All Newsletters | Subscribe Here

DMG Newsletter for Friday, April 20h, 2018

Two Guitars, Bass and Drums
The Longevity that Set-Up
Has Continued for More than a Half Century
Since The Beatles hit Ed Sullivan in February of ’64
We have Continued to Hear those Ringing Guitars More & More

This Week’s Newsletter Features Several Great Quartets & Guitarists:

John Zorn//Matt Hollenberg/Julian Lage Qt! Nels Cline 4: Julian Lage/Scott Colley/Tom Rainey! Jakob Bro / Palle Mikkelborg Quartet! Yoni Kretzmer’s New Dilemma: Josh Sinton/Chris Hoffman / Frantz Loriot..! Diane Moser Trio: Ken Filiano & Anton Denner!

Leap of Faith Orchestra, Sub Units & Turbulence! Plus Rarities from: Edward Ka-Spel & Steve Stapleton! Mouvements! King Tubby! Satoko Fujii! Peter Brotzmann & All Purpose Weirdness from Feeding Tube Records!

Celebrate RECORD STORE DAY this Saturday, April 21st at your favorite local music emporium! Come on down to DMG and see what we have to set you FREE! Every day is Record Store Day at DMG so come visit as soon as you can!


Upcoming Sets at Downtown Music Gallery - FREE, every Sunday at 6pm


Sunday, April 22nd:
6pm: NOAH BECKER and COLIN HINTON - Alto Sax and Drums

Sunday April 29th:
7pm: NICOLAS LETMAN-BURTINOVIC / MICHAEL LYTLE - Contrabass & Bass Clarinet!

Rare Tuesday, May 1st:
6:30pm: ELLIOTT SHARP - Solo Acoustic Guitar and Reading from Book, ‘Found Sound Nation’
Plus refreshments and a talk from David Rothenberg and Kyla Rose-Smith

Sunday, May 6th:
6pm: THOMAS HELTON and BRANDON LOPEZ - Contrabass Duo
7pm: NICOLA HEIN and ROBERT DICK - Guitar and Flutes

Rare Monday, May 7th:
6pm: LORIN BENEDICT / MARIA GRAND / CAROLINE DAVIS - Voice / Tenor Sax / Alto Sax!

Sunday, May 13th:
6pm: JACKDAW: SEAN ALI / ERIKA DICKER / JOE MOFFETT - Contrabass / Violin / trumpet!

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


This Week's Great Gems Begin with This:

JOHN ZORN // JULIAN LAGE / MATT HOLLENBERG / TREVOR DUNN / KENNY GROHOWSKI - Insurrection (Tzadik ; USA) ‘Insurrection’ is an intense new instrumental project featuring guitar wizards Julian Lage and Matt Hollenberg with the incredible rhythm section of Trevor Dunn and Kenny Grohowski. Inspired by some of the greatest experimental novels of the 20th century the music is incredibly varied, combining rock, funk, blues, jazz, classical and more—often in the same song! Gnarly atonal melodies, bizarre harmonies, astonishing guitar fireworks and telepathic group interaction make this one of Zorn’s most scintillating and adventurous new projects. Everyone is playing at their best here, and you have never heard such sounds! As always Zorn pulls the very best out of the musicians and they play some of the most outrageous solos you have ever heard. Essential!"
CD $14

THE NELS CLINE 4 With JULIAN LAGE / SCOTT COLLEY / TOM RAINEY - currents, constellations (Blue Note 2811702; USA) Featuring Nels Cline and Julian Lage on guitars, Scott Colley on acoustic bass and Tom Rainey on drums. Although it was common for for many bands to feature the instrumentation of two guitars, bass and drums (start with the Beatles in 1964), for jazz groups, it has been less common. I’ve noticed that there have many more jazz or jazz/rock quartets emerging in recent years. Over the past weekend, I was able to check out a few live: Mary Halvorson/Bill Frisell quartet (The Stone 4/13/18) and the Nels Cline 4 at Le Pousson Rouge on Monday (4/16/18). Plus seeing the Feelies, another great double guitar band, on Saturday (4/14/18 at Rough Trade). So my head is buzzing with the sound of those great double guitar projects.
Last Monday, was the second time I’ve caught the Nels Cline 4 and they were marvelous. Their set last year at the FIMAV Fest (May of 2017) was also superb. Nels Cline and Julian Lage have been playing together as a duo for the past few years, their first public performance was for a DMG anniversary celebration a few years ago. Both Mr. Cline and Mr. Lage are excellent guitarists, super diverse and drawing from a wealth of genres. Nels has also selected a perfect rhythm team to work with: Scott Colley on acoustic bass (also in Mr. Lage’s current trio) and the ever in-demands drummer Tom Rainey. Mr. Cline wrote most of the songs on this disc, except for one cover by Carla Bley of an early (60’s) song called, “Temporarily”. Nels once told me that working with Julian Lage was a joy and demanding. Whatever idea the Nels through at Julian, he came back with a perfect answer. “Furtive” licks this disc open with a furiously paced, hard swinging groove, the bass pumping intensely throughout. You can tell that Nels had some fun crafting those intricate lines for both guitars on “Swing Ghost ’59”, there is some astonishing interplay going on here even though it is played with the utmost of restraint. “Imperfect 10” has one of those infectious, bent groove structures that many of us prog-heads just eat up. It ends with a great Beefheartian repeated line which should put a smile on your face. The stand-out here is called, “River Mouth, (Parts 1 & 2)”, in which Nels has the guitars playing what sounds like symphonic strings with Mr. Rainey playing a raga groove underneath, an enticing Eastern vibe pervades throughout. The last piece is a lovely ballad called “For Each,A Flower”, which brings us back down to the earth for a soft landing. Kind of like gliding down on a parachute and landing on soft the soft bed of earth for a perfect Spring day. There is some immense positive energy going on in this disc so crack one open go diving for pearls in an ocean of bliss. - Bruce Lee Gallanter, DMG
CD $15

JULIAN LAGE TRIO With SCOTT COLLEY / KENNY WOLLESEN - Modern Lore (Mack Avenue 1131; USA) “Julian Lage is the sort of musician who makes every gesture feel both easeful and essential. A guitarist who came up in the spotlight, first as a prodigy and then as an apprentice, he's now 30, a seasoned hand. And you could argue that he's accessing ever deeper levels of artistry with his music, forging ahead while remaining true to himself.
Exhibit A for that argument would be his expressive, smartly focused album Modern Lore — a showcase for Lage's working trio, with Scott Colley on bass and Kenny Wollesen on drums.
This is the second such album, following Arclight in 2016. But where that studio release carried an implicit agenda — establishing Lage's foothold as a bandleader, highlighting the catholicity of his tastes — this one feels loose and unburdened. It's the strongest album of Lage's career so far, and the first that fully captures his trademark melding of fleet precision, open-road possibility and radiant self-assurance.
If that sounds like a distinctly American set of qualities, so be it: Lage is a distinctly American sort of artist. His musical persona draws from the expansive jazz continuum (ragtime to bebop and beyond) as well as rustic folk music and the blues. And because this trio features him on a Fender Telecaster, the countrified side of his playing often shines through — not only on the cowpoke saunter of "Atlantic Limited" but also on a medium-bright swinger like "Look Book."
Like its precursor, Modern Lore was produced by Jesse Harris, the singer-songwriter best known for his work with Norah Jones. Harris knows how to pare down to an essence, and it's clear that he put the band at ease. (He also plays some acoustic guitar, on "Whatever You Say, Henry.") Throughout the album, additional atmosphere is furnished by keyboardist Tyler Chester, of the Blake Mills Trio; you feel him more than you hear him, which seems to be the point.
And while Lage's poise and proficiency are on full display, it's in an almost unassuming fashion. That's in keeping with the influence of Jim Hall, a master jazz guitarist who employed Colley and Wollesen in one of his own late trios, and gave Lage his coveted blessing. (Don't be surprised if you hear fleeting echoes of Bill Frisell and Pat Metheny, who had a similar relationship to Hall.)
Even when the trio lunges into melodic abstraction, à la Ornette Coleman, on "Earth Science," there's a feeling of terra firma underfoot. And what follows is the loveliest of closers, a ballad called "Pantheon" that places Lage in a lineage of gifted storytellers.” - Nate Chinen, NPR
CD $16

YONI KRETZMER'S NEW DILEMMA With FRANTZ LORIOT / JOSH SINTON / CHRISTOPHER HOFFMAN / PASCAL NIGGENKEMPER / FLIN VAN HEMMEN - months, weeks and days (OutNow Recordings 029; USA) Featuring Yoni Kretzmer on tenor sax, Josn Sinton on bass clarinet, Frantz Loriot on viola, Christopher Hoffman on cello, Pascal Niggenkemper on double bass and Flin Van Hemmen on drums. Over the past five to so years, Israeli saxist Yoni Kretzmer, has been involved in a series of projects, from duos, trios, quartets and quintets, each one with differing personnel spread across a dozen CD’s. The very first CD we got from Mr. Kretzmer, was a quintet called New Dilemma which featured several string players, all Isreali musicians and a most auspicious start. Kretzmer has been mainly living in NYC since then, and now has another version of New Dilemma, which also includes three string plays. This quintet features an international cast, although most of the players are based here at this point. No doubt you recognize their names from different situations: Sinton (from Ideal Bread), Hoffman (Threadgill’s Zooid), Loriot & Niggenkemper (several discs on Clean Feed).
All but one of the nine pieces here are named after dates, perhaps which have some significance to Mr. Kretzmer. I am unsure of how much of this was written, sketched or directed but there seems to be some cohesion going on with the strings and bass clarinet, all playing in heaving waves together, with Mr. Kretzmer’s tenor quietly wailing on top. I am reminded of the way Albert Ayler’s tenor soared over a cushion of one or two bowed basses. There sections where the strings play with the utmost restraint the interaction at a most subtle level. There are also section here the quintet erupts, the strings, reeds and drums all exploding together. My favorite is near the end of the first disc where the strings play this somber dirge while Yoni plays a series of fractured notes on tops.
2 CD Set $17

JAKOB BRO With PALLE MIKKELBORG / THOMAS MORGAN / JON CHRISTENSEN - Returnings (ECM 2546; Germany) “Danish guitarist Jakob Bro creates magical music, impossible to categorize”, wrote Downbeat recently. On ‘Returnings’ the magic is intensified as Bro and musical soul-mate Thomas Morgan reconnect with two living legends of European jazz, trumpeter Palle Mikkelborg and drummer Jon Christensen. It’s a wonderful combination: Mr. Bro’s watercolor guitar sounds, Mikkelborg’s soft Milesian flugelhorn, Morgan’s impeccable choice of notes and Christensen’s  free-floating drumming. These components add up to one of the prettiest and subtlest jazz albums of recent times. 
Featuring Jakob Bro on guitar & compositions, Palle Mikkelborg on trumpet & flugelhorn, Thomas Morgan on double bass and Jon Christiansen on drums. Over the course of some dozen discs, Danish guitarist, Jacob Bro, has been quietly evolving, often out of the spotlight. Previously, Mr. Bro has worked with Bill Frisell, Lee Konitz and Paul Motian. After ten discs on his own Loveland label, Mr. Bro has been recording for ECM and using the talents of ECM associated veterans: Palle Mikkleborg (age 77) on trumpets & Jon Christensen (age 75) on drums plus ECM newcomer: Thomas Morgan (age 36) on contrabass. This disc has that clean, warm, icey, subdued, ECM-like sound. Mr. Mikkelborg’s muted flugelhorn on the opener, “Oktober”, is ghost-like in its solemn, drifting sounds. The music is mostly stripped down yet consistently enchanting. Veteran ECM trumpeter, Palle Mikkelborg, is in particularly fine form here, his tone: warm and glowing, rich yet delicate, often lea nib on one note and then bending it to keeps things off balance. There is a most melancholy vibe that runs through this disc, a sort of ancient sadness or prayer-like solemnity. It takes some getting used to, yet feels right for the darker vibes that pervade from the daily news & blues. Once we slow down our pulses, we can feel the way each note is carefully placed and loaded with deep feelings. - Bruce Lee Gallanter, DMG
CD $18

DIANE MOSER With ANTON DENNER / KEN FILIANO - Birdsongs (Planet Arts 30174; USA) Featuring Diane Moser on piano & compositions, Anton Denner on flute & piccolo and Ken Filiano on contrabass. I’ve been longtime friends with pianist & composer, Diane Moser, for many years, originally as a customer of the store with good taste in creative music. Ms. Moser grew up in the LA area and worked with Mark Dresser & Diamanda Galas in her early years, before moving to New Jersey. I only found out later that Ms. Moser was a pianist/composer when I reviewed a duo CD of hers with Mark Dresser on the CIMP label from 2012. More recently I reviewed an excellent quintet from Ms. Moser on the Planet Arts label (from 2014). Ms. Moser also runs a large ensemble which has a residency in northern New Jersey, where she lives.
This disc is called, “Birdsongs” and was actually inspired by listening to several birds singing. It began when Ms. Moser had a residency at MacDowell Colony in New Hampshire in 2008 and spent time listening closely and reacting to the way certain birds would sing. Ms. Moser put together a talented trio with former LA bassist, Ken Filiano and a flutist named Anton Denner. You should certainly know Ken Filiano from his many years working with Vinny Golia, as well as his current tenure in NYC playing with many local heros. I hadn’t heard of Mr. Denner before this except for one date with Billy Mintz. The opening piece is entitled, “Birdsongs for Eric” and was written for Eric Dolphy, yet another jazz musician originally from LA who was known to jam with the birds. It is a chamber-like piece with exquisite playing from the entire trio, Mr. Denner’s flute solo superb, long and flowing with ideas, which followed by an equally spirited bass solo. The main part of this disc is two long suites called, “MacDowell’s Woodsland Suite, Parts 1 & 2”. Each section of these suites was inspired by a specific bird call or the surrounding sounsdscape of the wooded area where Ms. Moser was living. The first piece, “Hello” is most sublime, touching the heartstrings and often haunting. Although large portions of this were written, all three members get a chance to stretch out at times. There is section on “Dancin’ with the Sparrows”, where it sounds like the trio is tapping into the organic sounds of nature herself, with rippling waves of notes swirling together like a somber waterfall. Since there is no drummer involved, Mr. Filiano’s bass often provides the main part of the rhythm team support. Mr. Filiano is an astonishing bassist and his interaction and support are at their best, speeding up and slowing down, connecting with the piano and flute consistently. For an intermission, the trio perform one piece by a former student of Ms. Moser’s, named Kyle Pederson. This piece is lovely, with a melody that sounds like it was created from the sands of time, both ancient and modern, simultaneously. Ms. Moser also pays homage to a fellow composer, Amy Beach, who was also in residence at the MacDowell Colony and based on the calls of another bird, the hermit thrush. This is disc is 78 minutes long and by the end, I felt as if I had been walking in the woods and communicating with the birds. Bravo to the immense amount of work that went into this monumental effort. - Bruce Lee Gallanter, DMG
CD $10

LEAP OF FAITH ORCHESTRA and SUB UNITS with PEK/GLYNIS LOMON/YURI ZBITNOV/ERIC ZINMAN/BOB MOORES/et al - Refuting Laplace’s Demon (Evil Clown 9173; USA) The Leap of Faith Orchestra continues to grow personnel-wise, adding musicians, known & unknown, from the Boston area whenever they play live. This two CD set features one entire 51 minute set by the orchestra (currently 13 members) from March 24th of 2018, as well as another CD by four sub-units. This two set format is the way things are set up for the last couple of Leap of Faith Orchestra CDs. This is a wise idea since the first set features the four sub-units, introducing the players to each other and the audience members simultaneously and giving them all chances to stretch out. This disc was recorded at Third Life Studio in Somerville, MA and not live for a change.
Disc 1: The Sub Units - Similar to the way that the John Zorn monthly improvs always feature a new combination of players, similar surprises are in store for each sub-unit here. Each of the four sub-units here are quartets or quintets with differing personnel. Sub-Unit 1 consists of four horns & piano: Bob Moores & Eric Dahlman on trumpets, Zack Bartolomej & Dan O’Brien on reeds plus Eric Zinman on piano. The results are thoughtful, slow building, two or three instruments at first with added players as time goes on. By the second half, the quintet begins to erupt at times, balancing between the calm and the storm, unpredictable yet consistently focused. Sub Unit 2 features longtime LoF regulars Glynis Lomon (cello) & Yuri Zbitnov (percussion) plus Steve Proviser (trumpet & trombone) and Adrienne Schoenfeld (bass). A similar process of having the quartet slowly blend their voices and evolve as they go. Since Leap of Faith founder Dave PEK keeps his various units busy (and records every gig or session), the many members have developed their own sound, no matter who is involved. This keeps things consistent, focused and most often successful or fascinating.
The Leap of Faith Orchestra gigs have been evolving over the past year or so, drawing from a growing community of musicians from the Boston area. This appears to be the nine single or double CD featuring Mr. PEK’s ever-expanding large ensemble. It it hard to believe that Mr. Peck keeps everyone so focused, with a good deal of well-balanced improv and several subgroups working so well together. PEK has also gotten better at recording this sessions so the the balance is consistent which is not so easy considering how musicians are often involved. Instead of directing the orchestra members, Mr. Pack has a timing clock which cues certain members or subgroups. Although there are some chaotic moments, there is a great deal more directed or focused improv connecting everyone in the ensemble. If you live in the Boston area and seek challenging music to check out live,you will have ample opportunity to check Leap of Faith (quartet - orchestra) and their varied sub units. If you live elsewhere, you can always purchase one of their nearly 100 releases. This one comes highly recommended! - Bruce Lee Gallanter, DMG
2 CD Set $15

TURBULENCE With PEK / DAN O’BRIEN / ZACK BARTOLOMEJ - Incompressible Flow (Evil Clown 9171; USA) Featuring PEK on alto, tenor & bass saxes, clarinets, flute, English horn & bassoon, sheng & percussion, Dan O’Brien on tenor & bari saxes, clarinets, flutes & percussion and Zack Bartolomej on alto & soprano saxes, flute, balafon & percussion. The core of Leap of Faith was Dave Peck, Glynis Lomon, Steve Norton & Yuri Zbitnov. When Steve Norton moved away, Mr. Peck has replaced him with two younger reeds players: Dan O’Brien and Zack Bartolomej. Turbulence is an offshoot of Leap of Faith, with three previous discs with varying personnel. This current disc, features a mainly a reeds trio, with each member playing an assortment of reeds and percussion. As the Leap of faith Orchestra gigs continue to expand, Mr. Peck has consistently found a large number of kindred spirits in the Boston area. This disc was recorded at Evil Clown Headquarters (PEK’s home studio?) and has warm, clear sound. It starts with two or three flutes with occasional added percussion, thoughtful and dreamy, restrained at first. Things build slowly as the three horns play tentatively at first, calm and steady. What I find most intriguing is that has found a way to experiment with a variety of rare and not-so-rare reed instruments, hence there are a number of odd combinations: several double reeds like English horn contrabassoon & sheng along with various saxes and clarinets. The trio methodically pick one reed at a time and explore calmly, slowly. From the occasional Sun Ra Arkestra-like bent-note sax blasts to more thoughtful, calmly paced sections. I like the title of this unit, Turbulence, although not everything is that turbulent. The balance of extremes is well chosen and selectively paced. Another choice disc from the deluge of Leap of Faith releases. - Bruce Lee Gallanter, DMG
CD $10

Back in stock:

SATOKO FUJII ORCHESTRA NAGOYA - Maru (BKM 005; Japan) What makes this orchestra different from the other three released this week is that Satoko is the conductor and doesn't play piano here. This ensemble, like the one in Kobe, has tow trombones and a tuba player and a fine electric guitarist added. And also like the Kobe Orchestra, Satoko and Natsuki split the writing chores with the exception of one piece by the guitarist, Yasuhiro Usui. This is the second disc by the Orchestra Nagoya and both are mighty fine. Yasuhiro's "Slip-On" opens with some strong fanfare. Rather funky with some slamming drums and propulsive bass, great sax solos at the center of the storm of other horns. Electric bassist, Shigeru Suzuki, is often at the center of these pieces. He keeps the central groove down on "Pakonya", as the other horns play their slightly twisted harmonies together. One of the trumpet players, Natsuki maybe, takes a long, inspired solo that is more restrained than what you might expect, which is followed by a swell bari sax solo (from Daion Kobayashi). Naksuki composed the title piece and it features a long and winding electric guitar solo. More restrained yet colorful ensemble passages abound, with a strong trombone solo at the center. "Bennie Waltz" can also be found on the recent Tokyo Orchestra disc and here gets another find rendition. It is an unusual sort of waltz, yet it also works so well. "Sakuradori Sen" is another Satoki original that starts one way and then changes into something else entirely. Each section is filled with unexpected twists and turns. Pretty wonderful throughout and another feather in the big cap that Satoko Fujii must wear to show off her 45 releases and projects. - Bruce Lee Gallanter, DMG
CD $18

Warehouse Find, A Few Dozen left:

CD $15

CD $15

CD $15

EDWARD KA-SPEL & STEVEN STAPLETON/COLIN POTTER & QUENTIN ROLLET - The Man Who Floated Away / The Closer You Are To The Center, The Further You Are From The Edge (Bisou Records 006; France) First ever collaboration between Edward Ka-Spel (from The Legendary Pink Dots and Tear Garden) and Steven Stapleton (from Nurse With Wound). It's been years they both wanted to work together and Bisou Records made that happen when they offered them a side on this split release. The other track is the first musical meeting of Colin "the master of drone" Potter and French sax player Quentin Rollet (The Red Krayola, Mendelson, Nurse With Wound, Prohibition, David Grubbs, Thierry Müller, Ilitch). That first take was then re-worked in the studio with piano overdubs by Isabelle Magnon. Two long tracks which make you travel, far. Personnel: Edward Ka-Spel - vocals, sounds; Steven Stapleton - devices; Colin Potter - sounds; Quentin Rollet - alto sax, sopranino sax. Mastered by Patrick Müller.
CD $15

MOUVEMENTS - Mouvements (Mental Experience 021; Spain) Mental Experience present the first ever reissue of Mouvements, originally released in 1973. An impossible to find artifact from the Swiss underground avant-garde scene of Geneva, originally released as a private boxset limited to 150 copies in 1973, only sold at art galleries. A unique, instrumental mix of free-jazz, classical, psych-rock, folk, improv, kraut, funk and musique-concrete with tape effects. In the late 60s, musician/guitar player Christian Oestreicher, "a savage in the era of twist and free jazz", met artist and painter Richard Reimann, famous for his optical art, at the Aurora art gallery in Geneva. Fueled by the artistic creativity from this underground scene, where jazz and rock musicians rubbed shoulders with artists, poets, and painters, Christian ideated the Mouvements project, enrolling his friend Richard to create the artwork. Christian was a trained guitar player with diverse influences: Ornette Coleman, Chuck Berry, Zappa, Soft Machine. He envisioned Mouvements as a concept album and he asked some of his musician friends from the jazz/rock scene to join in for the recordings: among them, Jean-François Boillat (of Boillat-Thérace), Blaise Català, Jerry Chardonnens. The album sessions took place at an occupied mansion during 1972, using three Revox machines. The musicians played standing in a circle and there was lot of room for improvisation. Tape effects and a small portable synth were also used. The result was released in 1973 as a hand-numbered, deluxe boxset limited to 150 copies, including a series of Richard Reimann's lithographies and inserts. For this, the first ever reissue, Mental Experience have created a new, more affordable edition with new artwork, including an insert with liner notes and previously unreleased photos. Highly recommended if you're into avant-garde psychedelia, free-jazz, free-rock, psych-funk, kraut. Think Staff Carpenborg, Zappa, Soft Machine, Bo Hansson, The Feed-Back, Mahogany Brain, Semool, Pierre Schaeffer, the BYG and Futura labels. Master tape sound; Includes insert with liner notes and rare photos; Includes digital download code which includes previously unreleased bonus tracks, including: "Largo Pour Trompettes", "Mouvement Pour Guitare B1", "Mouvement Pour Guitare B2", and "Hard-Rock Ouverture (Take 2)". CD comes in standard jewelcase; includes five previously unreleased bonus tracks taken from the album sessions, including the 17-minute long improv monster "My Guitar Is Driving Me Mad" -- bonus tracks also included in the digital download code.
CD $17

TEMPLE - Temple (Mental Experience 019; Spain) Continuing with their reissue campaign of the Toby Robinson's Pyramid label catalog, Mental Experience now present Temple's self-titled release. Probably the most "rock" sounding of all the Pyramid titles, Temple were an ad-hoc outfit born out of several late-night sessions at Dierks Studios (where Toby was working at that time), involving local friends of Toby and other musicians from adjoining studios, among them Zeus B. Held (Birth Control). Temple played a kind of heavy, dark psychedelic krautrock with ahead of its time proto-Goth vibe. Loud guitars, Hammond, Mini-Moog, Mellotron, distorted and echoing vocals, effects... RIYL: Amon Düül II, Hawkwind, Birth Control, Popol Vuh, Ash Ra Tempel, Emtidi... 24-bit remaster from the original tapes; Insert with liner notes by Alan Freeman (The Crack In The Cosmic Egg); Includes download coupon.
CD $17

KING TUBBY - Never Run Away - Dub Plate Specials (Jamaican JRCD 068; UK) King Tubby's Hometown Hi-Fi was one of the great sound systems in Jamaica. It also proved a fantastic outlet for the Dub Plate Specials cut at Tubby's studio, providing exclusive cuts to be played out and to entice the dance's audience. The tracks at the time were mainly cut over producer Bunny "Striker" Lee rhythms, that Bunny stored at Tubby's studio, 18 Drumilly Avenue, Kingston, Jamaica. The versions were given exclusive plays at Tubby's sound before some finding their way on to vinyl, as the B Side version cut to its A Side vocal. It proved so popular that the records were often brought for its version side over its vocal counterpart. Jamaican Recordings have compiled a selection of cuts that were all tried-and-tested on Tubby's Home Town Hi-Fi sound system and that worked a great set of Bunny Lee's rhythms in fine style. Some of these cuts found a release as version B sides but many on this set were exclusive dub plates unreleased until now. As Cornell Campbell says of the set "King Tubby and Bunny Lee will never go away". CD version includes three bonus tracks.
CD $15 / LP $18

THE LITTLE BOY BLUES - In The Woodland Of Weir (Early Dawn 1806; Germany) Early Dawn present a reissue of The Little Boy Blues' In The Woodland Of Weir, originally released in 1968. The late '60s seem like a lake of great music releases without a bottom. Whenever you think there is no way to go deeper into the mists of obscurity, you stumble over another crown jewel from the inner sanctum of garage rock, acid pop, and power psychedelia. The Little Boy Blues emerged from the simmering Chicago scene of the mid-to-late '60s where the contemporary beat fused with elements of soul, jazz, blues, and funk, tinged with dreamy harmonies of the most colorful kind to become acid and garage rock -- sometimes both at the same time. You could literally experience the development of fuzz pedals in rock music spinning those old records including "In The Woodland Of Weir". The sawing opening chords of "Cathedral" make sure you know what you are about to listen to. The buzzing heavy guitars raise dirt hand in hand with a sluggish beat before a pastoral organ melody divides the tune into half and after that the seething maelstrom of heaviness overruns you once again. There is more than just this dirty caveman blues rock; "Seed Of Love" is a slow psychedelic pop tune with some wild and explosive fuzzed-out lead guitar, wickedly insane flute kicking in from time to time and a bone-grinding organ to contrast the thought provoking vocal melody and the dreamy atmosphere. "The Great Train Robbery" hits you straight in the face as a brutal proto punk anthem, an aggressive, furious rock eruption with a rather monotonous vocal line. And "Mr. Tripp Wouldn't Listen" with some sweet string section on a carpet of utterly distorted rhythm guitars, howling and scrunching, spiced with desperate vocals that thrill you down to your bones. Hard garage rock for all freaks into US heroes such as The Seeds, The Count Five, The Third Bardo, and The Music Machine or English cult acts like The Troggs, The Who, and The Yardbirds, with some great outstanding songs on its score. Includes nine bonus tracks.
CD $14

M.A.L. - My Sixteen Little Planets(Sub Rosa 432; Belgium) Lies of omission and appropriations. The story of a magnetic tape that contained a trade secret. Four decades after My Sixteen Little Planets's release (on OHR, 1975), Inventions For Electric Guitar, the solo debut by Ash Ra Temple guitarist Manuel Göttsching, is now a classic, an undisputed worldwide reference. Inventions was made using only an electric guitar and a simple four-track tape recorder. Inventions was the challenge, and so was its impact. Göttsching recorded it in July-August 1974 in Berlin, after a sudden technical revelation. The original LP sleeve had the following printed on its back: Manuel Göttsching (guitars only). Manuel played his guitar and used a 4 track TEAC A3340, Revox A77 for echoes, wah-wah pedal, volume pedal, Sola Sound Fuzz, Schaller Rotosound, and Hawaiian steel bar. The reaction was unanimous: this was a significant innovation, in terms of both technique and creativity. However, there are little-known facts to this case. In early 1974, Göttsching's label received a tape sent by M.A.L. -- same design, same configuration, almost the same tracks. This is known by only a handful of experimental musicians from the Charleroi area. M.A.L., aka Daniel Malempré, is the actual inventor of this technique which Göttsching reproduced a few months later. Given the above, it's suggested that you listen to both albums. As doubts are removed, the truth sets in, forty years later. Here's hoping that this will ease the deep disgust that made M.A.L. leave his guitar untouched for so long. All music by M.A.L. on Fender Stratocaster 1964 with a wah-wah Cry Baby. Recorded and mixed at home between 1972-1976 on a reel-to-reel recorder, Sony TC-630.
CD $16

LP Section:

INTERNATIONAL HARVESTER - Remains (Silence SRSBX 3500; Sweden) Silence present a five-LP box set featuring International Harvester titled Remains. The box contains their debut album from 1968 Sov Gott Rose-Marie and Hemåt from 1969, along with three full bonus albums with live material dating from 1967-1969. It also includes a poster, lots of pictures, and a long interview with member Thomas Tidholm made by Mats Eriksson Dunér. 180 gram black vinyl; Edition of 1000.
International Harvester emanated from Pärson Sound and later became Träd, Gräs och Stenar ("Trees, Grass and Stones"). Member Thomas Tidholm on the recordings: "We talked about making the music stop and stand perfectly still. And that did happen sometimes. We never let go of the drone. We hardly made any key changes and never changed chords." Thomas Tidholm and Anders Lind, the engineer for the early albums, have listened to two cases full of live recordings from 1967 to 1969. After editing them, Anders has restored and mastered the live material from the old cassette tapes and for the two original albums -- original analog master tapes have been used. Digitally transferred at 96 khz/24 bits and gently remastered by Anders Lind.
5 LP Set $150 (pre-order only - as we are waiting for a new shipment arrive)

ASHLEY PAUL - Lost In Shadows (Slip 044; UK) Singular avant-garde voice Ashley Paul commits a bewitching debut to Slip with Lost In Shadows; a tender yet discordant suite inspired by her new role as mother to a young child. Few would call Ashley's music "easy", but it is also heavily rewarding in its own, uncompromising way and now finds its audience on the acclaimed Slip imprint amid a roster of boundary-morphing composers including Chaines, Mica Levi & Oliver Coates, Yeah You, and Laurie Tompkins. Recorded over three weeks at FUGA in Zaragoza, Spain and premiered at Counterflows 2017, on Lost In Shadows the multi-instrumentalist plays guitar, sax, clarinet, voice, and percussion. In a mark of distance traveled since her last album, however, she draws on recent collaborations and work with pre-eminent composers such as Rashad Becker, Lucy Railton, and Rhys Chatham to also delegate roles to a new ensemble of players on tuba, baritone sax, cello and percussion, who serve to render the dynamics of her music with stronger attention to bass rhythms and intricate, iridescent dissonance. The expanded personnel lend new flesh to Ashley's work, hinging around her tremulous vocals and bringing her ideas to life in 11 parts that hold to a perceptive knife edge between lullaby-like and restlessly tooth-achy: mixing the off-key filigree of her vocals at asymmetric tonal angles to the instrumentals -- a solution of jazz, chamber music, modern composition, and folk craft expressing a complexity of ideas that may well have fallen apart if handled by composers unable to hold their nerve quite as well as Ashley. As with all her works, a sense of intuitive, instinctive alchemy is at the core of Lost In Shadows, as Ashley's jarring tonal juxtapositions and her own elusive vocals act out a metaphor for the challenge of nurturing new relationships in testing circumstances, an experience she describes as "many hours spent awake at night in a dream like state of half consciousness, darkness and solitude; an overwhelming feeling of loneliness and exhaustion made light by a profound new love." Ultimately, the results are cranky as much as delirious, uncannily relaying a state of mind and sensations which will only ever be felt by some of its potential listeners yet offers myriad possibilities for interpretation to all. Artwork by Gayle Paul.
LP $26

NICOLE MITCHELL - Mandorla Awakening II: Emerging Worlds (FPE Records 012; USA) Double LP version. "Mandorla Awakening II: Emerging Worlds is Nicole Mitchell's second album for Chicago-based FPE Records. Recorded in May of 2015 at Chicago's Museum of Contemporary Art, it features her longtime collaborators Renee Baker (violin), Tomeka Reid (cello, banjo), Alex Wing (electric guitar, oud) and Jovia Armstrong (percussion), along with new members Tatsu Aoki (bass, shamisen, taiko) and Kojiro Umezaki (shakuhachi). Also in the mix is Chicago artist, scholar and poet Avery R Young, who brings her lyrics to life with visceral humanity. Composer and flutist Nicole Mitchell, once hailed by Chicago Reader music critic Peter Margasak as the 'greatest living flutist in jazz', continues the work begun when jazz visionary Sun Ra and his Arkestra first touched down on Planet Earth and told humanity that space (outer and inner) is indeed the place. As with contemporary Afrofuturist pioneers like cosmic jazz saxophonist Kamasi Washington, post-everything beat maker Flying Lotus, R&B cyborg Janelle Monáe and dystopian noise-rappers Death Grips, she uses Afrofuturism as a platform to launch her own, unique vision. Her vast sound often encompasses contemporary classical, globally oriented fusion, gospel, spoken word, funk-inspired groove research and even brittle shards of avant-rock. Mandorla Awakening II collides dualities such as acoustic vs electric, country vs urban, simple vs complex, while also sounding through intercultural dialogue between Black, European and Pan-Asian improvisational languages. The outcome is a creative music suite that blurs musical styles into recognizable fragments that weave a unique sound fabric, where human emotion and the struggles of today swim."
2 LP Set $28

Four New Albums from the Freaky Folks at Feeding Tube Records:

DELPHINE DORA & SOPHIE COOPER - Divine Ekstasys (Feeding Tube Records 342; USA) "First vinyl evidence of the dizzying, ongoing collaboration between France's Delphine Dora and West Yorkshire's Sophie Cooper. Delphine's piano, organ, vocals and extended improvisation techniques have been documented in various places, and always serve up oceanic slabs of pure aural mystery. Comparisons have been made to Charlemagne Palestine, Marian Zazeela and other experimentalists, although Ms. Dora has long maintained her compositions are structurally rooted in folk music. Suffice to say the results are usually otherworldly and stunning. Cooper's guitar, electronics, vocals and trombone have caused similar reactions (I am especially fond of her recent Globokar-like 'bone-investigations). And the pair's collusions (of which there have been several) are always eagerly anticipated. The main themes of the two sides of the LP are 'Invisible Gesture' and 'Sublime Gesture.' The 'Invisible' seems to involve more entwined vocals and a certain space-oid twinkle to the keys. There are also occasional flare-ups that recall Third Ear Band's music for Macbeth or some unknown collaboration between Comus and Paul Rutherford. The 'Sublime' adds heavier drone action to the process, as well as insertion of noise and classical 'events' to interact with the ghost vocals. It is a truly delirious spin." --Byron Coley, 2018 Edition of 300.
LP $19

WEEPING BONG BAND - Weeping Bong Band (Feeding Tube Records 313; USA) "Sub-underground super-groups are not common. This is less a function of the concept's oxymoronic nature than of the fiercely independent stance of musicians toiling in this area. By definition, they are doing what they do simply because they love it. It can be quite difficult to distract them from their main focus long enough to get them to do anything else. Weeping Bong Band is a lovely exception that proves this rule. Three members -- Clark Griffin, Wednesday Knudsen and PG Six - are in the current line-up of Pigeons. One, Anthony Pasquarosa, has his own host of solo projects (Crystaline Roses, Gluebag, Burnt Envelope, etc.). And a final 'ghost member', Beverly Ketch, is half of the duo Viewer. Together, however, theirs is a rural psych engine that weeps as gently as a spring rain. This is high-provenance instrumental hippie spew from the apex of the Pioneer Valley. There's plenty of burbling psych guitar, laced with overtones that will make you conjure up visions of dark stoned nights. It is definitely music made in the day when marijuana had passed its medical-use-only status in the Commonwealth. Which is not to infer this music is unimbued with its own mystical curing properties, especially when played at mind-bending volume. Allow yourself to be bathed in the tears of the bong. Their sweet flow will wash away all traces of your sins." --Byron Coley, 2018 Edition of 500.
LP $18

OMEED GOODARZI - Zoltar Hid All the Locks / Minnows (Feeding Tube Records 349; USA) "Debut vinyl by the guitarist of Donkey No No presents two different sides of this mysterious maestro. 'Zoltar Hid All the Locks' is a full on studio quintet session where Jeremy Latch (formerly of the Grudges) played clarinet, Adam Langellotti (ex-Grudges, Sore Eros, etc.) played percussion and ran the board, Matt Robidoux (ex-Speedy Ortiz, Curse Purse, etc.) played guitar and drum box, and Jen Gelineau (Donkey No No, Egg Eggs, etc.) handled the fiddle. The sound on this ranges from Donkey No No's woodsy smoke house charm to segments that really channel early, just post-Barrett Floyd without doing any apery. The 'Minnows' side is all Omeed, doing solos tunesterism then taking on the brute fascism of Dumbledonny Trump the way only an American with a Middle Eastern background can. The side opens with Omeed working in an ur-American tradition (somewhere between Buck Owens' 'Act Naturally' and Paul Newman's version of 'Plastic Jesus' from Cool Hand Luke). From there, reality starts to get sliced, like shifting shards from the brain of Philip K Dick. Songs, constructions, faux-Sinatra homages and flat-out collages bend through each other in unexpected ways, culminating in sequential tape assemblages that says F*CK YOU TRUMP as loudly as anything I've yet heard. Jump on the Omeed train. Your children will be proud you did." --Byron Coley, 2018 Edition of 300.
LP $18

HOLLOW DECK - All The Roots (Feeding Tube Records 352; USA) "Second album by Western Mass's most exciting live band is now in hand, and it's a swirling web of dooziness. Recorded by Ted Lee at Fayre Lawn, the team of Mia Friedman and Andy Allen have created a masterpiece of strange familiarities. Using a large array of instruments -- banjo, gourd banjo, fiddle, guitar, tenor sax, clarinet, flute, drum machine, etc. -- the duo easily transcends any real or imaginary boundaries of what's possible to do with just four hands. The results are as amazing as they are hard to categorize. Listening to the album for the umpteenth time, brings to mind a wide variety of things: an album I have of a high school production of Lerner & Lowe's Brigadoon (1954); Virgil Thomson's 1954 recording of Four Saints in Three Acts, his collaboration with Gertrude Stein; Kronos Quartet's cover of Harry Partch's 'Barstow' from Howl U.S.A. (1996); Big Blood's recent work with Elliot Schwartz (2016); etcetera. There is an air of mid-20th century avant-garde romanticism hanging like a veil over this project. It probably has something to do with the concept of creating a bridge between vernacular culture and experimental performance (even if that performance is unconsciously wrought), but I'm too damn tuckered to get to the bottom of it right now. Suffice to say, All The Roots is a mighty devil of a record. It fulfills the promise of Hollow Deck's live show. And that is saying a pant-load and a half." --Byron Coley, 2018 Edition of 300.
LP $18


RECORD STORE DAY Celebration - This Saturday, April 21st, 2018

We used to say that Record Store Day was totally jive but but any holiday that celebrates the support and longevity of record stores, is fine with us. Sadly, Record Store Day has become too commercial. The majority of releases (100’s of them!?!) of little or no interest to most of the DMG subscribers, but we still seek out whatever buried treasures we can find… After searching through many lists, we have found a few items worth checking out…

A Short but Selective list of DMG’s Record Store Day Goodies:

ARTHUR LEE & LOVE - Coming Through You (Rock Beat 3417; USA) This set is a collection of rare live recordings, from a variety of venues, that originated between 1970 and 2004 and was produced by renowned archivist David Skye, with the blessing and participation of Diane Lee, Arthur Lee's widow. This is the first time a large collection of Arthur Lee & Love career spanning live recordings are being made available to the public. This vinyl package contains extensive liner notes and the cover artwork was designed by illustrator William Stout, internationally renowned as one of the first rock n roll bootleg cover artists. Stout also designed legitimate album covers for The Who, The Beach Boys, The Ramones, and The Smithereens and the original Rocky Rhino mascot. Released on Red Vinyl.
2 LP Set $35 [a handful in stock]

SUN RA - Astro Black (Modern Harmonic; USA) One of a handful of albums Sun Ra released on the legendary Impulse! label in the early '70s, Astro Black provides a comprehensive picture of where the Arkestra was around the time, drawing to the end of their ultra-free period and beginning to investigate more traditional jazz forms, and even the fringes of funk. Modern Harmonic is proud to present the first ever, proper reissue of this highly desired Sun Ra LP. The LP version is pressed on Astro Black/Purple vinyl and the record will look black on your turntable but show a purple swirl when you hold it between you and the sun, or the Sun.
CD $16 [LTD Edition of 1350]
LP (we are trying to get some but all copies are limited to just a few per store)

SUN RA - The Cymbals / Symbols Sessions: New York City 1973 (Modern Harmonic; USA) In 1973 Sun Ra and Arkestra established base in Variety Recording Studios in NYC to record an album for the Impulse! jazz label; depending on who you ask, this album was to be either titled Cymbals or Symbols. Half of this set eventually surfaced on the astro black market, but we've gone back to the original reels to bring you Cymbals as it was meant to be heard and paired with a second disc (Symbols) of unheard material from the 1973 sessions. Hear Ra's Baroque soundscapes, electrolytic clusters and dithering Moogs catalyze images of monoliths, space stations, computers malfunctioning and galaxies imploding on two compact saucers, all packaged in a gatefold jacket with liner notes by known Ra-fficianado Brother Cleve, with new art interpreted from the work of Jim Flora!
2 CD Set $26 [LTD Edition of 900 CD’s]
2 LP Set (we are still trying to get some but all copies are limited to just a few per store)

THE LEGENDARY MARVIN PONTIAC - Greatest Hits (Northern Spy 097; USA) “A bunch of us purchased Marvin Pontiac’s Greatest Hits back in 1999 on CD, and some of us totally bought into the story: Marvin Pontiac was an enigmatic genius of modern music. He was the son of an African father from Mali and a white Jewish mother from New York. Having been killed by a bus, this was a posthumous collection. Jackson Pollock listened solely to Marvin. Flea, David Bowie, Leonard Cohen, Iggy Pop, Beck, Angelique Kidjo, Mike Gordon and Michael Stipe were fans.
John Lurie’s story was deeply amusing and his music was extraordinary. The whole thing was characteristically ahead of its time and guaranteed to leave a permanent mark on your consciousness. Perhaps unsurprisingly, it still is and still does! We’re blissfully psyched to bring this music to vinyl for the first time for Record Store Day and to compact disc for a one-time pressing. Check out the music if you haven’t already and please help spread the word. The package, co-designed by John Lurie and Adam Downey, features a detail of Lurie's painting The sky is falling. I am learning to live with it.”
Personnel: Marc Ribot, Evan Lurie, John Medeski, Doug Weiselman, Jane Scarpantoni, Michael Blake, Steve Bernstein, Art Baron, Tony Scherr, Calvin Weston, Billy Martin and Marvin Pontiac.
LP $20 [LTD Edition Record Store Day Item]
CD Reissue due out: June 22nd, 2018

Saturday, April 21st is Record Store Day, so we will hopefully have the above Arthur Lee & Love LP, Sun Ra CDs and Marvin Pontiac LP in stock then. All items are first come, first served. After the weekend is over, we will be able to ship any orders that have come in from our international subscribers. So place your orders NOW please!

We just bought another small collection of rare vinyl: free/jazz, progressive and Downtown, so we will price as many of these as is possible for the Record Store day and regular clientele.


Bruce Lee Gallanter’s Recommended Gig List for March & April of 2018:


4/20 Friday
8:30 pm - Duo - David Buchbinder (trumpet, flugelhorn) Dave Restivo (piano) and special guests

4/21 Saturday
8:30 pm - dBE II - David Buchbinder (trumpet, flugelhorn) Marty Ehrlich (reeds) Mario Forte (violin) Tomas Ulrich (cello) Dave Restivo (piano) Mike Herrisey (bass) Anthony Lewis (drums)

4/24 Tuesday
8:30 pm - “Keter” - John Zorn Masada Book 3: The Book Beriah
Sofía Rei (vocals & charango), JC Maillard (saz bass), Franco Pinna (drums)

In collaboration with National Sawdust The Stone presents a series of World Premieres the last Wednesday of every month through 2018.
7pm at National Sawdust in Williamsburg. For details check:

4/25 Wednesday
8:30 pm - “El Gavilán (The Hawk)” - Tribute to Violeta Parra - Sofía Rei (vocals, loops, charango, caja vidalera), Juanita Añez (vocals), Valentina Añez (vocals), Leo Genovese (piano and keys), Dan Blake (soprano sax), Jorge Glem (cuatro), Franco Pinna (drums)

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!

4/26 Thursday
8:30 pm - Slides, Stills & Snapshots - Sara Serpa, Kyoko Kitamura, JD Walter, Monika Heidemann, Malika Zarra, Aubrey Johnson Grecia Albán, Sofía Rei (vocals)

4/27 Friday
8:30 pm - “Mycale” - John Zorn vocal quartet
Sofía Rei, Ayelet Rose Gottlieb, Malika Zarra, Sara Serpa (vocals)

4/28 Saturday
8:30 pm - “Umbral (Threshold)” - Sofía Rei (vocals, loops, charango, caja vidalera), Jorge Glem (cuatro), Juancho Herrera (electric guitar), Bam Bam (bass & keys), Antoine Cara (DJ, live electronics)

THE (NEW) STONE is located in The New School’s Glass Box Theatre
55 West 13th street - near 6th ave
All Sets at The New 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

Friday Apr 20
6:00PM THE PARHELION TRIO PRESENTS: ORBITS AND TRUMPET/CELLO - Sarah Carrier, flute; Ashleé Miller, clarinet; Nolan Tsang, trumpet; Jillian Blythe, cello
8:35PM DAVE KIKOSKI TRIO - Dave Kikoski, piano; Alex Claffy, bass; Colin Stranahan, drums

Saturday Apr 21
8:35PM IGOR LUMPERT & INNERTEXTURES - Greg Ward, alto sax; Igor Lumpert, tenor sax; Chris Tordini, bass; Kenny Grohowski, drums

Sunday Apr 22
8:00PM MATT DAVIS QUARTET - Matt Davis, guitar; Paul Jones, sax; Leon Boykins, bass; Peter Kronrief, drums
9:30PM BIXLER, COWHERD, SELICK, BOCCATO - David Bixler, alto sax; Robert Rodriguez, piano; Luke Selick, bass; Rogerio Boccato, percussion

Monday, April 23rd:
8:30PM SOUND TRAFFIC - Thollem McDonas, piano; Laura Ortman, violin; Miah Artola, visuals

Tuesday Apr 24
8:01PM KINAN AZMEH CITY BAND - Kinan Azmeh , clarinet; Kyle Sanna, guitar; Josh Myers, bass; John Hadfield, percussion

Wednesday Apr 25
6:00PM ANDREA WOLPER QUARTET: THE WEAVING - Andrea Wolper, voice; John DiMartino, piano; Ken Filiano, bass; Michael TA Thompson, soundrhythium
8:00PM SEAN CONLY TRIO - Michaël Attias, alto sax; Sean Conly, bass; Satoshi Takeish, drums
9:30PM MICHAEL BATES QUARTET - Jon Irabagon, tenor sax; Uri Caine, piano; Michael Bates, bass; Ben Perowsky, drums

Thursday Apr 26
8:01PM SONG YI JEON QUINTET - Song Yi Jeon, voice, comp.; Julian Shore, piano; Kenji Herbert, guitar; Peter Slavov, bass; Jongkuk Kim, drums

Friday Apr 27
6:00PM RYAN SLATKO TRIO - Ryan Slatko, piano; Josh Roberts, drums; Rick Rosato, bass
8:35PM LAGE LUND QUARTET - Lage Lund, guitar; Sullivan Fortner, piano; Matt Brewer, bass; Jochen Rueckert, drums

Saturday Apr 28
6:00PM TAHIRA INSPIRED - Tahira Clayton, voice; Billy Test, piano; Curtis Nowosad, drums
8:35PM LAGE LUND, OWL TRIO - Lage Lund, guitar; Will Vinson, alto saxophone; Orlando Le Fleming, bass

Sunday Apr 29
8:01PM JENNY SCHEINMAN & ALLISON MILLER’S PARLOUR GAME - Jenny Scheinman, violin; Carmen Staaf, piano; Tony Scherr, bass; Allison Miller, druums


I-Beam Presents:

Friday, April 20th 8:30 PM
Vinnie Sperrazza The Lion and The Scorpion
8:30pm Vinnie Sperrazza – solo drum set
The Lion and The Scorpion
Hank Mason – electronics, synths, piano
Yoon Sun Choi – voice, electronics
9:15pm - The Crooked Trio

Saturday, April 21st 8:30 PM
Oscar Noriega – Drums
Jeonglim Yang – Bass
Marta Sanchez – Piano
Lena Bloch’s Feathery

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.

Downstairs @ Bushwick Public House
1288 Myrtle Avenue , Bushwick
(Across the street from M train Central Ave stop)

Monday April 23rd
7pm Dore Kalmar Quartet
8pm Stephen Gauci - tenor saxophone
Sandy Ewen - guitar/electronics
Adam Lane - bass
Kevin Shea - drums
9pm Sandy Ewen - guitar
Matteo Liberatore - guitar
 Mystery Guest Guitarist
9:30pm Jason Mears - saxes
, Quentin Tolimieri - electric piano
Ken Filiano - bass
, Andrew Drury - drums
10:30pm Adam Caine - guitar
Bob Lanzetti - guitar
Adam Lane - bass, 
Billy Mintz - drums
11:15pm Spencer Friedman - guitar/electronics
, Ryan Shreves - synthesizer/electronics