Doralee, there's gravel in your bathtub
The fish swam free, looking for their ocean moon
You once loved a man whose heart was big and open
Said he could see the beauty in us all
Doralee, there are flies among the dead now
The fish swam free, looking for their ocean moon
You once loved a man whose heart was big and open
Said he could see the beauty in us all
Said he could see the beauty in us all
Apocryphal. This is how I feel when I hear(d) Jesse sing this song. I got the first Jesse Sykes CD in the mail in 2002 and fell in love with it. Although it is rather depressing in sound & spirit, it really got to me. I played the CD every night for around a year before I left the store to go home. It was like some sort of sonic medicine which helped me through life. It still rings true to me today! Read the above words and think about them. I used to think that I was like the man in the lyrics "whose heart was big and open, Said he could see the beauty in us all". Am I like that?!? I certainly hope so. I became a big fan and listened to all four of her records over & over. I caught her live 3 times: At The Fez, Joe's Pub and the Bowery Ballroom, each one was marvelous. After her last record, 'Marble Son' came out in 2011, the band broke up as Jesse & Phil (lead guitarist & cowriter) also broke up and then I heard nothing from Ms. Sykes for nearly a decade. I was crushed so I kept going back to those four righteous records, listening to them over and over.
In 2020, Ms. Sykes joined a new band called Third Mind which included members of the Blasters (Dave Alvin), Camper Van Beethoven & the Richard Thompson Band. When I finally got the first Third Mind album, I was overjoyed. Third Mind are a cosmic psych jam band and they cover my/our fave 60's gems like "East West" (Butterfield Blues Band), "The Dolphins" (Fred Neil), "Sally Go Round the Roses" (Jaynettes), "Groovin' is Easy" (Electric Flag) and "Morning Dew" (Bonnie Dobson & the Dead). Since 2020, Third Mind had three great albums released, 2 studio & a live one. Last week, their fourth album, 'Right Now!' was released and we are eagerly waiting for our copies to arrive (CD's & LP's). Third Mind are currently our tour (1st time on the east coast) and they will be playing at White Eagle Hall in Jersey City, NY this Saturday (Oct 18th, 2025). Just added to the bill is the band Garcia Peoples, an incredible Jersey psych/jam band that I've been enjoying for the past few years. Check out any of their handful of gems. Our store has sold more copies of all three Third Mind CD's & LP's, more than any other store since I play their music here and turn folks on to them every week. I am attending this gig with two good buddies: John Mori (DMG employee) and Rich Radcliffe (old college pal). A big toast and a big toke to Third Mind! Who still loves you all, that's me, MC BruceLee - see you at the GIG!
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THE DMG 34th ANNIVERSARY IN-STORE CONCERT CELEBRATION CONTINUES with:
Tuesday, October 21st: RELATIVE PITCH Presents:
6:30 - 9pm: 3 Sets featuring: Two Trio and a Quartet
1) CHUCK ROTH - Guitar / CAMILLE DIETRICH - Cello / KATE MOHANTY - Alto Sax
2) CHUCK ROTH - Guitar / JENNIFER GERSTEN - Violin / KATE MOHANTY - Alto Sax
3) CAMILLE DIETRICH / JENNIFER GERSTEN / CHUCK ROTH
Saturday, October 25th - The GauciMusic Series Presents:
6:30: SARAH BERNSTEIN - Violin / DAFNA NAPHTALI - Voice-Electronics / CHRIS COCHRANE - Guitar
7:30: STEPHEN GAUCI - Tenor Sax-Clarinet / MATT HOLLNBERG - Guitar / PATRICK GOLDEN - Drums
8:30: SEAN ALI - Contrabass / FLIN VAN HEMMEN - Drums
Tuesday, October 28th:
6:30: LUCIANO PAGLIORINI - Sax / TODD CAPP - Drums!
7:30: SUNJAY JAYARAM - Viola / STAN ZENKOV - Reeds / CAROLINE MORTON - Contrabass / PAUL SAKAI - Percussion
8:30: SPIRIT CLARINET CHOIR: Directed by Dr. Paul Austerlitz - Clarinetists: James Elmore III, D. Zizl Slepovitch, David Stokes, Seth Myers, Michael Moss, Ras Moshe, Charlie Waters, Don Slatoff & Dave Sewelson
Tuesday, November 4th:
6:30: Sketchbook Series #12 - rōnin phasing: patrick brennan – solo alto saxophone
7:30: MIKE McGINNIS - Clarinet / DAVALOIS FEARSON - Dance
8:30: STEVE HIRSH - Drums / DANIEL CARTER - Woodwinds / MATT LAVELLE - Woodwinds / HILLIARD GREENE - Bass
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THIS WEEK'S GROOVY DISCS BEGIN WITH:
JOHN ZORN // BRIAN MARSELLA / JORGE ROEDER / CHES SMITH - Nocturnes (Tzadik 9326; USA) The fourth CD in Zorn’s remarkable series of piano trio recordings exploring classical forms, “Nocturnes” is an absolute delight. Preceded by “Suite for Piano” (2022), “Ballades” (2024), and the “Impromptus” (2025), “Nocturnes” is Zorn’s personal take on the beautiful tradition of night music. Touching on Chopin, Scriabin, Debussy, Berg, and more, the music is a wonderland of subtlety—dreamy, drifting, and utterly compelling. Brian, Jorge, and Ches, three of Zorn’s closest and most trusted collab-orators perform with their trademark telepathic interplay, and an uncanny sense of surprise and creativity. With a stunning virtuosity that is always at the service of the music, the trio opens up new doors with each successive recording. Gorgeous music for late night listening! Release date is September 19th, 2025
CD $16
ELLIOTT SHARP with SALLY GATES / GIAN PEREZ / ANGELA BABIN / MATTEO LIBERATORE / KEVIN RAMSAY - Mare Crisium (zOaR ZCD 188; USA) Composed by Elliott Sharp, “Mare Crisium” features six electric guitarists: Sally Gates, Matteo Liberatore, Gian Perez, Angela Babin, Kevin Ramsay and Mr. Sharp himself. “Compositional strategies include difference tone effects, shifting dronalities, algorithmic instruction sets, graphic notation, overtone melodies, and group improvisation and include materials first used in the works Yugen (1973), Attica Brothers/Life Cycle (1975), Interference (1979), Larynx (1987) and pieces written for my 1993 guitar quartet 'Dyners Club. ‘Mare Crisium’ offers a non-linear, non-rational coded sonic response to the current world situation and hopes to provide positive psychoacoustic chemical change to the players and listener.”
As long as I've known Elliott Sharp (early 1980), he has continued to surprise me with his varied choice of instruments to play (guitars, saxes, handmades & computer), bands which draw on jazz, the blues, hard rock, noise, industrial, classical, electronics & experimental music(s). Each year, he releases a handful of discs, each one completely different from what came before. Mr. Sharp did organize and compose for an electric guitar quartet called Dyners Club in 1994 (CD on Intakt), but this is Sharp's first writing for an electric guitar sextet. I do know of four of the guitarists here: Sally Gates, Gian Perez, Matteo Liberatore & Mr. Sharp, as each has played the store and I've reviewed works by each guitarist.
The title, "Mare Crisium", refers to a sea of sand on the moon which was immortalized by a short story by Arthur C. Clarke called 'The Sentinel'. To many folks, the US and the rest of the Earth is immersed in a crisis of our own making. This work is a response to our current sea of crisis's. "Premonition or Memory" opens this disc with several layers of quick strumming. As one or two guitars strum quickly the other guitars play slower, let certain notes ring out. Midway, everyone slows down and plays a series of twisted fragments which work well together. All or most of the guitarists are using extended effects like scraping or rubbing the strings and the overall effect is often fascinating. As noisy as things get here, I like the way the entire soundscape sounds, completely focused. The piece evolves going further and further out and leaves us surrounded by a sea of fractured notes. "Klaxon" opens with what sounds like Mr. Sharp's distinctive way of strumming and muting his guitar, first with 1 guitar and then the others coming in all strumming their bents notes together. Considering that Mr. Sharp is a longtime master of experimental techniques for playing his guitars, his writing brings out these unique sounds from the other guitarists. Midway through "Klaxon", the six guitar erupt together in a dense wall of eerie fractured noise. As each member of the sextet plays a chord, each riff rings out in a powerful, provocative way. "Gears Inevitable" consists of several layers of looping notes, all pulsating together, some submerged in waves, others throbbing on top. Although it is hard to tell how certain sounds are being created, the overall effect is often riveting. "Infernal Eternal" sounds like a symphonic piece for waves of guitar drones. The vibe is unsettling yet it is also transmitting of feeling of dark currents, a vibe many of us are feeling due to what we read in the news every day. This piece was premiered at the Main Drag in Brooklyn and recorded in the Zoar studio in August of this year (2025). An impressive display of electric guitars playing what sounds like modern chamber music of sorts. - Bruce Lee Gallanter, DMG
CD $14
ELLIOTT SHARP - Feedback - Translations from the IrRational (Wesleyan University Press 978-08195-0205; USA) The musical & personal journey of the elders of The Downtown Scene (John Zorn, Eugene Chadbourne, Fred Frith, Elliott Sharp), have all worked their way through many different periods, genres, styles, ideas and come up with dozens (hundreds?) of records and concerts, each of which is another peg or observation in what gone before, during and after what we hear when we listen to their outcome. This is guitarist/composer/multi-instrumentalist/producer Elliott Sharp's second book in recent years, the first one was more autobiographical. This book features some deep observations on the varied aspects of music creation, recording and listening, bandleading and strategies of an ongoing oft experimental scene which is now (2025) around 45plus years old or young. Mr. Sharp discusses many different ingredients that make up the varied types of Creative Music that he has created himself and observed in the other creative musicians that he has worked with or admired close up or from afar. Here's a short list of some of the topics, musicians or composers that he discusses in this book: John Cage, feedback, Glenn Branca, Derek Bailey, John Fahey, Pete K. Siegel, Toru Takemitsu, Hubert Sumlin, Pete Cosey, Bachir Attar, Experimental Music?, graphic notation, gigs, socioacoustics and much more. E# is a keen observer of many of these ever-evolving trends and experiments. I read through half of this book last night and found it to endlessly fascinating, especially as both of have spent so much time seriously listening to the music/sounds that we care about. Elliott Sharp will be doing an in-store here at DMG in the next couple of months, reading from this book and probably creating some of his distinctive music. - Bruce Lee Gallanter, DMG
BOOK $30 [250 pages, soft cover]
HENRY KAISER AND P.ST - The Wolf at the Door (Sub Rosa 575CD; Belgium) That Wolf At The Door is a collaborative 2CD between Henry Kaiser (Califonia, USA; guitar) and P.ST (Prague, Czechia; electronics). The first CD That Wolf At The Door is a solo baritone guitar disc that pays a heartfelt tribute to the late science fiction author Gene Wolfe (May 7, 1931 -- April 14, 2019). The album is a testament to the decades-long friendship and mutual appreciation between Wolfe and Kaiser, two creative minds who shared a passion for pushing the boundaries of their respective art forms. With novels often as complex and extraordinary as Cecil Taylor's best piano playing, Wolfe is one of Kaiser's favorite writers of all time. On this disc, Kaiser's guitar storytelling and narratives were consciously and intentionally influenced by Wolfe's writing. The baritone guitar, with its longer scale length, typically larger body, and lower tuning than a regular guitar, is an intriguing instrument. It is often pitched halfway between the lowest note of a bass of a regular guitar, adding a unique depth and resonance to the sound. Henry Kaiser has been playing baritone guitars for over 30 years, and this is his second CD, after 2024's The Lost Chord, which is all baritone. The solos here are free-improvised, live, in real time, with no overdubbing. Various extended techniques, both manual and electronic, were employed to create polyphonic and orchestral textures. Many of Kaiser's musical heroes -- Terry Riley, Cecil Taylor, Derek Bailey, Iannis Xenakis, Rockette Morton, Conlon Nancarrow, Barry Guy, Rakotozafy, D'Gary, Evan Parker, and György Ligeti -- inspired the solos on this disc. The second CD Sea Of Memories is a solo electronic disc by P.ST, created exclusively from Henry Kaiser's guitar playing. P.ST is a performer/composer based in Prague. The first fifty minutes of Sea Of Memories are sourced from Henry Kaiser's solo guitar playing, which P.ST digitally decomposed and deconstructed. The second piece, "Pattern Of Joy," is an eight-minute guitar improvisation from Henry Kaiser processed by P.ST through thirty-two periodically delayed overlays that grew the piece into twenty-two minutes duration.
2 CD Set $17
PHEEROAN akLAFF / SCOTT ROBINSON / JULIAN THAYER - aRT (Sciensonic SS16; USA) Featuring Scott Robinson on tenor, bass & el contrabass saxes, sarrusophone, alto clarinet, dizi, F tuba, jazzophone, theremin, bass marimba and varied percussion, Julian Thayer on contrabass and Pheeroan akLaff on drums, cymbals, gongs, yunluo & boo bams. Multi-instrumentalist Scott Robinson keeps busy collecting and playing dozens of different instruments in a wide variety of contexts. Mr. Robinson generally plays just a few instruments (reeds & brass) for the different composers/players that he often works with. Master drummer and composer, Pheeraon akLaff plays with many different bandleaders (Anthony Braxton, Anthony Davis, Oliver Lake), as well as leading a number of his own bands. I just caught Pheeroan akLaff last Sunday (10/12/25) in a trio with James Brandon Lewis & Leong Lim Yang at the Montclair Library and Mr. akLaff remains one of my fave drummers of all! (I only know of bassist Julian Thayer from his ongoing work with Scott Robinson.
There are some 20 mostly shorter pieces here, many with the word "abstract" in the title, opening and closing with the titles "Gallery Opening" and "Show Closing". Aside from the bassist, Mr. Robinson and Mr. akLaff seem to be playing different instruments on each piece. Each piece creates a different vibe or sets a different theme. On "Abstract Painting #1", while Mr. Thayer bows his bass creating a suspense-filled low end drone, Robinson weaves in solemn sax sounds with akLaff on simmering cymbals. Robinson plays what sounds like a trombone on ""Dancing About Painting", making rich, French horn like sounds while akLaff plays subtle supportive mallet-work on the lower drums. I checked out an on-line concert by the Roscoe Mitchell Quartet a few months ago with Scott Robinson as a member of the band. It was interesting to watch Robinson play some instruments that I had never seen before, a few of which are found on this disc. Even when AkLaff plays skeletally, he always creates an inner or outer groove which often holds things together. On "Abstract Painting #2", it sounds like Robinson is playing a sad, lush ballad on alto clarinet, the vibe is ever so sublime. "Abstract Sculpture #2" sounds like a short but intense free/jazz piece which moves right along with the other more restrained pieces. Each of the more than a dozen instruments that Mr. Robinson plays evoke a different feeling or vibe. Bassist Thayer gets a couple of chances to stretch out on a few pieces here. Robinson plays a bass sax on one track, exploring those deep, lower tones thoughtfully. Much of the music here has a calm, carefully played center with no screaming free interludes. Everything feels most organic as if it were unfolding like a series of subtle tales. - Bruce Lee Gallanter, DMG
CD $15
NEW FROM THE MIGHTY JAZZ IN BRITAIN LABEL:
The Jazz in Britain and Progressive British Jazz labels have both been the guiding lights of Creative Music from the Great British Modern/Progressive/Avant Scenes which began in the 1950's and have evolved and continued up til today. The latest batch of treasures just arrived here yesterday and we have seven gems to savor, listed below. I haven't had a chance to hear any of the below CD's outside a few tastes via bandcamp but I know that the quality of all discs from both labels is astoundingly high. I will try to listen to each of these this week and review what I can in upcoming weeks. All of the discs below are limited to 250-500 copies and are never reprinted. You can still get these titles as downloads after the physical copies sell out. You can check out samples here: https://jazzinbritain1.bandcamp.com/
BOBBY WELLINS / KENNY WHEELER QUINTET with PETE JACOBSON / KENNY BALDOCK / SPIKE WELLS - The Endangered Species (Jazz in Britain 78; UK) n 1980 Bobby Wellins wrote a suite of music for quartet called The Endangered Species. Bobby played a recording to Bob Cornford as he was keen for him to orchestrate the suite for a small chamber orchestra in addition to the quartet. In 1982 the suite was played on a tour with the addition of Kenny Wheeler promoted as by the Bobby Wellins / Kenny Wheeler Quintet.
After the tour, Bobby took his quartet, plus Kenny, into the studio to record the suite and sent the recordings to Bob Cornford, for him to write the arrangements but Bob died before he could do this and instead Tony Coe wrote them. The recordings were released some years later, with the added strings, but called The Birds of Brazil.
This is the first time that Bobby’s suite has been released with its original title and without the added strings. We’ve also included two more CDs of live recordings of the suite, as well as tunes that were played on the 1982 tour.
3 CD Set $25
GORDON BECK with RAY WARLEIGH / IAIN BELLAMY / DAVE GREEN / SPIKE WELLS - Pay Now, Live Later: Live at the Bass Clef '85 (Jazz in Britain 75; UK) Featuring Ray Warleigh on alto sax & flute, Iain Bellamy on tenor & sopprano saxes, Gordon Beck on piano, Dave Green on bass and Spike Wells on drums. Retrospective of the pianist Gordon Beck’s musical journey from the 1960s to 1985 from a trio of Beck, Dave Green and Spike Wells plus Ray Warleigh and Iain Ballamy on the quintet tracks. The single CD comes in a 6-panel digisleeve, with a 20 page booklet written by Simon Spillett, incorporating memories provided by Iain Ballamy (from Bill Bruford's Earthworks), Dave Green, Liam Noble. The cover art for both sleeve and booklet are original drawings from the brilliant Alban Low.
CD $17
GORDON BECK'S GYROSCOPE with BRIAN SMITH or STAN SULZMANN / FRANK RICOTTI / RON MATHEWSON / TONY LEVIN - Progress (Jazz in Britain 12; UK) On download, streaming and CD for the first time ever, the only Gyroscope album ‘One, Two, Three… Go!’ ever released, expanded with live and studio recordings from the archives plus a wealth of first-hand information about the band and many previously unseen images. Produced with the support of Gordon Beck’s sister Jude and the approval of the band members or their families.
Compiled from studio, live and rehearsal session recordings, made in 1973 and 1974, from the tape archives of Ron Mathewson and Gordon, and released with the support of the Gordon Beck Estate, the album provides a chronological audio history of Gyroscope’s formation and development, ie their ‘Progress’.
3 CD Set $25
TONY COE ENSEMBLE with THE DELME STRING QUARTET - The Buds of Time (Jazz in Britain 70; UK) This is the first ‘lost’ album Jazz In Britain has discovered. We’ve released albums that were only previously released on vinyl, or even cassette tape, ie never on CD, or albums produced from sessions by groups that never made a record, or we’ve included unreleased tracks that never made it only albums… but this is a real first for us.
In 1979 Tony Coe and Bob Cornford composed pieces for an unusual, and unrepeated, combination of a six-piece jazz ensemble (two reeds, bass trombone, piano, percussion and double bass) with a string quartet. The main piece Tony called The Buds of Time. The music was rehearsed, pieces for an album were recorded and, under the auspices of an Arts Council Contemporary Music Network tour, concerts took place at six venues around the UK. We had read about this in John Wickes’ book Innovations in British Jazz Volume One 1960-1980.
Early in 2024 we were given lists of recordings in the Bob Cornford tape archive and spotted references to a number of Buds of Time recordings in there. We secured consent from Tony Coe’s family to release those recordings and also acquired (from Tony’s and Bob Cornford’ archives) memorabilia from the Arts council tour, photographs from some of the concerts, examples of the musical scores plus contemporaneous reviews. We’ve included as much as we could of this in a comprehensive booklet which tells the complete story of this remarkable and unique album. In terms of the actual music, it’s very different from anything you’ll have heard on a ‘jazz’ label but we’ll leave you to discover that and make your own mind up!
"Reeds wizard Tony Coe is one of the eclectic, diverse and successful of all British reeds players! Who else has worked with this diverse list of giants: Derek Bailey, Neil Ardley, Steve Beresford, Kenny Clark Big Band, Franz Koglmann, the Melody Four and many others. Plus he was the featured soloist on the "Pink Panther Theme" for Henry Mancini!." - BLG at DMG
CD $17
PAZ with LOL COXHILL / BRIAN SMITH / RAY WARLEIGH / PHIL TODD / GEOFF CASTLE / DAVE MacRAE / ALLAN HOLDSWORTH / BRIAN GODDING / PHIL LEE / ED SPEIGHT / RON MATHEWSON / DAVE SHEEN / et al - Variations and Creation: The Story of PAZ (Jazz in Britain 40; UK) Five years in the making and representing the twenty-year story of a pioneering British jazz-rock fusion band with strong Latinesque influences… whose alumni over that period included over thirty well-known British jazz musicians… but a band you might not have heard of… or have any of their eight albums… we have finally come up with ‘Variation and Creation: The Story of PAZ’.
The album was produced in cooperation with the families of Dick Crouch and Geoff Castle, the heart of the band over its lifetime. It's available on download, streaming and limited edition CD. The story behind this album… we started this project some five years ago when Ron Mathewson was alive and gave Jazz In Britain his complete archive of tape cassette recordings which included a number of PAZ sessions. We started working with Beth Curtis-Clarke (Dick Crouch’s daughter) on the album idea and she provided recordings and memorabilia from Dick’s archives and then, a couple of years ago, Caroline Castle let us have her husband Geoff’s complete archive of reel tape recordings.They included copies of PAZ albums, rough mixes of albums, unreleased albums, BBC sessions and live recordings.
I recall hearing PAZ play live when I was going to school in London in the fall of 1975. I thought they were one of the best jazz/rock bands that I had seen during my stay in London. I always wondered what had happened to them since they had so few recordings (or so I thought). It turns out that the band has some 10 recordings released although I've never seen or heard of them. So nice to hear a number of my fave musicians here like Lol Coxhill, Phil Lee, Brian Smith and Ray Warleigh. Essential, seminal and exhaustive! - BLG at DMG
3 CD Set $25
SAROST with LARRY STABBINS / PAUL ROGERS / MARK SANDERS - Aurora (Jazz in Britain JN 03; UK) SAROST is a new trio comprising three veteran, virtuoso improvisors, all of whom have worked with countless renowned improvising musicians, and who have worked together in various combinations over the last 40 odd years, but only recently started to play together as a trio.
MARK SANDERS has worked with Wadada Leo Smith, Roswell Rudd, Evan Parker and Howard Riley as well as tutoring at many of the UK’s finest music schools and conservatoires. PAUL ROGERS plays an AAL 7 string bass of his own design and has been active on the European and US jazz and improv scenes for more than 40 years. He was a member of MUJICIAN alongside Keith Tippett, Paul Dunmall and Tony Levin for many years. LARRY STABBINS has worked with a diverse array of people, including Keith Tippett, Robert Wyatt, Peter Brözmann and Jerry Dammers and formed WORKING WEEK with guitarist Simon Booth. As well as SAROST, Larry is currently a member of the quartet 137 alongside Adrian Uttley, Jim Barr and Sebastian Rochford.
Recorded in a single session, the day after a triumphant performance at the 2025 Bath Jazz Weekend, Aurora is a dazzling example of the finest in British improvised music, performed by three masters of the genre.
Both live and in the studio, the music includes everything from wild saxophone screeches to the deftest of arco basslines, with percussion keeping step throughout. Bath Jazz Weekend promoter Nod Knowles described the trio’s performance at this year’s event as “absolutely spectacular” and the trio’s studio performance is no different.
Aurora is a dramatic statement from three of the best and most respected improvisers of the last 50 years; this recording breaks new ground while doffing its hat to those who have gone before, particularly Bristolian pianist and composer Keith Tippett.
"There was recently a trio effort with Keith Tippett, Larry Stabbins & Louis Moholo on the Ogun label which was recorded in 1985. It is an astonishing live date and bristles with intensity and creativity. British saxist Larry Stabbins (currently retired) is an under-recognized giant amongst great saxists. The rhythm team here rank among the best of British creative musicians: Paul Rogers (bassist for Mujician & many Paul Dunmall projects) and Mark Sanders (drummer for Evan Parker, Paul Dunmall & Jah Wobble). I am listening to this disc now on bandcamp and it sounds phenomenal! - BLG at DMG
CD $17
NEIL CHARLES DARK DAYS QUARTET with PAT THOMAS / MARK SANDERS / CLEVELAND WATKISS - Dark Days (Jazz in Britain JN-04; UK) Jazz In Britain is proud to announce the latest release on its ‘new music’ imprint JAZZ NOW, which is the debut album by double bassist and composer Neil Charles. Dark Days features Neil’s musical settings of texts by American author James Baldwin. Neil has selected brief snippets of text which are delivered in exciting fashion by Cleveland Watkiss over a background of themes and improvisation from three of the UK’s finest exponents of the genre. Available on CD in a limited edition of 500 copies in a 6 panel digifile which includes a 12 page booklet with liner notes and photographs.
I didn't know about the bassist/leader here, Neil Charles, although he can be heard on a handful of discs by the great British pianist Alexander Hawkins. The sample I am listening to sounds great! - BLG at DMG
CD $17
STILL IN STOCK & NOW ON SALE:
BOBBY WELLINS SEXTET with PETE JACOBSON / ADRIAN KENDON / SPIKE WELLS plus LOL COXHILL / BRYAN SPRING - Live 1979 (JazzinBritain; UK) Featuring Bobby Wellins on tenor sax, Lol Coxhill on soprano sax, Pete Jacobsen on piano & electric piano, Adrian Kendon on contrabass, Bryan Spring on percussion and Spike Wells on drums. Although I became an anglophile during the first British invasion of 1964 (w/ the Beatles, the Stones & the Animals), it was a wave of psych, pre-prog and experimental rock bands in 1967 that really opened many of us to the possibilities of going beyond the barriers that we thought existed during that era. Around 1969, a number of UK rock bands like Soft Machine, King Crimson, Nucleus, If and Manfred Mann Chapter Three evolved into using elements of modern jazz in their music. Becoming a fanatic for British Progressive Jazz/Rock, I had to go back and learn the history that led to a renaissance of progressive influences. It was then that I discovered the previous generation of British saxists: Ronnie Scott, Tubby Hayes, Joe Harriott and Don Rendell. During my ongoing research, I also discovered British saxists like Bobby Wellins, Don Weller, Dick Morrissey, Pete King, Tony Coe, Tony Roberts, Stan Sulzmann and Dick Heckstall-Smith. I few years back I discovered two great unsung UK tenor saxists, Bobby Wellins and Don Weller. Mr. Wellins was actually Scottish and worked with Stan Tracey, Tubby Hayes and Charlie Watts Orchestra. It took me a while to find just a few of Bobby Wellins’ dozen records, and I am glad to finally hear his great sound. This disc features the “Culloden Moore Suite”, which was inspired by the Battle of Culloden Moor, a disasterish battle which took place in April of 1746. The piece was originally written for and played by the Bobby Wellins Quartet, which was expanded into a sextet for a tour in 1979. The liner notes here describe the battle at length and the way these events are captured in the music. The first four pieces are like intro to the suite and these are played by the Bobby Wellins Quartet. Pianist Pete Jacobsen was another legendary British jazz musician who rarely got the recognition he well deserved and was blind since he was a baby. The opening song has an uplifting, infectious quality which feels good to hear. Mr. Jacobson takes a long unaccompanied piano solo before the suite which is sounds like a long story being told. For the suite the quatet is joined by Lol Coxhill (on soprano sax) and Bryan Spring on percussion. The suite unfolds telling the story of the battle with an intro, a march, the battle and the aftermath. Although the recording is a bit muffled at times, the playing and vibe is infectious and inventive throughout. The legendary Pete Jacobsen takes a powerful electric piano solo on the “March”, before the both saxes play a well-written chamber jazz segment which becomes freer & more frenzied as “The Battle” takes place. “The Aftermath” has a solemn, post apocalyptic vibe and brings the story to a haunting conclusion. The final piece is called “Dizzy’s Blues” and it is indeed a blues with a joyous vibe flowing throughout. The Jazz in Britain continues to unearth under-recognized gems from the vast story of Creative Music making in the UK. - Bruce Lee Gallanter, DMG
CD $12
ANTHONY COLEMAN - Sounding Board (zOaR ZCD 189; USA) Featuring Anthony Coleman playing solo on a Steinway Model M grand piano, recorded in his home. I have long been fascinated by the music of the quintessential Downtown elder, Anthony Coleman, whose playing if influenced by Jelly Roll Morton, ancient to modern klez music (check out his trio Sephardic Tinge), film music, modern & early classical music, Duke Ellington, Cecil Taylor, noise music and all sorts of Downtown weirdness since the early 1980's. Starting with "Antonomasia", the music is stark, many of these pieces are quiet yet explore modern sounding themes. It took me a while to adjust to the more minimal, spacious fragments. At times, I was reminded of Ran Blake who also has a unique way of playing piano, often assembling fragmented melodies from the many films that he savored. On "For Cy Twombly", Mr. Coleman pushes things further out, centering on a number of quirky turnarounds. "Ligand Chelation" sounds like Coleman is exploring a few different themes, going back and forth between solemn and more rambunctious streams. I had to slow down my own inner level action to appreciate some of the music here but the closer I listened and the more I unwound from expectation, the more I enjoyed the nuance(s) of what is going on here. If you take some time to savor this disc, you will be greatly rewarded. - Bruce Lee Gallanter, DMG
CD $14
PAT THOMAS - Hikmah (Tao Forms 19; USA) “The piano is a great sound source. There’s no instrument like it in the Western world because it’s so self-contained. And the fact that it’s still being used, the fact that you can’t replicate it. I’ve yet to come across any sample that sounds like a real piano. It’s still got a mileage of another hundred years at least. It’s way ahead of its time.” And he continued, “The piano is basically a zither with keys. There is an Arabic instrument called a kanun that had a big influence on it. We’ve sort of forgotten the Ottoman Empire. Beethoven and Mozart living in that time were well aware of its influence on Western music.”
For Thomas, there’s a strong urge to transmit the secrets and encourage spiritual transcendence. “Yeah. Things may be bad but maybe for 45 minutes, you can help people see there’s something that takes them somewhere else. We need to be taken somewhere [else] in these times!” - Daniel Spicer for Jazzwise, UK
CD $14
PHILLIP GREENLIEF / LISA MEZZACAPPA / JASON LEVIS - citta di vitti - music inspired by films of michelangelo antonioni (Rouser Records RR 044; USA) Featuring Phillip Greenlief on alto sax & compositions, Lisa Mezzacappa on contrabass and Jason Levis on drums. Ever since Bay Area bassist Lisa Mezzacappa had a residency at The Stone a couple of months ago, we have been stocking and reviewing around 1/2 dozen from her own Queen Bee label. Ms. Mezzacappa has a duo known as Dou B with drummer Jason Levis with three discs out on her label, hence she has a good working/playing relationship with Mr. Levis. Longtime Bay Area saxist, Phillip Greenlief, is currently living in Maine and left us with a half dozen CD's when he played here with Tim Berne a few months ago. I reviewed most of his last batch in recent months and have just received this, his new trio offering other Bay Era associates.
The title of this disc, 'citta di vitti' (city of Vitti), refers to actress Monica Vitti, who starred in several of Michelangelo Antonioni's films and was married to the director as well. Saxist/composer Phillip Greenlief spent a weekend watching two of Antonioni's films over and over in 2007, composing fragments inspired from these films and turning them into compositions for his trio with bassist Lisa Mezzacappa and drummer Jason Levis. Each of the nine pieces here capture and extend one or two themes that Greenlief composed for the tribute to Mr. Antonioni and Ms. Vitti. The first track features two pieces as a medley. It is stripped down to just suspense-filled bowed bass and simmering cymbals at first before the simmering sax sounds enter the picture. Midway, Ms. Mezzacappa starts up a walking bass line while the sax and drums play tightly along with her. The music reminds me of music for a detective film. "Piazza Siciliana" also has a delightful, infectious theme. Throughout most of these pieces it is Mezzacappa's bass which is at the center of these pieces, setting up a scene by providing a skeletal rhythmic structure. On each piece, Greenlief creates a simple, thoughtful melody which often sets up a scene or vibe in our mind's eye. Although none of these pieces are quite avant-garde, the trio still do a fine job of bringing them to life. Mr. Greenlief takes a long, inspired solo on "Stock Market Express" without going too far out. "Dove Anna?" has a forceful riff at the center with some strong, inspired solos from the bass and the drums. Many of these pieces recall slow dancing themes in which a couple are dancing to a tango or a waltz, which often produce images for our thoughts. Unlike most discs from Phillip Greenlief, this one is not really free/improv but does have a series of evocative themes to consider. - Bruce Lee Gallanter, DMG
CD $14
KATIA PESTI - Kryptikos (zOaR ZCD 186; USA) Featuring Katia Pesti on prepared piano. I hadn't heard of Italian pianist Katia Pesti before Elliott Sharp dropped off this disc earlier this week (October of 2025). Ms. Pestio is known for recordings of the music of Claude Debussey, partnering with flutist Giancarlo Parisi. According to the liner notes, elastic threads are attached to the strings inside the piano and the strings are then plucked or rubbed to evoke a string section like sounds. Fanning the strings does provide an odd sound while Ms Pesti also strings the insides of the piano with mallets, providing an eerie sound. Towards the end of the first long piece, Ms. Pesti starts to play a dark, underwater-sounding melodic, slow and sly, while tapping on the other strings inside the piano slowly. Although there is only one person playing the piano here, it often sounds like two since Ms. Pesti plays both the keyboards and strikes inside the piano at the same time. The balance between both sounds is well crafted so that it sounds like Pesti is creating two separate but connected lines. Each piece creates a different focused vibe, evoking a series of liquid dream-like inner scenes. The slow soft haunting pounding of the strings inside the piano often evoke some dark turbulent currents which are unnerving at times. This disc is one of the most startling examples of what can be done with careful extended techniques of playing inside the piano. - Bruce Lee Gallanter, DMG
CD $14
PHILIP GLASS - The Complete Piano Etudes (Performed by Vanessa Wagner)(Infine 1099CD; France) "After more than thirty years of working with and performing the great repertoire, the music of Philip Glass has, in a way, almost revolutionized my life as a musician," confides Vanessa Wagner. An emblematic artist on the French music scene, winner of a Victoire de la musique award and director of the Chambord and Giverny festivals, Vanessa Wagner is as inspired in her interpretation of Mozart, Debussy, Tchaikovsky, and Dusapin as she is alongside Murcof and Rone. With her innovative and daring approach, she has established herself as a major influence on the classical music landscape, crossing boundaries and blazing inspiring trails. For InFiné, she has dedicated four albums to the major figures of this movement, John Adams, Meredith Monk, Brian Eno, and Ryūichi Sakamoto, as well as to the new generation Caroline Shaw, Bryce Dessner, and Nico Muhly. After giving numerous concerts based on these works, she felt the need to record in their entirety this essential monument in the history of music, which bridges the gap between the 20th and 21st centuries: Philip Glass's 20 Etudes for piano by Philip Glass. His approach helps to place these two books in the great repertoire, alongside the great cycles of studies by Ligeti, Debussy, Dusapin, and before them, Chopin and Liszt. The thread linking Philip Glass to Vanessa Wagner may be as simple as a detail: a moment, a pedagogy, a way of looking at the piano. In Words Without Music, Glass recalls his apprenticeship with Nadia Boulanger in Paris -- a lesson in rigorous received just as the Nouvelle Vague was about to shatter the conventions of cinema the conventions of cinema, just as the composers of the minimalist movement had done with the language of music. Nurtured by Ravel and Debussy, the great French pedagogue disciplined yet inquisitive minds, capable of embracing modernity without denying modernity without denying their heritage. The Complete Piano Etudes of Philip Glass is also available for the first time on vinyl, housed in a 4LP Box set (IF 1099LP).
2 CD Set $26
FAITH COLOCCIA & DANIEL MENCHE - Smelter (Room40 4255CD' Australia) "The field recordings on this album contain the common theme of water in different states: snow, ice, hail, streams, creeks, in the Puget Sound passing under a ferry boat, pouring from a leaking sea wall, in frozen ponds, as it turns a water wheel, rain in thunder storms, in a pool during winter swimming. These were recorded between 2017-2024. They were usually made quickly while out with my son, and later edited to preserve the sounds of our voices while obscuring the specific content of what was said. In contrast, when Daniel records, he has a predetermined place in mind, and sets off on whole day adventures to document through both photography and audio. Working together melds his high fidelity, pre-meditated recordings with my spur-of-the-moment low-fi recordings... When we decided to work together on Smelter, I gave him five recordings of my piano compositions which he treated and added his own elements to -- turning them into long drone formations. These were then combined with the various water-based field recordings we'd made individually. Making records this way creates an aural archive of place/time and environment -- in the same way a film photograph holds onto a vision in time: the single moment when light is suspended in microscopic halide crystals which can then be recreated and reinterpreted: a form of time travel, where the past is both fixed and also accessible in the present. With Smelter perhaps we have created a time capsule, an index in which to place our combined story telling for listeners to share." - Faith Coloccia
CD $18
LP SECTION:
NATURAL INFORMATION SOCIETY - Perseverance Flow (Aguirre Zorn 119CD; USA) Announcing Perseverance Flow, the latest album from acclaimed Chicago-based ensemble Natural Information Society (NIS). After a trilogy of double LPs by expanded manifestations of the band that began in 2018 with Mandatory Reality & continued through Since Time Is Gravity (a Pitchfork Best Jazz & Experimental Album of the Year selection & Mojo's #1 Underground Album of 2023), NIS returns to its core formation of Lisa Alvarado on harmonium, Mikel Patrick Avery on drums, Jason Stein on bass clarinet, & composer/multi-instrumentalist Joshua Abrams on guimbri for one continuous 37 minute composition across a single LP. As the rocket boosters on spaceship earth sputter closer to burnout, lower your stylus into a soundfield that grows stronger the deeper you travel into it; a dose of the medicine many of us look to music to deliver awaits you inside. One of the deep contemplations of this natural information (thanks Bill Callahan) is the wide range of source materials Abrams draws from over the band's more than 15 year history: Ideas from minimalism, modal jazz & traditional musics are regularly reimagined in these compositions. The 2021 double LP descension (Out of Our Constrictions), with guest soloist Evan Parker, reflected aspects of Abrams' love of party music, Chicago house, & John Coltrane. *But even veteran travelers with the NIS best brace themselves for the Perseverance Flow. Speaking to the history & the inspirations behind the album, Abrams offers: "We played the piece for a year in concert before the recording. At Electrical (Audio Studios, Chicago) we went in at 11 & were done in time to pick our kids up from school." Abrams continues: "In a reference world, I imagine Perseverance Flow like a live extended realization of a Jaylib lost instrumental as remixed by Kevin Shields. Or vice versa. I also think it has sympathies to some of the more rhythmically intricate dance musics out of Chicago & Lisbon." The core NIS ensemble heard on Perseverance Flow always address Abrams' writing with the discipline of orchestra musicians & the creativity of improvisers. But this time around, instead of inviting living legend status musicians Evan or William Parker or Ari Brown as honored guests to solo freely over the composed materials, Abrams' invited guest collaborator was the medium of the recording studio itself. Situated at the board with engineer Greg Norman, Abrams pushed post production techniques found only sporadically on earlier NIS records deep into the heart of the music, distorting & reshaping instruments to subtly &, at times, aggressively mutate timbre & texture, color & time. Refracting the band's signature mesmerizing chains of overlapping rhythmic patterns through the sonic funhouse of dub makes Perseverance Flow the most formally experimental NIS album to date. Now a soundworld fully unique to itself is listening to itself, consoling & humoring itself, & consoling & humoring you. A destruction myth & a creation myth of a soundworld together at once -- "energetically nutritious" (October 2025 Issue 500 The Wire) supernatural information society.
LP $22
THE LAST POETS & TONY ALLEN - Africanism (Africa Seven ASVN 071LP; USA) "Experience the profound legacy of The Last Poets with their new release, Africanism. Abiodun Oyewole and Umar Bin Hassan revisit and re-energize some of their seminal works such as 'When The Revolution Comes,' 'Gash Man' and 'Niggers Are Scared of Revolution,' infusing them with fresh and potent new soundscapes. Joining the Poets are the late, great Tony Allen (Fela Kuti) -- laying the album's foundations with legendary Afrobeat rhythms -- Egypt 80 guitarist and bassist Akinola Adio Oyebola and Kunle Justice, jazz keyboardist Kaidi Tatham (dubbed as 'The UK's Herbie Hancock') and saxophonist Courtney Pine. Africanism is the result of vibrant live sessions in Brooklyn and London, recorded and mixed by producer Prince Fatty. The album bridges spoken-word poetry with a bold fusion of Afrobeat and contemporary jazz, where live instruments amplify the Poets' raw and unflinching verses."
LP $35
PASTOR CHRIS CONGREGATION - West Virginia Snake Handler Revival "They Shall Take Up Serpents" (Sublime Frequencies 130LP; USA) West Virginia Snake Handler Revival "They Shall Take Up Serpents" marks the arrival of a landmark record, documenting the last, snake handling church in Appalachia. Featuring hillbilly rock guitars, trance-like rhythms, and howling vocals, this album was recorded 100% live and without overdubs by Grammy-award winning producer and author, Ian Brennan (Tinariwen, Ramblin' Jack Elliott, Zomba Prison Project). The first release of American music ever by Sublime Frequencies, Brennan states, "As much as I've traveled around the globe to remote areas such as Comoros, the southeast Sahara or up-river in Suriname, few places have felt more foreign or 'exotic' than this part of Appalachia. The recording represents in many ways a companion and counterpoint -- the other side of the Deep South, so to speak -- to the music that was explored on the Parchman Prison Prayer albums. The Snake Handler album was an attempt to listen across that divide -- a divide that's never fully healed and continues to haunt and imperil the USA to this day." The recording took place during a two-plus hour Sunday service in the West Virginia mountains. Brennan states, "I'd sworn to stay far away from the snakes at the service, but instead they were waved in my face as they coiled in the preachers' hands, and I crouched down at the foot of the altar tending to the equipment. The pastor soon was bitten and blood splattered, pooling on the floor. The female parishioners hurriedly came to wipe up the mess, and it instantly became clear just what the rolls of paper towels stacked on the pulpit had been for. You can actually hear this moment transpire towards the end of the track 'Don't Worry It's Just a Snakebite (What Has Happened to This Generation?)'. The congregation leapt to its feet and a mini mosh-pit formed. The tag-team preachers huffed handkerchiefs soaked in strychnine, as they circled like aggro frontmen and an elderly worshiper held the flame of a candle to her throat, closing her eyes and swaying. The church PA blew out from the screams as a bonnet-wearing senior whacked away at a trap kit that dwarfed her. It was the most metal thing I'd ever seen, rendering Slayer mere kids play." The flock claim to be the first church that merged Rock and Roll with firebrand preaching -- that the music was stolen from them by Satan, that they are the originators. Given that snake handling ministries can be traced back to at least 1910, there might even be a faint something to the claim. The pastor's father and brother both died after being bitten by timber rattlesnakes, and the pastor himself suffered greatly from one a few years back -- his forearm swelling to twice its size and turning slime green. As a result, he fell unconscious and his forearm had to be sliced open from wrist to bicep to relieve the pressure. Nonetheless, Pastor Chris steadfastly claims that "Jesus is our anti-venom." "Some people think we're Devil worshippers, that we're a cult. But snake handling is only a small part of what we do." In the 1970s there were reportedly five-hundred snake churches throughout Appalachia, but now there is only one -- in West Virginia, the only state where serpent handling remains legal. It's estimated that in the past century more than one-hundred preachers have died from poisonous snakebites inflicted while leading these services. This includes the founder of the first snake handling flock, George Went Hensley, who was illiterate and once convicted of selling moonshine during the Prohibition era. His death was officially ruled a suicide due to his refusing medical treatment. The local county's population has dropped by more than 80% in the wake of the West Virginia coal industry's globalization gutting, and the area now leads the USA in drug-related deaths per capita while also being the poorest in the state. Within minutes of launching into trance-like states during the service featured on this album, both preachers became drenched in sweat. More than strict scripture, the preachers are gifted improvisers able to vent for hours at a time. Brennan states, "Pastor Chris joked, 'You definitely don't want to hear me sing.' But, in fact, he is a gifted vocalist with singular phrasing." Like so much of the most classic music ever made, it sounds as if it is emanating from the past and the future simultaneously -- some parallel universe where instead of discovering amphetamines, The Damned found God (or maybe both) and became born again. The vinyl edition includes a long 13-minute bonus track and features a four-page booklet sporting stunning photos of the congregation's rituals in action.
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 / HENRY FRASER / OCT 15-18
10/15 Wednesday
8:30 pm - SOLO: Henry Fraser (bass fiddle)
10/16 Thursday
8:30 pm - DUO: Henry Fraser (bass fiddle) Michael Cavuto (poetry)
10/17 Friday
8:30 pm - FRIDAY NOIR: Henry Fraser (bass fiddle, fretless bass guitar) Tim Watson (guitar) Eliana Glass (voice) Anthony Pearlman (piano) Jon Starks (drums, samples)
10/18 Saturday
8:30 pm - TRIO: Henry Fraser (bass fiddle) Brandon Seabrook (guitar) Randy Peterson (drums)
THE STONE RESIDENCIES / JOHN MEDESKI / OCT 22-25
10/22 Wednesday
8:30 pm - Angelic Brothers play the music of Sun Ra
John Medeski (piano) Kirk Knuffke (trumpet)
10/23 Thursday
8:30 pm - SOLO
John Medeski (piano)
10/24 Friday
8:30 pm
DUO - John Medeski (piano) Ikue Mori (electronics)
10/25 Saturday
8:30 pm
DUO - John Medeski (piano) Billy Martin (percussion)
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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THE BEN GOLDBERG FESTIVAL OF MUSIC: In Oakland, CA - Oct 23rd - Oct 29th
Thursday October 23 Wyldflowr Arts
INVISIBLE GUY (Michael Coleman, Hamir Atwal, Ben Goldberg)
BEN GOLDBERG’S GLAMOROUS ESCAPADES plays Porch Concert Material with Spencer Hoefert, Will Bernard, Mat Muntz, Dillon Vado, Michael Coleman, Hamir Atwal, Ben Goldberg
Friday October 24 Wyldflowr Arts
THINGS THAT MOVE (Nate Brenner, Tim Bulkley, Hamir Atwal, Ben Goldberg)
ARCHIMEDES LULLABY (Andrew Conklin, Kasey Knudsen, Nate Brenner, Michael Coleman, Hamir Atwal, Ben Goldberg)
Saturday October 25 Wyldflowr Arts
INSECT LIFE (Ben Davis, Raffi Garabedian, Danny Lubin-Laden, Ben Goldberg) with special guests Myra Melford and Hamir Atwal
BEN GOLDBERG’S BRAINCHILD (everyone)
On Sunday October 19 Ben will present SO LONG ROB — in memory of our dear friend Rob Reich — at SF Music Day, at 12:30 pm. With Kasey Knudsen, Will Bernard, David Ewell, & Tim Bulkley.
Sadly, Babette, a Berkeley institution, is closing at the end of the month.
That leaves two Wednesdays of music:
Wednesday October 22 6 - 8 pm
Michael Coleman keyboards Spencer Hoefert electric guitar Hamir Atwal drums Ben Goldberg clarinet
Wednesday October 29 6 - 8 pm
Ben Goldberg clarinet with various people
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Sunday, October 19, 2025 | Harlem, NY
Inaugural Gregory Stephen 'Ionman’ Tate Day at
St. Nicholas Park with New Brett Cook Artwork
Melvin Gibbs and Burnt Sugar The Arkestra Chamber Performances
Harlem will host the inaugural Gregory “Ionman” Tate Day, a celebration of the visionary writer, bandleader, and cultural theorist whose work reshaped Black music and thought. The day features a major new public artwork by acclaimed artist Brett Cook as well as live performances and conductions from Melvin Gibbs for Honk NYC!, Vernon Reid and Burnt Sugar The Arkestra Chamber (BSAC), the ensemble Tate founded.
Public Art Unveiling & Performances
Date: Sunday, October 19, 2025
Location: St. Nicholas Park/133rd-134th Streets & James Baldwin Lawn
12PM
— Melvin Gibbs with Black Fire Percussion & BSAC Horns
— Brett Cook’s Greg Tate Horus Unveiling
— 23rd Century Great Day in Harlem Photo Shoot
1PM
— Flyboy in the Buttermilk Conductions w LaTasha N. Nevada Diggs/Carl Hancock Rux/Felicia Cade/Paul r. Harding, Sharriff Simmons & BSAC conducted by Vernon Reid
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NEW VIDEOS from GUITAR MASTER HENRY KAISER:
https://www.youtube.com/watch?v=MWn5MRUOTAc
https://www.youtube.com/watch?v=ste9pdLiz_0
https://www.youtube.com/watch?v=rgcxTkoIgQI
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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