This Week's Menu Features
Another Cornucopia of Challenging Sounds from Around the World
The Music of Exploration, The Sounds of Hope,
We Need the Spirit and Inspiration Now, More Than Ever, So Dig In:
Matt Mitchell Performs Tim Berne for Solo Piano! Mostly Other People Do the Killing Steve Berstein/Dave Taylor/Brandon Seabrook! Stephan Crumb’s Rhombal: Adam O’Farrill/Ellery Eskelin/Tyshawn Sorey! Tiger Trio: Myra Melford/Joelle Leandre/Nicole Mitchell! Joelle Leandre 10tet!
New from Not Two: Return of the Nu Band: Heberer/Whitecage/Fonda/Grassi! Peter Evans/Agusti Fernandez/Mats Gustafsson! Liudas Mockunas/Rafal Mazur/Raymond Strid! Ballister: Dave Rempis/Fred Lonberg-Holm/Paal Nilssen-Love! Joel Futterman Solo! Lajos Dudas Trios!
Plus Historic Discs from: East of Eden! Conrad Schnitzler! Mike Cooper! Charles Hayward Duo! Jim O’Rourke Duo! 2 from Phil Milstein & Thurston Moore! John Fahey & His Orchestra! And Even More Dynamite Treasures..!
The FREE DMG Weekly New Music In-Store Series Continues on Sundays with:
Sunday, February 12th:
7pm: MICHAEL LYTLE / NICK DIDKOVSKY / MATT OSTROWSKI -
Bass Clarinet / Guitar / Synthesizer!
Sunday, February 19th:
6pm: NICK FRASER and INGRID LAUBROCK - Drums & Sax
7pm: MOOSEBUMPS: Sax and Drums from Sweden
Sunday, February 26th:
6pm: AARON RUBINSTEIN / JONATHAN MILBERGER / MICHAEL LAROCCA
7pm: JOHN WELSH / AUSTIN WHITE / ANDERS ZELINSKI- Guitar/Bass/Drums!
Sunday, March 5th:
6pm: MUSIQUE LIBRE FEMMES QUARTET: CHERYL PYLE / JAMIE BAUM / CLAIRE DALY / CLAIRE de BRUNNER - 2 Flutes, Baritone Sax and Bassoon!
DMG is located at 13 Monroe St. (between Catherine & Market Sts) in a basement below a former Buddhist temple & beauty salon. 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 Cosy
* MATT MITCHELL//TIM BERNE - Førage (Screwgun 70021; USA) “The compositions of iconic saxophonist/bandleader Tim Berne have earned renown for their intensely kinetic, dizzyingly intricate quality as performed around the world by his various groups over the past four decades. With the album førage – available digitally and on CD from Screwgun – listeners have the chance to experience Berne’s music as never before, in versions for solo piano. Virtuoso pianist Matt Mitchell, a member of Berne’s hit band Snakeoil, has explored the full range of the composer’s songbook. In fact, Berne says: “No one knows my music better than Matt.” On førage, Mitchell devises mash-ups of multiple compositions, improvises new angles off the music, and often slows it down to reveal heretofore hidden beauties – limpid harmonies and ruminative melodies, like dark pearls unspooled. Studio maestro David Torn – a longtime sonic co-conspirator with Berne, as well as producer of Mitchell’s past two albums – helmed the recording of førage. The cover artwork and distinctive CD package is by Steven Byram, who has worked hand in glove with Berne for decades.” - Screwgun
Over the few years, pianist & composer Matt Mitchell has moved from strength to strength, with two great discs as a leader on Pi Records, as well as being a member of several ensembles: Claudia Quintet, Tim Berne’s Snakeoil and Dave Douglas units. Both Tim Berne and John Zorn have been singing the praises of Mr. Mitchell for his interpretations of their music. Mr. Mitchell has been an essential member of Tim Berne’s great Snakeoil band, appearing on all three of their ECM CDs. Mr. Berne hasn’t released anything new on his own Screwgun label in a while, so we know that something special is going on here. I played this disc several times in a row yesterday (2/7/17) at the store and was amazed at how astonishing it is. The first thing I noticed when listening to this disc at home is how well it is recorded: warm, perfectly balanced, superb. Mr. Mitchell does a great job of taking those difficult songs from Mr. Berne and expanding them, weaving in several lines, shifting the currents in his own distinct way. Anyone who has listened to the music of Tim Berne at length, knows the way the music develops: often repeating a phrase over and over and then altering it as it slowly evolves into something else. Mr. Mitchell handles these pieces in a similar way, starting with stating the theme and then adding different flourishes as it evolves. At the last Bagatelles Marathon that John Zorn did at National Sawdust a few months ago, Mr. Zorn singled out Matt Mitchell for his stunning interpretations of his music and had Mr. Mitchell play some solo piano versions. This disc is by far the best solo piano offering I’ve heard since Ron Stabinsky’s gem from last year. Excellent! - Bruce Lee Gallanter, DMG
* Matt Mitchell will play a Solo/Ensemble set at National Sawdust in Brooklyn on Wednesday, February 22nd at 7pm - for more info see way below in the gig rec section
MOSTLY OTHER PEOPLE DO THE KILLING [With MOPPA ELLIOTT / JON IRABAGON / RON STABINSKY / KEVIN SHEA STEVE BERNSTEIN / DAVE TAYLOR / BRANDON SEABROOK] - Loafer’s Hollow (Hot Cup 161; USA) Featuring Jon Irabagon on tenor & sopranino saxes, Steve Bernstein on trumpet & slide trumpet, Dave Taylor on bass trombone, Brandon Seabrook banjo & electronics, Ron Stabinsky on piano, Moppa Elliott on bass & compositions and Kevin Shea on drums. This is the 11th release from the Downtown greats Mostly Other People Do the Killing (MOPDTK). Since founding member, Peter Evans, left a couple of years ago, MOPDTK have expanded their ranks with several guest members. Keeping in the tradition of earlier discs from MOPDTK, this disc is named after a town in south west Pennsylvania. Five of the eight pieces here are dedicated to authors that Mr. Elliott enjoys: Kurt Vonnegut, Thomas Pynchon, Cormac McCarthy, James Joyce and David Foster Wallace. Each of these pieces were inspired by a section of oner of their novels. What I always dig about MOPDTK is that their music embraces a more uplifting, quaint or even silly side. In an era when everyone seems worried about the more present and immediate future, we need this more infectious vibe more. Starting with “Hi-Nella”, the song sounds like it was inspired by Dixieland, complete with nifty banjo and an infectious solo from special guest Steve Bernstein on trumpet. “Honey Hole” is a another swell, bluesy ditty which reminds me of music for a striptease. What is odd about this music is that it is hard to place it in the history of jazz timeline since it draws from several different schools. In the middle of “Kilgore”, Mr. Irabagon plays an intense, freer solo on sopranino sax that seems to come from another dimension which is followed by an impressive, crazed, sped up piano solo from Mr. Stabinsky. During “Mason and Dixon”, the band work their way through the theme of “Mercy, Mercy, Mercy”, at times yet still move into some unexpected detours. MOPDTK are always filled with surprises, different sections of combinations of players collide yet seem to somehow fit together. No one ensemble, Downtown or otherwise, quite sounds like them and that is a great thing. - Bruce Lee Gallanter, DMG
STEPHAN CRUMP’S RHOMBAL With ADAM O’FARRILL / ELLERY ESKELIN / TYSHAWN SOREY - Self/Titled (Papillon Sounds 51516; USA) Featuring Adam O’Farrill on trumpet, Ellery Eskelin on tenor sax, Stephan Crump on bass & compositions and Tyshawn Sorey on drums. I\ve caught bassist Stephan Crump play live several times over the past few years with Kris Davis, Mary Halvorson, Vijay Iyer, as well as with his own Rosetta Trio. He never ceases to impress me with his playing and writing. For his new disc he has organized an interesting quartet with Adam O’Farrill on trumpet (son of Arturo & grandson of Chico) and Downtown tenor titan Ellery Eskelin. The ever in-demand drummer, multi-bandleader and composer, Tyshawn Sorey, completes this quartet and worked with Crump in the Vijay Iyer Quartet.
“During the advent of bop and the hot n' heavy mainstream swing years, a session with a stellar lineup of critically acclaimed musicians would often be referred to as the [insert magazine name] Critics' Poll All-Stars or something like John Doe and his Jazz All-Stars. However, venerable bassist Stephan Crump underscores the premise of this album as a "commemoration" that is not about sadness but the "spiritual revolution I witnessed in my brother during our last days together." But the program does not communicate a dour outlook as he enlists the crème de la crème of highly influential musicians to get the job done. The leader's prominent and resonating acoustic bass lines generate the perfect elixir in tandem with drummer Tyshawn Sorey's penetrating polyrhythmic attack, whether band abides by a Laisse- faire gait or when mixing it up within hard bop or off-centered schematics.
They ignite the events with the cool, gusty and forceful mid-tempo waltz "Nod for Nelson," yet render a hearty attack, outlined with soft choruses and snaky unison phrasings on "Skippaningham." Regardless of tempo, the ensemble places emphasis on improvisational invention, largely via trumpeter Adam O'Farrill and saxophonist Ellery Eskelin's shrewdly executed exchanges riding above the rhythm section's power-packed support. Diversity is also a key factor. For example, Sorey vaults into a peppery funk rock groove on "Esquima Dream," leading to the frontline's terse thematic statements that elicit notions of conquest or triumph, evolving into several iterations of the primary hook. No doubt, the band's uncluttered format enables the musicians to articulate a great deal of artistic expressionism. Hence, the recording studio is a mini art-colony. Otherwise, they skirt the fringes of free style avant-garde but not for lengthy durations.
Crump's compositions impart concise and easily expandable storylines, along with his associates who fluently operate through numerous jazz-based modalities, rolling along at a rather appeasing space amid various dips, spikes and intensifying moments.” - Glenn Astarita, AllAboutJazz
TIGER TRIO [MYRA MELFORD / JOELLLE LEANDRE / NICOLE MITCHELL] - Unleashed (Rogue Art 074; France) “An interesting grouping, with semi-frequent collaborators Joëlle Léandre and Nicole Mitchell teaming up with Myra Melford for a live performance of freely-improvised music. Although each of these players is known for their compositional and improvisational prowess, Melford has done comparatively less work in a purely free vein, so I approached this record with a good deal of inquisitive interest. How would Melford’s lyrical approach to the piano, typically working within well-defined compositional parameters, fare in this unstructured context? Quite well, actually. All three musicians establish a sympathetic rapport that results in a beautiful, graceful musical vision.
The group’s name (and the title of the record for that matter) is a bit misleading. Most of the music here isn’t “tiger”-like at all, and it certainly isn’t out-of-control aggressiveness. On the contrary, as freely-improvised music goes, this is remarkably disciplined and focused, with an emphasis on careful collaboration and mutuality that gives each track a unified feel and strong tonal center. I couldn’t determine if the names of the tracks were assigned after the recording, but they’re all nature-themed: “Bright Sunshine,” “Threatening Clouds,” “Summer Rain,” and so forth. Even here, the titles of the tracks don’t always seem obviously connected to the music itself: “Heavy Hail” moves loosely around a deliberate, even meditative bass figure by Léandre and gentle, yearning phrases from Mitchell, and “Dazzling Snow,” the record’s closer, is one of the record’s more rambunctious and ominous tracks, with Melford’s percussive left hand in punchy dialogue with Mitchell and Léandre.
But no matter. The music is frequently transfixing and stunning in the intricate interplay involved in its creation. Mitchell’s technique on the flute is impressive as always, as she alternately offers multiple tones, rapid runs, and an occasional touch of mysticism (evident on “Heavy Hail” in particular). Melford’s approach typically involves dense clusters of notes, particularly in conversation with Léandre, who is as stylistically diverse and virtuosic as always. Whether in dynamically rich, propulsive arco passages or simply plucking a few well-chosen individual notes, Léandre serves as a vital lyrical force, often referencing and elaborating upon the tonal palettes utilized by Melford and Mitchell. On the second track, “Freezing Rain,” Léandre matches Melford’s agile locutions superbly, the two musicians in perfect rapport, each with the utmost confidence in their own statements but with the care in listening needed to develop their ideas in true conversation. And hearing the three together on “Dust Storm,” with Mitchell’s swirling flurries dancing around the more percussive contributions of Melford and Léandre, we are given a stirring reminder of just how much music can be created through purely spontaneous improvisation.” - Troy Dostert, FreeJazzBlog.Org
JOELLE LEANDRE 10 With JEAN-BRICE GODET/JEAN-LUC CAPPOZZO/ALEXANDRA GRIMAL/ et al - Can You Hear Me? (Ayler 146; EEC) “French double bass master Joëlle Léandre is known as a unique and innovative free-improviser who keeps expanding the sonic palette of the double bass, but has rarely focused on the field of orchestral composing. Her major composition so far is “Can You Hear Me?”, dedicated to Léandre parents, written for a tentet and premiered in the 2009 (and released as Live at the “Ulrichsberger Kaleidophon”, Leo Records, 2011).
This is a reflexive work-in-progress that addresses Léandre's, or any other creative artist's, existential question, a cry for an echo from another presence. Why do we keep creating this kind of art? Do we reach audience's minds and hearts? Do we change the audience's conceptions about art? Social conventions? Gender issues? What about politics? Obviously, Léandre's art is always very personal, as it radiates her restless, passionate and often funny character, yet she is also a very political person. Léandre is always looking for means to shake and change old and archaic conventions and institutions - in art, in society, and in politics. She demands a better, egalitarian, and more compassionate approach, and quite often tends to mock the pretentious ones who cling to some kind of a superior status.
This re-creation of Can You Hear Me? was also recorded live on January 29th, 2015, at L'Arsenal, Metz, France. The instrumentation of the tentet is the same as on the previous recording but the personnel is different. The former recording featured an almost all-Austrian ensemble comprised of musicians that have not played before with Léandre. The new tentet features an all-French ensemble with few close musical partners of Léandre as trumpet player Jean-Luc Cappozzo, violinist Théo Ceccaldi, and his brother, cellist Valentin Ceccaldi.
As on the previous recording, this composition reflects on Léandre past collaborative work with iconoclast composers as John Cage and Giacinto Scelsi, but echoes her forty years career and integrates elements of free jazz, free improvisation and some that are more common with noise and even prog rock. But it is not a nostalgic work. Léandre structured it as a 9-untitled pieces suite that make full use of the rich and colorful language of the tentet, constantly generating and encouraging individual, imaginative interpretations from all the musicians. The tentet deepens the atmosphere of an organic, collective chaos, but at the same time Léandre navigates the myriad musical events into a cohesive narrative. Léandre takes the lead only towards the end of the composition, first with an expressive, lyrical double bass solo on the seventh piece, then singing in theatrical, operatic voice on the eight-piece, transformed into suggestive and hypnotic chanting of syllables on the last, ninth piece.
The debut recording of Can You Hear Me? sounded more ecstatic and urgent. This version emphasizes its subtle language and the clever metamorphoses between the different parts. Both highlight the absolute musicality of Léandre, one-of-a-kind individual and both are highly recommended.” - Eyal Hareuveni, FreeJazzBlog
Three Great New Discs from Not Two:
NU BAND [THOMAS HEBERER / MARK WHITECAGE / JOE FONDA / LOU GRASSI] - Live in Geneva (Not Two 948; Poland) Featuring Thomas Heberer on trumpet, Mark Whitecage on alto sax & half-horn, Joe Fonda on bass & flute and Lou Grassi on drums. Similar to other legendary Downtown bands like Other Dimensions in Music, Masada, Trio X or the David S. Ware Quartet, The Nu Band stands tall with some eight great live discs on different labels, starting around 2001. After playing together for so long, they have their own sound, with each member integral to the group sound. With untimely passing of frontline trumpet wiz, Roy Campbell in January of 2014, the Nu Band has continued with ICP trumpeter Thomas Heberer taking Roy Campbell’s place. This is the second Nu Band disc with Heberer and each member of the quartet contributes a song, mostly pretty long. Lou Grassi’s “Lunch for the Pharaoh” is first and with hypnotic spaciness that is both free and focused. both horns trading lines in a magnificent way. Mark Whitecage kicks off “Little Piece” on his half-horn which I think is a short clarinet, unaccompanied and feisty at first, with Mr. Heberer on some spirited bent-note muted trumpet joining in. I really dig “Five O’Clock Follies” since it swings with an infectious glee, the often under-rated Mark Whitecage taking a burning solo on his trusty alto sax. Even without the witty political rants by Roy Campbell, the Nu Band continue to capture the infectious spirit of free-spirited music at it best! Join them in their pursuit of freedom and ride the waves into a tempestuous sea. - Bruce Lee Gallanter, DMG
PETER EVANS / AGUSTI FERNANDEZ / MATS GUSTAFSSON - Quietness of Water (Not Two 952; Poland) Featuring Peter Evans on trumpet, Agusti Fernandez on piano and Mats Gustafsson on saxes. This was recorded in a studio in Vienna in July of 2013. This is the second disc from the EFG Trio, plus all three members of this trio were part of Mr. Gustafsson’s Nu Ensemble, whose great box-set came out last year called ‘Hidros 6 Knockin’’. Mr. Fernandez and Gustafsson also have a couple of duo discs out plus both are members of there Barry Guy New Jazz Orchestra. The first thing I noticed about this is that all three of these men are masters of extended techniques. So it is difficult to tell who is doing what when this disc begins. The selective combination of odd breath-like sounds and scraped strings make this a strange yet compelling concoction. Soon the dark, heavy pounding at the low end of the piano and intense bari sax swirl around one another. From stripped down mysterious sections to some more intense moments, there is a a great deal in store for this long improv/journey. There is a section on “Thoughts” where trumpet and piano seem to lift off together, often bathed in suspense, moving in dreamy slow motion. Eventually the chattering horns and piano scrapings build and sound great together, minimal at times yet still most effective. I don’t think that I’ve heard another Mats Gustafsson or Peter Evans disc that sounds quite like this one. The restraint and careful improvising is at its best here just as long as you have the patience to let things occur where they do with notes like specs of paint on a stark canvas, erupting on rare occasion. When things speed up in the last piece, we know we are in for something special! - Bruce Lee Gallanter, DMG
LIUDAS MOCKUNAS / RAFAL MAZUR / RAYMOND STRID - Live at Divadlo 29 (Not Two 945; Poland) Featuring Liudas Mockunas on soprano, tenor & bass saxes, Rafal Mazur on acoustic bass guitar and Raymond Strid on drums & percussion. This is certainly an odd trio with all three members from very different scenes. Lithuanian saxist Liudas Mockunas has played here at DMG and has worked with William Hooker, Mats Gustafsson, Stefan Pasborg and is a member of the Konvoj Ensemble. Polish acoustic bass guitarist Rafal Mazur can be heard on a few duo recordings with Agusti Fernandez and Keir Neuringer. Swedish drummer Raymond Strid can be heard on some tow dozen discs with Fire! Orchestra, Gush and the Barry Guy New Orchestra. This disc was recorded live in the Czech Republic in 2012 at the Krakow Jazz Festival. This set is superbly recorded and all three instruments sound closely mic’d with perfect balance. Things start out with an intense blast of free & frenetic activity before they calm down to some more restrained sections. Mr Mazur sounds like he is playing a fretless acoustic bass guitar and has a warm, found, expressive tone. On “Finale”, Mr. Mockunas’ sly soprano sounds especially strong soaring like a snake charmer hypnotizing a serpent. This is a terrific trio and this is a strong, inspired performance. It feels great to have the performance lift us out of our sets and take us along for the roller-coaster ride! - Bruce Lee Gallanter, DMG
* Back or still in stock from Not Two/Kilogram/MultiKulti:
JOELLE LEANDRE With FRED FRITH / EVAN PARKER / IRENE SCHWEIZER / AGUSTI FERNANDEZ / MAT MANERI / LAUREN NEWTON / MAGGIE NICOLS / JEAN-LUC CAPPOZZO / ZLATKO KAUCIC - A Woman’s Work… [8 CD Box Set](Not Two 950; Poland) Outstanding 8 CD set, box-set of the year!
8 CD Set $80
PETER BROTZMANN / STEVE SWELL / PAAL NILSSON-LOVE - Live in Copenhagen (Not Two 949; Poland)
CD $16 (On sale this week - 2/10 - 2/16/17)
THE DKVTHING TRIO With MATS GUSTASSON / KEN VANDERMARK / KENT KESSLER / INGEBRIGT HAKER-FLATEN / HAMID DRAKE / PAAL NILSSON-LOVE - Collider (Not Two 930; Poland)
CD $16 (On sale this week - 2/10 - 2/16/17)
RODRIGO AMADO / MIGUEL MIRA / GABRIEL FERRANDINI - Desire & Freedom (Not Two 946; Poland)
MIKOLAJ TRASZKA - Delta Tree (1 KG 032; Poland) Excellent solo reeds effort from one of Poland's finest players!
BALLISTER [DAVE REMPIS / FRED LONBERG-HOLM / PAAL NILSSON-LOVE - Slag (Aerophonic 013; USA) Ballister remains Dave Rempis on alto & tenor saxes, Fred Lonberg-Holm on cello & electronics and Paal Nilssen-Love on drums & percussion. This is the fourth disc from Mr. Rempis’ ongoing trio Ballister. Mr. Rempis juggles between several ongoing ensembles, each one very different. Chicagoans Rempis and Lonberg Holm have worked together in several ensembles with Ken Vandermark. Rempis and Nilssen-Love also worked together in Vandermark’s Territory Band. This disc was recorded at Cafe Oto in London in March of 2015. There are just three long pieces here two at around 23 minutes and one at 11 minutes. Ballister are/is an intense trio! Although Mr. Lonberg-Holm plays cello on “Fauchard”, it is hard to tell since the sounds we hear are a blur of bristling activity. Too much! Things break down to a more laid back duo section of sax and cello during the first long piece. In recent years, there are two drummers who always stand out in whatever musical situation they land in: Hamid Drake and Paal Nilssen-Love. Nilsson-Love is in great form here, balancing all of the rhythmic elements with grace, craft and pulse. One one point, there are only drums or cymbals left by themselves, the undertow or current remains, bridging the gap between a duo and the next trio section. All three members of this trio are integral to the success of this wonderful improv/discourse. I like when the pace slows down midsection, with Lonberg-Holm playing some strange yet fascinating electronic sounds along with Rempis rip-roaring tenor and eventually Nilssen-Love’s colossal drums. The pace and power hit that boiling point, fast and furious and in-your-face! This is the best trio offering I’ve heard in recent memory, absolutely extraordinary! - Bruce Lee Gallanter, DMG
JOEL FUTTERMAN - Pathways (JDF 12; USA) Featuring Joel Futterman on solo piano, recorded in Washington, DC in December of 2016, just a couple of months ago. Although originally from Chicago, Mr. Futterman has been based in Virginia since 1972. His first of many records was released in 1980 and there have been some seventy releases since, from some twenty solo efforts to duos, trios and quartets. Futterman has done many collaborations with Kidd Jordan, Ike Levin and Alvin Fielder as well as other free/jazz giants like Jimmy Lyons, Joseph Jarman and Paul Murphy. Mr. Futterman has sent us more than a dozen solo efforts over the past decade, usually one a year and all well worth checking out. There are just two long pieces here, “Pathways”, Parts 1 & 2, both around a half hour each. It takes a while to adjust to Futterman’s cascading waves of notes. Sections where Futterman erupts with several fractured lines moving around one another remind me of that Cecil Taylor-like intensity and power, later using the sustain pedal for a dense fog of notes. I am also reminded of the way that Don Pullen used to explode at the piano with crashing waves. Midway on ‘Part 1’, Futterman slows down to a spacious, haunting pace, allowing a sense of calm to take over before he slowly building back up to into another flurry of swirling lines. I love the way this entire disc evolves organically from section to section, speeding up and slowing down, thoughtfully constructed. This is a tour-de-force, and works as a whole. it is nearly symphonic in the way it moves, sweeping like a sea of strings. There are other sections that sound orchestral with some elegant results late in the program. One of the best solo piano discs I’ve heard in a long while. - Bruce Lee Gallanter, DMG
CHRISTY DORAN’S SOUND FOUNTAIN - Belle Epoque (Between the Lines 71242; Austria) I will review this if & when we get a promo. - BLG
LAJOS DUDAS With PHILIPP VAN ENDER/KURT BILLKER or JOCHEN BUTTNER - Some Great Songs - Volume 2 (JazzSick 5106; Germany) Featuring Lajos Dudas on clarinet, Philipp van Endert on guitar and Kurt Billker or Jochen Buttner on percussion. “It's been a long time since the great German-Hungarian clarinetist Lajos Dudas released the first volume of Some Great Songs (Double Moon Records, 1998). Here he is again with an especially diverse collection of material, ranging from bossa nova to modern jazz to standards. These are intimate arrangements centered around Dudas' clarinet and Philipp van Endert Trio's guitar; they are joined by Kurt Billker or Jochen Büttner on percussion on five of the eight tracks.
Geraldo Pereira's "Falsa Baiana" opens the set on a sunny bossa note (with Billker's gently grooving percussion). While there have been numerous recordings, it's not one of the bossa workhorses, so it is still fresh. The bass-less trio approach works especially well for this style, and it's a recurring sound in the set. Charles Mingus' "Goodbye Pork Pie Hat" follows, and serves notice that not all of the arrangements will be sunny and light. It's all atmosphere, with volume swells from the guitar, echoing clarinet, and clattering, textural percussion from Büttner. Paul Desmond's classic "Take Five" receives similar treatment: Dudas plays it as a ballad, while guitar overdubs (or looping) provide both a bass line and atmospherics, and Büttner again plays texture instead of timekeeping.
The other modern jazz classics are both played without percussion. The fleet unison lines of Bill Evans' "Interplay" and the blues of Miles Davis' "Vierd Blues" are played straight ahead, and van Endert gets a chance to show the full sound he can get as sole accompanist. Dudas sneaks one original into the duet portion of the program, his lovely ballad "A Quiet Day." Charlie Chaplin's "Smile" is played as a bossa. The clarinet does not enter with the head until halfway through, putting a spotlight on Billker's rich percussion arrangement. Franz Lehar's sweet standard "Yours Is My Heart Alone" (from the 1929 operetta The Land of Smiles) closes the set. Dudas' lyrical clarinet gives way to a Latin groove after Billker enters, a feature for the guitar—with a humorous tag to end the tune and the album.” - Mark Sullivan, AllAboutJazz
Last Copies of these LTD Edition CD-Rs from the Greek experimental Thirsty Leaves label:
MOODY ALIEN - Harm’s Bright Smile/Civilization in the Forest (Thirsty Leaves; Greece) A few months ago, we got a half dozen discs from the Thirsty Leaves label, which is based in Greece. Al, who runs the label, also goes under the name of Moody Alien. Thanks to a good deal I made with Al, we were able to get six sets of the last group of hand-made discs on this wonderful, experimental music label. All but one of the those complete sets are now gone, the last set is missing one of the original six but that one is replaced by an earlier disc by Moody Alien which we got multiple copies of.
‘Harm’s Bright Smile/Civilization in the Forest’ consists of two sessions, each with its own name. Although the instrumentation includes harmonica, acoustic guitar, baritone electric guitar, snare drum and ride cymbal, it is often difficult to tell what the sound source actually is. “Look Ma, No Arms” sounds like analogue synth from the space/rock days of the mid-seventies. I am reminded of Pink Floyd (circa ‘Meddle’) or Krautrock, with somber, shimmering electronics clouding our senses. Moody Alien does a great job of carefully manipulating his sounds, weaving in bits of random static, disembodied voices, ethereal and ghost-like… he is a subtle sonic manipulator who is able to change the mood or vibe by altering the way his sound unfold, float and drift from space to space. This disc is very long (73 minutes) so some patience is required to take it all in. I am impressed with the way he creates assorted alien worlds for us to inhabit for different lengths of time. Just a few left at present and yes, they are now out-of-print. - Bruce Lee Gallanter, DMG
CD $14 [LTD Edition of 50/numbered]
MULTUMULT - Zig Zag [LTD Edition of 100-numbered/Handmade Covers] (Thirsty Leaves; Greece) Personnel: Calin Torsan on clarinet, alto sax, recorder & flute; Victor Podeanu on electric guitar; Andrei Kivu on electric cello and Juan Carlos Negretti on drums. Recorded in Bucharest, Romania, in a studio early 2015. While listening to this disc, I tried to recall any other Romanian musicians or composers that I was familiar with. Here’s my short list: three great composers: George Enesco, Iancu Dumitrescu and Horatu Radulescu plus Taraf De Haidouks & Mahala Rai Banda (two ethnic ensembles, pianist Lucian Ban, vocalist Maria Raducanu (with a CD on Tzadik) and violinist Frederika Krier, who played here at DMG in the past. Multumult don’t quite sound like anyone else. On the first piece, “Zig”, the quartet improvise but soon get into a rocking groove which doesn’t last very long. It sounds like No Wave at this pony but soon slows down with some James Chance like bent sax. I like that the quartet settle down to a calm episode for “Dedal”, just under five minutes and just enough time to mellow a bit. The music doesn’t seem to sound Romanian in any way as there of no folk-like melodies to speak of. It is more non-idiomatic, free-flowing, episodic yet organic… The guitarist moves through fleeting Jon Abercrombie-like flashes to Phil Gibbs-like twists & turns. When they speed up again, the clarinet and drums play those quick fluttering lines together. There is a section on the 20-minute piece called, “Zag”, where they nearly Henry Cow-like, but with Olly Halsall replacing Frith (in spurts) for some sections. There is even a short section of wacky vocals which are buried a bit yet fit just right. Since Multumult don’t quite sound like anyone else, I can compare then to anyone else. I am impressed since they seem to move to their own twisted logic. An unexpected treat that seems most promising, especially if this is their debut. - Bruce Lee Gallanter, DMG
XU(E) - Brown Jenkin [LTD Edition of 50/numbered/handmade Covers] (Thirsty Leaves; Greece)Xu(e) is the duo of Nicola Fornasari (Xu) on pedals, double bass, radio, etc and Andrea Poli (Xue) on ambient software module & samples. The duo haven’t actually seen each other for years but have “developed a kind of alchemical, asynchronous remote collaboration as a creative process, where time and space play almost no role. “Space-Time Continuum” kicks things off with layers of resonating frequencies, fragments of voices, fluctuating static, shimmering currents moving together for the short intro. “Fever” has an almost funky groove buried in the noise, a hypnotic acoustic bass line at the center of flames dancing. I dig the way there is a simple groove at the center with several layers of electronic weirdness bubbling or erupting on top. “A Queer Thrill” is pretty intense, reminding me of an ancient (early 80’s) electronic/noise duo from central Jersey called Smersh. What is interesting is that the duo never layer anything to densely so it is easier to hear what they are doing. Some electronic music tends to be too harsh or dense and unsettling. Not this music, it gets close to being ominous but never goes too far. At around 44 minutes, this disc didn’t seem long enough yet I was often mesmerized nonetheless. I had to listen very closely to hear the textures were surgically manipulated. Time to listen again and again. - Bruce Lee Gallanter, DMG
CD $14 [LTD Edition of 50/numbered]
Last Complete Thirsty Leaves 6 CD Set:
1) RUI BONITO - Low Key [LTD Edition of 50/numbered/handmade Covers] (Thirsty Leaves)
2) MOODY ALIEN - Down to the Junkyard [LTD Edition of 50/numbered/handmade Covers] (Thirsty Leaves ,Greece)
3) MULTUMULT - Zig Zag [LTD Edition of 100-numbered/Handmade Covers] (Thirsty Leaves ,Greece)
4) OBERLIN - Writing On Water [LTD Edition of 50/numbered/handmade Covers] (Thirsty Leaves ,Greece)
5) XU(E) - Brown Jenkin [LTD Edition of 50/numbered/handmade Covers] (Thirsty Leaves)
6) MOODY ALIEN - Harm’s Bright Smile/Civilization in the Forest (Thirsty Leaves; Greece)
6 CD Set for $70 (All limited edition with hand-made covers, numbered)
Back in stock from Screwgun - Last Copies, when Mr. Berne sells out, that will be it so don’t wait:
TIM BERNE / HARD CELL With CRAIG TABORN/TOM RAINEY - Acoustic and Electric Hard Cell Live (Screwgun 70014; USA)
TIM BERNE With MARC DUCRET/HERB ROBERTSON/COPENHAGEN ART ENSEMBLE - Open, Coma [2 CD Set] (Screwgun 70012; USA)
2 CD Set for $20
TIM BERNE/HARD CELL With CRAIG TABORN/TOM RAINEY - [Feign] (Screwgun 70015; USA)
TIM BERNE'S SCIENCE FRICTION With MARC DUCRET/CRAIG TABORN/TOM RAINEY - Mind Over Friction: Science Friction [3 CD Set] (Screwgun 70018; USA)
3 CD Set $30
PARAPHRASE [TIM BERNE/DREW GRESS/TOM RAINEY] - Visitation Rites (Screwgun 70002; USA) Out-of-print, last three unplayed copies!
JULIUS HEMPHILL - Blue Boye (Screwgun 70008; USA)
2 CD Set $20
Back in Stock, Finally:
TONY WILLIAMS LIFETIME With JOHN McLAUGHLIN/LARRY YOUNG/JACK BRUCE//BILL LASWELL - Turn It Over (Redux): Mix Translation By Bill Laswell (Yellow Jester 124C41; USA) [Ltd Ed CD-R] Unabridged version of the complete album includes 4 UNRELEASED CUTS, AND 5 LONGER UNEDITED VERSIONS from album sessions - which was intended as a double LP but only released as an editied single LP; cover art by Russell Mills, liner notes by John Szwed. Thanks to Bill Laswell for rescuing, and finally giving a proper mastering to match William's original intentions, to this most seminal, groundbreaking recording, mixing jazz, rock, prog and metal years ahead of virtually everyone else! Review of the shorter LP version: "The better of the two albums the Tony Williams Lifetime recorded in 1970, Turn It Over, is a far more focused and powerful album than the loose, experimental Ego, and one of the more intense pieces of early jazz-rock fusion around. In parts, it's like Jimi Hendrix's Band of Gypsys with much better chops. It's more rock-oriented and darker-hued than their debut, 1969's Emergency!, and the temporary addition of ex-Cream member Jack Bruce on bass and vocals alongside stalwart guitarist John McLaughlin [with whom Bruce recorded the instrumental album 'Things We Like' just before this] makes this something of a milestone of British progressive jazz. The album's primary flaw is that unlike the expansive double album Emergency!, these ten songs are tightly constricted into pop-song forms -- only a swinging cover of Antonio Carlos Jobim's "Once I Loved" breaks the five-minute mark, and then only barely -- which reins in these marvelous soloists too much. This is particularly frustrating since pieces like the two-part "To Whom It May Concern" feature some outstanding solos (especially from McLaughlin and organist Larry Young, the group's secret weapon) that are frustratingly, tantalizingly short. Expanded to a double album [as originally intended, and as this CD edition finally reveals], Turn It Over would probably surpass Emergency! as a pioneering jazz-rock fusion release; as it is, it's an exciting but mildly maddening session.” - Stewart Mason, AMG
Archival, Ethnic, Electronic and Other Strange Music in Between Categories:
EAST OF EDEN - New Leaf (Prog Temple 8065; UK) Prog Temple present a reissue of East Of Eden's New Leaf, originally released in 1971. East Of Eden had an unexpected top ten UK hit with "Jig-A-Jig" in early 1971. By that time they had undergone various changes in personnel and musical approach, though they were still led by violinist Dave Arbus (who guested on The Who's "Baba O'Riley" the same year). New Leaf was originally issued that November and found the band in fine form with a mixture of progressive and more laidback material. It makes a welcome return to CD here, together with background notes and images.
SOUTHERN COMFORT - Southern Comfort (Prog Temple 8066; UK) Prog Temple present a reissue of Southern Comfort's self-titled album, originally released in 1971. As Matthews' Southern Comfort, this superb British band enjoyed a massive worldwide hit with "Woodstock" in October 1970. Not long after the departure of Iain Matthews, the band decided to continue, recording Frog City in 1971 (PT 8014CD), followed by this laid-back, country-styled effort, which was also released in 1971 in December. It makes a long overdue return to CD here, together with background notes and images.
BAUDOUIN DE JAER - Eclerectic Attracta (Sub Rosa 433; Belgium) Surrounded by Quatuor Tana, the unpredictable Baudouin De Jaer presents four new pieces that push the boundaries of contemporary composition. Composer and violinist Baudouin De Jaer studied composition with Philippe Boesmans, Henri Pousseur, Frederic Rzewski and with Bruce Mather at McGill University in Montréal. His works have been performed by the following ensembles: Synonymes, Besides, Arditti, Quadro, Stream, Ear Unit, Musiques Nouvelles, Orchestre De Mulhouse, National Korean Orchestra, Orchestre Philharmonique De Liège, Timf Seoul Ensemble, Korean Project, Ensemble 21, and Ensemble 88. In 2010, Baudouin De Jaer was awarded a prize from the National Gugak Center for his Gayageum compositions. In 2011, he resolved the enigmatic music system of Swiss artist Adolf Wölfli and released a CD called The Heavenly Ladder on Sub Rosa (SR 312CD). Since 2011, Quatuor Tana has been the only European ensemble to be playing on electronic equipment with the Airturn Electronic Scoring System, which makes them an ideal partner for research neither calculated nor premeditated. Quatuor Tana's singularity rests on its undeniably unique and fiercely contemporary repertoire. Its musicians impose, in a single voice, four wills and four energies that, while attached to the quartet tradition, have firmly decided to expand the framework and find individual expression in contemporary creations. Their insatiable music curiosity pushes them to explore the multiple facets, styles and riches of scores created by living composers. Quatuor Tana has performed in major halls and festivals around the world. Eclerectic Attracta comes as a six-page digipak CD and comes with a 16-page booklet.
HAYES McMULLAN - EverydaySeem Like Murder Here (Light in the Attic 152; USA) "Bluesman. Sharecropper. Church deacon. Civil Rights activist. Hayes McMullan should be a name on every Blues aficionados' short-list and thanks to the preservation fieldwork carried out by one of the genre's greatest researchers some 50 years ago - it might soon be. Born in 1902, Hayes McMullan was discovered by the renowned American roots scholar, collector and documentarian Gayle Dean Wardlow. Wardlow, author of the seminal blues anthology Chasin' That Devil Music - Searching For The Blues, may be most famous for uncovering Robert Johnson's death certificate in 1968, finally revealing clues to the bluesman's mysterious and much disputed demise. Moreover, in his tireless and committed mission to preserve the Blues for future generations, he captured McMullan's raw talent on tape and on paper. Wardlow recorded these sessions, transcribed the songs and now, writes the sleeve-notes for this landmark release. Wardlow and McMullan met by chance on one of the former's record-hunting trips, in Tallahatchie County, Mississippi, in 1967. Having introduced himself to McMullan on a hunch, it turned out this unassuming elderly man had not only heard of Wardlow's idol, Charley Patton, but had played alongside him in the 1920s, as part of a brief musical journey that took him from the plantation to the open roads and juke joints of the Depression-era South. Striking up a friendship that was deemed unorthodox in 1960's Mississippi, Wardlow traveled to McMullan's sharecropper's shack and convinced him to play guitar for the first time since he quit the Blues for the Church in the '30s. 'Hayes was playing like no one I had ever heard,' Wardlow writes with amazement. Wardlow visited McMullan on a handful of occasions, always taking his recorder, a guitar and some whiskey with him. It was during these visits that Wardlow captured - with surprising clarity - the songs that make up Everyday Seem Like Murder Here. Hayes McMullan passed away at the age of 84 in 1986, his talent and legacy largely unknown. 'Reflecting now on our brief time together, I marvel at the small glimpse of something much larger I was lucky to have captured,' writes Wardlow. 'The few old snapshots I took, the handful of tunes we recorded, and his brilliant performance of 'Hurry Sundown' captured on film are all that's left of the musical legacy of Hayes McMullan, sharecropper, deacon, and - unbeknownst to so many for so long - reluctant bluesman.' All tracks previously unreleased (except track #3); Remastered from original tapes; Liner notes by blues historians Gayle Dean Wardlow & John Miller."
GROUP DOUEH & CHEVEU - Dakhla Sahara Session (BornBad 092; France) The random-access memory of an hourglass. On the one hand, there's Cheveu, the French three-member band, whose soundtrack has never ceased to question music codes by exceeding various genres and pushing back their limits. On the other hand, you have Group Doueh, a Sahrawi band from the Sahara desert (Dakhla). Their music spans across many styles and hammers tradition with unprecedented finds. In between both their remote musical universes dwells a sound clash. It embodies the meeting between two arts of living music day by day, two ways of transmitting, of enchanting the world or refusing to do so, of exploring the repertoire as well as tradition and creation, two visions of the collective - the list of reasons why these guys should have probably never met or could have failed to get along is quite extensive. This piece was recorded in two weeks in Dakhla in January 2016. The mere project seemed like a surreal challenge, something that was almost impossible to achieve and for which time was going to hold major importance. It brought about a telluric big bang, an atomic creation, a story of primitive energies setting the record straight in the whole world. That is, two radically different understandings of time. CD version comes in a digipak sleeve with a 36-page booklet.
BLACK FLOWER - Artifacts (Sdbanu Ultra 002; Belgium) Stirred up from deep within, from an abstract spiral of sound and movement, from a sensation of time and space absolving and converging at once, the Black Flower musicians have molded a tangible matter: the album Artifacts. Their second full album sounds international and ageless; Eastern influences, Ethio-dub, and jazz effortlessly merge producing psyche-delicious and accessible 21st century Ethio-dub-jazz. As if John Zorn put on Fela Kuti's shoes and imbibed Mulatu Astatke's whirls. Piloted by saxophonist/flutist/composer Nathan Daems (Ragini Trio, Dijf Sanders, Antwerp Gipsy-Ska Orkestra), this instrumental band aims for originality. Fellow musicians and "brothers down the road" are Jon Birdsong (dEUS, Beck, Calexico) on cornet, Simon Segers (Absynthe Minded, De Beren Gieren, Stadt) at the drums, Filip Vandebril (Lady Linn, The Valerie Solanas, Antwerp Gipsy-Ska Orkestra) on the bass, and Wouter Haest (Los Callejeros, Voodoo Boogie) playing keys. For many, the Ethiopian aspect once made known to the world by Mulatu Astatke will stand out. Still, Black Flower further adds oriental scales, Afrobeat à la Fela Kuti, jazz in a John Zorn way and varied western music traditions such as rock and dub. The resulting melting pot is undoubtedly inspired by Nathan's distant travels and the multifariously colorful city of Brussels. After their well-received debut album Abyssinia Afterlife (2014) which created an atmosphere of mythical figures and psychedelia, Black Flower now reflect on ancient and modern cultures. The album title Artifacts refers to centuries-old fragile objects or tools that empowered the development of human culture. The musicians' personal musical backgrounds and the result is an album with an ageless mystique. Artifacts is the synthesis of different cultures, of the past and present, and personal and collective memories. It is the soundtrack to modern reality, based on the elements that connect everybody. Uncomplicated originality, plenty of space for fantasy and an organic tone: those are the ingredients for Black Flower to lay claim to an age-old human ritual: dancing! Also features: Tcha Limberger plays violin on "Lunar Eclipse"; Gernas Shekhmous plays daf on "Realm And Era". CD version comes in an uncoated digisleeve.
CONRAD SCHNITZLER - Filmmusik 2 Bureau B 245; Germany) Bureau B present part two of their Filmmusik double release. In 1975, Conrad Schnitzler recorded various pieces of music to accompany films which had yet to be made. Fittingly, he labelled this collection of songs Filmmusik. Only one of the tracks - "Gute Fahrt" ("Nice Journey") - would ultimately be paired with a film, now traceable on the internet for all to see. The music is included on Part 1 of Bureau B's Filmmusik double release (BB 244CD/LP, 2016), erroneously entitled "02/1980". Why the incorrect title? The tapes, which served as source material for the label's two Filmmusik releases, were copied onto two data carriers then mislabeled. To be precise, one label was accurate - Filmmusik 1975 A - but the other, Filmmusik 1980 B, was not. All the tracks had been created in the same year, so it should have read "1975 B". In the absence of actual song titles, Bureau B simply gave them numbers. Not knowing of the above mentioned film at the time, the label called the track "02/1980", when they should have called it "02/1975 B" or, as they would later discover, "Gute Fahrt". Shortly after, Bureau B released Filmmusik 1 and Jin Kawai, curator of the official Schnitzler website, contacted the label with the information. In 2009, whilst sorting through reels of film (some shot by Schnitzler himself) and music to upload to the site, Kawai was particularly drawn to one piece entitled "Gute Fahrt". Were there any more tracks like this? Schnitzler told him there were and sent Kawai all of the other recordings. One half of Filmmusik 2 comprises tracks from the 1975 series, the other half is a 23-minute piece with the title "Lichtpunkte und schwarze Zeichen". This music was actually written for a film in 1978. The label was delighted to find it in 2015 and enthusiastically searched the Schnitzler archives for more of the same. This led the Bureau B to the 1975 recordings and the rest is history.
MAGNETBAND - Experimenteller Elektronik-Underground DDR 1984-1989 (Bureau B 253; Germany) Inspired by punk and post punk, vibrant scenes dedicated to independent self-actualization by means of self-distributed cassettes - the cheapest and fastest medium - were developing on each side of the Cold War's confrontational line. Albeit, under quite different circumstances. While there was a DIY euphoria in the West, which would also have had ideological motives, subcultures in the East simply had no other means. Even the first act of replication meant moving into illegal territory, since every duplication had to be authorized by State authorities, just like anything else. The protagonists - musicians, painters, poets, filmmakers, performers - crossed genres and jumped back-and-forth between various styles. Disillusioned, and often ready to jump towards the West, these border crossers defined themselves rather somewhere between non- and anti-political, pursuing self-actualization strategies by means of an extended niche existence. They took refuge in the search for ways of creative self-assertion and communication, looking out in sensual despair, utilizing sounds of rage, linguistic wit and a passion for tinkering. Driven by ubiquitous boredom, equipped with plenty of time and free of economic restraints (or rather possibilities), labor was performed with no regard to the final product, hardly documented and almost never published. With the partial opening of State-controlled media and cultural sites accompanying the beginning agony of the State, conditions changed. Suddenly there was radio airplay of supposedly illegal cassettes and weird noise performed at Palast Der Republik. In the end, full albums by these "other bands" were released on the State-owned label AMIGA. The collapse following soon after relieved the activists remaining in the country who continually had to re-position themselves. Many took different roads, some leading to Rammstein, others to Raster-Noton or groups like To Rococo Rot and Tarwater. The artifacts from that era tell of a stance of refusal in practice. Between being excluded and self-exclusion, truly wayward sounds and means of expression were developed. Bert Papenfuß, Ronald Lippok, Bernd Jestram and Bo Kondren compiled two companion CDs accompanying the long sold-out Zonic special edition Spannung. Leistung. Widerstand. Magnetbanduntergrund DDR 1979-1990, released in 2006, of which the more experimental-electronic pieces are herewith available on the music market for the first time. Features: A. F. Moebius, Kriminelle Tanzkapelle, Heinz & Franz, Magdalene Keibel Combo, Choo Choo Flame, Stoffwechsel, Corp Cruid, Taymur Streng/Ornament & Verbrechen, Der Demokratische Konsum, Gesichter, Ihr Arschlöcher, Aponeuron, and Robert Linke.
SAMMLUNG - Elektronische Kassettenmusik, Dusseldorf 1982-1989 (Bureau B 236; Germany) Post-war apartments dominated the views of Düsseldorf in the early 1980s - cement slabs, the "art bunker" known as the Kunsthalle, and the elevated railway called "The Millipede". Yet reconstruction was in full swing - bank buildings on the "Kö" received postmodern interiors, the old town became stylishly retro-rustic, and advertising agencies displaced industrial companies. Music took all of this on. Punk was finished, but its pathos drifted through pubs and shared flats. At the same time, synthesizers, due to digital electronics, had become increasingly affordable. This music pushed ahead slightly in order to dock onto the electronic sounds of the 1970s krautrock. But most chose the detour via records by Cabaret Voltaire, Throbbing Gristle, or the more unfamiliar experimental sounds on the The Elephant Table Album compilation (1983). Cassettes from labels, like Klar! 80, were available on Aachener Straße. LPs, like those found at Pure Freude on Derendorfer Straße, were also available. This shop served as an umbrella for the disparate strands of the electronic side of post punk. Almost all artists on this compilation could be seen there. Perhaps that is why the encounter with "Electronic Cassette Music" seems like a glimpse into a mysterious parallel world. Indeed, everyone knew of each other, but often only as a name. Kurzschluss was Catherine Ledit's project. Where her threatening pads had an almost meditative character, Dirk Grützmann's Le Petit Mort drew listeners into virtually occult scenarios, not far from Current 93. Ledit and Grützmann later collaborated as the duo Temps Perdu?. Trance, as propagated by Chris & Cosey, could have been the inspiration behind the duo Wooden Barrows. Isolated searching found expression in forms of deviant sexuality - a leitmotif in those days. It's astonishing how subtly many of the pieces exemplify this movement. It's almost terrifying on the track by Strafe Für Rebellion when a voice whispers "the cashbox is empty" and a staccato rhythm replaces the ticking of a clock. Ralf Dörper, on his way to international success Propaganda, saw ADD preferring him trapped in a nightmare. The cassette generation did not bother crossing over to pop music. They were pioneers of a music which would develop into drone, ambient or hypnagogic. Features: Konrad Kraft, Deux Balaines Blanches, Ettlinger, Mentocome, Frigorex, Dino Oon, Pfad Der Tugend, Kurzschluss, Wooden Barrows, Le Petit Mort, Strafe Für Rebellion, Maria Zerfall, and ADD.
LP Only Section:
MIKE COOPER - Reluctant Swimmer/Virtual Surfer (Discrepant 038; UK) The "icon of post-everything", Mike Cooper, returns to Discrepant with a recording of a live set recorded at the Controindicazioni Festival of Improvised Music in Rome in 2003. Originally released as a CD-R via his Hipshot label. The music moves very slowly through four movements: "Reluctant Swimmer", "Movies Is Magic", "Virtual Swimmer", and "Dolphins". Praise from an unknown source: "Floating in out of the exotic ether and disappearing like smoke, engulfed in the alien hugeness of nature... a very elegant set by a visionary artist." Mike Cooper on the recording: "The first half is played on my old 1920s National tri-plate lap steel guitar and the second half on my Vietnamese electric lap steel. I also sing two songs along the way. 'Movies Is Magic' by Van Dyke Parks and 'Dolphins' by Fred Neil. It was the first time I had ever sung the last song." RIYL: Exotica, Andrew Pekler, Dolphins Into The Future.
CHARLES HAYWARD / GIGI MASIN - Les Nouvelles Musiques De Chambre Volume 2 (Modern Classics 023; USA) LP version. Housed in a Stoughton, "tip-on" jacket; First ever vinyl reissue. "Following the reissue of the entire recorded output of South London-based experimental act This Heat and its successor, Camberwell Now, Modern Classics Recordings holds the lens up to a special split album created by one of the driving forces behind those groups - drummer Charles Hayward - in collaboration with Italian musician Gigi Masin, whose looping, rhythmic, electronic compositions have seen his cult following grow in his four decades as a recording artist. Originally released on Belgium's Sub Rosa label in 1989, Les Nouvelles Musiques De Chambre Volume 2 is a split LP on which Masin's eight tracks occupy side A and Charles Hayward's long-form piece (at 21 minutes long), 'Thames Water Authority', occupies side B. Geography may have separated the two artists, who each recorded their pieces in isolation from the other, but there's a commonality to their approach. Previously, Masin had released the inspired 1986 album Wind (BAR 003-015LP), while Hayward's music had long been influenced by the landscape and society of London and the UK. For this album, the label challenged the two musicians to write about the waterways of their respective cities, Venice and London. For Masin, that meant describing the human interactions related to the Italian city's famous landmarks. 'Places, faces, memories... that's what most of the people love to find when they travel to Venice - some kind of magic that's deep in the city,' he writes in the new liner notes accompanying this new re-release. For Hayward, it meant describing the physicality of water, the 'densities and energies' as he puts it, and the politics of it too. Writes Hayward: 'Water was being privatized at the time, the profit margin had been factored in, cost-cutting was implicit, people were being poisoned. Water was a political thing; it still is." Dive in. Track notes by Gigi Masin and Charles Hayward; Restored and remastered audio; Features the Masin track 'Clouds' as sampled by To Rococo Rot and Björk."
KASSEL JAEGER / JIM O'ROURKE - Wakes on Cerulean (Editions Mego 223; Austria)
Timely outing from two grand masters of exploratory electronics. Kassel Jaeger is the moniker of French musician François Bonnet who works at the GRM and has released a number of books including the highly regarded The Order Of Sounds: A Sonorous Archipelago, published by Urbanomic in 2016. Jim O'Rourke is known to most through his explorations of the song and shapes, the high and low, the east and south. Wakes On Cerulean is a joint adventure where process folds upon process and the operation of procedure remains unknown. Amongst a mysterious cloud of excited high frequencies, tiny whistles howl. Frog leaps in technique lay out a thrilling and uplifting journey that runs from the soothing, to ecstatic, and back to the buoyant again. Wakes On Cerulean is a staggering feast of the joys found in electronic process. It is a malleable bubble of hovering excitement, melody and joyous refrain.
PHIL X MILSTEIN & THURSTON MOORE - Songs We Taught the Lord Volume One (Feeding Tube 288; USA) "As I recall, the idea seemed pretty reasonable at the time. It was late 1996. I'd met Fahey a couple of years earlier, and partly as an outgrowth of that meeting he had decided he wanted to meet and play with 'noise musicians.' This resulted in a lot of music that made his olden fans weep, but who was I to argue with The Great Koonaklaster? Anyway, it was late '96 and Fahey wanted to play some gigs on the east coast. He also wanted Thurston to be on the bill with him, and so Mr. Moore asked me for suggestions about who might be cool to duet with. We ruled out a lot of people for various reasons, then had a flash about asking the great Pep Lester (aka Phil Milstein). Although best known as a writer and designer, Phil had also done lots of music in various configurations, and I was hoping he'd deign to play the musical saw he had started practicing a few years earlier. Phil had other ideas, though, mostly revolving around the tape creations and loops he'd been doing with Thalia Zedek's band, Uzi, in the mid '80s. Thankfully, he also agreed to play some saw, and you will hear some of that instrument's beautiful tones floating around the tape jabber and guitar circularity that makes up much of this record's basis. This show was recorded on the first night of Fahey's East coast jaunt, at the Iron Morse Music Hall in Northampton MA. The audience was primed for transcendental waterfalls, and didn't seem too delighted by Phil and Thurston's opening set, but fuck 'em. Fahey was enthralled. And when we pulled the tapes out to listen to for the first time in many a year, we were all pretty chuffed about how nuts and timeless the music sounded. Although the second night's sound was previously issued by Chris Corsano's Hot Cars Warp Records label, this is the first issue for this fantastic set. Roll yourself a fatty and swing!" --Byron Coley, 2016. Edition of 400.
PHIL X MILSTEIN & THURSTON MOORE - Songs We Taught the Lord Volume Two (Feeding Tube 289; USA) "This album reissues the final recording (thus far) of the Milstein/Moore duo. It was originally released in 1997 by Chris Corsano's Hot Cars Warp Records label. Chris had a choice of this tape -- recorded December 4, 1996 at the Middle East in Cambridge MA -- or the one from the previous night at the Iron Horse in Northampton (FTR 288LP). He chose this one, and the first volume was scheduled to appear on the Ecstatic Yod label. Why it never happened, who knows? Not me! The set was recorded opening for guitarist John Fahey, shortly after a horrible accident in Harvard Square, which involved Fahey's belt breaking in the middle of Brattle St. and having his pants drop to his ankles as a result. Unable to bend enough to reach his feet, it fell upon one of the opening musicians to lend a hand. And I feel as though the incredible sense of horror involved in that process infuses this concert. Thurston's guitar was quite unhinged that night, and Phil's gabble of tape-voices had a relentless edge that seems designed to induce claustrophobic reactions. It is a bravura performance by any measure, and surely one of the wildest collaborations Thurston had been involved in up to that time. Listening now, I can only hope these two do more work together in the 21st century. We could all certainly use it. Remastered from original source tapes, this new edition of the album is best heard loud. Who cares what the neighbors think? They're probably fascists anyway." --Byron Coley, 2016. Edition of 400.
JOHN FAHEY AND HIS ORCHESTRA - Of Rivers and Religion (Warner Brothers 2089; USA) 180-gram reissue of John Fahey's 1972 major label debut. "In the liner notes for this wonderful disc, sideman Chris Darrow comments, 'I remember the first time I ever heard him, I thought they'd turned the record from 45 to 33 or something, 'cause I couldn't believe how slow he played.' One of the (many) great beauties in Fahey's approach is just that: he takes his time and savors every last resonance he can wring from his guitar. This 1972 release was his first for a major label (originally on Reprise) after more than a decade of issuing work privately or on small imprints, and also the first instance of Fahey having access to a large ensemble of musicians, including a brass and string section. Still, the extra players don't come close to swamping the session; Fahey is very much in the foreground and a number of the pieces read, essentially, as solo performances. It opens with 'Steamboat Gwine 'Round de Bend,' as gorgeous an example of Fahey's slide guitar work as he ever recorded, languid, soulful, and profound. Similarly, his medley of 'Deep River' and 'Ol' Man River' is steeped in Delta humidity, lazily floating downstream. The tracks with the brass band raise the ghosts of Dixieland, while some of the string accompaniment may recall Van Morrison. In any event, Fahey, major label or not, is simply himself, leisurely rolling along, sharply perceptive in his observations and sumptuously gorgeous in his evocations. A fine effort and certainly something that belongs on the shelves of any fan of the late, very great guitarist." - Brian Olewnick, AllMusicGuide
THE BELIEVERS - Memo From Otter (Feeding Tube Records 247; USA) "The Believers were, in many ways, the flagship band of the Apostasy Recordings empire. Their roots were in the Hampshire College-based experimental outfit, Son Of Earth - Flesh in Bone Trio (generally shortened to Son Of Earth), via Matt Krefting and John Shaw. Also on board were Anna Klein (player with many woefully under-documented ensembles) and Jessi Swenson, Esq. (who was associated with various Scott Foust projects, and would go on to 50 Foot Women). But much of this other work was abstract weirdo-ism. The Believers were, more or less, a rock band, and they kinda fucking ruled. They recorded an album for Ben Chasny's planned label almost a decade ago, but the release never ended up happening, and the Believers split into their component parts not long afterwards. But our memories of their throbbing presence and carefully planned wardrobe choices would overwhelm us some nights, and we'd find ourselves startled awake, covered with sweat, thinking we had missed several important boats by not documenting their passage in the proper way. In the intervening years, the four Believers have gone off to different pastimes. Some are related to music, some are not. And it took some wheedling on our parts, but we finally got this live LP out of them. And it cooks. One side was recorded in '04 at the old Flywheel in Easthampton, and provides a rather clear portrait of their sweetly thuggish pop dynamism. The flip was recorded at the same venue in '06, with guest squeedle provided by Conrad Capistran and Joshua Burkett (aka Tarp). Although we often think of Tarp's sound as retiring, here it is aggressive. And it adds a strangely perfect width to the droogly and angular lurch of their inventions. A beautiful album. Long overdue." - Byron Coley, 2016.
WHERE THE MOUNTAINS MEET THE SKY - Folk Music of Ladakh (Sublime Frequencies 109; USA) Music from Ladakh recorded during the making of the film The Song Collector (2014) by director Erik Koto, with additional material recorded by Bill Kite in 1992. "Situated high in the Western Himalaya, Ladakh is one of the great cultural crossroads of Asia. For centuries, it sat at the hub of ancient trade routes that connected the Silk Road to India, Tibet, and Kashmir. Each year, once the winter snows had melted from the high passes surrounding Ladakh, its markets would buzz with merchants from throughout central Asia. They brought spices, wool, salt, and silk. They also brought their instruments and their folks songs. Over time, these diverse musical influences laid the foundation of Ladakh's unique folk traditions. Folk music became central to the daily life of the Ladakhis with song serving as an essential form of communication, documentation, and entertainment. This collection of songs is intended to offer a sampling of the range of Ladakh's folk music. These songs also celebrate one of the great folk artists of Ladakh, Morup Namgyal. Morup is an avid preservationist and during his 30-year career working at Ladakh's only radio station (All India Radio, Leh) he recorded a vast archive of Ladakhi folk songs. This collection of over 1,000 recordings was unlike anything else in Ladakh and formed a crucial link to a dying folk tradition. Tragically, it burned to the ground in 2002 when a fire raged through the old wooden radio station building. The loss was devastating, but Morup immediately set about recreating the archive. Five of the songs on this album, recorded in 1992, are among the handful of tracks to have been spared by the fire. Today, Ladakh's marketplaces bear little resemblance to the buzzing markets of old. Gone are the camel trains and merchants, replaced instead by Indian trucks belching smoke. Seemingly vanished too are the folk musicians, pushed aside by the synthetic beats of the latest Bollywood hit. But the folk artists have not vanished entirely, and if you wander beyond the blare of the latest pop song, you'll discover a folk tradition that, thanks to the efforts of Morup Namgyal and others like him, is alive, evolving, and poised to endure the challenges of modernization." --Erik Koto. LP comes with a full-size insert containing historic photos, song lyrics, and liner notes by Erik Koto.
PIERRE & BASTIEN - Musique Grecque (SDZ 021; France) Pierre & Bastien's third studio album, Musique Grecque, shows the band at its best with a well-constructed set of songs. Paul Jimenes's lyrics hold nothing back, juggling private and social subjects brilliantly. Dark and menacing moods chase the light and brighter ones; Once again this fight of the soul puts the listener at the heart of the band's life. Musically, the band is more powerful and intense as ever: guitarist Baptiste Nollet is particularly dazzling and Frédéric Trux pounds sometimes a nearly industrial rhythm to the songs. Their sound has echoes of bands like Wire, Wipers, Dogs, Metal Urbain or Reich Orgasm. The sheer brutality or depraved psychedelics displayed on some tracks contrast with the pop-like vocal harmonies of others. From the minimalist and destructive opener "Sympa" to the dark and disturbing closer "A Nu", from the striking "Secret" to the light "Musique Grecque", Pierre & Bastien have crafted a dense, varied and more-complex-than-it-seems album.
LAST OF THE GARAGE PUNK UNKNOWNS - Volume 1: American Teenage Garage Hoot! 1965-1967 (Crypt 109; USA) "15 prime slabs of mid-60s USA garage punk aceness in gatefold sleeved luxury with liner notes, band photos, label scans. " Tracks by: The Buttons, The Colonials, Sonic-Lyne, The Pastels, Electric Sensation, The Juveniles, The Krels, The Infinitives, The Es Shades, The Expressions, The Dirt Merchants, The Other Side, The Vanguards, The Jolly Beggars, and The Continentals.
Bruce Lee Gallanter’s Recommended Gig List for January of 2017
THE STONE RESIDENCIES - KRIS DAVIS - FEB 7–12
9 pm Kris Davis (piano) and Julian Lage (guitar)
9 pm - Kris Davis (piano) and Johnathan Blake (drums)
9 pm - Kris Davis piano and Ingrid Laubrock - tenor & soprano saxes
THE STONE RESIDENCIES - BRANDON ROSS - FEB 14 – 19
9 pm -“ Yet Another Plane" - Brandon Ross (taisho harp, banjo, acoustic guitar, voice) Stephanie Richards (trumpets, flugelhorn) Rubin Kodheli (cello) Hardedge (soundesign)
9 pm - For Living Lovers - Brandon Ross (acoustic guitar, soprano guitar, banjo) Stomu Takeishi (acoustic bass guitar) Tyshawn Sorey (drums)
9 pm - Brandon Ross & Blazing Beauty - Brandon Ross (electric guitar, banjo, voice) Stomu Takeishi (acoustic bass guitar) Charlie Burnham (violin) Tyshawn Sorey (drums)
9 pm - DarkMatterHalo - Brandon Ross, Doug Wieselman (electric guitar) Hardedge (soundesign) Special Guest: Sadiq Bey (voice, electronics)
9 pm - Harriet Tubman “Meta” - Brandon Ross (electric guitar, banjo) Melvin Gibbs (electric bass) JT Lewis (drums) Alicia Hall Moran (mezzo soprano) Wadada Leo Smith (trumpet)
9 pm - Phantom Station - Brandon Ross (electric guitar, taisho harp) Graham Haynes (cornet, electronics) Hardedge (soundesign) JT Lewis (drums)
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 Feb 10
6:00PM MARGARITA ROVENSKAYA, PIANIST
9:00PM & 10:30PM ARI HOENIG BRAZILIAN TRIO - Chico Pinheiro, guitar; Eduardo Belo, bass; Ari Hoenig, drums
Saturday Feb 11
9:00PM & 10:30PM LAGE LUND QUARTET - Lage Lund, guitar; Matt Penman, bass; Obed Calvaire, drums; Micah Thomas, piano
Sunday Feb 12
8:35PM ANOUMAN - Peter Sparacino, saxes; Koran Agan, guitar; Josh Kaye, guitar; Eduardo Belo, bass
Mon Feb 13th
8:30PM SOME OTHER TIME - Simon Mulligan, piano; Phil Robson, guitar
Tues Feb 14th
8:00PM NANCY MARANO AND JACK WILKINS DUO - Nancy Marano, voice, piano; Jack Wilkins, guitar
9:30PM KEVIN FITZGERALD BURKE - voice, guitar
Wednesday Feb 15
8:01PM ALEXA BARCHINI - Alexa Barchini, voice; Julian Shore, piano; Jorge Roeder, bass; Andre Matos, guitar; Jochen Rueckert, drums
Thursday Feb 16
8:01PM MARTIN NEVIN GROUP - Curtis Macdonald, alto sax; Kyle Wilson, tenor sax; Sam Harris, piano; Martin Nevin, bass; Eric McPherson, drums
Friday Feb 17
9:00PM & 10:30PM SARA SERPA TRIO - Sara Serpa, voice; Ingrid Laubrock, tenor sax; Erik Friedlander, cello
Saturday Feb 18
6:00PM THE PARHELION TRIO - Sarah Carrier, flute; Ashleé Miller, clarinet; Andrea Christie, piano The Parhelion Trio image
9:00PM & 10:30PM KINAN AZMEH'S CITY BAND - Kinan Azmeh, clarinet; Kyle Sanna, guitar; Josh Myers, bass; John Hadfield, percussion, drums
Sunday Feb 19
6:00PM GLASSER/TAUBENHOUSE - Dave Glasser, alto sax; Yaniv Taubenhouse, piano
8:35PM MOSTLY OTHER PEOPLE DO THE KILLING, CD RELEASE: LOAFER'S HOLLOW
Steven Bernstein, trumpet; Bryan Murray, saxophone; Dave Taylor, trombone; Brandon Seabrook, guitar; Ron Stabinsky, piano; Moppa Elliott, bass; Kevin Shea, drums
Friday, February 10th 8:30 PM
Anti-Social Music Charlie Waters
8:30 pm - Anti-Social Music Drinks Alone
9:30 pm - Charlie Waters presents PEACE FORMS ONE(horn trio) - Josh Sinton & Matt Lavelle
Saturday, February 11th 8:30 PM
8:30pm - YSC’s Owls At Night
Yoon Sun Choi – voice/piano
Dana Lyn – violin
Vinnie Sperrazza – drums
10:00pm - Dana Lyn’s Mother Octopus
Dana Lyn – violin/compositions
Clare Kennedy – cello
Mike McGinnis – clarinet
Ty Citerman – guitar
Vinnie Sperrazza – drums
Saturday, February 18th 8:30 PM
Susan Alcorn & Sylvie Courvoisier
Susan Alcorn – Pedal Steel
Sylvie Courvoisier – Piano
Friday, March 3rd 8:00 PM
Liebowitz / Lyons / Filiano / Wimberly
Duo (8:00 pm)
Carol Liebowitz – piano
Nick Lyons – alto saxophone
Quartet (9:00 pm)
Carol Liebowitz – piano
Nick Lyons – alto saxophone
Ken Filiano – bass
Michael Wimberly – 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.
Shapeshifter January 2017:
7pm Clockwork Trio
Guitar: Dylan McCarthy
Electric Bass: Nicholas Telesca
Drums: Jared Nelson
Guitar: Kevin Quinn
Guitar: Mark Dziuba
Bass: Andrei Kvapil
Drums: Dean Sharp
8:15p - Amazonas Strings
Zamira Briceno/ Violin/ band leader
Tomoko Omura/ Violin
Leonor Falcon/ Viola
Yuka Tadano/ Contrabass
Special Guest: Cesar Orozco/ Piano
9:30: MARKUS REUTER & MARK WINGFIELD
with the special guest MARKO DJORDJEVIC
8:00p - Sergej Avanesov 4tet
7pm - Sean Noonan's "Soap"
Alex Marcelo piano
Peter Bitenc bass
Sean Noonan drums/compositions
8:15p- Funk Pterodatyl
Sarah Mount- Vocals
Jonathan Hoard- Vocals
Yahzeed Divine- Emcee
Alejandro Chapa- Bass
Wesley Maples- Sax
Ian Barnett- Drums
Finnegan Bryan singer- Guitar
Cale Hawkins- Keyboard
Shapeshifter is located at
18 Whitwell Place in Brooklyn, NY
R train to Union stop
GREENWICH HOUSE SOUND IT OUT SERIES:
Sound It Out series @ Greenwich House – Concerts, January-June 2017
Saturday, February 11, 8:00 p.m. – Nick Millevoi’s Desertion Trio - Nick Millevoi, guitar; Johnny DeBlase, bass; Kevin Shea, drums
Saturday, February 18, 8:00 p.m. – Special ECM duo show!
Francois Couturier, piano & Anja Lechner, cello
Saturday, March 4, 7:30 p.m. – Two sets of classical meets jazz!
Michael Bates’ Shostakovich Project- Michael Bates, double-bass/arrangements; Russ Johnson, trumpet; Greg Tardy, saxophone/clarinet; Russ Lossing, piano/Fender Rhodes; Michael Sarin, drums
Thursday, March 16, 7:30 p.m. – Double-bill of duos!
Sylvie Courvoisier Mary Halvorson & Mark Feldman
Sylvie Courvoisier, piano; Mary Halvorson, guitar; Mark Feldman, violin
Saturday, March 25, 7:30 p.m. – All-star double-bill!
Wadada Leo Smith & Angelica Sanchez Angelica Sanchez Trio w/ Michael Formanek & Tyshawn Sorey, Wadada Leo Smith, trumpet; Angelica Sanchez, piano
Friday, March 31, 7:30 p.m. – Cross-generational double-bill!
Ralph Alessi solo Alex Koo, Mark Turner & Ralph Alessi - trumpet
Alex Koo Derudder, piano; Mark Turner, tenor saxophone; Ralph Alessi, trumpet
Greenwich House Music School:
46 Barrow Street, just west of 7th Avenue South in
New York City’s West Village;
www.greenwichhouse.org / 212-242-4770
The Jazz Gallery Presents:
Fri Feb 10th:
DAVID VIRELLES 'NOSOTROS'
David Virelles – piano
Roman Filiu – saxophone
John Benitez – bass
Keisel Jiminez – percussion
sets at 7.30pm 9.30pm
SAT FEB 11th:
DAVID VIRELLES 'NOSOTROS'
David Virelles – piano
Roman Filiu – saxophone
Matt Brewer – bass
Keisel Jiminez – percussion
sets at 7.30pm 9.30pm
15th:TALUJON & CTRL-Z
1st set, 7.30pm - tal6hiresctrl_zTalujon
2nd set 9.30pm - CTRL-Z
Ryan Ross Smith
sets at 7.30pm 9.30pm
THU FEB 16th:
CHES SMITH/CRAIG TABORN/MAT MANERI
Ches Smith – drums and vibraphone
Craig Taborn – piano
Mat Maneri – viola
sets at 7.30pm 9.30pm
FEB FRI 17
INGRID & CHRISTINE JENSEN WITH BEN MONDER
Ingrid Jensen – trumpet
Christine Jensen – saxophone
Ben Monder – guitar
Matt Clohesy – bass
Jon Wikan – drums
each set: $22/$12 members
sets at 7.30pm 9.30pm
WED 22 FEB
THREADGILL IYER PRIETO
Henry Threadgill – reeds
Vijay Iyer – piano
Dafnis Prieto – drums
sets at 7.30pm 9.30pm
$40/$25 members; limited cabaret seating $50/$35members
Monday February 20th at 7.30 pm
Matthew Ostrowski: electronics Viv Corringham: voice, electronics
Ben Gerstein: trombone, tapes Flin van Hemmen: percussion, tapes
MESH: Michael Evans: percussion Susan Hefner: dance - Entrance: $10
The Klinker is located at 149 Christopher Street, NY 10019
* THE STONE COMMISSIONS - MATT MITCHELL - Wed February 22nd:
7pm at National Sawdust in Williamsburg. For details https://nationalsawdust.org/event/jazz-stone-commissioning-series/ - $25
Featuring: Matt Mitchell (piano, Prophet 6, modular synth, electronics) Kim Cass (upright bass) Kate Gentile (drums, gongs, percussion) Dan Weiss (tabla) Ches Smith (vibes, glockenspiel, percussion, gongs, hand drums, timpani) Patricia Brennan (vibes, marimba) Katie Andrews (harp) Anna Webber (flute, alto flute, bass flute) Jon Irabagon (sopranino sax, soprano sax) Ben Kono (oboe, english horn) Sara Schoenbeck (bassoon) Scott Robinson (contrabass clarinet, bass sax)
In collaboration with National Sawdust The Stone presents a series of World Premieres the last Wednesday of every month through 2017.
Alt Guitar Summit 2017 Lineup:
March 10th at Le Poisson Rouge Celebrating Pat Metheny
Featuring Nels Cline, Rez Abbasi, Nir Felder, Joel Harrison String Choir, Mike Moreno, Camila Meza, Liberty Ellman, and Miles Okazaki Quartet. Also will include an interview with Pat Metheny!
Sat., March 11-Studio 151 / Nublu 151 Avenue C 8-11 pm: Solo Voices and Communal Raptures: Nels Cline Solo; John Schott Trio; Rafiq Bhatia Collective with Marcus Gilmore and Rahshaan Carter; Adam Rudolph’s Go Organic Guitar Orchestra: feat. Miles Okazaki, Nels Cline, Joel Harrison, David Gilmore, Damon Banks, Rez Abbasi, Kenny Wessel, Marco Cappelli and more
March 15th at National Sawdust: Guitars From Heaven and Hell
Featuring Steven Mackey, Dither Guitar Quartet, Joel Harrison’s Resophonic Guitar Orchestra w/ Elliott Sharp and Brandon Ross; Steven Bernstein Blue Campfire w/ Dave Tronzo, Steve Cardenas and special guest guitarist