And he's oh, so good
And he's oh, so fine
And he's oh, so healthy
In his body and his mind
He's a well respected man about town
Doing the best things so conservatively
And his mother goes to meetings
While his father pulls the maid
And she stirs the tea with councilors
While discussing foreign trade
And she passes looks, as well as bills
At every suave young man
'Cause he's oh, so good
And he's oh, so fine
And he's oh, so healthy
In his body and his mind
He's a well respected man about town
Doing the best things so conservatively
And he likes his own backyard
And he likes his fags the best
'Cause he's better than the rest
And his own sweat smells the best
And he hopes to grab his father's loot
When pater passes on
'Cause he's oh, so good
And he's oh, so fine
And he's oh, so healthy
In his body and his mind
He's a well respected man about town
Doing the best things so conservatively
And he plays the stocks and shares
And he goes to the regatta
He adores the girl next door
'Cause he's dying to get at her
But his mother knows the best about
The matrimonial stakes
'Cause he's oh, so good
And he's oh, so fine
And he's oh, so healthy
In his body and his mind
He's a well respected man about town
Doing the best things so conservatively
God save the Kinks! Ah yes, that's what they used to say about this seminal early British invasion rock band. After the Mothers of Invention, the Rolling Stones, the Beatles, my next favorite 60's band was and still is the Kinks! The Kinks first single, "You Really Got Me" was released in 1964, the same year that the Beatles, the Stones and the Animals first came to America. Plus that single had a distorted guitar riff which painted the way for heavier, harder rock of the future. While most pop songs were considered to be silly love songs, "Well Respected Man" was perhaps the first pop song to deal with social commentary. Although bands like the Rolling Stones started to deal with the darker side of relationships (as in "Satisfaction"), Ray Davies, the leader and main songwriter of the Kinks loved to poke fun at the many layers of British society, its rituals, manners, etiquette, the many silly things that we do to try and look or act cool. I recall hearing this song on AM in 1965 and thinking that this was not like other pop songs. ("I'm Not Like Everybody Else" the Kinks also sang). A year later, the Kinks released "Dedicated Follower of Fashion", a wink at how important the clothes that we wore at the time were an integral part of our image and self esteem. The first Kinks album I bought was "Face to Face" from 1966 and from that point on, I was a Kinks fanatic. I love every album they released between 'Face to Face' and 'Misfits' (1978), all great albums and often dealing with the many quirks of civilized life, affairs, the record business and fame. My favorite Kinks album is called 'Arthur', a concept album about Australia which shines a light on British society. I always thought that "Celluloid Heroes" was a perfect song and it still sounds like a long, lost nostalgic gem for older times. - God Save the Kinks! - A great toast to Ray and Dave Davies and all of the members of the Kinks. - Bruce Lee Gallanter, DMG
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TIRED OF WAITING??? So are we!
Several newer discs or box sets that we've been waiting for this past month have been delayed:
MUJICIAN with KEITH TIPPETT / PAUL DUNMALL / PAUL ROGERS / TONY LEVIN - In Concerts (Jazz in Britain 80-S; UK) - 3 CD Set $35 - Initial run of 300 sold our quickly. The label has remanufactured another 200. 20 copies were shipped to us yesterday so we should have them within a week or so.
BYRON COLEY / MATS GUSTAFSSON / THURSTON MOORE Now Jazz Now: 100 Essential Free Jazz & Improvisation Recordings (1960-80) (Ecstatic Peace Library; UK) Big Book $46
Initial run sold out and will be back in stock in early February
ANTHONY BRAXTON // ROLAND DAHINDEN / HILDEGARD KLEEB - Four Compositions (Wesleyan)(Prague Music Platform PMB 2301; Poland) 4 CD Set $70
These were shipped from Poland 1-2 weeks ago and are supposed be in stock sometime soon
THE BOTTLE TAPES with PETER BROTZMANN CHICAGO TENTET / MILFORD GRAVES / BOBBY BRADFORD QT / CLUSONE 3 / WADADA LEO SMITH / et al - Selections from the Empty Bottle Jazz and Improvised Music Series (1996-2005)(Corbett Vs.Dempsey CVSD 126CD; USA) 6 CD Set $55
Waiting for our distributor to restock - 1-2 weeks
PHILIP GLASS // ICTUS / SUZANNE VEGA / COLLEGIUM VOCALE GENT - Einstein on the Beach (Vlek 042; EEC) 3 LP set $60 / 2 CD Set $32 = LP set is a pre-order / CD set is supposed to be here in a couple of weeks
Thanks for your patience, this is also frustrating for us as well. - Your friends at DMG
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THE DOWNTOWN MUSIC GALLERY 35th ANNIVERSARY IN-STORE CONCERT SERIES Continues with:
Rare Monday Night, February 2nd, 2026:
6:30: transparency kestra (mini): reverse stagger: patrick brennan - alto sax - compositions / ELI ASHER - trumpet / CHERYL PYLE - Flute / CLAIRE de BRUNNER - bassoon / FUNG CHERN HWEI - violin / WESTBROOK JOHNSON - trombone / JOSH SINTON - baritone sax / KEVIN ANTHANIEL HYLTON - shakere / MICHAEL TA THOMPSON - brushes
Tuesday, February 3rd:
6:30: STEVE SWELL - Solo Trombone
7:15: SARA SCHOENBECK - Solo Bassoon
8:00: ELIHU S. CONANT-HAQUE - Solo Tuba
8:45: SPIRIT BRASS TRIO with STEVE, SARA & ELIHU
Tuesday, February 10th:
6:30: PATRICK GOLDEN / KEVIN SHEA Drum Duo
7:30: SYLVAIN LEROUX - Fula flutes - reeds / HILL GREENE - Contrabass / DAN KURFIRST - Drums
8:30: HILLIARD GREENE - Contrabass / JAMES KEEPNEWS - Guitar / ROSI HERTLEIN - Violin
Saturday, February 14th, 2026: GauciMusic Series:
6:30: IGOR LUMPERT - tenor sax / BILLY MINTZ - drums
7:30: STEPHEN GAUCI - tenor sax - flute / SHOGO YAMGISHI - bass / JAMES PAUL NADIEN - Drums
8:30: JONATHAN HAFFNER - tenor sax / DALIUS NAUJO - drums - percussion
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THIS WEEK'S TREASURE CHEST OF SONIC SALE ITEMS Begin with:
HENRY NOW with FRED FRITH / TIM HODGKINSON / JOHN GREAVES / CHRIS CUTLER - Than Again (Dark Companion DC 030; Italy) Featuring Fred Frith on guitar, piano & editing, Tim Hodgkinson on clarinet, lap steel guitar & editing, John Graves on bass guitar & vocals and Chris Cutler on drums, percussion and texts. Recorded at Teatro President in Piacenza, Italy on 11/18/22 and at Salsa Perriera in Palermo, Italy on 11/19/2022.
"Some people buy motorcycles. Others embark on epic journeys or lavish, pharaonic holidays. For my sixtieth birthday, I received something beyond my wildest dreams: the return of my favorite band from the ’70s, Henry Cow.
At first, none of the four shared my enthusiasm for reviving that venerable name. Over the decades, each had pursued their own path – intelligent, courageous explorations, diverging from the original core. “People expect us to perform Nirvana for Mice…” was the familiar refrain. But I saw something else, something they all shared: an unshakable brilliance in the intuitive and syncretic art of spontaneous music.
Then one morning, the name came to me like a key: Henry Now. I told John (probably waking him), then Fred. And so, on November 18, 2022, they returned to the stage. Not to recreate the past, but to perform new music. Together again.
Ephemeral within the ephemeral, this is a musical supernova, a convergence of talent, grace, musicianship, and wild imagination. I am deeply grateful to Fred for the care, patience, and dedication he and Tim brought to releasing this album for Dark Companion; to Chris, for his legendary wit and help with the cover; and to John, for helping make Henry Now a reality. - Max Marchini, founder of Dark Companion Records
When I was a freshman at college (Glassboro State) in the Spring of 1973, an old friend of mine named Bob Grohl contacted me and said that he had a present. I met Bob at record stores in Elizabeth, NJ and he was a big Anglophile and occasional DJ. He had the largest collection of obscure British & Euro rock bands, albums & singles. He gave me the first Henry Cow album 'Led End' and after several spins, I was completely blown away by that record. I felt (and still feel) that Henry Cow were the ultimate progressive rock band, blending the best influences/ideas from the Mothers of Invention (circa 'Uncle Meat'), Soft Machine, modern classical, avant jazz, art-rock, free-form improv, electronics, humor and Marxist philosophy. Their first two albums, 'Leg End' and 'Unrest' sound as fresh, alien, challenging and enchanting as they did when I first heard them more than fifty years ago. I wrote to the band while I was at college and got letters from Fred Frith, Tim Hodgkinson & Chris Cutler in the mail. My roommates & myself, all Canterbury, Zappa & prog freaks kept playing those records along with Soft Machine, Hatfield & the North, Gong, etc over & over. I spent a semester in London on an exchange program in the fall/winter of 1975/76, interviewed members of Soft Machine past & then present and hung out with Fred Frith and Chris Cutler at a bar near Virgin records. Henry Cow broke up in 1979, after making six seminal albums and Fred Frith moved to New York, where he became an important part of ever-evolving early Downtown Scene. We became good friends and it was Frith that introduced me to Eugene Chadbourne, John Zorn, Tom Cora, Henry Kaiser and many others. Thanks Fred! I stay in contact with some of the members of Henry Cow through the years. In December of 2006, John Zorn offered me & my partner Manny Maris an opportunity to curate a month at the first Stone location. I decided to choose some thirty of my favorite musicians from around the world and offered them $1,000 each for transportation fees plus hotels if they needed it. 25 of those musicians said yes! Holy sh*t, it was like a dream come true! I asked 3 members of Henry Cow, Fred Frith, Tim Hodgkinson and Chris Cutler to reunite for two/three nights and they said yes. I was not expecting a Henry Cow reunion but just three old friends reconnecting and performing free/form improv. I had all of the sets that month recorded and filmed and hoped to release several recordings, only 2 of which have been released. I was hoping to release a 4 CD set of the four sets with the 3 former Henry Cow members, but it has never been finished I am sad to say. I haven't heard the Henry Now release yet since it arrived today at the store and I am home working on reviews but I am excited nonetheless. Both formats are limited so do not hesitate to order your copy now. If you don't own all six of the Henry Cow records and consider yourself a seasoned proghead, that you best get them asap! There is also a lovely box set of 17 CD's & a DVD which contains their entire catalogue with many spectacular live recordings. It sells for around $110 but we and our distributor don't have copies in stock at present. "A rose is a rose is a rose".... - Bruce Lee Gallanter, DMG
CD $21 / LP $30 [both formats are limited editions of 300 for the LP/500 for the CD]
KEITH TIPPETT / CLAUDIO GABBIANO / ROBERTO MUSCI - Music for Labyrinths (Dark Companion DC 021; Italy) Featuring Keith Tippett on grand piano, Claudio Gabbiani on acoustic & electric guitars and Roberto Musci on theremin, sampler, Vx7 synth & electronics. Recorded live in Palazzina Liberty in Milan, Italy in October of 2000. Music for Labyrinths is an open live project for soundtracks of labyrinths around the world and inside us. A labyrinth is an ancient symbol that relates to wholeness: it combines the imagery of the circle and the spiral into a meandering but purposeful path.
The Labyrinth represents a journey to our own center and back again out into the world.
Labyrinths have long been used as meditation and prayer tools. A labyrinth is an archetype with which we can have a direct experience,It is a metaphor for life’s journey. It is a symbol that creates a sacred space and place and takes us out of our egos to That Which Is Within. With a labyrinth there is only one choice to be made: the choice is to enter or not.”
Considering that British pianist Keith Tippett has long been my (and Manny/Lunch's) favorite pianist, we've been on a long mission to find any of his recorded works, no matter how obscure or difficult they tend to be. The recent triple CD set of Mujician (Mr. Tippett, Paul Dunmall, Paul Rogers & Tony Levin) on Jazz in Britain, was like manna from heaven when we got it in stock in December of 2025. It sold out quickly and is being remanufactured this month. The Dark Companion label from Italy has been around since 2015 and obviously has great taste in releasing recordings by Keith & Julie Tippett, John Greaves (8 discs!), Michael Mantler, Markus Stockhausen and most recently by Henry (Cow) Now. Guitarist Claudio Gabbiani has recorded with Chris Cutler, Jon Rose and Roberto Musci. Electronics & sampler player Roberto Musci has more than a dozen releases with Giovanni Venosta, the Third Ear Band and others.
Although it sounds like "Music for Labyrinths" is mostly improvised, the playing is focused, careful, mysterious and fascinating. While Mr. Tippett's piano is often at the center of the activity, there are layers of eerie electronics, samples and guitar which float organically through the mix. At times, it is difficult to tell who is doing what. Is that Tippett scraping the strings inside the piano? Certain samples I do recognize like the didgeridoo sample on "Labyrinths 3", yet some odd sounds flow in and out and are manipulated subtly. Overall, I found this disc to be consistently enchanting. - Bruce Lee Gallanter, DMG
CD $21
AUDREY CHEN / TASHI DORJI - Courage Bones (Klankhaven Records KHR009; Berlin, Germany) Featuring Audrey Chen on vocal, cello &/0r electronics and Tashi Dorji on guitar. I've been aware of former Baltimore-based, current Berlin-based musician Audrey Chen for around 20 years, having heard his work with Nate Wooley, Gianni Gebbia and Phil Minton. I've heard and even hung out with her a couple of times at the FIMAV fest in Quebec. I've been hearing about Asheville, NC-based guitarist Tashi Dorji ever since our former DMG manager Frank Meadows kept singing his praises. I've checked out Mr. Dorji's work with Dave Rempis (in Kuzu), Susie Ibarra and Eyvind Kang. Mr. Dorji played a solo acoustic guitar concert here at DMG last night (1/27/26) and I was most impressed.
It doesn't list which instruments are being utilized here so we will have to guess. "Bending" is first and what we hear is acoustic steel string guitar being carefully struck, rubbed and manipulated while Ms. Chen adds electronic sounds or samples with strange vocal sounds. The music evolves slowly, spaciously and carefully. Ms. Chen's voice is close mic'd and she makes some weird, ghost-like sounds. Mr. Dorji keeps repeating a strange riff over and over while Ms. Chen's ghostly vocals expand, contract and mutate further. The overall sound here is strange, unsettling rather hypnotic. Mr. Doji keeps repeating these riffs over and over, muting certain strings, creating a throbbing ritualistic sound as he goes with Ms. Chen matching his riffs with a series of eerie vocal sounds. On the second piece, Ms. Chen's cello enters, and the vibe gets even weirder. It's pretty cold outside today (1/28/26) and it feels rather cold in my apt. The music is rather dark and haunting as if the ghosts are visiting us here on planet earth. Who invited them??? Not sure but I am amazed at how much this music transforms our reality with strange results. This is definitely one of the weirdest records I've heard in recent memory. You've been warned. - Bruce Lee Gallanter, DMG
CD $15
ORCHESTRA OF THE UPPER ATMOSPHERE with MARTIN ARCHER / JAN TODD / YVONNA MAGDA / ANDY PEAKE / LORIN HALSALL / TERRY TODD / WALT SHAW / STEVE DINDALE - 07 (Discus Music 206CD; UK) This version of the Orchestra of the Upper Atmosphere (a/k/a OotUA) features Martin Archer on woodwinds, keyboards & software, Jan Todd on vocals, texts, electronics, guzheng, lute, flutes, waterphones, recordings & samples, Yvonna Magda on violin & electronics, Andy Peake on piano & keyboards, Terry Todd on bass guitar, Lorin Halsall on acoustic & electric basses, Steve Dinsdale & Walt Shaw on drums. Sheffield-based ensemble, Orchestra of the Upper Atmosphere has been since 2012 and this is their 7th disc for the Discus label. The constant members since the beginning are/were Martin Archer, Terry & Jan Todd, Steve Dinsdale and Walt Shaw. OoftUA are a sort of prog band that evolves or mutates on each of their discs. A number of these musicians can be heard in other Discus bands like Frostlake (with Jan & Terry Todd), Das Rad (Steve Dinsdale), Walt Shaw (for other Martin Archer & Paul Dunmall projects) and Andy Peake (from the Comsat Angels). No genre remains untouched when Discus founder reaches out to members of previous prog, new wave and other odd rock and jazz bands.
Then members of the Orchestra of the Upper Atmosphere composed, arranged, improvised and produced this disc except for one cover song by the late, great Sun Ra. Things begin with some ethereal, heavenly, spacious harp, strings, keyboard(s), fretless bass and somber, dreamy bari(?) sax. The music has a constant, central throb with swirling synth and/or other keyboards. This is somewhere between space-rock and krautrock with any of that heavy-handed Hawkwind-like pounding. Another theme comes in on "Billy Bang/One Golden Hour" with an inspired violin solo over some propulsive drumming. On "Under the Azure", Jan Todd's solemn enchanting voice comes in. Another throb pumps quietly through with vibes or samples playing triplets on top. At times, Ms. Todd's hypnotic, dreamy vocal drift in like several ghosts chanting. For "Oumuamua", there are several layers of mutant sounds all interwoven like a hypnotic tapestry. There is a repeating sound which reminds me of Jon Hassell's ethereal, electronic trumpet. Even the vocals seem to be processed in a most haunting way. One of the highlights here is a cover of Sun Ra's song "That's How I Feel" (from the 'Lanquidity' album). This piece features several layers of hypnotic electronic sounds with a quaint melodica on top. Ms. Todd's voice works best here providing that June Tyson-like space whisper voice. When her voice stops, it is proceeded by Ms. Magda's violin, the voice and string as one sound. Even with some echoes added, Mr. Archer's sax soars righteously on top. If the bass line was a bit more funky, I could see that being a dance-floor hot. What I like most about this disc is that every piece creates a deep, space-traveling-like vibe. Join us on a journey to the stars is what Sun Ra used to chant before leading us to outer space. - Bruce Lee Gallanter, DMG
CD $14
ARUN RAMAMURTHY TRIO with DAMON BANKS / SAMEER GUPTA - New Moon (Greenleaf GRE-CD 1111; USA) Featuring Arun Ramammurthy on violin & compositions, Damon Banks on electric bass and Sameer Gupta on drums. I hadn't heard of Indian/American violinist Arun Ramamurthy before getting a copy of this promo late last year (2025). I know bassist Damon Banks from his work with Adam Rudolph's Moving Pictures, and Marco Cappelli's Italian Surf Academy, two vastly different ensembles. Drummer Sameer Gupta has also worked with a diverse array of players: Brooklyn, Raga Massive, Aaron Novik's Gubbish and Sacramento guitarist Ross Hammond.
In the liner notes Mr. Arun Ramamurthy talks about the divide between the Indian music he heard and studied (his mother was a Carnatic vocalist) and the Western sounds of modern & spiritual jazz and hip hop. "Walk as One" opens this disc with a heavy, thumping bass line, marching jazz/rock drums and bluesy amplified violin on top. On "Bangalore to Brooklyn", the violin and bass play tightly around one another with Mr. Banks playing what sounds like elastic fretless bass. When the long intro ends, the drums play a quiet, tapping groove with the bass locking into the groove with the drums. Ramamurthy takes a fine long violin solo while the rhythm team plays tightly underneath. I know that Mr. Ramamurthy has studied and recorded traditional Indian music but this is not what we have here. I can hear the way traditional Indian classical musicians bend notes on a sitar, a sarod or a vina. This is something Arun does well although it also reminds me of the ways blues guitar greats also bend their notes. "Aaji" was named after Ramamurthy's grandmother who taught Carnatic music in India for many years and was a major influence on him. Ramamurthy takes a long story-like solo here, bending certain notes with a blues-drenched grace. Damon Bank's majestic bass tone and playing start off a few of these pieces and provide a central groove to these pieces. The longest piece here is called "Amavasya" and it has some select echo effects on the violin and drums making the trio sound much larger, like an orchestra at times. After a long swirling intro, the bass kicks off another slightly funky groove with a long, inspired violin solo to blow some minds. There is also a fine, uplifting, not too long drum solo midway as well with some haunting, cosmic distortion added to the violin and bass. The last piece, "Sri Valli", has a great, hypnotic bass line that stayed with me even after the song was over, throbbing inside and holding on to the heartbeat within. Although this disc came out 2024, I had lost touch with the Greenleaf label they got a new sales rep. I had missed out on around 4 discs, so I have to catch up as each one is strong and worth reviewing/promoting, with 3 new titles coming out next month. This disc is a gem, blending Indian music with modern jazz and the best elements of fusion. Don't let this disc slip through your hands. - Bruce Lee Gallanter, DMG
CD $14
DAVID FIRST // THE WESTERN ENISPHERE with SAM KULICK / JEFF TOBIAS / ALEX WATERMAN / JAMES ILGENFRITZ / DANNY TUNICK / et al - Revolutions (mode records 350; USA) The personnel includes: Sam Kulik on trombone, Jeff Tobias on bass clarinet, Ian-Douglas Moore on guitar, Jeanann Dora on viola, Alex Waterman on cello, Tania Chen & Will Stanform on keyboards, Danny Tunik tuned glasses, W=ikk Stanton on keyboards, James Ilgenfritz Bern Gann on basses, Matt Evans on drums, and David First on jaw harp, el. jaw harp, MPE keyboards, Matt Evans on drums and David First on acoustic & el jawharps, MPE keyboard & compositions. I've long admired the music of former=Philly-based guitarist and composer David First. Starting with the legendary Philly no Wave band, the Notekillers, Mr. First has long blurred the lines between punk rock, no wave, modern classical, microtonal drones and such into his own unique music. Mr. First has worked with a diverse cast of collaborators like Jin Hi Lim (on komungo), William Hooker, Phill Niblock plus a group with Roy Campbell, Shelley Hirsch & Zeena Parkins. Since the late 1990's, Mr. First has been concentrating on his own drone-based music compositions, with five releases (included 2 triple CD sets) of his drone music on labels: XI, OO Discs and Important Records.
This is David First's second release with the Western Enisphere ensemble. This ensemble is New York-based and includes some important Downtowners like Sam Kulik, Alex Waterman, Danny Tunick and James Ilgenfritz. I've listened to this disc several times over the past few days and still feel that I haven't quite gotten it yet although there is something going on here that I truly dig but can't quite describe. There is a dense drone wave which continues throughout, and keeps getting more dense as it evolves. The drone seems to be shifting slowly, almost imperceptibly. Since the central drone is continuous, it is hard to tell when another layer is slowly added. Each shift, each layer and each wave moves at different speeds, mostly moderate to slow. More instruments are added, usually one at a time although it is hard to tell since there are what we call "ghost notes" which we may or might not be able to hear although we think we do. What I do notice is that each shift affects our perception whether we realize it at the time or not. As long as I am paying attention and not getting distracted (be the daily news/blues), I feel myself inside a pulsating wave or vessel. Is it inner space or outer space or another reality or dimension? Hard to tell at times. As certain instruments are added, the vibe changes and I start to feel as if my own perception of reality is being transformed. As a layer of the wave increases tempo so does our inner clock, the ticking increases. I often listen to music in my kitchen where my computer and stereo are both located. I noticed that two things affect or create a different vibe here, the music I play and the scent of the foods and/or liquids that cook and consume here. The liner notes here by composer Sarah Hennies and David First are most illuminating and gives us several different perspectives ideas to consider. This music is unlike anything I've heard in recent memory. If you think that "drone music" is just one thing, then you should check this out since there is quite a bit more going on that I or anyone else might imagine. This disc sounds like it is a living, breathing spirit/force. I am deeply impressed, moved and altered. - Bruce Lee Gallanter, DMG
CD $15
VICTO & RARITIES CD SALE: We got in several of the below titles a couple of months ago and they sold out quickly. We just restocked most of the same titles and added a few more. All of these titles (except for the 4 Victo titles at the end) are long out-of-print so order what you want quickly
BUTCH MORRIS With EVAN PARKER / DAVID MURRAY / JOE BOWIE / GREG WARD / HAMID DRAKE / ON KA'A DAVIS / JEAN-PAUL BOURELLY / HARRISON BANKHEAD / ALAN SILVA / SILVIA BOLOGNESI / et al - Conduction 192 - Possible Universe (Nu Bop 014; Italy) Personnel: Butch Morris - conductor, David Murray - tenor sax & bass clarinet, Evan Parker - tenor sax, Pasquale Innarella - alto sax, Greg Ward - alto sax, Joe Bowie - trombone, Tony Cattano - trombone, Meg Montgomery - electro trumpet, Riccardo Pitta - trumpet, Jean-Paul Bourelly - guitar, On Ka'a Davis - guitar, Alan Silva - synth, Harrison Bankhead - double bass, Silvia Bolognesi - double bass, Chad Taylor - drums & vibraphone and Hamid Drake - percussion.
With the death of jazzman Lawrence D. "Butch" Morris in 2013, we close the book on one of the most idiosyncratic composers, improvisors, conductors ever to work in creative music. His musical trajectory from a 1970s free jazz cornetist to the originator of his trademark 'Conductions' has been the stuff of legends. Under his baton, he turned the instant composing of free music into a sort of unified field theory of music. One that enveloped all the fundamental forces of music (jazz included) into his theory of everything.
His Conductions were immediate improvisations, but as with all great improvisations, there was an inherent structure. One built upon the DNA of the artist. For Butch Morris, his improvisation was an entire ensemble or orchestra. Through signals, gestures, and symbols, he could will an ensemble to create a new, whole composition, live on stage. This macrocosm of music was created from nothing, or, more likely, the decades of experience Morris and his players brought to the performance.
This Conduction was a performance in 2010 at the Sant'Anna Arresi Jazz Festival in Sardinia. It was number 192 of a total 199 conductions he created from 1985 until his death. While he has worked with classical ensembles, traditional Korean musicians, dancers, actors and turntable artists, the recordings that were released with jazz musicians always seem to gel more than others. The Sant'Anna Arresi concert had a stellar cast with fifteen musicians. There were the saxophonists, Americans David Murray and Greg Ward, British Evan Parker, and Italian Pasquale Innarella. Also here are two trombones, Joe Bowie and Tony Cattano, two bass players, the Chicagoan Harrison Bankhead and Italian Silvia Bolognesi, two guitarists Jean-Paul Bourelly and On Ka'a Davis, two all-star drummers Hamid Drake and Chad Taylor, and the single synthesizer of Alan Silva>
The music was more 'musical' than free jazz and even tread on the philharmonic with Silva painting an orchestral pastiche on "Possible Universe... Part Eight." Morris was open to myriad musics. He paints gorgeous landscapes with brass fills, soaring crescendos, bubbling new musics, blues fragments, and glimpses of Ellingtonian jazz. "Possible Universe... Part Five" could easily be mistaken for an Oliver Nelson piece. Morris' Conductions ooze a cogent structure, and he has the soul (call it the DNA) of a composer. His compositions were a duet between him and a room full of musicians. - Mark Corroto, AllAboutJazz.com
2 CD Set $30
BUTCH MORRIS With BRANDON ROSS / MYRA MELFORD / ZEENA PARKINS / J A DEANE / BRYAN CARROTT / MARTIN SCHUTZE / LE QUAN NINH / et al - Verona: Conduction No 43: The Cloth (1994) / Conduction No 46: Verona Skyscraper (1995) (Nu Bop Records CD 09; Italy) Featuring Butch Morris - conduction, Myra Melford and Riccardo Fassi (pianos), Mario Arcari (oboe), Stephano Montaldo (viola), J. A. Deane (trombone, electronics), Brandon Ross (guitar), Bryan Carrot (vibraphone), Martin Schutz, Martine Altenburger (cello), Le Quan Ninh (percussion). Recorded Teatro Romano, Verona, 26 June 1994 Disc 2 - Conduction No 46 Verona Skyscraper: J A Deane (trombone, electronics), Stefano Benini (flute), Marco Pasetto (clarinet), Rizzardo Piazzi (alto sax), Francesco Bearzatti (bass clarinet), Zeena Parkins (harp), Myra Melford and Riccardo Massari (pianos), Bill Horvitz (guitar), Carlo 'Bobo' Facchinetti (drums), Le Quan Ninh (percussion).
Stellar release!! ""The first disc features "Conduction No. 43: The Cloth". The first thing I noticed about this disc is how well it is recorded and perfectly balanced. We can hear Zeena Parkins's acoustic harp, the strings, guitar, oboe, vibes and other assorted percussion just right. You can tell that Butch Morris has rehearsed with this ensemble as the swirling lines they play together are so tight and instantly connected. Certain solos, like the oboe, rise above the rest of the ensemble like a lightning flash, before they submerge back into the rest of the waves. There also sections that are calm, sublime and quietly transcendent. One early section features oboe, harp and piano in a most exquisite setting before Butch begins adding somewhat more agitated layers to the cosmic cauldron of spirits. I dig the way certain fragments of melodies evolve and are turned inside out while Butch injects any number of surprising related lines or undercurrents. The entire concert seems to build in a way that always makes sense while certain themes emerge and are transformed into something else equally enchanting. "Dust to Dust (part 1)" was also the name of an album by Mr. Morris from the mid-nineties. The orchestra performs a version of it here and it has a magical, dream-like ambiance with different layers intersecting in a most fascinating way. After seeing Butch perform so many times, I can picture his baton and hand movements in my mind's eye creating worlds within worlds.
The second disc is "Conduction No. 46 - Verona Skyscraper". This set featured the usual collaborators like J.A. Deane, Zeena Parkins, Myra Melford plus guitarist Bill Horvitz (Wayne's brother & an early Downtowner who we rarely hear from) and bass clarinetist Francesco Bearzatti, who has been popping up on the Auand label.The first piece, "Skyscraper Mutiny" goes further out with darker more turbulent currents flowing. There is particular wave/motion that erupts at different times which gives this a recognizable Butch Morris touch. Yet we never know how things will develop. Certain fragmented lines are repeated yet they keep changing or mutating into something else. A number of fine Italian musicians get a chance to stretch out here, some I know and some I am not familiar with. Again, Mr. Morris conducts and molds the orchestra into all kinds of stimulating shapes and colors. And again, the outcome is consistently engaging and often mesmerizing." - Bruce Lee Gallanter, Downtown Music Gallery
2 CD Set $30
BILL DIXON With TAYLOR HO BYNUM / GRAHAM HAYNES / STEPHEN HAYNES / ROB MAZUREK / MICHEL COTE' / GLYNIS LOMON / KEN FILIANO / WARREN SMITH / et al - Tapestries for Small Orchestra (Firehouse 12 Records 04-03-008; USA) Featuring Bill Dixon - trumpet, electronics, compositions, directing: Taylor Ho Bynum - cornet, flugelhorn, bass & piccolo trumpets, Graham Haynes - cornet, flugelhorn & electronics, Stephen Haynes - trumpet, cornet & flugelhorn, Rob Mazurek - cornet & electronics, Glynis Lomon - cello, Michel Cote - contrabass clarinet & bass clarinet, Ken Filiano - double bass & electronics and Warren Smith - vibes, marimba, gongs & drums. 'Tapestries for Small Orchestra', eminent trumpeter/composer Bill Dixon's new three-disc set, includes two audio CD's of specially commissioned original music plus a documentary film DVD featuring exclusive interviews and session footage. Made possible in part by a grant from the LEF Foundation's Contemporary Work Fund, and the support of the Festival of New Trumpet Music (FONT Music), this project thoroughly documents the three-day recording session at Firehouse 12's state of the art recording studio, offering unprecedented access into Mr. Dixon's creative process. In addition, both Stephen Haynes and Taylor Ho Bynum have written illuminating liner note essays discussing the music and what they've learned from working with Bill Dixon. "For this monumental multi-disc set, it looks as if Mr. Dixon has put together his dream ensemble, selecting four other distinguished brass (trumpet, cornet & flugel) musicians, as well as four other fine players with diverse skills. Since the mid-sixties Mr. Dixon's playing, writing and vision has continually evolved. Although he records infrequently, he makes each disc special. His recognition as a serious composer has increased over the last decade, with his appearance at numerous Vision Festivals helping to brings things more in focus for his growing audience. The first culmination his work for orchestra, '17 Musicians In Search of A Sound: Darfur', was recorded at Vision Fest XII and released on Aum Fidelity. Once again, Mr. Dixon and his small orchestra have given us another masterwork which will take some time to absorb fully. "Motorcycle" '66" begins with some especially haunting cello, vibes, bass clarinet and soon floating brass. Each of the five horn players have their own sound and each adds a different presence. As the piece(s) evolves, selective layers are woven into the fascinating tapestry of moving strands. During the latter part of the first piece, Dixon's lone trumpet stands by itself with the other trumpets slowly weaving their way around him, subtle electronic ghosts fluttering in the distance. It is like entering a dream world which then fades away, only to be transformed into another world. It would be foolish to try and describe the nearly two hours of incredible music that is stored inside of the two discs of music found here. The 31 minute documentary film found on the third disc is also well worth watching since it helps to understand the mysterious and challenging music and vision of Bill Dixon. Nice video work from our pal Robert O'Hare. Overall, Bill Dixon's 'Tapestries for Small Orchestra' is one of the most important discs of the year. - Bruce Lee Gallanter, Downtown Music Gallery
2 CD / 1 DVD Set $35
PAOLO ANGELI / HAMID DRAKE - Uotha (Nu Bop Records; Italy) Recorded on September 4, 2004 at the Sardinian Festival is an intense performance with many peaks by two masters of folklore and improvised music. The interplay between Angeli's sardinian prepared guitar and Mr. Drake's drumming is a vibrant delight: a soulful meeting of outstanding musicians " Featuring Paolo Angeli on Sardinian prepared guitar & voice and Hamid Drake on drums, percussion & voice. Recorded live at Sardegna e Jazz XIX in Sant' Anna Arresi in September of 2004. Paolo Angeli plays a few different modified guitars that he designed himself and has his own approach to playing. He has two fine solo discs out on ReR, where he has commissioned works from different downtown players/composers. He played a modified acoustic guitar with a series of sympathetic strings underneath and diagonal to the regular set at a Zorn improv night at The Stone during Don Cherry month and astonished some of us with his unique approach. On 'Uotha' he plays with Chicago's best and most in-demand drummer, the one and only Hamid Drake. This is a beautifully recorded duet, with sublime magic surrounding it. Paolo's tone goes from the pure acoustic sound with many melodic flourishes and dazzling jazz licks to a variety of odd sounds he coaxes from his other strings. This sounds like a match made in heaven, since they work so well and often acoustically together. Paolo uses a distortion pedal on occasion, adding a bit of unexpected insanity to the equation. On"The Many Faces of the Beloved", Hamid plays his frame drum as Paolo plays with a bow on his guitar creating a cello-like sound, as Hamid sings in some ethnic language and it is quite an enchanting piece. I love when Paolo creates these strange ghost-like sounds on his instrument, with Hamid playing some equally eerie sounds to match. This is a most phenomenal duo effort that sounds like no-one else. Paolo Angeli has been coming to town more often over the past couple of years, don't miss a chance to check out this new guitar master." - BLG
CD $18
RESONANCE ENSEMBLE with KEN VANDERMARK / DAVE REMPIS / WACLAW ZIMPEL / STEVE SWELL / MAGNUS BROO / TIM DAISY /PER-AKE HOLMLANDER / MARK TOKAR / MIKOLAJ TRZASKA / MICHAEL ZERANG - Kafka in Flight - Live At Philharmonic Hall, Gdansk Poland October 31st 2009 (Not Two MW 860-2; Poland) Featuring Ken Vandermark, Dave Rempis, Mikolaj Trzaska on saxes & clarinets, Waclav Zimpel on Bb and bass clarinet and taragato, Magnus Broo on trumpet, Steve Swell on trombone, Per-Ake Holmlander on tuba, Mark Tokar on bass and Tim Daisy & Michael Zerang on drums & percussion. The Resonance Ensemble's music has advanced Vandermark's composing methods for large groups, work that started with the early music of Peter Brotzmann's Chicago Tentet, and then continued with his Territory Bands. Much of the new material combines his interest in 'suite forms' (perhaps most influenced by Duke Ellington and Charles Mingus) and a collaging approach to improvising structures that he began with the Territory Band. The project provided Vandermark with the first opportunity in his career to do nothing but compose for a week. In September of 2009, he began a new approach to writing for the project, a series of 'modular pieces,' which can be reassembled for each performance, giving added spontaneity to both the improvising and the compositional structure. Here are the powerful results of these new compositional strategies!
CD $18
TRIO 3 with OLIVER LAKE / REGGIE WORKMAN / ANDREW CYRILLE - Wha's Nine: Live At The Sunset, Paris, October 28th 2007 (Marge 40; France)
CD $18
FAB TRIO with BILLY BANG / JOE FONDA / BARRY ALTSCHUL - A Night In Paris: Live At The Sunset (Marge 41; France) The Fab Trio's really been making some great musical waves in recent years – flying the flag of older improvisation high with their creative interplay, and boundless sense of imagination! That's no surprise, though, given the strength of the three players in the group – Billy Bang on violin, Joe Fonda on bass, and Barry Altschul on drums – all working together here with sounds that stem from their musical legacy back to the 70s – particularly some of the most open, expressive sounds that Bang gave us back in the day! In fact, there's almost a loft jazz feel to the whole record – a relaxed, respectful sense of creation that gives the album a very organic feel. Titles include "Night In Paris", "Da Bang", "Just A Simple Song", "China", and "Spirits Entering".
CD $20
TERRY & GYAN RILEY - Way Out Yonder (Sri Moonshine Music 007; USA) Featuring Terry Riley on piano, melodica, electronics & voice and Gyan Riley on electric guitar. Minimalist master composer & keyboardist, Terry Riley, and his son, guitar great & composer, Gyan Riley, have been touring and recording together for nearly two decades. They have a handful of records together and released on the New Albion and Sri Moonshine labels. This disc was recorded live at three different concerts: UC Berkeley in December of 2014, Victo Fest in May of 2017 and Wwwx in Tokyo in November of 2017. Both Terry and Gyan have each contributed songs as well as covering a traditional Indian raga. Commencing with "Out Yonder" (from 2104), it sounds as if Terry Riley is playing a prepared piano, tapping inside the piano and muting certain strings, the sound is mesmerizing, magical, dream-like. While Terry plays an intense theme with his left hand, he also strums inside the piano to add bits of sonic spice (from percussive to electronic effects). On a few of these pieces the older Mr. Riley plays melodica, which adds a lovely, quaint, sublime quality, making this even more enchanting. It sounds as if Mr. T Riley is using a sampler or synth on a few of these pieces, making it hard to tell what kind of keyboard he is playing, adding a mysterious quality to this ever-charming treasure. When Terry plays just the piano, it is as if he is coming from a more classical, older tradition and also adding bits of jazz lines or rhythms as well. On "Dark Queen", the elder Riley plays a long, classical sounding suite on the piano with the younger Riley only coming in towards the last section to embellish the last part of the suite. "Deep Night" is based on a classical Indian raga and Terry chants with his warm, ever-inviting voice at the center of this piece. Terry Riley has long studied Indian traditional music and we can tell by the way he uses his voice to dart off this delightful long work. As this long piece evolves and Terry plays piano, Gyan starts to add flourishes on his guitar. I've seen & heard this duo play on a couple of occasions and have always felt deeply touched by what they do. As a father and son they are already connected on several levels and we can hear that connection within the music that they produce. Consistently spiritually uplifting. - Bruce Lee Gallanter, DMG
CD $18
AMM with CORNELIUS CARDEW / LOU GARE / KEITH ROWE / EDDIE PREVOST / LAWRENCE SHEAFF - Ammusic (ReR AMMCD; UK) Originally recorded and released in 1966 on the Elektra label in the UK, this has long been considered one of the early high-watermarks of contemporary improvised music/sound. AMM were one of the first completely non-idiomatic free improvising ensembles, and this was their very first release, which was truly startling for 1966, & is still pretty damn revelatory over 35 years later! Out of print for over 20 years, this includes 30 minutes of bonus material from the original sessions, recorded on the 8th and 27th June 1966 in London. This really was decades ahead of its time. With Cornelius Cardew, Lou Gare, Eddie Prevost and Keith Rowe.
CD $25 [last 3 sealed copies]
CECIL TAYLOR / BILL DIXON / TONY OXLEY - self-titled (Victo CD 082; Quebec; Canada) A historic reunion of 3 great masters; a summit meeting of historical proportions. The magical triangle of Cecil Taylor (piano), Bill Dixon (trumpet) and Tony Oxley (drums) belies the contention that Musique Actuelle is a young man's music only. In this cutting edge world premiere, three masters with more than 40 years of experience each, proved that they are as forward looking now as they were when they began.
CD $16
CECIL TAYLOR / TONY OXLEY - Flashing Spirits (Burning Ambulance BAM 112; USA) Featuring Cecil Taylor on piano and Tony Oxley on drums. Recorded live at the Outside Festival in Crawley, UK on September 3rd of 1988. Legendary free/jazz piano master Cecil Taylor and British avant/jazz master drummer Tony Oxley have a long history of playing in duos, trios (with William Parker or Bill Dixon) , quartets (with Evan Parker & Barry Guy) as well as in larger ensembles. This appears to be the fifth disc from this particular duo. I’ve listened to this disc several times over the past few days and I am astonished at the performance and recording quality. Both Cecil Taylor and Tony Oxley are a perfect match of intense, inventive and extraordinary spirits. Although it is a peaceful sunlit day here at home (6/11/25), this music reminds me of a thunder storm which erupts fiercely and then calms down to a more strained conclusion. - BLG at DMG
CD $20 [Currently out-of-print, last few copies]
FRED FRITH / EVAN PARKER - Hello, I Must Be Going (Victo CD 128; Quebec, Canada) Featuring Fred Frith on guitar and Evan Parker on soprano & tenor saxes and recorded live in concert at FIMAV 2014 (Festival International de Musique Actuelle de Victoriaville). Although Fred Frith and Evan Parker are both British and come from around the same scene/generation of Europe's finest free improvisers, this set was only the their third duo performance. Both of these men are master improvisers and this disc/set captures them at their best. He are is excerpt from my review of the concert, "Evan played mostly soprano sax and Fred often had his guitar on his lap with a table filled with objects: an e-bow, chopsticks, an ashtray, paintbrush, etc. Each of these men have their own vocabulary of sounds so they took their time to work their way through a variety of sounds and textures. It helps to actually see what Mr. Frith is doing since he has so many odd/unique ways to play his guitar. At one point, Fred repeatedly tapped on his strings, using his fingers and/or a chopstick shoved between the strings on the neck. The effect was most hypnotic with Evan also playing circular lines, both men weaving their strands together. As Fred would alter his approach to his guitar being held in his hands or on his lap. Evan, who is one of the masters of circular breathing, would also alter his sound to bring the two closer together into a similar exploratory zone. As the set progressed, the exchange got quicker and closer as if they were finishing each other's sentences. This was one of those magical sets where everything works just right, the blend of ideas seamless." - Bruce Lee Gallanter, DMG
CD $16
MERZBOW / PAN SONIC - V (Victo CD 089; Quebec; Canada) "As a strangely beautiful festival finale, the Finnish pair known as Pan Sonic met with the Japanese sound manipulator Merzbow for the first time. Perched behind their laptops, Pan Sonic artfully explored acoustic phenomena and together constructed a sonic wall and sonic wallpaper, full of massive and detailed touches....it proved to be a poetic and entirely apt ending for the festival..."-Jazz Times
CD $16
FUSHITSUSHA with HAINO KEIJI - Withdrawe, this sable Disclosure ere devot’d (Victo CD 060; Quebec, Canada) Latest from Keiji Haino's highly polarizing power-trio, recorded live at the '97 Victo Festival. This is one of those records of a concert that it's good to have, if only so that you can listen to it at a volume of your own choosing (which will probably be approximately 10% of what the actual concert volume was). From what I remember, more than half of the folks attending this concert ran out of the hall with their hands over their ears in the first few minutes of the set.
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
THE STONE RESIDENCIES / KALIA VANDEVER / JAN 28-31
1/28 Wednesday
8:30 pm - QUARTET - Kalia Vandever (trombone) Zekkereya El-magharbel (trombone) Micah Thomas (piano) Kweku Sumbry (drums)
1/29 Thursday
8:30 pm - tilt - Kalia Vandever (trombone, voice) Isabel Crespo Pardo (voice) Carmen Quill (bass, voice)
1/30 Friday
8:30 pm - QUARTET - Kalia Vandever (trombone) Mary Halvorson (guitar) Nick Dunston (bass) Lesley Mok (drums)
1/31 Saturday
8:30 pm - TRIO - Kalia Vandever (trombone) Charles Overton (harp) Mikel Patrick Avery (drums, percussion)
THE STONE RESIDENCIES / SALLY GATES / FEB 4-7
2/4 Wednesday
8:30 pm - TRIO - Sally Gates (guitar) Lesley Mok (drums) Alex Zhang Hungtai (trumpet, electronics)
2/5 Thursday
8:30 pm - TRIO - Sally Gates (guitar) Brian Chase (drums) Alex Skolnick (guitar)
2/6 Friday
8:30 pm - TRIO - Sally Gates (guitar) Carla Kihlstedt (violin) Ches Smith (drums) Christian McBride (bass)
2/7 Saturday
8:30 pm - TITAN TO TACHYONS
Sally Gates (guitar) Matt Hollenberg (bass VI) Kenny Grohowski (drums)
THE STONE is located in
The New School at the Glass Box Theatre
55 West 13th Street - near 6th ave
For more info: https://thestonenyc.com/calendar.php?month=1
LIVE MUSIC
wed-sat - music at 8:30pm
ADMISSION - $20 per set
unless otherwise noted
cash only payment
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THE RECIRCULATION SERIES CONTINUES:
Thursday, February 12, 7pm
Uptown Out Presents
Implicit Arches -
Miguel Frasconi (electronics), Kurt Gottschalk (guitar)
Will Glass (drums) w/ Claire de Brunner (bassoon) guests
Recirculation
876 Riverside Dr @ 160th St, NY, NY
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NEW VIDEOS from GUITAR MASTER HENRY KAISER:
New one as of 1/19/2026:
https://www.youtube.com/watch?v=HyjcwHu5_1E
The above new Henry Kaiser show features Henry & friends using a variety of guitars, tremelo bars & effects and it is around 2 hours long!
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:
This is a new one as of 1/19/2026:
https://podcasts.apple.com/us/podcast/simian-podcasts/id1754730297
https://rwm.macba.cat/en/research/probes-37
https://rwm.macba.cat/en/research/probes-36