Standing on the moon
I see the battle rage below
Standing on the moon
I see the soldiers come and go
There's a metal flag beside me
Someone planted long ago
Old Glory standing stiffly
Crimson, white, and indigo
Old Glory standing stiffly
Crimson, white and indigo, indigo
I see all of Southeast Asia
I can see El Salvador
I hear the cries of children
And the other songs of war
It's like a mighty melody
That rings down from the sky
Standing here upon the moon
I watch it all roll by
All roll by, all roll by
Roll by
Standing on the moon
I see a shadow on the sun
Standing on the moon
The stars go fading one by one
I hear a cry of victory
Another of defeat
A scrap of age-old lullaby
Down some forgotten street
Standing on the moon
Where talk is cheap and vision's true
Standing on the moon
But I would rather be with you
Somewhere in San Francisco
On a back porch in July
Just looking up in Heaven
At this crescent in the sky
In the sky
Standing on the moon
With nothing left to do
A lovely view of Heaven
But I'd rather be with you
A lovely view of Heaven
But I'd rather be with you
Be with you
Be with you
Be with you
Be with you
Be with you
I'd rather be with you
Be with you
Be with you
I'd rather be with you
I'd rather be with you
I'd rather be with you
Be with you
Be with you
The last few times I caught the original Grateful Dead live in 1993 and in 1995, they sounded tired and rather sad. I recall that last show and I remember that I couldn't hear Jerry's voice as they had turned him down in the mix and it made me very disenchanted since I had caught them on both transcendent dates as well as some sloppy or uninspired ones. I had heard that there was something wrong with Jerry (dependence on cocaine & heroin apparently) and could tell that there was something wrong in the way they sounded. I was not too surprised when he passed away in August of 1995 but I was still devastated like many Dead fans around the world. I gave up on the Dead after that until my friend Mike Panico twisted my arm and we went to see a Dead for Obama show at the University of Penn (with the Allman Bros opening) and then a dozen shows with Furthur (the Dead offshoot project with Bob Weir, Phil Lesh & other Dead associates). Most of the Furthur shows were great and they covered many old Dead songs that the band had long since performed as well as rarities from each of Bob's and Phil's solo careers. When Mike Panico passed away in October of 2018, I lost a good friend and someone who I shared many great musical memories. I thank him for making me reconsider some of the bands or musicians that he dug the most. During the beginning of the Pandemic, I was depressed to be at home by myself after working 5 or 6 days a week at the store for some thirty years. I needed to find a way to inspire myself and feel better about life, especially as the political situation in the US had gotten so frightening, making things even worse for myself and many other sensitive folks around the world.
I discovered the website Archive.org in early 2020 and found that they had a site where one could stream some 2,000 Dead shows from their entire 30 year (1965-1995) career. I decided to start at the beginning (December of 1965) and listened to around an hour of Live Dead every night in chronological order. I knew that many fans worshipped the Dead while others thought they were often sloppy and sung out of tune. It has now been more than 5 years later and I have listened to 435 shows and have gotten to the end of 1974. Now I get why those folks worship the Dead. It is due to many aspects but the one that touches me the most is their moments of transcendence, when they take off for parts unknown and travel through outer and inner space, reinventing themselves as they go. The Dead are/were a truly American band whose music blended bluegrass, folk, country, blues, rock, soul, R&B, psychedelia, reggae, free form, noise, ethnic and other diverse streams. I also met Matt Vernon (sitting next to me at The Stone!), who set up that Dead site on Archive.org and now we are good friends.
The above song, "Standing on the Moon" comes from the last studio Dead album called 'Built to Last' and I find this song to be immensely sad and touching, reaching something deep within all of us, a universal feeling of loneliness. I recall seeing/hearing Jerry sing this song from a side of the stage, by himself with a spotlight on him. It was like Jerry was standing on the moon looking down on our sad planet by himself wondering what we had gotten ourselves into. Whenever I hear this song, it dredges up the same feeling of Universal Loneliness. A few months back I got a cheap CD at Princeton Record Exchange of Jesse McReynolds & Friends covering the songs of Jerry Garcia and Robert Hunter, all Dead songs but one. The songs cover most eras of the Dead's long career and show that there has always been a large number of great, heart-warming songs which will speak to each of us who are still alive and have a love for humanity at the center of our hearts and souls.
Today is Christmas Day so I want to wish you all a Merry Christmas, the Kwanza holiday begins tomorrow and next week is New Year's Eve. It is a time for celebration so let's get down! It has been a difficult time for many of us so let's all hope for better days ahead. - Peace and Love Always, Bruce Lee Gallanter at DMG
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THE DMG 35th ANNIVERSARY IN-STORE CONCERT CELEBRATION CONTINUES with:
Tuesday, January 6th:
6:30: MARC EDWARDS and SLIPSTREAM TIME TRAVEL: TOR SNYDER & DYLAN DELGIUDICE - Guitars / AYUMI ISHITO - Tenor Sax / TAKUMA KANAIWA & MARIO FONTES - El Basses / MARC EDWARDS - Drums!
7:30: DOT ISO with VIVEK MENON - Violin / DYLAN DELGIUDICE - El Guitar-Alto Sax / ORCHID McRAE - Drums!
8:30: BETHANY DINSICK - Electric Guitar, Vocals, Effects / CAMERON STUART - Harmonica & Effects!
Monday, January 12th Book Release Celebration - Double Header:
6:30: ELLIOTT SHARP - Translations from the IrRational - Reading from, Talking about 'Feedback' and Playing with
7:30: JOE FONDA - My Life in the World of Music - Reading, Talking and Playing with E#
Tuesday, January 13th:
6:30: patrick brennan - Alto Sax - Compositions / HILLIARD GREENE - ContraBass / JASON KAO HWANG - Viola / MICHAEL T.A. THOMPSON - Drums
7:30: KnCURRENT: patrick brennan - Alto Sax / COOPER-MOORE - Diddleybo / ON KA'A DAVIS - Guitar / JASON KAO HWANG - Electric Violin
8:30: OPEN QUESTION: AYUMI ISHITO - Tenor Sax / DANIEL CARTER - Reeds - Trumpet / ERIC PLAKS - Keyboard / ZACH SWANSON - Bass / JON PANIKKAR - Drums
Monday, January 19th: Relative Pitch Series: 6:30 - 8:30
Set 1: CHUCK ROTH - Guitar / FRANCESCA H - Sax
Set 2: CHUCK ROTH - Guitar / KATE MOHANTY - Alto Sax
Set 3: CHUCK ROTH / FRANCESCA H / KATE MOHANTY
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WE JUST GOT IN AROUND A DOZEN DISCS FROM THE GREAT FMR LABEL after having an order lost from several months ago. I have to catch up with my reviews...
PAUL DUNMALL with JOHN ADAMS / ROBERTO BELLATALLA / MARK SANDERS - Jazz Suite v- Outcome of Choice (FMR CD714-0125; UK) Featuring Paul Dunmall on tenor sax, John Adams on electric guitar, Roberto Bellatalla on contrabass and Mark Sanders on drums. Recorded at the Custard Factory in Birmingham, UK in February of 1999. After the release of more than 200 titles as a leader on DUNS, Slam, Discus, Cuneiform and Listen! Foundation, British sax colossus Paul Dunmall has slowed down to around 2-3 discs a year, mostly on Discus, FMR and Jazz in Britain (an amazing recent Mujician 3 CD Set]. Unlike Philip Gibbs, UK guitarist John Adams has only recorded with Mr. Dunmall on around ten records. British bassist Roberto Bellatalla has also recorded with Mr. Dunmall on rare occasions, working also with Elton Dean, Dreamtime and John Law. The everbusy British drummer Mark Sanders has also recorded with Dunmall more than 50 times as well as with Evan Parker, Jah Wobble, Larry Stabbins and Pat Thpmas.
Although most Paul Dunmall releases were recorded within the last few years of their release, this one is from 1999, more than a quarter century ago. It is also titled as a "Jazz Suite", something that Mr. Dunmall rarely did until more recently when he started bringing in written material instead of releasing a deluge of free/improv records. This disc is broken into four parts. "Part One" begins slowly with a cerebral, 4/4 modal groove over a subdued yet throbbing bassline. John Adams takes a long, thoughtful, inventive jazz guitar solo. "Part Two" has another strong Trane-like riff at the center which is played tightly by the tenor sax & guitar frontline. John Adfams takes the first solo and it is an impressive one with Mark Sander's ever-supportive drums egging him on and on. Dunmall follows and erupts on tenor spinning out layers of lines at an astonishing tempo which is later followed by a spirited unaccompanied bowed & plucked bass solo. "Part Three" is the longest piece here and the opening riff which is played by the guitar is hypnotic and probing, holding the rest of the quartet together while Mr. Dunmall solos at length around the riff/theme, his lines long and free-flowing, digging deeper as he goes. After Dunmall, Mr. Adams takes a long and winding guitar solo, fanning the dflames higher and higher, strumming at a super-quick early John McLaughlin-like way. Mark Sanders remains one of the best British jazz drummers and also takes a colossal solo as well. Although the sound quality is far from perfect, the energy and inventive spirit is righteous and inspiring. It is Christmas Day (2025) as I write this and it does feel like I/we have been given a wonderful gift. - Bruce Lee Gallanter, DMG
CD $14
PAUL DUNMALL - A Bad Day at the Office for Charles Ives (FMR 0724-0925; UK) Featuring Paul Dunmall on solo piano and organ. Review next week.
CD $14
JOHN BUTCHER / UTE WASSERMAN / MARTIN BLUME - Leaflight: Close Calls (FMR 0728;0925; UK) Featuring John Butcher on tenor & soprano saxes, Ute Wassermann on voice & bird calls and Martin Blume on drums & percussion. Saxist extraordinaire, John Butcher, is one of the well-regarded avant saxists to emerge from the British progressive Jazz Scene over the past several decades. I've noticed that experimental vocalist Ute Wassermann has been popping up over the past three decades working with Birgit Uhler, Jaap Blonk and Joke Lanz, as well as performing the music of Chaya Czernowin. German drummer Martin Blume, I've come to know over time from his work with Philipp Wachsmann, Phil Minton, Ken Vandermark and Luc Houtcamp.
This disc was recorded at a concert in the LOFT in Berlin in September of 2024. The music here is close-mic'd, well balanced and superbly recorded. Considering that Mr. Butcher is a master of extended techniques and that Ms. Wassermann is also altering her voice in odd ways and playing bird calls, it is difficult to tell who is doing which sound. The outcome is consistently fascinating nonetheless. There are some quieter, more contemplative sections which show another side to this duo. All three members of this trio are masters of nuance, textural and timbral explorations. At one point on the "8th Call", Ms. Wassermann seems to be imitating Mr. Butcher's sound and approach to his tenor sax playing. She is pretty close and both she and Butcher's sax are coming from a similar area. Overall this is an extraordinary trio whose sound is often united as one force of mature experimentation. - Bruce Lee Gallanter, DMG
CD $14
FRODE GJERSTAD with MARGAUX OSWALD / IVAR MYRSET ASHEIM - Stavanger 9 9 2024 (FMR CD713-0125; UK) Featuring Frode Gjerstad on alto sax & clarinet, Margaux Oswald on piano and Ivar Myrset Asheim on drums. Recorded in Stavanger at Spor 5 in September of 2024. Elder Norwegian reeds player, Frode Gjerstad, appears to have a double career releasing historic recordings (with Bobby Bradford, John Stevens & Johnny Dyani) as well as newer collaborations with Alex Von Schlippenbach, Matt Shipp and Paal Nilssen Love. Over time, Mr. Gjerstad has also found time to work with younger Scandinavian musicians like Dag Narvesen, Isach Skeidsvoll and Ole Mofjell. For this disc Mr. Gjerstad is working with Copenhagen-based pianist Margaux Oswald (with discs out on Clean Feed & Ilk Music labels) and Norwegian drummer Ivar Myrset Asheim has recorded with the Andreas Raysum Ensemble (whose disc on the Motvind label is well regarded). Mr. Asheim has recorded with another half dozen other ensembles, none of whom I had heard of before now.
This is the second disc from this trio, their first one was on Frode's Circulasione Totale label as was released last year (2024). Although this is a live recording, the sound is splendid, well-balanced and tightly played. Although I hadn't heard much from either of the two players here, both make a deep impression on me. Ms. Oswald doesn't quite sound like anyone else and uses suspense and pedal down resonance to the best advantage, framing Gjerstad's taut playing just right. From Cecil Taylor-like two handed flourishes to more stripped down fragments, the trio remains tight and engaged throughout. There is a long section of haunting piano with eerie, creaking drums which has an overwhelming intensity especially when Gjerstad's sly, fractured-note alto sax steps in. Both the piano and drums play selectively and sparsely at times, making every note, chord or gesture stand out and count. At times, it sounds like Ms. Oswald is muting the strings with her hands (or a small block of wood) and playing some frenetic free over-the-tops near-violent waves on the higher end of the piano. This is a feisty, spirited trio that sound like they've been playing together for many years, tight, intense, ever-inventive and edge-of-your-seat exciting. Mr Asheim takes a long story-like drum solo towards the last section of the long & winding open piece and it is a gem. Mr. Gjerstad plays an unaccompanied intro on alto sax on "Stavanger 2" and has his own unique sound, carefully bending and twisting each note. Ms. Oswald is also playing inside the piano, tapping on and muting certain strings in her own distinctive way. What I like most about this disc is that this trio creates its own unique sound, often adding suspense and crafty ways of exploring their instruments yet without pushing the boundaries too hard into the murkier, hard-to-listen to extremes of extended techniques. Rock solid and still going strong! - Bruce Lee Gallanter, DMG
CD $14
SZILARD MEZEI TUL A TISZAN INNEN ENSEMBLE - Reveszem (FMR 705/706 -0824; UK) Review next week
2 CD Set $16
SZILARD MEZEI // IMPRO-VIZIOK 2.2.with CSABA GASPAR / ISTVAN KELEMEN / ALBERT FAZAKAS / LEHEL VITALYOS - ANNA Plays the Music of Szilard Mezei (FMR 0726-0925; UK) Featuring Csaba Gaspar on violin & vocal, Istvan Kelemen on viola, Albert Fazakas on cimbalom & dulcimer and Lehel Vitalyos on contrabass. Hungarian composer, violist and multi-bandleader, Szilard Mezei is someone I've long admired and have reviewed many of his fifty plus releases from solo efforts to orchestral offerings. In 2018, Mr. Mezei had the opportunity to compose music for a theatre production called 'Anna Legend', which was directed by Szilard's sister Kinga Mezei. The music was based on some earlier compositions by Mr. Mezei with additional music added. A quartet was organized to play the music for the production and a year later, the quartet reformed to play a performance of this piece in a freer way. This disc is from that performance.
This is an all acoustic quartet and the sound production is superb. This disc begins with "End of the Motion" with the two strings floating above the strummed harp/inside piano sounds of the cimbalom (a hammered dulcimer) and the acoustic bass at the center holding down the rhythmic heartbeat pulse. The quartet certainly has their own heartwarming sound, tranquil, touching, fairytale-like and rather magical in the way it casts a spell of well-being upon us. Unlike much of the music that Mr. Mezei has recorded with his varied ensembles which is mostly improvised-based with certain written material utilized, this music is more concentrated with much more written themes at the center and a nice balance of the freer parts used in between the written bits. On "Drift / That Dance", the melody is wistful and has a rich, poignant, melodic theme which is most enchanting. There is a piece called "Improvisation" which actually sounds like it was based on some of the written material that Mezei had provided. If you've never heard the sound of a cimbalom, I urge you to do so. I once caught Van Dyke Parks at the Bottom Line and he had someone playing a cimbalom on stage which added a magical, mystical sound to his already superb, enchanting music. Csaba Gaspar sings in his lovely low voice on "Anna?/It is Raining Nicely", adding a more human quality to this music, making it even more endearing. Although there are a number of more melodic fragments that flow through this music, there is also a stunning, dark or turbulent undertow going on as well. It is as if there is a struggle going on between darker and lighter forces. The music here often reminds me of the soundtrack to a dramatic European film, thoughtful, gracious and filled with mixed emotions. During the midsection of "Ponder/Run Away/The Sun Rose and Passes", the quartet breaks into a powerful, tight, written section which will knock you sideways. Even the quieter parts, seem to evoke some deeper vibrations within. Szilard Mezei claims in the liner notes that he is deeply proud of the way his music was played here and brought to life. He should be, this disc is ample proof of his great music. - Bruce Lee Gallanter, DMG
CD $14
STRING TRIO OF NEW YORK with POET PAUL KANE / ROB THOMAS / TONY MARINO / THURMAN BARKER - Intimations (Self-produced; USA) This version of the String Trio of New York features James Emery on guitar & compositions, Rob Thomas on violin and Tony Marino on contrabass plus guests Thurman Barker on drums & percussion and Paul Kane reading his poetry. The String Trio of New York have been around since 1977 and this is their 19th release in almost a half century. Founding members James Emery and John Lindberg have been with the trio since the beginning while the trio has had four great violinists: Billy Bang, Charles Bunham, Diane Monroe, Regina Carter and now Rob Thomas. There have also been a number of guests over time: Jay Clayton, Anthony Davis and Oliver Lake. For this special date, the trio has two guests drummer Thurman Barker and poet Paul Kane.
Although I hadn't heard of the poet Paul Kane, he and James Emery have been friends since 2001 when both were teaching at the State University of New York-Orange. They decided to start collaborating in 2010 although Mr. Emery moved to Santa Fe, NM in 2022. Most of the poems here were written by Paul Kane along with translations of the poems by 14th century works by Persian poet Hafiz of Shiraz. Things begin with "Down Home Tone Poem", which has a sly, slightly funky groove. This is/was the first time the SToNY used a drummer and he works well playing skeletal percussion in subtle support. Mr. Kane's warm, thoughtful voice is an integral part of these pieces, making solemn revelations about life and giving us a chance to consider his words. There is a strong balance going on here between the words and the music, Mr. Kane will often make a subtle observation while the trio/quartet quietly answers him, playing something which seems to express what Kane is saying within the words he chooses. Mr. Emery plays acoustic guitar here and often sounds like he is playing an acoustic harp at times while he also playing those expressive jazz guitar chords and single note flourishes. Violinist Rob Thomas, who has been a member of this group for a while now is a perfect partner for Emery, often adding rich yet subtle harmonies. Often while considering the words of Mr. Kane or Hafiz, I am astonished by the ever-inventive playing of the other members of this wonderful quartet. There are a couple of instrumentals here and they are extraordinary! "The Pursuit of Happiness" has a powerful Mahavishnu-like sound with some extraordinary fleet-fingered guitar by Emery (incredible solo here!), as well as a dynamic solo from Thomas' violin! A few of these pieces are long and suite-like, going through a few different connected sections. "Blues for Seligmann" is another instrumental and it is a blues, with spirited solos from the violin and the guitar. "Denouement / Seven Catastrophes in Four Movements" is another suite which closes this disc and it is based on Catastrophe Theory. This theory which unites the consequences of many varied phenomena from across historic, geographic and theoretical patterns. The words and music are united here, outlining assorted episodes of chaotica. This piece is fascinating as it bridges the gaps between different ideas. As with any disc that I've gotten from James Emery over the past few years, a great deal of time, thought and inventive playing has gone into this master work. Take your time to savor each layer. - Bruce Lee Gallanter, DMG
CD $15
SABU TOYOZUMI / RICHARD ALLAN BATES / RICK COUNTRYMAN - The Separation of Sound and Space (FMR CD717-0125; UK) Featuring Sabu Toyozumi on drums & percussion, Richard Allan Bates on electric upright bass and Rick Countryman on alto sax. Recorded at Strawberry Jam Studio (in the Philippines) in January of 2024, almost a year ago. Legendary Japanese free/jazz drummer, Sabu Toyozumi, has been recording records since the early 1970's. He has recorded with many of the godfathers of Free Music: Peter Brotzmann, Haino Keiji, John Zorn, Kenny Millions, Arthur Doyle and many others. Starting around 2018, Toyozumi started working with Rick Countryman, an American alto saxist who has been living in the Philippines for a long while. These two have recorded together more than a dozen releases, some with Richard Allan Bates on bass. Starting quietly with sparse percussion, the trio take their time to build, playing just a few notes at a time, before they start to erupt together, still hanging back somewhat. Each piece takes its time and builds, becoming less sparse as it unfolds. The sound quality here is clean and warm and well-balanced. Each of the nine pieces feels right as far as free/jazz at its best without pushing it too far out. What I like most about this is that no one plays too much and all three listen closely without trying to overwhelm anyone else. There is no long period of screaming or blasting, no need. The trio feel and sound organic and all of the pieces unfold bit by bit with nothing being rushed or too far over the top. This is Free/Jazz for those who are somewhat overwhelmed when the band just screams non-stop for a long period of time. Manna from Heaven. - Bruce Lee Gallanter, DMG
CD $14
SONNY SIMMONS - Better Do It Now Before You Die Later: Sonny Simmons with Marc Chaloin (Blank Forums 9781953691996; USA) Hardcover. 588 pages. "Fiery, funny, inviting and digressive, Sonny Simmons' memoir is a long overdue celebration of the famed New York free jazz pioneer. Though his years in the New York free-jazz scene of the sixties cemented his reputation as 'one of the most forceful and convincing composers and soloists in his field,' saxophonist Sonny Simmons (1933-2021) was nearly forgotten by the '80s, which found him broke, heavily dependent on drugs and alcohol, and separated from his wife and kids. 'I played on the streets from 1980 to 1994, 365 days a year,' Simmons tells jazz historian and biographer Marc Chaloin. 'I would go to North Beach, and I'd sleep in the park. The word got around town that Sonny is a junkie, really strung out.' The resurrection of Simmons' career -- upon the release of his critically acclaimed Ancient Ritual (Qwest Records) in 1994 -- has become a modern legend of the genre. In the last two decades of his musical career, Simmons broke through to a new echelon of recognition, joining the pantheon of great innovators and masters of the music. But to this day he remains an undersung figure. Here, in the first ever book dedicated to his life, Simmons recounts his childhood in the backwoods of Louisiana, his adolescence in the burgeoning Bay Area jazz scene and his star-studded life in New York playing alongside the greats."
BOOK $41 [In stock in 1-2 weeks]
REISSUES, RESTOCKS & HISTORIC RECORDINGS:
DIAMANDA GALAS - You Must Be Certain of the Devil (Intravenal Sound Operations ISO 010CD; USA) "Riding in on an eviscerating vocal alarm call and originally released in 1988 as the final installment of her Masque of the Red Death trilogy, Diamanda Galás' You Must Be Certain of the Devil is as unflinching now as it was on release in 1988. It remains a swaggering, furious f*ck-you to those who might cast aside the sick and dying in the name of faith and scripture. Often misunderstood as simply dark for its subject matter, You Must Be Certain of the Devil in fact shines a light of such total exposure it leaves nowhere to hide, forensically unmasking the fury and pain of real grief and the vast spectrum of emotions rendered by the AIDS epidemic. It is an album that looks you square in the eye, pins you against a wall and makes you look at and feel the horror the virus visited upon a person, the knowledge of certain death in a hostile environment, and the hypocrisy of those who claim to be Samaritans or protectors. The album twists gospel spirituals into blistering indictments of hypocrisy, using sacred forms to expose the cruelty of churches that damned AIDS sufferers as cursed by God. From the siren-call of 'Swing Low Sweet Chariot' through 'Double-Barrel Prayer,' 'Birds of Death,' and the title track, she intones as apostate, reaper, and bar-room brawler, detourning spirituals into prayers to a god invented by despair. Begun in 1984 and haunted by her brother's death in 1986, the trilogy moved from anguish to political knowledge, shaped by Americas mounting AIDS epidemic -- by 1988 over 46,000 dead, antivirals still years away. Dismissed as the AIDS lady and joining Act Up protests, Galás made the trilogy a work begun in 1984 and not completed until the end of the epidemic, refusing closure: for her there is no escape or reprieve. You Must Be Certain of the Devil spears you in the eternal present of trauma, by an artist who calls herself a Greek orthodox atheist: a person certain of the devil with no hope in God. LP is packaged in a gatefold sleeve with euro inner sleeve and poster, with remastered audio by Heba Kadry, vinyl lacquers cut by Paul Gold at Salt Mastering and photography by Emily Andersen."
CD $17 / LP $28
LP SELECTION:
MAGMA - Theusz Hamtaahk (Trilogie Au Trianon)(Music on Vinyl MOV 4011LP; Netherlands) "Theusz Hamtaahk (Trilogie Au Trianon) is a live album by Magma. The album was recorded in 2000 over the course of two days during Magma's 30th anniversary shows at the Trianon theater, Paris, May 13th & 14th. It is the first and only record to contain all three movements of the trilogy Theusz Hamtaahk: 'Theusz Hamtaahk' ('Time of Hatred'), 'Wurdah Itah' ('Dead Earth') and 'Mekanik Destruktiw Kommandoh.' The Theusz Hamtaahk (Trilogie Au Trianon) is available for the first time ever on vinyl; 4LP, limited and numbered to 1000 copies on crystal clear vinyl. It is packed in a sturdy 10mm sleeve, contains a 4-page booklet and four printed inner-sleeves. Magma fans beware: this is going to be a one-off press! So you better be quick."
4 LP Set $110
PHILIP GLASS // ICTUS / SUZANNE VEGA / COLLEGIUM VOCALE GENT - Einstein on the Beach (Vlek 042LP; Belgium) Brussels-based label VLEK presents a new recording of Einstein on the Beach (Philip Glass, 1976). Captured at the Elbphilharmonie in Hamburg, this version brings together the Ictus ensemble, the Ghent-based Collegium Vocale Gent, and Suzanne Vega, iconic figure of the New York folk revival. In 2018, Ictus and Collegium Vocale Gent, with the support of visual artist Germaine Kruip, took on a bold challenge: to deliver a purely musical interpretation of Einstein on the Beach, now widely regarded as the manifesto of minimalist music. Suzanne Vega later joined the project, taking on all spoken roles. Carried by the physical commitment of the performers, this version retains the hypnotic power of the original score while opening new sonic perspectives. After touring successfully across Europe, the work was recorded in November 2022 at the prestigious Elbphilharmonie in Hamburg. Founded in Brussels in 2011, VLEK first made its mark with experimental electronic music. In 2025, the label celebrates its 15th anniversary by launching a new editorial line focused on contemporary creative music. The CD and vinyl release of Einstein on the Beach illustrates this ambition: to let singular works resonate across borders and genres, reach curious and diverse audiences, and place today's music within a lineage that is both heritage-based and ever-evolving.
3 LP Set $60
SUNNY MURRAY With BYARD LANCASTER / KENNETH TERROADE / MALACHI FAVORS - An Even Break (Never Give A Sucker)(BYG 32; USA) Avant-garde jazz drummer Sunny Murray was a major player in the experimental jazz community throughout the 1960s. After three years as a member of Albert Ayler's band (1964-1967), Murray traveled to France where, after releasing two lps on the BYG label, he recorded An Even Break, (recorded on November 22, 1969) for Affinity. Although his first release for the Affinity label, this was Murray's third release of the year! Featuring Byard Lancaster, Malachi Favors and Kenneth Terroade.
LP $17
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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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Upcoming events at Recirculation:
Thursday, January 8, 7pm
Uptown Out Presents:
Folksongs of the Bronx
Hilliard Greene - solo bass
At Recirculation
876 Riverside Dr NY NY 10032 (@ 160th St)
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NEW VIDEOS from GUITAR MASTER HENRY KAISER:
https://www.youtube.com/watch?v=7KGp0VH4yQo
https://www.youtube.com/watch?v=MWn5MRUOTAc
https://www.youtube.com/watch?v=ste9pdLiz_0
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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