My guitar wants to kill your mama
My guitar wants to kill your mama
My guitar wants to burn your dad
I get real mean when it makes me mad
Later I tried to call you
Your mama told me you weren't there
She told me don't bother to call again
Unless I cut off all my hair
I get so tired of sneakin' around
Just to get to your back door
I crawled past the garbage and
Your mama jumped out, screamin'
"Don't come back no more"
Later I tried to call you
Your mama told me you weren't there
She told me don't bother to call again
Unless I cut off all my hair
I get so tired of sneakin' around
Just to get to your back door
I crawled past the garbage and
Your mama jumped out, screamin'
"Don't come back no more"
My guitar wants to kill your mama
My guitar wants to kill your mama
My guitar wants to burn your dad
I get real mean when it makes me mad
For me, the beginning of a new youth culture started when the Beatles were first on the Ed Sullivan variety show in February of 1964. It was their look, their hair, their clothes, the way they sang and played their guitars and the way their audience of young women went wild, screaming and jumping up & down in their seats. It changed everything. It was the beginning of a generation that separated the youth from their parents. Besides the Beatles, the Rolling Stones, the Animals, the Kinks and Motown and other soul stars, protest lyrics also had a deep effect on those who took their lyrics more seriously. Check out the words to "Masters of War" (by Bob Dylan), "Eve of Destruction" (written by PF Sloan) and "Trouble Every Day" by the Mothers of Invention". These songs and these words had a deep effect on me and many of us freaks, making us realize that the world was not what it seemed to be. Time to question what we were being told. The above song is by the Mothers of Invention, perhaps the most influential progressive/avant-garde/satirical/post-modern band of the mid-sixties. It might seem like a silly song but it does capture the way rock music of this era drove a wedge between the youngsters and their parents. Eventually most of us grow up and learn to appreciate some of the positive influence that our parents gave us. I still go back and listen to all of my Mothers of Invention records and they still sound great today, addressing some of the currents problems that our troubled planet is still having. "Uncle Meat" and "Freak-Out!" remain my favorites. A hearty toast to Frank Zappa, all members of the Mothers of Invention and the die-hard members of the United Mutations Fan Club. - Bruce Lee Gallanter, DMG
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THE DMG 35th ANNIVERSARY IN-STORE CONCERT SERIES Continues with:
Saturday, April 18th: GauciMusic Series:
6:30: JAMES McKAIN - Baritone Sax / MARC EDWARDS - Drums
7:30: STEPHEN GAUCI - Tenor Sax-Flute / ADAM LANE - Bass / JAMES PAUL NADIEN - Drums
8:30: SANA NAGANO - 6 String Electric Violin / MATT HOLLENBERG - Guitar / RAF VERTESSEN - Drums
Tuesday, April 21st: Relative Pitch Series: 6:30 - 8:30:
1st Set: CHUCK ROTH - Guitar / REUT REGEV - Trombone
2nd Set: CHUCK ROTH - Guitar / KELSEY MINES - Contrabass
3rd Set: CHUCK ROTH / REUT REGEV / KELSEY MINES
Tuesday, April 28th:
6:30: GABRIEL ZUCKER - Synth / TRAE CRUDUP - Drums
7:30: SARA SCHOENBECK - Bassoon / KEN FILIANO - Contrabass / ELLEN BURR - Flutes
8:30: DAVE MILLER - drums / RAS MOSHE - Tenor Sax & Flute / ROBERT BOSTON - keyboard
Tuesday, May 5th:
6:30: NICK NEUBERG - Drums / AYAKO KANDA - Vocals / BRITTANY KARLSON - Bass
7:30: MICHAEL EATON - Sax / EVAN PALMER - Contrabass / PATRICK GOLDEN - Drums
8:30: AYUMI ISHITO / KATE MOHANTY - Sax Duo
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RECORD STORE IS THIS SATURDAY & WE ARE CELEBRATING IT HERE AT DMG!
This coming Saturday is RECORD STORE DAY, a celebration of record stores from around the world. Although I certainly applaud and support any holiday which celebrates record stores, I used to think that this day was jive and too commercial to deal with. Especially when some 500 plus records are released for that day, many of which are the more commercial and popular records that stores like us don't really carry or sell. I am past the point of putting down any more popular music since there is enough Creative Music that we care about to promote. Further below we are listing and selling several RSD LP's from JAMES BRANDON LEWIS, KEITH TIPPETT, JOHN SURMAN & a great 60's/70's British Progressive Jazz comp. I've been trying to acquire copies of the GRATEFUL DEAD Boston Music Hall, December 1973 limited edition 5 LP set for myself and Dead fans as well, but have had no luck finding a distributor for it as of yet.
Please note that we are sending out a separate LP only DMG newsletter later on today or tomorrow morning with nearly 200 sealed albums that we've acquired over the past decade with lots of gems to be found. We have been putting out more vinyl on display recently and will have some surprises this Saturday. On Saturday night, there will be another STEPHEN GAUCI Free/Jazz In-Store concert with three bands starting at 6:30, see above. I will be playing DJ and playing more records that day so come down to help us celebrate the joy of listening to and buying records! Who Loves You Bubbies?!?! That me, MC-BruceLee
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THIS WEEK'S GOLDEN GEMS BEGIN WITH TWO JOHN ZORN CD'S:
JOHN ZORN // BRIAN MARSELLA / JORGE ROEDER / CHES SMITH / SAE HASHIMOTO - Alea Icta Est (Tzadik TZ 9329; USA) Composed from 2020 to 2024, “Alea Iacta Est (The Die is Cast)” is one of Zorn’s most challenging masterworks—a complex and varied piano concerto that runs the gamut of moods, styles, and tempi. Performed brilliantly by four of the most trusted and passionate interpreters of his work—the trio of Brian Marsella, Jorge Roeder, Ches Smith, with guest star Sae Hashimoto on vibraphone on one track—this stunning new work is an essential piece of the Zorn puzzle. Astonishing!
CD $16
JOHN ZORN // JOHN MEDESKI TRIO with DAVE FIUCZNSKI / G. CALVIN WESTON - The Bagatelles Vol. 8 (Tzadik TZ 5224; USA) From March to May 2015, John Zorn composed 300 new tunes that were eventually collected into a book of music he called The Bagatelles. Volume 8 presents the long-awaited premiere recording of John Medeski's psychedelic organ trio. Featuring David Fiuczynski (Screaming Headless Torsos) in a striking Hendrix/Blood Ulmer mood and the powerhouse drummer G. Calvin Weston (Ornette Coleman, Lounge Lizards), the music is fierce, imaginative and endlessly creative. Touching on funk, jazz, psychedelic rock, metal and more, this is one of the most intense interpretations of the Bagatelles ever conceived. This music will sear your brain!! Essential.
CD $18
RECORD STORE DAY April 18, 2026:
JAMES BRANDON LEWIS & THE LUTOSLAWSKI QUARTET - These are Soulful Days (Tao Forms 14LP; USA) Tenor saxophonist-composer James Brandon Lewis (Downbeat Magazine's 2025 Artist of the Year & tenor saxophonist of the year) has been on seemingly boundless artistic ascent since even before his 2021 album Jesup Wagon (Tao Forms) broke through, sweeping the this stirring and potent work was composed by Lewis during his initial development of ideas for the second Red Lily Project: for Mahalia, With Love. That eternal & deeply evocative jazz homage to Mahalia Jackson likewise took the #1 spot in the esteemed Francis Davis Jazz Critics Poll in 2023. Furthermore, a pair of the themes brought to vibrant new life by Red Lily on for Mahalia.. are woven into ..soulful days, and it is a wonder to hear their resonance in such a thoroughly different context. A powerful beauty true! These Are Soulful Days is Jame Brandon Lewis' first long-form composition for string quartet & tenor saxophone. Performed by Lewis & The Lutoslawski Quartet (Roksana Kwaśnikowska-1st violin; Marcin Markowicz-2nd violin; Artur Rozmysłowicz-viola; Maciej Młodawski-cello), it was commissioned by Poland's National Forum of Music for World Premiere at the Jazztopad Festival in Wrocław. JBL writes: "These Are Soulful Days is built from, and inspired by, the fabric of a quilted history of African-American music from its folk traditions of blues, spirituals and jazz. It embodies the sentiment of a joyful past, a determined present and a resilient future." 1 spot in all major us jazz critics polls. With a thorough devotion to craft, Lewis has moved from strength-to-strength since: touring widely in the US & Europe, and creating a series of distinct & acclaimed albums for the labels, Anti- (trio), Intakt (quartet), and TAO forms (Red Lily). Not to mention his work together with the Messthetics, who have lit stages nationwide since their 2024 album on Impulse.
LP $27 [Limited Edition of 500 / 15 in stock]
KEITH TIPPETT with ELTON DEAN / MARK CHARIG / NICK EVANS / ALAN JACKSON / GILL LYONS /et al - At The BBC 1969-70 (The 1960's Randb 184LP; UK) RSD 2026 indie exclusive. Keith Tippett was just twenty-one when his group recorded the first of these sets for BBC's Jazz Workshop on May 21st 1969, three months before the recording of his first album, You Are Here -- I Am There. Featured on side one is the three-part "Portishead Suite," which presents three stylistically different musical portraits of three generations of the Somerset town. The first is comparatively gentle and flowing but the second portrait is more insistent, its 5/4 tempo bringing to mind themes heard on early King Crimson albums. The third portrait has something of the Caribbean in its playful rhythms. "Hail Conquering Hero" can be heard on side two, and is described by Tippett as "a jazz study of war." None of these compositions have ever appeared officially in any form. Also included on side two are two tracks from Tippett's August 1970 session for BBC Top Gear that was advertised as by Keith Tippett & Heavy Friends.
LP $36 [10 on pre-order / in stock in 1-2 weeks]
JOHN SURMAN with MIKE OSBORNE / HARRY MILLER / ALAN JACKSON / STERLING BETANCOURT / RUSS HENDERSON / et al - At The BBC 1967-68 (The 1960's Records Randb 185LP; UK) RSD 2026 indie exclusive. These two very different sessions involving John Surman and Mike Osborne have much in common. They both share a wonderful sense of liberation, of the joy of making music together and of finding collectively new ways of making jazz happen. And even more importantly, they speak volumes about the eclecticism and openness of British jazz in those years of the mid- to late-sixties and about the creative ambitions of John Surman. In the current absence in the market of his first LP, this is an essential purchase for Surman fans. Notes by Duncan Heining with suggestions from John Surman. These sessions have never previously appeared officially in any form.
LP $36 [6 on pre-order / in stock in 1-2 weeks]
VARIOUS ARTISTS: GRAHAM BOND / JACK BRUCE / GINGER BAKER / RONNIE SCOTT / DICK MORRISSEY QUARTET / CHARLES KYNARD / JOHNNY BURCH OCTET / GENE AMMONS / MICHAEL GARRICK / et al - Soho Scene '63 Vol 2: Jazz Goes Mod (The 1960's Records Randb 188LP; UK) Official RSD 2026 UK Release. Compare the best of British jazz circa 1963 with American sounds from labels such as Prestige, Tangerine and World Pacific. This album captures the period when rhythm and blues was emerging as the dominant club sound, forcing Soho jazz clubs to change their music policy in order to survive. On the British side, you've got Ronnie Scott's arrangement of "Last Minute Bossa Nova"; "Bang!," taken from Dick Morrissey Quartet's first session for the BBC's World Service, recorded around the time of the release of their first album Have You Heard? The version here is the second take. "Early In The Morning" is a Ginger Baker/Jack Bruce arrangement of the traditional work song realized as a repeated blues riff, and is the first ever recording that is recognizably British Blues. Graham Bond features on alto sax along with Bruce and Baker together as members of the Johnny Burch Octet heard playing live at a BBC staff party from March 1963. Side Two features Jazz Stateside, such as West Coast guitarist Johnny Hartsman, Gene Ammons veering into proto jazz-funk on "Jungle Soul," aka "Ca' Purange," plus a couple of top notch Hammond workouts from Terrell Prude and Charles Kynard.
LP $36 [3 on pre-order / in stock in 1-2 weeks]
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ANGELIKA NIESCIER with DAVE REMPIS / NICOLE MITCHELL / JASON ADASIEWICZ / LUKE STEWART / MIKE REED - Chicago Tapes (Intakt 446; Switzerland) Featuring: Angelika Niescier: Alto Saxophone, Jason Adasiewicz: Vibes, Nicole Mitchell: Flute, Dave Rempis: Alto & Tenor Saxophones, Luke Stewart: Bass and Mike Reed: Drums. When German alto saxophonist Angelika Niescier first explored Chicago jazz a few years ago—teaming with cellist Tomeka Reid on the striking Beyond Dragons (Intakt, 2023)—the collaboration sparked something unmistakably electric. Now comes Chicago Tapes,, recorded live at Transient Sound Studio. Here, Niescier dives headlong into the improvisational deep end of the city, enlisting an all-star lineup drawn from the restless creative core of Chicago's boundary-pushers.
Ms. Niescier wields her alto alongside Dave Rempis, who toggles between alto and tenor with the dexterity of a fire-juggler, while Nicole Mitchell contributes flute lines that shift from ethereal whispers to guttural roars. Jason Adasiewicz supplies the vibes, his metallic shimmers lending the session a fever-dream quality that blurs the line between rhythm and atmosphere. Luke Stewart anchors the ensemble on bass with plucks and bows that exert a quiet, magnetic gravity, while Mike Reed drives the drums as a perpetual instigator who sustains momentum without a single stall. These players are Chicago lifers, steeped in a lineage ranging from the Art Ensemble of Chicago to the AACM traditions that pulse through every exchange.
The album proceeds at high velocity: a nonstop surge that stimulates the ears and leaves the listener winded, as if the music demands that you buckle up for its sudden hairpin turns and jagged architectural shifts. The opener, "Rejoice, Disrupt, Resist," erupts with furious intent, Niescier and Rempis trading biting, percussive lines over the relentless propulsion provided by Reed in a piece that feels almost punk in its defiance. "Poranek" follows as a trio exercise featuring the saxophone of Niescier, the ecstatic flute of Mitchell, and the chatty percussion of Reed in a heated, rhythmic romance that feels both ancient and futuristic.
Witty moments surface throughout, such as the vigorous bass solo by Stewart in "SAMO (bsqt)" that crashes the party like an uninvited but welcome guest, stretching the track into an 11-minute explosion of flutter-tongues and sprawling ideas. Not all is a sprint, however; "Great Horned Owl" offers a necessary moment of chamber delicacy, with the mallets of Adasiewicz nestling into an atmospheric hush before the next storm gathers on the horizon.
"Fluxed" delivers pure volatile delight—a cascade of shifts that highlights the profound trust and telepathic listening of the group—while "Bouncin' the Ledge" rambles rambunctiously, with saxophones and flute locked in a liminal dance that is both ghostly and grounded, eventually peaking in a series of glorious uproars.
Ms. Niescier adapts her sharp, uncompromising voice seamlessly to this setting without dulling its edge or overshadowing her collaborators. The result honors the free-jazz heritage of Chicago while nudging it forward with conviction and a raw, modern sensibility. Traditionalists may scratch their heads at the unhinged sound, but that is precisely the thrill: In chaotic times, why should music play polite?
Chicago Tapes stands as a fearless document of cross-continental synergy. It proves that Niescier is not just a visitor to this scene, but a vital catalyst for one of the most formidable current ensembles of the city." - Glenn Astarita, AllAboutJazz
CD $18
IVO PERELMAN with MARC RIBOT / ELLIOTT SHARP / JOE MORRIS - Trifecta (Mahakala 094; USA) Uniting tenor saxophonist Ivo Perelman with three distinct guitar voices — Marc Ribot, Elliott Sharp, and Joe Morris — this 3-CD set presents three separate duo encounters recorded at Park West Studios in Brooklyn, highlighting contrasting improvisational languages while exploring timbre, interaction, and the expressive possibilities of the guitar in free improv contexts.
3 CD Set $26
KRZYSZTOF PENDERECKI - Kosmogonia (Cold Spring Records CSR 238CD; UK) Cold Spring Records present a reissue of Krzysztof Penderecki's Kosmogonia, originally released in 1974. Unnerving, intense, bloodcurdling, sinister, dramatic -- the music of Kosmogonia features Penderecki's famous, unorthodox instrumental techniques, and some of the darkest music ever composed. Hailed by The Guardian as "Poland's greatest living composer," Krzysztof Penderecki is the maestro behind the unforgettable, disturbing music on 1980's The Shining (including "De Natura Sonoris II," featured here). A complex tapestry of sound with striking use of pizzicato and flexatone, with aggressive barrages from brass and percussion, dissonant woodwind chords, spoken and hissing sounds, fervent strings, swirling organ, and climactic choral and solo vocals. Krzysztof Penderecki's unique music has featured in films such as: The Shining, The Exorcist (1973), Children Of Men (2006), The People Under The Stairs (1991), Shutter Island (2010), and many more. Thanks to the estate of Krzysztof Penderecki, Cold Spring Records present this masterpiece in digital format for the first time since the 1974 vinyl release. Sympathetically remastered for CD by Denis Blackham and Martin Bowes; Comes in a digipak.
CD $16
OOIOO / LIGHTNING BOLT - The Horizon Spirals/The Horizon Viral (Thrill Jockey 658CD; USA) "OOIOO and Lightning Bolt are both bands whose music is wholly unique and whose creators' influence would be impossible to overstate. YoshimiO, OOIOO's founder and bandleader, has been a guiding force in uncompromising art across the continuum of rock and improvised music for four decades, from her work in UFO or Die to The Boredoms to SAICOBAB and beyond. OOIOO serves as a core outlet for melding freeform experimentalism with hypnotic rock pulses, defying boundaries with her acrobatic voice, electronics, trumpet and gamelan. Lightning Bolt's Brian Chippendale and Brian Gibson have remained unparalleled in their ability to transmute frenetic whirls of percussion, gargantuan fuzz and dizzying melody into monolithic vistas. The Horizon Spirals/The Horizon Viral is a split that captures the parallels in ethos between these two ensembles, their sense of gleeful abandon and freight train momentum, in inspiring detail. 'The Horizon Spirals,' composed of OOIOO's gamelan-infused sagas 'The Horizon' and 'Gamel Be Sure To Spiral' demonstrates the boundless scope of OOIOO's music. Opener 'The Horizon' draws inspiration from Sun Ra Arkestra's 'Horizon,' bursting from oscillations into a syncopated groove before stretching out into up-tempo hypnotisms lead by YoshimiO's trumpet. Lightning Bolt's 'The Horizon Viral' evokes the limitlessness of their improvisations and distills through more sophisticated home recording techniques. 'The Horizon Viral' reignites the flame of their storied home recordings, capturing the duo in full freeform, bolstered from bassist Brian Gibson's experiences composing and recording soundtracks for video games he co-designed, Thrasher and Thumper. The five pieces that make up their side were arranged as a single suite, meant to be played all together, with movements like 'Wavers' and 'Cloud Core' showcasing how relentless the duo's energy remains. Throughout, Gibson's ability to conjure riffs that feel timeless is as potent as drummer Brian Chippendale's ability to propel them until their instruments become inextricably enmeshed. The Horizon Spirals/The Horizon Viral is a celebration of indomitable creativity. In their endless pursuit of crafting pure, uninhibited, enchanting art, OOIOO and Lightning Bolt continue to make astonishingly powerful, invigorating music."
CD $16 / LP $30
AMY DENIO with SCOTT COLBURN / AMA TRIO / TARA FORTH / NOEL FRANKLIN - Tutto Bene Vol. II (Klanggalerie GG530; Germany) Amy Denio is a Seattle-based multi-instrumental composer of soundtracks for modern dance, film and theater, as well as a songwriter and music improviser. Often called an unclassifiable avant-garde jazz musician, her main instruments are voice, alto saxophone, clarinet, accordion, acoustic and electric guitars, electric bass, and theremin. Among her current musical involvements are The Tiptons Sax Quartet (formerly The Billy Tipton Memorial Saxophone Quartet) and Kultur Shock, an international Balkan gypsy/metal/punk group based in Seattle. She has also collaborated repeatedly with the Pat Graney Dance Company, David Dorfman Dance Company, Victoria Marks, and with many other choreographers. Her first recording was No Bones released as a cassette on her record label Spoot Music in 1986. Her first LP was with the Entropics. She founded Tiptons in 1987, and also started Tone Dogs with bassist Fred Chalenor. Tone Dogs' first release Ankety Low Day was nominated for a Grammy Award. She has performed and recorded with (among others) Matt Cameron, KMFDM, Curlew, Fred Frith, Pointless Orchestra, Francisco López, Danny Barnes, Pale Nudes, The Danubians, Chris Cutler, Guy Klucevsek, Pauline Oliveros, Derek Bailey, Chuck D, Bill Rieflin and Die Knoedel. Amy says: "I've culled my favorite new accordion-driven hits into one fabulous sonic adventure to feed your hungry ears! Some of the songs were produced solo, one is a live recording from my performance with the Jovino Santos Neto Quinteto at the Triple Door, others are from the sessions that Ama Trio (AD/Madeleine Sosin/Abel Rocha) recorded at Gravel Voice sessions with Scott Colburn, as well as a rich collaboration with fellow-Seattle Composers Alliance colleagues Tara Forth and Steve Kirk on Crow Totem a piece inspired by the fiery spirit of graphic novelist/poet/artist/free spirit Noel Franklin."
CD $18
DR. JOHN with DAVID BARARD / BOBBY BROOM / HERMAN ERNEST - Live at Rockpalast 1999 (Made in Germany MIG 91072; Germany) Dr. John, also known as "The Nighttripper," is a musical high priest of voodoo rock. Born Malcolm "Mac" John Rebennack Jr. on November 20, 1941, in New Orleans (USA), he is a six-time Grammy Award winner and member of the Rock and Roll Hall of Fame. That's enough by way of introduction; everything else is music history. It began in 1968 with the release of his first album, "Gris-Gris" (Atco Records), a sometimes eerie-sounding mixture of voodoo spells, rhythm and blues, and Creole soul music. With his colorful and picturesque stage performances, he stylized himself as Dr. John (Creaux) the Night Tripper, becoming an icon of psychedelic rock. Dr. John's true love, however, was the blues influenced by his hometown of New Orleans. He collaborated with numerous blues musicians such as Charles Brown and roots rocker Willy DeVille, as well as jazz musicians such as Maria Muldaur and Bennie Wallace, and rock musicians such as Mick Jagger and Eric Clapton. He appeared in Martin Scorsese's film "The Last Waltz," a film adaptation of Bob Dylan and The Band's farewell concert, as well as in the film "Blues Brothers 2000."
On July 9, 1999, Dr. John performed at the Loreley as part of a Rockpalast festival. He was accompanied by three outstanding session musicians: David Barard (bass), Bobby Broom, and Herman Ernest (drums). The set list included Dr. John classics such as "Iko, Iko," "Right Place, Wrong Time," and "I Walk On Guilded Splinters," which became a global hit in 1969 in Marsha Hunt's version and was later covered by Cher, Humble Pie, and the Neville Brothers, among others. This Rockpalast recording is a moving legacy of the extraordinary musician and human being Dr. John, who passed away in the summer of 2019 in his beloved hometown of New Orleans.
2 CD / DVD Set $25
NAPOLEON MURPHY BROCK and ENSEMBLE MUSIKFABRIK - Frank Zappa: Bad Doberan & Elsewhere (Yatak Music CD23509; EEC) The legendary performance of Frank Zappa's music with former Mothers of invention lead singer Napoleon Murphy Brock and dynamic Ensemble Musikfabrik from Germany. Recorded live at Zappanale #30 in 2019. Featuring the fantastic art work of longtime Zappa collaborator Cal Schenkel who exclusively designed the beautiful 6 page booklet. Orchestrated and produced by Ali N. Askin. Zappa songs include: "Village of the Sun", "Echidna's Arf", "The Black Page #2", "RDNZL", "Sofa No. 1", "Inca Roads". "Let Me Take You to the Beach" , "Don'yt You Ever Wash That Thing" and "Florentine Pogan".
Napoleon Murphy Brock was the lead singer and saxist for the Mothers circa 1974. After Flo & Eddie (Mark Volman & Howard Kaylan) quit the band, Mr. Brock did a great job to take the place which included well-timed and often hilarious stage banter. Since leaving Zappa's stern employ, Mr. Brock has worked in a series of Zappa-related tribute bands. Musikfabrik are a German New Music ensemble with some 45 releases covering Mauricio Kagel, James Tenney, Wolfgang Rihm and Iannis Xenakis. There are several instrumentals here that I particularly like: "The Black Page - Parts 1 & 2", "Echidna's Arf" and "RDNZL". Mr. Zappa is well known for his challenging to play modern classical compositions and this what we find here, well played and fascinating to listen to. Mr. Brock was the singer on the original version of "Village of the Sun", a lovely, Stevie Wonder-like pop song which doesn't sound like any other Zappa song. "Inca Roads" which is the opening song on 'One Size Fits All' is perhaps my favorite Zappa song from this era. The version here is alo pretty great and that is no easy task. As an early Frank Zappa/Mothers of Invention fan addict, this is some of my favorite music and I still collect rare Zappa recordings as well as a number of the better Zappa tribute bands: the Grandmothers, the Zappatistas, the Muffin Men, Project Object and many others. This is also a great disc and captures Frank Zappa's complex music and searing humor a/k/a "comedy music". A real treat for us Zappa freaks. - Bruce Lee Gallanter, DMG
CD $18
LOUIS ARMSTRONG - Hot Five & Hot Seven At 100 (Hat-THI-THINGAMAJIG-2-2502; Switzerland) Recorded in Chicago between 1925 and 1928, these seminal Hot Five and Hot Seven sessions led by Louis Armstrong capture a transformative moment in early jazz, where his virtuosic phrasing, rhythmic innovation, and charismatic presence redefine the music's expressive scope, presented here with exceptional restoration and mastering, and accompanied by two postcards detailing recording sessions and personnel.
2 CD Set $18
LP SECTION:
JESSIKA KENNEY - Uranian Void (KOU Records KR 004; Earth) Jessika Kenney is a vocalist, composer, writer, sound artist, and teacher whose commitments to improvisation, poetry, and aural study have yielded a unique perspective. Their explorations of tone, space, and the metaphysics of sound have been featured in many contexts and venues including the Seattle Public Library, Nottingham Contemporary, and the Benton Museum. Collaborators and projects include a lengthy discography with Eyvind Kang, the final recorded vocal work of Alvin Lucier, performances with Melati Suryodarmo, composing the vocal music of A24s Midsommar, and choral direction on SUNN O)))s Monoliths and Dimensions.
LP $30
CHLOE KIM - Ratsnake (KOU Records KR 003; Earth) Sydney-based Korean drummer and improviser Chloe Kim considers New York's constant movement on this volatile solo workout, exploring heady rhythmelodic cycles, extended percussion techniques and unexpected textures. RIYL Milford Graves, Max Roach, Buddy Rich, Eli Keszler or Chris Corsano. Solo drumming albums are still a rarity, so 'Ratsnake' is already a pretty thrilling prospect, but this one's worth getting a little gassed over. Kim's a pro - a lecturer at Sydney's Conservatorium of Music and a seasoned performer who's played in improv trio Holopeak, alongside Aussie saxophonist Jeremy Rose and with iconic "avant groove" act Medeski Marin & Wood. And 'Ratsnake' is her chance to broadcast her own signature techniques in high definition without interruption; for a drummer who's best-known for playing solo for 100 hours in 10 days (seriously, check '100 Hours' on Bandcamp for the juicy edited highlights), that shouldn't be too hard. 'Ratsnake' is her fifth solo release, but Kim considers it her proper debut album - it's been recorded and mixed by Randall Dunn, after all - and on the title track, she shows us what she's capable of. Her tempo-flexing, circuitous rhythms are front and center, sure, but there's no shortage of tonal experimentation on show. She doesn't play melodies as such, but Kim knows her kit so well that the melodic outlines appear like ghosts, generated by her arsenal of tuned gongs, scraped cymbals and carefully balanced toms. Similarly, on 'Birth Dream' Kim balances out her courtly marches with ringing, regal resonances that she uproots with chaotic fills. The name of the album and some of its track titles relate to Korean folklore; the Korean rat snake is a symbol of abundance, and Kim's mother had seen one in a "conception dream" before Kim was born. So it's hard not to hear a link between the percussionist's living, breathing patterns and the tempo-fluxing rhythms that sit at the center of Korean folk music. She explored these essential beats in 2018 and there are still traces of that framework here; even though Kim's style has been shaped by jazz and free improv, there's still something personal and idiosyncratic in there, just like that rat snake. - Boomkat
LP $30
KILLICK - Stay-At-Home Monk (H[I]NDS[I]GHT V1!; USA) Killick Hines hails from Georgia and plays guitar. He has played here at DMG on several occasions with Sandy Ewen, Harvey Valdes and Henry Kaiser. Last night (4/14/26) Killick played in a trio with Chuck Bettis (on electronics) and Jerry Lim (on guitar). It was an awesome set, sort of space/rock/electronic weirdness. Killick played a custom made fretless guitar which I hadn't seen before. Although Killick calls what he does as Appalachian trance metal, I am not so sure that this term captures what he does accurately. He left us with a new album...
The list of instruments utilized here include: strings & things: harp, one-holer, Tesla, Walrus, red dot, Harmonic isolator, mountain banjo, pink hack and 7-string. On the back cover on this record and inside there is a sheet of what look like poems. Since the title of this LP is '2019 in Hindsight', perhaps the words have to do with things or places that Killick was involved with that year. I read the words as I listened to the music. All of the pieces are short and Killick seems to be exploring a different acoustic sounding stringed instrument on each piece. Much of the playing is quiet yet it is also consistently changing and is most fascinating as well. Killick mentions the names of film & TV actors as well as a variety of odd yet poetic ideas. The music moves between folky, eerie, drone-like while occasionally adding a second string instrument to the brew. The music is often stripped down and often deals with a contemplative mood. Killick uses a resonator guitar to evoke those ghostlike drones. The music is captured on high quality, warm and clean vinyl. Side B starts out further out with buzzing string drones, the type that make one feel unsettled. Each piece creates a different mood and has a way of transporting us somewhere else. I like that this music is mostly acoustic and still somewhat experimental. At times, Killick will coax a drone while adding another layer by strumming slowly. Midway through Side B, he begins playing several melodic fragments in between the resonator drones. Things get a bit weirder as Killick adds different bent string segments carefully. This is actually a lovely record of acoustic string music which also pushed the boundaries of expectations further out yet still sounds familiar. - Bruce Lee Gallanter, DMG
LP $20
BILLY MARTIN / MATT GLASSMEYER / JONATHAN GOLDBERGER - State Fete (Adhyaropa Records AR00153; USA) Featuring Billy Martin on drums, metals, bamboo & other odd percussion, Matt Glassmeyer on modified Wurlitzer electric piano, tenor sax with reedless mouthpiece & assorted odd percussion and Jonathan Goldberger on several guitars. Most folks know of Billy Martin from his popular jam-band Medeski, Martin & Wood, but I know his playing from a variety of other projects and collaborations. Aside from his work with the last version of the Lounge Lizards, Mr. Martin plays in a great quartet called Void Patrol, plus a couple of great duos with Bob Moses and Dave Burrell. Guitarist Jonathan Goldberger has played here on several occasions and has recorded with Jacob Garchik, Chris Lightcap & Jeff Davis. I don't know Mr. Glassmeyer very well although he does appear on a half dozen more obscure discs all released around 2012. It is Mr. Glassmeyer who organized this session and released this LP, with Mr. Martin adding his watercolor painting to the cover and Mr. Goldberger doing the engineering.
This album starts off with "Triangle Upon Triangle", which features a sly drum groove with somber (mouthpiece-les) sax and skeletal guitar. As this piece unfolds, the tempo increases with some muffled yet effective sax sounds and a great, sly sounding guitar solo. One of the things I dig most about Billy Martin is that he is a great groovemeister no matter which percussion instrument he is playing. He sets up a great groove on "Tal Vez Distante", moving from drums to hand percussion. The recording is warm and clear and free of unnecessary effects. Side B starts with "Queen Substance" with Martin playing a tribal groove and Goldberger adding some dark guitar shrapnel fragments. Someone adds some spacey synth-like sounds here with a layer of guitar added as sonic seasoning. There is a quaint sounding instrument here which could be a simple synth (Casio?) or a pipe of some sort. Groove-meister Martin does a fine job with his infectious playing on "Jan Hooks" which also includes some strong, gnarly guitar from Goldberger. Things wind down to a calm conclusion with a prayer-like vibe close to the end of the side and some bluesy, gospel-like guitar grace. A most righteous ending indeed. - Bruce Lee Gallanter, DMG
LP $30
DANIEL CARTER / N/UM with ELIAS MEISTER / EMIL BOVBJERG / JEREMY LOUCAS - Sphera (Respekt Music ; USA) Featuring Daniel Carter on alto & tenor saxes, flute, clarinet & trumpet, Elias Meister on guitar & modulator rig, Emil Bovbjerg on synths & vocal and Jeremy Loucas on drums & modulator rig. A widely respected elder improviser, Daniel Carter, has worked with hundreds of other like-minded musicians from across spectrum of creative musicians: avant/jazz, rock, punk, noise, modern classical, etc. He hasn't worked much with many electronic musicians but this is what we have here in part. I know of guitarist, Elias Meister from his work with Welf Dorf and his own quartet CD from 2011 (on Konnex). I don't know the other members of the trio although their music is considered to be minimal, house and/or techno. The thing about Daniel Carter that I most admire is his ability to seek out musicians from all creative genres to engage with freely. Side A begins with soft, eerie, skeletal electronics, a somber repeating bass pulse and Mr. Carter's ghost-like flute floating on top. The music reminds me of Miles Davis' "He Loved Him Madly", a long, spacious and haunting tribute to Duke Ellington. Although the music is stripped down, it does create a sly, mysterious, solemn mood. Slowly the groove picks up the tempo as Carter switches to muted trumpet. Although the groove is moderately paced, the vibe is calming and you will have your head nodding or your body swaying to the sound. On Side B Carter switches to tenor sax and the spacious, haunting, subtle electronics and groove continues. Daniel Carter does a good job of matching the beats or grooves as they unfold. There are also some occasional vocals inserted as well like the word "consciousness" being repeated over and over at one point. Throughout this entire disc, I dig the mood, the groove and the vibe. It feels right especially as it feels like Spring outdoors. A completely unexpected gem from the ever adventurous and hard to-pin-down improviser supreme: Daniel Carter & friends. - Bruce Lee Gallanter, DMG
LP $25
HANS REICHEL - Dalbergia Retusa (Black Truffle BT 139LP; Australia) Gatefold! Comes with booklet. Black Truffle presents Dalbergia Retusa, an extensive double LP selection of the solo guitar music of Hans Reichel, compiled by Oren Ambarchi. Last heard on Black Truffle as one quarter of the joyously anarchic Bergisch-Brandenburgisches Quartett, Hans Reichel (1949-2011) is one of the great figures of experimental guitar music. Though perhaps lesser known than peers like Derek Bailey, Fred Frith, and Keith Rowe, Reichel's rethinking of the instrument was in some ways the most radical of all. Early on, he dispensed with existing guitars to build a series of his own that explored the use of additional strings and fretboards, moveable pickups, extra bridges, special capos, and other innovations documented in the extensive booklet accompanying this release. Reichel was a long-term resident of Wuppertal, the small Western Germany city that became an unlikely center of European free jazz in the late 1960s, also home to Peter Brötzmann and Peter Kowald. His solo debut Wichlinghauser Blues was an early entry into the FMP discography and began a relationship with the label that stretched into the 1990s; all the solo performances heard here were first released on FMP. Reichel was an important source for the development of Oren Ambarchi's own extended approach to the electric guitar. Appropriately enough, his selection opens with the very first piece by Reichel he ever heard, on a flexidisc included with a 1989 issue of Guitar Player magazine. Though Reichel collaborated with others extensively in many settings and also performed on violin and his other major contribution to instrument invention, the daxophone, his music for solo guitar remains at the core of his oeuvre. Focusing exclusively on solo pieces recorded between 1973 and 1988, the 23 pieces on Dalbergia Retusa showcase the range and consistency of Reichel's work, allowing the listener to see how his performances developed hand-in-hand with his instrumental inventions. Many of the pieces from the 1980s make use of varieties of the "pick behind the bridge guitar," instruments of uncanny harmonic richness primarily designed to be played on the 'wrong' side of the bridge. At times the unexpected behavior of attacks, resonance, and decay can almost seem electronic, conjuring up the technology-assisted work of Henry Kaiser or even Fennesz, but realized solely through Reichel's unorthodox techniques on his invented instruments. Extensively illustrated with photos and Reichel's own plans and drawings of his instruments, Dalbergia Retusa is an essential introduction to the unique world of Hans Reichel.
2 LP Set $62
MARION BROWN with BILLY PATTERSON / AMBROSE JACKSON / RENE ARLAIN / JUMA SANTOS / ED BLACKWELL / CHRIS HENDERSON - Awofofora (Aguirre Records ZORN 085LP; Belgium) First time reissue of Japan/US free jazz rarity. Old-style gatefold LP with rare photographs and liner notes by Ed Hazell. Edition of 1000. The 1970s were Marion Brown's most searching decade, a period during which he sought to move beyond the free jazz of the previous era and find more personal approaches to structuring improvisation and composition. After leaving New York for Europe in 1967, Brown began reshaping his music into what he described as "a more deliberate kind of music that had more structure to it," pacing it so that moods and modes could develop over time. Albums such as In Sommerhausen, Afternoon of a Georgia Faun, Geechee Recollections, and Sweet Earth Flying trace this evolution: rhythmic structures moved to the foreground, harmony receded, and composition became a matter of orchestrating interlocking rhythmic parts as one would polyphonic lines. Released in 1976, Awofofora is an overlooked but crucial entry in that sequence. At the time, its use of funk and reggae beats, electric guitars, and grooves drawn from contemporary Black popular music led some to misread it as a jazz-rock detour. In retrospect, it is entirely consistent with Brown's methodology. As he admired in the Art Ensemble of Chicago, the stimulus comes from within the community. Here Brown filters Afro-Caribbean rhythms and funk through his own sensibility, abstracting their structural qualities rather than adopting surface style. "La Placita," making its first recorded appearance, layers distinct rhythmic phrases in a manner reminiscent of African drum ensembles, over which Brown and trumpeter Ambrose Jackson spin extended improvisations. The standard "Flamingo" is reshaped through diasporic rhythm and lyrical soloing, while "Pepi's Tempo" and "Mangoes" harness crisp funk and reggae grooves to generate what Brown called a "manifestation of community" through collective improvisation. Even the overdubbed solo feature "And Then They Danced" reflects his structural thinking, ingeniously re-voicing a duet composition for two alto saxophones performed by one player. This was the only recording by a short-lived band that briefly polarized audiences during festival appearances in 1976. Yet Brown consistently sought unity across change: different sounds, same principles -- rhythm as structure, melody as architecture, collective improvisation, and above all, the primacy of tone. Awofofora stands not as a departure, but as a vivid synthesis of the elements he had been refining since the late 1960s, its grooves and golden alto lines conveying a sound drawn, in his words, "from life and from the world of experience."
LP $40
SHUDAN SOKAI with KAZUTOKI UMEZU / TOSHINORI KONDO / JUNJI MORI / TAKASHI KIKUCHI - Sono Zenya - Live at Hachioji Alone (Aguirre Records ZORN 098LP; Belgium) First time reissue of free jazz rarity, pre-Seikatsu Kōjyō Iinkai group. Old-style gatefold LP with rare photographs and liner notes by Alan Cummings. Limited edition of 500. The single album self-released by the quartet Shūdan Sokai in 1977 is one of the most vital documents of mid-seventies Japanese free jazz, documenting Tokyo's free scene at the precise moment when it began to shift to a handful of tiny venues on the western fringes of the city. In free jazz in Japan, Teruto Soejima identifies the extant venue Aketa no Mise in Nishi-Ogikubo as the pioneer of this decamping from the center: a cramped basement beneath a rice shop, seating just 20 people. Among the most active of the new venues was Alone in Hachiōji, nearly an hour from Shinjuku, in a district shaped by universities, lower rents, and a thriving counterculture. Originally opened in 1973 as a jazu kissa, Alone was unusually spacious and equipped with a stage, grand piano, and drum kit. Around 1974, Junji Mori and Yasuhiro Sakakibara began working there, booking free jazz players on weekends and establishing the venue as a crucial hub. Mori recalls early appearances by figures including Kazutoki Umezu, Toshinori Kondo, and others who would define the scene. In early 1976, Umezu and pianist Yoriyuki Harada -- recently returned from New York's loft jazz environment, where they had played with musicians such as David Murray and William Parker -- formed Shūdan Sokai with Mori and drummer Takashi Kikuchi. The name, meaning "mass evacuation," pointed to their self-chosen exile in Hachiōji. With Alone as their home base, the quartet developed a music characterized by an infectious sense of enjoyment and a willingness to integrate free jazz with elements of song structure. Harada switched between piano and bass; the group experimented with rap-like vocal pieces, jabbering nursery rhymes over bass rhythms. They returned to Alone on December 24 to record Sono zen'ya (Eve), releasing it on their own Des Chonboo Records, partially funded by advertisements from local businesses printed on the rear cover. Alone closed in September 1977, and Shūdan Sokai soon dissolved, later morphing into the expanded Seikatsu Kōjyō Iinkai Orchestra. What remains is a recording rooted in a specific place and moment: a fiercely independent scene sustained by small rooms, close listening, and collective commitment.
LP $40
JAC BERROCAL / VINCENT EPPLAY / TIMO VAN LUIJK - Ste Cy (La Scie Doree 3925LP; Belgium) Ste Cy, the latest studio offering from the trio of Jac Berrocal, Vincent Epplay, and Timo van Luijk, ripens like a forbidden fruit -- born of an improvised instrumental session captured in the secluded hush of Kulta Saha by Timo van Luijk. These raw recordings were later reshaped into 12 songs by Vincent Epplay at Studio Villejuif in Paris. And over it all drifts the poetry of Jac Berrocal -- sensual and incendiary, seeping into the music like spice into flesh. Jac Berrocal: voice, words, trumpet, double bass; Timo van Luijk: guitar, piano, vibraphone, percussion; Vincent Epplay: field recording, drums, percussion, EMS Synth A, Noizoid OCS 2, double bass.
LP $38
BOOK SECTION:
SAM RIVERS // RICK LOPEZ - The Sam Rivers Sessionography - A Work in Progress (The Vortex; USA) This is a giant book with more than 740 pages, weighing in at over 6 pounds! This big book consists of a (nearly) complete listing of every known recording session that saxist/composer/bandleader/concert curator/professor Sam Rivers did during his long life September 25th, 1923 until December 26th, 2011. Aside from his hundreds of records as a bandleader, Sam Rivers worked with Miles Davis, Tony Williams, Bill Dixon, Andrew Hill, Dave Holland, Don Pullen, Franklin Kiermyer, Mario Schiano, Julius Hemphill, Roscoe Mitchell, James Blood Ulmer, Alex Von Schlippenbach, Cecil Taylor, Julian Priester, Tony Hymas, Adam Rudolph, Kresten Osgood, Noël Akchoté, Paul Rogers, Earl Hines, Dizzy Gillespie, Anthony Braxton, Barry Altschul, Arild Andersen, Cecil McBee, Norman Connors and many more. For practically each recording Rick Lopez includes reviews from the same eras and interviews with many of Rivers' collaborators.
I first caught the Sam Rivers Trio (with Dave Holland & Barry Altschul) in the summer of 1973 at Ornette Coleman's Artist House space. It was close to 100 degrees outside and there was no AC at this loft. I had never witnessed any Free Jazz before, and was overwhelmed by the long, explosive set. Although I didn't really appreciate or understand this music, it did seem exciting, challenging and mind-blowing to me. I've been a big Sam Rivers fan ever since and attended dozens of concerts at Sam River's loftspace, known as Studio Rivbea on Bond Street between Lafayette & Broadway. On a couple of occasions, I was invited to go to the basement by Sam and smoked herb with him and several other concert goers. My favorite Sam Rivers Trio was the original one with Dave Holland and Barry Altschul, which I caught many times in the mid-1970 as well as their reunion concert in 2012. After the Studio Rivbea closed, Mr. Rivers moved to Orlando, Florida and taught at a college. His later trio with Anthony Cole and Doug Mathews was almost as amazing and I caught them several times in the early aughts. Of the upwards of 40-50 Sam Rivers gigs that I caught, I dug every one. I once caught Sam with an electric quartet with Daryl Thompson on guitar, Rael Wesley Grant on el bass and Steve McCraven on drums (around 1990) and was blown away by them, especially since I had long given up on fusion or electric jazz and this band was spectacular! This book is obviously a labor of Love so I want to send thanks to Rick Lopez for the time and energy he put into it. It is also very heavy weightwise, being over 6 pounds so you might need a wheel-barrel to carry it home and shipping won't be cheap either.
BOOK $40 [745 pages, 10" x 12" softcover; Limited edition & we've got 5]
LEE 'SCRATCH' PERRY - Black Ark (Patrick Frey Edition; Switzerland) Hardcover, 656 pages, 500 color images. 28 × 21 cm. "A massive photographic archive of Lee 'Scratch' Perry's legendary recording studio. A 600-page tribute to one of the most famous locales in music history, Black Ark is a detailed inventory of photographs and writings from the Black Ark Studios in Kingston, Jamaica, where producer Lee 'Scratch' Perry created music from 1973 onward. The eclectic and constantly evolving decoration of the studio provides an enduring visual counterpart to Perry's expansive musical catalog. From mural paintings to shape-shifting assemblages of records, instruments, found objects, posters and newspaper clippings, the artworks layer upon one another as they intertwine with the studio building itself. Perry created his own dense and diverse world in which to work: memorialized in this volume before the Black Ark disappears for good. The photographic documentation of the studio in the spring of 2021 was supplemented by efforts to secure and preserve Perry's works, objects and recordings as part of a joint project with the Smithsonian Institution in Washington, DC. Black Ark reflects the rhythm and layering effects of collage both in its content and the materials used to craft the book. Perry was involved in the development of this publication until his death in August 2021. The book closes with memorial essays from Ishion Hutchinson, David Katz, Kodwo Eshun, and John Corbett. Lee 'Scratch' Perry (1936-2021) was a musician and producer best known for pioneering the dub genre in the 1970s. He worked with well-known Jamaican artists such as Bob Marley and the Wailers, the Heptones, the Congos, and Max Romeo. In 2003 he won a Grammy Award for Best Reggae Album."
BOOK $68
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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 / BILLY MARTIN / APR 15-18
4/15 Wednesday
8:30 pm - Intangible Actions: Ikue Mori (electronics) Billy Martin (percussion, electronics)
4/16 Thursday
8:30 pm - Martin and Medeski: John Medeski (keyboards, piano) Billy Martin (drums, percussion)
4/17 Friday
8:30 pm - Bamboo Orchestra: Billy Martin leading a bamboo ensemble
4/18 Saturday
8:30 pm - Intangible Actions: Melissa Almaguer (percussion, tap) Billy Martin (percussion, electronics, voice
THE STONE RESIDENCIES / BRIAN MARSELLA / APRIL 22-25
4/22 Wednesday
8:30 pm: Trio: Brian Marsella (keyboards) Sylvie Courvoisier (piano) Craig Taborn (keyboards)
4/23 Thursday
8:30 pm: April Showers: Brian Marsella (piano) Wendy Eisenberg (guitar) Henry Fraser (bass)
4/24 Friday
8:30 pm: Life of Brian: Brian Marsella (piano) Trevor Dunn (bass) Kenny Wollesen (drums)
4/25 Saturday
8:30 pm: The Modulators: Brian Marsella (keyboards) John Lee (guitar) Reid Taylor (bass) Liam Summers (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 Hell’s Kitchen Cultural Center (HKCC) to Host
The Ninth Iteration of the Rhythm in the Kitchen Festival
At Main Drag Music in Brooklyn on April 16th and 17th 2026
Thursday, April 16
6:00pm - Marc Edwards' Slipstream Time Travel
6:45pm - Sam Newsome, Brittney Karlson, Nick Neuberg
7:30pm - Selendis Sebastian Alexander Johnson Group
8:15pm - Ximena Bedoya, Trae Crudup
9:00pm - Sam Day Harmet Soundpainting Collective
Friday, April 17
6:00pm - Ayumi Ishito, Daniel Carter, Yuko Togami
6:45pm - John King, Jess Tsang, Jennifer Gersten
7:30pm - Sadnoise
8:15pm - On Ka'a Davis' 3D Veve
9:00pm - Hans Tammen's Third Eye Festival All Star Band
The Main Drag Music, located at
50 S 1st Street in Brooklyn