2.DEREK BAILEY-JAMAALADEEN TACUMA-CALVIN WESTON-Mirakle (Tzadik 7603) At 70 - Derek shows no sign of slowing down as he continues to shock us with his choice of improvisers/sparring partners. Recent duos with drummers include Tony Oxley, Han Bennink & Susie Ibarra, plus Chadbourne & Min Xiao-Fen are all on record. His last couple of trio cds are with Laswell & Tony Williams and he was even backed by Jap-prog/punk crazies The Ruins. And how about that drum n' bass cd on Avant?!? So, it shouldn't surprise us too much to see/hear Derek jamming with Philly' finest funk/jazz/rock rhythm team at the end of a four night stint at Roulette only a few months ago and record at Laswell's studio the next day - organized by John Zorn & recorded by Bob Musso. Monster el. bassist Jamaal and powerhouse drummer Calvin once played together in Ornette's Prime Time and are currently kick butt in the Young Philadelphians with Ribot & Zorn. I know what you jazz snobs/purists/critics are thinking - that this can't possibly work, but it does!!! Whoa!! The funk locks in the groove and the shit hits the fan as Derek cuts loose on top of this burnin' & ultra-tight rhythm team. There are only six pieces in over 70 minutes, so these cats can really stretch outŠ What really stands out here is no matter how busy the bass & drums get, they consistently follow each other all over with almost telepathic communion. These long pieces slowly evolve through sections quick paced and even slowing down to a crawl at times, a natural flow of events. Although Derek sometimes just wails on top of whomever is laying down the bottom, here he seems to be listening closely and responding to the intricate change in rhythms and textures. Derek also takes charge at the start of "This Time" so that Jamaal & Calvin must follow him, giving the trio even more focus and better results. The trio work harder as time goes on, come together as one solid entity. This entire cd is much better than anyone would've imagined, so get down with the amazing Mirakle Power Trio!! $14. 

3.DANNY ZAMIR TRIO-Satlah (Tzadik 7139) With special guest John Zorn, Shanir Blumenkranz on bass and Kevin Zubek on drums. Young Israeli alto sax great Danny Zamir moved to NYC only two years ago and organized the Not For Sale Trio, releasing a fine self-produced cd which we carry and have had the trio play at DMG twice. Befriended by John Zorn, the trio have changed their name to Satlah (Israeli slang for "euphoria") and Tzadik has just released their first legit cd. Zorn sits in on three tracks and also had Danny sit in with the Young Philadelphians at Tonic recently. Danny composed all but one of the pieces here and calls each of his tunes "Poem #Š". Danny, who is only nineteen, plays with warm and passionate tone well beyond his years, Shanir & Kevin also pump those middle-eastern grooves like men possessed with fierce spirits. Each of Danny's tunes have a hypnotic hook that will you smile and snap your fingers. Their bassist Shanir also plays tapes of chanting Jews in prayer to add some spiritual mystery to some of these tunes, a nice touch. Many of these pieces remind me more of Steve Coleman's M-base groove tunes, more so than Masada whose groove is only one part of their magic. On the three tunes in which Zorn sits in - both saxists weave their lines together in warm tapestry and are especially delicate on a traditional Yemenite piece. On "Poem 1" Danny finally unleashes the fury of a freer fire, his tone gets even stronger than ever. There is sad, lyrical beauty to "Poem 7" which builds to a joyous conclusion. We finally get to Masada-like intensity and propulsion on "Poem 22" and on "Poem 5" the strange disembodied taped voices threaten to take over parts of the piece. Both Zamir and Zorn wail together on the final "Theme & Poem 15" unleashing two strong winds of change, erupting together, but also playing the mesmerizing theme to an uplifting end. $14. 

4.BILL FRISELL-Ghost Town (Nonesuch 79583) Solo guitars, banjo, bass & loops. This is Bill Frisell's first purely solo release, although he did have an early ECM record from '83 that was a solo/duo affair with bassist Arild Andersen on about half the tracks. Bill composed 11 of the 16 tracks on 'Ghost Town' and continues to mine American folk themes from the Carter family & Hank Williams, standards from Gershwin & Victor Young and probably many modern jazz guitar fan's favorite early John McLaughlin gem - "Follow Your Heart." It seems that as Bill loses some of his older fans due to the mellow direction he has taken in recent years, he has also gained many new fans who delight in the mature, pure and folky direction of his last few releases. I find 'Ghost Town' to be a superb offering that flows with a natural, organic grace and just the right amount of spice from the oft-kilter loops that Bill has utilized throughout his long journey. Although this is a solo effort, Bill has done a fine job of layering the different axes into a perfect blend - the subtle guitar loops repeat hypnotically at the center with the bass line, acoustic guitar, banjo and/or soft electric guitar float on top and flesh out enchanting melodies. We have heard a number of these themes on previous releases, Bill continues to refine his touch with lovely results. What really stands out for me is pieces like "Variations on a Theme" where the somewhat darker, more mysterious side of Bill's nature comes across. Bill lets those loops reverberate with great suspense on "What a World", more of this type of eerie aura excursions would no doubt make his old fans happier. John McLaughlin's wonderful "Follow Your Heart" tune from first his solo release 'Extrapolation' is a perfect choice to cover and Bill does wonderful job of adding a bit more spaciousness, slowing down McLaughlin's quick strumming finesse to a gentler pace. An old country chestnut like Hank William's "I'm So Lonesome I Could Cry" has never sounded so sad & beautiful. Gershwin's "My Man 's Gone Now" from 'Porgy & Bess' also gets an ultra hushed version on acoustic guitar that is quite tasty. Bill also strips down the standard "When I Fall in Love" and plays it on banjo, in quaint, reflective way. Older Frisell fans will continue to complain of Bill's more austere direction, but many of us still need to unwind from the neurotic and non-stop pace of modern/city life - so light the candles, break out some fine wine and warm up to Bill Frisell's delightful 'Ghost Town.' $15. 

5.OTHER DIMENSIONS IN MUSIC w/ MATT SHIPP-Time is of the Essence is Beyond Time (AUM Fidelity 013) This amazing contemporary free/jazz offering was recorded live at the Knit in December of '97 and is only the third release by this downtown all-star quartet who been around for over a decade. Each member of the quartet is both a leader and powerful improviser in their own right, with a couple of decades experience under each of their belts. The frontline is Roy Campbell on trumpets and Daniel Carter on saxes/flute/trumpet also from the equally amazing Test, plus wonder-bassist William Parker who leads numerous great ensembles and drummer Rashid Bakr who has played for Cecil Taylor. Each and every gig that I have witnessed by Other Dimensions has been tremendous, but adding piano giant Matt Shipp pushes their energy even higher to the heavens! Right from the opening, the cosmic energy is flowing through currents and washing over us in waves - spirits connecting with each other on a telepathic level, often busy and bursting with ideas or solos which erupt out of the swell of the storm arising. Both Roy's & Daniel's horns swirl around each other and often explode with intensity, while the ever-probing piano gladiator Mr. Shipp balances the densities and textures between the free-flowing horns and rhythm section. This cd is one entire concert that moves in natural-sounding waves between mountains & valleys, oceans & ponds. The many years experience of playing has paid off, with connections being made on various levels, the shifting of densities moves together planet to planet, events unfolding in layers until the purity of intent shines through. The cd cover art/picture is also well chosen - an MC Escher-like building that inter-connects on an infinite looking number of levels, reminding us of how well this music also inter-connects! This is cosmic music of the present, for the special time in which we now dwell. $13. 

6.GARY LUCAS-Improve the Shining Hour (KFW 265) Featuring guest vocalists Captain Beefheart, Nick Cave, Mary Margaret O'Hara, David Johansen, Richard Barone, Peter Stampfel & Eric Mingus. This is an incredible compilation of rarities covering 20 years in the journey of guitar god & monster - Gary Lucas! With 18 tracks of treasures that stretch back to 1980 when Gary did time with genius/madman Captain Beefheart & his Magic Band, there is a wealth of riches for both guitar fanatics & those who love eclectic songs from a unique array of singers. The two oldest tracks are from a Beefheart gig in December '80, where Gary pulls off a solo el. guitar version of the immensely challenging "Flavor Bud Living" and the Magic Band play an inspired rendition of "Her Eyes are a Blue Million Miles" - a tranquil sort-of funk tune from 'Clear Spot.' An equally ridiculously difficult Beefheart piece called "Oat Hate" is also included here. Gary actually sings two tracks here and uses his voice most effectively. He opens with "Coming Clean" on acoustic guitar, the dark pastures of a British folk theme and also sings "In a Forest" another fine, somber folk tune. Nick Cave reads from his disturbing novel 'And the Ass Saw the Angel' as Gary gives up the ghost on acoustic once more. Only Gary could use tabla & djembe on a bluesy tune called "Spider Web" sung swell by Johansen and once earned a Grammy nomination for Joan Osborne. Charlie's son Eric Mingus really belts out the gospel stomper "Judgement" live from Harry Smith tribute at St. Ann's and Gary does a great job of layering various weird guitar parts behind the ultra-quirky Canadian vocalist Mary Margaret O'Hara. Richard Barone was once of that delightful psych/pop combo from Hoboken - the Bongos and here sings like an angel with Gary's guitar shimmering underneath. Gary and Peter Stampfel (Holy Modal Rounder) sing the silly but cool "Astro Boy" and then Gary does a cosmic instrumental version of a psych/folk tune "Indian War Whoop" from Peter's old band. The other 8 pieces are all instrumentals which feature all three of Gary's axes - his Strat, his Gibson acoustic & National Steel and it is these instrumentals in which his diverse plectrum magic really shines through. DJ Spooky & Gary combine sonic somber sounds on the long & spaced out gem "Golgotha" and Gary whispers some creepy vocals on "Breath of Bones" with his trusty trio - Gods & Monsters. The enclosed booklet is also well done and filled with informative notes from the only great writer at that rag Rolling Stone - Dave Fricke. Mr. Gary Lucas will serenade us with his guitar down here at DMG on Saturday April 1st at 6pm in celebration of this great cd - so come on down! $13. 

7.MARK DRESSER & FRANCES-MARIE UITTI-Sonomondo (Cryptogramophone 104) This is an astounding improvised duo for contrabass and cello, both musicians masters of extended techniques. Mark is our local hero bass wonder who continually wows us in various settings with Gerry Hemingway, Mark Helias, Mat Maneri and others. I've seen/heard the equally amazing cellist Ms. Uitti both solo and duo with Elliott Sharp in recent years, she is known for her unique two-bowed approach as well as studying with and the playing the difficult music of Giancinto Scelsi. 'Sonomondo' pushes these two explorers of the strings into many sonic regions of low-end exploration. The sound ghosts evoked in hushed suspense wandering the woods in search of other similar spirits. Strings buzzing, solemn yet melodic and stately. There is a rich palette of soft and sinister sounds which caress and weave a rich nest of contemplative scenery. Droning, moaning, meandering, coming together, fragments assembled into an oft tight-knit combination of threads. A fine trip through the land of thick strings, all eight of them. Bravo ! $14. 

8.CUONG VU-Bound (Omnitone 12002) With Jamie Saft on keyboards, Stomu Takeishi on electric bass, Jim Black on drums & Cuong Vu on trumpet & vocal. Vietnamese born trumpeter - Cuong Vu is a true downtowner with vast and eclectic tastes. He has played with Gerry Hemingway, Bobby Previte, Chris Speed, Dougie Bowne, Orange Then Blue and Dave Douglas' triple trumpet band. He has co-lead bands like Saft-Vu (Avant cd), JACKhouse, Scratcher and the Vu-Tet. An obviously busy cat with much to offer, this is his debut release and his time has come! If you thought he was a mere jazz musician, there is much more here than meets the eye. His tunes are quirky and hard to pin down, the grooves are all slightly twisted. On "Two" Jamie's electric piano sounds mean & dirty, purposefully distorted with some wah-wah to funk it up, and an odd yet compelling groove. Cuong places his horn in the distance on "Our Bridge" so the sad, bluesy theme can evoke fluttering embers from far away. Jamie Saft is just the right partner throughout, since he shadows and embellishes Cuong's trumpet no matter what direction the tunes go, from spacious to frenetic to funky and beyond. Mr. Vu sings smoothly on the title tune and does a fine job with Jim Black's splashing drums, Stomu's throbbing el. bass and Jamie's tortured electric piano getting into that late-Miles el. voodoo groove. The trumpet solo on the aptly titled "The Drift" is long, filled with mystery and tells a great story in a Miles-like sort of way. A most impressive debut from a new trumpet hero - Cuong Vu! $14. 

9.DANIEL CARTER & SATURNALIA STRING TRIO-Meditations on Unity (Sublingual 005) It would seem that multi-horn master Daniel Carter is all over the place! He is in more ensembles than anyone can imagine - Other Dimensions & Test are the two most popular, plus he sits in with more even players and situations than anyone else - it doesn't matter the instrumentation, age, color, style of music, known or unknown - Daniel is there with horns in hand ready to for it! Just recently, he has played at DMG in a trio with Todd Capp and a duo with Charles Waters and guests on the phenomenal (Naked City-like) Great Atomic Power cd! And I can recall when he sat in with my young pals Dissipated Face some 15 years ago, as well as sitting in with punk/thrash/hardcore bands from NY around the same time! This cat is just too much! Here he is once again in a completely new context with an amazing string trio from Boston- The Saturnalia String Trio come from Boston and consist of my friend (and fellow E. Sharp fanatic) Jonathan LaMaster on violin and electronics, Vic Rawlings on prepared cello, serangi & more electronics and Mike Bullock on contrabass. Bassist - Matt Heyner (also from Test) guests on two tracks. 'Meditations on Unity' was recorded both live and in the studio at some eight different locations in Boston, NY and on a tour of the south. Although this music is mostly improvised, it doesn't necessarily sound that way. There is an inner focus, a sparseness that gives ideas time to breathe and flow naturally. There are many sections that sound as if they were pre-planned, where the trio plays in unison for short bits. Daniel often holds back and glides along with modern-chamber sound and restraint, his flute is especially nimble and fits perfectly with the wood and string ambiance. I dig the way notes hover and slide in opposite directions on "Ekstasis." What becomes apparent is how well the sax and trumpet fits in with the strings in a similar sonic range - overlapping and connecting forces of inner strength. Although Daniel is on 8 of the 12 pieces on this release, the overall sound is a seamless blend from beginning to end. A splendid and demanding release. $14. 

10.BRAD SHEPIK-the well (Songlines 1531) With Brad on guitars, saz & tambura, Peter Epstein on saxes, Skuli Sverrisson on el. bass, Seido Salifoski on dumbek & Michael Sarin on drums. Brad Shepik keeps busy in both Pachora and Tiny Bell Trio, and this cd is his second as a leader. Skuli is also in Pachora, Seido is from the Paradox Trio and Michael has drummed with Thomas Chapin, Dave Douglas & Myra Melford. Brad specializes in that middle/eastern/euro sound that both Pachora & Tiny Bell are a part of, his solo cds also come from a similar place. The same infectious exotic groove fuels 'the well' which flies open with a hyper strummed piece called "The Flood". Brad has composed all but one piece found here, the only cover being a traditional Turkish tune called "Zephyr", which sounds no different from the rest of the tunes. Both Brad & Skuli, who plays consistently great fretless bass, switch off on soloing and playing in and around each other with a tight knit connection. The title tune slows down the pace a bit, with Brad playing some smoky acoustic, as well some more mysterious phased electric guitar. Alto & soprano saxist - Peter Epstein also seems just the right choice for this unit, by taking the role of hypnotic snake-charming reed player. Each tune is introduced by a different player, until the groove is established and the memorable melody takes us for a ride once more. The sly & sluggish "Quiver of Veils" has a fine, intoxicating groove which reminds me of sipping an ice cold drink in the arid desert. $14. 

11.BILL LASWELL-Emerald Aether: Shape Shifting (Shanachie 78035) Featuring Solas, Jerry O'Sullivan, Karan Casey, Cathie Ryan, Matt Molloy & Bill Laswell. Most folks have snickered when I mention Bill Laswell doing a reconstruction of Irish music, but I must admit that this project turned out much better than expected. Bill's previous reconstructions of Miles Davis, Bob Marley and Cuban music have been pretty successful and relatively respectful of the original music provided - without changing things too drastically. The liner notes discuss how the history of Irish culture has always been in flux - continual transformation between "memory and myth, religion and superstition", so Bill is in good company. Like the Bob Marley tribute, Bill has taken much of the backing tracks of this often lovely, ancient music, without the vocals and has added both dub & drum n' bass effects. It is odd to hear acoustic instruments like guitars, banjos, fiddles, uillean pipes and accordions mixed with dub sound effects and subtle swirling synth sounds, but mostly it does work. The main problem many will find with this cd is just who this release will appeal to - will Irish music fans be open minded enough to enjoy it and will Laswell fans be open to music that is so ethnic, haunting and lovely. I dig most of this work, but I have long explored many cultures and enjoyed their music - I was lucky to receive many Irish/Celtic records when my pal Andrew Seidenfeld did publicity for Shanachie way back when, so there will always be a place in my heart for this music. The cover art is also superb and Material-like, but makes no mention of which artists have been transformed within. A mistake? $14. 

12.STEVE LACY/ROSWELL RUDD QT.-monk's dream (Verve 314 543 090) With Jean-Jacques Avenel on double bass, John Betsch on drums & Irene Aebi on vocals (two tracks only). This is a momentous treat on two fronts - first it is great to see/hear Steve Lacy on a major label once again and it is also grand to have trombone wonder Roswell Rudd back after so many years off the scene. Roswell is one of the finest trombonists in modern jazz who knows and plays its history. From dixieland to Monk & Herbie Nichols to avant & free jazz, he played with Cecil Taylor, Archie Shepp, Mike Mantler & Carla Bley in the 60's & 70's. In recent years he has played & recorded Elton Dean, CIMP has released two fine cds by Roswell's trio doing the long lost gems of Herbie Nichols and last year reunited with the amazing New York Art Quartet after 35 years for a gig and cd. The last time Lacy & Rudd played in a quartet together was almost forty years ago and they were playing Thelonius Monks tunes then as well and recorded two releases. The rhythm section is also long time partners of Mr. Lacy for more than a decade, who has been living in France since the 60's. Of the nine tunes on this release - two are actually by Monk, one is by Duke Ellington and the rest were written by Steve Lacy in the Monk style. The title tune was written by Monk in the early 50's and the original version of this quartet was probably the only group to attempt it in 1961. Mr. Lacy did play with Monk prior to his quartet with Mr. Rudd and has continued to play Monk tunes ever since, so Monk's unique vision/approach flows through much of Steve's sound. Both Mr.'s Lacy and Rudd started playing dixieland in the 50's, so there seems to be a thread of that sound in their playing. There is a marvelous unhurried quality found here - on "The Bath" Roswell's superb solo is in slow motion, smearing, growling, just taking its time to unfold. There is a mischievous vibe at the center of "The Rent", where both of the soprano sax & trombone weave their lines in sly sort of way, the buoyant rhythm team also providing just the right support/balance. Monk's "Pannonica" gets a lovely, relaxed, melancholy reading - the essence of grace. Steve Lacy's longtime wife & musical partner Irene Aebi sings on both "A Bright Pearl" and "Traces" and often bugs many of Lacy's fans with her European vocal style, yet I find she often does fit nicely with Steve's unique combination of influences. For those who like to complain, her contribution is kept to a minimum. Ellington's "Koko" from 1941 is a tribute to Duke's 100th anniversary year and is another delectable gem of quiet fire. The final piece "The Door" has that twisted charm that Monk was good at inhabiting with both Roswell & Steve taking somewhat weirder solos than earlier. This is a strong release that the more discerning, mature jazz listener will definitely dig. $14. 

13.JOE MORRIS QUARTET-at the Old Office (KFW 272) With Mat Maneri on viola, Chris Lightcap on bass, Gerald Cleaver on drums and Joe Morris on electric guitar. This release was recorded at the Knit's small & cozy Old Office space, which only holds about 75 listeners. A number of downtown's older leaders have been doing 3-4 night stints in this room, giving their ensembles a chance to develop their music over a few nights, in a relaxed atmosphere. This quartet is only one of the numerous units that distinctive avant-jazz guitarist Joe Morris leads and here they sound as if they have grown together over a few nights of exploration. The frontline of Joe and Mat Maneri on viola, instead of his customary violin, both come from Boston and have a special sympathetic vibe that they share. This release consists of only four lengthy pieces that take their time to grow, expand, mutate and unleash streams of ideas. The opening piece is called "Matter of Fact" and begins just that way, very slowly building from its minimal intro, the quartet intertwining their lines as the pulse and density grow. There is a feeling of subdued respect and response, as each member listens closely and selectively adds to the fabric of activity. The second piece "Don't Say Too Much" shows how Joe's composing is ripening, as he has written fascinating lines for the frontline to flesh out and the rhythm team to also push into a busy, swinging rush/flow. This piece and the next one often remind me of the marvelous and challenging pieces that the great but overlooked Atilla Zoller/Don Friedman Quartet used to play in the sixties. As Joe spins quick flutters of notes, Mat plays slower counter melodies with long, oblique lines that balance the flow nicely. Mat cuts loose when it is his turn to solo and assembles his fragmented notes into ever-thickening web. The pulse finally builds to a frenzy on the final tune "Closeout" and all four members erupt bending lines around one another. This might just be the most easy to penetrate of all of Joe's many denser releases and perhaps a great place to start your appreciation of one of our finest avant-jazz electric guitar heroes. $13. 

14.JOE McPHEE & JOHNNY McLELLAN-Grand Marquis (Boxholder 004) There has been something of a renaissance for multi-reed and trumpet legend Joe McPhee over the past few years. After recording some half dozen or so releases for the early Hat Hut/Art label in the 70's, Joe only recorded a few things in the 80's, there has been an explosion of cds and gigs throughout the 90's with some half dozen plus releases on Cadence/CIMP alone. This fabulous duo release features Joe McPhee on tenor sax only and Boston area-based drummer Johnny McLellan, with whom I am unfamiliar, but I'm sure that we will be hearing much more from in the future. This duo received rave reviews after playing at the Knit earlier this month and after checking out this cd, it is easy to see/hear why! Produced by Johnny & engineered by Mat Maneri, this studio recording has excellent sound. Joe's warm and large tenor sax sound is captured in glorious fullness, as well as Johnny's strong, clear close mic sound. Joe goes from quiet restraint to blustering explosions of notes yet he retains that human/vocal quality of fleeting spirits. The drums seem to continually shadow Joe's ever-evolving body of approaches, often just the tinkling of cymbals only. Many of these excursions are on the more restrained, reflective side of things. This music has a relaxed quality and Joe even unfurls smooth ballady type of lines, right out of the history books. This is a pure delight, like a ray of sunshine coming down out of some dark clouds. Beautiful and endearing. $14. 

15.RAY RUSSELL QUINTET-Live at the ICA/Retrospective (Mokai 4) Featuring Gary Windo on tenor sax & flute, Harry Beckett on trumpet/flugelhorn, Daryl Runswick on bass, Alan Rushton on drums and Ray Russell on guitars. Jim O'Rourke & Henry Kaiser have been touting this legendary British avant/jazz guitarist for years, so it is wonderful to finally get this incredible double cd into our hands. Ray Russell was/is an extraordinary electric guitarist in the late 60's/early 70's who combined free/jazz with free/rock and also explored the world of modern/jazz composition. He was a contemporary of John McLaughlin before John moved to the US to join Miles' & Tony Williams' bands and is one of the first British el. jazz guitarists to employ many pedals to alter his sound. Just last year, Columbia UK reissued two other great releases from Ray's other diverse el. jazz units from the same period. This lengthy two cd set covers various live sets from 1968-1978 plus a scary guitar & drums duo explosion from one studio date. Besides Ray's outstanding guitar playing throughout, we also get to hear the powerful but unrecorded talent of Gary Windo's tenor sax & bass clarinet - Canterbury sax god who recorded & performed with Robert Wyatt, Hugh Hopper & Carla Bley. The first cd features a mind-blowing set from the ICA in 1971, plus one more live track '78 with two more guests - Brain Miller on synth/keys & Tony Roberts on saxes. The ICA gig has the quintet (with Tony replacing Gary) burning the free/jazz voodoo down, intense solos from tenor sax and el. guitar, swirling around each other in a frenzied fashion. The rhythm team of Daryl Runswick's acoustic bass & Alan Rushton's drums also burn and push the soloists up to the heavens. On "Tip Roote pt.1" Ray has written a somber, brooding almost blues featuring the superb trumpet of Harry Beckett. Russell consistently backs all soloists with diverse, freer guitar sonics, always on the verge of erupting. The final piece on the first cd is "All Week Tomorrow" and once again shows off Ray's suspense-filled writing and Brian Smith's (dated sounding but) inspired synth noodling and wailing tenor sax from Gary Windo. Ray really goes for the jugular on the one & only studio duo track with Alan's drums - unleashing a noise guitar storm that knows no bounds and opens the second cd. The rest of this cd features mostly the quintet live from '74 and '75, who remain inspired and intense throughout with a slew of great solos from Beckett, Windo & Russell, sparks flying and the weaving of textures. The final tune is the earliest from '68 and a sort-of blues called "Dragon Hill" and also the title of one of Columbia UK reissues, this features the fine acoustic jazz piano of Peter Lemer who had an ESP lp released at about the same time. An incredible release with over two hours of immense modern electric jazz myth-making wonder (two cd set) for $18. 

16.DORGON & SU GRUPO-s/t (Jumbo Recordings) With Curtis Hasselbring on guitar & trombone, Ted Reichman on accordion, Matt Moran on vibes, Laura Cromwell on drums & Mr. Dorgon on sax/clarinet. Our fave local sax hero & pal - Dorgon & Laura C. are back with two new releases. Gordon Knauer walks his dogs & comes by our store a few times per week & always brightens up our day with his repartee. His numerous recordings also make us feel better, so here is his first with his quintet of notable downtowners, each of whom can be found in various ensembles - I remember these players from Ted Reichman's 'Alt.Coffee' compilation of last year. Although we don't get any of Dorgon's hilarious liner notes as usual, we do get a song titled "Yer a Fuckin Jerk" as the opening piece. Dorgon has been moving towards a more minimal, extremely subdued sound on his recent cds. Each note is stretched out, there are periods of silence between the flutterings and patience is required to appreciate these ultra-subtle sounds. The layers of accordion, tapping on the guitar strings, small sax squawks & occasional percussion quietly build in s light densities. These tunes seem to move in slow motion, this music is more about textures and minimal layers of parts, not about solos, which rarely occur here. There is much suspense and restraint found here, at times I am reminded of 12 tone contemporary classical music with its stark sound and oblique harmonies. On "Hammer (4CM)" Ted plays one abrupt repeating line on the accordion, while the vibes add a sleepy haze. There are five numbered "Study" parts, each one a quaint solo which explores ideas one at a time. I am impressed with the focus and overall sound of this entire work, although minimal it does evoke a number of strange spirits to be savored slowly. $12. 

17.BUCKETRIDER-the adoration of the lamb (Dr. Jim 24) When I reviewed a newer release from this amazing Australian jazz/noise/rock unit last month, we sold most of our copies. Whereas last month's Bucketrider cd consisted of three horns plus rhythm team, this cd was recorded in '96 and features just a trio of Tim O'Dwyer on alto sax, David Brown on guitar & Sean Baxter on drums with no (great) bassist in sight. This one is much noisier and does have some twisted/hilarious/screaming vocals. 'the adoration' is more tight post-punk noise squalor, extreme noise-blasting insanity, way over-the-top and in your face. Some of the song titles are just little pictures, while others have funny titles like "courtney-oprah-who" and "killed, grilled & chilled". There are no actual lyrics found here, just Eye-like screaming and other weird non-verbal vocal sounds. These dudes can & do stop on a dime, giving them a sort of Naked City like hyper-tight sound or Japanese punk/noise trio like early Ground Zero. This is complete blast with almost no let-up. This cd is subtitled "dave mustaine is full of shit", the lines have been drawn. Not for the faint hearted, sucker. Once again, both Bucketrider cds sell for only a mere ten spot - $10. 

18.ELLIOTT LEVIN & TYRONE HILL QUARTET-a fine intensity (CIMP 200) With Elliott on tenor & soprano sax, Tyrone Hill on trombone, Howard Cooper on bass & Ed Watkins on drums. This is the 100th release for the important CIMP label, which specializes in creative/improvised/modern jazz - recorded live in the Spirit Room studio with no processing. CIMP has recorded dozens of fine musicians known & often unknown, their place in history continues, so congratulations are in order. This is second cd that tenor sax great Elliott Levin has recorded for CIMP and it looks as if he is finally get some well earned recognition, as we have sold a half dozen of his CIMP cds here at DMG. Elliott hails from Philly, has played with Cecil Taylor in the 70's & in the 90's (orchestra), co-leads the amazing New Ghost unit and is a constant presence on the downtown scene. Elliott is also a wonderful (published) poet and old friend of mine, his poem "Soul-Etude" is included in the liner booklet for good reason. Tyrone Hill has played in the Sun Ra Arkestra for many years and all members of the quartet also live in Philly and have played together in different groupings for quite a long time. Twice while playing this cd in the store recently, someone asked if this was the new NY Art Qt. reunion release - certainly a good sign. The first tune is called "Brisk" and that is the busy tempo that is established, both Tyrone & Elliott spin out quick, spirited solos - with Elliott ending up in Pharoah-like high register/energy squealing land! Tyrone seems to have one foot in the past as well as the present with his jubilant tune "Multiphonics Dream", an uppity older type of groove piece. Things flow a bit more freely on Elliott's "Theatre on the Double" with the pulse slowing down and then speeding up as the fireworks take over when Elliott solos intensely. "Nicole's Dance" does have a West African groove as Tyrone points out and both he & Elliott (on soprano) pull off swaggering solos. "Undiluted" is the freest yet and the spirits really soar to new heights on this one, Tyrone really cuts loose and lets it rip! The last piece is "Relativity" by Howard Cooper and it is a sort of march tune that chugs along rather nicely, until the groove switches mid-stream and the swinging begins. Another great addition from the fine folks at CIMP! $14. 

19.KEVIN DRUMM/MARTIN TETREAULT-Particles & Smears (Erstwhile Records 006) The first time I encountered turntablist Tetreault was in an amazing duo with Christian Marclay at New Music America in Montreal at a museum exhibition dedicated to records & turntables with hundreds of records glued to the floor. I've seen him play live mostly with other artists from the Ambiances Magnetiques label like Rene Lussier & Jean Derome and really dug his trio cd with Ikue Mori & Diane Labrosse and duos with Otomo. In recent years he has given up playing records and merely plays the turntables only. Kevin Drumm is quite a distinctive guitarist & organist from Chicago who is close friends with Jim O'Rourke and whose third unique solo release just came out as well. This is the first time both of these two visionary players have collaborated and it is a monumental occasion. Here Drumm plays guitar and electronics but it is often hard to tell what he is doing since he never seems to play guitar in any conventional way. Both players work with small, fractured sounds, like machinery being assembled or taken apart - like scientists at serious work, searching for an infinite electronic thread. There is a refined sense of control and contrast, an attention to nuance, odd sounds yet a natural flow of events, even peaceful at times. This is a complete departure from what we've come to expect from either of these two, especially from Kevin Drumm whose music can often be thick slabs of feedback/noise/who-knows-what. Extremely subtle and engaging. $13. 

20.RAPHE MALIK-CECIL McBEE-CODY MOFFETT-storyline (Boxholder 005) Raphe Malik is one of the hottest trumpeters alive, there is no use denying it, as each of his (more recent Eremite) releases and gigs show. On this release we find him in good company with contrabassist Cecil McBee who I recall from many gigs & records in the 70's and super-drummer Cody Moffett, whose father played for Ornette in the mid-sixties. Rather than blasting the usual fireworks, Raphe actually holds back a bit, but not too much. This is a wonderful trio that glides, sails and erupts together as one force. "incalculable" begins this journey as an eruption of spirits set free and heads for the stratosphere, yet finally winds down. "minimal blue" is actually a blues, that takes it time to build to a frenzy once again. The trio do a sort of New Orleans groove on "ago (go)" to keep things well rounded and fresh, the rhythm section also do a fine job of playing these different styles from jazz's long history & regional styles. Things are freed up on "why not?" so that various combinations of duos and trios constantly shift and eventually sail to the stars. "first valve blues" is another take on the blues for Raphe, while the rhythm team plays in waves which speed up and slow down, but end at the same place. Raphe even sounds like he is using a mute on "the hard way", a much more restrained excursion than usual that shows the rare quieter side of this unexpectedly relaxed trio. Another solid offering from consistently great Boxholder label. $14. 

21.DORGON & LAURA CROMWELL-Upsidedowncross (Jumbo Recordings) With featured guests Sun Ra, Eddie Harris, Fela Kuti, Lemmy from Motorhead, Charlie Parker, Edgar Varese Duo, Ali Akbar Khan, the Mbuti Pygmies & Trans-Oceanic Dolphin Chorus. Which one of the previous artists is not dead yet? It is always a welcome surprise to receive those wacky liner notes from Mr. Dorgon & Laura. This is our fave local couple's second cd and it is so fine. Continuing in the spirit of a minimum of notes, an atmosphere of utmost restraint. Hushed mallads and somber sax clouds levitate and float like swimmers on the Dead Sea, until the bells signal the ominous ending of "Open Vegas". The ghost of Jimmy Giuffre lives on as Dorgon plays his clarinet in sad & somber way, quite touching. Quiet mystery pervades as a few sour sax notes appear and then disappear. 'Upsidedowncross' concludes with a soft and lovely balafon solo from Mr. Dorgon, as well as an odd piece for solo clarinet & shortwave. A, as well as an odd piece for solo clarinet & shortwave. A perfect ending for a quaint release such as this. $12. 

All above reviews by yours truly - Bruce Lee Gallanter 

22. KENNETH GABURO-10 Works for Electronic Tape (Pogus P21020-2) Ten flipped out tape compositions 1964-1992 from the late American composer Kenneth Gaburo (1926 - 1993). Fat Millies Lament (1965) gives us sound events morphed into each other - bells and looped voices give way to big band horns that eventually slide back into the bells and looped voices. The Wasting of Lucrecetzia (1964) gives us manic a Zappa Lumpy Gravy/Revenge of the Knick Knack People vibe - sped up voices and percussion with quicker then Naked City shifts. The liner notes by Warren Burt call this a "crazed, wild piece" and I don't disagree. I wonder if Zappa heard this music? For Harry (1966), is a tribute piece for Harry Partch. Gaburo staged a 1980 version of Partch's The Bewitched in Berlin and knew Partch while teaching in Illinois and San Diego. Nifty layers of plucked strings from a Gaburo built monochord (a zither) with electronic processing give this track an otherworldly effect. Lemon Drops (1965) - electric piano and electronics have an alien jazz vibe. Dante's Joynte (1966), is an anxious trip of electronics, sounds fly past our ears until mysteriously we hear a tapestry of bar piano and rhythms of gamelan or maybe African music then free jazz. Whew! Re-Run (1983) sounds like a frantic tape of reverse tuned percussion while Mouthpiece II (1992) gives us the composer reciting poetry with accompanying wild sound effects. Hiss (1992), swirling gated percussion textures, lots of textures flying around the room, from speaker to speaker. Synthesized traffic buzzes by in Few (1985) and in Kyre: ORBIS FACT/Or; a very odd do (1974) he sings a plainchant Kyre (Lord, have mercy!) in one channel and recites This Old Man in the other channel. Every time he repeats the nursery rhyme, the voice is slowed down for some deranged twisted results. The cd has such a diverse variety of electronic music I felt compelled to try to describe every cut. $10 

23. RAFAEL TORAL-Sound Mind Sound Body (Moikai M7) Sometimes associated with the likes of Phill Niblock, John Zorn, Jim O'Rourke, Jane Henry, Maunuel Mota or Waldo Riedl, Portuguese guitarist/electronics/free improv sorta guy Rafael Toral obviously has his hands in many pies at once. Currently, he's been working on preparation and recording of six pieces by John Cage, who authorized the project just one week before his death. On this 1994 cd, he seems to have borrowed the harmonic language, influence and techniques of legendary producer and ambient pioneer Brian Eno (not a bad thing in my book!). AER4 stretches the flavor of one of those cool short ambient tracks on Another Green World into a 16:57 minute cloud of joy, slow swells of guitar that kill any tension in the air. Loopability I sounds like a short snippet of reversed guitars. AER7E strongly resembles Music for Airports, except here clean guitars with harmonics paint the picture for 25 minutes. The brief Soft Energy I hums along with foggy guitar drones for four way too short minutes. AE1 gives us 14:24 minutes of pure entertainment in the form of looped guitars that sound kind a like Robert Fripp's old analog Frippertronics circa late '70's - early '80's but with less tension and with the Eno harmonic language. I love this cd, Toral seems to have moved away from this kind of stuff but it would be nice if he'd return someday. $13 

24. MATT DE GENNARO & ALASTAIR GALBRAITH -Wire Music (Corpus Hermeticum 031) A polished steel music wire performance. 5 tracks of string music: Matt De Gennaro & Alastair Galbraith somehow playing piano wire (maybe bows or rosin on hands???) including two duet tracks with violin. It reminds me of Paul Panhuysen pulling on suspended steel strings at Experimental Intermedia last year or maybe a much less annoying Tony Conrad, but not like Ellen Fullman's Long String Instrument. Cool drones with strange upper harmonics jumping out, the sound of strings tortured to ecstasy. Nice cardboard sleeve that unfolds like an envelope for access to the disc in a paper sleeve, the invitation to the original gig and brief liner notes - all on some nicely textured cardboard and paper. Recorded live in the dark at the Chip Shop, Everything Incorporated, Dunedin, New Zealand, March 25th & 26th, 1998. The audience was led by torchlight into a 140 year old building - an ex-bank and chip shop with a stone bomb shelter basement. Purddy cool. $16 

The above 3 reviews were written by 

David Beardsley 
Juxtaposition Ezine & 49/32 Radio 
http://www.virtulink.com/immp/jux/j_index.htm 

25.PETER HESS-Quartet (New Brooklyn 9801) Peter Hess Studied Jazz at Oberlin in Cleveland Ohio. He studied with Donald Waldman (Tenor Saxophonist) a peer of Sonny Rollins, John Coltrane, and Clifford Jordan, who took part in the 60’Äôs new thing movement. In Cleveland Peter had opportunities to play with Joe Lavano and Wayne Horvitz. In his education, Peter was very mindful of his influences and has thoughtfully developed into a very promising Tenor saxophone player and composer. His desires to fit within a broad tradition of improvisational Jazz, being both modern and referential. Peter worked with pianist David Pier at Oberlin and met up with both Blake Lindberg (drums) and Matt Pavolka (bass)in New York. They put a lot of care into fleshing out the tunes. There are six compositions on the CD. Variations in the time domain floating somewhere between the late 50’Äôs to the present. More of a hybrid than just being periodic. It begins with two pieces that made me think of Mario Pavone . Modern well thought out pieces that flow through various nooks and crannies, where the players improvise sensitively and let the piece develop over the underpinnings. The kind of songs you get to know better in time. Melodic and tasteful. The third piece is somewhat misleading, perhaps too conservative for the collection. Not that the piece is bad, but, one can get a better idea of the overall work by probably skipping this piece the first time around. A piece for Booker Ervin and an homage to Dewey Redman (Descant) highlight the latter half as a nice augmentation to the opening tunes. Nice journeys that stay melodic with occasional nods to freer jazz without getting boisterous. For a first effort there's a maturity to Hess’Äôs work that is promising. I look forward to his next work. $14 (written by Steve Cohen) 

Just a few additions & subtractions- 

The much anticipated new GREG BENDIAN INTERZONE cd w/ NELS CLINE will not be out until next Tuesday April 4th or so. Some of the new Leo cds have arrived - the EVAN PARKER-MARILYN CRISPELL QT. 2 cd set, EUGENE CHADBOURNE-I Talk to Death in Stereo, STEVE COHN ALL STAR QT. & MAT MANERI TRIO are here, but - JOELLE LEANDRE PROJECT w/ Crispell, Lovens & Teitelbaum , CHADBOURNE-BENNINK-KONDO GY 2cd, SUN RA Live at Praxis GY 2cd, plus an IVO PERELMAN DUO & DOMINIC DUVAL CT STRING QT. won't be here until mid April. Two new Intakt cds have just arrived - a THURSTON MOORE LIVE TRIO & KOCH-SCHUTZ-STUDER w/ 2 DJ's; the much anticipated COOPER-MOORE Live solo on Hopscotch is here; other reissues just received include KEITH TIPPETT'S CENTIPEDE!!!, two great cds by PHALANX (w/ Blood & George Adams), JAZZ ACTUEL BYG ALL-STAR 3 cd compilation and finally two impossible to find reissues from MARC RIBOT - 'Requiem for What's His Name' and the solo acoustic music of Marc's Haitian teacher-composer FRANTZ CASSEUS. Only $12. Spamming The Globe, 

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