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DMG Newsletter for February 16th, 2018

A Majestic Toast to The Old Stone
Which will Close on Sunday, February 25th
A Thirteen Year Journey of Live Creative Music in New York City
This Week Features Frank London’s All-Star Big Band
Shekhina Orquesta’s Lower East Side Elegy
Next Week Concludes Tuesday - Sunday with Seven Days of
The John Zorn Improv Night Stone Benefit Celebration!
Different Musicians Each Night - Come on Down, Rejoice and Say Good-bye!

Great New Discs from:

Evan Parker / Barry Guy / Paul Lytton! Matthew Shipp Zer0: Solo! John Hollenbeck Large Ensemble! Andrew Drury;s Content Provider: Brandon Seabrook / Ingrid Laubrock / Briggan Krauss! Sarah Buechi Ensemble! Three from Deric Dickens! Havard Volden / Carlo Costa!

Five Minute Tape Series: Michael Foster / Jaimie Branch / Gen Ken Montgomery..! Three from Sunnyside: Wayhe Escoffery! John Raymond & Clovis Nicolas! Archival Discs from Paul Butterfield BB Better Days & Bonnie Raitt! Stephen Stills & Manassas!

Three Ornette Coleman Rarities! David Eyges/Byard Lancaster/Sunny Murray! Masahiko Toagashi/Don Cherry/Charlie Haden! Restocks from Emanem & PSI! Four books restocked from William Parker! Plus Loads of Vinyl from Joe McPhee! Andre Vida! David Toop & Paul Burwell and even More..!


Sunday, February 18th:
7pm: RAS MOSHE and BOBBY KAPP - Tenor Sax & Flute and Drums - A Rare appearance of Legendary ESP Free Jazz Drummer - Don’t Miss This one!

Sunday, February 25th:
6pm: CHET DOXAS - Tenor Sax and JOHN ESCREET - Drum Machine and Prophet Synth
7pm: MATT MOTTEL and MARTIN ESCALANTE - Talibam Keyboard Wiz & Mexican Multi-Phonic Saxist

Sunday, March 4th:
6pm: RAF VERTESSEN / KEISUKE MATSUNO / HANS TAMMEN - Drums / Guitar / Buchla Synth!
7pm: MIJ YELNED - Solo Bass Flute!

Sunday, March 11th:
6pm: SEAN ALI & AYAKO KANDA - ContraBass & Voice
7pm: DOGWOOD: NICO SOFFIATO and ZACH SWANSON - Guitar and Double Bass!
8pm: BEN GOLDBERG and TOM RAINEY - Clarinet and Drums!

DMG is located at 13 Monroe St. (between Catherine & Market Sts) in a basement below a small gallery. Take the F train to East Broadway or the 6 train to Canal or the B or D to Grand, or the M-15 bus to Madison & Catherine. Come on Down, the Sunday Music Series is Always Free & the Vibes are Always Cosy


GARY LUCAS’ The Edge of Heaven Live!

Fri, February 16, 2018
7:00 PM – 8:30 PM 
At the Laurie Beechman Theatre
407 West 42nd Street 
New York, NY 10036
A new concert version of guitarist GARY LUCAS'
celebrated salute to 30's Chinese Pop, featuring:

FEIFEI YANG—vocals and Erhu 
JASON CANDLER — Alto Saxophone, Clarinet and Percussion
GARY LUCAS - Guitars


EVAN PARKER / BARRY GUY / PAUL LYTTON - Music for David Mossman - Live at the Vostex (Intakt 296; Switzerland) "Evan Parker, Barry Guy and Paul Lytton – three legendary figures in the field of improvisation – have each developed their own epochal styles. These long-time friends and collaborators now present the latest of their Trio recordings – part of an ongoing series that began in 1980 with the now out-of-print LP 'Tracks'. Their powerful improvisations reveal them as a trio of unyielding innovation, both conserving and constantly renewing a rich heritage of achievement in free jazz.Evan Parker writes in the liner notes: "Collective free improvisation is the utopian state arrived at in that other «little life» as the late John Stevens called the mental space of music making that happens when musicians of a like mind («birds of a feather») play freely together. Paul Lytton and I first met in 1967 at a music festival in a park in Birmingham where I was playing in duo with John, Paul was playing with a jazz big band and Peter Green’s Fleetwood Mac were "topping the bill" (as they used to say). In the next years we all played together in different combinations and permutations including Barry’s London Jazz Composers Orchestra and the Parker-Lytton duo. In 1980 we started to play as the trio Parker-Guy-Lytton."
CD $18

MATTHEW SHIPP - Zer0 (ESP-Disk 5022; USA) In the first part of his career, Matthew Shipp avoided solo recordings, saying he wasn't ready – and the first solo album he made, Symbol Systems, happened by accident when the other player on the session didn't show up. Since then, his style expanded and matured and he recorded prolifically, including a number of solo albums, but they have remained special events, distinct statements of purpose. Zero continues in this tradition; its philosophical basis can be gleaned from the lecture on the bonus CD. But, of course, it is the music itself which speaks most eloquently.
Please note that the tune titled "Zero" is not the same as a previous Shipp composition of the same title. Only the first edition (first 1000 copies) of this album will include the bonus CD containing the talk Mr. Shipp gave at The Stone.
2 CD Set $13 (Supposed to be delivered tomorrow: Friday, February 16th)
(LTD Edition 2 CD version with bonus disc of Shipp’s talk at The Stone)

JOHN HOLLENBECK LARGE ENSEMBLE With TONY MALABY / ANNA WEBBER / JEREMY VINER / BEN KONO / DAVE BALLOU / JACOB GARCHIK / ALAN FERBER / MATT MITCHELL / CHRIS TORDINI / THEO BLECKMANN - All Can Work (New Amsterdam 094; USA) Over some half dozen releases drummer/composer las led several large ensembles. This one, his New York version, includes many of Downtown’s finest players and just keeps getting better. The title track, “All Can Work”, features lyrics taken from e-mails sent by the late trumpeter Laurie Frink. The music is especially warm and enchanting with Theo Bleckmann’s voice at its most sublime and charming. Mr. Hollenbeck’s arranging for the many horns, brass & reeds, is especially mesmerizing, like a soft kaleidoscope of colors swirling exquisitely around one another. I dig the way that Mr. Hollenbeck has several lines for each section interlocking throughout “Heyoke”, tightly executed and fascinating to hear. In the lengthy liner notes, Mr. Hollenbaeck explains what inspired each piece and how things are structured. “this kiss” was inspired by Shakespeare’s “Romeo and Juliet”. There are several layers kaleidoscopic lines moving gracefully around one another, most enchanting. Matt Mitchell plays a majestic piano solo while the rest of large ensemble swirls tightly around him. What I love about this disc is that, Mr Hollenpeck spent a great deal of time writing the songs, Although there are often several layers coinciding, it sons much complex of effortless that it no doubt is. This disc concludes with a great version of “The Model” by Kraftwerk, a surprising choice? Not sure but most enchanting either way. Thumbs up to Mr. Hollenbeck for delivering one of the most charming large ensemble records I’ve heard in a long while. - Bruce Lee Gallanter, DMG
CD $14

SARAH BUECHI With STEFAN AEBY / LIONEL FRIEDLI / et al - Contradiction of Happiness (Intakt 299; Switzerland) "After Flying Letters and Shadow Garden, Sarah Buechi is releasing her third album on Intakt Records, Contradiction of Happiness. She has seized the opportunity to take her music in a new direction, and has augmented her superb quartet – with pianist Stefan Aeby, bassist André Pousaz and drummer Lionel Friedli – with the addition of three string players. "The results are extremely convincing." writes Manfred Papst in the liner notes. "She demonstrates once again that her compositions are far more than run-of-the mill songs with verses, rhymes and a chorus. They are ingeniously structured mini-dramas in which complex stories are told in a confined space. They are poetically dense, with vocal beauty and an enormous spectrum of expression. Their music is sophisticated, thoughtful, but also very sensual. The wonderful ‘After We’ve Kissed’ on the new album is the best example of this.“
CD $18

ANDREW DRURY'S CONTENT PROVIDER With BRIGGAN KRAUSS / INGRID LAUBROCK / BRANDON SEABROOK - Try (Different Track 5003; USA) Featuring Briggan Krauss on alto sax & guitar, Ingrid Laubrock on soprano & tenor saxes and autoharp, Brandon Seabrook on guitar & banjo and Andrew Drury on drums and compositions. This is the second disc from Andrew Drury’s Content Provider, an all-star Downtown quartet that I have had the pleasure of hearing live on a couple of occasions. Mr. Drury remains as one of Downtown’s best drummers, composers and bandleaders and has organized a quartet which contains several important Downtown great, each with a distinctive voice/sound. Each of these four came from different backgrounds and varied age groups. Each of the five pieces are relatively long (8 - 15 minutes) so the band can stretch out. “Diving into the Wreck” is an intense and disorienting with squalling saxes and tightly written lines for the guitar and drums. Mr. Drury’s drumming is powerful and the center pushing everyone while keeping things focused. Mr. Seabrook is one Downtown’s best and most in demand guitarists, here he often plays sounds (rubbing & bending strings & putting a radio next to the pick-up), rather than playing lines of notes. Mr. Drury occasionally lays out while the saxes and guitar(s) play together in different combinations, often written but occasionally free in spurts. Although some of the written sections sound like some time of chamber music, they don’t quite sound like anyone else, the sound is more brittle and has some barbed edges or unexpected twists going on. Mr. Drury keeps things interesting by shifting patterns and tempos while the saxes and guitar, play their bent harmonies above. Brandon Seabrook is the master of fractured notes and odd sounds and is often used to create an undertow effects and sonic strata rather than soloing. Instead of having a bassist, it is often Brandon or Drury who play the role of low end pulse or stream, throbbing underneath. I can’t quite put a tag on this sine it is in between establishing categories. Towards the end of the final piece, the guitar band drums play tight lines or quick exchanges, which are effective yet somewhat disturbing. keeping the listener off balance, altering the center of gravity. ‘Content Provider’ don’t quite sound like anyone else and that is a good thing so keep listening and digging deeper into their weird world. - Bruce Lee Gallanter, DMG
CD $15

Three Discs from Downtown drummer, Deric Dickens:

DERIC DICKENS & JARRETT GILGORE with JAIMIE BRANCH / BRIAN BRUNSMAN / ROSS GALLAGHER - Streams - Words are Not Enough (Mole-Tree 005l USA) Featuring Jarrett Gilgore on alto sax, Jaimie Branch on trumpet, Deric Dickens on drums, cymbals & gongs, and Brian Brunsman or Ross Gallagher on bass. This disc is a tribute to the late, legendary saxist Jimmy Lyons. Mr. Lyons was the featured soloist for Cecil Taylor from the early sixties until his passing in 1986, longer than any musician that played with Mr. Taylor. Jimmy Lyons was also a bandleader and recorded a handful of seminal discs for Black Saint, Hat Art, BYG and a posthumous box set for the Ayler label. All essential listening for out/jazz freaks.
Each of the five discs that Deric Dickens left us with, has varied personnel and different directions. Considering that Mr. Dickens has worked with Daniel Carter, Kirk Knuffke and Matt Wilson, each of his discs introduces us to another new name. The co-leader here is saxist Jarrett Gilgore and he & both bassists are unknown factors for myself. Young trumpet star, Jaimie Branch, moved here a few years ago from Chicago and has become one of the most exciting musicians to watch. Her disc as a leader from last year (‘Fly or Die’) was on several critics best of lists from 2017. Considering that Jimmy Lyons was a distinctive alto saxist with a singular sound, whoever one chooses to take him part is essential to the success of the this disc. The opening track is the title song, “We Sneezawee” from Jimmy Lyon’s first album on Black Saint. This piece sounds more like an early track from Ornette Coleman with this twisted slightly broken lines. Both horns, alto sax and trumpet, have to spin out tight, quick spiraling lines in spurts, starting and stopping several times. I like the way, “A.J.”, simmers with slow, somber trumpet and alto sax exchanging quiet dialogue while Mr. Dickens plays some laid back mallets across his drums. Two of Jimmy Lyons records on Black Saint are duos with Andrew Cyrille on drums. “1st World Problems” is also a alto sax & drums duo and a strong, spirited duo exchange. Mr. Lyons’”Premonitions” sounds free yet both horns play tightly together completing each others lines in an endless swirl of close orbits. Overall, this disc sounds like it was recorded in the seventies when many of Mr. Lyons albums were recorded. “My You” is another track by Mr. Lyons and I love the way Mr. Gilgore captures Jimyy Lyons’ bittersweet tone with Ms. Branch doing a swell job of evoking the same feeling of strength, compassion and invention.
CD $10

THE DICKENS CAMPAIGN With DERIC DICKENS / KIRK KNUFFKE / JESSE LEWIS - Oh Lovely Appearance (Mole-Tree 003; USA) Featuring Deric Dickens on drums, Kirk Knuffke cornet and Jesse Lewis on guitar. Downtown drummer Deric Dickens played here recently (2/4/18) in a quartet with Daniel Carter, Michael Bates & Marius Duboule. Mr. Dickens left us with a handful of self-produced CD’s from his own Mole-Tree label, each one very different. This mighty fine disc is an homage to Alan Lomax, folklorist, song-collector who "documented over 5,000 hours of American life through song. We certainly know the ever-busy cornetist, Kirk Knuffke, who has appeared on more than a dozen discs in the last few years. Guitarist Jesse Lewis is a new name for me. Mr. Dicjens grew up in southern Georgia so he was exposed to quite a bit of traditional music like country, gospel and bluegrass. Although nearly half of these songs were written by plain folks that Mr. Lomax met in his travels, the rest were inspired the traditional melodies. The opening song, “As I Went Out for a Ramble” starts off with Mr. Dickens on brushes creating a laid back groove, he is soon joined by some lovely cornet and acoustic guitar, a most exquisite, folky theme is embraced delightful. “Roustabout Holler” also has a swell, laid back groove with some great, blistering guitar which uses little or no sustain yet is gripping nonetheless. Each member of the trio contributes a song or two and fit within earthy, ancient vibe. If this disc was featured on NPR, it would no doubt sell tons of copies, and not be forgotten about. What is odes do so well is capture the purity of an ancient (sounding) melody. On a song called, “Paul Motian”, Mr. Dickens wrote a most sublime, enchanting melody that which features some poignant cornet and elegant, haunting acoustic guitar. There is a later track called “Twice My Heavy” which is an unexpected departure, a somewhat more dark lumbering groove with some power near-metalish guitar and superb, high flying cornet solo by the one & only Kirk Knuffke. The last song, “Waiting” was written by Mr. Lewis and it is touching sort-of ballad, most melancholy and a perfect way to bring this disc to a close. This CD came out in 2013 so please don’t let it be ignored any longer. - Bruce Lee Gallanter, DMG
CD $10

DEREK DICKENS With KIRK KNUFFKE / JEFF LEDERER / JEREMY UDDEN / BEN COHEN / JON CROWLEY / MATT WILSON - Speed Date (Mole Tree; USA) ‘Speed Date’ features a series of duos with drummer Deric Dickens with Matt Wilson on drums, Kirk Knuffke on cornet, Jeff Lederer (tenor & clarinet), Jeremy Udden (C melody sax) and Ben Cohen on tenor sax and Jon Crowley on trumpet. There are some 20 tracks on this sprawling disc, all tracks under 8 minutes but most are much shorter. Mr. Dickens wrote several tracks although many of the tracks have both names of the duo as the composers. After reviewing two other CDs from Deric Dickens this week, we come to this one, an ambitious compilation of 20 duos. The only two names I don’t recognize here are Ben Cohen and Jon Crowley. Beginning with “Roy at the Store”, a duo for Kirk Knuffke (cornet) and Mr. Dickens, the two swing with an infectious, joyful groove. “Termites” features the duo of Dickens & Matt Wilson on drums & percussion, and the combination is superb, thoughtful and sizzling quietly. “Original Self” features Jeremy Udden on C melody sax and it is most sublime, laid back, near tender. Mr. Dickens seems to swing or navigate the groove or pulse on each piece, giving his partners a chance to stretch out and react appropriately. Jeff Lederer contributes a Seminole Indian traditional song called “Duck Dance” and plays some tasty clarinet. Each of these duos is like a conversation between old friends. There are a number of highlights like, the feisty drum duo called, “Hold on Barney” and several duos with Jeff lederer who seems to be having a blast the and creating a joyous release. I like the way Mr. Dickens listens closely and reacts with righteous, sympathetic playing, both musicians often locked into the same nuance, tempo or pulse. - Bruce Lee Gallanter, DMG
CD $10 [LTD Edition/Comes in specially made grey see-thru sealed envelope]

HAVARD VOLDEN / CARLO COSTA - In the Wake (Neither Nor Records 010; USA) Featuring Havard Volden on acoustic guitar and Carlo Costa on percussion. Percussionist Carlo Costa left us a handful of releases from his own Neither Nor label a few years back and has slowly released around ten discs so far. For this disc, Mr. Costa works with Norwegian acoustic guitarist, Havard Volden, who has worked with vocalist Jenny Hval and Toshimaru Nakamura, who plays non-input mixing board and is associated with the onkyo/lower case/minimalist crowd. This disc was recorded at the now defunct Firehouse Space in Brooklyn and it has warm, spacious sound, live sound. While Mr. Volden plays those somber chords, Mr. Costa coaxes out percussive sounds by rubbing of perhaps bowing surfaces: cymbals, drums, who knows..? The first piece is calm yet somewhat eerie. Bowing cymbals has slightly unnerving feeling, like an object trying use its voice. The strings on the guitar ring out gently while Mr. Costa carefully uses a brush or something similar (small chains?) to evoke those mysterious, somewhat organic sounds. Mr. Volden reminds of another Scandinavan acoustic guitarist, Kim Myhr from the band Mural. Both men play their acoustic guitars in hypnotic ways, strumming repeated figures over and over, altering them slightly to keep things unpredictable. There is a good deal of concentration going on here. Drones, sounds being stretched out, expanding and contracting, until the layers become unnerving, evoking dark spirits hovering within. Truly transcendent! - Bruce Lee Gallanter, DMG
CD $14

FIVE MINUTE TAPE SERIES with MICHAEL FOSTER / JAIMIE BRANCH / GEN KEN MONTGOMERY / AL MARGOLIS / et al - The First Year (We Space Tapes; USA) Featuring Michael Foster, Jaimie Branch, Gen Ken Montgomery, Al Margolis, Brad Henkel and eight more. When percussionist David Grollman turned 50 last year, he decide to have a party and invite ten friends to each do a 5 minute set. He started a tape subscription series and sent out a different 5 minute tape each month. This limited edition CD compiles 13 of these five minute sets and comes in an odd-shaped see-through plastic folder with a couple of free button included. Mr. Grollman is a good friend, attends almost every weekly set at DMG and is a completely unique percussionist. I recognize the names only five of the thirteen players here but I found the selection to be consistently fascinating. Since I don’t know a number of the musicians here, I don’t know what instruments exactly they are playing. Jeff Surak: bowed guitar, industrial groans or drones? Id m Theft Able has some guy spouting out some weird words over and over and slowly changing certain words. Bizarre yet cool. Five minutes seems like the perfect length since no matter how weird things get, they can’t go on for too long. I know that Michael Foster usually plays extended technique sax but here he seems to be manipulating feedback or some bent electronic noise. Gmackrr consists of several layers of vocals blended with other manipulated (tapes?) sounds. I am a longtime supporter of compilations which often introduce us to some new or little known player. Each piece here evokes another strange world, whether we know who these folks are or whatever they are playing. I was glad to see the disc closing with a couple of older Downtown sonic explorers: Gen Ken Montgomery (who used to run a record store called Generator) and Al Margolis (a/k/a If, Bwana & Pogus label head). Both are longtime members of the cassette/DIY/underground. A most impressive collection of oddities. - Bruce Lee Gallanter, DMG
CD $8

Three New Ones from Sunnyside in Stock Next Week:

WAYNE ESCOFFERY With DAVID KIKOSKI / UGONNA OKEGWO / RALPH PETERSON, Jr. JEREMY PELT / KUSH ABADEY / JACQUELENE ACEVEDO - Vortex (Sunnyside 1499; USA)Wayne Escoffery reaching his 40th birthday marked a period of big changes for the award-winning saxophonist both artistically and in his personal life. Escoffery had reached a crossroads. He had spent a happy and successful decade in the band of trumpeter/composer Tom Harrell but felt that it was time for him to step out more as a leader. At the end of 2016, Escoffery assembled a tremendous quartet of jazz’s most elite musicians that would record a live album, headline New York’s legendary Village Vanguard, and tour steadily for the next year. The current political and cultural landscape of the United States has caused many to take pause and Escoffery has had a lifetime to learn and deal with growing up black and as an immigrant (English born of Jamaican descent). But it was the recent US election and its effects on his young son that had a profound impact on him. Escoffery’s evocative new recording, Vortex, is about the current dizzying maelstrom of racism, bigotry and hate in the U.S. and the saxophonist’s renewed commitment to his responsibilities and artistic goals.
CD $15

JOHN RAYMOND & REAL FEELS With GILAD HEKSELMAN / COLIN STRANAHAN - Joy Ride (Sunnyside 1501; USA) Raymond wants the music of Real Feels to connect to his listeners. So rather than compose complex, over the top pieces, he focused on simplifying and writing music that people could sing along with. The majority of the music on Joy Ride was written during a self-imposed summer retreat in which Raymond made sure to write every day. He also decided to compose at the piano, an instrument on which he is less in command, creating a natural handicap to insure the pieces would be more natural.
CD $15

CLOVIS NICOLAS With BRANDON LEE / BRUCE HARRIS / GRANT STEWART / KENNY WASHINGTON - Freedom Suite Ensuite (Sunnyside 1495; USA) The concept behind Freedom Suite Ensuite came from a succession of regular gigs that Nicolas participated in with a two saxophone, chord-less quartet. He began to find a new identity for his bass within this assemblage, including an increased influence on the music’s direction, expanded range of expression and an added focus on soloing. There were also many examples of similar ensembles whose recordings began to inspire his conception more and more, including John Coltrane and Don Cherry’s Avant Garde, Ron Carter’s Etudes and Ben Wolfe’s 13 Sketches. Freedom Suite Ensuite is a recording of Nicolas’s efforts in this formation and a tribute to the musician who exemplifies playing free within a form, saxophone great Sonny Rollins.
CD $15

A Few Recent Clean Feed CDs Worth Recommending:

IGOR LUMPERT & INNERTEXTURES - Eleven (Clean Feed 462; Portugal) Featuring Igor Lumpert on tenor sax & compositions, Greg Ward on alto sax, Chris Tordini on acoustic bass and Kenny Grohowski on drums plus guests Jonathan Finlayson on trumpet and John Ellis on bass clarinet. This is the third release from Slovenian saxist Igor Lumpert and his Innertextures unit which is now a quartet. Mr. Lumpert currently lives here after attending the New School with fellow students: Jonathan Finlayson (Steve Coleman sideman), Chris Tordini (Chris Speed sideman) and Kenny Grohowski (various Zorn projects). Things begin on the more subdued side with “13th of August”, both saxes playing with haunting restraint, starting out slowly and building to an intense conclusion. For “XmD”, Mr. Lumpert wrote a tight, circular line for both saxes to play together. Both saxes take spirited M-Base-like solos here which are triggered by Mr. Grohowski’s slamming drums. I dig the way both saxes trade off lines on “Paha”, one starting and the other ending the ongoing line making hard to tell who is who. Similar in some ways to the great Vijay Iyer Sextet CD on ECM from last year (2017), Mr. Lumpert’s writing keeps al the musicians on their toes by composing those tight. powerful, M-Base/progressive lines, intricate and constantly shifting like a sports car going through its gears. Again, Claen realizes one of the best, most exciting and well executed discs of the year! - Bruce Lee Gallanter, DMG
CD $15

JON RUNE STRØM QUINTET With THOMAS JOHANSSON / ANDRE ROLIGHTEN / et al - Fragments (Clean Feed 459; Portugal) Featuring: Thomas Johansson - trumpet, André Roligheten - tenor sax, Christian Meaas Svendsen - double bass & fender bass (left channel), Jon Rune Strøm double bass & fender bass & compositions (right channel) and Andreas Wildhagen drums. Over the last few years bassist Jon Rune Strøm has been touring & recording with the Frode Gjerstad Trio, Paal Nilsson-Love Large Unit and several Andre Rolighten bands. He has become the bass player to watch out for and this is his first disc as a leader. Mr. Strøm has organized an impressive quintet with Thomas Johansson on trumpet, Andre Roligheten on tenor sax, two bassists: Christian M. Svendsen & Strøm himself and Andreas Andreas Wildhagen on drums. Bands with two bassists is not so much of a novelty as it once was, when John Coltrane used two on ‘Ole’ and ‘Africa Brass’ (in the early 1860’s). Since then there have a number to two bass projects: Soft Machine’s ‘Four’ (1971)and Steve Gauci’s ‘Basso Continuo’ (2007) on Clean Feed.
This discs starts with “Bansull Etter Moren”, with both bassists playing a spiritual sounding solemn intro, eventually getting into a most hypnotic, repeating groove. Trumpeter, Thomas Johansson (from Cortex & Friends & Neighbors) takes a wonderful solo here, spinning out a healthy salad of tasty notes. It is saxist Andre Roligheten’s turn to take a powerful tenor solo on “Main Source/365-B”, while Mr. Johansson’s trumpet plays an undercurrent cushion below him. Both bassist often sound great together, buzzing, bowing at times and spinning a web together, often connected somewhere below the surface. On “Fragments” things erupt when one of the bassists switches to some heavy distortion. There is a strong, earthy quality going on hear which feels just right with both bassists bubbling underneath. This disc ends with “Stillhetens Hav” which has an early Ornette-like sound. Another winner from the unquenchable forces at Clean Feed! - Bruce Lee Gallanter, DMG
CD $15

Archival & Historic Recordings:

PAUL BUTTERFIELD BLUES BAND With MIKE BLOOMFIELD - Born In Chicago: Live 1966 (Import Live 003; EEC) “Legendary live performance from the Paul Butterfield Blues Band and Mike Bloomfield, recorded in San Francisco, 1966. This set captures the group performing material from their debut album, such as "Baby, Please Don't Go" and "Born In Chicago," but also contains a significant amount of material that was never released on a studio album. Fans of the band's debut LP will be delighted to hear the group performing songs like "Dropping Out," "My Babe" and the classic slow blues number, "Willow Tree." Bloomfield even takes a lead vocal on "Kansas City," a song that Jorma Kaukonen was also performing with Jefferson Airplane at this time.
The group also performs exemplary live versions of two tracks from their classic East-West LP: "Drifting," which would remain in Butterfield's repertoire for years to come, and the unquestionable highlight of this set (and possibly the entire night), "Work Song." This jazzy blues instrumental, originally recorded by Cannonball Adderley (and composed by his brother Nat) raises sonic levels of intensity to new heights. Much like the classic title track to that LP, this song is the band at their most adventurous. The three way dialogue between the primary soloists - Bishop, Bloomfield and Butterfield - is nothing short of astounding. "Work Song" contains the approach and execution that inspired so many San Francisco musicians and broke down so many musical barriers. This set-closing performance transcends genre or categorization, and taken in context of the times, remains one of the true groundbreaking performances of 1966.”
CD $15

BONNIE RAITT & PAUL BUTTERFIELD’S BETTER DAY - Los Angeles 1973 (Import Live 002; EEC) Bonnie Raid and Paul Butterfield’s Better Days live on air, recorded in 1973: BONNIE RAITT: 01 Under The Falling Sky (by Jackson Brown) 02 Love Me Like A Man (by Chris Smither) 03 Nothing Seems To Matter (by Bonnie Raitt) 04 You Got Know How (by Sippie Wallance, add lyricks by Jack Viertel) 05 Love Has No Pride (by Eric Kaz & Libby Titus) BETTER DAYS: 06 New Walkin Blues (by Robert Johnson) 07 Small Town Talk (by Bobby Charles & Rick Danko) 08 Buried Alive In The Blues (by Nick Gravenites) 09 Broke My Baby's Heart (by Ronnie Barron) 10 Highway 28 (by Rod Hicks) 11 He's Got All The Whiskey (by Bobby Charles) PERSONNEL: BONNIE RAITT SET: Bonnie Raitt Vocals, Acoustic Guitar, Paul Butterfield Harmonica on tracks 1 & 2 Freebo Fender Fretless Bass Bill Payne Piano Chris Parker Drums BETTER DAYS SET: Paul Butterfield Vocals, Harmonica, Keyboards Geoff Muldaur Vocals, Guitar, Keyboards Ronnie Barron Vocals, Piano, Organ Christopher Parker Drums Billy Rich Bass Amos Garrett Electric Guitar, Vocal Bonnie Raitt Additional Vocal on Better Days track 11
CD $15

STEPHEN STILLS / MANASSAS - Winterland (Leftfield Media 561; EEC) The first set of this perfomace kicks off with a fully electric performance containing side one of their debut, performed in sequence. Both Stills and Al Perkins, who plays an impressive second lead guitar, as well as pedal steel, provide the bulk of the solos. Chris Hillman then leads the group into a fine rendition of The Byrds' hit 'So You Want To Be A Rock 'N' Roll Star'. 'Johnny's Garden' provides some lighter relief with its laidback folk-rock vibe before they conclude this first set with the smouldering blues cut 'Go Back Home'. At this point, Chris Hillman and Al Perkins take control and begin the country and bluegrass portion of the show. Sandwiched between two Burrito Brothers' standards ('Six Days On The Road' and 'You're Still On My Mind') are three impressive numbers. Stills also shines during this section on lovely versions of 'Fallen Eagle' and 'Hide It So Deep', both also from the first Manassas album. Following an intermission, Manassas kick their second electric set off with the Latin-flavoured rocker 'Pensamiento', followed by a rousing rendition of '49 Bye-Byes'. This segues directly into an impressive percussion solo by Joe Lala and then concludes with a passage of the Buffalo Springfield classic, 'For What It's Worth'. Following introductions of the band members, Chris Hillman delivers a smoking rendition of 'Lies'. David Crosby joins in on electric guitar for the final section of the show as the group sinks their collective teeth into 'The Treasure', which evolves into a bluesy groove, washed in Stills' fierce electric slide guitar, which then rips into 'Carry On'. Stills returns to the stage with his acoustic for a solo reading of 'Daylight Again', a number totally new to the audience at the time, which segues directly into 'Find The Of Freedom'. During the latter song, the entire band, as well as Crosby and Nash return to the stage and join Stills in an a cappella singalong to send the enraptured audience on its way.
CD $15

THE MONOCHROME SET - 1979-1985: Complete Recordings (Tapete 393CD; Germany) Emerging at the end of punk era, The Monochrome Set's estrangement from society came from a more arty angle. This boxset is the full account of their frantically productive early period, the perfect document of an under-appreciated chapter of British pop history. Though widely unknown, they are one of the most influential British bands of the last 40 years, with the early Morrissey and Marr, Blur's Graham Coxon, and Franz Ferdinand's Alex Kapranos among their admirers. Though Ganesh Seshadri, aka Bid, never went to college, The Monochrome Set are often seen as an archetypal art school band. In 1979 they released a string of snappy, now highly collectible singles on Rough Trade, followed by early masterpieces Strange Boutique (1980) and Love Zombies (1980). In 1982 they released their third LP Eligible Bachelors on Cherry Red Records. Their major label effort The Lost Weekend (1985) contained their biggest hit "Jacob's Ladder".
"... the early Monochrome Set sound betrayed a fondness of Lou Reed and American psychedelia, and though they shared their generation's sense of estrangement, they certainly weren't part of the punk revolution. . . . [the Hornsey School of Art] was where lead guitarist Tom Hardy, later to be known as Lester Square, studied with a certain Stuart Goddard aka Adam Ant . . . The Monochrome Set's lack of breakthrough success is usually attributed to their inability to churn out the hits, but in hindsight their now highly collectible first four seven inches for the Rough Trade label, united here on one disc with all the singles from the early eighties period, prove that they started out as bona fide masters of pop's ultimate format. Released in February 1980, their first album Strange Boutique, featuring the band's percussion-heavy theme song and the Johnny Marr-anticipating 'Love Goes Down The Drain', caught the Monochrome Set in full flight, quickly followed by the equally taut, funny and adventurously dynamic Love Zombies. 1982 saw them move to Cherry Red Records on their third LP Eligible Bachelors, with the catchy lead single "The Jet Set Junta" promptly banned because of its non-existent connection to the Falklands War. . . . After a financially disastrous American tour, the band were resigned to taking the major label shilling with The Lost Weekend (1985), scoring their biggest airplay hit with 'Jacob's Ladder'..." --Robert Rotifer, Canterbury 2017
6 CD Set $96

Four Rarities & Reissues from Ornette Coleman:

ORNETTE COLEMAN with DEWEY REDMAN / CHARLIE HADEN / DENARDO COLEMAN DON CHERRY - Ornette at 12 / Crisis! (Real Gone Music 614; EEC) As the man who basically invented free jazz and even coined the term, Ornette Coleman has had the vast majority of his catalog reissued on CD, and rightfully so. But there are two records, both recorded for the Impulse! Label, that have somehow escaped digitization until now, The first, Ornette at 12, features Ornette on alto sax, trumpet, and violin with Dewey Redman on tenor sax, long-time collaborator Charlie Haden on bass, and son Denardo (age 12 at the time of the August 1968 recording) on drums. The jazz world was still getting over the effrontery of Denardo playing drums-he had made his debut two years earlier on The Empty Foxhole-which may explain why this one's remained in the vaults till now. But Redman's playing on tenor is just stellar, and Ornette's untrained trumpet and violin technique make a nice foil for Denardo's fresh approach to the traps. Another boundary pushing record in a career full of them. But if it's a puzzle that Ornette at 12 has not been previously reissued, it's a downright mystery why Crisis also hasn't come out; recorded live at N.Y.U. with a killer band of Redman, Haden, Denardo, and Don Cherry on flute and trumpet, it takes it's place with Broken Shadows and Science Fiction as one of Ornette's great small group recordings of the late '60s and early '70s. The version of Haden's "Song for Che" is one of the best on record, the rendition of "Broken Shadows" here is simply beautiful, which is not a term many associate with Coleman's playing, and the addition of Don Cherry- fresh from his own experiments in Indian and African music-spices up what is already a pretty heady brew. Real Gone Music's two-for-one reissue of this pair of albums features the original gatefold album art and an essay by Howard Mandel, author of Miles, Ornette, Cecil: Jazz Beyond Jazz. Remastered by Mike Milchner at SonicVision from original tape sources.
CD $16

ORNETTE COLEMAN QUARTET With DEWEY REDMAN / CHARLIE HADEN / ED BLACKWELL - Live in Paris 1971 (Domino 5009508; EEC) Ahhh, glorious, simply glorious. Coleman's turn of the '70s, pre-Prime Time quartet with Dewey Redman, Charlie Haden, and Ed Blackwell always felt somewhat overshadowed in his discography -- it was the Skies of America era, too, and the expanded lineups for the Science Fiction/Broken Shadows sessions -- so this more than welcome spotlight on that unit is exactly what a veteran Ornette Coleman hand would hope for. There's nothing remotely bootleg about the sound quality, the jacket photos by Val Wilmer are great, the liner notes informative enough, and the music simply exceptional. Two pieces were staples of his concert repertoire for this 1971 tour, and another pair ("Silhouette" and "Summer-Thang" -- ouch) apparently listed as untitled improvisations or compositions in discographies, were as fresh to the players then as it is to the listener now. With all four compositions clocking in between ten and 15 minutes, there are plenty of open spaces for the quartet to listen and play off one another -- and they take full advantage of it. The opening "Street Woman" is taken at a measured and leisurely clip, with Coleman musing in a trio setting or with just Haden behind him before Redman enters the arrangement to exchange comments. Live in Paris 1971 really serves to illuminate the latter's role as Coleman's foil, less in the traditional vein as a second soloist but more a complementary player whose tenor lines intertwine strategically around Coleman's alto melodies to give the music greater body and breadth. "Summer-Thang" features Redman at first with Blackwell driving hard as the former patiently develops his solo with occasional phrases structured on Coleman patterns, before Coleman breaks in with quicksilver runs that ultimately trigger a lively solo that stretches his tonal envelope more than usual. The uptempo "Silhouette" is serious intertwine time for Coleman and Redman, with the latter developing thick, knotted lines during his solo that work beautifully with Blackwell. Coleman's solo lightens things up, the music getting more playful, open, and spacious but it is a prime Coleman outing as the music rides the current through varied changes and Blackwell, excellent throughout, takes a short solo before a brief final statement. Rock the Clock initially sports the combination of Coleman on trumpet and Redman on musette with Haden (who has no featured solos on this disc) prominent in support. The trumpet works as a soothing tonal contrast to the musette, Redman then returns the favor before their joint finale of flurries leads to Coleman jettisoning trumpet for violin and Redman switching to tenor. Live in Paris 1971 CD music The rhythm section drops out and what must be Coleman's wah-wah violin (it almost sounds like a Jew's harp twang) playing down low (or could it be Haden bowing high?) takes over, followed by the rhythm section dropping in and out behind Redman. Live in Paris 1971 album for sale In other words, there's no way of anticipating what's going to happen when by who, always a sure sign of vintage Coleman. Live in Paris 1971 songs In fact, it was Haden doing the wah-wah twang because Coleman comes flying back in on trumpet, Redman switches back to musette, Haden returns to pizzicato plucking, and Blackwell rejoins the proceedings. Live in Paris 1971 buy CD music And the end comes very abruptly and suddenly behind the musette. Live in Paris 1971 is hands down the best CD to emerge from that particular tour to date and certainly ranks as a prime showcase for this quartet. Glorious music, simply glorious. - Don Snowden.
CD $14

ORNETTE COLEMAN With CHARLIE HADEN/DAVID IZENZON/CHARLES MOFFETT - The Love Revolution - Complete Italian Tour 1968: Rome/Milan (Gambit 692241; EEC) The material collected for this 2-CD set corresponds to the February 1968 European tour, featuring the Coleman's Quartet with his regular unusual group inclufing David Izenzon and Charlie Haden on bass, and Ed Blackwell on drums.The first CD includes the Rome concert, with extended versions of four original compositions, including a fantastic interpretation of the already popular "Lonely Woman." The second CD contains the Milan's Teatro Lirico performances, with three original compositions. The sum of this material on one edition, makes this an essential release, capturing a crucial period of the career of an artist that without a doubt, remains the ultimate contemporary musician of the jazz vanguard.
2 CD Set $16

DAVID EYGES / BYARD LANCASTER / SUNNY MURRAY - Crossroads (Quixotic 5003; USA) Culled from two early '80s LP recordings on Eyges' own label - 1980's The Arrow, a duo with saxophonist/flutist Byard Lancaster, and 1981's Crossroads, with Lancaster and drummer Sunny Murray - this compilation showcases cellist David Eyges exploring some freewheeling, adventurous terrain on an instrument not normally associated with jazz. Eyges exhibits an especially tight rapport here with Lancaster, who engages the cellist in some dynamic, highly interactive dialogues on the surging "Jumpin' Jenny," the idyllic "Sweetness Is Beauty," the sparse, ECMish flute-cello duet on "The Arrow," the haunting "Oasis" and the more urgent jamming vehicle "The Hill," in which Eyges nimbly shifts from walking basslines to rhythmic chording to bowed unison lines that match Lancaster's fluid alto sax work stride for stride. The cellist's playing on these tracks, and particularly on "Cast a Long Shadow" with Lancaster and Murray, is uninhibited and bristling with a creative edge. - Bill Milkowski
CD $16

Over the course of his career, which spanned more than 50 years, the percussionist strived to broaden the exposure of Japanese jazz and bridge Western music with the traditional sounds of eastern Asia. He passed away at age 67, August 22 2007. Born in Tokyo on March 22, 1940, Togashi was a musical prodigy, learning the violin at age 6 and later taking up percussion. He made his debut as a professional drummer at 14 with his father's Swing band, and appeared on his first recording three years later with Sadao Watanabe's Cozy quartet. Togashi would go on to form his own quartet, with Masayuki Takayanagi, Mototeru Takagi, and Motoharu Yoshizawa, releasing his group's debut album, We Now Create, in 1969. A spinal injury in 1970 left him permanently paralyzed from the waist down, and he would play the rest of his life seated in a specially designed wheelchair. At this point he extended his interest to writing avant-garde contemporary music. His physical disability limited his international travels and festival appearances, but continued to lead bands, write, and collaborate with Japanese and visiting musicians, such as appearing with Masabumi Kikuchi. He frequently played with musicians who visited Japan; especially notable among these were Don Cherry, and saxophonist Steve Lacy, who performed and recorded extensively with Togashi during his 12 tours in Japan. One particular recording, Bura-Bura featuring Togashi with Lacy, Cherry and Dave Holland, is a must-hear. Many of the recordings from later years found him collaborating with pianist Masahiko Satoh.

MASAHIKO TOGASHI / DON CHERRY / CHARLIE HADEN - Session in Paris Vol 1: Song Of Soil (Take One 1501; Japan) Outstanding studio effort from July of 1979. Although the late Togashi was wheelchair bound, he still was - and is - one of the finest percussionists we've ever encountered. This trio with Don Cherry and Charlie Haden is not to be missed!
CD $25

MASAHIKO TOGASHI With MOTOTERU TAKAGI - Isolation (Take One 1503; Japan) Masahiko Togashi's technical expertise on a wide range of percussion instruments allowed him to introduce into his performances telling effects that added intriguingly exotic undertones. Here he is in duo with legendary saxophonist Takagi from 1975!
CD $25

Restocks from Emanem and Psi:

SPONTANEOUS MUSIC ENSEMBLE With JOHN STEVENS / EVAN PARKER / DEREK BAILEY / KENNY WHEELER / DAVE HOLLAND - Karyōbin (Emanem 5046; UK) The second SME record to be issued, and the first to feature their new organizational method. Long recognised as a classic of free improvisation, this reissue has far superior sound and balance than ever before, thanks to the skills of recording engineer Adam Skeaping working from the original tapes. Greatly improved reissue of Island ILPS9079, with new notes by Evan Parker, Dave Holland and Martin Davidson plus session photos. 49 minutes.
CD $16

SPONTANEOUS MUSIC ENSEMBLE [JOHN STEVENS/TREVOR WATTS/EVAN PARKER/PAUL RUTHERFORD et al] - Challenge: Expanded Edition (2013 remaster)(Emanem ‎5029; UK) The first SME album [LP on Eyemark #1002] from 1966 reveals their free jazz roots with only hints of what was to come. KENNY WHEELER (flugelhorn), PAUL RUTHERFORD (trombone), TREVOR WATTS (alto sax), BRUCE CALE (double bass) and JOHN STEVENS (drums) improvise on pieces by Rutherford, Stevens & Watts. (JEFF CLYNE replaces Cale on a couple of tracks.) In addition there is a previously unissued 15 minute performance called "Distant Little Soul" from 1967 by TREVOR WATTS (piccolo & alto sax), EVAN PARKER (soprano sax), CHRIS CAMBRIDGE (double bass) and JOHN STEVENS (drums). 67 minutes total. "Perhaps the very first explorations of free-jazz-into-free-music by a half dozen British jazz musicians. The Little Theatre Club opened in January of 1966 and became the birthplace of a new music scene. Most of you recognize all the names here since everyone, except possibly for bassists Bruce Cale and Chris Cambridge, went on to legendary status in today's burgeoning scene. Listening to this music now, nearly five decades later, we can hear the seeds of what would become a new language of expression, exploration and communication. It does take a bit of work to get used to the uniqueness of this music but it is well worth the "Challenge". - BLG / DMG
CD $16

EVAN PARKER - Lines Burnt In Light (Psi 01.01; UK) Soprano saxophone solos recorded in a church in 2001.
CD $16

EVAN PARKER - Monoceros (Psi 15.01; UK) Soprano saxophone solos originally recorded direct-to-disc in 1978 at Nimbus Studios, Wyastone Leys, Monmouth by Michael & Gerald Reynolds. Originally issued as Incus LP 19 and previously reissued as Chronoscope CPE 2002-2. 40 minutes. This is one of the finest solo soprano sax efforts that the great Evan Parker has done and it has been long out-of-print! A must for all Evan Parker fan-addicts worldwide! - BLG
CD $16

MISHA MENGELBERG & EVAN PARKER - It Won't Be Called Broken Chair (Psi 11.07; UK) Two improvisations on piano & tenor saxophone, one in concert and the other before the audience arrived, recorded at the Bimhuis in Amsterdam in 2006. The sleeve design is derived from work by the late Tomas Schmit whose work is much loved by both MM and EP.
CD $16

PAUL RUTHERFORD - The Gentle Harm Of The Bourgeoisie (Emanem 4019; UK) (1974) Available again - the definitive solo trombone album. "This is certainly one of the best LPs of the year." (John Litweiler, 1977) "A tour de force which must be heard to be believed.”(Victor Schonfield, 1987) "The best record of solo free improvising you are likely to find." (Derek Bailey, 1987) Reissue of Emanem 3305 (3403) with extra material from the same sessions (and a lot less pre-echo) - 55 minutes.
CD $16

PETER EVANS - Nature/Culture (Psi 09.05/6; UK) A sequel to his highly-acclaimed first solo CD 'More Is More' on psi 06.08 Peter Evans writes: Over the past couple of years one of my main creative outlets has been solo trumpet performance. These discs are meant to show various aspects of my music's development and were recorded in two different settings (studio and concert) and under two different circumstances. Jazz musicians have often referred to the playing of a solo as 'telling a story', which is essentially how I look at this music; it is an opportunity to state possibilities and tell stories that are short, long, true, false, unfinished, overlapping, fantastic and mundane. 108 minutes.
2 CD Set $26

Four Books from William Parker Now Back in Stock:

WILLIAM PARKER - Scrapbook: Notes and Blueprints [204 page book] (Self-Published; ISBN 978) This book is a journal of sorts by William Parker, the influential Downtown icon, bassist, composer, multi-bandleader and Vision Festival organizer/collaborator. It is comprised of poems, sketches and essays on music, philosophy and aesthetics. Whenever Mr. Parker speaks from the stage, especially for his Little Huey Creative Music Orchestra gigs, he usually tells stories or anecdotes which help us to understand the underlying meaning of whatever project is at hand. The fictitious character Little Huey is someone we all would like to know. I would hope that Mr. Parker does a novel on the character in the future. This charming and provocative book is full of sketches, stories, questions on the meaning of music, lists of Mr. Parker's compositions with details about many of them, liner notes written by Mr. Parker, poems and diary/journal submissions. I dig this book since it is an honest reflection of William's life, thoughts and journeys. Every page has something or several things to consider. It reminds me that we are all struggling to make sense of this crazy world where so little justice and fairness take place. Great work, Mr. Parker!
BOOK $20

WILLIAM PARKER - Voices In The First Person: Art and Language of Lois Eby, Anne Humanfeld, Jo Wood-Brown, and Marilyn Sontag [119 page book] (Centering 110; USA) illiam Parker has written a new book of interviews. Voices in the First Person: Art and Language of Lois Eby, Anne Humanfeld, Jo Wood-Brown, and Marilyn Sontag is chance to hear words from four visual artists whose work has inspired and informed that the greatest art is the art of living. While their work is quite distinct, what they have in common is a shared belief that art belongs to all people and is integral or even essential to a well lived life. Art exist to teach us how to live and how we treat each other, which is the foundation for human progress. Visual, art, music and poetry is a reflection of these concepts or rituals. In addition to William Parker's in-depth interviews with these four women, the book includes beautiful images representative of each artist's work.
BOOK $25

RICK LOPEZ//WILLIAM PARKER - The William Parker Sessionography: A Work In Progress [482 Page BOOK] (Centering 1011 BK; USA) "Excerpt from the Introduction by Ed Hazell: 'Compiling a sessionography of the seemingly inexhaustible William Parker calls for a relentless and thorough researcher. Rarely has a musician's career been so conscientiously documented. Rick Lopez' William Parker Sessionography can take its place among the great discographical classics such as Walter C. Allen's bio-discography of Fletcher Henderson, Hendersonia and The Coltrane Reference by Lewis Porter, Chris DeVito, David Wild, Yasuhiro Fujioka, and Wolf Schmaler. Like those other encyclopedic compilations of names, locations, dates, and commentary, this one tells a story of an artist and an era as compelling as any novel and more detailed than any biography could aspire to be. Much like the music itself, this book is an act of devotion, not just to facts but to shared ideals and a shared love of beauty. it was done because it needed to be done.' This is a vast microcosm of one jazz musician that reveals the macrocosm of jazz during the period of time covered -- an extensive history of jazz through the work schedule of one profound jazz musician and his affiliations with elemental participants in the history of that time and as importantly ever more, this time. 15 years in the making. Astonishing, profound, worthy of high honors in the field of research and any all positive adjectives that can be bestowed on such a mighty creation. Just having this book in one's hands feels like holding a sacrament. And, it's beautifully printed -- front & back covers in through each of the 480 pages within. An essential reference work for now and all futures. This is a fully annotated (and generously illustrated) record of practically every time that William Parker has ever played a gig / recording session, with all and every ensemble, as band member or leader, from 1972 clear through to Vision Festival June 2014. Did I use the word "astonishing" already? This is an 8.5"x11" format, 482-page book, with 370 illustrations, weighing in at over 3 pounds, and was private-press published in an edition of 500 copies."
BOOK $50

WILLIAM PARKER / JACQUES BISCEGLIA - Photographer - Conversations: William Parker Interviews With Musicians From Around The World [Book CD](Rogue Art 35; France) A 450 page book including a 32 page section of photographs by Jacques Bisceglia 1 CD (bass solos and excerpts of interviews) During the last 10 years, William Parker interviewed 32 of his friends and colleagues, the musicians and artists Fred Anderson, Billy Bang, Han Bennink, Jacques Bisceglia, Dave Burrell, Roy Campbell, Cooper-Moore, Wilbert de Joode, John Edwards, Ge Gan-ru, Charles Gayle, Alan "Juice" Glover, Milford Graves, Clyde Kerr Jr., Joelle Leandre, Frank Lowe, Nicole mitchell, Louis Moholo, Joe Morris, Sunny Murray, Sainkho Namtchylak, Jalalu-Kalvert Nelson, Patricia Nicholson, Pelikan, Walter Perkins, Richard Rodriguez, Paul Rogers, Alan Silva, Warren Smith, Oluyemi Thomas, Henry P. Warner, and Mark Whitecage. The discussions focused on four main areas: sound; the multi-dimensional aspects of the musicians as human beings who are thinkers, philosophers and healers who have an affinity for other arts and sciences; recollections of the 'scene'; and family background. "There is a special level of trust and understanding that artists reach when speaking with other artists. William Parker goes deep in these one-on-one conversations to reveal brilliance, truth, wit, humanity and a relaxed eloquence that is both illuminating and a fascinating read. Conversations sheds long overdue light on some of the most important musicians of our time and in so doing presents us with an essential piece of the creative music puzzle. This is oral history at its best." - John Zorn "Artists are the best explainers and models of what they do. Their views, reflections and contemplations are closer to the truth and more authentic than any other view concerning the music-objects they create. I ask you to read deep and clear the beautiful narratives in this collection." Wadada Leo Smith "If you enjoyed the deep illumination shed on the musical and compositional processes provided by the series of exceptional Arcana essay books, or even if you are not much of a reader - no matter, I URGE YOU to go out of your way this minute and pick this up. It's so, so absorbing, so eye-opening, so important to read. Ultimate GOOGLE THUMBS UP!" - MannyLunch [and when was the last time I weighed in to wax frothetic on lunch for your eyes??] - No Longer available 
BOOK Slightly discolored cover $50

LP Only Section:

PLAN B: JOE McPHEE / JAMES KEEPNEWS / DAVID BERGER - From Outer Space (ROARatorio 046; USA) At age 78, Joe McPhee shows no sign of slowing down. Plan B is the master improviser's new trio, with James Keepnews on guitar and laptop and David Berger on drums. A soundtrack to a science fiction movie existing only in their heads, From Outer Space finds McPhee and company envisioning the first encounter between alien life and a delegation of earthlings (while giving a nod to jazz's original man from another planet, Sun Ra, with a side-long suite dedicated to him). It's quite unlike anything else in McPhee's vast discography. Cover art by Judith Lindbloom. Includes download coupon.
LP Only $18 [LTD Edition and almost sold out]

DAVID TOOP PAUL BURWELL - Suttle Sculpture (Sub Rosa SUBLOGOS 003; Netherlands) Never before released recordings from Logos Foundation live sessions with David Toop and Paul Burwell in Brussels, on May 7, 1977. David Toop on the recordings: "When Paul Burwell and I started playing together just after Christmas, 1969, we found ourselves wrestling with a new language of sound, listening, actions, objects and space. At first it was music. We studied in the improvisation classes given by John Stevens at Ealing College in 1971-2, and also took classes in African music at London's Africa Centre. Most of the musicians lasted only one or two sessions so we resigned ourselves to being a duo and worked out an approach to free improvisation that expanded from simple structures and instrument combinations. Decomposition, we called it. We had worked intensively together, searching for techniques through which to decondition ourselves from orthodoxies, devising exercises in listening and instrument building, studying esoteric organology, bioacoustics, environmental sound, raw musics and anthropology. We were both fascinated by phenomena like diffraction, propulsion, resonance, projection, masking and heterodyning, and by shamanism, the symbolically grounded agency of shamanic drums, animal-becoming and noisy costume, the shaman's capacity to enliven quotidian space with the commotion of discarnate audible entities from the spirit world. This recording is one of the very few that conveys anything of what we were about." Personnel: Paul Burwell - percussion, whistles; David Toop - flutes, home-made reeds, whistle.
Logos Foundation in Belgium is Flanders's unique professional organization for the promotion of new music and audio-related arts by means of new music production, concerts, performances, composition, technological research, and other activities related to contemporary music. This organization was founded in 1968 by Godfried-Willem Raes.
LP $16

ANDRE VIDA With TAYLOR SAVVY / STEVE HEATHER - Pink Book (Vidatone Recordings VT 33; USA) Featuring Andre Vida on sopranino, tenor & baritone saxes, vocals (just one piece) & harmonizer, Taylor Savvy on electric & acoustic bass, zither & ukelele and Steve Heather on drums & feedback. Every few years, former Braxton-collaborator, Andre Vida, comes to visit and leave us with a new recording. He is usually involved with an installation whenever he is in town. I hadn’t heard of Taylor Savvy before this but I do recognize the name of their drummer, Steve Heather. Mr. Heather has worked with Dutch players like Tobias Delius, Jasper Stadhouders, as well as with Jon Rose, Jorrit Dijkstra and Ken Vandermark (inn his current Shelter project). “Riga Frisky Mossfoot Risky” kicks this LP open with an odd looped groove and sopranino sax upfront repeating the this weird line over and over. The bass player speeds up and slows down, again and again. On “Smsing” the sopranino again bends and twists his lines while the drums & feedback erupt again & again. I don’t know what to call this music other than strange, unpredictable and somehow enchanting. “Vegas Martinez” features a bari sax led trio blast with the el. bass blasting underneath. Mr. Vida’s sopranino opens side 2, bending and twisting his notes inside out over a cool jazz groove. “Let’s Do This” features sped up zither flourishes, warm drifting tenor sax and eerie feedback sounds or samples underneath. A strange combination that somehow works. This album closes with “Smsing Tonk Tong Zita” which has some manipulated sounds (by a harmonizer), strong blasting tenor sax, unexpected zither and/or ukelele seasoning and lurching rhythm section. This music sounds as if it were made by aliens who different exactly know what they were doing yet came up with something strangely enchanting. Bizarre yet still tasty! - Bruce Lee Gallanter, DMG
LP (only) $16

ALESSANDRA NOVAGA - Fassbinder Wunderkammer (Setola Di Maiaale 3190; Italy) Featuring Alessandra Novaga on guitar and voice. I reviewed a CD by Ms. Novaga in 2014 in which she played graphic scores by five different composers. I also heard her play live at the Spectrum, doing some of those pieces and was most impressed by her unique approach to the guitar. She recently sent us a new album which is a tribute to the late German film director Werner Fassbinder. The music in all of Mr. Fassbinder’s films was composed by Peer Rabin, who Ms. Novaga says was the perfect choice for these films. Ms. Novaga uses the themes as a source of inspirations as well as the varied characters who inhabit these films. The music here is melancholy and filled with sad themes, floating voices perhaps taken from the films, haunting bowed guitar (?) and other eerie , other-worldly sounds. Since I haven’t seen very many Fassbinder films, I decided to just let my mind wander and let the images or scenes evoked take place. Ms. Novaga plays in a variety of styles so we hear excerpts from classical themes, muted drones, soft swirls, ghost-like images floating around… There is one piece on side two where she piles up the layers of noisy, feedback guitar, yet the overall restraint allows us watch a scene which is dark but not too disturbing. I got to take some time to watch a few of his films and see how much Ms. Novaga evokes the images, scenes or vibes. - Bruce Lee Gallanter, DMG
LP $16 [LTD Edition of 300; numbered]

LIQUIDARLO CELUOIDE - Superfriccion Buh Records BR 84; Peru) Featuring Juan Diego Capurro on voice, electronics & processing, Efren Castillo on electric guitar, Giancarlo Rebagliatti on electric bass and Alfonso Vargas on drums. A couple of years back we got in a couple of great discs from a Peruvian progressive band called Nicotina Os Primavera on the Buh Records label. Recently (in January of 2018), we got in this LP from another Peruvian band called Liquidarlo Celuloide. Not really knowing what to expect since the other band on the label was somewhat Henry Cow like. This record is closer to psych than prog, a throbbing Gong-like space rocker. “Pastiche de Hoarario Estelar” has a throbbing, mutant rocking groove with molten guitars. When the vocals finally appear on the third song, they sound like the whiney, disturbing voice of John Lydon (a/k/a Johnny Rotten). The instrumental pieces here seem to work best for me, as they feature some great psychedelic, wailing guitar(s).
LP $16

SKULLFLOWER - Werecat Powers Of The Crossroads At Midnight (Nashaphone 025LP; Egypt)
Matthew Bower and Samantha Davies of Skullflower on Werecat Powers Of The Crossroads At Midnight: "The continuation of the audio trilogy concerning the Darkness of Aegypt: the shadow stuff from whence dark dreams come. The Triad: dark, light and the animating serpent power are delineated by the Egyptian Gods Set, Horus and the Apep serpent. The second parting of the ways, lord of the crossroads, the double horizon, the xroads of day and night, the mauve zone, the death posture. We brought back: a twilight mechanism, and hymns to the charnel ground, ashes, jackals and the bulto hyaena, pacing the departure lounges of abandoned airports."
LP $24

SENYAWA VINCENT MOON - Calling The New Gods (Okraina 010LP; Belgium) The film Calling The New Gods, by Vincent Moon, is the document of musicians Rully Shabara and Wukir Suriyadi of the group Senyawa playing outside -- and being filmed on location -- tracing a path from the outskirts of Yogyakarta, Java (on the border of a rice field, on the edge of a garbage dump, etc.) until the center of the city (in the middle of a market, in a fair). In a sort of mandala, of centripetal spiral, during an entire day, from dawn-until-dusk, the film -- with soundscapes shared between the music of Senyawa and field recordings -- captures the powerful, unique, and fascinating presence of the Indonesian duo in the middle of the physical landscapes and human mosaic that helped create it. Two-and-a-half years after the first contact between Okraina and the musicians and filmmaker, the time has come to expose the work to a new audience: Seven songs from the film's soundtrack on a 10" vinyl, with an added etymological obviousness -- that this recording is released on Okraïna, which is Russian for "outskirts", the "suburbs". Filmed, recorded, and mixed by Vincent Moon, in situ, in Yogyakarta (Indonesia, Java) in January 2012, with the help of Aniza Santos and the people of Yogyakarta. Mastering and vinyl cut by Fred Alstadt. Cover art by Gwénola Carrère.
10” LP $17

SISTER IODINE - Venom (Nashazphone 028; Egypt) French noise scene spearheads Sister Iodine return with their sixth album, Venom. Active since the '90s, Sister Iodine, which involve Erik Minkkinen, Lionel Fernandez, and Nicolas Mazet, has not lost one milligram of their radical and uncompromised approach in sound exploration and limits stretching. Following two studio albums on Parisian label Premier Sang, released in 2009 and 2013 respectively, it took almost five years to shape up Venom. It is with the advent of the 21st century -- more than ever -- that the decisive path of Sister Iodine has taken a fascinating route. From their debut album, ADN 115 (1994), which was strongly influenced by the original New York no wave scene (Mars, DNA, Red Transistor) to their more recent works which are augmented by "newer poisons" such as black metal, or the most abrasive end of industrial music and power electronics, as well as experimental electronics -- Editions Mego has reissued an extended version of Premier Sang's Flame Desastre on CD -- (DEMEGO 009CD, 2009) -- the band has managed to survive through the years from the inhospitable French squats of the nineties to nowadays' established venues and proper tours. Today, the band's music has changed recipients and has attracted younger generations with their organized radioactive chaos, never conceding anything from their initial intensity. Over the years, Sister Iodine will have also created their own idiosyncratic language, for which sound exploration matters and pure beauty seem to count as much as pure explosive ferocity, while intense violence and energy gets deployed in live shows. The last few years witnessed an increasing number of collaborations such as the recent sessions with Meyhna'ch (Mütiilation) or the ones with Masaya Nakahara (Violent Onsen Geisha, Hair Stylistics). Venom includes two tracks featuring the vocal contribution of Stephen Bessac, the deviant frontman of the cult French hardcore band Kickback. Sister Iodine produces a music that is actually unique and unheard anywhere else, one of eternal youth and audacity.
2 LP Set $35

ALBERTO BOCCARDI & STEFANO PILIA - Bastet (Nashazphone 026; Egypt) Collaboration piece between two major players in the contemporary Italian electro-acoustic music scene. Alberto Boccardi has studied composition and music theory at Milan's Music Civic Academy and has frequently collaborated with Lawrence English, Nicola Ratti, and Maurizio Abate, among others. Stefano Pilia is a prolific guitarist and electro-acoustic theorist with a massive body of work and compositions. He has collaborated with Mike Watt, Nico Vascellari, David Tibet, and Valerio Tricoli, to name a few.
"The sounding worlds of Boccardi and Pilia meet in quasi-narrative paths. Immediately, from the first glance at the tracklist, something seems to thematize the encounter in its two-faced nature: two dedications ('Bastet' and 'Dayira', the birth), each one in two parts, but also an encounter between electric guitar and percussions. The guitar being itself already an encounter between acoustic and electric sounds. Yet again, organic and electronic soundscapes are coupled down into introspection and vision. While 'Bastet' is set to follow an inner voyage along memories and ambiences where Popol Vuh and Robert Rich seem to faintly appear, it is 'Dayira' that is given the mission of projecting the inner vision into vast emotional landscapes. And at the very end something new is birthed, a minor chord that apparently has nothing to do with the drones and patterns preceding it, along the sound of the entire album. An intriguing surprise that is driven by an electronic, floating aura to a quasi-interrupted ending. Functioning as a promise that this voyage has yet to be finished." - Massimilano Viel, Milano, Italy, January 2018
LP $24

TROU AUX RATS - Amour Et Sepulcre (Nashazphone 027; Egypt) Amour Et Sepulcre is the debut LP by Trou Aux Rats, the new creepy and romantic basement organ project of Romain Perrot (Vomir, Free As Dead, Falot, Roro Perrot).
"The other night I dreamt about a parallel universe in which Klaus Schulze had some sort of government-paid job installing contact mics and analog synths (which I suspect was mainly to annoy Tangerine Dream) in all the big European cathedrals to 'modernize' the pipe organs. I told him how they used to make cobwebs in the early Dracula movies; you punch a small hole in a yogurt pot full of liquid latex attached to an electric drill, point roughly where you want the cobwebs to go, shut your eyes and hit the trigger. This got ol' Klaus drooling, and pretty soon every church (not to mention cemetery) ceiling in France was dripping with stringy latex goo. . . .. Reclusiveness aside, Romain and I sometimes like to meet up near Notre Dame at a Japanese restaurant run by one of the members of Les Legions Noire, serving 'necro-sushi' and so on... One sunny afternoon, sighing as he removed the fake Quasimodo teeth and the cushion stuffed into the back of his shirt, he handed me the new Trou Au Rats LP, cursing the backache which was the result of his job. 'Give this to Klaus' he said, in a deep voice a few octaves lower than usual. Now, dear reader, let me assure you, I don't know and I don't want to know what kind of entities he'd done deals with in his basement catacomb, but a few days after Klaus heard that album, Roro got to lay down his hunch for the last time, and scored his dream job as full-time organist. Mind you, dream job or not, he does still have to wear the plastic vampire fangs, somehow managing to remain the perfect gentleman, even if they do make him talk funny. Now, if you are aware of his other projects (Vomir being one), chez Roro there's no such thing as a coincidence, and there's always a lot more going on that meets the eye..." --Andy Bolus (Evil Moisture, Royal Sperm), Paris, January 2018.
LP $24

ALBERTO BOCCARDI & STEFANO PILIA - Bastet (Nashazphone 026; Egypt) Collaboration piece between two major players in the contemporary Italian electro-acoustic music scene. Alberto Boccardi has studied composition and music theory at Milan's Music Civic Academy and has frequently collaborated with Lawrence English, Nicola Ratti, and Maurizio Abate, among others. Stefano Pilia is a prolific guitarist and electro-acoustic theorist with a massive body of work and compositions. He has collaborated with Mike Watt, Nico Vascellari, David Tibet, and Valerio Tricoli, to name a few.
"The sounding worlds of Boccardi and Pilia meet in quasi-narrative paths. Immediately, from the first glance at the tracklist, something seems to thematize the encounter in its two-faced nature: two dedications ('Bastet' and 'Dayira', the birth), each one in two parts, but also an encounter between electric guitar and percussions. The guitar being itself already an encounter between acoustic and electric sounds. Yet again, organic and electronic soundscapes are coupled down into introspection and vision. While 'Bastet' is set to follow an inner voyage along memories and ambiences where Popol Vuh and Robert Rich seem to faintly appear, it is 'Dayira' that is given the mission of projecting the inner vision into vast emotional landscapes. And at the very end something new is birthed, a minor chord that apparently has nothing to do with the drones and patterns preceding it, along the sound of the entire album. An intriguing surprise that is driven by an electronic, floating aura to a quasi-interrupted ending. Functioning as a promise that this voyage has yet to be finished." - Massimilano Viel, Milano, Italy, January 2018
LP $24

********* *********

Bruce Lee Gallanter’s Recommended Gig List for February of 2018:

FEBRUARY 16—HARRIS EISENSTADT TRIO—Chris Dingman (vibes) Trevor Dunn (bass) Harris Eisenstadt (drums) and ASMODEUS—Marc Ribot (guitar) Trevor Dunn (bass) Tyshawn Sorey (drums) John Zorn -cond
FEBRUARY 17—HOLLENBERG-MILLEVOI QUARTET—Matt Hollenberg (guitar) Nick Millevoi (guitar) Johnny DeBlase (bass) Kenny Grohowski (drums) and ASMODEUS—Marc Ribot (guitar) Trevor Dunn (bass) Tyshawn Sorey (drums) John Zorn (conductor)


2/16 Friday
8:30 pm - LES Elegy 4: Punjabi #1 — Sharabi - Everton Sylvester (poet) Deep Singh (dhol) Chris Stromquist (drums) Fima Ephron (bass) Yoshie Fruchter (guitar) Manu Narayan, Sarah Gordon (voices)

2/17 Saturday
8:30 pm - LES Elegy 5: Fuck Gentrification (Tribute to Lester Bowie)
Edward Arrocha aka Eak the Geek (poet) Jaimie Branch (trumpet) Vincent Chancey (horn) Brian Drye, Josh Roseman (trombones) Eyal Maoz (guitar) Newman Baker (drums) Marcus Rojas (tuba)

2/18 Sunday
8:30 pm - LES Elegy 6: Salomé Woman of Valor
Adeena Karasick (poet) Deep Singh (percussion) Shai Bachar (keyboard)


2/20 Tuesday
8:30 pm - JOHN ZORN IMPROV NIGHT—A STONE BENEFIT - John Zorn (sax) Dave Douglas (trumpet) Eyal Maoz (guitar) Brian Marsella (keyboards) Vadim Neselovskyi (piano) Jad Atoui (electronics) Ingrid Laubrock (sax) Kevin Norton (vibes) Lukas Ligeti (drums) and many special guests

2/21 Wednesday
830 pm - JOHN ZORN IMPROV NIGHT—A STONE BENEFIT- John Zorn (sax) John Medeski (piano) Mary Halvorson (guitar) Nels Cline (guitar) David Taylor (trombone) Nate Wooley (trumpet) Mark Feldman (violin) Kim Cass (bass) Tomas Fujiwara (drums) and many special guests - THE LAST EVER IMPROV NIGHTS AT OUR ORIGINAL LOCATION—COME AND RELAX IN THE ELEGANT LUXURY OF OUR EAST VILLAGE RENT PARTY STONE-STYLE!

ONE SET AT 8PM—ADMISSION FREE! - The Stone is proud to present music at Russ and Daughters Cafe at 127 Orchard Street the last Thursday of every month! Drop by for smoked fish, pickles and great music!

2/22 Thursday
830 pm - JOHN ZORN IMPROV NIGHT—A STONE BENEFIT- John Zorn (sax) Joe Morris (guitar) Nels Cline (guitar) Laurie Anderson (violin, electronics) Jeff Ziegler (cello) Mike Nicolas (cello) Sylvie Courvoisier (piano) Laura Ortman (violin) Anthony Coleman (piano) and many special guests - THE LAST EVER IMPROV NIGHTS AT OUR ORIGINAL LOCATION—COME AND RELAX IN THE ELEGANT LUXURY OF OUR EAST VILLAGE RENT PARTY STONE-STYLE!

FRIDAY FEBRUARY 23—Maria Grand (sax) Amirtha Kidambi (vox) Joel Ross (vibes) Rashaan Carter (bass) Jeremy Dutton (drums)
SATURDAY FEBRUARY 24—Maria Grand (sax) Miles Okazaki (guitar) Sasha Berliner (vibes) Rajna Swaminathan (mridangam)

2/23 Friday
830 pm - JOHN ZORN IMPROV NIGHT—A STONE BENEFIT - John Zorn (sax) Kris Davis (piano) Okkyung Lee (cello) Jay Campbell (cello) Ches Smith (vibes) Tim Keiper (drums) Wendy Eisenberg (guitar) Trevor Dunn (bass) Mark Helias (bass) and many special guests - THE LAST EVER IMPROV NIGHTS AT OUR ORIGINAL LOCATION—COME AND RELAX IN THE ELEGANT LUXURY OF OUR EAST VILLAGE RENT PARTY STONE-STYLE!

2/24 Saturday
830 pm - JOHN ZORN IMPROV NIGHT—A STONE BENEFIT - John Zorn (sax) Erik Friedlander (cello) Uri Caine (piano) Louie Belogenis (sax) Marty Ehrlich (sax) Jim Staley (trombone) Ned Rothenberg (reeds) Brian Chase (drums) Billy Martin (percussion) and many special guests - THE LAST EVER IMPROV NIGHTS AT OUR ORIGINAL LOCATION—COME AND RELAX IN THE ELEGANT LUXURY OF OUR EAST VILLAGE RENT PARTY STONE-STYLE!

2/25 Sunday
830 pm - JOHN ZORN IMPROV NIGHT—A STONE BENEFIT - John Zorn (sax) Maria Grand (sax) Jeremiah Cymerman (clarinet) Taylor Levine (guitar) Miles Okazaki (guitar) Sam Kulik (trombone) Will Greene (guitar) Simon Hanes (bass) Aaron Edgcomb (drums) and many special guests - THE LAST EVER IMPROV NIGHTS AT OUR ORIGINAL LOCATION—COME AND RELAX IN THE ELEGANT LUXURY OF OUR EAST VILLAGE RENT PARTY STONE-STYLE!



All Sets at the Old Stone start at 8:30pm Tickets: $20
There are no refreshments or merchandise at The Stone.
Only music. All ages are welcome.
Cash Only at the door. There is no phone.
There is no food or beverage served or allowed
just a serious listening environment.
The Stone is booked purely on a curatorial basis

The CORNELIA STREET CAFE - 212-989-9319
29 Cornelia St in the heart of the West Greenwich Village, NYC

Fri Feb 16:
6:00PM THE DAVID LOPATO QUARTET - David Lopato, piano, composer; Ratzo Harris, bass; Mike Sarin, drums; Lucas Pino, saxes, clarinet
8:35PM TONY MALABY QUARTET - Tony Malaby, tenor sax; Marc Hannaford, piano; Michael Formanek, bass; Randy Peterson, drums

Saturday Feb 17
6:00PM VERENA MCBEE QUARTET PLUS SPECIAL GUESTS! - Verena McBee, vocals, arrangements; John DiMartino, piano; Zwelakhe Duma BellLePere, double bass; Mario Fabrizio, drums; Christian Contreras, soprano, tenor saxophones; Gabe Dowdy- Terracciano, violin, special guests
8:35PM JOCHEN RUECKERT QUARTET - Mike Moreno, guitar; Lage Lund, guitar; Joe Martin, bass; Jochen Rueckert, drums

Sunday Feb 18
8:01PM GAIA WILMER SEPTET = Yulia Musayelyan, flute; Songyi Jeon, voice;

Mon Feb 19th:
6:00PM RYAN SLATKO TRIO - Ryan Slatko, piano; Ben Tiberio, bass; Mike Piolet, drums
8:30PM MORRISON MOTEL - Janeane Garofalo; Phoebe Robinson; Mike Drucker; Angry Bob; Margaret Dodge; Troy Alan

Tuesday Feb 20
8:01PM ANAT FORT QUARTET - Anat Fort, piano; Michael Attias, alto sax; Gary Wang, bass; Rudy Royston, drums

Wednesday Feb 21
Tales Well Told: stories from America's Gilded Age

Thursday Feb 22 -
6:00PM THE DELEGATION (TRIO) - Gabriel Zucker, piano, voice; Tal Yahalom, guitar; Alex Goldberg, drums
8:01PM GILAD HEKSELMAN TRIO - Gilad Hekselman, guitar; Chris Morrissey, bass; Kenny Wollesen, drums

Friday Feb 23
8:35PM JON IRABAGON QUARTET - Jon Irabagon, tenor sax; Tim Hagans, trumpet; Michael Formanek, bass; Mike Pride, drums

Saturday Feb 24
6:00PM JOE DETTMORE SINGS CAT STEVENS - Joe Dettmore, vocals; Leslie Goshko, piano, vocals; Frd Caruso, guitar, vocals; Ritt Henn, bass, vocals
8:35PM TOM CHANG QUARTET - Tom Chang, guitar, comp.; Quinsin Nachoff, tenor sax; Sam Bevan, bass; Alex Wyatt, drums

Sun Feb 25
8:00PM ISRAELI JAZZ SPOTLIGHT: RONI EYTAN QUARTET - Roni Eytan, harmonica; Lefteris Kordis, piano; Jared Henderson, bass; Eviatar Slivnik, drums


Shapeshifter Lab Presents:

Feb 16: 
7p - Kevin Quinn double bill

Feb 18
7p - Moon Sugar - Moon Sugar is an instrumental band that fuses elements of Funk, Rock, and Jazz. Their music blends improvised and composed music seamlessly, all while packing a serious punch.

Feb 20: 
7pm: Maes Collective

Feb 22
7pm Sundara ( Michael Larocca, Nico Sleator, and Lucas Sour)
8:15p Juliette Shipp- Original Music and EP preview

Feb 23
7p & 8:15p - Kent State University Jazz
Kent State Jazz Orchestra, Nova Jazz Singers, Kent State Jazz Faculty

Feb 25
11am - Silly Jazz with Camille! Camille Harris with the Silly Jazz players: Georgia Weber (bass), Dave Tedeschi (drums), and Wayne Tucker (trumpet) Come dance around and sing along with popular Brooklyn Public Library performer, Camille Harris! With popular songs: "The Monster Under My Bed," "Baby on the Subway," "Chopsticks” & more
Shapeshifter is located at
18 Whitwell Place in Brooklyn, NY
R train to Union stop


I-Beam Presents:

Saturday, February 17th 8:30 PM
Catherine Sikora and guests
Sets at 8:30 and 9:30.

Saturday, February 24th 8:30 PM
Otto Hauser

Friday, March 9th 8:30 PM
Jason Mears Presents:
8:30 - Quentin Tolimieri – solo piano
9:30 - Jason Mears- saxophones
Matteo Liberatore- guitar
Quentin Tolimieri- electric piano
Carlo Costa- drums

I-Beam is located at 168 7th Street in Brooklyn, NY 11215 - Directions: SUBWAY: Take the F or R trains to 4th Ave & 9th Street. Walk down 4th ave to 7th street. Make a left on 7th and walk past 3rd ave. We are located on the ground floor, the grey doors to the right of the stairs of #168.