Stay away from the cities, stay away from the towns
Stay away from the men pushin' the codeine around
Stay away from the stores where the remedy's supplied
For better your pain than be caught on cod'ine
An' it's real, an' it's reel one more time
You'll forget you're a woman, you'll forget about men
Try it just once and you'll try it again
You'll forget about living, you'll forget about time
And you'll live off your days as a slave to cod'ine
An' it's real, an' it's reel one more time
But if I die tomorrow, still one thing I've done
I've heeded the warning I got when I was young
My one satisfaction that comes when I think
Is I'm living my life without bendin' to drink
An' it's real, an it's reel one more time
An' my belly is craving, I got shaking in my head
I feel like I'm dyin' an' I wish I were dead
If I live till tomorrow, that'll be a long time
For I'll reel and I'll fall and I'll die on cod'ine
An' it's real, an' it's reel, one more time
An' it's real, an' it's reel, one more time
It is real and it is very sad. Addiction to drugs like heroin, cocaine, codeine, morphine, speed, free-base and crack is without a doubt a terrible thing. I’ve known some junkies, friends and other folks who were addicted to heroin, cocaine, free-base and crack and I’ve seen what it does to them and the their friends and family. I’ve done my fair share of experimenting with herb (marijuana) and psychedelics (not addictive but one can lose one’s mind) and I’ve seen these drugs kill and ruin people’s lives, as well as their family and friends. The above song was written and performed by Buffy Sainte-Marie for her debut album in 1964, which also includes “Now That the Buffalo is Gone” (check out the words to this one as well). And while you’re at it, check out “Signed, D.C.” from the first Love album, another great, honest anti-drug song. According to legend, Ms. Sainte-Marie, was prescribed codeine for an illness she had, became addicted and went through a painful withdrawal. This song does a great job of describing the horrors and pain of withdrawal. “Cod’ine” has been covered by dozens of solo artists and bands ever since. My favorite version is by a little known band called the Wizards from Kansas from their one and only self-titled album, released in 1970. I bought the record for $1.00 at Bradlees since I liked the cover art of the mandala. It turned out to be one of my favorite (obscure) psych/folk/rock albums of all and it still sounds amazing today! The Wizards from Kansas also cover “High Flying Bird” (by Big Ed Wheeler), which was covered earlier by Jefferson Airplane for their debut LP in 1966. The Wizards’ version is by far the best one! I’ve listened to Buffy’s and the Wizards’ debut albums earlier this week and both are classic gems. Seek them out if this sort of music is still interesting to you. - MC BruceLee G
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THE DOWNTOWN MUSIC GALLERY 35th ANNIVERSARY IN-STORE CONCERT SERIES Continues with:
Tuesday, February 24th:
6:30: COLIN HINTON - Drums / ERICA DICKER - Violin / SHAWN LOVATO - Bass
7:30: VIV CORRINGHAM - Vocals / MARCUS CUMMINS - Soprano Sax
8:30: JIM CLOUSE - Tenor-Soprano Saxes / MATT HOLLENBERG - Guitar / ADAM LANE - Bass / PATRICK GOLDEN - Drums
Monday, March 2nd:
6:30: TRANSPARENCY KESTRA (mini): Pyramid: ELI ASHER - trumpet / CLAIRE de BRUNNER - bassoon / ON KA'A DAVIS - guitar / HARUNA FUKAZAWA - flutes / AYUMI ISHITO - soprano sax / WESTBROOK JOHNSON - trombone / SHU OSAMURA - guitar / JOSH SINTON - bai sax / patrick brennan - alto sax, composition, conducting
Tuesday, March 3rd:
6:30: ADAM LANE ELECTRIC BAND: NICK LYONS - Alto Sax / ADAM CAINE - El Guitar / ADAM LANE - El Bass / VIJAY ANDERSON - Drums!
7:30: KRIS GRUDA - Guitar / EMILY HAY - Flutes - Voice - Electronics!
8:30: RICH ROSENTHAL - Guitar / NICK GIANNI - Tenor Sax / KEVIN TKACZ - Bass / MICHAEL PAOLI - Drums!
Tuesday, March 10th:
6:30: JOHN HAGEN - Tenor Sax / KEN FILIANO - Bass / ANDREW DRURY - Drums!
7:30: AARON RUBINSTEIN - Guitar / KENNETH JIMENEZ - Contrabass / KEVIN MURRAY - Drums!
8:30: YONI KRETZMER - Tenor Sax / THOMAS HEBERER - Trumpet / PETER BITENC - Contrabass / VINNIE SPERAZZA - Drums!
Tuesday, March 17th: Relative Pitch Presents: 3 sets: 6:30 - 8:30
1st Set: CHUCK ROTH - Guitar / ROCIO SANCHEZ - Cello
2nd Set: CHUCK ROTH - Guitar / YUMA UESAKA - Sax
3rd Set: CHUCK ROTH / ROCIO SANCHEZ / YUMA UESAKA
Saturday, March 21st: GauciMusic Series Continues with:
6:30: ELIJAH SHIFFER - Alto Sax / LORIN BENEDICT - Voice / DMITRY ISHENKO - Bass / JAMES PAUL NADIEN - Drums
7:30: STEPHEN GAUCI - Tenor Sax - Flute / LIM YANG - Contrabass / KEVIN SHEA - Drums
8:30: JUAN PABLO CARLETTI - Drums / WILLIAM PARKER - Contrabass / YONI KRETZMER - Tenor Sax
Tuesday, March 24th: A Night of Extraordinary Vocalist!
6:30: LORIN BENEDICT / CHARMAINE LEE - Vocal Duo
7:00: KYOKO KITAMURA - Solo - Vocals, Objects & Audience Participation
7:30: NOA FORT / YOON SUN CHOI / ELENA CAMERIN - Vocal Trio
8:00: AMY SHEFFER - Vocals / ROSI HERTLEIN - Vocals & Violin
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THIS WEEK'S SONIC TREASURES BEGIN WITH:
DEREK BAILEY / HAN BENNINK / EVAN PARKER - Topographie Parisienne (Fou Records FR 034-37CD; France) "Three legends of jazz and improvised music. A historic three-day concert featuring Derek Bailey, Han Bennink, and Evan Parker, already at the peak of their arts, both free-spirited and deeply attentive to one another (in duo form) or to each other (in trio form), and, of course, incredibly creative. A rare and precious find! Such a recording deserved a beautiful presentation, and that's exactly what we get. A magnificent four-disc set with a booklet. Each disc has its own gatefold sleeve with photos from the concert. The booklet includes liner notes by Bill Shoemaker, Sturat Broomer, Philippe Alen, Joël Pagier, and Jean Rochard, as well as an explanatory note by Jean-Marc Foussat, who recorded the concert."
4 CD Box Set $55 [Pre-order price until next Friday 3/6/26; $60 after that; in stock hopefully with 1-2 weeks]
NEW FROM FUNDACJA SLUCHAJ / LISTEN! FOUNDATION:
LAST DREAM OF THE MORNING with JOHN BUTCHER / JOHN EDWARDS / MARK SANDERS - Sharp Illusion (Fundacja Sluchaj/Listen! Foundation FSR 2026; Poland) Featuring John Butcher on tenor & soprano saxes, John Edwards on contrabass and Mark Sanders on drums. After Evan Parker, Paul Dunmall and Alan Skidmore, John Butcher is my next favorite British tenor sax player. I've long dug whatever I've heard from Mr. Butcher as he remains a deeply focused, experimental saxist who has his own sounds and like to perform in places that most players wouldn't think of performing. For this disc, Mr. Butcher has chosen two other giants of British free/jazz: bassist John Edwards and drummer Mark Sanders. This trio had an earlier record out on Relative Pitch from 2017, nearly a decade ago. This session was recorded live at the Cultural Center in Lublin, Poland in July of 2024.
Considering how much I dig each of these three musicians, I wasn't too surprised at how strong, inventive and spirited this date is. There is a good deal of subtle, nuance going on here: quiet, ever-inventive, free music, organic and flowing just right. Due to some extended techniques, there are a number of sounds which are rather mysterious and not easy to figure out who is playing what, hence it keeps us guessing who is playing which sound. It sounds obvious that these three musicians have been working together for a long while since they play as one focused unit throughout, listening closely and interacting on several levels. There are sections when I was not sure what exactly is going on yet the music/outcome is still fascinating to hear. It is more about transforming our reality to perceptions with sounds that are in between being somewhat familiar and being alien at the same time. Another treasure of high end improv at its very best! - Bruce Lee Gallanter, DMG
CD $17
REMEDY with THOMAS HEBERER / JOE FONDA / JOE HERTENSTEIN AKI TAKASE - Remedy & Aki Takase (Fundacja Sluchaj / Listen! Foundation FSR 2026; Poland) Featuring Thomas Heberer on trumpet, Aki Takase on piano, Joe Fonda on contrabass & flute and Joe Hertenstein on drums & percussion. The Remedy Trio features Thomas Heberer (trumpet), Joe Fonda (bass) and Joe Hertenstein (drums) and this is their fourth release. For this disc, they've added Japanese-born, German-based pianist Aki Takase, who is married to another great pianist named Alex Von Schlippenbach. Longtime member of the ICP Orchestra, Thomas Heberer, now lives in NY and works in several different bands. Ms. Takase is a gifted pianist with more than 25 discs as a leader or co-leader. Mr. Heberer has played in one of Mr. Takase's projects along with Eugene Chadbourne. German drummer, Joe Hertinstein, keeps busy playing in a variety of different bands with and mostly with American musicians. According to the liner notes, Ms. takase and Mr. Heberer have been working together since 1988 when both were members of the Berlin Contemporary Jazz orchestra.
Three of the four members of this quartet contribute songs with several freely improvised pieces. This disc begins with a piece written by Joe Hertenstein and it starts with just sizzling cymbals. It is called, "Panicballad" and when the rest of the quartet enter, the piece expands into a more organic, free-flowing world of wonderment. Mr. Heberer bends his notes slightly in his own unique way. Ms. Takase spins a sublime web of magical, dream-like chords which sound quite majestic. The quartet soar on"Coming Through the Leaves", strong, focused improv piece with a fine theme played by the trumpet and piano in the last section. Quite a lovely ending. On "Futatsu", another free piece, Mr. Heberer pushed himself further out then usual, bending, twisting and carefully stretching out each note further with Ms. Takase and the rest of the rhythm team pushing the boundaries outside. Ms. Takase's "Late Night in Berlin" starts as a ballad and then changes section by section. What I really like here is the way Ms. Takase and Mr. Heberer sound connected, often playing their lines together in a variety of harmonious ways and ending this piece with a majestic sounding theme. Each member of this quartet is integral to their superb, inspired and focused sound. This is one of the best discs I've heard in recent memory. - Bruce Lee Gallanter, DMG
CD $17
AGUSTI FERNANDEZ / ARTUR MAJEWSKI / ALBERT CIRERA / RAMON PRATS - Som-Hi! (Fundacja Sluchaj / Listen! Foundation FSR 2026; Poland) Featuring Agusti Fernandez on piano, Artur Majewski on cornet, Albert Cirera on saxes & objects and Ramon Prats on drums & percussion. Spanish pianist Agusti Fernandez is immensely prolific with over 100 releases and several box sets. I am a longtime fan of Mr. Fernandez, having heard live at several early Vision Festivals and elsewhere. Mr. Fernandez has always chosen the best of European and American improvisers to work with: Evan Parker, Marilyn Crispell, Derek Bailey and John Butcher, to name just a few. In recent times, Mr. Fernandez has been working more often with fellow Spanish musicians like the other members of this fine quartet.
This disc was recorded at a studio in Barcelona in October of 2022. The first thing I noticed here is how well this disc was recorded, the sound is focused, intense, superbly balanced and obviously both horns are close mic'd. On "Part Two", the quartet strips things down to a cautious level of suspense. Mr. Fernandez scapes the strings inside the piano as the horns interweave carefully and Mr. Prats also creates subtle percussive sounds. "Part Three" is an intense free and explosive excursion with the quartet moving in tight waves together. The closer I listen to this, the more I hear several layers of interconnections going on. On "Part Four" the quartet erupt together, expanding into a thick stream of eerie, disorienting sounds, keeping us listeners off balance we are pushed further and further out and the rug is pulled from under our feet. On "Part Six", Fernandez spends much time scraping and banging on the strings inside the piano while the rest of the quartet add their own fractured sounds. This disc is what I call "high end improv", exciting, fascinating and often edge-or-our-seats type of magic. - Bruce Lee Gallanter, DMG
CD $17
Back in stock:
MARILYN CRISPELL & HARVEY SORGEN - Forest (Listen! Foundation/Fundacja Sluchaj FSR 22/2024; Poland) This year, one of the greatest pianists of improvised music, Marilyn Crispell became the winner of the famous NEA Jazz Masters 2025 award, thus joining the ranks of such jazz wizards as, among others. in Miles Davis, Ornette Coleman, Sonny Rollins, Cecil Taylor, Dizzy Gillespie, Sun Ra, Gil Evans, Sarah Vaughan, Herbie Hancock, Chick Corea, Keith Jarrett, Muhal Richard Abrams and Anthony Braxton, with whom, by the way, Marilyn spent several years in his second great quartet. As all of us intrigued by jazz music probably know, the NEA Jazz masters laurel is a great honor and a momentous gesture by the American state to the achievements of artists. We are all the more pleased to rush to announce that Marilyn Crispell's latest album has been released with us. It is a studio session realized in November 2023 at Utopia Studios Bearsville in Woodstock together with the excellent drummer Harvey Sorgen. The album is part of an impressive series of duo sessions recorded in recent decades in the company of such artists as Gerry Hemingway, Hamid Drake, Tyshawn Sorey, Tim Berne, Gary Peacock, Louis Moholo, Tim Berne, Eddie Prevost, among others.
CD $17
CHARLES GAYLE & SZILARD MEZEI (BASS) QUARTET - Oils (Listen! Foundation/Fundacja Sluchaj FSR 24/2024; Poland) Featuring Charles Gayle on tenor & alto saxes & piano, Szilard Mezei on viola, Ervin Malina & Erno Hock on contrabasses and Istvan Csik on drums. This set was recorded live at 15th Annual Jazz Fest of Improvised Music in Serbia in September of 2009. Since the passing of tenor sax free/jazz giant Charles Gayle in September of 2023, there have been just a couple of posthumous releases. Although based in NYC for a long period of his life, the beloved saxist Charles Gayle did tour in England and the rest of Europe on several occasions, recording with British, Belgian and Hungarian/Serbian musicians. For this concert, Mr. Gayle collaborated with violist/multi-bandleader Szilard Mezei and his two bass quartet. Being a big fan of Mr. Mezei, I recognize the names of the other players here from the dozens of discs that Mr. Mezei has been released on several labels. Mezei knew this concert was going to be special so he prepared his quartet with music for Mr. Gayle to work with. Mr. Gayle had asked for a bottle of olive oil to be given to him when he arrived for some reason. Mr. Mezei decided to name each of the six pieces after the requested oil. The music here is most extraordinary and Mr. Gayle fits perfectly. Both bassists here are strong players and sound wonderful together exchanging lines with great flourishes. The music here sounds like a suite with each section exploring a different soundscape or vibe. Mr. Gayle switches to piano on “Oilometer”, which is a tribute to Thelonious Monk. Piano was Mr. Gayle’s first instrument and he play some solo piano concerts in NYC. He plays here is a quirky, Monk-like fashion with Mr. Mezei interweaving some feisty viola lines. Mr. Mezei is a gifted composer who does well writing for his varied sized groups (from duos to an orchestra), composing complex passage with room for free improv as well. Drummer Istvan Csik opens “Two Oilways” with a short yet spirited drums solo before the rest of the group joins him, with Mr. Gayle on searing alto sax and the other players zigzagging different lines together, bussing like bees around a great hive of energy. What’s great about this disc is that it is a marvel to hear the late Charles Gayle playing with other musicians who respect what he does, support and interact with him on several levels. Wow! A true treasure for all of us Free Jazz Freaks worldwide! - Bruce Lee Gallanter, DMG
CD $17
SYLVIE COURVOISIER / JEROME DEUPREE / LESTER ST. LOUIS / JOE MORRIS - Canyon (Fundacja Sluchaj FSR 13/2025; Poland) Featuring Sylvie Courvoisier on piano, Lester St. Louis on cello, Joe Morris on contrabass and Jerome Deupree on drums. This 2 CD set was recorded at Firehouse 12 studios in November of 2023. The session was produced by Boston-based drummer Jerome Deupree and Joe Morris, longtime collaborator for Matt Shipp, Ivo Perelman and many others, switching between his guitar and bass duties at different sessions. The two guests here are the ever-adventurous pianist Sylvie Courvoisier and local cellist Lester St. Louis. You should recognize the name Lester St. Louis from his time with the late trumpet hero Jaimie Branch and more recently playing bass with Amirtha Kidambi's Elder Ones. I only know of drummer Jerome Deupree from his six recordings with Joe Morris. The music here is superbly recorded and balanced just right. On the long opening piece, "Isala", both the cello and bass create a low-end dialogue and the drums and piano also create a similar, percussive/melodic terrain. I listened to this disc on headphones since I wanted to hear each nuance of sound. This piece builds and escalates slowly and becomes more intense as it evolves. Ms. Courvoisier's playing is often intense and explosive at times. There is a section on "Turnback" where the morse code-like drums and high-end percussive piano combine forces, trading tight, quirky lines as the simmering turns to boiling point. There is quite a bit of criss-crossing pollination and eruptive interplay going on here. Ms. Courvoisier takes a long majestic solo later in "Turnback" with the cello interweaving his own circular lines. Although rare for me, as soon as the first disc was over, I inserted Disc 2 quickly since I was in the middle of an ongoing story and wanted to hear "Part Two" or perhaps the second set. The combination of plucked and bowed strings (from the cello, bass & inside the piano) and percussion (of drums and inside-the-piano manipulation) is rich and well-explored. - Bruce Lee Gallanter, DMG
2 CD Set $20
IVO PERELMAN / NATE WOOLEY / MATT MORAN / MARK HELIAS / TOM RAINEY - A Modicum of the Blues (Listen! Foundation/Fundacja Sluchaj FSR; Poland) Featuring Ivo Perelman on tenor sax, Nate Wooley on trumpet, Matt Moran on vibes, Mark Helias on contrabass and Tom Rainey on drums. Recorded at Park West Studios in May of 2024. Brazilian-born, Brooklyn-based saxist Ivo Perelman has been recording weekly sessions at Park West Studios for many years and has a wealth of strong, inspired free/improv discs under his belt. The studio is run by producer/engineer Jim Clouse, who always does a fine job of capturing this music in its full glory. Mr. Clouse is also a gifted tenor & soprano saxist and both he and Ivo have played here at DMG on occasion and blown the audiences away. Mr. Perelman has chosen an all-star cast with the ever resourceful/ diverse trumpeter Nate Wooley, vibesman Matt Moran and the well-respected elder rhythm team of Mark Helias and Tom Rainey. Matt Moran has recorded with Nate Wooley (for 'Battle Trances 4) and with Perelman (in the Seven Skies Orchestra in 2024). Mark Helias and Tom Rainey have worked together for many years with Tony Malaby, Ellery Eskelin and Simon Nabatov, as well as collaborating with Perelman on several occasions in the past. From the gitgo, the music here is carefully recorded, softly nuanced at first, with both Perelman's sax and Wooley's trumpet slowly stretching out their notes or sounds. The vibes, bass and drums also are engaged and work together organically, trading lines and accentuating certain shared focal points. Mr. Helias and Mr. Rainey often sounds like one combined force, pushing their collective spirit higher and higher as they go. Different groupings emerge, each one expanding and contracting as the pieces evolve. Towards the end of the first long piece a trio emerges of vibes, bass & drums, creating their own sound/connection. Each member of the quintet gets a chance to stretch out, solo and interact on different levels. If you listen closely, you will hear the way the different combinations keep having several dialogues going on simultaneously. There is a particularly harrowing section during "Part 3" where the horns, vibes , bowed bass and drums create a series of eerie drones together. The sax and trumpet slowly bend their notes together creating a unique siren-like sound, similar to the way spirits are said to sing. Instead of having a piano here to play chords and comp, the vibes often provide a similar function, playing chords and/or hitting those shimmering drones. Distinguished master drummer Tom Rainey is often at the center of most of what unfolds here, spinning his own rhythmic web and holding things together. Although the names of this disc and song titles are called "A Modicum of the Blues", there aren't any normal blues licks but there is a similar dark yet hypnotic vibe which flows throughout most of this fine disc. - Bruce Lee Gallanter, DMG
CD $17
ANGELS 11 with MARTIN KUCHEN / JOHAN BERTHLING / ALEX ZETHSON / MATTIAS STAHL / MAGNUS BROO / SUSANA SANTOS / KJELL NORDESON / et al - Tell Them It´s the Sound of Freedom (Listen! Foundation/Fundacja Sluchaj FSR; Poland) Personnel: Martin Kuchen on tenor & soprano saxes & compositions, Eirik Hegdal on bari & alto saxes, Susana Santos Silva & Magnus Broo on trumpets, Josefin Runsteen on amplified violin, Alex Zethson on Fender Rhodes & Juno 106, Mattias Stahl on vibes & soprano sax, John Berthling on contrabass and Kjell Nordeson, Konrad Agnas & Michaela Antalova on drums. Since 2008, the Scandinavian all-star collective ensemble, Angles, have produced a dozen recordings, mostly for the Clean Feed label. Although their personnel changes somewhat from record to record, Angles are one of the best Spirit Jazz bands to emerge from the Clean Feed mountain of great releases. Original members include Martin Kuchen (from Exploding Customer), Magnus Broo (Atomic & IPA), Mattias Stahl, John Berthling (Fire! Orchestra) and Kjell Nordeson (AALY & Firehouse). The other names that I know previously are Alex Zethson (Trondheim Jazz Orchestra) and Susana Santos Silva (Fred Frith collaborator). Angles have always had that deep reaching into your soul Spirit Jazz sound. The disc begins with the title tune, "Tell Them It's The Sound of Freedom", slow moving, sly and sensuous. Johan Berthling plays this hypnotic bass-led groove, over and over while the horns & vibes all simmering together playing an infectious prayer-like theme. The sound of this 11-piece mid-sized ensemble is somewhere between the Sun Ra Arkestra and the Brotherhood of Breath with what sounds like an infectious, spiritual undertow. "A Night in Schwamistan" has another passion-filled repeating groove/riff which is played by all of the horns. That repeating groove reminds me of a Fela Kuti-like funk fest (of perhaps Zion80-like) churning riff/line. Keyboardist Zethson switches between a Fender Rhodes and farfisa-like sound from his Juno synth. I dig the layers of interlocking horns but it is a slamming vibes-led rhythm team that really makes me want to get up and dance along. Like most of the 15 minute Fela songs/jams, it is that infectious greasy groove that makes us want to join in and groove along to it. "Young Blood Transfusions" has another somewhat familiar sounding repeating (percussion-led) riff which keeps churning throughout and features an inspired solo from the violin. The mid-section is freer and has some fire-breathing solos from the trumpet & sax(es). I love the way the entire ensemble swaggers together both loose and tight at the same time. Like each of the previous Angles discs, this one has an ancient vibe which feels like sonic medicine for our current tough times. Dig in deep! - Bruce Lee Gallanter, DMG
CD $17
DAN WEISS TRIO with JACOB SACKS / THOMAS MORGAN - Dedication (Cygnus Recordings 102CD; USA) Approaching any Dan Weiss album requires a willingness to be challenged. From head-scratching time signatures to fascinating shifts in mood and texture, Weiss gives intrepid listeners a number of pathways into his music, and his releases always justify repeated encounters. Dedication, his latest with his regular trio partners pianist Jacob Sacks and bassist Thomas Morgan, is no exception, although what is most remarkable about this album is Weiss' lyrical sensitivity, a quality which is sometimes overshadowed on his other recordings by his percussive pyrotechnics.
The album's nine dedicatees run quite a gamut of influences. Unsurprisingly, Elvin Jones gets a tune, but so too do filmmaker Andrei Tarkovsky, and Burt Bacharach. And there is a corresponding logic to each, allowing the trio to cover a lot of stylistic territory while still sounding cohesive—undoubtedly the product of the musicians' long-standing history going back to their debut record in 2006, Now Yes When (Tone of a Pitch Music). "For Tim Smith" gets the proceedings off to an animated start, fueled by a rock-tinged rhythm which does justice to the late Cardiacs' frontman, but with enough shifts in tempo and meter to bear the earmarks of a Weiss composition. Other pieces are even more technically impressive. "For Nancarrow" (dedicated to composer Conlon Nancarrow) is a veritable rhythmic puzzle, with a relentless barrage of divergent time signatures and astonishingly difficult drum patterns, and "For Elvin" displays the polyrhythmic facility of its namesake convincingly." - Troy Dostert, AllAboutJazz
CD $14
ANTHONY COLEMAN / ADAM LANE / PATRICK GOLDEN - The One - Chasing Shadows (Park West Records; USA) Featuring Anthony Coleman on piano, Adam Lane on contrabass and Patrick Golden on drums. There is a Brooklyn-based free/jazz saxist named Jim Clouse who also runs a recording studio called Park West, where many Downtowners (Matt Shipp, William Parker...) choose to record. Mr. Clouse is a sought out producer, mixer & recording engineer for many dates and recently started his own label with drummer Patrick Golden. After a series of download-only releases, this is their first physical CD. The trio features pioneering pianist Anthony Coleman, an early jazz scholar, klezmer enthusiast and professor at New England Conservatory. Bassist Adam Lane often plays here at DMG for our ongoing in-store series. Every time I hear him play, I realize that he is in a class of his own, a completely free-spirited and awesome bassist. I've become good friends with local drummer Patrick Golden over the last few years as he plays here at DMG often and always brings a great crew. Patrick grew up in Rahway, NJ which is where I've been living since 1982.
I've heard many releases from Anthony Coleman, often playing the music of Jelly Roll Morton, Monk and his great post-klez trio, Sephardic Tinge. This trio plays more freely and they sound like they've been playing this way for many years. As with any records I heard recorded at Park West Studios, this sound here is just right: warm, clean and well-balanced. There is righteous, organic flow going on here. On the second piece, "Hold", Mr. Coleman plays an obtuse, Monkish theme, a series of bent chords and fractured single note waves while the rest of the trio speed up, slow down and match certain fractured lines as tight punctuation. What I notice is that this is not your average piano trio date, as all three members push and pull the inner current in different ways, there is no actual leader as all three members combine forces and interact on several levels. The bowed bass and drums are featured on "night blue sky", and do a fine job of playing like an organic single force, expanding and contracting together. Coleman does a fine job here of adding his own spice, making each note count, never overplaying in any way. The trio erupts intensely in the second half of this piece making for some exciting moments. One of Downtown's best and most under-recognized bassists, Adam Lane, kicks off "to the dance", with a thoughtful, austere accompanied intro, the music building intensely throughout. Mr. Lane's bass is busy, burning and featured throughout the entire piece. On the final track, "blood vine", the rhythm team again locks in spinning a tight web of cascading waves while Anthony Coleman plays a series of dark, shifting chords on top. I've listened to dozens of different piano trio records over the past few years to see/hear how each trio twists the rules or logic in their own way. This is a superb trio date on many levels. - Bruce Lee Gallanter, DMG
CD $12
MUSHROOM with PAT THOMAS / DAVID IMMERGLUCK / GRAHAM CONNAH / VICTOR KRUMMENACHER / et al - Songs of Dissent - Live at the Make Out Room 8/9/19 (Alchemikal Artz AA002; USA) Featuring Pat Thomas on drums, direction & productiom, David Immergluck (from Third Mind & Camper Van Beethoven) on Jazzmaster guitar & mellotron, Victor Krummenacher (from Third Mind & Monks of Doom) on Creston custom guitar, Graham Konnah on Nord Lead 2X keyboard, Erik Person on flute & tenor sax, Matt Cunitz on Orchestron, melodica & Moog, Ned Doherty on electric bass and Dave Brandt & Dave Mihaly on drums & percussion. Bay Area psych/jam/prog band Mushroom have been around since 1996 and this is their 18th full length CD. I've heard around half of their discs and really do like what they do. Although I haven't heard that many jam bands, there are a few thaT I do dig (Aquarium Rescue Unit & Umphrey's McGee). I do know around half of the names in this version of the band like the two members of Third Mind, who are my current favorite psychedelic, jamming band and keyboard wiz Graham Connah who used to run the great Sour Note Six & Seven.
According to the spoken intro, Mushroom had been around for 22 years when this disc was recorded in 2019. When this disc opens, the band starts to jam in a space-rockin' sort of way with layers of pulsating effects added to the guitars, bass and keyboard(s). The first groove breaks out with a slow, sly, rocking, pounding groove and snarling guitars on top. "You've Got to Get In to Get Out" has a great chugging riff at the center and it makes me want to dance and nod my head up & down, just get into the groove. I would imagine that this is great music to get stoned by but I no longer do that during the day. Although this music is mainly improvised, the guitars and/or keyboard do come up with a riff each piece which the band then repeats and expands upon. Mushroom has always had an organic, hypnotic, swirling sound and this is true here as well. I can almost hear the chanting vocals (of assorted free spirits) leaning into their eternal grooves. The one thing that stands out here is this: there is a positive, jubilant and joyous vibe going on here as if the group were/are celebrating some positive side of life. Back in the late sixties and in the late 70's, I recall going to concerts, clubs or dances where bands played, strobe & psychedelic lights flashed and folks would dance freely with abandon. There seems to be a similar vibe going on here. Are you an old (or even young) freak like me, then this music was made for us. - Bruce Lee Gallanter, DMG
CD $12
MERZBOW - Circular Reference (No Holiday NOHL 004CD; USA) "Masami Akita continues his work as the world's premiere extreme dynamicist on Circular Reference, his latest full-length and first for No Holiday. It's a torrent of synthesized tones colliding against punishing layers of feedback and midrange noise. But there are also snatches of lurching rhythms to be found, as well as moments of relative uneasy calm. More than anything, it's distinctly Merzbow."
CD $17
MERZBOW - Red Magenesia Pink (No Holiday NOHL 022CD; USA) "First released by Extreme in the massive, infamous Merzbox, Red Magnesia Pink is extracted and recontextualized as a standalone release for the first time. Recorded in 1995, Red Magnesia Pink sees Merzbow in peak form. A psychedelic whirlwind of synthetic transmissions; harsh, wet, screeching sounds that could only be produced by Masami Akita. Featuring two previously unreleased bonus tracks from the same era."
CD $17
CONRAD SCHNITZLER - Control (Bureau B 495CD; Germany) "Control was created during a phase of Schnitzler's work in which his friendship with Peter Baumann (formerly of Tangerine Dream) allowed him to try out and use new electronic sound generators and peripheral technologies. He never used these innovations merely for their own sake, but always put them at the service of his artistic flair for experimentation. His signature style is clearly recognizable on Control. The album seems to be a kind of compilation of different musical approaches. Tracks 5 and 9, for example, are classic Schnitzler: sparkling cascades of electronic sound particles, interspersed with longer and shorter glissandi, constant movement in all directions. But then there are tracks 1, 8, 11, and 12 -- and here I can only speculate -- where it seems as if Schnitzler wanted to combine a few elements of traditional harmony with his own sound aesthetic in these pieces. And why not? He was completely undaunted by new things. Most important was that the music remained within the framework of his strict overall concept. There is no spacing between the tracks on the original LP, released in 1981 by the DYS label in the US. The A and B sides are originally titled simply 'Control A' and 'Control B', and the thirteen pieces are strung together without interruption. Strange. About half of the tracks on Control are apparently faded in and/or out. This could indicate that Schnitzler either drew on 'overlong' archive material to extract passages suitable for the album, or that he shortened the newly recorded music. Speculation is pointless -- we can no longer ask Schnitzler. In any case, he opted for relatively short pieces averaging three minutes in length, some even shorter, others a little longer. All in all, this creates the impression of sketches. Sketches with sharply defined contours, however: as with almost all his albums, Schnitzler gives us listeners clear information about where he currently resides in his musical universe. For Schnitzler, too, the journey was its own reward, and there were many stops 'on the way to the complete Schnitzler'; he never lingered at any of them for long. His artistic restlessness and curiosity were his lifeblood. And to stay with the metaphor, Control is a strong dose of that elixir." - Asmus Tietchens, 2025
CD $18 / LP $28
CONRAD SCHNITZLER - Convex (Bureau B 496; Germany) Convex is one of a series of LPs that Schnitzler released himself in the 1980s. It is one of his LPs that convey virtually no visible information. Only the title is printed in large letters on the cover of Convex, and in tiny letters that are easy to overlook, it says: "Cover Conrad und Richard." The labels on the original LP indicate that one side is called "Convex" and the other "Concav." That's all the information there is.
"On Convex, as on many of his other albums, Schnitzler definitely used a sample-and-hold generator (S/H generator), a device that converts sounds stored as desired into random sequences of tones. This is important to know because this album is also non-keyboard music, i.e., it was not played 'by hand'; instead, the experimental setup is: synthesizer -- sequencer -- S/H generator. Whether Schnitzler could foresee the respective results for each piece or whether he let himself be surprised is uncertain. But I believe he let himself be surprised and decided in each case whether to accept the result or not. Because one of the cornerstones of his artistic concept is controlled chance. However, it is not this method that makes Convex so special, but the slow tempo of the music. With one exception, the other pieces are almost sluggishly slow. Schnitzler certainly never had ambient music in mind, as his music is defined throughout by transparency and dynamic movement. However, Convex does meet some of the criteria defined by Eric Satie for 'musique d'ameublement' and also the concept of 'ambient' further developed by Brian Eno: its calmness and apparent uniformity -- both of which require no attention and yet are a pleasant addition to the atmosphere of a room. A prerequisite for this, however, is a discreet volume level. Schnitzler would probably turn in his grave if he knew that I was placing his music in the vicinity of ambient. And of course it's not ambient. With Convex, Schnitzler remains consistently true to himself. The only unusual thing is that he experiments with 'slowness' here. Schnitzler has carefully faded out some pieces, even though they are suitable for filling an entire LP side. If I were to stick with my thought experiment, this would be another characteristic of ambient music. Convex raises questions that cannot be answered with certainty. But that is precisely why Schnitzler's music remains so interesting." --Asmus Tietchens, 2025
CD $18 / LP $28
CARLOS GIFFONI - Pendulum (Room40 RM 4267CD; Australia) A note from Carlos Giffoni: "I initially recorded all tracks in California between 2024 and 2025. The tracks were then sent to various locations around the world to each collaborator for completion, before returning to me in California for final touches. They were subsequently sent to Japan for mixing. Then, back to California, and then to Australia, where the final designs for the artwork were created. The final version was then multiplied and spread all over the world until it reached your ears, their intended target. The Pendulum swings. And the world keeps rotating endlessly." Mixed and mastered by Jim O'Rourke. Featuring Greg Kelley, Mabe Fratti, Zola Jesus, Ben Chasny, Lea Bertucci, and Iggor Cavalera.
CD $18
STEFAN GOLDMANN - Automation Studies Vol.1 (Macro Recordings Macrom 084CD; Germany)
This triple disc release documents Stefan Goldmann's earliest electroacoustic works. These clear-cut algorithmic compositions, mostly created between 1999 and 2001, were built entirely with the TC Fireworx processor's internal synthesizer and effects. Generated and recorded anew for this release with the original programs, a central component of Stefan Goldmann's sound aesthetic is revisited and becomes available in pure form for the first time. His proprietary Fireworx algorithms feature prominently in a multitude of tracks and long-form works, including Phraselab (2005), De-Gauss (2015), Voices of the Dead (2008) and Live at Honen-In Temple (2012). The automated synthesis and effects chains utilize a few layered basic functions to drive kaleidoscopic sound environments which are simultaneously stable while constantly changing: Electric rivers of sound flowing continuously through the same bed, while never repeating themselves quite exactly. Artwork by Thomas Demand.
3 CD Set $22
LP Department:
NOMAD WAR MACHINE / SUSAN ALCORN - Contra Madre (VG Records 009LP; Earth) "The late pedal-steel guitarist Susan Alcorn leaves a final surprise hinting at new directions left underexplored on her collaboration with Nomad War Machine, the improvising metal duo of drummer Julius Masri and guitarist James Reichard. Their death-metal-influenced pummel adds new fire to her molten flow across a suite of improvised tracks that show off the vast range and simpatico of the trio. Julius Masri and James Reichard of Nomad War Machine: 'An unexpected opportunity arose out of a catching-up conversation where Susan had revealed a recent fascination with death metal, confessing, 'I'm 70 years old -- I think about death!' She had learned a couple of Arch Enemy songs on her pedal steel, particularly compelled by their frontwoman's intensity and vigor as a performer. Voicing an appreciation for the hook-oriented sound of Swedish death metal made sense for a melodic thinker whose roots as veteran pedal steel player reached into the Texan Western swing circuit in the '60s and '70s. For her, ever the explorer, metal was a new, appealing point of departure into fresh musical territory. When she expressed an interest in playing with Nomad War Machine, it felt like there was a whole world of shared or complementary interests to explore.' Though known for her fluency in jazz, country, and free improvisation, Alcorn had also studied Arabic, the oud, and maqam, with all holding a deep curiosity for her. Pre-'70s country and western music had also been a lifelong presence for both members Nomad War Machine. Masri, a Lebanese free-jazz and metal drummer, and devoted fan of Texas swing legends like Speedy West, Jimmy Bryant, Leon Rhodes, and Joe Maphis, was also steeped in Arabic music traditions. James Reichard, before coming to 'freely' improvised metal, xenharmonic music, and non-Western tuning systems, had grown up being subjected to countless singalongs to numerous pre-'70s country records, entranced by the pedal steel."
LP $25
ALVIN CURRAN / ANDREA CENTAZZO / EVAN PARKER - Real Time (ICTUS 010LP; Italy) Real Time is an extraordinary example of interaction between musicians coming from different worlds of new music. "I had the chance to perform with those two great musicians on other occasions: in duo with Alvin Curran and in duo, trio and sextet with Evan Parker. Alvin came from the American school, full of minimalist references, melodic structures and open to all kinds of contamination. Evan had left jazz to accomplish his own instrumental language, aiming at total improvisation. The idea of getting them to put together a trio that would perform several concerts and recording was one of the most exciting moments of my career. Our three languages found a common ground of expression where different musical backgrounds came together and created a unique blend for that period of time." --Andrea Centazzo Andrea Centazzo: percussion, percussion synthesizer; Alvin Curran: synthesizer, piano, trumpet; Evan Parker: soprano & tenor saxophones. Recorded live in concert Rome, Italy December 13, 1977. Engineer: Nicola Bernardini. Remastered from the original tapes by Matt Bordin at Outside Inside Studio.
LP $30
ALVIN CURRAN / ANDREA CENTAZZO / EVAN PARKER - Real Time Two (Ictus 011LP; Italy) "It was a magical evening. Not only did the trio burst with a creative energy that was homogeneous and interactive, but the acoustics, usually inadequate, of the half-empty sports pavilion with a capacity of 10,000 people, gave the music an ethereal transparency and crystalline purity that the recording captured in all its singular beauty." --Andrea Centazzo Andrea Centazzo: percussion, percussion synthesizer; Alvin Curran: synthesizer, piano, trumpet; Evan Parker: soprano & tenor saxophones. Recorded live at Teatro Comunale, Pistoia, Italy December 14, 1977 by Carla Lugli. Remastered from the original tapes by Matt Bordin at Outside Inside Studio.
LP $30
GRACHAN MONCUR III with ROSCOE MITCHELL / DAVE BURRELL / ALAN SILVA / ANDREW CYRILLE - African Concepts (Picc-A-Dilly 3520; USA) Recorded August 11, 1969 in Paris. Picc-A-Dilly label US edition was licensed from Actuel in the 70's and issued with an alternate cover in 1980. Music is the same as currently unavailable Actuel/BYG version: New Africa. Personnel: Alan Silva - bass; Andrew Cyrille - drums; Dave Burrell - piano; Jean Georgakarakos, Jean-Luc Young - producer; Roscoe Mitchell - saxophone [alto], flute [piccolo]; Grachan Moncur III - trombone "Also put out in Europe by the BYG and Actuel labels, this LP is fairly adventurous, featuring the originals and trombone of Grachan Moncur III. He matches ideas with altoist Roscoe Mitchell, pianist Dave Burrell, bassist Alan Silva, drummer Andrew Cyrille and (on one of the four pieces) his former boss, tenor saxophonist Archie Shepp. Three of the selections are a bit reminiscent of the John Coltrane Quartet in their modality, but it is during the four movements of the continuous 'New Africa' that Moncur can be heard at his dynamic best." - Scott Yanow / AllMusic
LP $20
MILES OKAZAKI / MATT MITCHELL / ANTHONY TIDD / SEAN RICKMAN - Trickster (Cygnus Recordings CR 103; USA) Trickster is guitarist Miles Okazaki's first album in five years and his much anticipated debut on Pi Recordings, having been featured on six other releases in the label's catalog in groups led by Steve Coleman, Jonathan Finlayson, and Dan Weiss, along with associations with other Pi artists such as Matt Mitchell, Jen Shyu, and Amir ElSaffar. Perhaps best-known as a member of Steve Coleman and Five Elements, with whom he has played for the last eight years, Okazaki has also built a solid reputation for himself as one of the most adventurous composers and guitarists on the current scene. The New York Times says of Okazaki, "Even by the standard of his hyper-literate post-bop peer group, Mr. Okazaki is an unusually calculating musical thinker," and as a guitarist, "exceedingly skilled with a head for rhythmic convolution."
Originally from Port Townsend, Washington, Okazaki began playing classical guitar at age six, and was playing regular gigs on electric guitar by age fourteen. He moved to New York after graduating from Harvard University (he also holds degrees from Manhattan School of Music and The Juilliard School) to pursue a career in music. His teacher on guitar at the time was Rodney Jones, who got Okazaki's career in motion by recommending him for early gigs with Lenny Pickett, Regina Carter, and studio session work. He has received many awards as a guitarist including placing second in the 2005 Thelonious Monk International Jazz Competition. Okazaki spent four years on the road with vocalist Jane Monheit and became known as an expert vocal accompanist, but he also started to develop an experimental streak in his own music. His first album as a leader, Mirror (2006), received a Critics Pick in the New York Times, who called it "a work of sustained collectivity as well as deep intricacy. His second album, Generations (2009), was described by pianist Vijay Iyer in Artforum as the sonic equivalent of Escher or Borges, but with real emotional heft. His next album, Figurations, was selected as one of the New York Times top ten albums of 2012, described by Ben Ratliff as "slowly evolving puzzles of brilliant jazz logic." - Pi Recordings
2 LP Set $25
EVAN PARKER / ANDREA CENTAZZO - Bullfighting On Ice! Live In Padova 1977 (Ictus 009LP; Italy) Live in Padova 1977, unreleased. This album is a historical document in several respects: echo of a creative season in its early, vigorous blossoming. It serves as a testament to the initial opening of the emerging Italian free music scene to Northern European experiences, which had already been in communication for years. The collaboration between Evan Parker and Andrea Centazzo had begun a few months before this concert held in Padova on December 12, 1977. In July, Parker came to Italy, specifically to Tuscany, for a series of concerts, including a duo performance with Derek Bailey in Pisa. Then he joined Centazzo, who had organized a seminar with him (likely the first of its kind in Italy) in San Marcello Pistoiese. At that time, Centazzo lived and worked in the countryside between Pistoia and Montecatini. On that occasion, Centazzo recalls recording studio material, which, along with material collected during the concert in San Marcello, became the album Duets 71977 (2016). Shortly after, the duo temporarily expanded into a trio with Alvin Curran, who recorded Real Time (ICTUSRE 010LP). By then, the Centro d'Arte had existed for more than thirty years as an association connected to the University, presenting seasons with a very open and research-oriented profile. In 1973, the Centro d'Arte started an autonomous jazz series, favoring contemporary and avant-garde artists such as the Art Ensemble of Chicago, Sam Rivers, Anthony Braxton, and musicians from the emerging European free jazz scene. The Centazzo/Parker duo was indeed one of the most experimental episodes presented by the Centro d'Arte in those years. The musical material heard on this album does not correspond to the entire concert but is a selection that emphasizes some particularly intense long sequences. It is worth remembering that about twenty minutes into the actual concert, some voices from the audience began to howl and even mock what they were listening to. Parker expressed his irritation through the music, but also with words in which he ironically described himself as a gladiator in the arena. In this portion of the concert, which is not included in the album, spoiled as it is by annoying distortions, you can hear him addressing the audience: "Bring back bullfighting, Bring back bullfighting... whoa... Bullfighting on ice!" and later shouting, "Bring on the lions!" In 2000, Stefano Bassanese converted the tape into a digital file (44100 Hz/16 bit) in his home studio. This forms the basis of the current restoration process, conducted at Outside Inside Studio by Matt Bordin, who is also responsible for editing and mastering.
LP $30
DAN WEISS with MIGUEL ZENON / MATT MITCHELL - Even Odds (Cygnus Recordings CR 104; USA) Drummer and composer Dan Weiss turns his experiments and percussion exercises into compositions on this trio recording Even Odds. In other words, he composes, not on a piano, but with his drum kit for the twenty tracks heard here. That fact may not be groundbreaking except that Weiss recorded those tracks and sent the music to alto saxophonist Miguel Zenon and pianist Matt Mitchell to contemplate before gathering in the studio to improvise in this overdubbed recording.
Mr. Weiss' experience with Zénon and Mitchell in both large and small ensembles certainly allowed him to trust his bandmates' creativity, working with his drum tracks in the studio. He demonstrates this with compositions such as "Recover The Mindset" a solo drum piece that is followed by "M And M" with Zénon and Mitchell affixing their sounds to the track. Same with the solo "Too Many Outs," followed by "Runner-Runner" and "Bribes and Ultimatums" coupled with "Royal Beatings." Weiss, a master musician has studied jazz, classical Indian, West African, and rock drumming. For instance, his ensemble Starebaby is his improvising take on heavy metal and he has also dipped a toe into doom—metal with the band Bloody Panda.
With Zénon and Mitchell, Weiss lays down the pulse and allows his partners to have at it. The music is though not without forethought. "Max Roach" pays homage to its namesakes drum accompaniment to Charlie Parker's "Klactoveedsedstene," with that persistent pulse upon the snare drum's rim. "Ititrefen," or Wayne Shorter's "Nefertiti" spelled backwards, stealthy reconfigures the classic composition. Weiss translates a tabla sound to drums for "Nusrat" for Nusrat Fateh Ali Khan. Zénon and Mitchell turn Weiss' pulses into a magic nostrum. Of the 20 tracks, six are traditional compositions, written and performed as a trio. "It Is What It Is" features quicksilver and angular sprint with all three musicians charging toward its resolution. The gentle and beautiful "Fathers And Daughters" trades in a folky classical vein and the sad grace heard during "The Children Of Uvalde," for the mass shooting in 2022, shifts into a beautiful lament. Weiss' music, call it an exercise or an experiment, nonetheless is engaging and magnetic music.
2 LP Set / 3 sides $25
DAN WEISS / MILES OKAZAKI - Music for Drums and Guitar (Cygnus Recordings 101; USA) Featuring Miles Okazaki on guitar and Dan Weiss on drums. Both of these Downtown players have been collaborating since 1997 when they were both attending the Manhattan School of Music. They've played together in a few different projects, from an earlier duo effort (from 2009) on through a quartet date and a recent trio disc with Ohad Talmor. Another recent trio effort for Ozaki & Weiss is with bassist Trevor Dunn for the Tzadik label. This disc is broken into two halves, one composed by each musician, both parts are suite-like with several numbered sub-sections. "The Memory Palace" was composed by Miles Okazaki. A "memory palace" is a mnemonic device where one can visualize information in an imaginary spatial location in order to recall it at a later time. "The Memory Palace" starts off with the duo playing an odd bent funk sorta groove with Okazaki playing mostly bass notes. Although there is a central repeating note, there is also a longer line which keeps shifting in length. In order to keep things interesting, Mr. Okazaki changes the tone or effects of his guitar in each section, sounding as if there are several different guitarists involved. Miles switches to an acoustic guitar for "Part III", then processing the guitar with effects in the next section. Dan Weiss is one of the most diverse drummers in the entire Downtown Scene, having studied Indian classical music at length as well as working with an immense amount other well-seasoned musicians with their own diverse agendas. Hence, he keeps altering his approach throughout this disc and often through each piece. Mr. Okazaki collaborated with (M-Base founder) Steve Coleman for many years. This has helped Okazaki to navigate his way through varied complex rhythmic lines. Both Mr. Okazaki and Mr. Weiss have a unique way of working their through a wide range of ever-changing patterns and then going in another direction, yet everything always seems somehow connected on a more organic level like current which runs under the water or through the air and connects fish, animals or birds on a similar wavelength. There are a few songs where the duo slow down, making it easier to follow their trajectory. Both musicians are equally involved with the way things work and flow, there is no leader or accompanying player here. Guitar freaks like myself and many of you will be astonished by much of Miles Okazaki does, he is often brilliant but never seems to show off since he is an integral part of this Perfect Duo. Okazaki overdoes a couple of other guitar parts here and there when he wants to switch directions, always keeping the flow in mind. Whenever I play this disc I forget that it is a duo since it sounds much more full, certain licks locked in before they morph into a different set of quirky patterns. "Part VIII" actually comes close to a more metal-like sound which is not so strange since Mr. Weiss does have his own metal/prog band called Starebaby. The second suite is called "Middlegame" (written by Mr. Weiss) which refers to the fact that both Weiss & Okazaki are middle age and enjoy playing chess. What I find interesting is that the since Mr. Weiss wrote this suite, the drums are often at the center what keeps the pieces together and focused. On each piece, Mr. Weiss a different set of grooves or rhythmic patterns, each one different and compelling. Each piece provides a different challenge for Mr. Okazaki to connect and embellish. Although there are quite a bit of repeating patterns going on, the guitar and/or the drums at times shift their lines in unexpected ways. We can never tell where a line will be bent, extended or shortened. Just when we think we know where the duo will go, they take a detour and end up somewhere else. Absolutely brilliant! - Bruce Lee Gallanter, DMG
2 LP Set $25
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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 / JON IRABAGON / FEB 25-28
2/25 Wednesday
8:30 pm - Quartet - Jon Irabagon (saxophones) Miles Okazaki (guitar) Mary Halvorson (guitar) Tomas Fujiwara (drums)
2/26 Thursday
8:30 pm - Duo - Jon Irabagon (saxophones) Peter Evans (trumpet)
2/27 Friday
8:30 pm - Quartet - Jon Irabagon (saxophones) Brian Marsella (piano) Luke Stewart (bass) Nasheet Waits (drums)
2/28 Saturday
8:30 pm - Quintet - Jon Irabagon (saxophones) Tim Berne (saxophones) Matt Mitchell (piano) Chris Lightcap (bass) Dan Weiss (drums)
THE STONE RESIDENCIES / ARUAN ORTIZ MARCH 4-7
Aruán Ortiz presents Transculturalism: A Post-Modern Métissage
3/4 Wednesday
8:30 pm - Reimagining Trópiques: Aruan Ortiz (piano) Isabel Crespo Pardo (voice) Aliya Ultan (prepared cello) special guest Brent Hayes Edward
3/5 Thursday
8:30pm - Abstract Farmers: Aruan Ortiz (piano) Hery Paz (sax) Tom Rainey (drums)
3/6 Friday
8:30 pm - Firm Roots: Aruan Ortiz (piano) Darius Jones (sax) Lester St. Louis (cello, electronics)
3/7 Saturday
8:30 pm - Pastor's Paradox: Aruan Ortiz (piano) Don Byron (sax, clarinet) Pheeroan AkLaff (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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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
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