Spirits Rejoice and Raise Your Voice!
Sing a Song That Makes You Feel Good to be Alive!
Creative Music is the Language that Speaks to Us All
So Listen Closely and Hear the Many Sonic Worlds Withinâ€¦
Check Out New Sounds from These Special Spirits:
William Parkerâ€™s Special Voices and AMM Celebration 3 CD Sets! The Thing! Henry Kaiser / Spirit Quartet! William Hooker Jon Irabagon / James Brandon Lewis..! Gordon Grdina: Hank Roberts & Mark Helias! Ten Great Discs from FMR: Detail â€™83: John Stevens / Johnny Dyani / Frode Gjerstad! Two Paul Dunmall Quartets! Tony Malaby/Rob Burke Trio!
Szilard Mezei Septet! Carrier / Lambert / Mazur! Big Blood! Cartoon Justice & G Calvin Weston! Return of The Trio: John Surman / Barre Phillips / Stu Martin! Gordon Beck Quartet with John McLaughlin! David Axelrod! Plus Rare Vinyl from: Evan Parker! Wadada Leo Smith! Josh Abrams! Bill Laswell & Nic Bullen and Much More..!
DMG founder BRUCE LEE GALLANTER just got a Jazz Hero Award from the Jazz Journalists Association earlier this week! You can read about this award here: www.jjajazzawards.org/p/2018-jazz-heroes.html
What is a â€œJazz Heroâ€ you ask?â€¦ Activists, advocates, altruists, aiders and abettors of jazz who have had significant impact in their local communities. Jazz Heroes are nominated by their communities.
I was given this award at a ceremony in The New School last Tuesday, June 12th, 2018. Other musicians and journalists who received awards that night included: Nicole Mitchell, Tomeka Reid, Claire Daley, Benny Golson and Nate Chinen. I am honored to amongst this important group of movers and shakers. Thanks to everyone who has sent their kind words of support. Special thanks to Howard Mandel & Lawrence Donahue-Greene. - BLG
Upcoming Sets at Downtown Music Gallery - FREE, every Sunday at 6pm
THE DMG 28TH ANNIVERSARY SERIES OF SONIC CELEBRATIONS Continue with:
Sunday, June 17th:
6pm: PRACTITIONER: BEN GOLDBERG and MICHAEL COLEMAN - CD Release Set
7pm: NICOLA HEIN and BRIGGAN KRAUSS - Electric Guitar and Alto Sax
8pm: KAWAGUCHI KENYA and NICOLAS LETMAN-BURTINOVIC - Shakuhachi and Acoustic Bass
Tuesday, June 19th: Bruceâ€™s Birthday Bash!
Dance party Here at DMG with Snacks and Spirits!
Check out some Funky DJ Music by MC Bruce Lee
Sunday, June 24th:
6pm: TODD CAPPâ€™S MYSTERY TRAIN: KURT RALSKE / EMILIE LESBROS /
AUSTIN COVELL / ANDREW HAAS / TODD CAPP
7pm: DCNN: DANIEL CARTER NEWS NETWORK:Â ELI WALLACE /
BEN COHEN / DANIEL CARTER / DAN KURFIRST
Sunday, July 1st:
6pm: BEN GOLDBERG and GERALD CLEAVER - Clarinet and Drums
7pm: JOSH SINTON / TODD NEUFELD / GIACOMO MEREGA - Bari Sax & Bass Clarinet/Guitar/Bass
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
The DMG Weekly Newsletter begins with two Important 3 CD Sets:
WILLIAM PARKER With ELLEN CHRISTI / LEENA CONQUEST / AMIRTHA KIDAMBI / KYOKO KITAMURA / LISA SOKOLOV / FAY VICTOR / ANDREA WOLPER ROB BROWN / KAREM BORCA / YUKO FUJIYAMA / STEVE SWELL / DAVE SEWELSON / JASON K HWANG / et al - Voices Fall from the Sky (Centering 1015/1016/1017; USA) â€œCurrently deep into his 5th exceptionally active decade as an essential jazz artist, William Parker needs no introduction. However, one of the intrinsic aspects of his oeuvre that bears repeated mention is the vast range thereof. From era-defining statements of free music to soul-jazz organ quartet; from his seamless incorporation of indigenous folk forms to his exhilarating work for jazz orchestra; from the joyous accessibility of his Quartet to his nuanced scoring for dance and film.
And this new work! A treasure box abounding with gems, Voices Fall From The Sky is an expansive 3CD Box Set comprising three distinct and complementary albums whose focus is on the voice: the singers, 17 of whom are featured herein -&- the songs, all composed (and produced) by William Parker. Half of the material are brand new recordings and half are Parker-curated selections of previously released material either long unavailable or presented in new form. Accompaniment on these 34 pieces ranges as widely as the voices, from duet to large ensemble. A multitude of approaches are employed: art song to operatic, pop sensibilities to gospel, heart-stopping ballads to dance numbers, silence to exuberance. The lyrical content expresses love of nature and its vital importance to a whole life, compassion, anti-oppression, anti-violence of any kind, praise of the creative spirit, and, Love. These themes are foundational in all of Parkerâ€™s work; the forefront spotlight through a multitude of expressive voices makes them that much more salient.
William Parker has been working with singers since first embarking on his distinguished path in the early 1970s. His creations featuring voice & song which to date have found greatest renown have been with the groups/projects, Raining On The Moon [â€œIn suggesting an alternate past, where Nina Simone jammed with John Coltrane, Parker finds another future.â€ â€“The Sunday Times], and The Inside Songs of Curtis Mayfield ["A superb example of how a pop songbook can be transformed .. a fierce and awesome display of musical prowess .. among the broadest, deepest and richest listens of 2010." â€“JazzTimes]. And from a full-page featured review in The Wire of Parker's most recent voice & song release, Stan's Hat Flapping in the Wind: ""Through these songs, love rains down."
3 CD Set $28
AMM [EDDIE PREVOST / KEITH ROWE / JOHN TILBURY] - An Unintended Legacy (Matchless 97; UK) It is incredibly rare for an experimental music ensemble to last for several decades, let alone a half century! This makes AMM all the more important, an evolving concept that grown slowly and carefully since the mid-sixties and still exists today. What sets them apart is that although they began as a free/music ensemble, drawing from jazz, modern classical and electronic influences, their approach/sound/voice is singular. Founded by Eddie Prevost, Keith Rowe, Lou Gare and a bit later Cornelius Cardew, Mr. Prevost is still at the helm, with Keith Rowe gone (except for a very rare occasion) and John Tilbury, another longtime member, still part of the current duo plus guests. Besides the three wonderful sets captured here, it is the 70 page booklet that makes this release so monumental. There are several serious, illuminating essays here by Mr. Prevost, Keith Rowe, Seymour Wright (about early member Lou Gare), Paige Mitchell, Allen Fisher and Harry Gilonis, all gifted writers/observers. By reading the notes, we get a thoughtful analysis of what makes AMM so unique. The longest-running (and often favorite) line-up for AMM was/is Eddie Prevost on percussion, Keith Rowe on guitar-on-table and John Tilbury on piano. This box-set/book features three complete sets from AMM, one from 2015 and two from 2016. Each set is superbly captured and shows them at their best. An OUTstanding effort on all counts. - Bruce Lee Gallanter, DMG
3 CD Set $48
THE THING With MATS GUSTAFSSON / INGEBRIGT HAKER FLATEN / PAAL NILSSON-LOVE - Again (The Thing Records TTR 007; Norway) The Thing, recorded July 2nd and 3rd, 2017. Personnel: Mats Gustafsson - tenor and baritone saxophone; Ingebrigt HÃ¥ker Flaten - electric and double bass; Paal Nilssen-Love - drums, percussion. Recorded July 2nd and 3rd, 2017 by Ã˜yvind Gundersen at Studio Paradiso, Oslo. Mixed October 2017, by Andreas Werliin at Repeat Until Death, Stockholm. Mastered by Lupo at Calyx mastering, Berlin. Liner notes by Brian Morton.
HENRY KAISER / SPIRIT / JOSHUA ALLEN / JOSHUA MARSHALL - In the Realm Of (Fractal Music 022765; USA) Featuring Henry Kaiser on 6-string bass guitar, Joshua Marshall & Joshua Allen on tenor saxes and Spirit on drums. The great Henry Kaiser deluge continuesâ€¦ After John Zorn and Ivo Perelman, Mr. Kaiser is next in line for the most prolific amount of discs (three dozen plus) over the past five or so years. Although the personnel is different on each of those releases, the consistency of inspiration and creativity remains high! For this disc, Mr. Kaiser has chosen two Bay Area saxists, Joshua Allen and Joshua Marshall. Mr. Marshall attended Mills Collge and studies with Fred Frith, Roscoe Mitchell and Pauline Oliveros. We donâ€™t know much about Mr. Allen although he has recorded with Kaiser on at least two previous CDâ€™s. Spirit is a rather mysterious figure who once lived in NY and now resides in the Bay Area. He has world with Julius Hemphill, Alan Shorter, Butch & Wilber Morris, Idris Ackamoor and Oluyemi Thomas. To make things ever more unique, Henry Kaiser plays 6-string bass guitar. For his on-line notes, Mr. Kaiser says that there is a rarely documented sub genre of of improvisation particular to the Bay Area. Mr. Kaiser claims to be inspired by the music/direction of Cecil Taylor, John Stevens and his longtime unit the Spontaneous Music Ensemble.
Even while playing electric bass, Mr. Kaiser sounds like he is directing the energy/flow of this quartet. Several conversations are going on simultaneously, tightly woven threads somehow connected above and below the surface. Although I canâ€™t tell the saxists apart, both are in fine form, from lyrical refrains to sputtering eruptions, both are consistently shifting as the currents weave around them. I especially dig the interplay between Spirit and Mr. Kaiser, as both are elders and masters of free/improv. There is a wonderful organic flow/vibe going on here. Once we listened to enough free/improv, we recognize the language that those musicians are speaking to each other. There is a great deal to absorb here, hence the story or journey continues throughout. On rare occasion, Mr. Kaiser steps out and solos, putting his bass through some select devices. More often it is the ongoing interaction that is going on throughout that makes this so special. This is another wonderful addition to the never-ending Kaiser catalogue of jewels. - Bruce Lee Gallanter, DMG
WILLIAM HOOKER With JON IRABAGON / JAMES BRANDON LEWIS / ANTHONY PIROG / LUKE STEWART - Pillars... at the Portals (Self-produced; USA) Featuring Jon Irabagon on tenor & soprano saxes, James Brandon Lewis on tenor sax, Anthony Pirog on guitar, Luke Stewart on bass and William Hooker on drums. For more than four decades, Downtown drummer, Willam Hooker, has been leading bands, organizing improv sessions and searching for creative musicians to work with. Over fifty or so releases, Mr. Hooker has worked many of Downtownâ€™s best players from David S. Ware & David Murray, to Lee Ranaldo & Thurston Moore (both from Sonic Youth), to Billy Bang & Text of Light (accompanying Stan Brakhage films). Each time Iâ€™ve seen Mr. Hooker play, he is working with another cast of musicians. For this disc Mr. Hooker is working with Jon Irabagon, award-winning saxist and member of Mostly Other People Do the Killing, as well as three members from saxist James Brandon Lewisâ€™ (Okeh/Sony artist) current quartet (Stewart & Pirog). Mr. Pirog is also a ember of the prog duo, Janel & Anthony, as well as a new punk/jazz band called the Messthetics. This disc begins with a pulsating rumble of feedback (?) and clapping. Mr. Pirog takes his first brain-melting guitar solo while Mr. Hooker plays some powerful drums underneath. Soon Mr. Stewart launches into a sly, funky groove on the electric bass with Pirog adding his own sly lines underneath. Add Mr. Irabagonâ€™s swirling soprano and Mr. Brandon Lewisâ€™ spirited tenor sax on top. Over a great slamming groove, Pirog adds a layer of slinky lines while the saxes solo on top. Mr. Hooker has a way of pushing his band band members to take strong solos, keeping them focused with his often powerful drumming. Mr. Hooker is a master of mallets and sounds especially fine on â€œCome Into Viewâ€. At some 71 minutes, this is a long and winding and spirited session. More tha 40 years later, Willam Hooker knows show to get the best from whomever is under his baton. - Bruce Lee Gallanter, DMG
GORDON GRDINAâ€™S THE MARROW With HANK ROBERTS / MARK HELIAS / HAMIN HONARI - Ejdeha (Songlines 2409; Canada) Virtuoso Vancouver oud player Grdina's new middle eastern/avant jazz ensemble is a quartet featuring illustrious New York collaborators Mark Helias (bass) Hank Roberts (cello) and Hamin Honari on Persian percussion. Grdina's compositions are mostly based on classical Arabic maqam and Persian dastgah traditions but are performed in a creative jazz context where improvised group interplay is as important as solos and expanded tonality is welcomed. The music is intricate and often delicate with a deep connection to the past while looking forward. It defies categorization but remains comfortably engaging. The compositions cover a lot of ground. There are dark, brooding but frequently exciting excursions on middle eastern modes and vamps, more contrapuntally through-composed works, and two slow, song-like explorations for strings without percussion. The final piece is a vibrant, foot-tapping tribute to west African guitarist Boubacar Traore. This project extends Grdina's previous fusions involving jazz improvisation and middle eastern music, from Think Like the Waves to East Van Strings and currently his 10-piece band Haram, while also drawing to some extent on his more avant jazz and guitar-based New York projects No Difference (featuring Helias) and Inroads (all on Songlines). But as Grdina points out, "The oud has become about 50 per cent of my music...In the last few years it's starting to feel like the oud playing and the guitar playing are turning into the same thing...It feels like jazz is looking outwards...Indian music, Iraqi music, Arabic stuff, Persian music: they're all giving jazz another viewpoint on improvising."
10 Amazing New Discs from the Mighty FMR Label:
DETAIL [JOHN STEVENS / JOHNNY MBIZO DYANI / FRODE GJERSTAD] - Detail 83 (FMR 481; UK) Featuring Frode Gjerstad on alto sax & clarinet, Johnny Mbizo Dyani on contrabass and John Stevens on drums. Detail were indeed legends to those who knew of their existence. Detail were an international, free/music trio featuring Frode Gjerstad (from Norway) on alto sax & clarinet, Johnny â€˜Mbizoâ€™ Dyani (South Africa/London/Denmark) on contrabass and John Stevens (UK master percussionist & leader of SME) on drums. Over some ten recordings, Detail have established their important place in the history of creative music. Detail existed from 1981 to 1994, with Mr. Dyani passing in 1986 and Mr. Stevens passing in 1994. Frode Gjerstad is still with us, playing as good as ever and recently appeared at the Vision Festival (May 27, 2018). This set was recorded on the first trio tour that Detail did in 1983. This disc consists go four long (15-20 minute) pieces, each piece titled â€œLoftetâ€ with a side & number. The trio start of quietly, stripping things down to a skeletal presence, it is almost as if they are playing a somber sort-of blues. While Mr. Gjerstad and Mr. Stevens play slowly, Mr. Dyani weaves in flurries of notes around them. The tempo and exchange of ideas picks up as they go. From nimble to swinging to pulse driven, the interplay between Dyani and Stevens is just incredible, one strong lifeline consistently connected and flowing. There are along stretches where Mr. Gjerstad sits out to let the rhythm team spin and soar by themselves. On the first piece, it sounds as if Mr. Gjerstad is playing soprano sax, the trio really taking off soaring intensely together as one unified spirit/force. Henry Kaiser often mentions the influence of John Stevens on his own playing and ensemble directing. While all three members of this trio are true masters of free/improv, it is John Stevens who seems to directing the energy most often throughout this wonderful offing. Like wow! - Bruce Lee Gallanter, DMG
PAUL DUNMALL / PHILIP GIBBS / NEIL METCALFE / ASHLEY JOHN LONG - Seascapes (FMR 484; UK) Featuring Paul Dunmall on tenor & soprano saxes, Philip Gibbs on guitar, Neil Metcalfe on flute and Ashley John Long on bass. UK saxophone colossus, Payl Dunmall, has slowed down a bit since the demise of his Duns label, with mostly FMR and Slam picking up the slack. We just got two new ones from FMR and both are astonishing! â€˜Seascapesâ€™ features a fine quartet with Mr. Dunmallâ€™s most constant companion, Phil Gibbs on guitar, occasional collaborator Neil Metcalfe on flute and new guy bassist Ashley John Long, who has also worked with Keith Tippett for a recent disc on Confront. One of the best things about this session is that it was recorded at the Victoria Rooms by master producer Jonathan Scott. The sound is superb throughout. This session starts off sounding relaxed with a central calm force which builds as the players spin off layers of connoted lines, until flurries of activity eventually erupt. There is section where Mr. Gibbs switch to restrained electric guitar and Dunmall to soprano sax. It is hard to tell the difference between the guitar and flute since both are playing with similar textures and exchanging lines so quickly. The double bass and soprano also play their lines in a tight-knit fashion as the two duos play in similar orbits together. One of the things that I dig about this disc is that there is no leader here, all four members are integral to the unified group sound with several combinations taking place. There is some heated exchanges between the soprano sax and flute which are most extraordinary, at times sounding like they are on a race which is escalating higher or quicker as they reach for the stars. Since there is no percussionist involved, it is the contrabass that often provides a central rhythm pulse or glue. At one point it sounds as if Mr. Dunmall is playing a bagpipe or at least a bagpipe reed since the sound is slightly bent and more like a double reeds, adding a somewhat disorienting detour to the quartet exchange. If you are patient, you will hear quite a bit of magical interplay going on throughout this great disc. - Bruce Lee Gallanter, DMG
PAUL DUNMALL / JOHN Oâ€™GALLAGHER / JOHN EDWARDS / MARK SANDERS - Freedom Music (FMR 476; UK) Featuring Paul Dunmall on tenor sax, John Oâ€™Gallagher on alto sax, John Edwards on contrabass and Mark Sanders on drums. Besides giving an opportunity to work with a number of UK-based younger musicians, Paul Dunmall has also sought out a number of Downtown and other domestic musicians to work with: Dave Liebman, Matt Shipp, William Parker & Hamid Drake, all come to mind. Downtown saxist, John Oâ€™Gallagher, has a half dozen discs as a leader, as well as collaborations with Ron Horton, Russ Johnson and Billy Mintz. The great rhythm team here, John Edwards and Mark Sanders, have worked with Mr. Dunmall for many years as well as with Evan Parker and John Butcher. Whatâ€™s interesting is this: Mr. Oâ€™Gallagher is not known for his free playing, being a fine composer and even interpreting the music of Anton Webern. For this disc, the quartet do play completely free music, even calling the disc, â€˜Freedom Musicâ€™. the first of three long pieces, starts with a powerful double sax frontline backed by a strong, churning rhythm team. Mr. Dunmall takes the first riveting solo, blown up a Trane-like storm, the waves crashing down all over the listeners. Mr. Oâ€™Gallagher takes an equally explosive solo, also blowing intensely with a storm-like force. After the storm subsides, the bass and drums take a long, expressive duo, working together organically as one fascinating force. The quartet again start at the bottom and slowly build once again to a boiling climax. Although this might be the only time (or tour) that this quartet played together, they sound like old soul-mates, wailing together, their own brand of spiritual jazz and helping to heal and/or inspire all who listen. - Bruce Lee Gallanter, DMG
ROB BURKE / TONY MALABY / MARK HELIAS - Head Under Water (FMR 486; UK) Featuring Rob Burke on tenor & soprano sax, Tony Malaby on tenor & soprano sax and Mark Helias on contrabass. Last year, I reviewed a a quartet disc on FMR with two Australian musicians and two New York musicians, which included Rob Burke, Mark Helias and George Lewis. Here we have a trio CD with Tony Malaby added to Mr. Burke and Mr. Helias. Mr. Malaby and Mr. Helias are both members of a trio known as Open Loose, who have a half dozen discs to their name. This disc was recorded in Brooklyn in July of 2017 and mixed in Italy later that year. The first thing I noticed about this disc is how well it is recorded: warm, clean and well-balanced. The trio sounds like a chamber trio, the playing on â€œImmersionâ€, restrained and thoughtful. The central player here is bassist Mark Helias, who plays is in especially fine form, tapping on, plucking or bowing the strings is almost cerebral, hypnotic way. The saxist off switch off, one playing tenor while the other plays soprano, taking their time, never squawking or squeaking very much, always finding common ground, weaving their lines gracefully. The trio sounds conducted or at least directed at times, always keeping things balanced and not going too far out. This creates an elegant balance/sound. Even when both saxists are playing tenor, there is a thoughtful, well-measured sense tasty tapestry. Certain improv is magical, inexplicable in the way it unfolds and makes perfect sense, like a story with a moral. Not sure what the oral is but the story is righteously told. - Bruce Lee Gallanter, DMG
SZILARD MEZEI SEPTET With BOGDAN RANKOVIC / ERVIN MALINA / ISTVAN CSIK / et al - Hajnali APN (FMR 479; UK) This septet features Szilard Mezei on viola & compositions, Andrea Berendika on flutes, Bogdan Rankovic on alto sax & bass clarinet, Branislav Aksin on trombone, Mate Pozsar on piano, Ervin Malina on double bass and Istvan Csik on drums. Over some three dozen discs, Hungarian viola/composer/bandleader, Szilard Mezei, has shown himself be one of the important and consistent musicians to emerge from Eastern Europe. It sounds like Mr. Mezei spent quite a bit of time writing, arranging and recording this music. Unlike some of his more improvised (sounding) discs, this quite a bit more going on. â€œHep 12â€ shifts between several themes. While the horns plays these tight, difficult parts, the pianist solos, interspersing several layers of lines. A number of spirited duos erupt: trombone & piano, flute & viola, in between those tight written passages. The piano led rhythm team works their way through a series of connected skeletal, connected themes. Each solo is well-conceived, a direct extension of what has gone before leading right into the next section seamlessly. â€œHattyuk/Swansâ€ has that third stream/chamber-jazz like fluid sound and it is totally enchanting. When the rhythm team lays out, the horns continue to play those lush, austere parts. This music is closer to progressive/jazz than anything else. An a little more than an hour long, there is quiet a bit of tis gem to absorb so why not begin right away. - Bruce Lee Gallanter, DMG
FRANCOIS CARRIER / MICHEL LAMBERT / RAFAL MAZUR - Beyond Dimensions (FMR 477; UK) Beyond Dimensionsâ€ is the newest release of â€œFMR Recordsâ€. Album was recorded by a trio â€“ itâ€™s FranÃ§ois Carrier (alto saxophone), Michel Lambert (drums) and Rafal Mazur (acoustic bass guitar). These three musicians had been improvising together many times. Different and contrasting improvisations have bright and innovative musical language and original sound. Even though, each of them is improvising differently, all the improvisations naturally fuse together in one place. The main priority of their improvising is to explore new zones of sound, extract unusual timbres and experiment in all fields of musical language. Their music is based on avant-garde jazz and free improvisations. Basic elements of avant-garde jazz are fused together with bebop, hard-bop, neo-bop and other modern jazz styles. Thereâ€™s also heard the specific intonations of American and Europe avant-garde jazz, excerpts of famous jazz themes, written by great jazz masters and very mild elements of contemporary academical, experimental and electronic music. The music is full of contrasts, original and interesting ways of playing and has expressive sound.â€
THE GILES THORNTON JAZZ ORCHESTRA MIKE WALKER / LIANE CARROLL / TOM RICHARDS - Be In Today (FMR 485; UK) No doubt running a jazz orchestra takes a great deal of time and commitment, but a number of them continue to exist often at the fringes of the scene. There is certainly a history of large jazz ensembles from the UK: Mike Westbook, Graham Collier, Centipede, London Jazz Composers Orchestra and the Brotherhood of Breath, all essential listening for those who love large progressive jazz ensembles. Since the turn of century, there appears to be quite fewer of these ensembles. Certain well-respected elders like Louis Moholo (Dedication Orchestra), Keith Tippett (Tapestry) and the London Improvisers Orchestra get together on rare occasion and record infrequently if at all.
Which brings us to this rare specimen: the Giles Thornton Jazz Orchestra. I had not heard of this ensemble before now although I do know a couple of their guests: guitarist Mike Walker from his work with Julian Arguelles and vocalist Liane Carroll from a band she cooled with Dave Holdsworth. Mr. Thornton co-produced the disc along with Neil Birse. I assume that Mr. Thornton was the composer and arranger but it doesnâ€™t say this anywhere on the disc. This is a large, (24 piece) ensemble with no names that I recognize. â€œJust Keep Runningâ€ is laid back and swings slowly, the large unit tight, the vibe like a refreshing, cool spring day. There is also a bit of Norma Winstone-like female (no lyrics) vocals gliding in the background, altogether very nice, indeed. The closest comparison I can make to this is John Hollenbeckâ€™s Large Ensemble, although this one is less turbulent, most of the time. Things do start to go further out on â€œOver the Edgeâ€ which features some superb bass clarinet by Gustavo C. Marucci over a sea of churning horns & woodwinds, the rhythm team rocking out as well. â€œReflectionsâ€ features some majestic piano(s) from Neil Birse & David Swan, a nice detour through some calm waters. The title track features some dreamy waves of horns with a bit of charming vocal sounds floating on top. There is something most enchanting about this music, refreshing vibe-wise with some exquisite born arrangements displayed throughout. Modest yet still tasty. - Bruce Lee Gallanter, DMG
OMELETTE With JORDAN MURRAY / RONNY FERELLER / LUKE HOWARD / JAVIER FREDES - Live at the Jazz Lab (FMR 483; UK) Featuring Jordan Murray on trombone, Luke Howard on piano, Javier Fredes on percussion and Ronny Fereller on drums. I know very little about the members of this quartet. Omelette appear to be from Australia with Jordan Murray being on the faculty at Monash University. Dave Douglas did a collaboration with the Monash art Ensemble in 2016. Australian pianist Luke Howard has quite a good reputation as a pianist and producer with dozens of discs to his name. This disc is warm, clean and superbly recorded. The piano and trombone are especially enchanting with a rich cushion of drums and percussion flowing underneath. Both drummers/percussionists work quite well together. The music is mostly warm, rather melodic and quietly haunting. Some of the melodies on this disc recall those early, neoclassical, early prog-like songs of Procol Harum, but more slipped down and with no rock influences. At times, the trombone and piano take off and soar together but not in a total free or with too much abandonment. I donâ€™t think Iâ€™ve heard anything quite like this in a long while: lovely, quaint, dreamy, calm, sublimeâ€¦ quite beautiful, actually, at times. - Bruce Lee Gallanter, DMG
JANICE JOVICEVIC SEXTET - Flow Vertical (FMR 475; UK) Featuring Jasna Jovicevic on saxes, bass clarinet, vocals & compositions, Gabriela Koso on bassoon, Filip Krumes on violin, Rastko Popovic on viola, Dejan Bozic on cello and Uros Secerov on percussion. This disc was recorded live at the S.U.T.R.A. Festival from the Museum of Science & Techology in Belgrade, Serbia. Here is some info about this disc: â€œFlow Verticalâ€ is a new album of Jasna Jovicevic Sextet. It is research of sound vibrations through music and its direct impact on our body, energy, and creativity. Composer and improviser, Jasna Jovicevic, explores the creative process in composing and improvising, witnessing and producing certain sound frequencies, which in a particular way, influences our mind, body and energy centers (chakras). This is a conceptual program music, divided according to psychic centers in the human body. It is written for string trio, bassoon, percussions, saxophones, bass clarinet, space-drum and voice. Interaction and collaborative performance are smoothly interrelated with contemporary approach in chamber jazz.â€ - Janice Jovicevic website.
When this disc begins, it is with a chamber/jazz piece called, â€œRising Barefoot Battleâ€. The instrumentation here; two lower reeds (bass clarinet & bassoon), three strings and percussion, is ripe for a rich, Eastern European sound. Ms. Jovicevic plays something called spacedrum here, which sounds like a steel drum/kalimba blend/sample. The hypnotic, enchanting riff at the center of â€œDrifting Upstreamâ€ is that steel drum-like sampler. Ms. Jovicevicâ€™s playful, childlike voice is used decoratively on this song, making it even more charming. It turns out that Ms. Jovicevic is also a fine saxist and gets chance to do an inspired duo with drummer Uros Secerov on â€œRam Runs Through the Veinsâ€, which also includes a fine galloping bassoon solo by Gabriela Koso. Some of this music has that rather quaint, â€œWhen Iâ€™m 64â€ (Beatles) vibe. Ms. Jovicevic shows that she is gifted saxist when she plays some solo tenor(?) on â€œSpeak Loud, My Inner Childâ€, adding a bit of reverb to keep the sound rather haunting. â€œFairy with the Dense Green Eyeâ€ features some enchanting Erik Friedlander-like pizzicato cello with sad & lovely vocal refrains (Iva Bittova-like) and charming soprano sax. This is a modest yet quietly inventive disc, a pleasant surprise from FMR. - Bruce Lee Gallanter, DMG
DYLAN FUJIOKA / PATRICK SHIROISHI / PACO CASANOVA - Kage Cometa (FMR 480; UK) Featuring Paco Casanova on keyboards, Patrick Shiroishi on alto & soprano saxes and Dylan Fujioka on drums. This disc was recorded live at the Museum of Contemporary Art in L.A. in March of 2017. It seems that this trio is based in Southern California, which is where this disc was recorded. I canâ€™t say Iâ€™ve heard of any of the three members of the trio before now, although Mr. Shiroishi appears to be on 3 dozen discs since 2010, once as a member of San Diego prog band Upsilon Acrux. Even with prolific labels like Nine Winds,pfMentum & Orenda, there is seems to quite a bit more going on in and around L.A. than anyone could imagine. There are no song titles for this disc, just one long set. Beginning with ominous mutated electric piano drones and subtle rubbed & tapped cymbals, building slowly in intensity. Eventually, Mr. Shiroishi enters on spiraling soprano sax. The slowly pulsating keyboards and eerie soprano sax, wheeze together in a somewhat Soft Machine-like fashion. The electric piano is using an ancient sounding echoplex device. This long piece evolves slowly and most organically: evolving through hills and valleys, from somber to more extreme moments. The overall vibe here is mostly hypnotic and this disc does a fine job of taking up on a magic carpet ride in out mindsâ€™ eyes or ears. - Bruce Lee Gallanter, DMG
BIG BLOOD - Operate Spaceship Earth Properly (Feeding Tube FTR 385; USA) "Our last Big Blood release was the idiosyncratic Ant Farm, Colleen and Caleb's collaboration with the late composer Elliott Schwartz, which presented music designed for a museum installation. With Operate Spaceship Earth Properly, Big Blood return to the vast universe of strangeness they explore inside their own skin. Now fully incorporating the vocals and guitar of their daughter Quinnisa (previously a 'secret weapon' unveiled mostly at live shows, as the Dictators once did with Handsome Dick Manitoba), Big Blood sound crazier and wilder than ever. Spaceship Earth is a massively psychedelic investigation of science fiction, science fact and the mythic spot where they reconcile. Specifically referring to the work of writers such as Octavia Butler, Ursula K. Le Guin and Buckminster Fuller, the music mixes the thunder of riff-thuggery with vocals beamed in from planet Comus and beat-slaps equally indebted to the Purple Revolutionary and the Neue Deutsche Welle. The combination is head-spinning and gloriously original but will be immediately identifiable as Big Blood by anyone who knows the band's music. I mean, it's so freaking strange and so freaking Maine, who else could it be?" - Byron Coley, 2018
CD $10 / LP $20
MIKA PONTECORVO / G CALVIN WESTON With CARTOON JUSTICE - Terra Lingua (Sketches)(Self-Produced; USA) Featuring G Calvin Weston on drums & keyboard, Mike Pontecorvo on guitars & electronics, Adriane Pontecorvo on electric cello, Kersti Abrams on alto sax & mbira, Elijah Pontecorvo on electric bass and Mark Pino on drums. Last Monday (6/11/18), a band from San Francisco called Cartoon Justice played here at DMG, playing their own version of spooky improv. I hadnâ€™t heard of them before they sent me a link to their music a couple of months ago. It turns out that they are led by guitarist Mika Pontecorvo (father of) plus two of his children, Adriane (cello) and Elijah (el. bass). Philly drum master was supposed to be at that gig but couldnâ€™t make. He is the special guest on this disc. â€œExo-Urbaniaâ€ has a brooding, hypnotic, space-rock vibe. Calvin Westonâ€™s consistently sprawling, busy drumming is often at the center of most of these pieces, providing layers rhythmic propulsion. Bassist Elijah C. does a fine job of connecting with Westonâ€™s whirlwind harmelodic drumming, the two creating a tight, intense storm at the center of several tornados dancing on the planet earth. Often Mikaâ€™s guitar and Kerstiâ€™s sax wail together in the distance. At times it sounds as if the group is about to take off, the blur of activity led by Mr. Westonâ€™s drumming just keeps spinning more furiously on each piece. I like when things slow down for â€œKhymera Blueâ€, a cerebral, bluesy, hypnotic dervish. My fave track is the long, epic-length piece called â€œCinema Diasporaâ€, which takes off into more of soaring space rock, starting out slowly and taking off into the stratosphere as it goes. Cartoon Justiceâ€™s set at DMG features some cerebral, space/jazz/rock, modest yet still transportative. This disc also captures that fleeting spacey spirit as well. - Bruce Lee Gallanter, DMG
CHANGES TO BLIND (PHIL ZAMPINO) - Evolvensume (Squidco; USA) Changes to Blind is a solo project Phil Zampino. He plays synths, field recordings, flute, harmonium, ocarina, assorted percussionâ€¦ Iâ€™ve been friends with Phil Zampino for around 25 years, first meeting at the old Knitting Factory. Phil is also the founder of Squidco mail order, currently residing in North Carolina. A longtime fan of progressive/avant/Downtown music, Mr. Zampino has released a handful of cassettes & CDâ€™s over the many years. It has been a long while since he sent us something new. I wasnâ€™t sure what to expect but do recall enjoying those cassette releases from way back when.
â€˜Evolvensumeâ€ begins with a pulsating drone, which is slowly mutated, bent and stretched out. This piece is called, â€œSh*t Show Invocationâ€, which fits somehow. Similar to our old pal, Chuck Bettis, Phil slowly adds layers of electronics, percussive samples, a few warped yet fascinating spoken wordsâ€¦ Time feels like it is slowing down since the voice carefully manipulated. I admit that I am partial to analogue/home-made electronics and organic samples, which gives this disc an organic, non-threatening, yet still hypnotic vibe. Each pieces evolves slowly and it is never too dense, giving us time to absorb the textures and timbres os each sound. Well-selected spoken words are used minimally yet are integral to the unfolding web of sonic spirits. At times, I felt as if I was drifting in space with the occasional object or sound floating by. With the inner pulse slowed down, we are able to better appreciate the ultra-subtle changes and sonic manipulations. When I turned up the sound, I began to notice another layer of sonic minutia in the distance. Most impressive but it does take some time to settle down and quietly observe those ghost/sounds that often are missed when we run through our lives too quickly. Spend some time with Changes to Blind and you will find some buried treasure. - Bruce Lee Gallanter, DMG
JAKOB ULLMANN - Muntzers Stern, Solo II (Edition RZ 1038-39; Germany) From the liner notes by Hans-Peter Schulz; Translation by Peter Gebert: "... SOLO II: Solo II is part of a group of works with the title Buch der Stille 1 ('Book of Silence 1'). This is a series of solo pieces for flute/oboe da cacchia (solo I), trombone/bassoon (solo II), organ (solo III), low string instrument (solo IV), and piano (solo V), all of which were developed from the same compositional idea; the series is a generalization of disappearing musics, itself a composition for three winds, two strings and two pianos written between 1989 and 1991. The individual solo-compositions can be performed separately, as well as in all combinations simultaneously. After Jakob Ullman had met John Cage in person on the occasion of a Cage festival organised by the Deutschlandfunk in 1990, this encounter developed into a lengthy and intensive exchange of ideas which had considerable impact on the compositional process that Ullmann was concerned with at the time, specifically of soli I, II and III, finished in 1992. The pieces can therefore be rightly considered as a reflection and result of this exchange of ideas . . . MÃœNTZERS STERN (MÃœNTZER'S STAR): Between 2014 and 2016 Jakob Ullmann composed the orchestral work steine, feuer, sterne ('stones, fire, stars'). . . . One section among these is the section for a solo bassoon, which may be performed independently under the title 'MÃ¼ntzers stern'. Thomas MÃ¼ntzer, born around 1490, was a keen supporter of the Lutheran Reformation. . . . After the battle near Frankenhausen, MÃ¼ntzer was captured, tortured and eventually beheaded. As a priest, he strove for the renewal of divine service and translated liturgical texts and hymns from Latin to German even before Luther. The title MÃ¼ntzers stern refers to the Advent hymn Gott heil'ger SchÃ¶pfer aller Stern, a translation of the medieval hymn conditor alme siderum done by MÃ¼ntzer as part of this work. Ullmann spread the melody of the hymn over the total duration of the composition in a very prolonged manner. In the course of this process, the six different tone pitches of the hymn, which are heard either being sung or as an emphasized partial within the bassoon's spectrum, are supplemented by another six tones, played ordinario on the bassoon, those still missing in the twelve-tone space, until the chromatic scale is completely filled in ..."
2 CD Set $40
CRAYOLA LECTERN - Happy Endings (Onomatopeia Records 025; UK) Happy Endings is an album of extraordinary music, borne of an extravagance of imagination, unfettered by convention or fashion, poised rather sexily in some other dimension beyond the usual parameters. With this in mind, you could call it psychedelic. Death and love crop up a lot on this album, with a sacred/profane, soulful/irreverent, silly yet deadly serious wisdom, which recognizes the universality of its themes, allowing them to gently explode into your ears. Crayola Lectern is reaching out here. It's musick with a "K". A man in great demand by the cognoscenti as your go to musical visionary, Crayola Lectern is Chris Anderson with Alistair Strachan, Jon Poole, Bob Leith, Damo Waters, and Bic Hayes.
"An absolutely superb new album from one of the UK's most underrated mavericks. Imagine Robert Wyatt, High Llamas, Roy Wood, Jeff Lynne, and Todd Rundgren all in one magnificent human. That's Crayola Lectern. Superb arrangements throughout, and in common with all the above I suppose, a sense of adventure and playfulness is evident throughout. One of my favourites of the year so far" - Simon Raymonde, Bella Union.
EMMA TRICCA With JUDY COLLINS/JASON VICTOR/STEVE SHELLEY/ Et Al - St Peter (Dellâ€™ Orso EDDA 047; UK) In life and music, Emma Tricca is an explorer. Just as Davey Graham set sail for Morocco and Vashti Bunyan for the Outer Hebrides in search of their elusive muse, Rome-raised singer-songwriter Tricca has journeyed to London, New York, Texas, and further afield to seek the heart of her own music. Tricca's new album St Peter -- created with a cast of supporting artists including global icon Judy Collins, Sonic Youth's Steve Shelley, and Dream Syndicate guitarist Jason Victor -- takes a bracing plunge into the unknown, leaving the folksinger tag far behind with a rolling collection of reverie-inducing raw diamonds. Tricca released her first melancholic masterpiece, 2009's crystalline long-player Minor White on Bird Records (BMS 024CD), an offshoot of Finders Keepers run by husband and wife team Jane Weaver and Andy Votel. Five years later Tricca released Relic (2014), an album even more poised and precise than its predecessor. A collaboration with longtime friend and guitar wizard Jason McNiff led to 2017's sparkling Southern Star EP (EDDA 043CD/LP), while a song on the soundtrack of Patrick Stewart-starring US indie film Match (2014) raised her profile. Recorded near-live at Echo Canyon West in Hoboken, St Peter draws on crunchy country rock, homespun psychedelia, Morricone soundtracks, New York underground grit, and English folk grandeur to weave a wholly unique and surprising spell. More musical guests soon joined the party -- gruff songwriting hero Howe Gelb put in a brief cameo, while Tricca was able to live out a childhood fantasy by inviting Judy Collins to appear on the album's penultimate cut, "Solomon Said". The album is so loaded with texture that is almost feels tangible; a rare record that feels precise and pristine in its executions but never sterile or lifeless. Electric guitars fizz away like a controlled electricity, Tricca's guitar playing flows gracefully at the core with her vocals existing in the perfect state between slight rasp and caramel-smoothness. Shelley's drumming and percussion gives a steady heartbeat to the record which is further brought to life by a variety of deft instrumentation, including piano, bass, cello, violin, glockenspiel, and of course the variety of guest backing vocalists. Whilst St Peter's deep-seated roots can perhaps be traced to traditional folk music, its finished existence feels far from such a thing -- its ever-flowing essence skipping through genres, tones, paces and rhythms with a gliding grace.â€
A couple of Highly Recommended Books from Blank Forms Press:
BLANK FORMS with MARSHALL ALLEN / PATTY WATERS / MATANA ROBERTS / MARYANNE AMACHER / AMY CIMINI / ALAN LICHT / CATHERINE CHRISTER HENNIX / ANNEA LOCKWOOD / KANMIKAMI/ et al - Music from the World Tomorrow (Blank Forms 002; USA) Music from the World Tomorrow, the second issue of Blank Forms' journal, brings together a combination of never-before published, lost, and newly translated materials. Featuring Marshall Allen and the Sun Ra Arkestra on the cover, this issue also includes John Corbett's writing on the enigmatic annotations found on Sun Ra's reel-to-reel tape archives. Visionary avant-garde jazz vocalist Patty Waters speaks with Larry J. Nai about the art and experiences that moved her from childhood to the then-now, touching upon her mysterious '70s and '80s period of musical inactivity, in a rare 1997 Halana interview reprinted here. "I struggle," a prose poem by Matana Roberts, explores the creative conundrum of making American music in a state of national crisis under POTUS #45. Maryanne Amacher remains a focal point of this second issue, with three pieces here: scholar Amy Cimini contributes a text detailing the genesis, score, and theoretical underpinnings of Amacher's Adjacencies; Joan Brigham presents Scott Fisher's account of his career working with virtual reality and 3D stereoscopic imaging; and an excerpt from science-fiction writer Olaf Stapledon's Last and First Men is reproduced, a favorite of Amacher's. Tony Conrad is represented twice: Filmmaker Andrew Lampert introduces a selection of Conrad's OLD IDEAS in full color -- handwritten notes from the mid-1960s through the mid-1970s; and a new transcription of a 1989 phone interview by Alan Licht. Conversely, in her rediscovered 2001 interview with Marcus Boon, Swedish minimalist Catherine Christer Hennix praises La Monte's revival of just intonation. This issue also features a transcription of a 2017 Annea Lockwood talk and conversation with crys cole, discussing Lockwood's Tiger Balm (1970) and Ear-Walking Man/Woman (1996). Bassoonist Dafne Vicente-Sandoval contributes a text that sheds light on the performance of Jakob Ullmann's threshold compositions Muntzers stern (2015) and Solo II (1992), forthcoming on Editions RZ (RZ 1038-39CD). And Klaus Lang provides both an aphorism about cow behavior and a manifesto for compositional strategies. Krautrock group Anima's 1981 US tour diary has been newly translated from German for inclusion here. A chapter from David Hopkins's recent translation of legendary Japanese folk singer Kan Mikami's autobiography is featured. Composer Tashi Wada contributes a print titled Double Vision. And Japanese sound art pioneer Akio Suzuki's self-published 2008 Aki-nyan, tora no maki gets a full reprint. Edited by Lawrence Kumpf and Joe Bucciero. 333 pages; 6x8 inches; Edition of 750.
Book [333 pages] $21
BLANK FORMS with MARYANNE AMACHER / JOE McPHEE / DEAD C / ELAINE RADIGUE / SHELLEY HIRSCH / et at - Blank Forms (Blank Forms 001; USA) Magazine is the inaugural issue of Blank Forms' journal, bringing together a combination of never-before published, lost, and new materials that supplement the non-profit's live programs. It is envisioned as a platform for critical reflection and extended dialogue between scholars, artists, and other figures working within the world of experimental music and art. Following "Let Freedom Fry" -- a short statement by Joe McPhee drawing out the contemporary political climate in relation to his practice as a creative improviser -- the magazine is bookended by four texts surrounding the practice of pioneering sound artist Maryanne Amacher; an essay by Bill Dietz on his collaborations with Amacher and his work with her archive; an unpublished 1988 interview highlighting Amacher's ideas around her Long Distance Music and Mini Sound Series; a conversation between Marianne Schroeder, Stefan Tcherepnin, and Lawrence Kumpf revealing the archival questions raised by Amacher's work; and science fiction writer Greg Bear's short story Petra, a tale of gargoyles coming to life and breeding with humans in a post-apocalyptic Notre Dame, from which Amacher's 1991 piece got its name. This issue also includes Branden Joseph's interview with The Dead C's Bruce Russell, accompanied by Russell's essay exploring the Situationist tradition of "mis-competence" in New Zealand electronic music. Charles Curtis contributed notes on the interpretive challenges posed by a posthumous performance of Terry Jennings's minimalist classic Piece For Cello And Saxophone. Shelley Hirsch, Richard Skidmore, and Dennis Hermanson provide a series of writings on and remembrances of the late Ralston Farina, whose scarcely documented "visual poetry" was an important precursor to what we now call "performance." And from her own 2016 performances at the Emily Harvey Foundation, Dawn Kasper supplies her original proposal document and score notes for an improvisational interpretation. Magazine features two new French-translations: an excerpt from FranÃ§ois Bonnet's book of phenomenology, The Infra-World, translated by Robin Mackay, and a Christophe Broqua interview with enigmatic huntress of sounds Anne Gillis, translated by Adrian Rew. Ian Nagoski's rare 1998 conversation with Ã‰liane Radigue, conducted and largely ignored at a time when there was little interest in her music, provides one of the clearest overviews of the visionary composer's early work and life. Supplementing the texts are numerous archival photos and documents, plus "Dark Matters", a poem by Joe McPhee. Edited by Lawrence Kumpf and Joe Bucciero. Nearly sold out.
BOOK $21 [170 pages]
Historic & Archival Recordings:
THE TRIO [JOHN SURMAN / BARRE PHILLIPS / STU MARTIN] & MIKE OSBORNE/ALAN SKIDMORE/MARC CHARIG/KENNY WHEELER/CHICK COREA/NICK EVANS/HARRY BECKETT/JOHN MARSHALL / et al - Incantation: The Dawn Recordings (Esoteric Antenna 22635; UK) Esoteric Recordings are pleased to announce the release of a remastered 2 CD anthology comprising all the recordings made for the Dawn label by the ground-breaking Progressive Jazz ensemble, THE TRIO. Coming together in 1969, The Trio featured JOHN SURMAN (baritone & soprano saxes, bass clarinet), BARRE PHILLIPS (contrabass) and STU MARTIN (drums). All three musicians had earned fine reputations for excellence in the Jazz world and had a desire to push musical boundaries in their work and had a desire to appeal to the emerging "progressive" music scene. Performing on bills with rock acts such as Captain Beefheart and Yes, The Trio signed to Pye Records' newly formed progressive imprint, Dawn Records in 1970. Their self-titled double album was produced by Peter Eden and released in July of that year. Aimed squarely at a progressive audience, The Trio was critically acclaimed. The 1971 album Conflagration saw the three musicians joined by a host of celebrated musicians for the sessions at Pye Studios in Marble Arch, London. Notable guests included Chick Corea, Dave Holland, John Marshall and Mark Charig among others. This new 2 CD anthology has been re-mastered from the original Dawn Records' tapes and includes a booklet with an essay by Sid Smith featuring exclusive interviews with JOHN SURMAN, BARRE PHILLIPS and producer PETER EDEN.
2 CD Set $25
GORDON BECK QUARTET With JOHN McLAUGHLIN / JEFF CLYNE / TONY OXLEY JOY MARSHALL - When Sunny Gets Blue: Spring '68 Sessions (Cherry Red TUR 502; UK) Gordon Beck, English jazz pianist and composer, broke onto the London scene in the early 1960s joining the Tubby Hayes group in 1962. Forming his own succession of groups from 1965 onwards. A subsequent 26 album career established him as one of the most important musicians in British Jazz before passing away in 2011. The estate of Gordon Beck granted access to his archive of analogue tape recordings which recorded various live performances over a 20 year period. None had been released before. In amongst these were two main sessions from 1968 of his Quartet and featuring the American singer Joy Marshall. The Quartet are Gordon Beck (piano) , John McLaughlin (guitar), Jeff Clyne (bass), Tony Oxley (drums). Joy Marshall had recorded only a handful of singles and one LP by the time of her death in 1968, though she was very well known in British Jazz circles, which makes the release of these recordings especially rewarding. She was a very accomplished and versatile vocalist, akin to contemporaries Nancy Wilson and Carmen McRae. As a bonus we have a 1966 session of a Gordon Beck Trio at Ronnie Scotts which also featured Joy Marshall on vocals. Simon Spillett, the biographer of Tubby Hayes, to whom Joy Marshall was married, has penned the definitive essay on these recordings with Joy and her background. Presented in a digipak, with booklet insert.
DAVIS AXELROD - Song Of Innocence (Now-Again 5165; USA) "Audiophile reissue, transferred directly from Axelrod's original EQ'ed master tapes at Capitol Records by Ron McMaster. Axelrod's debut, and a '60s masterpiece. Celebrated as psychedelic, the birth of jazz-fusion, the harbinger of hip-hop, Song of Innocence is a hybrid that no one, not even Axelrod himself, could describe. Grounded by Wrecking Crew vets Earl Palmer and Carol Kaye's funk, torn between the juxtaposition of musical elements, put at ease, Axelrod's sweeping arrangements, which utilize brass and strings in a way that no one of his era did. It's both violent and sublime. This is the first Now-Again issue in a series of reissues centered around Axelrod's Capitol Trilogy -- Song of Innocence, Songs of Experience and Earth Rot -- which will see release through 2018. Contains oversized, 32-page booklet that delves into Axelrod's incredible life and music, replete with never before published photos."
HUGH TRACEY - Listen All Around: The Golden Age of Central and East African Music (Dust-to-Digital 052; USA) Legendary ethnomusicologist and field-recording pioneer, Hugh Tracey founded the International Library of African Music (ILAM) in 1954. Today, ILAM preserves thousands of historical recordings and has become the greatest repository of African music in the world. Dust-to-Digital partner with ILAM to present Listen All Around: The Golden Age of Central and East African Music -- a compilation of newly-transferred and remastered recordings that Hugh Tracey made between 1950-1958. The recordings presented here were made in central and eastern Africa -- specifically, the Belgian Congo (now the Democratic Republic of the Congo), Kenya, Tanganyika, and Zanzibar (now Tanzania). The genre of music Tracey documented, and the focus of this double-CD and book is rumba and its variations -- Congolese rumba, dansi, and benga. The recordings, photographs and detailed liner notes included in this set provide a rich point of immersion into the mid-20th-century music of eastern and central Africa. Including 47 newly-transferred and remastered recordings that Hugh Tracey made in central and eastern Africa between 1950-1958, Listen All Around includes 84-page hardcover book and two CDs.
2 CD Set BOOK $30
JOHNNY CLARKE - Don't Stay Out Late (Kingston Sounds 074; UK) Kingston Sounds present a reissue of Johnny Clarke's Don't Stay Out Late, originally released in 1977. Johnny Clarke stands tall as one of the great vocalists that ruled the Jamaican reggae scene from the mid-1970s to the early 1980s dancehall period. This re-issue of his Don't Stay Out Late set shows his versatility to sing any song that was put in front of him and make it his own. Under producer Bunny "Striker" Lee's guidance, Mr. Clarke produced a run of singles and albums few could match. Johnny Clarke (b 1955, Jamaica, West Indies) cut his first record "God Made The Sea And Sun" after winning a local singing contest in the Bull Bay area of Jamaica. Although the single was not a hit, it led to two follow up tracks for producer Rupie Edwards, "Everyday Wandering" and "Julie" that fared much better, both on the island and overseas in England and Canada. These tracks also brought the singer to the attention of producer Bunny Lee and a working relationship that would go on to produce a prolific catalog of music. Johnny Clarke's Dread Conscious/Love Song style were to grace many hits around this time in 1974. There were such tunes as "None Shall Escape The Judgement", "Move Out Of Babylon", "Rock With Me Baby", "Enter The Gates With Praise" to name but a few. All new songs added to a host of cover tunes, recommended by Bunny Lee, many taken from singer John Holt's catalog, that suited Clarke's vocal style. The rhythms were cut at various studios around the Island. Randy's Studio 17, Channel I, Treasure Isle, Dynamic Sounds, and Harry J's by a group of musicians loosely called The Aggravators and voiced King Tubby's studio. All great tracks backed by great rhythms, cut by Johnny Clarke with a voice that few could equal. CD version includes four bonus tracks.
THE LEGENDARY PINK DOTS - Any Day Now (Expanded)(Metropolis MET 1127; USA)
"Any Day Now stands as one of the Legendary Pink Dots' best albums, and certainly among the best of the '80s. The Dots were often called an unlikely link between prog rock and industrial. Any Day Now lives solidly in a world of synthesizers & British goth & Syd Barret & psychedelia. This 2018 Expanded and Remastered Edition features bonus material, including excerpts from Any Day Now Secrets."
THE LEGENDARY PINK DOTS - Shadow Weaver (Expanded)(Metropolis MET 1128; USA) "The Legendary Pink Dots' classic Shadow Weaver is now presented in a 2018 Remastered & Expanded version. Reflecting the Dots moving away from their electronic-based origin, organic instruments knit rich yet fragile tapestry throughout. Still as vital & relevant as band's primary influences -- Can, Faust, Neu & Meddle-era Pink Floyd, Shadow Weaver shows the bands mastery of psychedelic sound designs."
JEANNE MOREAU - Le Tourbillon De Ma Vie (Best Of 2017)(Jacques Canetti Productions 5543196; France) An emblematic actress and a memorable figure of the French chanson scene, Jeanne Moreau passed away in 2017. She started singing as an amateur in theatre like the ComÃ©die FranÃ§aise, but always wanted "to sing ballads". The man who wrote her first songs was her friend: the painter Cyrus Bassiak (pseudonym of Serge Rezvani) and like for many other artists Jacques Canetti was the one who brought her to a recording studio to record her first songs in 1963. Le Tourbillon De Ma Vie (Best Of 2017) pays homage to Jeanne Moreau by compiling for the very first time all the songs written by Cyrus Bassiak, including four songs that were nowhere to be found until today. Le Tourbillon De Ma Vie (Best Of 2017) comprises recordings made between 1963-1967 and includes unreleased songs. Includes 20-page booklet with exclusive pictures and notes from Jeanne Moreau, FranÃ§ois Truffaut, and Cyrius Bassiak.
Last Copies of this Essential Disc from EVAN PARKER Now in stock:
EVAN PARKER SANTâ€™ ANNA ARRESI QUINTET With PETER EVANS / ALEXANDER HAWKINS / JOHN EDWARDS / HAMID DRAKE - Filu â€˜e Ferru (Punta Giara 4; Italy) Featuring Evan Parker on tenor sax, Peter Evans on trumpets, Alexander Hawkins on piano, John Edwards on double bass and Hamid Drake on drums & percussion. This is a UK/US dream band, a one-time meeting that took place on January 2nd of 2015 at the Ai Confini tea Sardegna e Jazz 29th Edition festival. There are some obvious connections going on here: Evan Parker & Peter Evans later (?) became members of a quartet known as Rocket Science, while John Edwards has often played in a rhythm team with Mark Sanders behind Mr. Parker and many others. The wild card might just be Alexander Hawkins who has worked with Louis Moholo in a duo, quartet & Quintet. What I love about this disc/set is that it evolves so organically, seamlessly through different sections. The interplay between all five members is extraordinary! Did I hear Peter Evans slip in a line from â€œSalt Peanutsâ€??? I doubt that this quintet hadnâ€™t played together before this event, but you would never think this as they they work together perfectly. The secret weapon here is the ever amazing Hamid Drake who keeps juggling a swirling tides of several connected waves or currents. Strangely enough there are some quiet moments here while the players regroup, slowly interact and build up again. My current favorite CD of the week, at least until I begin reviewing 10 FMR discs tomorrow. Quite possible gone for good so get your copy now! - Bruce Lee Gallanter, DMG
CD Booklet $25 [Last Half-dozen copies/Long Out-of-Print/Super Rare!]
EVAN PARKER - Evan Parker With Birds (Treader 001; UK) "One of Treader's most requested recordings sees the great UK free saxophonist Evan Parker on soprano and tenor saxophones, duetting with European birdsong. A fitting tribute to his friend, the celebrated soprano saxophone player Steve Lacy, who died in the year of its initial release."
LP $24 [Pre-order/rel date: 6/29/18]
SPRING HEEL JACK AND WADADA LEO SMITH - Hackney Road (Treader 003; UK) "Electronic duo Spring Heel Jack return with a collaboration with the legendary American trumpeter and Pulitzer Prize nominee Wadada Leo Smith. Wadada was born in the Mississippi Delta and became immersed in the music of the great blues masters as a young musician. He then moved to Chicago and became an early member of the AACM alongside the likes of Muhal Richard Abrams, Anthony Braxton, Malachi Favors and Roscoe Mitchell. Recorded last year in London, this LP sees Smith's authoritative trumpet joined by Steve Noble's drums and Pat Thomas' piano, to make a stunning piece of aural theatre in six acts."
LP $24 [Pre-order/rel date: 6/29/18]
JOSHUA ABRAMS - Excavations 1 (Feeding Tube FTR 337; USA) "The Chicago-based string genius Joshua Abrams first talked to us about the idea of this album a while back. It took a couple of years to get together, but in a way, it's cool that it's being released in 2018 -- the 50th anniversary of the recording of the first free bass solo LP, Barre Phillips' Journal Violone. Issued by Opus One in the U.S., Music Man in the UK (as Unaccompanied Barre), and Futura in France (as Basse Barre), Phillips' groundbreaking album was a gorgeous and gritty exploration of textures that are usually bound deep inside the creative flow of unit improvisation. Hearing these sonorities explored, at length, without extraneous gabble was revelatory, but not easy to replicate. I could only think of a dozen other LPs of the stuff that have been done in the intervening years (CDs don't count)*. But Abrams is undaunted by such shit. Anyone who has seen him play or listened to him on record knows he has an aggressively wide palette and a fearless drive to explore new regions of sound. The tones on Excavations 1 have a much gnarlier feel than many of the tones Joshua explores inside group dynamics. Almost more like some of the bassists associated with avant garde composition (Bertram Turetzky, Fernando Grillo, etc.), Abrams' work here is about pushing against accepted precepts of melody and rhythm, freeing the bass from its accepted role, and allowing it to scream for real." --Byron Coley, 2018 Edition of 500.
BILL LASWELL / NICHOLAS JAMES BULLEN - Bass Terror (Sub Rosa 459; Belgium) Sub Rosa present the first LP issue of Bass Terror from Bill Laswell and Nicholas James Bullen, originally released as a CD in Sub Rosa's Subsonic series in 1995. Bass Terror Tetragrammaton" is the dark side of Bill Laswell at the peak of his art in 1995 -- he goes into a black trance. The piece is not from a collaboration, it was designed alone, in his studio in Brooklyn. "Bass Terror Tetragrammaton" is also to be linked to an alchemical process. "Nocturnal Crawl" is a totally hypnotic piece, the first that Nik Bullen designed outside of Napalm Death and Scorn. The two pieces answer each other strangely, like two sides of the same hidden anxiety. The concept of the Subsonic series was the confrontation of electric guitars as the tutelary instrument, but here and this time only, it came out of bassists confronting each other. Red vinyl; Edition of 400.
PAPA LORD GOD - The Sheik Of Downfall Creek (Feeding Tube FTR 382; USA) "Debut LP by Brisbane's brilliant Greg Hilleard, who we first heard when he was part of the incredible Lost Domain. The Sheik is a solo album that makes us think of a summit between the Gibson Bros and Parachute-era Eugene Chadbourne (or something equally far-fetched). Pretty amazing by any yardstick. Anyway, Greg had a few words he wanted to share." - Byron Coley, 2018
Here they are: Celebrating 200 years of rock n roll. Former "leader" of Brisbane's premier room-clearers Strontium Dog (apologies to PORK), whose one and only record is terrible beyond belief (all surviving members agree). Shortly after the timely demise of SD, Gregory was asked to sit in with the Invisible Empire -- Brisbane (possibly Australia)'s, number one improv juke jumpers. John Henry decided being named after a dodgy pope was not very RnR and promptly renamed him Papa Lord God (apologies to the deceased). Evidence of the first meeting of minds is on the sadly unavailable Jeezly Fishcakes cassette. The Grubbage album was also recorded around this time. At some point one of the other more urbane members suggested that being named after the KKK (smash the invisible empire) wasn't maybe the best idea for impressing foreign investors and the name was changed to the Lost Domain. For 20 glorious years we free rocked the bars and verandahs of Brisbane to little or no response. Then Dave died. The guru, teacher, leader and philosopher (pre-war RnR division) was no more. This didn't sit well with Papa. Working in a gang made for light lifting and, being naturally work-shy, a solo thing wasn't really on the cards. Depression, madness and homelessness ensued. A period of semi-Calvinist sobriety followed (not recommended). Slowly muscles were stretched and strings were bent. A strong urge to avoid "tuneage" meant there would be no "writing". Freedom was the score and sound the means. Here is the first evidence for the prosecution/defense: Acoustic tracks recorded mostly first thing in the morning, in bed (Hello Furry Lewis!). Electric guitars recorded at the SweatLodge. Freedom yelps from the creek. Wordless protest.
SOTE - Persian Electronic Music Volume 2 / Sacred Horror In Design (Sub Rosa 454; Belgium) Sote aims to devise an idealized fusion of the musical heritage and tradition of Iran with the forward-thinking vision which has propelled his storied career producing techno, hardcore, and computer music for labels like Warp, Ge-stell, Morphine, and Repitch. Now living in Tehran, his music has frequently grappled with the strict cultural restrictions imposed in his country over the past few decades, finding a space and setting to nurture new developments in experimental sound and performance. Working with Arash Bolouri, who plays the santour (Persian hammered dulcimer), and Behrouz Pashaei on the long-necked, four-string setar, Sote frames and responds to their traditional artistry. On occasions he directly manipulates the music emanating from their ancient instruments, cultivating, and thickening up a surreal and beautiful tonality plucked from their strings with a series of processing techniques, but mostly each track is a peaceful arrangement and partnership, Sote electro-acoustically augmenting their movements within his own cybernetic framework. Unusual color and complex microtonality found in the classical music of Iran. Blurts of noise, sour tones, and a vaguely technoid or dub-wise impression expose the inner rhythm and counterpoint embedded in this strummed music. Emotional, mathematical and polyrhythmic principles underpinning Persian music, the record reveals a dramatic blend of acoustic Persian instrumentation and contemporary electronics. Artwork by Ala Ebtekar.
AMSTERDAM KLEZMER BAND & SONDORGO = Szikra (Vetnasj Records CTC 8990003; Netherlands) Pinnacles of klezmer and Balkan scenes merge to form single super band; Szikra is a magical collaboration between the Amsterdam Klezmer Band and the Hungarian band, SÃ¶ndÃ¶rgÅ‘. When playing live the bands merge into a grooving, uplifting supergroup with a totally unique sound. The first concerts were electrifying. Klezmer and Balkan fans are already looking forward to the upcoming tour. "Both bands create and play music with an open mind," says AKB bassist Jasper de Beer. "We're inspired by everything that has common ground with klezmer, Balkan, and gypsy music. SÃ¶ndÃ¶rgÅ‘ has a similar approach, and neither band is limited by tradition. So we have a unique sound." The acquaintance with the Hungarian band was purely a coincidence, Jasper says. "On a summer's day in 2015 I stumbled upon a performance in the Haarlemmerhout. I had never heard of SÃ¶ndÃ¶rgÅ‘. I had no idea what to expect." It soon dawned on him that he was witnessing something special. "The musicians play on tamburas, Serbian string instruments. They mix tambura with clarinet, kaval, sax, trumpet, accordion, davul, darbuka and occasional singing together. Unbelievable. The band is super tight and they are consummate instrumentalists. You can see and hear that they've been playing together for a long time. They've developed their own style, just like the AKB." The Amsterdam Klezmer Band, which has always been in for new musical adventures, had the idea to work together with SÃ¶ndÃ¶rgÅ‘. In early 2017 they contacted the Hungarian band, who responded enthusiastically. April 2017 they met in the Netherlands, and got on very well, both musically and personally. Their first musical explorations burst with energy and had an intriguing new sound. Szikra (Hungarian for "spark") was born. Five months later SÃ¶ndÃ¶rgÅ‘ returned to the Netherlands, both bands having prepared new pieces of music. After intensive rehearsals they recorded the studio album Szikra. "It sounds like these two bands have played together for years," says Benjamin of SÃ¶ndÃ¶rgÅ‘. "When we're together the bands integrate effortlessly, with a unique style and sound," adds Jasper. "The musical chemistry is driving everyone in the band to new creative heights."
2 LP Set $40 / CD $17 (pre-order only for now)
Bruce Lee Gallanterâ€™s Recommended Gig List for June of 2018:
THE STONE RESIDENCIES / JAMES ILGENFRITZ / JUNE 12â€“16
8:30 pm - Hypercolor & New Thread Quartet - Lukas Ligeti (drums) James Ilgenfritz (electric bass) Eyal Maoz (guitar) Geoffrey Landman, Kristen McKeon, Erin Rogers, Zach Herchen (saxes)
8:30 pm - James Ilgenfritz Solo & New Quartet - Thomas Heberer (trumpet) Sara Schoenbeck (bassoon) Andrew Drury (drums) James Ilgenfritz (bass)
THE STONE RESIDENCIES - BRIAN MARSELLA - JUNE 19â€“23
8:30 pm - The Flail - Brian Marsella (piano) Dan Blankinship (trumpet) Jon Irabagon (tenor saxophone) Reid Taylor (bass) Charles Goold (drums)â€¨Performing Marsellaâ€™s new suite "Day in the Life of a Jazz Musician"
8:30 pm - iMAGiNARiUM - Brian Marsella (piano, keyboards) John Lee (guitar) Dan Blankinship (trumpet) Meg Okura (violin) Jason Fraticelli (bass) Rich Stein (percussion) Kenny Wollesen (drums, vibraphone)
8:30 pm - Brian Marsella Solo (piano)
8:30 pm - Marsella, Fraticelli, Wollesen play ZORN - Brian Marsella (piano) Jason Fraticelli (bass) Kenny Wollesen (drums); Playing the music of John Zornâ€”Bagatelles, Masada and some new pieces!
8:30 pm - Gatos do SulBrian Marsella (piano) Itai Kriss (flute) Mark Feldman (violin) Jon Irabagon (tenor saxophone, clarinet) Pablo Aslan (bass) Graciliano Zambonin (drums) Cyro Baptista (percussion)
THE (NEW) STONE is located in The New Schoolâ€™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 Jun 15
8:35PM IGOR LUMPERT & INNERTEXTURES - Igor Lumpert, tenor sax; Roman Filiu, alto sax; Chris Tordini, bass; Kenny Grohowski, drums
Saturday Jun 16
8:35PM ARI HOENIG TRIO - Eden Ladin, piano; Or Bareket, bass; Ari Hoenig, drums
Sunday Jun 17
8:01PM NEW BRAZILIAN PERSPECTIVES: LIVIO ALMEIDA GROUP - Livio Almeida, tenor sax, flute, sop. sax; Delaney Stockli, violin; Mario Forte, violin; Michael O'Brien, bass; Sergio Krakowski, pandeiro
Monday Jun 18
8:30PM FOLK, ETC. - Patrick Lazour; Daniel Lazour
Tues, June 19th:
6:00PM THE ADI MEYERSON COLLECTIVE - Alden Hellmuth, alto sax; Lex Korten, piano; Adi Meyerson, bass; Jongkuk JK Kim, drums; Morgan Guerin, tenor sax
8:01PM KIND FOLK - John Raymond, trumpet; Alex LoRe, alto sax; Noam Wiesenberg, bass; Colin Stranahan, drums
Wednesday Jun 20
8:00PM SARAH ELIZABETH CHARLES & JORDAN PETERS DUO - Sarah Elizabeth Charles, voice; Jordan Peters, guitar
9:30PM JARRETT CHERNER QUARTET - Dan Blake, saxophone; Jarrett Cherner, piano; Jorge Roede, bass; chie Barshay, drums
Thursday Jun 21
8:01PM MICHAÃ‹L ATTIAS QUINTET - MichaÃ«l Attias, alto sax; Ralph Alessi, trumpet; Aruan Ortiz, piano; John HÃ©bert, bass; Francisco Mela, drums
Friday Jun 22
8:35PM LAGE LUND QUARTET - Lage Lund, guitar; Micah Thomas, piano; Jared Henderson, bass; Craig Weinrib, drums
Saturday Jun 23
6:00PM AUDREY SILVER QUINTET - Audrey Silver, vocals; Bruce Barth, piano; Marcus Printup, trumpet; Paul Beaudry, bass; Gene Lewin, drums
8:35PM LAGE LUND QUARTET - Lage Lund, guitar; Mark Turner, tenor sax; Jared Henderson, bass; Craig Weinrib, drums
Sunday Jun 24
8:01PM ISRAELI JAZZ SPOTLIGHT: YOTAM BEN-OR - Yotam Ben-Or, harmonica; Gabriel Chakarji, piano; Agustin Uriburu, cello; Alon Near , bass; Noam Israeli, drums; Rogerio Boccato, percussion
Friday, June 15th 8:00 PM
Ben Perowsky Trio
Ben Perowsky â€“ Drums
Sylvie Courvousier â€“ Piano
Hank Roberts â€“ Cello
Friday, July 20th 8:30 PM
Luca Soul Trio
Elias Stemeseder â€“ piano
Billy Mintz â€“ drums
Luca Soul â€“ bass & compositions
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.
ROULETTE Special Events:
Sunday, June 17, 2018 @ 8:00 pm
Amirtha Kidambi: Lines of Light
Lines of Light - Vocal Ensemble with:
Jean Carla Rodea
Amirtha Kidambi/Lea Bertucci Duo
Amirtha Kidambi â€“ Voice
Lea Bertucci â€“ Analog Electronics
Monday, June 18, 2018 @ 8:00 pm
Samuel Blaser Trio: Taktlos
Samuel Blaser â€“ Trombone
Marc Ducret â€“ Guitar
Peter Bruun â€“ Drums
Sunday, June 24, 2018 @ 8:00 pm
Jonathan Finlayson - Composer
Andre Solomon Glover â€“ Baritone
Jonathan Finlayson â€“ Trumpet
David Bryant â€“ Piano
Chris Tordini â€“ Acoustic Bass
Craig Weinrib â€“ Drums and Percussion
ROULETTE is at 509 Atlantic Ave
509 Atlantic Ave, Brooklyn, NY 11217
SUBWAY lines: 2, 3, 4, 5, D, M, N, R, B & Q and the LIRR arrive at Atlantic Avenue-Barclayâ€™s Center; G train to Fulton Street. A, C, Trains to Hoyt-Schermehorn
Downstairs @ Bushwick Public House
Monday June 18th
7pm Jesse Dulman - tuba
Dave SewelsonÂ - baritone saxophone
Ras Moshe BurnettÂ - tenor saxophone
Leonid GalaganovÂ - drums
8pmÂ Stephen GauciÂ - tenor saxophone
Sandy EwenÂ - guitar/electronics
Adam LaneÂ - bass
Kevin SheaÂ - drums
9pmÂ Gordon GrdinaÂ - oud/guitar
Oscar NoriegaÂ - alto saxophone
Russ Lossing - piano
Satoshi Takeishi - drums
9:30pmÂ Myk FreedmanÂ - guitar
Kenny WarrenÂ - trumpet
Carlo CostaÂ - drums
10:30pmÂ Dave TreutÂ - saxophones
Brandon SeabrookÂ - guitar
Henry FraserÂ - bass
Max AlmarioÂ - drums
11:15pmÂ Hans TammenÂ - sythesizer
special guest "N" - guitar/electronics
Briggan KraussÂ - guitar/electronics, alto saxophone
1288 Myrtle Avenue , Bushwick
(Across the street from M train Central Ave stop)
Thursday, June 14th at 8pm:
* Die Trommel FataleÂ
Eve Salina & Peter Stan duo
Die Trommel Fatale:
Brandon SeabrookÂ (guitar)
Marika HughesÂ (cello)
Eivind OpsvikÂ (bass)
Henry FraserÂ (bass)
Chuck BettisÂ (throat electronics)
Sam OspovatÂ (drums)
Dave TreutÂ (drums)
Eva Salina (voice) & Peter Stan (accordion)
*This will be the ONLY show scheduled in NY for Die Trommel Fatale this year
F to 2nd Ave / L to 1st Ave
Monday, June 25th at 8pm:
@ Trans Pecos
915 Wycoff Ave.
Ridgewood, Queens 11385
Zomes - (Hanna Olivegren - voice/electronics & Asa Osbourne - keyboard/electronics)
Eartheater - (Alex Drewchin - voice/guitar/electrtonics)
* Snake Union - (Dave Grant - modular synth, Chuck Bettis - electronics)
$10 (advance) $12 (day of)
L to Halsey
*Snake Union has been very busy recording several new records but hasn't crept out of our crypt for a NY performance for almost a year, come experience what we have morphed into.
Sunday 17 June 2018 - 5pm
Camille Bertault ~ Chico Pinheiro
Live at Rizzoli Bookstore, NYC
Rizzoli Music Aperitivo
Join us for the launch of Rizzoli Music Aperitivo with jazz musicians Camille Bertault and Chico Pinheiro. These young stars of the French and Brazilian jazz scenes launch a series of live performances at Rizzoli Bookstore that will spotlight international talent and spark cross-pollination between music and books.
Rizzoli Music Aperitivo is sponsored by Mionetto Prosecco and curated by Mondo Jazz, the weekly Radio Free Brooklyn show dedicated to international jazz.
Please rsvp by June 14th to email@example.com or simply reply to this email. Tickets may be purchased at the door for $20 and include complimentary prosecco.
Sunday, July 17 at
Scholes Street Studio 8 & 10 PM
THE DOUBLE TRIO
Jeff Pearring & Nick Lyons, alto sax
Ken Filiano & Francois Grillot, bass
Billy Mintz & Todd Capp, drums
Scholes Street Studio is at 375 Lorimer Street, Brooklyn.11206 718-964-8763;
L to Lorimer Street, G to Broadway, j,Z,M to Lorimer Street