloing but each of them following their own path. For prime examples, try sampling Country Dance or Ist. The effect is thrilling, like watching expert jugglers or tightrope walkers; they may seem to wobble occasionally, but always come through strongly. The inclusion of those electronics - pre-recorded by Surman for the saxes to play along with is almost invariably a plus. On occasions, the technology does show its age; at one point on Cycle Motion, I thought someone's mobile cell phone was ringing, so thin and tinny was the sound. But generally the electronics enhance and add variety to the sound palette, as does Skidmore's occasional drumming and Surman's bass clarinet. Indeed, it is likely to be the variety of the music here that will most impress first time listeners; for a saxophone trio, there is far more here than one has any right to expect. Sheer enjoyment from start to finish." John Eyles, All About Jazz
CD $16

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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 / 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 (alto sax, 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 RESIDENCIES / BRIAN MARSELLA / SEPT 10-13

9/10 Wednesday
8:30 pm - Pataphysics - Brian Marsella (piano) Sae Hashimoto (vibraphone) Patricia Brennan (vibraphone) Joel Ross (vibraphone)

9/11 Thursday
8:30 pm - Trio - Brian Marsella (piano) Jorge Roeder (bass) Tomas Fujiwara (drums)

9/12 Friday
8:30 pm - Pessimism is for Suckers - Brian Marsella (rhodes, organ, keys) Sally Gates (guitar) Jon Irabagon (sax) Trevor Dunn (bass) Calvin Weston (drums)

9/13 Saturday
8:30 pm - Solo - Brian Marsella (piano)

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: SoSaLa with MARK C (frpm Live Skull) / ANDY WEINTRAUB

"The highlights of the evening will be a special performance by the MFM Unity Ensemble, featuring Grammy Award-winning saxophonist/band leader and educator Joe Lovano and 8x Grammy Award-winning pianist/composer/ band leader and Afro Latin Jazz Alliance founder Arturo O’Farrill. Their collaboration will celebrate both MFM’s mission and the power of collective musical expression. And by New York’s Nu NO WAVE band SoSaLa—led by saxophonist/singer SoSaLa, joined by guitarist Mark C. (Live Skull) and drummer Andy Weintraub. Together, they will create music that transcends both rock and jazz."

Musicians For Musicians (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/

Doors Open: 9:00 p.m.
Performance: 9:30 p.m.
The Cutting Room
44 E 32nd Street
New York, NY 10016

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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