ANOTHER WONDERFUL WEEK WITH DISCS FROM TZADIK (WAYNE HORVITZ, NED ROTHENBERG, ANTHONY COLEMAN & PAUL SHAPIRO), LOUIS MOHOLO, MATTHEW SHIPP, PAUL MOTIAN BAND, KEN VANDERMARK & THE OLES BROS, FRIEDLANDER/RABINOWITZ/SOMER, BRAXTON SEXTET AT VICTO '05

FMR: GJERSTAD/MATEEN, DUNMALL/TAYLOR, BURT/MacDONALD/COXHILL, GJERSTAD/NILSSEN-LOVE QUARTET

2 from ACID MOTHERS/AFRIRAMPO, PROG GEMS from BURNT FRIEDMAN & JAKI LIEBEZEIT, KLIMPEREI, LES PROJECTIONNISTES, SABU TOYOZUMI/EXIAS-J, ALAN SKIDMORE & GUY BARKER UNITS, ZENO DE ROSSI & 3 MORE UNKNOWN ITALIAN CD'S, EAST WEST BLAST TEST,

PLUS HISTORIC RECORDINGS from HUGH DAVIES, ALBERT MANGELSDORFF PERCUSSION ORCHESTRA, ELLIOTT SHARP'S SYNDAKIT, SONNY SHARROCK, STEVE REICH & PHILIP GLASS, MORTON FELDMAN, KRZYSZTOF KOMEDA, 4 from BONDAGE FRUIT, CONRAD SCHNITZLER'S ERUPTION, BOOTSY COLLINS' ZILLATRON & SHINE [w/ BUCKETHEAD/BILL LASWELL/SHIN TERAI] & MOBY GRAPE!




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


We sent out a DMG SEALED AND OTHERWISE NEW [*Unplayed] LP STOCK LIST FOR FEBRUARY 2006 earlier this week. Instead of posting this list to our homepage, we invite you to visit the most current update here


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



FOUR FABULOUS NEW DISCS FROM THE VAST TZADIK EMPIRE:

NED ROTHENBERG - Solo Works 1980-1985/The Lumina Recordings [2 CD set] (Tzadik 7615) With John Zorn, Gerry Hemingway & David Weinstein. This wonderful reissue collects Ned Rothenberg's solo reeds recordings from his own Lumina label with a few guests plus some previously unreleased material. When I first met Ned Rothenberg, around 1979, he was playing solo alto sax as well as with a fine trio called Fall Mountain with Bob Ostertag and Jim Katzin. There were very few folks playing solo sax gigs at this point. I can only recall of handful of players brave enough to it before then, Braxton, Evan Parker, Lol Coxhill, Steve Lacy and Roscoe Mitchell. Both Ned and John Zorn played a number of solo sax performances in small settings like Studio Henry and both had come up with something quite new in their distinctive approaches. Ned Rothenberg has continued to develop his solo sax, clarinets and shakuhachi performances ever since, he is still a pioneer and released another solo sax double disc just a few years back. Another great thing about this disc is the thick booklet where Ned provides illuminating notes about his own musical journey, the results of which were the three albums he released on Lumina that make up most of this two disc set.
"Trials of the Argo" bursts open with a splash of frenzied sounds, electronic? acoustic? Ned weaves layers of sax sounds, tapping on the keys, buzzing, breathing, drones, bird-like chirping, bending notes here and there, eventually breaking down to one lone alto voice, before the layers come back and build again. Hard to believe that all of these sounds come from an alto sax and other over-dubbed woodwinds, but this indeed the case. The selective layers and overall sound is a wonderful, mesmerizing maze. "Continuo After the Inuit" was partially inspired by the Inuit music of the Eskimos, but was often misunderstood by journalists and promoters alike. "Continuo" is just one alto sax, yet Ned varies the textures and approach slowly throughout, focusing on a few ideas at time, twisting the lines of notes slowly inside-out. The circular repeating theme recalls certain bagpipe music I've heard. Quite a marvelous and captivating work. "Portal" is for solo bass clarinet and it involves the slowed down process of circular breathing with long, stretched out drones, tapping on the keys and using the mouth to bend the notes ever so slightly. "Polysemy" is for a duo of Ned on alto sax and drums and Gerry Hemingway on tenor steel drum. Ned dancing, shimmering, repeating lines are matched by by his own percussion and Gerry's steel drum. The layers of lines shift together, creating a most hypnotic wave of connected lines. The second disc contains 11 shorter works for solo sax, bass calrinet, soprano double ocarina, plus a alto sax duo with John Zorn. Each piece features a different approach, a balance of textures and various rhythm lines. Each is one is fascinating in its own ways. I remember "Kakeai" for two alto saxes from a performance at the old Knit and thought it was great to hear Ned and Zorn play a duo, certainly a rarity. Two masters of solo sax with completely different approaches finding some common ground and pushing each other into some new territories. A most winning combinations of extremes. All three Lumina albums are long out of print, although we might have a few copies in the bins somewhere. Thanks to Zorn and Tzadik for preserving some important music for us and future generations of curious listeners. - BLG
2 CD set for $20

WAYNE HORVITZ - Whispers, Hymns and a Murmur (Tzadik 8021) A new CD of classical compositions by the mastermind of Zony Mash, The President, Pigpen, the NY Composers Orchestra and countless other bands. Blending a profound knowledge of jazz and popular musics with a soaring lyricism and arranging/production skills that have graced CD's by Bill Frisell, Eddie Palmieri and Peter Apfelbaum, the compositions here blend abstract expressionism with a touch of the blues. Imaginative and seductive music for strings with an organic sense of structure and unity by a founder of the downtown scene. Performed by the Koehne String Quartet with guest soloist Eyvind Kang on viola and Wayne Horvitz doing some electronic processing. This disc features three different sections of "Mountain Languages", which was originally composed for the premiere of a Harold Pinter play by the same name in 1989. This music is quite rich, lush, haunting, lyrical and seductive, it is like a entering a dream-world filled with cerebral wonders. There is certain amount of eeriness that radiates below the surface of warmth and gentle beauty. The title piece features Eyvind Kang as the soloist with Wayne doing some processing. As the string quartet glides back and forth in translucent waves, Eyvind's modified viola weaves around the edges like a distant electric porpoise riding the waves of the ocean. Most often gorgeous and often enchanting, some of the most elegant music I've heard recently. The liner notes mention Wayne's recent oratorio "Joe Hill, 16 Actions for Chamber Orchestra", which was premiered in New England not long ago and has garned some heavy praise. Until Wayne gets the funding to have that work recorded and released, we should thank Tzadik for the good fortune of putting out another of Wayne Horvitz's treasures. - BLG
CD for $14

ANTHONY COLEMAN - Shmutsige Magnaten: Coleman Plays Gebirtig (Tzadik 8106) Master of madness, wandering poet, dysfunctional genius Anthony Coleman in a magical evening of songs by acclaimed Yiddish composer Mordechai Gebirtig, whose haunting lyrics and melodies became some of the most beloved and popular songs of their time. He was not to survive the Holocaust. Recorded live at midnight in the oldest synagogue of Kracow, Poland, a few steps away from Gebirtig's birthplace, Anthony's masterful readings capture all the awe and mystery of this legendary giant of Jewish Culture. Drawing parallels to the work of Kafka, Bruno Schultz and other Jewish figures of the time this is music at times poignant, at times frightening.
CD for $14

PAUL SHAPIRO - It's in the Twilight (Tzadik 8107) Paul Shapiro has done it again! Following up on the enormous success of his first CD for Tzadik, Midnight Minyan, Shapiro here turns his prodigious arranging talents and fat tenor sound to eight of his own compositions and two liturgical melodies evoking the spiritual transition of the mundane to the holy, from light to darkness and back again. With It's in the Twilight, Paul brilliantly greets the Sabbath bride, capturing the joyous feeling of a Friday night Shabbat service with his all star band of downtown luminaries. Down home Jazz and Rhythm and Blues meet Jewish Music in this dynamic meeting of the secular and the spiritual.
CD for $14

ANTHONY BRAXTON SEXTET - (Victoriaville) 2005: Composition 345 (Victo 098; Canada) Live at Victoriaville Festival May 22nd 2005. "it was for me the culmination of what this festival is about: a glimpse of the future of new music without boundaries. This marvelous sextet featured Mr. Braxton on just a few reeds (alto sax, clarinet & sopranino), Taylor Ho Bynum on trumpets & trombone, Jessica Pavone on violin, Jay Rozen (not the drummer with a similar name) on tuba, Chris Dahlgren on contrabass and Aaron Siegel on drums & percussion. This group had done a short European tour last year and they are performing what Braxton refers to as "Accelerated Ghost Trance Music". What was most fascinating about this is how Mr. Braxton has taken the essence of his last compositional phase ("Ghost Trance Music") and let it evolve into something somewhat less difficult to grasp. The dozen-plus discs and concerts of "Ghost Trance" were quite controversial, often misunderstood and many listeners complained of the constant repeating and shifting lines. Braxton has accelerated "Ghost Trance" by giving it more breathing space. Although this newer work started together with the sextet playing harmonized lines, it soon broke into fragments of inter-connected lines. Various subgroupings emerge, a great muted tuba and violin duo in one section as Taylor takes an auspicious flugel solo and Braxton takes an outstanding sopranino solo. There were numerous duos and trios that were woven around one another yet everything felt connected to an inner pulse. Everything seemed to move in waves, with the dynamics and textures constantly shifting. There was always a few different melodies or ideas going on, so one had to concentrate to hear it all. It had many of us on the edge of our setas throughout its hour long duration. This music is much closer to modern classical than jazz and Braxton forces the sextet to redefine their roles in this music. There is no division between the rhythm team and the rest of the band, as everyone's role is constantly in flux. Highly Recommended! - BLG
CD $15


LOUIS MOHOLO'S BRA LOUIS-BRA TEBS/ & OCTET With KEITH TIPPETT/EVAN PARKER/HARRY MILLER/KENNY WHEELER/JOHNNY DYANI/NICK EVANS/RADU MALFATTI - Bra-Louis-Bra Tebs/Spirits Rejoice [2 CD set] (Ogun 017/018; UK) Disc 1: Bra-Louis-Bra Tebs features Louis Moholo, leader, drums, vocals; with Claude Deppa on trumpet, Jason Yarde & Toby Delius on saxes, Pule Pheto on piano, Roberto Bellatalla on bass and vocalist Francine Luce. Previously unreleased last recording of the Vive-La-Black group from 1995. This actually a lovely disc that embodies what is special about South African music, although ony a few of the players are actually from there. Most of the enemble members contribute tunes, while Louis provides arrangements of a half dozen traditional songs. Newest ICP member, Tobias Delius sounds especially inspired taking those solos which are inside and outside at the same time. he actually reminds me of the late Gary Windo, one of the most soulful "out" saxists ever and who was once a member of the Brotherhood of Breath with Louis. Each player here sounds quite marvelous throughout spinning inspired lines around one another ever so magically. Ms. Francine Luce sings on about half of these tunes and also charming, earthy, spirited and recalls Jeanne Lee at times. Produced with love and care by Steve Beresford.
Disc 2: Louis Moholo Octet featuring Keith Tippett on piano, Evan Parker on tenor sax, Kenny Wheeler on trumpet, Nick Evans & Radfu Malfatti on trombones, Johnny Dyani & Harry Miller on basses and Louis Moholo-Moholo on drums. Originally released on LP twenty years ago; first time on CD! This mighty treasure has that burning spirit vibe found in all Brotherhood of Breath records, as well as Keith Tippett's classic, 'Dedicated to You but You Weren't Listening'! This octet is completely on fire and always erupting, yet they remain a tightly woven tapestry. Each of the five songs here special with magical, spiritual melodies that burn in your heart and warm up your soul. You just can't get those melodies out of your head once you hear them. What's wonderful is getting a chance to hear more experimental players like Evan Parker, Radu Malfatti and Keith Tippett playing music so refreshingly melodic and heart-warming. I believe that this was the only occasion when both Brotherhood of Breath bassists recorded together, making this an even better treat. Quite possibly the best modern jazz reissue of this year! - BLG
2 CD set for $28


MATTHEW SHIPP - One (Thirsty Ear 57166) Featuring Matthew Shipp on acoustic piano and all compositions. Considering that this Mr. Shipp's 26th disc as a leader or co-leader, his solo piano efforts are few and far between. There is one early one, 'Symbols Systems' (No More) and 'Songs' (Splasch), where reinterprets some standards. What makes this one so different and special is that he has composed all of the pieces here and he has returned to just an acoustic piano, after a great deal of experimentation, like using beats, samples and even some synth, on his previous discs for Thirsty Ear. 'One' commences with the haunting "Arc", where Matt's sustained chords cast a calm hypnotic spell. Matt does a wonderful job of letting those rumbling, somewhat dark chords resonate as he sprinkles and occasionally jabs well selected punctuation with his right hand. The entire CD seems to work as suite of connected pieces, creating a mood that moves in organic waves. Much of this is quite contemplative and much less dense than the dark waves that Matt is known for, especially when playing with the often explosive David S. Ware Quartet. On "The Encounter", Matt adds some lovely, quietly majestic flavor that for me embodies a hopeful vibration. 'One' is one of Matt Shipp's crowning achievements, it unfolds like a story or a film in which one can project him or herself and watch the sun set in the distance as the planet earth spins slowly. A truly dynamic voyage for you and me. - BLG
CD for $15


PAUL MOTIAN BAND - Garden of Eden (ECM 1917/0006065) Featuring Chris Cheek & Tony Malaby on saxes, Steve Cardenas, Ben Monder & Jakob Bro on guitars, Jerome Harris on bass and Paul Motian on drums. Once known as the Electric Bebop Band, this is master drummer Paul Motian's group with two saxes and 2 or 3 guitars with revolving personnel on each disc and gig. Mr. Motian composed half of the 14 songs here, the rest are unique covers by Charles Mingus, Thelonius Monk, Charlie Parker, Jerome Kern and two by other bandmembers. It is a good thing that they have finally dropped the word "bebop" from the band's name, since they weren't really a bebop band, although they have covered bebop tunes, slowing them down and stretching them out in their own distinctive way. Bebop was the first innovation in modern jazz (late 40's) to force folks to actually sit down, instead of dancing, and to take the music more seriously. The complex lines that bebop soloists spun out often at a frenzied pace still informs this music, as both saxists and guitarists still must navigate layers of lines together. Mingus' most famous song, "Goodbye Pork Pie Hat" is taken at slower tempo and sounds simply sublime, like entering an older jazz dreamworld and floating on clouds. Mr. Motian mentioned in a recent NY Times article that he writes songs very slowly, spending time on every tune and each one on this disc is really quite magical. "Etude" is one of the most breathtakingly enchanting songs I've heard in recent memory, rather prayer-like in its solemn gracefulness. I love the way the bass & drums play so quickly on "Mesmer", while the guitars and saxes play that lovely, bluesy melody slowly on top, two opposites that remain somehow connected. Another thing which makes this entire disc so special is wonderful writing for the originals and arrangements for everything. The superb harmonies for the saxes and guitars is consistently strong and rich throughout. One this year's most charming platters. - BLG
CD for $17


KEN VANDERMARK With MARCIN OLES/BARTLOMIEJ BRAT OLES - Ideas (Not Two 765; EEC) Our first contact with Ken Vandermark was just a handshake - at one of the concerts in Poland of the DKV formation. Marek Winiarski, the boss of NotTwo Records, introduced us to each other. Some time passed until we had the chance to play together for the first time. When the Vandermark Five gave a concert, at the Cracow music club Alchemia,we got together after and jammed. The idea of recording an album together was with us before the evening had ended. We had prepared original compositions for the recording session, but we talked before going into the studio, and after Ken Vandermark's suggest we decided for the recording to be one of the free improvisation. We normally work in different musical fields and despite that, or maybe just because of that, every meeting like this brings about a new experience, even a kind of journey into the unknown... - Marcin [double bass] & Bartlomiej Brat Oles [drums]
CD $17

MARCIN OLES/BARTLOMIEJ BRAT OLES With ERIK FRIEDLANDER/MICHAEL J RABINOWITZ/EMMANUELLE SOMER - Chamber Quintet (Fenommedia 05-003/Poland) Featuring Erik Friedlander on cello, Michael Rabinowitz on bassoon, Emmanuelle Somer on oboe & English horn, Marcin Oles on double bass and Barttomiej "Brat" Oles on drums. Although the title of this great disc is 'Chamber Quintet', which often refers to a small classical chamber ensemble, this is a partially improvised quintet. No doubt you know all about the incredible cellist Erik Friedlander from his extensive work with John Zorn, Dave Douglas, Ellery Eskelin & Myra Melford, well as his half dozen+ discs as a leader. Michael Rabinowitz is another of those under-recognized local legends and one of few musicians who can play complex classical works and bebop lines on a bassoon. Double-reeds specialist, Emmanuelle Somer, is another under-recognized (Belgium-based) wiz who has 3 great discs out under her own name and has worked with downtown's best: Jim Black, Chris Potter & Peter McCann. This session was organized by the Oles brothers, Marcin & Brat, from Poland and one of the finest new rhythm teams in Europe, having recorded with David Murray, Theo Jorgensmann, Rudi Mahall, Ken Vandermark and a number of Poland's best.
Brat Oles wrote all but two of these pieces, his brother the other two. This is some superbly written and immensely well-played chamber music, yet the rhythmic schemes is closer to modern jazz. "Galileo" has that prog-rock sort of groove in the mid-section, yet the oboe reminds me more of early Oregon. The thoughtful writing is consistently interesting, often very subtle and never too dense. Plus, on a few these pieces the oboe, bassoon, cello and acoustic bass get a chance to take some inspired solos. On Marcin's "Rien que nous deux", the cello and bass play well together, bowing and weaving their lines as one lush ball of wool. Only on a few of these pieces, like "Horror vacui" does the quintet take off into an impressive and intense free section. For myself, this music is a much-needed change of pace from the more extreme intensity of free/music or noise. -BLG
CD $17



FIVE NEW TITLES ON FMR

PAUL DUNMALL/TREVOR TAYLOR - Illuminations (FMR 171; UK) Review next week...YOU BET!!!
CD $16

CALLING SIGNALS [FRODE GJERSTAD/PAAL NILSSEN-LOVE/ILVIND HENDRIKSEN/NICK STEVENS] - Calling Signals (FMR 177; UK)
[These have no backcover, just the front cover foldover & the CD]
Frode Gjerstad (saxophones), Paal Nielsen Love (drums), Ilvind Hendriksen (bandoneon),Nick Stevens (bass) Coming after the major success of recent groups involving Frode Gjerstad such as 'Ultralyd' and his 'St Louis' Trio on FMR this is strangely different! Perhaps its the sound of the bandeon played by the wonderful Norwegian Ilvind Hendriksen that provides a more laid back and introspective texture for the groups overall sound. And again it is less frenetic, more folky and opens new frontiers for group improvisation and its sound palette.
Fans of Frode Gjerstad will, however, not be disappointed, as with musicians such as as Paal Neilsen Love as well as Frode, British bass player Nick Stevens and the inclusion of Hendriksen, the outcome could only be as it is: highly stimulating improvisation, that like much of Frode Gjerstads music, breaks new ground! CD $16

FRODE GJERSTAD/JOHN STEVENS - Let's Just Keep Going (FMR 162; UK) Legendary and highly influential British free/new music drummer John Stevens had a few important, long-term relationships with certain musicians that evolved over long periods of time. He founded the ground-breaking Spontaneous Music Ensemble in the mid-sixties, the personnel changing slowly through its 30-year existence, with Trevor Watts as the Steven's constant partner through the first decade of SME's existence. For more than a decade Stevens had another strong bond with Norwegian alto saxist Frode Gjerstad, with four fine discs from Detail, their trio with Johnny Dyani on bass. This duo had another disc out on Impetus, from March of 1984. This final duo offering was recorded in April of 1994, the same year that John Stevens passed away. Keep On Playing captures this phenomenal duo in their righteous glory, a complete communion of the spirits. Stevens swing freely with a joyous pulse that holds it all together. Frode has a strong, slow burning, bittersweet tone that rides the dancing waves provided by Steven's resourceful drumming. Part 2 features Stevens on cornet, an instrument he played on rare occasion, the duo quietly bending their notes together with a melancholy charm. There is so much inner fire here, an urgency that connects these two strong players so well. It feels right to hear them sing their songs together as one solid force. Amen. - BLG
CD $16

FRODE GJERSTAD/SABIR MATEEN - Good Question (FMR 175; UK) Following on from the excellent duo release with the legendary John Stevens, comes this dynamite duo recording with fellow saxophone guru Sabir Mateen recorded in New York City. Featuring ten improvisations which ably convey both players unique styles, skilfully interweaving, blending and playing off of each other in ways only the most competent saxophonists can.
This is a must for all serious saxophone enthusiasts, and a wonderful document of two of the worlds most able players in the ever interesting duo setting and a continuation of Frode Gjerstad's brilliant Duo Series.
CD $16

GEORGE BURT/RAYMOND MacDONALD SEPTET With LOL COXHILL - The Great Shark Hunt (FMR 165; UK)
CD $16



FOUR MORE NEW DISCS FROM ZENO DE ROSSI'S EL GALLO ROJO LABEL FROM ITALY:

ZENO DE ROSSI SULTRY - Plunge (El Gallo Rojo 3146; Italy) Featuring Chris Speed on tenor sax & clarinet, Anthony Coleman on Hammond organ & electric pianos, Enrico Terragnoli on guitar, Stefano Senni on bass and Zeno De Rossi on drums. This is ace Italian drummer and composer, Zeno De Rossi's second group of four discs to come our way in less than a year. Pretty ambitious, no? Zeno produced all and wrote hlaf of the dozen pieces here with two by Chris Speed, one by their bassist, Stefano Senni plus two standards by Dave Brubeck and Duke Pearson. Instead of the heavy klezmer influences found throughout the last batch, these four are equally diverse. Chris Speed's "Plunge" opens with a great, slamming organ groove, both Anthony on organ and Chris on tenor sound pretty soulful! Zeno's "Tina" sounds like one of those old somewhat klez-like filmworks that Zorn did way back when, with Anthony on that great cheesy-sounding organ and guitarist, Enrico Terragnoli sound a bit too Ribot-like. I like the occasional freer bits like "Audio Bongo" in which the organ, clarinet, acoustic bass and percussion, just deal with an eerie mood. I love the laid-back blues groove of "Zakaz", which features Anthony's sizzling Fender Rhodes and Chris' snake-charming clarinet. Zeno's infectious drumming keeps the groove going solidly throughout. Chris' sly clarinet is featured on Dave Brubeck's "Fujiyama", which is then followed by one of those spy-movie rockin' themes, an odd choice. They close with an interesting choice, Duke Pearson's "Cristo Redentor", a song once covered by Harvey Mandel and psychedelicized by him. Zeno's crew does film noir version with a spoken word excerpt taken from some old movie. This piece, along with the rest of this CD seem to deal more with smoky moods than anything else. Downtown sounds from two downtowners and three Italians. Hmmm. - BLG
CD $12

GALLO & THE ROOSTERS - Todo Chueco (El Gallo Rojo 3145; Italy) Featuring Danilo Gallo on acoustic basses, Achille Succi on bass clarinet & alto sax, Gerhard Gschlossi on trombone and Zeno De Rossi on drums, plus a half dozen guests on guitar, saxes and electric piano. Bassist & leader, Danillo Gallo, wrote six of the nine tunes here with two Erik Satie covers and one by Tom Waits. Danillo's feisty contrabass is often at the center of most of these songs. On "Kabu". the quartet moves back and forth between free and written sections effortlessly, the bass clarinet and trombone sounding great together. It is really the great, ever-creative and flexible playing by the contrabass and drums that sounds superb throughout. Satie's "Pieces Froides No. 1" is done with suspense-filled charm, spacious and enchanting. "El Gallo Sanchez" features some slide guitar and is sounds like a theme for a goofy western flick. On each piece, Danilo has written some memorable theme that will stay with you, rather folky and quaint, yet not particularly sounding like their from anywhere specific in Europe. Hatology & Nimbus recording artist, Daniel D'agaro plays a great twisted solo on "Lullaby of Rattlesnakes". The Tom Waits cover is the title piece from "Alice" and again it features some delightful slide guitar, muted trombone and that great drunken-sort of vibe that Tom Waits so much embodies. It never ceases to amaze me when music this good comes from relative unknowns from another country. Then again, it seems to happen almost very other week here at DMG. - BLG
CD $12

HENRY TAYLOR - Crooning The Anger (El Gallo Rojo 3148; Italy) Henry Taylor (the band name) features Enrico Sartori on clarinet & alto sax, Fabrizio Puglisi on piano, Antonio Borghini on double bass and guess who, Zeno De Rossi on drums. Again, like the previous disc, only Zeno is a familiar name here. Each of the bandmembers except for Mr. Borghini contributes pieces to the disc with just one cover by Carla Bley. Mr. Sartori plays clarinet on all but one tune here and is the main composer and often the featured soloist here. Zeno's superb drumming is fabulous throughout, reminding me of Joey Baron at times with the way he plays with his hands on the drums. Their pianist, Mr. Puglisi, is also quite crafty, often outlining the structure of the pieces, both he and Zeno often holding things together. Enrico's amazing "Triadi" is one of those difficult pieces way tight layers of intricate lines. Zeno plays a jumping marching beat as Enrico solos on alto sax splendidly, then Antonio also plays an truly inspired solo, leaving their bassist to continue the feisty rhythmic scheme. Carla Bley's "Jesus Maria" features Fabrizio playing delicately inside the piano as Enrico plays that quirky, touching melody sublimely on the clarinet. So fine! Zeno's "O.C." has another slightly funky, march beat with more inspired solos from the clarinet, piano and the drums. This is a particularly strong quartet in which each player is integral to the group sound and all four play fabulously throughout. Again Zeno and his Italian comrades really amaze me. - BLG
CD $12

ROOTLESS - Brian Had A Little Plate (El Gallo Rojo 3147; Italy) Featuring Luca Dell'Anna on piano, Francseco Bigoni on tenor sax, Simone Guiducci on guitar, Danilo Gallo on bass and Massimiliano Sorrentini on drums. Like the previous three discs on the same label, I am not familiar with any of the members of this fine quintet, although their bassist (Gallo) is the leader of the aforementioned Gallo & the Roosters disc. Mr. Gallo has a strong, rich tone/sound on his acoustic bass and is often the heart of these tunes. The opening piece, "Brian's Little Plate", sounds like some of the better modern electric jazz that one my hear on the radio. The theme had me whistling along immediately and the wah-wah jazz guitar solo, delightful. Although all the songs are written by three members of the quintet, Francesco, Luca and Danilo, it is often the guitarist, Simone, who is featured and takes a number of impressive, fusion-toned solos. I like the two songs by Danilo the best, because they are bit further out and less predictable. The tenor sax, electric guitar and piano always sound swell together playing their rich harmonies superbly. Perhaps this one is the most "normal" sounding of this batch, it would difficult to tell in a blindfold test that this is from Italy. In a better world, WBGO would be playing this and it would sell zillions of copies, making the entire quintet rich and famous. One can only dream... - BLG
CD $12



ALAN SKIDMORE QUARTET - Tribute To Trane (MilesMusic 075; UK) 1988 recording featuring Alan Skidmore on tenor sax, Jason Rebello on piano, Dave Green on bass and Stephen Keogh on drums. Alan Skidmore has been one of the giants of tenor sax that England has produced since the late sixties. Vocalion's reissue of his 1968 gem, 'Once Upon A Time', remains one of the greatest of all British modern jazz reissues. His work with Michael Gibbs, John Surman & SOS (w/ Surman & Mike Osborne) and with Elton Dean in Ninesense & El Skid, is still incredible to hear so many years later. Considering his career will pass the forty year mark, he remains sadly under-recorded, especially in the past two decades.
Skidmore's 'Tribute to 'Trane' was recorded in 1988 and released in 1991. It features 7 compositions by John Coltrane, the biggest influence on Skidmore's playing, so say Alan in the liner notes. Both Alan and bassist Dave Green are veterans of the British jazz scene since the sixties, while pianist Jason Rebello was only 19 when this disc was recorded. Skidmore chooses Trane tunes mostly from his mid-period, "Resolution", "Lonnie's Lament", "Bessie's Blues", "Crescent", "Dear Lord", "Naima" and "Mr. P.C.". Skidmore's tone is much warmer and more Trane-like than his early, further out excursions. "Lonnie's Lament" and "Crescent" sound especially lovely, sublime, touching, elegant and from the heart. If I didn't know better I would've thought that this was a long, lost Trane recording. Perhaps it is time to play this for local jazz scholar Ras Moshe and see who he thinks this is. A superb date, but perhaps a bit too close to the real thing. - BLG
CD $18

GUY BARKER QUINTET + FRANK RICOTTI - Holly J (MilesMusic; UK) 1989 recording featuring Guy Barker on trumpet, Nigel Hitchcock on tenor & alto sax, Jason Rebello on piano, Frank Ricotti on vibes, Chris Laurence on double bass and Clark Tracey on drums. Guy Barker was 31 when this disc was recorded in 1989 and had worked with Gil Evans, Ornette Coleman and Frank Sinatra by that time. The two veteran British jazz players on this date are Frank Ricotti and Chris Laurence, both of whom have long and varied careers. The drummer Clark Tracey is the son of legendary pianist Stan Tracey and also has played on numerous dates by this point. I can't tell you much about the saxist or the pianist, except that Jason Rebello (on piano) is also found on a recent Alan Skidmore reissue from the same period. The music recalls some of those mid-sixties Blue Note dates with musicians like Herbie Hancock and Freddie Hubbard or even Miles. Guy Barker and Nigel Hitchcock wrote all but one tune and that one being a standard called "It Never Entered My Mind". Both the trumpet and tenor sax have strong, warm tones and take fine solos. Nice to hear vibist Frank Ricotti, one of England's best and someone was played on dozens (hundreds?) of sessions in the late sixties & seventies. The marvelous uptempo "Mr. Talbot" is just incredible with some amazing, fast solos from the piano, the tenor sax, the vibes and the trumpet, the rhythm team burning throughout. "Three Minutes Away" reminds me of "Maiden Voyage", one the best jazz tunes of the mid-sixties, tightly played and well-written with a great Wayne Shorter-like tenor solo and a fine solo from Barker's trumpet. Nigel's amazing "How About It" recalls Stanley Cowell's 'Brilliant Circles", one of my favorite jazz albums of all time and that my friend is no small feat! The title tune is a lovely ballad called "Holly J" with a gorgeous melody and touching playing from all. Ricotti's vibes solo is about as enchanting as I've heard and Guy Barker's trumpet solo also a real gem. Time for DMG to grab some more of the treasures from the Miles Music label, which include discs from Tubby Hayes, Peter King and Alan Skidmore. - BLG
CD $18


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


THE FOLLOWING 'POLONIA' LABEL KOMEDA ITEMS ARE EFFECTIVELY OUT-OF-PRINT. Much of the materials found here can be also found on the 'POWER BROTHERS' and 'POLISH JAZZ' labels, but according to Mikey [Golden Ears] IQ Jones, they are not as good sound quality. Hesitate Not!

KRZYSZTOF KOMEDA - Complete Komeda Vol 20: Astigmatic (Polonia 158; EEC) Krzysztof Komeda (1931-1969) was an extraordinary talented self-taught composer and pianist, became after his tragic, untimely death, a legend and a cult hero of Polish jazz. His music reflects not the growing of jazz in our country in the '60-s, but echoes the big influences: Bill Evan's refinement, Eric Dolphy's free and even John Coltrane's abandon. On this disc his partners are two eminent Polish masters-: Tomasz Stanko and Zbigniew Namyslowski and two excelent rhythm men. Gunter Lenz and Rune Carlsson. The title piece "Astigmatic", except for the beginning, presents little of ensemble interaction. Rather, we hear exciting dialogues by trumpet and piano or trumpet and bass. Komeda's piano dictates the levels of tension: it emerges, grows insisting, fades away and emerges again. Namyslowski's alto takes up backed by bass and drums. Lenz's solo opens the way for the drummer and then piano reappears. After a sudden take-off by the whole ensemble the piece burns out in barely audible bass flageolets. "Kattorna" a disquieting music from the Danish movie by Carlssen (the title means Kittens), changes on this disc into real tour de force by Stanko, that reminds us of Mexican deguello from the siege of Alamo time. Komeda's exceptional illustrative talent made him the much valued composer of music to many movies and among them some by R. Polanski. "Svantetic", dedicated to Swedish poet Svante Forster, creates initially an impression of a dirge, but its main diatonic motif in d-minor (a Polish boy scouts song) is merely the nucleus of truly dramatic jazz development in which we hear much of Namyslowski's alto and also beautiful meditations by bass and piano. It seems to be the best piece by Komeda. However, structurally it has double ending: after the first, the drum solo leads to the reappearance of the initial theme that spans the whole, but the last sentence - not without the protest of others - belongs to the trumpet.
CD $17

KRZYSZTOF KOMEDA - Complete Komeda Vol 22: Jazz & Poetry (Polonia 1-19; EEC)
CD $17

KRZYSZTOF KOMEDA With TOMASZ STANKO/MICHAEL URBANIAK et al - Complete Komeda Box 1: Vols 1-19 [19 CD box set] (Polonia; EEC) His real name was Krzysztof Trzcinski but he changed his last name due to Communist disfavor with jazz music. Komeda was trained as an ear, nose and throat specialist. In 1956 he made his musical debut at a small jazz festival in Sopot, Poland. He first recorded in 1960 with Adam Skorupka and Andrzej Zielinski. The following year he began his relationship with Roman Polanski by writing the music for "Knife In The Water." He scored several other films, including "Rosemary's Baby" among several others for Polansky.
During the thirteen years that passed since his debut at the 1956 I Festival, forms dominating Komeda's means of expression changed, but the main feature of his personality remained unchanged in its substance. It only matured, grew and crystallised. It turned into poetry. Because in whatever he did, Christopher Komeda was above all a restless, ever searching poet. He found the individual expression of jazz in himself, in Slavic lyricism and in the traditions of Polish music. He was a master of a poetic atmosphere and knew how to conquer audiences better than most jazzmen did. It is impossible not to recognise his music: it has a unique sound. He created a new climate. The process of crystallising, enriching and refining them did not take a year or two, it took years. >From 1956 to 1962 Komeda improved his piano and appeared at consecutive domestic festivals with his own band, always with an ambitious programme. Those were also the years of his Moscow, Grenoble and Paris successes - his first abroad. He was also the author of the interesting 'Jazz and Poetry' show presented at Jazz Jamboree'60 and later at the Warsaw Philharmonic Hall, and started writing movie scores: Polanski's 'Knife in the Water', Wajda's 'Innocent Sorcerers', Nasfeter's 'My Dad' and Morgenstern's 'See You Tomorrow'.
The period that in Komeda's artistic biography could be called his period of maturing and building a musical language of his own was crowned by 'Ballet Etudes' performed at Jazz Jamboree'62. The domestic response to 'Etudes' was less than enthusiastic but it opened the gates of Europe to Christopher Komeda. In spring 1960 he arrived in Scandinavia and then came back every year. All his performances at the Stockholm 'Gyllene Cirkeln' and the Copenhagen 'Jazzhus Montmartre' clubs which had hosted America's most prominent jazz stars, were a genuine success. The 'Metronome' recording company issued an LP with his compositions played by an international quintet: Allan Botschinsky - trumpet, Jan 'Ptaszyn' Wroblewski - tenor sax, Christopher Komeda - piano, Roman 'Gucio' Dylag - bass, Rune Carlsson - drums. Renowned Danish film director Hennig Carlsen commissioned him to write and record music for three of his pictures: 'Hvad med os', 'Kattorna' and 'Sult' (based on Knut Hamsun's novel). Scandinavian successes were followed by other ones: at jazz festivals in Prague, Bled and Koenigsberg, during a tour of Bulgaria and both German republics. In May 1967 'Komeda Quartet' (Tomasz Stanko - trumpet, Roman Dylag - bass, Rune Carlsson - drums, plus Zbigniew Namyslowski - sax, replacing longtime member Michael Urbaniak) recorded 'Lirik und Jazz' for the West German 'Electrola' record company.
In January 1968 he went to the USA, where he worked on movie score to Polanski's 'Rosemary's Baby' and Kulik's 'The Riot'. In December, in Los Angeles he had a tragic accident. Brought to Poland by his wife Zofia he died on April 23rd, 1969 at the age of 38, and was buried in Powazki Cemetery in Warsaw. Vol. 1 - Live in Copenhagen part 1; vol. 2 - Live in Copenhagen part 2; vol. 3 - Live at Jazz Jamboree; vol. 4 - Live at Jazz Jamboree; vol. 5 - Astigmatic Live; vol. 6 - Ballet Etudes; vol. 7 - Film Music (Knife in the Water, Jutro Premiera, Kraksa, Okolice Peronow); vol. 8 - Breakfast at Tiffany's; vol. 9 - Film Music (Prawo i Piesc, Sult, Rondo, Sztandar, Laternamagica); vol. 10 - Nightime, Daytime Requiem; vol. 11 - Film Music (Bariera, Niekochana, Pingwin); vol. 12 - Film Music (Wyrok); vol. 13 - Film Music (Knife in the Water, Cul-De-Sac); vol. 14 - Film Music (Kattorna, Klatki, Wiklinowy Kosz); vol. 15 - Film Music (Smarkula, Przerwany lot, Per?y idukaty); vol. 16 - Private Conversations; vol. 17 - Live at Jazz Jamboree 1962 & 1964; vol. 18 - Live at Jazz Jamboree 1962 & 1964; vol. 19 - Film Music (Rosemary's Baby, Vampire Killers)
19 CD box set for $180


A FINE NEW EXPERIMENTAL LABEL FROM ITALY WITH 4 RELEASES:

HUGH DAVIES - Tapestries (ANTS 004/Italy). "Hugh Davies was one of the masters of contemporary experimental music. His tireless search for musical invention and his historical accuracy led him to explore different fields in music. This one is a selection of his lesser known electronic pieces, that he choose to represent his own approach to the matter. Now that he's no longer with us, this collection remains as an outstanding picture of his creativity in music." "When I began my musical career in the mid-1960s I thought of myself as a composer with a strong interest in what was then known as electronic music, especially live electronic music. My early work with live electronics soon led me to what has become the main focus of my creative activities, inventing and performing on new, usually amplified instruments. This album contains my most substantial compositions in the medium, for pre-recorded tape or CD. The original versions of four of these five electronic compositions had a theatrical connection." - Hugh Davies. Sixteen-page booklet with liner notes by Hugh Davies and David Toop.
CD for $18

ALBERT MAYR - Proposte Sonore (ANTS 008/Italy) "Seven electronic compositions from the end of the sixties plus one instrumental piece from 1983. This is the content of the new CD by Albert Mayr that Ants is proud to present. Experimentations from near 40 years ago sounding so 'contemporary,' today more than ever. The work in the S 2F M studio was of high rigour, with the resulting sound structures presented in their brut condition, without any concession to taste or to smoothing out the edges, because the essential thing was to experience the new sound world, to experiment with it. Albert Mayr's Proposte Sonore, realized between 1966 and 1969 - partly with the Battimenti materials created earlier by Pietro Grossi in the Florentine studio - are certainly a beautiful example of this line of work. Proposals of new elements to be integrated in the puzzle; Proposte (proposals), and not Studies or Exercises and not even Compositions, presented with the doubts of a listener who is eager to find out what will happen, and not with the presumption and the certainties of those who want rather to find than to seek. A listener who tries to understand and mainly to perceive how 'the sounds coming from the machine stay together'. It is, on the one hand, this pioneer aspect, and, on the other, the freshness of the results that create the interest and pleasure one proves when listening to these pieces." - Giuseppe Furghieri.
CD for $18

LUCA MITI - Just Before Dawn (ANTS 010/Italy) "Luca Miti is a 'strange' kind of composer and musician. Primarily known for his compositions (most of them unconventional and 'experimental' in the best sense) and improlive-written collaborations, he's also a 'performer' with many different sides. One of these aspects is shown on this album. This is really an 'album' in the broader sense. It contains pieces that are 'images of life' for Luca. They are parts of his own musical essence. The daily activities, the loving moments, the earliest listening, the deep influences, all of this is comprised in this 'lovely' compilation. The piano is the 'classic' instrument of Luca. He's not the incredibly skilled performer, but he's, to me, the 'real' performer. And, most important, he really 'understands' (because he loves it) the music he plays. This CD is not only a collection of beautiful pieces by more or less known contemporary composers. It's, first of all, a gift that Luca makes to himself and to us, trying to communicate his own experience." Performed by Luca Mita (pianoforte). Featured composers: Gyorgy Kurtag, Terry Riley, Tom Johnson, Laurie Spiegel, Alvin Curran, Gilbert Delor, Enrico Piva, Anna Guidi, Gigi Masin, Sylvain Chauveau, Paul Burnell, Francesco Michi.
CD for $18

DAVID MONACCHI - Paesaggi di Libero Ascolto (ANTS 011/Italy) "David Monacchi's eclectic approach to sound include both the acoustic and the electronic world. The real and the artificial. He easily mixes them together and, working with a lot of different sound sources, he's able to define a rich and ever-growing palette of 'sound colors.' His primary research with field recordings forms his 'travelling baggage' of inspirations. His meticulous action and dedication gives the exact coordinates of his method, so well balanced between the 'natural' (chaotic) and the 'built' (rational). This collection represents an observation point on the electroacoustic side of his work. 'La Selva degli Orologi,' is an enchanting landscape of mechanical objects brought to life by mean of a clear musical sensibility. 'Acqua,' for water concrete sounds, is an exploration and a cinematic journey through the first source life. 'Ciclo Circadiano,' for environmental sounds, is the sum of years of on-site natural recordings, assembled and re-worked, in a genuine 'concrete' way, over the 24-hours division of the day. 'Intorno all 'Origine' represents a sort of 'Darwinian' summation, a path that the author rides, going through different states (the archaic recalling, the real images, the artificial soundscapes, the new sound experiences) finally finding his personal way of making music. Paesaggi di Libero Ascolto (Free-Listenings Landscapes) is the colourful portrait of a joyful musical mind, that deserve an attentive listening."
CD for $18

STEVE REICH & PHILIP GLASS - Music 4 Hands (Orange Mountain 022) "Orange Mountain's new release Music 4 Hands presents new transcriptions for two pianos written and performed by Dennis Russell Davies and Maki Namekawa. Featured compositions are Philip Glass' 'Six Scenes from Les Enfants Terribles' and Steve Reich's 'Piano Phase.' Glass and Reich were leaders of a new music revolution in New York City in the 1960s and '70s that included Terry Riley, La Monte Young and Meredith Monk. In the years since then, the two composer's careers and music have greatly diverged, and it is rewarding to find a new record that celebrates them both. As both a soloist and a chamber musician, Maki Namekawa is equally at home in classical music and contemporary repertoire. She appears regularly at major concert venues in Japan and Europe. American pianist and conductor Dennis Russell Davies is chief conductor of the Bruckner Orchestra Linz and chief conductor of the Stuttgart Chamber Orchestra since 1995."
CD for $18

LOOSERS - Bully Bones of Belgie [LP only] (Qbico 038/Italy) "Best kept secret from Portugal, think a cross between Sunburned and Sun City Girls and you have a vague idea. Recently they did a Euro tour with Mouthus."
LP only for $23

MIKE COOPER - Tu Fuego [LP only] (Qbico 039/Italy) Jeff Henderson - alto sax; Mike Cooper- lap steel, electronics; Tom Callwood- bass; Anthony Donaldson- drums. Rec. February 2005 live @ Happy, Wellington, New Zealand. 'Fascinating and one-of-a-kind country western free muzic.'
LP only for $23

THE 'DOG WITH A BONE LABEL' HAS NEW DISTRIBUTION - HERE ARE THEIR RELEASES:

MARCEL DUCHAMP//JOHN CAGE/BEN NEILL - The Entire Musical Work Of Marcel Duchamp (Dog With A Bone 01) New 20th century composer's label, based out of the Paula Cooper gallery in NYC, in association with Petr Kotik's S.E.M. Ensemble. This Duchamp CD is a similar release to the CD on the Ampere [Ampersand] label (same title, same general selection of Duchamp's major musical pieces); the main difference is that this DWAB version features one additional piece, "Sculpture Musicale" (a mesostic performed by John Cage) & features improved sound/performance according to Kotik. This CD was recorded in 1987 by S.E.M. (including Ben Neill on trumpet); the Ampere version was recorded in 1976. "Duchamp's often overlooked musical work was composed for the most part between 1912 and 1921. His method was based on chance and represented a radical departure from the way music was done at the time. Music by Marcel Duchamp includes the artist's complete ouvre, namely 'Erratum Musical' (for three voices), La Mariee mise a nu par ses celibataires meme, 'Erratum Musical' (in two different versions for player piano and chamber ensemble), and the conceptual piece 'Sculpture Musicale' (with a special version performed by John Cage). The liner notes contain reproductions of Duchamp's handwritten scores, as well as photographs of the instrumental 'apparatus' used to create the second version of 'La Mariee mise a nu par ses celibataires meme (a funnel, seven open top cars and six sets of balls)'. Also included is a mesostic (a poem legible both horizontally and vertically) by John Cage."
CD $15

MORTON FELDMAN//S.E.M. ENSEMBLE [PETR KOTIK] - Turfan Fragments/For Samuel Beckett (Dog With A Bone 04) For Samuel Beckett, The Turfan Fragments. The Orchestra of the S.E.M. Ensemble. Petr Kotik, Conductor. "For Samuel Beckett and The Turfan Fragments are Feldman's only chamber orchestra compositions. Both were commissions: The Turfan Fragments by the Swiss-Italian Radio Orchestra in 1980, For Samuel Beckett by the Schonberg Ensemble, Amsterdam, in 1987. Both titles are descriptive and suggest how Feldman arrived at a particular concept for each piece. The Turfan Fragments is a succession of short sections, which could indeed be described as fragments. The title relates the composition to manuscripts from Turfan (the southwest region of present-day China), which are in the collection of the Preussischer Kulturbesitz in Berlin. These calligraphic remnants, going back to the ninth century, were brought to Germany before World War I and Feldman must have seen them while living in Berlin in 1971. In contrast, For Samuel Beckett is based on a single idea of several chord progressions unfolding continuously for almost an hour. In 1977, Beckett wrote a text for Feldman, to be used as the libretto for his opera Neither. Feldman's description of Beckett's writing most eloquently suggests what was on his mind when composing For Samuel Beckett: ?here's something peculiar about it [the Beckett's text]. I can't catch it. Finally I see that every line is really the same thought said in another way. And yet the continuity acts as if something else is happening. Nothing else is happening. What you're doing, in an almost Proustian way, is getting deeper and deeper saturated into the thought."
CD $15

MORTON FELDMAN//S.E.M. ENSEMBLE [PETR KOTIK] - For Philip Guston [4 CD set] (Dog With A Bone 02) Performed by Kristine Scholz and Mats Persson. This fine release presents Morton Feldman's complete production of his music for two pianists, including the previously unrecorded piece "Work for Two Pianists" (1958). In the booklet you will find Mats Persson's essay: "To Be In The Silence - Morton Feldman and Painting." Packaged in hardcover sleeve (ala the Kairos label), with 72 pages of binlingual (Swedish/English) notes. 4 CD set for $40

PETR KOTIK/GERTRUDE STEIN - Many Many Women [3 CD set] (Dog With A Bone 03) "Digitally remastered from the original 1981 Labor Record release, Kotik's Many Many Women has long been considered a masterpiece of 1970s underground music. The polyphonic composition sets Gertrude Stein's entire novella Many Many Women to music and marks the crystallization of Kotik's musical aesthetic. Described by Richard Kostelanetz as 'continually austere and yet engaging, realizing a musical reinterpretation of Stein's text,' Many Many Women highlights both the musicality of Stein's poetry and Kotik's distinctly personal treatment of melody. The liner notes include essays by Kostelanetz and Village Voice critic Kyle Gann."
3 CD set for $30

S.E.M. ENSEMBLE [PETR KOTIK et al] With JOHN CAGE/JACKSON MAC LOW/ANNE TARDOS/DICK HIGGINS - Spoken Music Concert at Paula Cooper Gallery (Dog With A Bone 05) "The S.E.M. Ensemble's Spoken Music Concert took place on Tuesday, February 6, 1990, at the Paula Cooper Gallery in New York, then on Wooster Street in Soho. It was performed by members of the S.E.M. Ensemble: Petr Kotik (Director), Chris Nappi, and Joseph Kubera, and Den Neill (sound mix); and four guests: John Cage, Dick Higgins, Jackson Mac Low, and Anne Tardos... 'Empty Words', written in 1973-74, is arguably the most musical of John Cage's texts. Made up of fragments from the journals of Henry David Thoreau, it consists of four parts. The first is a chance-derived mix of phrases, words, syllables, and single letters; subsequent parts each eliminate one of these textual elements from the mix. By the fourth part (performed here), there is nothing left but single letters. As the text becomes simpler and simpler, silences become more and more prominent."
CD $15


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


EAST WEST BLAST TEST [EWBT] - Popular Music For Unpopular People (Ipecac 68; USA) An explosion of joyful creativity unbounded by genre, this is the second compact opus from the duo of Chris Dodge and Dave Witte, who recorded their parts separately and assembled them through long-distance correspondence, using bits and pieces from guests as well. Long-time New Jersey stalwart and recent Virginia transplant Dave Witte is practically a brand name for reliable quality in blastbeats, a tireless and passionate drumkitter who has infused a boggling array of creative aggressive music projects with his speed-obsession, a legacy spanning the seminal avant-garde death metal of Human Remains, the reference-standard grindcore of Discordance Axis, the tuneful hardcore of Burnt By The Sun, the revolutionary hyper-percussive poly-timbralism of Melt-Banana, the breathtaking high-velocity sampler-science of Mick Harris' Atomsmasher/Phantomsmasher, and the assorted brutality of bands like Municiple Waste and Black Army Jacket. California's Chris Dodge has a similarly sprawling resume anchored around the joys of velocity and aggression via guitars, but here his creative impulses find kaleidoscopic realizations mirroring his kaleidoscopic instrumentalism; it's truly fitting that his instrumental credits on this album read "whatever is within arm's reach". Much like Phantomsmasher, this is not a guitar-centric record with multi-instrumental garnish, but rather a genuine exploration of diverse sound strategies for constructing tightly organized miniatures unified by the alternately swank and brutal rhythms of Witte's drumkit. The big news here is that a bunch of these tracks are not fast and frenzied. The first (self-titled) EWBT album (released in 2000 by Slap A Ham and later reissued by Relapse) was 90% fury and a possibly peerless masterpiece of experimental grindcore, whereas this new album is only about 50% speed thrills and an instant classic of junk-splat-core. This is a jump-cutting multi-genre mash-up demanding to be heard by fans of Naked City, Fantomas, Idiot Flesh, etc. Among the many surprising and fleeting pleasures to be had in these 23 concise tracks are Zappa-esque tuned-percussion romps, fake African music, post-rockified Musci/Venosti ethno-plunderphonics with didgeridoo, jazz-rock spazz and brawn a la Chainsaw Jazz and Doctor Nerve, an honest-to-goodness straight hardcore tune with screamo vocals, a seductive avant-pop tune with wordless female vocals, space-age squiggle funk, manipulated German language-learning recordings, and multiple doses of ingenious high-speed avant-metal. It's a treasure chest of deconstructionist ditties with blastbeats and brutal riffs always lurking around the corner. Like the first EWBT album, I just wanna play this thing over and over again! Bravo Messrs Dodge and Witte!!! -Michael Anton Parker
CD $15

ACID MOTHERS AFRIRAMPO - We Are Acid Mothers Afrirampo (AMT 017/Japan) Acid Mothers Afrirampo are: Oni: voice, electric guitar, digital guitar, soprano recorder, drums; Pika: voice, drums, percussion, toys, balloon; Tsuyama Atsushi: voice, bass, drums, digital guitar, acoustic guitar, soprano recorder, kantele; Higashi Hiroshi: electronics; Kawabata Makoto: electric guitar, violin, hurdygurdy, glockenspiel, percussion, electronics, voice. CD for $19

GODMAN: GOD> CD for $19

SABU TOYOZUMI/EXIAS-J - Son's Scapegoat (SIWA 002) "March 2005 meeting of Exias-J (Experimental Improvisers Association of Japan) and drummer Sabu Toyozumi. Since the late '90s Exias-J have been conjoining the worlds of free music and modern composition by employing free improvisation in variously structured approaches ranging from jazz and rock rooted forms to avant-classical and performance art settings. Sabu Toyozumi is a true giant of Japanese free music with a history running from his involvement with Masayuki Takayanagi's New Direction Unit in the late '60s through his work with Kaoru Abe , Peter BrØtzmann, Takashi Mizutani (Rallizes Denudes), Keiji Haino and a veritable who's who of internationally known improvisers. There is a sonic clarity to this new studio recording that might help elucidate the underlying musical structure on the two previous live Electric Conception recordings (available on PSF). That said, with one stated goal being the disruption of the hierarchies of instrumentation through the application of electro-acoustics, this frequently creates a dense, shifting sonic mass that should make even ardent noise fans feel quite at home. Edition of 500 in screen-printed gatefold cover."
CD for $14

BARRY CHABALA - Acoustic Guitar (Sachimay Interventions 18 CD-R ; USA) Four improvisations from guitarist Barry Chabala, who says: "Acoustic Guitar is my first solo recording, and a document of my frame of mind at the time. Tracks 'DB1' and 'DB2' are tributes to Derek Bailey, a major influence on my work. I hope that I've been able to take bits of his language and extend/blend them with my own voice. The track 'M' was originally recorded for use as source material for another project, but I think it really stands on its own. 'from guitar' takes 'M' and deconstructs it with granular software, an experiment from a period when I thought myself a laptop artist -- which I'm not." Total time: 35:04.
CD $3



A FEW PROGRESSIVE TREASURES TO CHECK OUT:

BURNT FRIEDMAN & JAKI LIEBEZEIT - Secret Rhythms 2 (Nonplace 019/Germany) This is the follow-up to Burnt Friedman & Jaki Liebezeit's first collaborative album Secret Rhythms, which came out on Nonplace in 2002. Employing the universal, secret rhythm of the 4/4 bar, Friedman & Liebezeit have been playing live all over the world, improving their cyclic grooves and creating new ones. The 8 tracks on Secret Rhythms 2 are no overt spectacular high-brow arrangement hellraisers -- while being tight and containing a large amount of curious suspense, these secret rhythms are playful, open, transparent, sequential, hypnotic even. In this respect, Friedman & Liebezeit lean to the world music side, without giving in to the temptation of any jazz instrumentation or even improvisation. The first two pieces on Secret Rhythms 2 were released in May 2005 on the vinyl-only LP Out In The Sticks (NON 017LP) and appear here in completely new versions. The only vocal track on this album "The Librarian" is a collaboration with David Sylvian. The song appears in a different version on the album Snow Borne Sorrow of the band Nine Horses, consisting of Sylvian, Steve Jansen and Burnt Friedman on the label Samadhi Sound. In addition to Friedman & Liebezeit, guitarist Tim Motzer weaves funky touches all the way through. Lined up for the group's live appearances and studio recordings is Hayden Chisholm on clarinet and melodica. Other guest musicians are Morten GrØnvad (vibraharp), Daniel Schroeter (bass guitar) and Joseph Suchy (electric guitar).
CD for $15

BONDAGE FRUIT -Bondage Fruit (Mabo) Bondage Fruit, led by guitarist Kido Natsuki, who also plays in Korekyojinn, were part of the Japanese Zeuhl explosion of the early 1990's, along with Koenjihyakkei and Happy Family, and this is somewhat similar to these bands and similarly good! The band here includes violin, bass, drums, vibes/marimba and two female vocalists. A great album. Highly recommended.
CD for $17

BONDAGE FRUIT - Bondage Fruit II (Mabo) Bondage Fruit, led by guitarist Kido Natsuki, who also plays in Bondage Fruit, led by guitarist Kido Natsuki, who also plays in Korekyojinn, were part of the Japanese Zeuhl explosion of the early 1990's, along with Koenjihyakkei and Happy Family, and this is somewhat similar to these bands and similarly good! The band here includes violin, bass, drums, vibes/marimba and two female vocalists. Similar in tone to their great first album.
CD for $17

BONDAGE FRUIT -Recit/Bondage Fruit III (Mabo) Like Soft Machine, the band doomed to have a number after their name for each album! Bondage Fruit, led by guitarist Kido Natsuki, who also plays in Bondage Fruit, led by guitarist Kido Natsuki, who also plays in Korekyojinn, were part of the Japanese Zeuhl explosion of the early 1990's, along with Koenjihyakkei and Happy Family, and this is somewhat similar to these bands and similarly good! The band here includes violin/vocals, bass, drums, vibes/marimba.
CD for $17

BONDAGE FRUIT - VI (Mabo) Like Soft Machine, the band doomed to have a number after their name for each album! Bondage Fruit, led by guitarist Kido Natsuki, who also plays in Bondage Fruit, led by guitarist Kido Natsuki, who also plays in Korekyojinn, were part of the Japanese Zeuhl explosion of the early 1990's, along with Koenjihyakkei and Happy Family, and this is somewhat similar to these bands and similarly good! The band here includes violin, bass, drums, vibes/marimba.
CD for $17

KLIMPEREI - Baboler (Acid Soxx) Klimperei are a long-lived French ensemble who use simple, but often haunting melodies, toy (& real) instruments, humor, surrealism and elements of minimalism. Their music is child-like in the best sense. Sorta like Hamster Theatre playing with toy instruments. This is a 2005 release and is their first-ever from a US label and is an excellent & nicely-priced introduction to what they do.
CD for $11

LES PROJECTIONNISTES - Vue (Rif/Canada) The second album by this really superb Montreal band, led by trombonist Claude St.-Jean (who also fronts the great L'Orchestre Des Pas Perdu). The current line up of the band features two members of Miriodor: Bernard Falaise-guitar and Remi Leclerc-drums, as well as Pierre Labbe-tenor sax, Roberto Murray-alto sax, Tommy Babin-electric and acoustic bass + guest Francois Lafontaine on Hammond B3 organ on many tracks. This is really a marvelous album; great tunes and great playing with their own slant on the tuneful-yet-avant-progressive slant of things (I can hear elements of Frank Zappa, film music, Miriodor, jazz, Bobby Previte, jazz/rock, the Microscopic Septet and a whole lot more. Anyway, I was pretty blown away by this and if this description sounds attractive to you, you will be as well! Highly recommended!
CD for $17

THE MUFFIN MEN - Frankincense: The Muffin Men Play FZ (MRP) The Muffin Men are a British band who specialize in the music of Frank Zappa. They are a 7 piece band here + Jimmy Carl Black who does some vocals with them. A wide range of FZ's repertoire appear here.
CD for $10

ERUPTION - Eruption [LP only] (Qbico 032/Italy) Music by: Conrad Schnitzler, Wolfgang Seidel, Klaus Freudigmann. Rec. 1970, Studio Freudigmann, Berlin. Unrelease recording available here for the 1st time after 35 years. "After rec. the 1st LP with Tangerine Dream Electronic Meditation (1969) and two Kluster LPs (1970), Conrad Schnitzler founded the Eruption project in 1970: a kind of loose collective which included such renowed musicians such as Klaus Schulze, Manuel Gottsching and Klaus Freudigmann. They used to practice in a loft in Berlin (same one as used by the band Ton Steine Scherben) and they also gave a concert at Quartier Latin in Berlin, 1971 along with Ash Ra Temple and Amon Duul (a photo of that historical concert is on the back of the cover). This is the only available rec. of this incredible group (entirely different music from the Schwarz album, also known as Eruption, this is the real thing). Here you'd hear Con in a completely different set from his better known classic electronic stuff, in fact in this one of a kind rec. he's playing electric violin (in a similar vein as Takehisa Kosugi with Taj Mahal Travellers). A key document on the beginning of the Krautrock scene."
LP only for $23



ARCHIVAL REISSUES & RESTOCKS:

ALBERT MANGELSDORFF PERCUSSION ORCHESTRA - Lanaya (Planisphere) For a unique concert, which was turned into this album, the great late German trombonist is joined by 3 percussionists: Reto Weber-percussion, Nan Twum Nkeita-African percussion and Djamchid Chemirani-zarb (Iranian drum). There's some great interplay between the multi-drummers and the trombone-work.
CD for $12

ELLIOTT SHARP/ORCHESTRA CARBON - SyndaKit [2nd Ed] (Zoar 19; USA) "SyndaKit" [previously available in a limited edition of 300 signed and numbered copies], composed for Sharp's ensemble ORCHESTRA CARBON, was premiered in 1998. Constructed of 144 composed cores and a set of simple instructions for their manifestation and manipulation by the players, SyndaKit creates an ever-shifting rhythmic matrix, a pulse bristling with vibrating detail based on the activities of flocking birds, African drum choirs, hunting packs, and recombinant amino acids. CARBON is the primary vehicle for composer/multi-instrumentalist Sharp's unique music - grooving, hot, dense, dark, fast, textural. For SyndaKit, the basic quintet (with Zeena Parkins, Joseph Trump, David Weinstein, Marc Sloan) was augmented into an orchestral force of 12 musicians with the violinist David Soldier, violist Judith Insell, bass clarinetists Tim Smith and Evan Spritzer, accordionist Ted Reichman, and percussionists Rea Mochiach and Jim Pugliese. For this recording, E# performs on electro- acoustic guitar.
CD for $15


LAST COPIES ON THE LONG "DEFUNKT" [pun intended!] 'ENEMY' LABEL:

ELLIOTT SHARP/CARBON - Tocsin (Enemy 134; USA) TOCSIN was mostly song-structures with very little formality - I had decided that CARBON should not hew to any specific agenda but should be the carrier of many mutant strains. Central to the bands sound was the use of extended timbres - sometimes to orchestrate a melodic or harmonic idea, sometime to function as the entire sonic hook. To todays ears, a pungent sound can function just as a catchy melody or lyric refrain once did.
Electric harp: Zeena Parkins; Electric bass: Marc Sloan; Drums, percussion: Joseph Trump; Sampler: David Weinstein; Doubleneck guitarbass, sampler, lapsteel, soprano sax, ac guitar: E#
CD $20

MYRA MELFORD TRIO With LINDSEY HORNER/REGGIE NICHOLSON - Jump (Enemy 115; USA) Myra's first album from 1991 - a stunning debut
CD $15

MYRA MELFORD TRIO With LINDSEY HORNER/REGGIE NICHOLSON - Now & Now (Enemy 131; USA) More magic on Ms Melford's 2nd album
CD $15

THE KILLER SHREWS [JOHN LANGFORD/GARY LUCAS/TONY MAIMONE] - The Killer Shrews (Enemy 141; USA) The Killer Shrews were a short-lived trio with a remarkable avant-rock pedigree. Singer/guitarist Jon Langford led both the Mekons and the even scrappier Three Johns. Lead guitarist Gary Lucas had been both manager and bandleader for Captain Beefheart in the final years of the Magic Band, largely responsible for the musical direction of the Captain's classic last two albums, Doc at the Radar Station and Ice Cream for Crow. Bassist Tony Maimone was a founding member of Pere Ubu and his own experimental trio Drumhead, as well as an adjunct member of bands ranging from the Red Crayola to They Might Be Giants. (Langford's fellow Mekon Steve Goulding played the drums; Langford, Lucas, and Maimone shared songwriting duties.) On their sole album, recorded in a four-day session in August 1993 at Dave Trumfio's Kingsize Sound Laboratories in Chicago, the Killer Shrews mix up punky noise, country blues, avant-garde weirdness, and pure country in a way that recalls all three Shrews' other bands without one member's contributions overshadowing the others. Somewhat unfortunately, however, the Killer Shrews were always meant to be a one-shot collaboration and not an ongoing project. ~ Stewart Mason, AMG
CD $16

DEFUNKT [JOE BOWIE et al] - Cum Funky (Enemy 140; Germany) Joe's brother's Lester and Byron augment the 'Mach II' group [Kevin Bents, Kelli Sae, Ronnie Jenkins, Rishard Lampese, Scooter Warner] on this album, which includes the Joe Bowie instrumental "Dogon A.D." [NOT the Julius Hemphill tune, but it IS dedicated to him for Hemphill's introducing Joe to the Dogon people of Mali]
CD $16

DEFUNKT [JOE BOWIE et al] With Guests VERNON REID/KELVYN BELL/RONNIE DRAYTON/MELVIN GIBBS - Live And Reunified (Enemy 145; Germany) Reunion of the original killer lineup [Bill Bickford/Kim Clarke/Kenny Martin] live from December 15th '91 with special guests as above!
CD $16

DEFUNKT [JOE BOWIE et al] SPECIAL EDITION With JEAN-PAUL BOURELLY - Tribute To Muddy Waters And Jimi Hendrix (Enemy 148; Germany) 1994 covers of six songs each from Muddy Waters and Jimi Hendrix with a lineup that includes Kelli Sae vocals, J-P Bourelly guitar, Ronnie Mac Jenkins bass, Alfredo Alias drums, and mainman funkmeister Joseph on trombone and vocals!!!
CD $16

SONNY SHARROCK - Guitar (Enemy 102; USA) This is pure, undiluted Sonny Sharrock. Taking advantage of the overdubbing process, Sharrock accompanies himself in a series of duets that demonstrate the range of his playing, from menacing to tender. The songs are fairly simple; a brief introduction and chord statement lays the foundation, then Sharrock flies about on top of it. The purity of his tone is both powerful and beautiful. "Broken Toys" is almost like a lullaby after the flying shrapnel of "Devils Doll Baby," where Sharrock shows off his dizzying, visceral slide guitar technique. "Black Bottom" is his take on the blues. "Princess Sonata" is a beautiful suite that encompasses all these aspects of his playing. Guitar makes a nice counterpoint to both Seize the Rainbow, a more rock-oriented release, and Ask the Ages, his reunion with Pharoah Sanders. Bill Laswell deserves some credit for revitalizing Sharrock's career in the '80s, and for sympathetic production on this and the other two recordings. Guitar is a beautiful statement by one of jazz music's most unique voices. -- Sean Westergaard , AMG
CD $16

SONNY SHARROCK BAND - Seize the Rainbow (Enemy 104; USA) The follow-up to Sonny Sharrock's entirely solo comeback album, Guitar, Seize the Rainbow puts the guitarist at the helm of a rock-styled power trio featuring bassist Melvin Gibbs and Abe Speller and Pheeroan akLaff on drums (producer Bill Laswell also plays bass on one cut). The overall sound of the album is surprisingly straightforward, heavy metal-tinged jazz-rock, though the caliber and taste of the musicians makes it something far more than what rock guitar virtuosos of the period were recording. Still, there isn't too much way-out craziness, aside from some of Sharrock's trademark slide-guitar explorations on the spiritual title track and the riff-driven rockers "Dick Dogs" and "Sheraserhead's Hightop Sneakers." For the most part, Sharrock's playing on Seize the Rainbow is more concerned with melodic themes and traditional single-note solo lines than textural experiments. Fortunately, his tone is still gloriously skronky, and his playing is no less passionate. Bill Laswell's production is bright and immediate, and the rhythm section's agility breathes a spark into the straight-up rock rhythms they're often asked to play. Sonny Sharrock's 2nd-to-last great studio effort (check out the great 'Ask The Ages' recording with Pharoah Sanders from 1993, now sadly out-of-print as well) with Laswell helping him focus his best efforts in the studio.
CD $16

SONNY SHARROCK BAND - Live In New York (Enemy 108; USA) Recorded live at the old Knitting Factory in New York City, this disc showcases the late Sonny Sharrock in his garage-y rock band incarnation, a different kettle of fish for those familiar with his early jazz roles or his later incendiary work with Last Exit. The results are better than his earlier, more obscure trio date on Marge largely due to the far superior rhythm section of bassist Melvin Gibbs and drummers Abe Speller and Pheeroan akLaff, but they're also marred byDave Snyder's schlocky keyboards and Ron Cartel's pedestrian vocals on two of the pieces. Sharrock seemed to vacillate throughout his career between the ecstatic free jazz epiphanies he produced in the '60s with Pharoah Sanders (or in the '80s along with his partner Peter Brotzmann) and the simpler, bluesier feel of bands like this one. If what you're after is an above-average bar band with an at times amazing guitarist and a consistently solid rhythm section, Live in New York will do just fine. Listeners who came to expect something on a more inspired level will have to content themselves with nearly contemporary albums like his solo venture 'Guitar' or band effort 'Seize the Rainbow (both also on Enemy) or the stellar Ask the Ages. -- Brian Olewnick, AMG
CD $16

SONNY SHARROCK BAND - Highlife (Enemy 119; USA) Highlife was Sonny Sharrock's first studio album in three years, and it bore witness to several slight modifications in the guitarist's approach. Gone were bassist Melvin Gibbs and drummer Pheeroan akLaff, who had moved on to other projects; they were replaced by Charles Baldwin and Lance Carter, respectively, who joined additional drummer Abe Speller. Dave Snider's Korg synthesizer also makes its studio debut (he had appeared on the Live in New York set), which immediately makes the overall ensemble sound simultaneously brighter and tinnier. Even past the added timbre of the keyboards, Sharrock seems to be searching for ways to push his music forward, as he begins going farther afield for material and revisiting his past in the process. In addition to three full-fledged originals, he covers two traditional folk songs, the West African standard "Highlife" (learned in one of his earliest gigs with drummer Babatunde Olatunji) and the Harry Belafonte-associated "All My Trials"; he adapts several themes from Kate Bush's prog pop hit "Wuthering Heights" into "Kate"; and he returns to his legendary appearance on Pharoah Sanders' Tauhid album with a medley of two Sanders themes, "Venus/Upper Egypt." It's fascinatingly eclectic, but the results are undercut to a degree by all the keyboard polish, which tends to rob Sharrock's most furious licks of a certain element of danger (even if it does occasionally bring out his more playful and spiritual sides). In the end, Highlife is something of a transitional album, catching Sharrock in the midst of figuring out where to take his music next, yet that searching quality makes it a compelling listen for fans. ~ Steve Huey, AMG
CD $16

LAST EXIT [SONNY SHARROCK/PETER BROTZMANN/RONALD SHANNON JACKSON/BILL LASWELL] - Last Exit (Enemy 100; USA) The 1st of 6 releases [five live albums, and one studio album on Virgin] by the incredible power-improv lineup of Sonny Sharrock, Peter Brotzmann, Bill Laswell, and Ronald Shannon Jackson. Do Not Listen To in a structure made of less than brick and mortar! It all started here - don't miss this MONSTER!
CD $16

LAST EXIT [SONNY SHARROCK/PETER BROTZMANN/RONALD SHANNON JACKSON/BILL LASWELL] With HERBIE HANCOCK & AKIRA SAKATA - The Noise Of Trouble: Live In Tokyo (Enemy 103; USA) Digitally recorded live at Parco Space Part 3, Tokyo, October 2 and at Pit Inn, Tokyo, October 5, 1986, The Noise of Trouble: Live in Tokyo was the second official Last Exit release to assail the bounds of decency and taste in jazz improvisation (that's a compliment). Well on the heels of their early-1986 European tour, the group's interplay was pretty well-honed by this point, comfortable enough that they could welcome guests for some of the Tokyo performances: reedman Akira Sakata and, oddly, Herbie Hancock (on one piece). The Noise of Trouble is intoxicating in its raw, undiluted power and total disregard for propriety, not to mention the musicians' mastery of improvisational communication. -- Steve Huey, AMG
CD $16

MANU DIBANGO - Afrijazzy + Makossa '87 (Big Blow) (Enemy 137; Germany) Very good Dibango album from 1987 is coupled with his hit single "Makossa '87 (Big Blow)", the Bill Laswell 17-minute 12" production w/Bootsy Collins, Nicky Skopelitis, Herbie Hancock, Sly & Robbie, Ayib Dieng & the Soul Makossa Gang! Dance yer butt off!
CD $16


REPRESSED ON 'INNERHYTHMIC'...

ZILLATRON [BOOTSY COLLINS With BUCKETHEAD/BERNIE WORRELL/UMAR BIN HASSAN] - Lord Of The Harvest (Innerhythmic 14; USA) [Reissue of the Black Arc/Ryko release with a new cover] Two of music's most outrageous personalities, Bootsy Collinsand Buckethead (aided by Bernie Worrell, as well as Laswell producing, Umar Bin Hassan, Fuzz Face), unite again (post-Praxis) for a crazy funk metal sci-fi conceptual conspiracy theory throwdown. Of course, it doesn't sound anything like any other funk metal out there because Buckethead is not your average metal guy, and Bootsy's no run-of-the-mill funkateer. This really is Bootsy's show, as he does almost all the voices, all the beats, and perhaps the most monstrous space-bass playing ever committed to tape. Did I mention he's also hilarious? Buckethead is a deranged metal virtuoso, tossing out both unbelievable leads and some of the most unearthly tones to emanate from an electric guitar. The two of them obviously have a lot of fun together, and while the actual concept may not be completely decipherable, the element of humor and fun does shine through clearly. However, even though Bootsy's playing is fantastic, some of the pummeling beats and general metal feel isn't likely to appeal to your average funk fan, and the goofiness quotient isn't likely to win over the average dour metal fan. Then there's the last track, which has them doing their take on the Barry White late-night get-down sound. This isn't for everyone, to be sure. But if you're an open-minded listener with a taste for virtuosic high-speed guitar, insane funky bass, sci-fi samples, and silly fun, Lord of the Harvest should be a good time. -- Sean Westergaard
CD $15

SHINE [BUCKETHEAD/BILL LASWELL/SHIN TERAI] - Heaven And Hell (Innerhythmic 16; USA) Bassist Bill Laswell and the deeply strange guitarist Buckethead have been making music of rare craziness and beauty together for more than ten years, both in and out of their avant-funk group Praxis. Working with electronic percussionist and "sound collagist" Shin Terai (who has previously recorded with Laswell under the name Chaos Face), they call themselves Shine on this album, and present a seven-part suite of dub-wise experimentation called Heaven and Hell with contributions from Nicky Skopelitis and Bernie Worrell. Each track is a numbered movement, and the whole thing proceeds and develops with a dark, slow intensity that sometimes (as on "Movement 4") judders along in a thudding, post-rockers style, and at others (as on "Movement 6") lapses into a sort of ambient and stunningly lovely guitar noodling. The separations between the tracks feel largely artificial, though -- you get the feeling that this whole album was made in one sitting, and it's most satisfying when experienced that way as well. Laswell's bass lines are rubbery and gorgeous, as always, and Terai's rhythmic and atmospheric treatments nicely complement the work of the two instrumentalists. Highly recommended. -- Rick Anderson, AMG
CD $15

MOBY GRAPE - Crosstalk: The Best of Moby Grape (Sony 12418/UK) Originally issued in 2003. "The five members of Moby Grape were not cut from the same cloth. Jerry Miller, Bob Mosley, Peter Lewis, Skip Spence and Don Stevenson came together in San Francisco in the summer of 1966 from fairly different walks of life... But the five of them had one very important thing in common: all of them could write, sing and play superbly. And thus the beauty of Moby Grape: good stuff, only more than usual. A three-pronged guitar attack via Miller, Spence and Lewis, vocals from all corners, most memorably rom the scarily soulful Mosley and the earnestly sweet-voiced Lewis, and with all those singers -- harmonies few bands have ever matched... Moby Grape were there, they made records like no one else, and in the annals of American rock n' roll, there will never ever be any band like them again." --Dave DiMartino
CD for $12

AFRIKA BAMBAATAA & SOUL SONIC FORCE - Planet Rock: The Album (DBK 528; USA) "Bambaataa's second full-length on CD for the first time. All the important 12" versions are used here [instead of the original LP album edits], including 'Planet Rock' and 'Looking for the Perfect Beat.' This record is not only an early hip hop classic, but the launching pad for techno, house, and drum 'n' bass."
CD $15


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


DMG RECOMMENDED CALENDAR OF GIGS FOR FEBRUARY 3RD - 12TH, 2006:


The Stone is located at the NW corner of Avenue C & 2nd Street
Performances take place at 8 & 10pm from Tuesday - Sunday nights
There are no advance tickets, first come, first served, there is no phone
There is no food or beverage served, just a serious listening environment
Admission for each set is $10, unless otherwise indicated
Check out the website for The Stone at thestonenyc.com



February at The Stone is curated by Basya Schecter


2/3 Friday
8 pm - Greta Gertler and the Extroverts
Greta Gertler (piano, vocals) Matt Moran (mobile percussion unit) Ron Caswell (tuba) Pete Galub (guitar, vocals) Michael Gomez (lapsteel, guitar)
10 pm - Zeena Parkins (harp) and friends

2/4 Saturday
8 pm - Queen Moonracer:Laura Cromwell (drums) Rose Thomson (piano, bass) Andrew D'Angelo (saxophone)
10 pm - Elysian Fields: Jennifer Charles (voice) Oren Bloedow (guitar) Thomas Bartlett (piano)

2/5 Sunday
8 pm - Daphna Mor and Nina Stern
Daphna Mor, Nina Stern (recorders) Omer Avital (bass) Tomer Tzur (percussion) Experimental Music for recorders, based on Medieval and Balkan tunes.
10 pm - Miya Masaoka (koto, laptop) Okkyung Lee (cello) Sylvie Courvoisier (piano)

2/7 Tuesday
8 pm - Rebecca Moore (voice, violin, etc.) and her friends.
10 pm - Basya Schechter (voice, oud) and her ensemble.
A new songwriting project from the mastermind of Pharoah's Daughter.

2/8 Wednesday - 8 pm - Dave Soldier's The Spinozas
Dave Soldier (flamenco guitar) Na'Ti (vocals) Maurice Chedid (oud, vocals) Rebecca Cherry (violin) Paul Frazier (bass) Alby Roblejo (box) Tom Hamilton (synthesizer)
In addition to composer Dave Soldier's new settings for ancient muwashahat, Maurice Chedid will sing two classic versions associated with Faruz.
10 pm - Smadar Levi (voice) Uri Sharlin (accordion) Harel Shachal (clarinet/sax) Seido Salifosky (darbuka) Hagar (bass) Megan Weeder (violin)

2/9 Thursday - 8 pm
Michal Cohen & Amy Cervini - Couples Therapy - music for two voices
Michal Cohen (voice) Amy Cervini (voice) Oded Lev Ari (piano) Ben Zwerin (bass)
10 pm - Shelley Hirsch (voice)

2/10 Friday - 8 pm - Meg Okura's Pan Asian Chamber Jazz Ensemble
Meg Okura (violin) Jennifer Vincent (cello) Megumi Yonezawa (piano) Yukari (flute) Satoshi Takeishi (percussion) - Special Guest Suzanne Shu (Erhu-Chinese violin)
10 pm - Cardamon Quartet - w/ Uri Sharlin (piano, accordion) Harel Shachal (turkish clarinet, sax) Jennifer Vincent (cello, basss) Dan Aron (drums)

2/11 Saturday
8 and 10 pm - Harel Shachal's Anistar
Harel Shachal (turkish clarinet, saxophones) Skye Steele (violin) Christopher Hoffman (cello) Harvey Valdez (oud) Uri Sharlin (accordion) Alon Carmelly (bass) Tomer Tzur & E.J. Fry (perc.)

2/12 Sunday
8 pm - Uri Caine (piano)
10 pm - Ben Perowsky's Camp Songs - Uri Caine (piano) Ben Perowsky (drums)


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


Tonic is located at 107 Norfolk Street between Delancey and Rivington Streets in Manhattan's Lower East Side, around the corner from Delancey F train stop

Sat Feb 4th - 8pm -
DJ Ori Kaplan plus Bernie Worrell & the WOO Warriors!

Tues Feb 7th-
8pm - GARY LUCAS/ALAN LICHT/BILLY FICCA!
10pm - Everybody's Music: Daniel Carter, Blaise Siwula, Ed Chang, Motoko Shimizu, Michael Evans, Tom Shad & Jeffrey Shurdut

Wed Feb 8th-
8pm - SAM BARDFELD QUINTET w/ With Sam Bardfeld (violin, voice), Ron Horton (trumpet), Tom Beckham (vibes), Sean Conly (bass), Satoshi Takeishi (drums)
10pm - Tremelo of Joy: Kato Hideki, Briggan Krauss, Marco Cappelli & Jay Dee Daugherty

Thur Feb 9th-
8pm - In the Country with special guest Marc Ribot plus Lars Horntveth (of Jaga Jazzist)

Sat Feb 11th-
10pm - Okkyung, Ikue and illy B: Billy Martin, Ikue Mori, DJ Olive & Okkyung Lee!


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


Sunday Afternoon February 5, 2005

An Afternoon with COOPER-MOORE
1:30pm Electronic Set: Cooper-Moore, percussion, elecronics, voice; Nioka Workman, cello, voice; Matt Motel, synthesizers

3pm Acoustic Set: Cooper-Moore, multi-instr; Assif Tsahar - woodwinds; Chad Taylor, drums
The Vision Club Series 2006
Location: Clemente Soto Velez - 107 Suffolk St. @ Rivington


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


Dee Pop presents: FREESTYLE JAZZ * Every Thursday @ Jimmy's Restaurant
43 East 7th Street - NYC - 212-982-3006

Feb 2
8pm - Freedom Art Quartet:
Lloyd Haber, John Carlson, Norbert Stachel, Jaribu Shahid
10pm: The Vortex 9 vs. Space Fantastic Unit: Live Evil:
Sean Nowell, Jon Landeau, Aaron Schragge, Mark Kurwen, David Butler and Luke Schneiders

February 9
8pm: Ralph Alessi, Tim Berne, Shane Endsley
10pm: Sonic Liberation Front

February 16
8pm & 10pm Jackalope: John Abercrombie, Loren Stillman, Bob Meyer

February 23
8pm & 10pm Paraphrase: Tim Berne, Drew Gress & Tom Rainey


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


Our Man, Lucian Ban!, in a double-header Wednesday night!

DOUBLE CD RELEASE CONCERT at Jazz Gallery, 116 E. 27th st.
Wednesday February 8th

7:30 PM:
ASYMMETRY QUARTET
w/ LUCIAN BAN piano, JORGE SYLVESTER, alto sax, BRAD JONES bass, DERREK PHILLIPS drums

9:30 PM:
ALEX HARDING & BLUTOPIA
w/ LUCIAN BAN piano, BRAD JONES bass, NASHEET WAITS drums, ANDREW DANIELS percussion

Both lineups have CDs on the Norwegian 'Jazzaway' label..in stock at DMG soon!


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


SATURDAY Feb. 4, 2006, 7:30 p.m. $25

Glenn Branca Hallucination City: Symphony 13 for 100 Guitars

Montclair State University - School of The Arts
Montclair, New Jersey - 973-655-4000
http://www.montclair.edu/kasser/GlennBranca.html


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


BANG ON A CAN ALL-STARS ANNUAL PC CONCERT
Wed Feb 22nd at 8pm at Merkin Hall/Kaufman Center
129 West 67th St. (just west of Broadway)

Performing New Works by ORNETTE COLEMAN, JOHN HOLLENBECK, ANNIE GOSFIELD & YOAV GAL


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


IF YOU'RE ALREADY SUBSCRIBED TO OUR NEWSLETTER, BUT SOMEHOW YOU'RE NOT RECIEVING THEM IN YOUR INBOX..

Many of your incoming emails are being blocked and you don't know it! Many emails like our newsletter are frequently blocked by aggressive spam filters being used by nearly all email services.

To help avoid this problem and get our newsletter:

Hotmail Users: Place the domain " downtownmusicgallery.com " on your Safe List, so that you can receive our emails. The safe list can be accessed via the "Options" link next to the main menu tabs. Also place the email address dmg@downtownmusicgallery.com in your address book.

AOL: Place the domain " downtownmusicgallery.com " in your Address Book. Also add the email address dmg@downtownmusicgallery.com to your address book.

Yahoo! Mail: If one of our e-newsletters is filtered to your 'bulk' folder, open the message and click on the "this is not Spam" link next to the "From" field. The same goes for any other e-mail you receive that doesn't belong there. Add the address dmg@downtownmusicgallery.com to your address book.

Other email services [Earthlink, GMail et al]: Place the domain " downtownmusicgallery.com " on your email filter's whitelist. You may need to search your email help menu for details on how to do this. Depending on software/version, they may call a "whitelist," a "good list" or similar name. Adding the address dmg@downtownmusicgallery.com to your address book will help too.