Hot and Humid, It’s the Rainy Day Blues
Can’t Look at My Phone, Can’t Deal with the News,
It’s Just Another Tape-Loop, Playing Over and Over and Over
Until I Hear I Hendrix Sing, “Move over Rover and Let Jimi Take Over!”
Walking to Brunch the Other Day,
A Cute Red Haired Woman
Nearly Steps in my way,
Staring at her phone and she nearly Collides with me
I stop right in front of her and ask, “Is it true what they about redheads?
She asked, “What do they say?”
“That they are filled with Passion and the Zest for Life!”
She smiles at me, breaks my heart and goes on her way…
Does this type of thing happen every day?!? Hmmmmmm
Is it difficult being an aging activist, silver sneakers, senior citizen?
This Week’s Musical Manna from Heaven Features These:
Nicole Mitchell / Tomeka Reid / Aruan Ortiz / Fay Victor! Terry & Gyan Riley! Henry Kaiser / Ed Pettersen / Martin Kuchen / Tania Chen / Roger Turner..! 8 Great CD’s from Clean Feed: Dave Ballou / Anthony Pirog Qt! Carlos Bica & Azul Jim Black! Joachim Badenhorst / Celano / Baggiani!
Mario Costa / Marc Ducret / Benoit Delbecq! LIsbon Freedom Unit: Rodrigo Amado & Luis Lopes! Matt Lavelle & Reggie Sylvester! Giuseppi Logan/Jessica Lurie/Larry Roland..! Elsewhere Begins: Michael Thieke & Biliana Voutchkova! Melaine Dalibert! Toshimaru Nakamura! Bobby Sanabria Multiverse Orchestra! Y Mucho More!
Upcoming Sets at Downtown Music Gallery - FREE, every Sunday at 6pm
THE DMG 28TH ANNIVERSARY SERIES OF SONIC CELEBRATIONS Continue with:
Sunday, July 29th:
6pm: NATE SCHEIBLE and SARAH HUGHES - Drums and Alto Sax
7pm: STEVE SWELL and MARK SEGGER - Trombone and Drums
Sunday, August 5th:
6pm: MATTEO LIBERATORE / MICHAEL FOSTER / JOANNA MATTREY - Guitar / Sax / Viola
Sunday August 12th:
6pm: BEN GOLDBERG and KIRK KNUFFKE - Clarinet and Cornet - CD Release Set
7pm: JUANMA TRUJILLO / HERY PAZ / DAYEON SECK - Guitar / Sax / Drums
Sunday, August 19th
6pm: ROBERT DICK and LESZEK “HEFI” WISNIOSKI - International Flute Duo
7pm: ALEX LOUDOUDIS and RAS MOSHE - Drums and Tenor Sax
Monday, August 20th - Downtown Music Gallery Anniversary Celebration - Part 2:
8pm: NATE WOOLEY and CHRIS PITSIOKOS - Zurcher Gallery - 33 Bleecker Street in NYC!
Sunday, August 26th
6pm: AARON RUBINSTEIN and NATE WOOLEY!
7pm: XANDER NAYLOR / RICK PARKER - Guitar / Trombone and Electronics!
Sunday, September 2nd:
6pm: CHARMAINE LEE!
7pm: KYOKO KITAMURA / LEONID GALAGANOV - Vocals / Percussion & Shakuhachi!
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
NICOLE MITCHELL With TOMEKA REID / ARUAN ORTIZ / FAY VICTOR - With Maroon Cloud (FPE Records 020; USA) “Camaroon Cloud”, a powerful eight-part suite by celebrated flutist Nicole Mitchell, is a paean to the human gift of imagination and its ability to foster resistance in our dystopian times. It features a drum-less quartet with Mitchell, cellist Tomeka Reid, pianist Aruán Ortiz and vocalist Fay Victor, recorded live at National Sawdust in Brooklyn as part of John Zorn's Stone Commissioning Series (March 29, 2017). In part, maroon cloud refers to the realm of creativity that we can enter simply by closing our eyes -- an ability no one can take away from us. "Imagination, especially black imagination, is a really vital and undervalued resource," the composer states. "It's very clear that we can't continue in the same direction that we've gone, but we need to return to where imagination and creativity come from, because if we don't have another vision then we can't make a different future. What makes us special as human beings is our ability to imagine things that don't even exist yet." Those future-seeking visions, for now, exist in what we might call the "cloud." "Maroon," meanwhile, has a number of meanings: it ties into the theme of resistance by referencing the Maroons -- those Africans who escaped slavery in the Caribbean and banded with indigenous people to form their own communities as early as the 16th century. Mitchell also cites the alternate meaning of "marooned," i.e., people being abandoned to their fate. And then there's maroon, the rich dark color we might see with eyes closed, imagining social and political renewal. Nicole Mitchell, a longtime Chicagoan and professor of music at the University of California-Irvine, recently received a Champion of New Music Award from the American Composers Forum. She has been hailed for her "Afrofuturist vision" and credited as "the most inventive flutist in the past 30 years of jazz" by The New York Times. Her varied projects and leadership as the first woman to chair the AACM have widened the scope of improvised music.
THE RILEYS [TERRY RILEY / GYAN RILEY] - Way Out Yonder (Moonshine Music 007; USA) Featuring Terry Riley on piano, melodica, electronics & voice and Gyan Riley on electric guitar. Minimalist master composer & keyboardist, Terry Riley, and his son, guitar great & composer, Gyan Riley, have been touring and recording together for nearly two decades. They have a handful of records together and released on the New Albion and Sri Moonshine labels. This disc was recorded live at three different concerts: UC Berkeley in December of 2014, Victo Fest in May of 2017 and Wwwx in Tokyo in November of 2017. Both Terry and Gyan have each contributed songs as well as covering a traditional Indian raga. Commencing with “Out Yonder” (from 2104), it sounds as if Terry Riley playing a prepared piano, tapping inside the piano and muting certain strings, the sound is mesmerizing, magical, dream-like. While Terry plays an intense, theme with his left hand, he also strums inside the piano to add bits of sonic spice (from percussive to electronic effects). On a few of these pieces the older Mr. Riley plays melodica, which adds a a lovely, quaint, sublime quality, making this even more enchanting. It sounds as if Mr. T Riley is using a sampler or synth on a few of these pieces, making it hard to tell what kind of keyboard he is playing, adding a mysterious quality to this ever-charming treasure. When Terry plays just the piano, it is as if he is coming from a more, classical, older traditional but also adding bits of jazz lines or rhythms as well. On “Dark Queen”, the elder Riley plays a long, classical like suite on the piano with the younger Riley only coming in towards the last section to embellish the last part of the suite. “Deep Night” is based on a classical Indian raga and Terry chants with his warm, ever-inviting voice at the center of this piece. Terry Riley has long studied Indian traditional music and we can tell by the way he uses his voice to dart off this delightful long work. As this long piece evolves and Terry plays piano, Gyan starts to add flourishes on his guitar. I’ve seen & heard this duo play on a couple of occasions and have always felt deeply touched by what they do. As a father and son they are already connected on several levels and we can hear that connection within the music that they produce. Consistently spiritually uplifting. - Bruce Lee Gallanter, DMG
HENRY KAISER / ED PETTERSEN / MARTIN KUCHIN / TANIA CHEN / JEFF COFFIN / DAMON SMITH / JORDAN MUSCATELLO / ROGER TURNER - Interstellar Transmissions (Split Rock 18003; USA) Two fascinating experimental concepts are executed by Roger Turner, Henry Kaiser, Martin Kuchen, Damon Smith, Jeff Coffin, Ed Pettersen, Tania Chen, & Jordan Muscatello; on disc 1, each musician improvised alone to NASA recordings from the Voyager spacecraft, the results mixed together over the Voyager track; on Disc 2, the three improvisers play together in response to Voyager tracks. Featuring Henry Kaiser & Ed Pettersen on guitars, Martin Kuchen & Jeff Coffin on saxes & flute, Tania Chen on piano, Damon Smith (acoustic) & Jordan Muscatello (electric) on basses and Roger Turner on drums. You should recognize most of the musicians on this disc since many of them have worked with Henry Kaiser in the recent past. Nashville-based guitarist, Ed Pettersen, released a demanding duo guitar effort with Mr. Kaiser a few months ago and also runs this, the Split Rock Records label. I imagine that saxist Jeff Coffin (Dave Matthews Band & Bela Fleck) and bassist Jordan Muscatello were both selected by Mr. Pettersen and probably come from the same neck of the woods. Very glad to see & hear the two European improvisers here: saxist Martin Kuchen (from Angles 3, 8 & 9) and drummer Roger Turner (Konk Pack & lots more). Ace pianist Tania Chen is based in the Bay Area and is well-known for her interpretations of John Cage. She was recently here at DMG visiting so I want to send her my regards. Hi Tania.
Not sure what the Voyager sounds are like but there is an odd, somewhat ominous low-end sound which floats in and out of the mix on disc 1. The music is recorded most carefully so that we can hear each instrument in a well-balanced blend. Are those radio transmissions in the distance, perhaps from a long space flight. The music sounds as if we are traveling on ship, either under the ocean or in space, a rather lonely yet hypnotic vibe as we sail or soar through whatever stream we are in. Both guitarists are at the center of what is happening on Disc 1, one on acoustic and the other on electric, often creating a cosmic web of notes and chords, interwoven into a fascinating tapestry. What I find most fascinating about this is when there are several streams or dialogues going on simultaneously. We have to listen closely to hear all of the interesting connections that happening together.
The second disc is just the trio of Martin Kuchen (sax), Ed Pettersen (guitar) and Roger Turner (drums) and it was recorded in London. Since reviewing that duo guitar CD with Henry Kaiser, a few months ago, I have been checking slowly out other discs from Nashville-based guitarist Ed Pettersen. It turns out that Mr. Pettersen has also recorded a couple of discs with ESP sax legend Guiseppi Logan, as well as a project called Nashville Electric. This trio includes a couple of other great improvisers: saxist Martin Kuchen from Angles (on Clean Feed), as well as a number of diverse improv sessions and UK drummer Roger Turner who has worked with many greats: Phil Minton, Lol Coxhill and Konk Pack. This trio tends to be further out than the other CD here. The common factor is the eerie electronic sounds (NASA recordings?) floating throughout. Roger Turner often sounds like a prime example of UK style insect music, making many odd sounds in which it is hard tell to their source. The improv is very focused with all the sounds carefully transmitted. Much of this music us cerebral, quite fascinating with the players taking their time to explore a variety of nuances, textures and combinations of sounds. - Bruce Lee Gallanter, DMG
2 CD Set $14
Eight Great Brand New CLEAN FEED CD’s for July, 2018:
DAVE BALLOU and BEEPHONK With ANTHONY PIROG / ADAM HOPKINS / MIKE KUHL - The Windup (Clean Feed 489; Portugal) “The title of this debut album from the band BeepHonk refers to the place where it all started in 2011: the Windup Space, in Baltimore. There, bassist Adam Hopkins organized weekly concerts through the Out Of Your Head Collective, which presented performances of improvisers in one time only combinations. Most never performed as a band again, but one remained active to this day, albeit in intervals due to the filled agendas of their members. Continuing thereafter as BeepHonk, Hopkins, guitarist Anthony Pirog (The Messthetics) and drummer Mike Kuhl assembled themselves around the trumpeter and composer Dave Ballou (Solo Trumpet, Clean Feed 2015), known for his appearances in both mainstream and creative jazz. They attempted a studio album, only to discover that the improvisations so central to the project were simultaneously more loose and focused in front of an audience. As a result, in 2017 they returned to The Windup Space to record its namesake album live. This is the happy result a magnificent document of the virtues of collective interplay and creative score reading. There are some recognizable factors, like the way a simple line introduced by Ballou organizes everything, reminiscent of SteveLacy, and Pirog's use of delays and loops. The rest is very much their own thing, generally with short tunes beginning, developing and ending in a very natural way, without a single gram of fat.”
CARLOS BICA & AZUL Featuring FRANK MÖBUS / JIM BLACK - Azul in Ljubljana (Clean Feed 495; Portugal) Personnel: Carlos Bica - Double Bass, Frank Möbus - Guitar and Jim Black - Drums and Percussion. If you say Azul, you have to say Carlos Bica as well, hardly anyone in jazz is connected to a single band like the Portuguese with this unique trio featuring Frank Möbus on guitar and Jim Black on drums. Azul has been working together for more than 20 years and is considered one of the most significant and fertile trios of this moment. "Azul in Ljubljana“, is their 7th album and the very first one ever live recorded. As a composer, double bassist Carlos Bica is a cultivator of the song format, but if as such he knows the virtues of studio production and engineering, in order to perfect a composition at a detail level, he’s also very much conscious that, in jazz, the best for a song is to be played live and to grow from the confines of what is written through improvisation. Hence the importance of this new album of his band Azul, with Frank Möbus and Jim Black, recorded in the magnificent 2015 concert they gave at the Ljubljana Jazz Festival. All the studio recordings by this trio are great, but here the music breathes more widely, go more deep and have more expressive effect, because a jazz song depends more from the “here and now” of a performance than a pop or a folk song, even when there’s aspects of both in the music. They’re self evident, as it is the rock factor in some of the tracks, and also the lyrical quality coming directly from the classical tradition: Azul is the sum of all this in a beautiful, mysterious, dramatic and sometimes intense way, giving a human, fragile, contradictory soul to the electric jazz of the 21st century.
CELANO / BADENHORST / BAGGIANI - Lili & Marleen (Clean Feed 476; Portugal) Guillermo Celano and Marcos Baggiani are outstanding personalities in the Amsterdam creative jazz and free improvised music scene, where they co-lead the project C.B.G (acronym for Celano/Baggiani Group). In 2013 and specially for the Composition Assignment of the North Sea Jazz Festival, they came forth with a new line up of this band, one of the musicians being the Belgium clarinetist Joachim Badenhorst, mentor of the Carate Urio Orchestra and part of bands like Mógil, Tony Malaby’s novela and Baloni. This trio is a derivation of that partnership, committed to open new musical spaces in a more intimate context, reimagining the boundaries between composition and improvisation and between conventional harmony and abstract sound explorations. “Lili & Marleen” is a marvellous accomplishment of this non-exclusivist approach; melody, groove and textural / timbral work co- existing
without preconceptions of any sort. The Argentinean roots of both Baggiani and Celano can be sensed here and there; an amalgam of postmodern creative music with traces of nuevo tango and chacarera. This is the kind of mix that someone like Badenhorst would appreciate, always searching for the maximum aesthetic elasticity and for cross current audiences.
MÁRIO COSTA With MARC DUCRET / BENOIT DELBECQ - Oxy Patina (Clean Feed 492; Portugal) In just a few years, Portuguese drummer Mário Costa became a serious case of success in the international jazz scene. We noticed him first playing in two key records to understand the rich reality of creative jazz in Portugal, “Nebulosa” and “Partícula”, as a member of the band lead by Hugo Carvalhais. In the second of these albums, the soprano saxophone was played by Émile Parisien, an usual Carvalhais partner on stage. Shortly after, Parisien invited Costa to play the drumkit in his new super-group with the veterans Joachim Kuhn and Michel Portal fronting a line-up with Manu Codja, Vincent Peirani and Simon Tailleu. «Now he belongs to the top modern drummers in jazz”, Kuhn states about the wide projection resulting from the excellent work he’s developing with such great company. “Oxy Patina” is another step in that path, presenting himself also as a composer, and again with top French players, Marc Ducret and Benoît Delbecq. Both are meticulous researchers of the capacities of their respective instruments and both have strong personal languages. Mário Costa couldn’t be more ambitious in the choice of partners, but he brilliantly achieves all his intentions. With them he managed to forge a solid and intriguing collective sound. If he managed to put our expectations high, the outcome is even higher.
LFU: LISBON FREEDOM UNIT With RODRIGO AMADO / LUIS LOPES / RODRIGO PINHEIRO / et al - Praise of Our Folly (Clean Feed 480; Portugal) Featuring: Luís Lopes - electric guitar, Rodrigo Amado - tenor sax (left), Bruno Parrinha - soprano sax & clarinet (center), Pedro Sousa - tenor sax (right), Rodrigo Pinheiro - piano & rhodes, Ricardo Jacinto - cello, Hernâni Faustino - double bass, Pedro Lopes - turntables & electronics and Gabriel Ferrandini - drums & percussion. The first avant-garde-ists of the 20th century began a special internalization of aspects coming from the creativity of children, of the then-called “savages” and of the demented, and that interest explains much of the Western artistic evolution until today. The improvising co-operative Lisbon Freedom Unit assume that legacy in its musical practice and in the title of this record, refering it to the classic “In Praise of Folly”, written by the Renascentist scholar Desiderius Erasmus. Without a leader, this ensemble of nine reunites some of the most distinguished musicians of the Lisbon free jazz and free music circles. Mixed here are the members of Red Trio (Rodrigo Pinheiro, Hernâni Faustino and Gabriel Ferrandini), of Garden (José Bruno Parrinha, Ricardo Jacinto, Luís Lopes) and of the duo Eitr (Pedro Sousa and Pedro Lopes), and also 2/3 of the Rodrigo Amado Motion Trio (Amado, Ferrandini) and 2/4 of the Luís Lopes Humanization 4tet (Lopes and Amado). Having all of them in the same band it seems is in itself crazy, but the only chaos you’ll hear is totally organized: if nobody follows a sacrament it’s because only folly can bring us close to God, as Erasmus used to say.
MIA DYBERG TRIO - Ticket! (Clean Feed 487; Portugal) Personnel: Mia Dyberg -alto sax, Asger Thomsen - double bass and Dag Magnus Narvesen - drums. I know Danish saxist Mia Dyberg from the time I gave a speech at the Jyderup Festival Music Worksop in June of 2015, just north of Copenhagen. Ms. Dyberg attended and played at this fest. Ms. Dyberg also came to town and played at DMG in October of 2015. I don’t recognize the name of the bassist but the drummer, Dag Magnus Narvesen, did have a fine duo LP with Alex Von Schlippenbach on Not Two, as well as working with Marilyn Crispell and leading a band called Damana (on Clean Feed).The opening track, “Ticket!”, kicks off with a righteous, slightly funky groove that feels so good. Things slow down to a lovely, somber simmer on “Party Ist Vorbei”, a rather quaint sort of ballad. Drummer, Dag Magnus Narvesen, is in especially fine form though out, especially on “Wil’s Swing”, burns brightly and swings intensely. “Tropical” has lovely, soulful sound with Ms. Dyberg’s tone so warm and endearing. Each piece here shows the diversity and strength of this trio, from bluesy ballads to freer terrain. This is a strong, crafty trio, balanced just right, all three integral to the group sound. Ms. Dyberg has continued to evolve, her sound richer and each piece thoughtfully conceived and executed. Another gem from the extensive Clean Feed treasure chest! - Bruce Lee Gallanter, DMG
DYSTIL With BRYAN QU / QUINCY MAYES / MARK BALLYK - Dystil (Clean Feed 486; Portugal) Personnel: Bryan Qu - alto sax & objects, Quincy Mayes - piano & objects and Mark Ballyk - percussion, voice & objects. I can’t say that I had heard of any other members of this trio before now, although it turns out that these three men current live or have lived in NY. Saxist Bryan Qu was also a member of The Delegation, whose release last year on ESP Disk was great but is still under-recognized. Although this disc is on the shorter side, around 30 minutes, it seems long enough to evoke thoughtful introspection. Pianist Quincy Hayes mutes the piano with an object, pecking out select fragments while the other two members on alto sax and percussion also carefully add their own sonic spice. Time slows down and patience is required as the trio use space and suspense ever so cautiously. By midway, the tempo and excitement picks up with the drummer erupting quickly but with restrained grace, while the piano plays solemn chords on top. There are some mysterious sounds on this disc which sound like a (vocal) sampler or synth (electronics?), but none are listed so… who knows? Somehow much enchanting but a bit difficult to describe. - Bruce Lee Gallanter, DMG
SCHNELL With PIERRE BOREL / ANTONIO BORGHINI / CHRISTIAN LILLINGER - Live at Soweiso (Clean Feed 488; Portugal) Personnel: Pierre Borel - sax, Antonio Borghini - bass and Christian Lillinger - drums. The trio Schnell uses the bebop tradition as the starting point (the «archetype» or the «memory basket», as they put it) to investigate speed, stasis and trance. It’s not simply a mechanical process, giving more velocity to the lines played by Thelonious Monk and Charlie Parker, the same way a 33 rpm record would sound if put to 78 rpm, but to transform the bebop language by pushing the musicians to their limits and forcing them to develop new collective and personal strategies. Pierre Borel, Antonio Borghini and Christian Lillinger, all of them living in Berlin but the first coming from France and the second from Italy, noticed that the improvisational side of bebop stopped to be the core of this jazz tendency when this one became repertoire music the purpose is now to reestablish that dimension, playing it «on its verge, at
high speed, where body memory, intuition and the unconscious are essentials». From their respective backgrounds nothing supposed the emergence of this concept: Borel comes from a dedication to abstract free improvisation with the likes of Axel Dorner, Tetuzi Akiyama and Christoph Kurzmann; Borghini was involved in projects lead by Anthony Braxton, David Murray and, even more far, Mike Patton; and Lillinger found in groups like Grund Amok Amor and Grünen the contexts to give some of the energy of rock to creative jazz. You may get dizzy, but truth is that accelerated bebop is still bebop.
MATT LAVELLE & REGGIE SYLVESTER - Retrograde (ESP-Disk 5010; USA) “Featuring Matt Lavelle (trumpet, flugelhorn, alto clarinet) and Reggie Sylvester (drums), New York avant-jazz veterans and longtime cohorts in the Bern Nix Quartet, perform in duo here on Retrograde, their debut on ESP-Disk'. Visiting destinations overlooked on John Coltrane's tour of the solar system, they craft their own space suite of earthier delights. This album was recorded live at Andrea Wolper's WhyNot Experiment? series. Matt and Reggie played two sets; the second set, with Bern Nix in the audience, is what you hear on this album, which is dedicated to the late Mr. Nix. This is the sixth album as a leader from Matt Lavelle (b. 1970), and his first on ESP-Disk'. He has studied with Ornette Coleman and swing-era veteran Hildred Humphries, has worked with William Parker, Roy Campbell, Daniel Carter, Jemeel Moondoc, Mat Maneri, Matana Roberts, Rashid Bakr, and folk/improv ensemble Stars Like Fleas. He collaborated with ESP fave Giuseppi Logan on the latter's 2010 comeback and worked extensively with Sabir Mateen. Currently, Lavelle leads a variety of groups, most notably The 12 Houses, an all-star avant big band. Drummer Reggie Sylvester (b. 1957) was a member of the early Black Rock Coalition of the mid-1980s and played with the BRC Orchestra and its instrumental offshoot Trio From Beyond, he opened for Blues Traveler, Spin Doctors, Ginger Baker's Middle Passage Band (album produced by Bill Laswell) (2016), and Raging Slab at Wetlands. In 1995, he recorded with experimental guitarist/vibist/bassist Paul Steven Ray, producing a three-song EP produced by John Snyder. In 2001, Sylvester joined metal/hard rock trio Rock Diesel, which recorded the independent CD Feedback. In April 2012, he became a member of the Bern Nix Quartet, playing all their shows until Nix's death in 2017 and on their 2013 album Negative Capability. Sylvester currently co-leads avant-pop/folk group the Human Hearts Trio with Lindsey Wilson and bassist Michael Trotman, a band that sometimes includes Daniel Carter. Sylvester was commissioned by Patricia Nicholson Parker to compose and perform I Know Your Face with Wilson, Carter, Nix, and bassist Francois Grillot at the Arts for Art festival Justice Is Compassion. Sylvester has also performed with Charles Gayle, Jemeel Moondoc, James Brandon Lewis, Ava Mendoza, J.D. Parran, Ann Waldman, and Charles Waters. James McLean, original sound man at the Knitting Factory, recorded and carefully engineered a full sound as good as that of a studio album.”
GIUSEPPI LOGAN / JESSICA LURIE / LARRY ROLAND / ED PETTERSEN - …And They Were Cool (Improvised Beings IB 16; France) Featuring Giuseppi Logan on alto sax & piano, Jessica Lurie on alto sax & flute, Larry Roland on bass and Ed Pettersen on guitar & effects. After making two solid albums for ESP in the mid-sixties, saxist Giuseppi Logan, disappeared for some 45 years. He reappeared around 2009, played and hung out at the Vision Fest and recorded an album for the Tompkins Square label. In the lengthy liner notes for this disc, Mr. Pettersen describes the long & winding odyssey of getting this season together. This disc was recorded in June of 2012 at Dubway studios in NYC. Most likely you know saxist Jessica Lurie from here work with the Billy Tipton Memorial Sax Quartet, Zion 80 plus a few of her own discs. Former Boston-based bassist Larry Roland was once a member if the legendary/little known World Experience Orchestra and more recently as a an MC / poetry reader at the Vision Fest. Although Mr. Logan has had his many problems, he does sound more focused here playing with three other sympathetic musicians. The opening track, ’Taking a Walk in the Park”, is sparse yet somber and spacious. The bowed bass at the enter sets the pace with Mr. Logan’s solemn sax up front and Ms. Lurie’s cerebral flute in the distance. Mr. Pettersen often stays in the background and adds soft guitar fragments and occasional loops. Larry Roland on bowed bass and Jessica Lurie sounds especially enchanting on “Trying to Decide”, giving Mr. Logan a lovely cushion of support when he enters midway. One of the better things about this disc is the production by Mr. Pettersen who adds bits or reverb to the flute & alto sax by Ms. Lurie, while keeping Logan’s tone more warm and dry. Considering there is no drummer throughout, it is Larry Roland’s acoustic bass which is at the center of the activity here, driving the rest of the quartet or just creating a throbbing pulse at the heart of the band consistently. Mr. Logan sounds relaxed and in great company throughout this entire disc. - Bruce Lee Gallanter, DMG
Anyone who reads this newsletter regularly, knows how much admiration I have for the Erstwhile label. Labelhead, Jon Abbey, has long had a vision for the label, both musically and presentation-wise. Hence the consistency of everything he released over some two decades. Mr. Abbey’s longtime partner, Yuko Zama, has also been involved in Erstwhile, designing covers for several of their releases. Ms. Zama has also nurtured friendly relationships with a number of the musicians on Erstwhile and has decided to start her own label, which is called Elsewhere. The first two releases on Elsewhere have just been released and this is a cause for celebration. Both of these two new discs are superb, you can tell how much work and consideration went into these discs. The cover art for both was done by vocalist/experimental composer, David Sylvian, who is also a serious listener and supporter of Erstwhile and Elsewhere.
BILIANA VOUTCHKOVA / MICHAEL THIEKE - Blurred Music (Elsewhere 001-3; USA) “The Berlin-based Bulgarian violinist Biliana Voutchkova and German clarinetist Michael Thieke have worked together intensely within both compositional and improvisational duo and group projects in Berlin since 2011. You should recognize Mr. Thieke’s work from his varied projects: Clarinet Trio, the Magic I.D. and the International Nothing.
In their current project “Blurred Music”, the duo works with musical structures that create a blur; improvised parts alternate with fields of pre-structured material in which digital recordings of the duo are duplicated by live performance. Virtually identical fragments of the live performance synchronize simultaneously with the playback, unavoidably giving rise to blur in the temporal dimension, in the rhythmic, timbral, and motivic variations, and in the microtonal interpretation of individual pitches.
The triple CD 'Blurred Music' features three of the duo's live performances, recorded in Chicago, Philadelphia and New York during their USA tour in December 2016. These three live recordings are all very differently structured, factoring in the conditions and the atmosphere of each venue as well as the musicians' own perspective and mindset. This series of three concerts, all occurring within a nine day period, showcase the very wide range of this duo, so all three recordings combine to form a saga of their peak. Using their highly trained virtuosic skills and intense concentration, the duo carefully deconstructs the conventional tones of instruments into fine particles in an organic flow, to create a completely new world of music on their own, somewhere between tonality and atonality, and will hopefully be recognized as one of the most mature accomplishments of improvisational/compositional works of this era.”
As I listen to each of these three discs for the second time, I noticed that overall sound/balance is different at each performance. The sound in the room, placement of mic’s and subtle playing of each of the two musicians all factor into the distinctive results. I had to turn up the volume at times to hear the subtle textures and manipulations. On Disc 1, I hear mostly acoustic clarinet and violin weaving their way together in waves or fragments. I am currently reading the thick new book about Keith Rowe, written by journalist Brian Olewnick. This is most appropriate since guitarist & composer, Keith Rowe, is a guiding light for the Erstwhile and now Elsewhere labels. The clarinet and violin sound perfect together since both have a certain warm, wooden sound and often create careful drones, making it hard to tell who is playing which sound. I know there are some written parts here which make it hard to tell where the improv ends and the written parts begin. The vibe or flow has a mysterious sense of synchronicity, a current that runs throughout, which can be felt by those sympathetic to the magic forces within. There is quite a bit more going on here that one might imagine. The duo slowly yet consistently shift through many different layers, melodic and abstract fragments are in constant motion, making the results both fascinating and unpredictable. I am currently on Disc 2 and remain transfixed. A grand toast to Yuko Zama for her inspired efforts. - Bruce Lee Gallanter, DMG
CD-1: Chicago://youtu.be/iU4ravZYs8o; CD-2: Philadelphia: //youtu.be/WxuOYAIMBtA; CD-3: New York://youtu.be/5lAxLN0vFdM
3 CD Set $30
MELAINE DALIBERT - Musique pour le lever du jour (Elsewhere 002; USA) Melaine Dalibert (born 1979), a French composer/pianist, has been increasingly recognized for his compositional piano works as well as his interpretations of works by Gérard Pesson, Giuliano D’Angiolini, Tom Johnson, Peter Garland and many others. Trained as a classical pianist in Rennes (where he teaches now), Dalibert studied a large repertoire of contemporary composers' works at the Paris Conservatories. Being involved with experimental music at a young age, Dalibert found a way to compose music through mathematical concepts.
Fascinated by natural phenomena which are both expected and unpredictable, and also inspired by the work of the Hungarian-born French media artist Véra Molnar, Dalibert has developed his own algorithmic procedures of composition which contain the notion of stretched time evoking Morton Feldman, minimal and introspective, adopting a unique concept of fractal series. His piano music has been released on two recordings to date: Quatre pièces pour piano, self-released in 2015 and Ressac, issued by Another Timbre in 2017.
'Musique pour le lever du jour' (the title meaning 'Music for The Daybreak') was composed by Dalibert over two years and completed in 2017, with the concept being an ‘endless piece’ with no beginning or no end. This one-hour piece adopts slow tempi, leaving meditative space for long resonances in which pentatonic coloring gradually modulate in all tones, resulting in complex layers of direct tones, overtones, and prolonged reverberation, all organically subliming into rich sonorities with incredible harmonic clarity. Produced and design by Yuko Zama, artwork by David Sylvian. The single CD is a limited edition of 500. YouTube excerpt clip: //youtu.be/nX8Q46pAK4Y
TOSHIMARU NAKAMURA - Re-Verbed (No-Input Mixing Board 9)(Room40 494; Australia) Re-Verbed (No-Input Mixing Board 9) is the latest edition from Tokyo-based artist Toshimaru Nakamura. The "No-Input Mixing Board" is a unique instrument pioneered by Nakamura. As its name suggests, it is a mixing console within which external no input exists. The instrument is fueled only by its own feedback. Initially used by Nakamura as a more tonal instrument, creating incredibly high frequency outputs, over time the mixing board has become decidedly more rhythmic and harmonic. It is this sonic territory that is the focus of this edition. Re-Verbed (No-Input Mixing Board 9) is by far one of Nakmura's most musical recordings. The board's tonality is front-and-center; low pulses and cavernous pulses fizzle and murmur with a subtle but frenetic energy. Drifting into decidedly dub-oriented directions, Nakamura allows the instrument to breathe; specifically he finds new dimensions to the ways interference can be brought into harmony within the pieces. While the instrument might suggest a sense of indeterminacy, Nakamura's intimate relationship with it means he can maintain an unerring sense of control over it. Re-Verbed (No-Input Mixing Board 9) is evidence of his intense capacity to create profound work with this most unusual of devices. A conjuring of something truly unique from literally nothing. Toshimaru Nakamura's instrument is the no-input mixing board, which describes a way of using a standard mixing board as an electronic music instrument, producing sound without any external audio input. The use of the mixing board in this manner is not only innovative in the sounds it can create but, more importantly, in the approach this method of working with the mixer demands. The unpredictability of the instrument requires an attitude of obedience and resignation to the system and the sounds it produces, bringing a high level of indeterminacy and surprise to the music. Nakamura pioneered this approach to the use of the mixing board in the mid-1990s and has since then appeared on over one hundred audio publications, including nine solo CDs. From 1998 to 2003 Nakamura and Tetuzi Akiyama ran the concert series Improvisation Series at Bar Aoyama and then later the Meeting at Off Site series of concerts. Both these concert series were crucially important in exposing a new manner to improvised music (referred to as Electro Acoustic Improvisation) to the Japanese public and to foreign musicians visiting Japan, making Tokyo one of the global hotspots for this new approach to music.
JOANA GAMA & LUIS FERNANDES - At The Still Point Of The Turning World (Room40 492; Australia) “Joana Gama and Luís Fernandes's new offering At The Still Point Of The Turning World, borrows its title from T. S. Eliot's poem "Burnt Norton". It is a record of restless motion, lilting and pulsing with a sense of gentle determination. Born out of a period of mutual loss, the works carry a bittersweet sentiment. Bitter in the sense of loss; sweet in the sense of lingering memory and influences recognized of those departed. It is also a record that, like the poem from which it takes its title, mediates on the nature of time and the way music must be explored as temporal art. The very nature of the compositions, their meaning and structural qualities unfold across the record with a particular and measured temporal gesture. This sense of measure is the result of musicians involved, guided by Gama and Fernandes, working for and against one another within each of the tracks. Pieces such as "Neither Flesh Nor Fleshless" and "Lucid Stillness" capture this essence. The sharp attack of their rhythmic spines, create macro environments within which instruments float into and out of focus. Rather than simply acting as anchor points for the pieces, these markers become buoyant amidst atmospheric layers of strings, percussion, and horns. The music swells and breaths. Commissioned by Câmara Municipal de Guimarães and A Oficina / Westway Lab Festival in 2017, At The Still Point Of The Turning World is the most considered output from this duo to date. Informed by a shared interest in the timbral connections between piano and electronics, these pieces extend outward from Gama and Fernandes and in combination with Orquestra de Guimarães and arrangements from José Alberto Gomes, they create a charged collection of minimalist inspired sound fields. The album was mixed and produced by Lawrence English at Negative Space in late 2017. In 2012, Joana Gama and Luís Fernandes met during the 100Cage show in Lisbon, Portugal. Having not cross paths beforehand, the two immediately felt a kinship born of a mutual interest in experimental music traditions. They began collaborating immediately and in 2014, the pair released work as QUEST, which was widely acclaimed in their home country. The duo has made the soundtrack for a number of prizewinners short-films. On this recording they laid out the groundwork for what was to come of their partnership.”
TIGUE With MATT EVANS / AMY GARAPIC / CARSON MOODY - Strange Paradise (New Amsterdam 099; USA) "Strange Paradise is a collection of hypnotic compositions rendered in ecstatic complexity. Radiant, affirming and occasionally uncanny, the sound is an intricate patchwork of tones where instrumental lines and textures, like uniquely patterned autonomous organisms, shift in and out of alignment to produce a vibrating landscape. The compositions on Strange Paradise require a mode of “extended listening” — slow gradations of change between tone worlds of ambience, rhythm, minimal, and angularity. Tigue is a group of three percussionists with a fluid musical identity. The Brooklyn-based trio (Matt Evans, Amy Garapic and Carson Moody) makes their own kinetic and hypnotic blend of instrumental minimalism while opening up the possibilities of their instrumentation through commissioning and collaboration. Tigue’s debut album Peaks was released in 2015 with New Amsterdam Records with highlighted performances at the Ecstatic Music Festival, Bric Celebrate Brooklyn! Festival, and the Zemlika Festival in Durbe, Latvia. Recent commissions and premieres have included works by Molly Herron, Randy Gibson, Jason Treuting, Adrian Knight and Robert Honstein alongside collaborative ventures with Kid Millions and visual artist / sculptor Michael Mercil. These works have been presented in concert halls, galleries, black box theaters and universities throughout the country including EMPAC, Roulette, The deCordova Sculpture Park and Museum, Noguchi Museum, Yale School of Music, and Princeton University. Praised for their focused and “high octane” performances (New York Times), the Ohio-born band members have worked together since they were practically children."
LIMPE FUCHS - Compilation 1977-2017: Trampelpfadnomainroad (Play Loud! Productions 071; Germany) Compilation 1977-2017 was collected for the exhibit trampelpfadnomainroad at Städtische Galerie Traunstein. Celebrating the art and music of Limpe Fuchs, the exhibition gives insight into her ongoing creative adventures, from the early days of Anima up to her recent and critically-acclaimed body of work. The exhibition is open from September 2nd until September 28th of 2018 at Städtische Galerie Traunstein in Germany. This CD of unreleased music will be published to celebrate the event.
BOBBY SANABRIA MULTIVERSE BIG BAND With PETER BRAININ / TIM SESSIONS / CHRIS WASHBURNE / LEO TRAVERSA / et al - West Side Story Reimagined (Jazzheads 1231; USA) Hi Bobby Sanabria here! Two years ago I came up with the idea of re-arranging the music from Leonard Bernstein's masterpiece West Side Story and performing it with my Multiverse Big Band, but in a way that has never been done before: a complete Latin jazz reworking of the entire score in celebration of the show's recent 60th anniversary and Maestro Bernstein's centennial. However, besides paying tribute to the composer and the music, I saw this as an opportunity to give back and help my ancestral homeland Puerto Rico.
As most of us know, hurricanes Irma and Maria ravaged the island of Puerto Rico, leaving its residents unable to recover. Puerto Ricans have been American citizens since 1917, and the government's response has been unsatisfactory at best. Six months later, entire communities are still living without food, water, power, and other basic needs we take for granted. I realized the best way I could help was through my music. What better way to portray the struggles and hardships of the people of Puerto Rico than West Side Story? We are dedicating this recording to the musical genius of Leonard Bernstein and donating proceeds from this special commemorative 2 CD set to the Jazz Foundation of America Puerto Rico Relief Fund. This is a cause many of us are passionate about and every bit of generosity helps. Recorded live at Dizzy's Club Coca-Cola in NYC, this exciting new reworking is West Side Story like you've never heard it before, through the exciting lens of the Latin jazz continuum.
This project is being produced with the blessing and support of the Leonard Bernstein Organization. Bernstein's daughter Jamie remarked: "What I love about Bobby Sanabria's take on "West Side Story" music is that it's a kind of rhythm fission: my dad's music is already so drenched in rhythm. Then along comes Bobby and explodes it to an even richer rhythmic level!"
2 CD Set $22
MAROON TOWN - Freedom Call (Brixton Records BR 043; Spain) Ten brand new tracks from the Brixton-London band Maroon Town, including a collaboration with Basque singer Fermin Muguruza in the track "Hope". Ten razor sharp examples of the band's classic sound: smoking hot trad ska workouts collide with Latin, rap, and soulful reggae influences to fine effect throughout its duration. Maroon Town's music, although categorized sometimes as reggae, is really an innovative blend of get-up-on-your-feet-and-dance music with noticeable elements of ska, rap, jazz, soul, and funk. As it is well known, Maroon Town fuses the spirituality, and cinematic sound of classic ska with contemporary street rap, and a cheeky slice of Latin funk. The eight-piece explosion of ska, rap, and brassy dub has been tearing up audiences around the world for thirty years with number one tracks and extensive radio play around the globe include songs like "Fire", "Pound To The Dollar", "Cumbia Infernal", "Ya Ya Lemme Tell Dem"... Fresh out of college in 1987, emerged the idea between Deuan German and Rajan Datar of forming a band whilst spending a few months in the small village of Walderston high up in the hills of Jamaica. Back in London they managed to get a sound approximating that of ska and managed to get musical master tips from Prince Buster who they met and London legend Gaz Mayall (The Trojans). The name, Maroon Town, defines perfectly the spirit of the band, freedom, and self-reliance. The Maroons were the runaway slave rebels who escaped from the plantations and formed free autonomous communities. The first lineup of the band (1990) featured three men and four women and there was creative magic between them. One day, Rajan in some reception area in a North London building bumps into John Bradbury, the drummer of The Specials (his teenage heroes) and they bonded and Brad went on to produce the band's first single "City Riot" which was a version of Cannonball Adderley's "Jive Samba" which had also been covered by Prince Buster. They pressed up their own 7"s and almost immediately, John Peel was playing it regularly. In a very short space of time Maroon Town started to get a lot of recognition. The inspiring live act has been performing at prestigious venues and festivals all over the continent. They also made history when they were sponsored to the tune of £100,000 by Dr. Martens.”
ANDREW TUTTLE - Andrew Tuttle (Someone Good RMSG 017; Australia) Andrew Tuttle is a best-kept secret of the Australian underground. A composer, improviser, and collaborator who has shared stages with Matmos, Julia Holter, Forest Swords, Steve Gunn, OM, Deradoorian, and many others, a world traveler and artist in residence, his third, self-titled album, is an expression of his life in music and a reflection of life in his home city of Brisbane. Primarily developed in a Brisbane bedroom, home to a banjo, acoustic guitar, and synthesizer; the album is lilting, elegant and delicate -- the sound of joy and imagination. There's a wide-eyed sense of positivity and discovery throughout. Tuttle's music meanders, swings, and sometimes soars like birds across a radiant sunset. Each note feels alive, with harmonics stretching out to meet the neighboring notes, much as the Brisbane River winds and the eucalypts and palm trees of Tuttle's home suburb of New Farm intersect with a constant vibrant hum of humanity. Andrew Tuttle's body of work maintains both a sharp creative focus and a wide-eyed spirit of exploration. Like time-lapse photography, it unfolds its colors and textures with an astonishing gracefulness and wonderment. Born of reflection rather than of nostalgia, Tuttle's third album and his performed works are the sound of re-discovering one's local natural and urban environments -- and the importance of embracing love, family, and friendship in a turbulent world. Tuttle's first two solo albums Slowcation (2015) and Fantasy League (RMSG 015CD, 2016) heavily played on an inherent tension between Tuttle's primary musical interests of acoustic instrumentation and digital synthesis. On his third, eponymous album, Tuttle has brought these worlds closer together -- sparse decayed banjo and fragile guitar motifs are at one with shimmering filtered delays and bubbling electronics. For this third album, a fortnight residency at Stockholm's EMS Elektronmusikstudion and collaborations with Charlie Parr (electric guitar), Dina Maccabee (viola), Chris Rainier (prepared guitar), and Joel Saunders (trumpet) were an initial creative impetus, however these seemingly disparate explorations have manifested themselves into Tuttle's most cohesive work to date. The final album, a result of several careful revisions, reflects Tuttle's belief in this work as a major personal and creative statement. In Andrew Tuttle's world, folk and bluegrass rituals, ragas, and drones cozy up to electronic technology like they've known each other their whole lives. Tuttle dwells in a between world of ambient and folk genre that feels like a community all of its own.
CLAUDIO SIMONETTI'S GOBLIN - Dawn Of The Dead (Rustblade 064; Italy) "Rustblade presents Claudio Simonetti and his Goblin playing and reinterpreting the score of one of the most famous horror movies of all times to celebrate 40 years of the idolised film Dawn of the Dead directed by George Romero and produced by Dario Argento. The music that accompanies the movie is a mix of prog and electronic rock full of tension and magic tribalism. Piercing guitars, synth orchestration and virtualism give life to thousands of blood thirsty zombies. An unmissable release enriched with a bonus disk of remixes and covers."
2 CD Set $25
ROGER NICHOLS & THE SMALL CIRCLE OF FRIENDS - Roger Nichols & The Small Circle Of Friends (Tapete 408; Germany) Tapete Records presents a reissue of Roger Nichols & The Small Circle Of Friends, a 1968 album by Roger Nichols. Nichols wrote some of the biggest hits of the 20th century and his songs were recorded by such illustrious names as Frank Sinatra, The Carpenters, The Monkees, and many more. Before he made a name for himself as a songwriter, he recorded a disc of his own for the ultra-hip A&M label in 1968, the legendary Roger Nichols & The Small Circle Of Friends album. The friends in the title were siblings Melinda and Murray MacLeod, joined by a veritable who's who of the Californian music scene. Alas, not even the presence of sound engineer Bruce Botnick, fresh from the Beach Boys' Pet Sounds production (1966), Van Dyke Parks and A&M in-house producer Tommy LiPuma could rescue the album from its fate as a flop. The sales figures may have been disappointing, but Roger Nichols & The Small Circle Of Friends ultimately attained classic status as a lost masterpiece of Californian pop, earning its rightful place in discerning record collections alongside Pet Sounds, Forever Changes (1967), and Head (1968). Possibly the most important LP of the soft-pop/sunshine-pop era has been reissued on more than one occasion over the years, yet has been unavailable in recent times, unless you are willing to part with vast sums of money on typical online platforms. CD version includes three bonus tracks.
Five More Classic Jazz Comps from Enlightenment:
THELONIOUS MONK With SONNY ROLLINS / GERRY MULLIGAN ERNIE HENRY / JULIUS WATKINS / ART BLAKEY / MAX ROACH / et al - Complete Albums Collection: 1954-1957 (Enlightenment 9048; EEC) “Monk started playing the piano at the age of six. Although largely self-taught, he studied music theory, harmony, and arranging at the Juilliard School of Music. However, he soon moved into jazz, claimed his first residency as house pianist at Milton's Playhouse, Manhattan, during the early to mid-1940s. Much of Monk's style was developed during his time at Minton's, when he participated in after-hours "cutting competitions" which featured many leading jazz soloists of the time. The Minton's scene was crucial in the formulation of bebop and it brought Monk into close contact with other leading exponents of the emerging idiom. In 1944 Monk made his first studio recordings with the Coleman Hawkins Quartet. Hawkins was one of the earliest established jazz musicians to promote Monk, and Monk later returned the favor by inviting Hawkins to join him on the 1957 session with John Coltrane. Monk made his first recordings as leader for Blue Note in 1947 which showcased his talents as a composer of original melodies for improvisation. Monk spent most of the early and mid-1950s composing, recording, and performing at theaters and out-of-town gigs. After his cycle of intermittent recording sessions for Blue Note during 1947-1952, he was under contract to Prestige Records for the following two years. With Prestige he cut several highly significant, but at the time under-recognized, albums, including collaborations with saxophonist Sonny Rollins and drummers Art Blakey and Max Roach. In 1954, Monk participated in a Christmas Eve session which produced most of the albums Bags' Groove and Miles Davis and the Modern Jazz Giants. Davis found Monk's idiosyncratic accompaniment style difficult to improvise over and asked him to lay out (not accompany), which almost brought them to blows. However Davis, in his autobiography, claims that the anger and tension between Monk and himself never took place and that the claims of blows being exchanged were "rumors" and a "misunderstanding”.”
5 CD Set $20
THELONIOUS MONK With JOHN COLTRANE / JOHNNY GRIFFIN / THAD JONES / CHARLIE ROUSE / ART TAYLOR / ROY HAYNES / et al - Complete Albums Collection: 1957 - 1961 (Enlightenment 9049; EEC) “As the 1950s drew to a close, Monk's relationship with Riverside was beginning to sour over disagreements concerning royalty payments. He would not record another studio album for Riverside after 5 by Monk by 5, and a significant number of live albums followed, which showcased a variety of legendary performances across the USA, France and Italy. In 1962, Monk signed to Columbia Records. Working with producer Teo Macero on his debut for the label, the sessions in the first week of November had a stable line-up that had been with him for two years, Monk's Dream, was released in 1963. Columbia's resources allowed Monk to be promoted more heavily than earlier in his career. The album would become the best-selling LP of his lifetime, and on February 28, 1964, he appeared on the cover of Time magazine, being featured in the article "The Loneliest Monk". He continued to record studio albums, including Criss Cross, also from 1963, and Underground, from 1968. Monk had disappeared from the scene by the mid-1970s, and made only a small number of appearances during the final decade of his life. His last studio recordings as a leader were made in November 1971 for the English Black Lion label, near the end of a worldwide tour with the Giants of Jazz, a group which included Dizzy Gillespie, Kai Winding, Sonny Stitt, Al McKibbon and Art Blakey. The Thelonious Monk Institute of Jazz was established in 1986 by the Monk family and Maria Fisher. Its mission to offer public school-based jazz education programs for young people around the globe, helping students develop imaginative thinking, creativity, curiosity, a positive self-image, and a respect for their own and others' cultural heritage. In addition to hosting an annual International Jazz Competition since 1987, the Institute also recently helped, through its partnership with UNESCO, designate April 30, 2012, as the first annual International Jazz Day. Monk was inducted into the North Carolina Music Hall of Fame in 2009.”
5 CD Set $20
KENNY BURRELL With FRANK FOSTER / HANK MOBLET / DONALD BYRD / JEROME RICHARDSON / TOMMY FLANAGAN / PAUL CHAMBERS / KENNY CLARKE / et al - Complete Albums Collection 1956-1957 (Enlightenment 9091; EEC) In the world of jazz guitar, few players can measure up to the skill, stature and sheer influence that Kenny Burrell brought to the genre. With his trademark straightforward playing that fused jazz and blues beautifully, this pioneer featured on hundreds of albums, both as leader of his own groups and as a much in-demand sideman for others. Often hailed as the greatest guitarist in the world - he was the personal favourite of the legendary B.B. King - Burrell's playing has gone on to permanently change the way in which the instrument is approached and, in so doing, has influenced generation after generation of likeminded musicians. This four disc collection, containing eight fully remastered albums, provides the perfect introduction to one of the finest and most innovative musicians still active today. Totaling over five hours music, presented here is the entirety of Kenny Burrell's early catalogue as band leader, demonstrating clearly why his place in the history of jazz is justly deserved. Recorded with the assistance of some of the finest players of his generation, the set not only provides an ideal starting point for a study of this legendary guitarist, but an essential component for any eclectic jazz collection.
4 CD Set $18
CHET BAKER With CONTE CONDOLI / FRANK ROSSOLINO / ART PEPPER / PHIL URSO / CARL PERKINS / et al - The Pacific Jazz Collection (Enlightenment 9103; EEC) “Demonstrating the creation of a true jazz icon and tracking his development from his earliest recordings to his departure from the label with whom he made his name, these albums are presented here faithfully remastered form not just the perfect introduction to this master musician, but equally provide an a enthralling glimpse of an essential contribution to American musical history.”
4 CD Set $18
CHET BAKER With JOHNNY GRIFFIN / HERBIE MANN / ZOOT SIMS / BILL EVANS / RUSS FREEMAN /KENNY DREW / et al - The Riverside Collection (Enlightenment 9130; EEC) Remembered as one of the most legendary yet tragic figures in all of jazz, trumpeter and vocalist Chet Baker established himself as one of the key performers on the West Coast scene. Beginning his career as a band leader in the early 1950s, Baker released a stream of classic albums, often featuring the skills of other exceptional musicians such as Gerry Mulligan, Russ Freeman, Stan Getz and Art Pepper. Recording regularly for Riverside - and subsidiary label Jazzland - it was during his tenure with this label that Baker produced the work that would cement his reputation. This collection brings together eight complete, original albums over four discs, and encompasses the entirety of Chet Baker's output for the Riverside label. Spanning over five hours of extraordinary music, this set documents the second phase of what was both a widely-celebrated and notorious career, and in so doing reminds us all what a formidable musician, vocalist and individual this jazz legend remains. Albums include: ‘Chet Baker in New York’, ‘Introduced Johnny Pace’, ‘Chet’, ‘Chet Baker Plays the Best of Lerner and Loewe’,
4 CD Set $18
Back in Stock:
ARCANA [JOHN ZORN, Editor]: FRED FRITH / GEORGE LEWIS / MARILYN CRISPELL / GERRY HEMINGWAY / MYRA MELFORD / PETER GARLAND / et al - Arcana I: Musicians On Music (Hips Road/Granary Books; USA) Published in a limited run , this has over thirty chapters/essays written by musicians as diverse as Fred Frith, George Lewis, Myra Melford, Mike Patton, Scott Johnson, Gerry Hemingway, Marilyn Crispell, Peter Garland, Miya Masaoka, Ikue Mori, Larry Ochs, John Oswald, Bob Ostertag, Z'ev, David Shea, Elliott Sharp, Marc Ribot, Guy Klucevsek, Eyvind Kang, Mark Dresser, John Zorn, and many, many more. Subjects as diverse as "the historical sociobiology of downtown music, an American's reaction to the study of Gagaku, the sampling, deconstruction and reconstruction of pop books, extended contrabass techniques, and a savvy take on ear plugs, amplifier distortion and pain" [Steve Reich] and a whole universe of ideas more! "Mr. Zorn has edited this important book in which some thirty composers discuss their personal visions and experiences about their music. ARCANA is 375 pages and quite well designed, each composer contributes a chapter which ranges from two to forty pages and can write about any subject they wish. Zorn has worked hard on collecting and editing this book because of the marketing and labeling of new music and the laziness of journalists in attempting to write seriously about this music. Why not let the composers speak or write for themselves?!? I have been reading only one chapter or composer at a time, since each one reveals so much in their own way. Fred Frith presents extracts from his notebooks covering 18 years of observations, Bill Frisell deals with new fingering techniques for the guitar, Guy Klucevsek explores how we experience the same melody in different contexts, George Lewis writes an essay on the teaching of improvisation while Marilyn Crispell tries to unravel its magic, Elliott Sharp describes his musical adventures (bands & invented instruments) since moving to NYC and John Zorn gives us a treatment for a film which lists objects & shots so that we can fill in the blanks to make our own eye-lid movie. The other contributors include John Oswald, David Shea, Mark Dresser, Miya Masaoka, Gerry Hemingway, Marc Ribot, Mike Patton, Bob Ostertag, Lois V. Vierk and Ikue Mori. It will take a while to absorb all of this stimulating reading from the wide/wild world of new music composers, so if you are truly interested in a better understanding of the varieties and complexities of this music - we need this book to help guide us." - BLG "Arcana is a vibrant testimony to the continuing vitality of New Music...as idiosyncratic and eloquent with words as they [the musicians writing] are with music" - Meredith Monk 380 page oversize softbound book.
LP Only Section:
IANNIS XENAKIS - Electronic Music (Jeanne Dielman 126; Belgium) Jeanne Dielman presents a reissue of a collection of Iannis Xenakis's work titled Electronic Music, originally released in 1997. Some of the earliest works from a truly groundbreaking composer in the realms of electronic music, musique concrete, electro-acoustic, 20th century classical, and more. The Romanian-born, Greek-French composer Iannis Xenakis was instrumental in the introduction of mathematical models into composition and helped revolutionize electronic music in the middle 20th century. Collecting some of his earliest works in electronic and electro-acoustic music, this is a crucial set for any fans of 20th century classical experimentation.
LP $22 [pre-order/rel 8/10/18]
CONRAD SCHNITZLER & PHARMAKUSTIK - Extruder (Rotorelief 006; France) Extruder is the second unreleased album from the 1987 collaboration between Conrad Schnitzler and Siegmar Fricke (Pharmakustik) who composed and made several tapes of session-material during their musical meetings in Berlin. All recordings produced, arranged, and mastered by Siegmar Fricke at Pharmakustik-studio. The album contains high doses of hydraulically-driven energy generated by complex analog equipment. Micro-formed sound pools of cold extrusion collide with voltage-controlled pulsations, tape-echoed modulations, and eruptive sound-deformations. Electrostatic charge (caused by compressed configurations of mechanical rhythms in "Kontaktmechanik") has been combined with sonic lubrications of processed accelerators in "Umspulung". "Abrasion Métallique" contains all the acoustic trademarks by Conrad Schnitzler: excessive experiments with dissonant portamentos of the EMS-Synthi A and Korg MS20, overlaid by metallic pressure drag of the modified rhythm-machine. Acoustically and graphically, Extruder continues in the excellent Schwarz-Rot-Blau-series by Conrad like the pre-released "Kontraktion". The audiochemists Conrad Schnitzler and Pharmakustik developed a timeless and uncompromising masterpiece of audiomechanical engineering.
NURSE WITH WOUND - Homotopy To Marie (ROTORelief 070; France) Rotorelief present a reissue of Homotopy To Marie. the fifth album by Nurse With Wound, originally released in 1982. Music and sleeve created by Steven Stapleton. The album is "a step on from the Dadaist rock of Merzbild Schwet, with much use of tape manipulation and classical avant-garde techniques". The album, which combines tape edits with resonating gong tones and disembodied children's voices to create a sonic collage, is far removed from the harsh improvisations of the group's early albums. The title of the brief closing track derives from a passage from "Les Chants de Maldoror" (1869), a surreal poetic novel written by Le Comte de Lautréamont. This appropriation of a phrase from Maldoror is shared in common with the title of Nurse With Wound's debut album, Chance Meeting on a Dissecting Table of a Sewing Machine and an Umbrella (1979); both phrases appear in Lautréamont's work. The album was first issued on Stapleton's own United Dairies label on vinyl, cassette, and later in remastered compact disc including an extra track "Astral Dustbin Dirge". This masterpiece reissue is the official full, double album from the original recording sessions. The four tracks from the original LP are accompanied by additional recordings from the same period. This second, double album masterpiece in the "silver collection" of Nurse With Wound albums, is a technically better, crystal clear performance, in comparison to the original 1982 cut. Comes one black vinyl (ROTOR 070LP) and silver-and-black vinyl (ROTOR 070SIL-LP).
2 LP Set $40
PHEW - Light Sleep (Mesh-Key MKY 020; USA) Released last year (2017) and these are the last copies available. "Propulsive rhythms from early drum machines, whirring electronics and dreamlike vocals make for a jaw-dropping late-career masterpiece from legendary Japanese musician Phew, recorded solo at Phew's home in Tokyo. Phew's career began in the late 1970s as lead singer of Osaka punk group Aunt Sally (whose only full-length was released by Vanity Records in 1979). Ryuichi Sakamoto produced her first solo release in 1980, a two-song single, and in 1981 Pass Records released her debut album, a bonafide classic recorded with original Can members Holger Czukay and Jaki Liebezeit at Conny Plank's studio in Germany. She's forged a singular path over the past thirty-plus years, collaborating with folks from DAF, Einstürzende Neubauten, Boredoms, Anton Fier, Bill Laswell and more. It's borderline sacrilegious to compare an artist as unique as Phew with anyone else, but for those unfamiliar with her work, Light Sleep might be described as a more animated Nico singing (in Japanese) for early Suicide. Mastered and cut by Rashad Becker at D M, Berlin. Full color jackets and inserts. Edition of 500."
METABOLISMUS/MONO PAUSE - Don't Low Up To The Amped Buenaes (Feeding Tube FTR 255; USA) "Split LP by a couple of bands who have more tricks up their collective sleeves than most outfits you could name. Metabolismus are a musical collective from near Stuttgart Germany, who have been actively corrupting the minds of everyone around them since the 1980s. The number of players on any given session, as well as the style of music that will be generated, is almost infinitely mutable. About all you can count on is that it will be intriguingly fried. Mono Pause began as a duo in River Falls, Wisconsin in the early '90s, before relocating to the Bay Area. They also create ethnic forgeries under the name Neung Phak, but that's of no matter here. Like their German brethren, Mono Pause has no fixed line-up or output style. Their records are generally fluxed as hell, and we're all the better for it. Not sure exactly how this split LP came into being, but when we heard such a thing existed we agreed to release it faster than your mom will drop a red-hot potato. Typically, the record sounded nothing like what we expected. Which is the best kind of surprise. Metabolismus's side begins with deeply freaked, rotating guitar figures that connect it historically to the German progressive sub-underground. From there it skates off into Neue Deutsche Welle turf, eventually loafing around with people-on-the-street-who-talk-with-balloons, and go all over the park in search of snacks. By the time they start doing a flipped-out Gainsbourg/Bardot-style cover of 'I Know You Rider' you'll be talking with balloons as well. Mono Pause's side ranges from German-tongued Egypto-spaghetti-pop readymades to subterranean secret agent theme songs played on mock-Theremin to blips of pure Residential form-hunch and beyond. The width of their skitterage is surpassed only by its elegant weirdness. Parts make me recall a never-released Der Plan record I once heard in a dream. Hooray!" --Byron Coley, 2018 RTI Vinyl; Edition of 500.
EMPOOL - DOES Do Did Done (Feeding Tube FTR 311; USA) "Finally, what the world has been eagerly anticipating for the last four decades -- an LP by EMPOOL! Empool was a whacked-out, Detroit-based prog-noise combo (usually a trio or quartet), that would eventually merge into the rock-band-era Destroy All Monsters. Guitarist Laurence Miller was a constant throughout. Organist Andre Cynkin was generally on hand as well. Laurence's brothers, Ben and Roger, showed up now and then, as did pianist Rick Scott. Empool only played three live shows, but they recorded everything, and their use of pre-recorded tapes as a live sound source may have informed Roger's decision to do the same when he formed Mission of Burma. The tracks on this album were recorded between December 1976 and September 1977, and they're pretty amazing. Structurally, the stuff is far away from No Wave, but it has a lot of the same rough structural textures and jumbled sonics, although there's also crazy tape noise (some of it resembling gushing synth sequencing) and stun guitar stirred into the mix. The fact that it's mostly instrumental gives things a certain prog/experimental thrust that feels a bit parallel to the bands on the Random Radar label, but it runs wildly against the grain of anything else you'd hear in that era. With an insert containing Laurence's memories of the project, and album art guaranteed to lull prog heads into submission, Empool's DOES do did done is a magnificent head scratcher. Can be filed neatly between Sproton Layer and Destroy All Monsters." --Byron Coley, 2018 Edition of 300.
ERIC ARN & MARGARET UNKNOWN - Paranza Corta (Feeding Tube 384; USA) "For his second Feeding Tube LP, following the superb solo outing Orphic Resonance (FTR 281LP, 2017), Eric Arn has chosen to team up with the Austrian shapeshifter Margaret Unknown (aka Max Bogner), for a set of acoustic guitar duets. Eric's history is well known via solo work, duets with Tom Carter, and hard psych playing from his pre-Vienna days with both Primordial Undermind and Crystalized Movements. We knew Margaret mostly for his work with (In) The Abyssity of the Grounds, who backed Linda Sharrock on her massive Gods 3LP set (which should be a fixture in every home). Recorded live at the mo.ë space in Vienna, Paranza Corta (Italian for a Sicilian style knife fight) is far less of a combat situation than a deeply explored intersection of stringed logic. Without being able to tell who plays what (and although the tracks are named after various bladed weapons), the music here is a fight, in the sense that the opening scene of West Side Story is a fight. While choreographed only on a subliminal level, these two guys allow each other a lot of space to change directions, and almost seem to be working in tandem, so immediate are their reflexive actions. The heft of the interplay here recalls some of the nylon string collaborations Eugene Chadbourne did back in the Parachute days, although he wasn't big on guitar duets (at least on record). The playing here offers the same brilliant mix of organically achieved weirdness that can begin as a gentle outside motion, and then grow to devilish proportions without ever going too far. If there even is such a thing. If there is (and I acknowledge the possibility), the music on Paranza Corta does not go there. It's a brilliant tapestry of gesture, reaction and recontextualization. Of course, as I write those words, I begin to realize that maybe it is more like a knife fight than I'd thought. We should really ask Russ Tamblyn what he thinks." --Byron Coley, 2018
MB JONES (MATT JONES) - MB Jones by MB Jones (Feeding Tube 388; USA) "Matt 'MB' Jones has long been kicking back and forth between the Valley and Asia. His recordings with Jee Jee Band have reflected this duality. And this new 'solo' album, recorded mostly in his original backyard with a cast of local hottentots (Conrad Capistran, Tim Sheldon, John Moloney, etc.) continues this vibe, while changing it in many subtle ways. The K-Pop readymades of the Jee Jee Band's Glass Fish LP (EM 1138CD/LP) have continued to drift out of Matt's repertoire. This remodeling began on Jee Jee's Holy Yolk LP (FTR 304, 2017), and by this point the hints are still there if you know where to look for them, but they no longer jump out at you. Matt's basic constructions are still often electronic pop at their base, but the details that get piled on top of that now require a wide closet of costumery. From the multi-tracked vocal glistens of '$200,000 Ticket to Space' (with neo-gamelanic tone highlighting) through to the jaw-harp-riven dolor of 'Going Swimming in the Morning,' the only real common thread the mood of dislocation Jones bakes into many of his lyrics. It's never easy keeping one foot in reality (so-called) while extending your other foot into the vacuum of space, but it's forward trajectory Matt seems to have managed. Perhaps this is why he and Mike Watt have struck up a friendship (the two recently cut a lathe 7"). Just as Watt attempts to codify his personal history, while the statis of the world constantly slides past him on his endless tours, Jones seems bent on writing twin histories of his peregrinations -- one with each hand, while everything spins around his head. It's an epic quest. And one to which you should pay sweet attention." --Byron Coley, 2018 Edition of 250
Bruce Lee Gallanter’s Recommended Gig List for July & August of 2018:
Jazz Concert II: THE MATTHEW SHIPP TRIO
Matthew Shipp, piano; Michael Bisio, bass; Newman Taylor Baker, drums
This Sunday, July 29 at 8:00 p.m.
The Museum of Modern Art
Floor 1, Sculpture Garden - Free admission
The Summergarden Series is free and seating is on a first-come, first-served basis. The Sculpture Garden may close if attendance reaches maximum capacity. Entrance to Summergarden is through the Sculpture Garden gate on West 54 Street between Fifth and Sixth avenues. The Sculpture Garden opens at 7:00 p.m., and concerts start at 8:00 p.m. and run approximately one hour to 90 minutes. The Sculpture Garden closes at 10:00 p.m. In the event of rain, concerts will be held in The Agnes Gund Garden Lobby, and the Museum’s 54 Street entrance will open at 7:30 p.m.
THE STONE RESIDENCIES / ANNIE GOSFIELD / JULY 24–28
8:30 pm - Rubble, Migration, and a Truck Siphoning Water: Composition and Improvisation - Annie Gosfield (sampler) Brian Chase (drums) Roger Kleier (guitar) Felix Fan (cello)
8:30 pm - 21st Century Dance Crazes - Billy Martin (drums) Steven Bernstein (slide trumpet) Briggan Krauss (sax) Brian Drye (trombone) Roger Kleier (guitar) Annie Gosfield (sampler)
THE STONE RESIDENCIES / MICHAEL ATTIAS / JULY 31–AUG 4
8:30 pm - ECHOES - Michaël Attias (alto sax, piano)
8:30 pm - RENKU - Michaël Attias (alto sax) John Hébert (bass) Satoshi Takeishi (drums)
8:30 pm - NERVE DANCE - Michaël Attias (alto sax) Aruán Ortiz (piano) John Hébert (bass) Nasheet Waits (drums)
8:30 pm - KID ORCHID - Michaël Attias (alto sax) Ralph Alessi (trumpet) Jacob Sacks (piano) Sean Conly (bass) Mark Ferber (drums)
8:30 pm - NUMBERS - Michaël Attias (sax) Tony Malaby (sax) Ralph Alessi (trumpet) Ben Gerstein (trombone, etc) Kris Davis (piano) Fred Lonberg-Holm (cello) John Hébert (bass) Satoshi Takeishi (percussion) Eric McPherson
THE (NEW) STONE is located in The New School’s Glass Box Theatre
55 West 13th street - near 6th ave
All Sets at The New Stone start at 8:30pm Tickets: $20
There are no refreshments or merchandise at The Stone.
Only music. All ages are welcome. Cash Only at the door.
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 Jul 27
8:01PM KYLE NASSER QUINTET - Kyle Nasser, tenor, soprano sax; Rich Perry, tenor sax; Glenn Zaleski, guitar; Pablo Menares, bass
Saturday Jul 28
8:35PM TONY MALABY QUARTET - Tony Malaby, tenor sax; Ben Monder, piano; Tim Dahl, bass; Ches Smith, drums
Sunday Jul 29
6:00PM OLLI HIRVONEN NEW HELSINKI - Olli Hirvonen, guitar; Luke Marantz, piano; Marty Kenney, bass; Nathan Ellman-Bell, drums
8:00PM LIOR MILLIGER QUARTET - Lior Milliger, tenor sax; Santiago Leibson, piano, Rodrigo Recabarren, drums
Mon July 30th:
8:30PM DAVID LOPATO TRIO - David Lopato, piano; Ratzo Harris, bass; Michael Sarin, drums
Tuesday Jul 31
8:00PM STAN KILLIAN - tenor sax; tba, piano; Shareef Teher, drums
9:30PM JONATHAN SARAGA TRIO - Jonathan Saraga, trumpet; James Robbins , bass; Dan Nadeau , drums
Wed, Aug 1st:
8:01PM MARTIN NEVIN QUINTET - Martin Nevin, bass, comp.; David Bryant, piano; Christopher Hoffman, cello; Pawan Benjamin, tenor sax, bansuri; Craig Weinrib, drums
Thursday Aug 02
8:00PM IJS FESTIVAL: EITAN KENNER QUARTET - Eitan Kenner, keyboard; Itai Kriss, flute; Tamir Shmerling, bass; Diego Ramirez, drums
9:30PM IJS FESTIVAL: GAYA FELDHEIM-SCHORR - Gaya Feldheim Schorr, voice; Rachel Therrien, trumpet; Blake Opper, tenor sax; Micha Gilad, piano; Tal Yahalom , guitar; Eva Lawitts, bass; Stephen Boegehold, drums
Friday Aug 03
6:00PM KAREN AND NORBERT STACHEL & LEHCATS - Norbert Stachel, saxes, flute; Karen Stachel, flutes, vocals; Edsel Gomez, piano; Lonnie Plaxico, bass; Dan Gonzalez, drums; Renato Thoms, percussion; Dave Solomon, guitar
8:30PM IJS FESTIVAL: OR BAREKET TRIO - Nitai Hershkovits, piano; Or Bareket, bass; Kush Abadey, drums
10:00PM IJS FESTIVAL: NADAV REMEZ ORGAN TRIO - Nadav Remez, guitar; Gary Versace, organ; Colin Stranahan, drums
Saturday Aug 04
8:30PM IJS FESTIVAL: ITAI KRISS TELAVANA - Itai Kriss, flute; Cesar Orozco, piano; Rafi Malkiel, trombone; Tamir Shmerling, bass; Ofri Nehemia, drums; Marcos Lopez, percussion; Malaya, voice
9:00PM & 10:30PM IJS FESTIVAL: HADAR NOIBERG - CESAR GARABINI DUET - Hadar Noiberg, flute, alto flute; Cesar Garabini, 7 string guitar
Sunday Aug 05
6:00PM SUMMER SOIRÉE IN THE VILLAGE - Barbara Haimowitz, vocals, piano; Giacomo Merega, bass guitar; Ben Pinnola, alto/tenor sax
8:01PM DJANGO FESTIVAL: GONZALO BERGARA ACOUSTIC TRIO - Gonzalo Bergara, guitar; Max O'Rourke, guitar; PJ Wyderka, bass
Friday, July 27th 8:30 PM
Novoa/ Makabe / Takeishi
Emi Makabe, vocals & shamisen
Eva Novoa, piano
Satoshi Takeishi, drums
Wednesday, August 8th 8:00 PM
Kitamura / Reid / Bynum / Morris Brian Drye
Kyoko Kitamura – Voice
Tomeka Reid – Cello
Taylor Ho Bynum – Cornet
Joe Morris – Guitar
Brian Drye TBA
Friday, August 17th 8:30 PM
The Out Louds
Tomas Fujiwara – Drums
Ben Goldberg – Clarinet
Mary Halvorson – Guitar
Saturday, August 18th 9:00 PM
Novoa / Noriega / Gress / Rainey
Oscar Noriega, alto saxophone
Eva Novoa, piano
Drew Gress, bass
Tom Rainey, 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.
The Bushwick Improvised Music Series
Continues on July 16th @ Bushwick Public House!
Monday July 30th 7pm Prawit Siriwat - guitar Daniel Durst - bass 8pm Stephen Gauci - tenor saxophone Sandy Ewen - guitar/electronics Adam Lane - bass Kevin Shea - drums 9pm Chris Welcome Guitar Kirk Knuffke, Jaimie Branch: Trumpets Ben Gerstein: Trombone Jonathan Moritz, Sam Weinberg: Saxes Shayna Dulberger: Bass Mike Pride: Drums 9:45pm Adam Caine - guitar Nick Lyons - saxophone Adam Lane - bass John Wagner - drums 10:45pm Sana Nagano - violin Keisuke Matsuno - guitar Paulo Cantarella - drums Tyler Luppi - bass 11:30pm Aron Namenwirth Quartet
Downstairs @ Bushwick Public House
1288 Myrtle Avenue , Bushwick
(Across the street from M train Central Ave stop)