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DMG Newsletter for September, Friday the 13th, 2019

“War” by Henry Cow
From Their album, ‘In Praise of Learning’, released 1975
Written by Peter Blegvad & Anthony Moore

Tell of the birth
Tell how war appeared on earth

Thunder and herbs

Conjugated sacred verbs

Musicians with gongs

Fertilized an egg with song
Asleep in the sphere
Her foetus was a knot of fear
She butted with her horn
Split an egg and war was born
A miracle of hate
She banged her spoon against her plate

Upon her spoon this motto
Wonderfully designed:
"Violence completes the partial mind."

Tell of the birth
Tell how war appeared on earth
Musicians with gongs
Fertilized an egg with song
She butted with her horn
Split an egg and war was born

Stacking the bones
On the empty aerodrome
Tinted turtle green
Haunts the slender submarine
She shakes her gory locks
Over the deserted docks

Come follow me
Out of dark obscurity
Follow my torch
Pilgrims at the double march
Through meadows and seas
Abattoirs and libraries
The pilgrims increase
Boasting they are led by peace
They gut huts with gusto
Pillage villages with verve
War does what she has to
People get what they deserve

Upon her spoon this motto
Wonderfully designed:
"Violence completes the partial mind."

Released this month is the long awaited book, ‘HENRY COW - The World is a Problem’ by Benjamin Piekut. I just started reading it last night and I can’t wait to work my way way through its nearly 500 (!) pages. Henry Cow, whose first album ‘Leg End’ was released in 1973, have long been my favorite progressive band. Along with the Mothers of Invention (1966-1969) Soft Machine (1968-1975), they defined the future of creative rock music that blurred all the lines of categorization. I have long been trying to figure how Henry Cow came to be so fully formed when that first album was released. We now have this book for sale and it is listed below. The song above, “War”, opens the fourth Henry Cow album, ‘In Praise of Learning’ and its lyrics capture the essence of the ongoing war which mankind has cast upon the world. As it says on an early record by Pearls before Swine, “Only the dead have seen the end of war”. - BLG/DMG

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The Downtown Music Gallery 28th Anniversary Celebrations began on May 1st & Continues! Every In-store This Summer Helps Celebrate the Spirit of Creative Music Performed Live.

Sunday, September 15th:
6pm: CHRIS PITSIOKOS - Solo Alto Sax!
7pm: TAMIO SHIRAISHI - Solo Alto Sax!

Sunday, September 22nd:
6pm: REMEMBERING BERN NIX - Two Sets for Bern Nix!
BEYOND GROUP with: CHERYL PYLE / MICHAEL EATON / REGGIE SYLVESTER
7pm: RETROGRADE: MATT LAVELLE / REGGIE SYLVESTER

September 29th:
6pm: VINNIE SPERRAZZA / NOA FORT / SIMON JERMYN - Drums / Vocals / Guitar!
7pm: SAM NEWSOME / DANIEL CARTER - Soprano Sax / Woodwinds!

October 6th:
6pm: SAM OSPOVAT - Solo Drums!

Sunday, October 13th:
6pm: ROSS HAMMOND - Solo Resonator Guitar!
7pm: RAF VERTESSEN / HANS TAMMEN / KEISUKE MATSUNO - Drums / Buchla Synth / Guitar!
8pm: MICHAEL VATCHER & SEAN CONLY!

DMG is located at 13 Monroe St. (between Catherine & Market Sts) in a basement below a small gallery. Take the F train to East Broadway or the 6 train to  Canal or the B or D to Grand, or the M-15 bus to Madison & Catherine. Come on Down, the Sunday Music Series is Always Free & the Vibes are Always Cosy. You can check the weekly in-store sets through our Instagram feed

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DMG Recommended Gigs for this week:
ERIC STERN’S ONGOING LIVE CREATIVE MUSIC SERIES CONTINUES:

September 15, 2019
Katherine Sikora / Jessica Pavone
Ochion Jewel & Cat Toren
El Barrio Artspace
is located at 215 E 99th St, New York, NY 10029

September 19, 2019
Lotte Anker, Craig Taborn and Gerald Cleaver
244 Rehearsal Studios
is located at 244 West 54th Street, 10th Floor, NY, NY

September 23, 2019
Chris Pitsiokos, Susana Santos Silva, Torbjörn Zetterberg
Michiko Rehearsal Studios
is located at 149 West 46th Street, 3rd Floor

All shows are $20.00 per ticket. All start at 8:00 pm


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This Week’s New Releases begin with this Essential Book:

HENRY COW // BENJAMIN PIEKUT - The World is a Problem (Duke University Press; USA) Sometime in 1973 when I was at college, I got a call from an old record collector pal named Bob Grohl. Mr. Grohl had the best collection of obscure British rock albums ever and he turned me on to many bands. He told me that he had just gotten a record by new band and that it was too weird for him but that I would probably enjoy it myself. He gave me a copy when we got together later that month and I kept playing Henry Cow’s debut album, ‘Leg End’ over and over. I couldn’t believe that I hadn’t heard of this band before and that their record was a masterpiece of progressive/rock/jazz/experimental/modern classical influences. My favorite bands in the sixties were the Mothers of Invention and Soft Machine, Henry Cow sounded like they were an extension of what I dug about both of those bands: a unique sound blending all the things that I dug about the progressive side of creative rock music at that point. The first two albums by Henry Cow still captivate me, more than 40 years later. When I was at Glassboro State, my roommates and myself listened to those Henry Cow records, as well as records by the Mothers, Soft Machine, Robert Wyatt, Kevin Ayers, as well as lots of avant jazz, early fusion and modern classical. This was our diet. I wrote to Henry Cow through their label, Virgin Records, and a got a letter back a couple of months later from Chris Cutler, Fred Frith and Tim Hodgkinson. We kept reading those letters over & over, to get a better idea of what motivated them to create such unique music. I ended up befriending each of them, checking them out live on various occasions. Fred Frith moved to NY from 1978 through 1992, so we many chances to talk at length and hear him live with many members of the Downtown Scene which he was an integral part of. I have also had several chances to talk with Chris Cutler and Tim Hodgkinson through the years, even getting to a chance to ask Tim about the words to “Nine Funerals of the Citizen King”, a song from the first Henry Cow record which I have been trying to figure out ever since I heard it.
I am currently reading Benjamin Piekut’s book, ‘Henry Cow - The World is a Problem’, which is nearly 500 pages long. Although it seemed at the time, that Henry Cow, who began in 1968 and didn’t have a record until 1973, came out of nowhere, this is obviously not the case. Their music was always complex, whimsical and impossible to pin down or pigeonhole. Mr. Piekut has obviously worked to hard to tell their multilayered story interviewing all of the living members and assorted associates. I’ve only just begun to read this massive, well-needed work so I need some time to fully absorb this tome. Hats off to Mr. Piekut and a spiritual toast to the ongoing legacy of Henry Cow, all members past and present. - Bruce Lee Gallanter, DMG
BOOK $30 [495 pages]

FRED FRITH will be doing a 5 night residency at The Stone from September 24th - September 28, 1 set per night at 8:30

CHRIS CUTLER has an ongoing radio show called ‘Probes’. It is one of the most fascinating discourses of creative music of the 20th century, each show with a different theme. You can check it out here: //rwm.macba.cat/en/curatorial/probes-26-1-chris-cutler/capsula


* JESSICA PAVONE STRING ENSEMBLE with JOANNA MATTREY / ERICA DICKER / ANGELA MORRIS - Brick and Mortar (Birdwatcher Records 012; USA) “As both an instrumentalist and composer, Pavone has regularly and thematically explored tactile experience in her compositions and performances. This is most notable in her solo viola music, where she performs indeterminate pieces that stem from years of concentrated long tone practice, my interest in repetition, song form, sympathetic vibration, and the physicality of playing my somewhat larger-than-comfortable instrument. Founded in 2017, The Jessica Pavone String Ensemble combines these two modalities as an ensemble she both compose for, and performs in as a violist. The group presents original compositions which expand on the themes of her solo work while also integrating a deeper understanding of the effects sound has on the listener. While these discoveries have been primarily instinctual, she plans to further study these principles more formally by gaining a better understanding of Cymatics.” - borrowed from Ms. Pavone’s website
Featuring Jessica Pavone on viola & compositions, Joanna Mattrey on viola and Erica Dicker & Angela Morris on violins. I put this disc on the stereo at the store last week when it arrived and listened to it with composer/co-worker Alec Sturges. We were both knocked out by what we heard. I am a longtime fan of violist & composer, Jessica Pavone, who has worked with Anthony Braxton, Mary Halvorson, Normal Love and Thirteen Assembly. Ms. Pavone also a couple of a solo viola CD’s out on Relative Pitch which don’t quite sound like anyone’s else music. Ms. Pavone has long worked with other string players, her first disc on her own Peacock label was by a group called the String Army. Hence this is a culmination of her journey, experimenting with other string players. The opening piece, “Hurtle and Hurdle”, has several layers of strings, seesawing back and forth. Certain patterns are repeated with different layers rising higher, the combinations of strings ever shifting. On “Lullaby and Goodnight”, Ms. Pavone again, takes a theme, slowly pulsing back and forth, repeating a phrase like a raft on the sea, floating in dream-like currents. The repeating lines remind me more of a cosmic chorus who are chanting together like monks in a monastery. There is a sense of calm and a sense of uneasiness which are blended and blurred together here. Kind of like the way we are taught to breathe in my yoga class, slowing down and clearing out minds of the usual distractions. The more I listen to this disc, the more it comes alive. It vibrates like life does, breathing a fresh quality to life, the varying drones inseparable from life itself. - Bruce Lee Gallanter, DMG
CD $14

* The JESSICA PAVONE STRING ENSEMBLE will be performing at Roulette in Brooklyn in Monday, October 7th at 8pm and at Firehouse 12 in New Haven, CT on Friday, October 4th at 8:30.


Three from Tim Daisy:

Former drummer of the Vandermark 5, Tim Daisy keeps busy juggling several bands of his own as well as working with many of Chicago’s finest: Dave Rempis, James Falzone, Aram Shelton, etc. Since the Vandermark 5 has moved on, Mr. Daisy has been organizing several projects and documenting them with his own Relay Recordings label. We just got in three more recent titles from this label so check them out:

TIM DAISY’S FULCRUM ENSEMBLE With DAVE REMPIS / FRED LONBERG-HOLM / JAMES FALZONE / JOSH BERMAN / STEVE SWELL - Animation (Relay Recordings 021; USA) The Fulcrum Ensemble features Tim Daisy on drums, marimba, turntables & compositions, James Falzone on clarinet, Dave Rempis on alto & bari saxes, Josh Berman on cornet, Steve Swell on trombone and Fred Lonberg-Holm on cello & electronics. This disc was recorded live at Elastic Arts Foundation in Chicago in August of 2017. A few years back, Mr. Daisy put together a sextet which has different names: Fulcrum and Celebration, but the personnel is similar. Each member of Fulcrum Ensemble is a leader on their own and someone who Mr. Daisy has worked with in the past. All the members of this sextet ardor were Chicago based except for Downtowner Steve Swell and cellist Fred Lonberg-Holm who moved to update New York last year. The opening piece, “Corner Counter”, begins like a dixieland song with a circular riff which has an infectious vibe. While one member solos, the rest of the sextet spins tightly around them. There are a number of short, intense solos (from the bari sax, cornet & cello), but it the tightly woven written band parts that are most compelling. Mr. Daisy’s drumming is at the center of the cyclone here, keeping the centrifugal force focused. “Glass and Lead” comes from somewhere else and sounds more like a piece for a chamber ensemble with Mr. Daisy’s subtle marimba underneath and several layers of floating horns on top. The third and longest piece, “Means to An End”, swings hard in part with some spirited interplay between the clarinet & trombone, while the rest of the sextet swirls tightly around them, at an often furious pace. The last section actually gets rather funky with Lonberg-Holm’s playing that great, greasy riff while Mr. Rempis wails on alto on top. A splendid is guaranteed for all present and listening later. - Bruce Lee Gallanter, DMG
CD $14

TIM DAISY with RUSS JOHNSON / FRED LONBERG-HOLM / MARS WILLIAMS / et al - October Music Vol. 2 - 7 Compositions for Duet (Relay Records 015; USA) This disc features seven duos with drummer Tim Daisy: Mars Williams on soprano sax, Russ Johnson on trumpet, Fred Lonberg-Holm on cello & electronics, Andrew Clinkman on guitar & pedals, Aaron Zarzutski on synth, Clark Sommers on bass and Ryan Packard on drums. Drummer & composer Tim Daisy has a series of duo CD’s (3 so far), each one with seven different duos. ‘Vol. 2’ was recorded in June of 2016. Some of the duos are with heavy-hitters like Mars Williams, Fred Lonberg-Holm & Russ Johnson, as well as with rising stars like Andrew Clinkman, Clark Sommers and Aaron Zarzutzki. Music personnel obsessives like yours truly will recognize the names of Andrew Clinkman from Ken Vandermark’s current Marker band, while synth player Aaron Zarzutzki can be heard with Paul Hartsaw, Michael Foster (live at DMG) and Graham Stephenson (for the Erstwhile label). Mr. Daisy plays drums, percussion, marimba & turntables for this disc.
The duo with Andrew Clinkman on guitar is first and sounds like in intense tight, post-punk duo interspersed with what sounds like spurts of trombone weirdness. Blinkman sounds great on those spiky, tortured guitar fragments. Mr. Daisy has written these pieces so that they feature his partners ability to play challenging twists & turns. Mars Williams sounds great playing those twisted parts on his sopranino sax-sounding sax. The unstoppable Fred Lonberg-Holm, who recently moved to NY State and has been playing here very often, and remains a strong, compelling improviser sounds great taking things further out. Things get even more weird when Mr. Zazutzki’s synth enters in the next to the last piece. Acoustic bassist Clark Sommers helps brings things to calm, trance-music like vibe with Mr. Daisy on mellow, balaphon-like marimba. A perfect to bring this unexpected, delightful treasure to a fine close. - Bruce Lee Gallanter, DMG
CD $14

TIM DAISY with PAUL GIALLORENZO / NICK MAZZARELLA / STEVE MARQUETTE / et al et al - October Music Vol. 3 - 7 Compositions for Duet (Relay Records; USA) Featuring seven duos with drummer/percussionist Tim Daisy: Paul Giallorenzo on piano, Macie Stewart on violin, Nick Mazzarella on alto sax, Lia Kohl on cello, Steve Marquette on guitar, Matt Lux on bass and Angel Bat Dawid on clarinet. This is the third in a series of duo CD’s that Chicago percussionist & composer has released. For this volume, Mr. Daisy has chosen seven Chicago (?) based musicians, some known quantities like Paul Giallorenzo and Nick Mazzarella, both of whom have records out as leaders. Both Macie Stewart and Steve Marquette are members of current band with Ken Vandermark known as Marker.
Instead of just doing an album of duo improvs, Mr. Daisy has written or sketched out hess pieces to show the diversity and craft of each duo. “Octavio” opens this disc for piano (Giallorenzo) and drums, which moves in tight, abrupt eruptions, stop & start with tight interaction throughout plus a tango-like theme comes near the end. On “Light Levels”, Ms. Stewart gets a chance to bend, twist and mutate certain notes on her violin while Mr. Daisy matches each of her odd lines. Mr. Mazzarella has a somber, soulful tone on his alto sax for “Seven/Fifteen”, which matches well with Mr. Daisy’s ever-expressive playing. The late, legendary cellist & composer, Arthur Russell, was one-of-a-kind who bridged many categories. “The Echo Song” here is dedicated to him and features a cellist named Lia Kohl. Mr. Daisy plays marimba & radio, coaxing a subtle, hypnotic backdrop for Ms. Kohl’s skeletal, yet evocative cello playing. Steve Marquette, who plays electric guitar in Marker and recently toured opening for Ken Vandermark & Mars Williams, plays just acoustic guitar here, going beck & forth between quiet reflective sections with explosive moments tossed in as well. On “Signals”, which features Matt Lux on electric bass, it is Mr. Daisy’s strong, spirited drumming that truly stands out. Angel Bat Dawid plays clarinet on the last piece and has a lovely, solemn, stirring tone. This duo sounds just right as the final piece on this impressive endeavor. - Bruce Lee Gallanter, DMG
CD $14


OCEANS ROAR 1000 DRUMS with TODD CAPP / BRYAN EUBANKS / ANDREW LAFKAS - Oceans Roar 1000 Drums (Noncept Records 104; USA) Featuring Todd Capp on drums & cymbals, Bryan Eubanks on soprano sax & electronics and Andrew Lafkas on double bass. Although original Downtown drummer, Todd Capp, has been around since the Loft Jazz days (1st recording in 1978), his more recent recordings are infrequent. He does have a few working bands running concurrently. This appears to be the third disc from Oceans Roar 1000 Drums, his trio with Bryan Eubanks and Andrew Lafkas. I do recognize bassist Andrew Lafkas from his work with Bill Dixon, Milo Fine and Andrew Raffo Dewar. Bryan Eubanks has worked with Catherine Lamb and Joe McPhee. This disc contains two live tracks, from Cafe Oto in London in September of 2018 and at Max Fish in NY in May of 2019. The first piece, from Cafe Oto, begins with bowed bass drones, cymbals, distant soprano sax and perhaps echoes or electronics floating in the mix. The soprano sax is bathed in echoes, while the rhythm team expand and contract, sometimes sparse and then a bit more dense, floating together. Although the second piece is from another room, eight months later, the sound is similar. The soprano sax almost sounds like a bagpipe or some other drone-like device. The sound of the sax is quite hypnotic although it is difficult to tell what it is at times. The sound of the Mr. Capp mallet-work on his tom toms is filled with suspense here. This piece builds into a swirling mass of soprano sax echoes some bent more than others, the overall vibe escalating as it evolves. The sound of the soprano is somewhere in between bagpipes and an accordion, breathing in and out like a cosmic meditation, somewhat disorienting yet somehow communal overall. - Bruce Lee Gallanter, DMG
CD $10


LEAP OF FAITH with PEK / GLYNIS LOMON / JIM WARSHAUER / ERIC DAHLMAN / YURI ZBITNOV - Potential and Actual Infinities (Evil Clown 9209; USA) Featuring PEK on sopranino, alto, tenor & bass saxes, contralto clarinet, flute, tarogato, sheng, etc.; Glynis Lomon on cello, acquasonics & voice; Jim Warshauer on curved soprano, alto & tenor saxes, flute & percussion; Eric Dahlman on trumpet & piano and Yuri Zbitnov on drums, gong, wood & metal. This is a smaller, quintet version of Leap of Faith and it was recorded live at Outpost 186 in Cambridge, MA in March of 2019. Here we have the three founding embers of LoF: PEK, Ms. Lomon and Mr. Zbitnov plus occasional members: Jim Warshauer on reeds and Eric Dahlman on trumpet… After some gongs at the beginning, we hear some melodica, slide whistle or flute interweaving. Mr. Zbitnov’s mallet-work (on his shiny new drums) sounds great at the center of the slow moving storm as it escalates higher. Leap of Faith have long mastered the art of organic improv, always building, adding layers with occasional solo bits rising out of the waves below. The first shorter (14 minutes) piece is called “Waiting for Glynis”, who must’ve arrived late she is there for the second hour long title work. Always great to hear cellist Glynis Lomon at length as she is a consistently spirited & inspired cellist. Interesting combinations of instruments erupt throughout: two high reeds, cello & drums, building in density and intensity as it goes. It also quiets down to some sparse yet effective sections as well. Another strong effort from the ever-increasing treasure chest of discs from Leap of Faith and their assorted off-shoot projects. - Bruce Lee Gallanter, DMG
CD $12

METAL CHAOS ENSEMBLE With PEK / ERIC WOODS / MOOUSE TRAORE / JOEL SIMCHES / YURI ZBITNOV - Reverberatory Furnace / Live Streaming from Evil Clown Headquarters (Evil Clown 928; USA) Featuring PEK on clarinets, alto, tenor & bass saxes, english horn, flute, Moog and assorted percussion, Eric Woods on analog synth, Moouse Traore on djembe & talking drum, Joel Simches on recording & processing and Yuri Zbitnov on drums, taiko and other percussion. Considering that there are more than a 100 discs from Leap of Faith and their various offshoot projects, the personnel, aside from the 3 founding members (PEK, Lomon & Zbitnov), is different on each release. The Metal Chaos Ensemble usually includes both PEK and Mr. Zbitnov, as it does here. For this quintet session, Eric Woods and Joel Simches both add electronics or live processing, while new member Moouse Traore, add African acoustic percussion: djembe and talking drum. Hence, we get a nice blend of acoustic and electronics instruments/sounds. Starting with subtle layers of percussion (African village-like sound), a double reed of sorts and soft background drones, all slowly building in an organic way. There is mostly just percussion: trap drums, djembe and soft, quirky electronics for long sections. This disc is the most laid back of anything from the LoF catalogue. No screaming vocals or over the top reeds solos. It seems to be more moody or deans-like at times. A completely different side of the usual spectrum. - Bruce Lee Gallanter, DMG
CD $12


MICHAEL LEONHART ORCHESTRA with CHRIS POTTER / /ERIK FRIEDLANDER / JOHN ELLIS / SARA SCHOENBECK / JOE MARTIN NELS CLINE / DONNY McCASLIN / et al - Suite Extracts Vol. 1 (Sunnyside 1555; USA) For the liner notes of his latest release on Sunnyside, accomplished trumpeter/arranger Michael Leonhart (Steely Dan, Plastic Ono Band, David Byrne et. al) explains "My plan has long been to release an album a year by the orchestra alternating between original compositions and covers....albums 1,3,5,7 etc. feature my original compositions (beginning with 2018's The Painted Lady Suite) while albums 2,4,6,8 focus on my arrangements and re-workings of other people's music." 
I was very drawn to Painted Lady and played it often around DMG. Leonhart's arranging chops are no slouch, and his acute sense of blend and melodic pacing was on direct display in service of his original ideas. For Suite Extracts, he sets to record the "greatest hits" of his series of arranged covers from the MLO's monthly residency at The Jazz Standard, setting tunes that ring familiar to fans of big names like Fela Kuti, Wu-Tang Clan, Howlin Wolf and Spinal Tap, as well as the possibly more obscure 90s Brooklyn Afrobeat ensemble The Daktaris.
The arrangements are fun, slick and on-point, and for the most part any potential goofiness is subverted and utilized in favor of cleverness within the arrangement. One can't help but be impressed with both Leonhart's clear love of the source material and his ability to give it a diverse character in the setting. He knows when to give soloists and small groups seemingly free reign, and when to incorporate his chops for blending large ensembles. Sometimes the juxtaposition of themes is  jarring, such as the case of "Big Bottom/Lonely Woman", which ultimately makes sense considering these were the crowd pleasing selections. This is a moment that I can genuinely see working as a humorous reprieve for a live audience, but it just doesn't quite stick on record. I think even this moment that doesn't quite work for me is symptomatic of an overall admirable and well executed ambition to make engaging and high-minded big band music for a wide audience. Very fun listen. - Frank Meadows, DMG
CD $15


ECSTATIC VISION - For The Masses (Heavy Psych Sounds 109; Italy) Philadelphia heavy psych quartet Ecstatic Vision (regarded as the second coming of vintage Hawkwind) return with For the Masses. After bursting onto the scene with their 2015 tribal-psychedelic LP, Sonic Praise (HPS 110LP/LTD-LP), touring the USA with Yob and Uncle Acid & The Deadbeats, crushing Roadburn, then quickly releasing a for-heads-only, noisy, psychedelic-garage record to weed out the weak (Raw Rock Fury, 2017), Ecstatic Vision have pulled themselves out of the muck to deliver their finest album to date. Recorded in Philadelphia at Retro City Studios with Joe Boldizar and mixed/mastered by Tim Green (Earthless, The Melvins) at Louder Studios in Grass Valley, CA, Ecstatic Vision's recent fuzzed-out sound has been sculpted it into a hi/fi psychedelic wonderland. This album is the closest the band has gotten to achieving the energy of their untouchable live shows on tape. EV took a simpler approach on the art this time, using the Spanish dream-team of Edko Fuzz and Bangalore Studios. For The Masses blends tripped-out synth, semi-catatonic desert driving tunes, Afro-tribal funkadelic bibes, troglodyte-Detroit rock grooves, acid freak-outs, ethereal psychedelic hymns, and mind-altering krautrock into Ecstatic Vision's outsider take on modern music. It's like if Tangerine Dream jammed with Lemmy and the Asheton Brothers and decided to play some world music and free jazz in 1971.
CD $17


DAVID ALLAN COE - The Mysterious Rhinestone Cowboy / Once Upon A Rhyme (Bear Family 15706; Germany) "Two long playing records, originally released in 1974 on Columbia, The Mysterious Rhinestone Cowboy, and Once Upon A Rhyme, on one CD. David Allan Coe is the writer of 'Would You Lay With Me', a number one hit record for Tanya Tucker. Extensive liner notes, plus many photos. Personnel: David Allan Coe, The Nashville Edition, The Jordanaires: vocals; Billy Sanford, John Christopher, Tommy Allsup, Reggie Young: guitar; Pete Drake: steel guitar, dobro; Mike Leech, Henry Strzelecki, Ted Reynolds: bass; Kenny Malone, Ralph Gallant, Buster Phillips: drums; Hargus 'Pig' Robbins, Ron Oates: piano; Buddy Spicher: violin, mandolin; Charlie McCoy: harmonica, vibes; The Nashville String Machine: strings; Billy Sherrill, Ron Bledsoe: production."
CD $17


IAN & SYLVIA TYSON - The Lost Tapes (Stony Plain 1408; USA) “Regarded as pioneers of the folk & Americana genre, Ian & Sylvia first came to prominence in the early 60's folk scene in Greenwich Village and Yorkville performing alongside Bob Dylan (they were also managed by Albert Grossman), Joni Mitchell and Gordon Lightfoot (who they made famous by being the first to record Early Morning Rain) and were a headliner on the now famous 1063 Newport Folk Festival. Ian's composition ''Four Strong Winds'' is now considered a standard and a CBC poll in 2005 named it the ''most essential'' piece of Canadian music. Ian & Sylvia were one of the first artists to explore an electric Country Rock sound recording with both New York and Nashville musicians.
In early 2019 Sylvia discovered a box of old 1/4” analog tapes in her attic that were professionally recorded in the early 1970s in front of a live studio audience. Over 20 previously unreleased recordings, included many of Ian & Sylvia's classics, but also enough to have a full CD of recordings of songs never before included on any Ian & Sylvia album. The Lost Tapes is being released as a special 2 CD set on September 13th, the week prior to Sylvia's induction into the Canadian Songwriter's Hall of Fame. Both Ian & Sylvia have been inducted into the Canadian Music Hall of Fame.
2 CD Set $18


ANA MAZZOTTI - Ana Mazzotti (Far Out Recordings 213; UK) “Far Out Recordings present an official reissue of Ana Mazzotti's self-titled album, originally released in 1977. An artist as imaginative and unique as Ana Mazzotti doesn't come around often. Dubbed a "super-musician" by fellow Brazilian virtuoso Hermeto Pascoal, Mazzotti's short but rich musical career culminated in just two studio albums: Ninguem Vai Me Segurar (1974), and Ana Mazzotti (1977). Outside circles of Brazilian funk aficionados, these two gems of spellbinding samba-jazz, lysergic funk and trippy bossa have remained relatively obscure. This was partly as a result of Mazzotti's premature death (she lost her battle with cancer in her mid-thirties), but also due to financial restraints and the prejudice she faced as a female songwriter in a fundamentally sexist society. Born in Caixas, in Brazil's Rio Grande do Sul municipality, Mazzotti began to play the accordion aged five, before moving with prodigious ease onto the piano. By the age of twelve she was already conducting her convent school's choir, and at twenty-one she led her city's premier chorus, the Coral Bento Goncalves. When rock n' roll hit South America in the '60s, a young Mazzotti was one of the early adopters, fronting various guitar groups including an all-female Beatles cover band, and an eclectic, eight-piece psychedelic group Desenvolvemento. Before moving to Sao Paulo to start her career proper, Mazzotti met drummer, producer and fellow music educator Romido Santos, who she would later marry. Romildo introduced Mazzotti to jazz, and music by the likes of Chick Corea and Hermeto Pascoal who she would later befriend and perform with. In 1977, Mazzotti took her debut album back to the studio, releasing the album with a new running order and new ethereal cover art, ostensibly another crack at commercial success following the small scale of the independently funded first release. With intimately re-recorded vocals, and the bonus of gorgeous horn arrangements and a new track: the carnivalesque "Eta, Samba Bom", replacing Roberta Flack's hit "Feel Like Making Love", Ana Mazzotti (1977) delivers Mazzotti's refreshingly cool musical style even more effortlessly, while retaining the all magical energy of her debut. A cult Brazilian treasure. Remastered.”
CD $15

ANA MAZZOTTI - Ninguem Vai Me Segurar (Far out Recordings 212; UK) “Far Out Recordings present an official reissue of Ana Mazzotti's Ninguem Vai Me Segurar. originally released in 1974. An artist as imaginative and unique as Ana Mazzotti doesn't come around often. Dubbed a "super-musician" by fellow Brazilian virtuoso Hermeto Pascoal, Mazzotti's short but rich musical career culminated in just two studio albums: Ninguem Vai Me Segurar (1974), and Ana Mazzotti (1977). Outside circles of Brazilian funk aficionados, these two gems of spellbinding samba-jazz, lysergic funk and trippy bossa have remained relatively obscure. This was partly as a result of Mazzotti's premature death (she lost her battle with cancer in her mid-thirties), but also due to financial restraints and the prejudice she faced as a female songwriter in a fundamentally sexist society. Born in Caixas, in Brazil's Rio Grande do Sul municipality, Mazzotti began to play the accordion aged five, before moving with prodigious ease onto the piano. By the age of twelve she was already conducting her convent school's choir, and at twenty-one she led her city's premier chorus, the Coral Bento Goncalves. When rock n' roll hit South America in the '60s, a young Mazzotti was one of the early adopters, fronting various guitar groups including an all-female Beatles cover band, and an eclectic, eight-piece psychedelic group Desenvolvemento. Before moving to Sao Paulo to start her career proper, Mazzotti met drummer, producer, and fellow music educator Romido Santos, who she would later marry. Romildo introduced Mazzotti to jazz, and music by the likes of Chick Corea and Hermeto Pascoal who she would later befriend and perform with. In 1974, Mazzotti recorded her first album Ninguem Vai Me Segurar, enlisting the in-demand arrangement talents of Azymuth's original keyboard maestro Jose Roberto Bertrami. It also features Azymuth's bassist Alex Malheiros and percussionist Ariovaldo Contestini, with Romildo Santos who produced the album on drums. Recorded in Estudio Haway around the same time Azymuth recorded their debut album there, it's no wonder the samba jazz-funk pioneer's distinctive aesthetic is present throughout, and Mazzotti's sensational compositions are made even more beautiful for it. Kicking off with the swirling samba-jazz-dance masterpiece "Agora Ou Nunca Mais", the album hosts several groove-heavy Brazilian cult-classics. Deeper moments come in the form of the alluring future soul synth sounds on "Bairro Negro" and "Sou", and Mazzotti's tender, hallucinatory version of "Feel Like Making Love" (made famous by Roberta Flack).”
CD $15

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PAUL DUNMALL / PERCY PURSGLOVE / STEVE TROMANS / DAVE KANE / HAMID DRAKE - Soultime (FMR 538; UK) Featuring Paul Dunmall on tenor & alto saxes, Percy Pursglove on trumpet, Steve Tromans on piano, Dave Kane on bass and Hamid Drake on drum set & frame drum. Recorded in the Eastside jazz Club in Birmingham, UK in November of 2018. With the demise of his own Duns label, British sax giant, has continued to perform & record for other labels like Slam, FMR and recently an amazing Coltrane tribute 2 CD set (with Alan Skidmore) for the Confront label. For every release, Mr. Dunmall gathers the cream of the UK scene with occasional international travelers added. This fine quintet has an earlier disc out on FMR and it features an eclectic cast, each of whom has worked with Dunmall in varied previous ensembles. Trumpeter Percy Pursglove has worked with Mr. Dunmall on a half dozen earlier projects as well as with Barry Guy and Raymon Lopez. Bassist Dave Kane was (still is?) a member of a great trio with Matthew Bourne, who also backed Dunmall for 1 earlier effort. Everyone’s favorite drummer, Hamid Drake, hails from Chicago with is constantly in demand everywhere. He also has worked with Mr. Dunmall in a handful other earlier sessions. Starting with the title tune, “Soultime”, an aptly named soulful, jazz song that sounds like it was recorded in the mid-sixties. I can’t recall ever hearing Mr. Dunmall play in this uplifting, soulful style. Everyone in this quintet is into the swell, slamming, funky groove and is sure do feel good. For the most part the rest of this disc is free, free flowing, very tight, focused as one strong spirit. The quintet sounds as if they have been playing for many years although this is not the case. Unlike most discs from Paul Dunmall & Co., someone wrote a number of infectious, catchy themes here. It doesn’t list anyone as the composer here which is odd since all of those themes will bring a smile to the face of any sourpusses. Strangely enough, there are a few more mellower songs that are a delight. “Masked Intruder” starts with a quiet unaccompanied trumpet solo which slowly builds until it turns into a Blue Note-like hard-swinging groove tune with inspired solos from the piano, ascending as it gets freer throughout. The music flows effortlessly throughout, from one piece to the next without ever pausing. Mr. Dunmall’s tone on tenor has never sounded better: warmer, tasty and with slow-burning fire. The irrepressible Hamid Drake is featured on a lone frame drum midway (w/ a bit of chanting), which adds another highlight to this already marvelous set. It is pretty rare for me to call any disc perfect but I must admit that this disc is as good as it gets for modern jazz, everything fits just right. There is no overblowing, no one hogs the spotlight, hence it feels wonderful, soothing, healing, spiritual without being completely free. The question remains, who wrote this music? He or she should be applauded. I will contact my old pal, Mr. Dunmall and find out and let you know. In the meantime, grab this disc and start to do some healing. Peace. - Bruce Lee Gallanter, DMG - 7/3/19
CD $14

PAUL DUNMALL / PHIL GIBBS / BENEDICT TAYLOR / ASHLEY JOHN LONG - Landscapes (FMR 533; UK)Featuring Paul Dunmall on soprano sax & flute, Philip Gibbs on guitar, Benedict Taylor on viola and Ashley John Long on bass. Recorded by Jonathan Scott at the Victoria Rooms in Bristol, UK in September of 2018. Practically every session that British reeds colossus, Paul Dunmall, does has different personnel, drawing from a large community of creative musicians from across the United Kingdom. For this date, Mr. Dunmall works with his longtime compatriot guitar Phil Gibbs, who can be found on dozens of Dunmall dates. The other two musicians are newer to the Dunmall stable: violist Benedict Taylor has also worked with Evan Parker, Keith Tippett & Alex Ward while bassist Ashley John Long has also worked with Keith Tippett and can be found amongst the dozens of new musicians from that recent project known as The Seen (5 CD Set on Confront). This is closer to a chamber quartet than a jazz quartet with Mr. Dunmall playing soprano sax and flute, two instruments he doesn’t play very often. The best thing about this disc is this: it was recorded by Jonathan Scott, a master of recording & mastering who has long worked with Mr. Dunmall. Hence, the sound is superb! Guitarist Philip Gibbs is Dunmall’s most constant collaborator and one of the greatest of all improvising guitarists. Right from the first note, the interaction between Dunmall on soprano & Gibbs on guitar is incredible, lightning flash responses, edge-of-your-seat dialogue. Dunmall rarely works with string players, except for contrabass so it is great to hear the up & coming viola player, Benedict Taylor also tossing off exciting, thought-provoking lines, rubbing the strings and twisting certain notes inside-out. Bassist Ashley John Long occasionally fills in the entire bottom end, playing both bass & rhythmic lines simultaneously. There is a section in the first piece where the soprano & bowed bass shadow each other while the guitar & viola spin quick lines around one another, several orbits all intersecting. When things slow down, we hear more of the subtle nuances different sorts of note-bending experimentation. There are some extraordinary interactions between the guitar and viola, both weaving super quick bent-note lines in a daredevil fashion, almost too much to fathom. This is pretty extraordinary, high-end improv at it best! - Bruce Lee Gallanter, DMG
CD $14

SZILARD MEZEI TUL A TISZAN INNEN ENSEMBLE with BOGDAN RANKOVIC / IVAN BURKA / ERVIN MALINA / ISTVAN CSIK / et al - Turizmus (FMR 542; UK) Serbian violist, bandleader & composer, Szilard Mezei, is a restless spirit who has more than forty releases in just a dozen years, from solos, duos, & trios to large ensembles efforts. The Tiszan Innen Ensemble is an 11 piece ensemble and features some regulars: Bogdan Rankovic on reeds, Ervin Malina on contrabass & Istvan Csik on drums. The is the second 2 CD set from this ensemble in the past year and it is yet another strong date. As his been his inspiration for a number of previous discs, Mr. Mezei takes Hungarian folk songs and uses them as his thematic material. Being a big fan of the ever-prolific, consistently searching music of Szilard Mezei, I have already played this double disc 3 times at the store over the past few days. It seems hard to believe how much great music is found here and how much of it accessible to those who haven’t heard much more avant-garde or experimental music. Mr. Mezei lists who composed each theme for the eleven songs. The melodies often sound ancient or traditional. It is Mezei’s arrangements that truly stand out here as he weaves layers of musicians and music lines around one other in an endless captivating swirl. The full ensemble often played the main theme at the beginning of each song and then break into subgroups, some soloing, some doubling or tripling the main lines together. On the opening piece, “At the Early Dawn on Thursday”, the trombone plays the theme in the background while several reeds & the two string players all swirl tightly around one another, the piano & vibes also spinning in another related orbit. Each theme that Mezei has chosen sounds consistently enchanting and these are at the center of every song. On practically every piece, one or two players gets a chance to stretch out and solo, all solos spirited and based on the melodies of the said themes. It seems hard to believe that Szilard Mezei has so many releases under his belt and remains consistently creative throughout each and every one. This entire 2 CD set clocks in at around 2 hours & 20 minutes and is superb throughout. 5 stars! - Bruce Lee Gallanter, DMG
2 CD Set $18


MERZBOW - Metalvelodrome (Urashima 010; Italy) “Urashima present a reissue of Merzbow's Metalvelodrome, originally released in 1993. Merzbow stands as the most important artist in noise music. The moniker of Japanese artist Masami Akita was born in Tokyo in 1979. Inspired by Dadaism and surrealism, Akita took the name for his project from German artist Kurt Schwitters's pre-war architectural assemblage "The Cathedral of Erotic Misery" or "Merzbau". Just as Schwitters attacked the entrenched artistic traditions of his time with his revolutionary avant-garde collages, so too would Akita challenge the contemporary concept of what is called music. Merzbow would draw further influence from the futurist movement. Not only would he embrace the futurists' love of technology and the machine civilization, he would push their fondness for noise to the very boundaries of the extreme. Working in his home, he quickly gained notoriety as a purveyor of a musical genre composed solely of pure, unadulterated noise. By the '90s, Merzbow had a significant underground reputation for creating harsh and power electronics album. Metalvelodrome was released in 1993 by the fabulous Japanese label Alchemy in a four-CD box. The tracks fall right in-between the atmosphere of Merzbow's early '90s work and his more hyper-aggressive mid-90s power electronics work and it's a charming mix, presenting the listener with some of the best elements from each phase of his evolution. Along with Noisembryo (1994), Venereology (1994), and Pulse Demon (1996) represent the top of the immense artist's production. All tracks performed using cheap electronics and junk, no use for synthesizer and midi sampler. Remastered and revised without the two tracks live and with four bonus tracks at Munemihouse in 2019 by Masami Akita. This reissue comes in a silver wooden box with laser engraving of original artwork cover on front (and inside) and Urashima logo on back. Each single CD inside wooden box comes in cardboard wallet with new artwork by Masami Akita; includes foldable and individually numbered certificate; edition of 500.
4 CD Box Set $50


RON GEESIN - ExpoZoom (Dark Companion 010; Italy) Ron Geesin on ExpoZoom: "In 1969, I was commissioned to make all the music and organized noises for nineteen looped films to be run in the British Pavilion at Expo 70 in Osaka, Japan. The overall concept was to have all the films running in fixed positions so that the individual visitors would 'mix' their audio and visual experience by the speed and direction of their movement through and around the environment. Since most of the ninety-second films focused on highly technical aspects of British industry, it was decided with the producer, James Archibald and Associates, that we should do the final sound mixes with the finished films in the dubbing studio from as many ingredients as I thought necessary for each film. So I made all those textures separately, but was never provided with the finished mixes. Recently, I pulled out the five 10.5" spools of tape from my archive and ran them. Firstly, after nearly fifty years, the physical tapes were in good condition being formulated from stable chemicals before the horrible 'sticky tape syndrome' of the 1980s. Secondly, having not revisited any of this material after 1973, I noticed that there were many prototypes of ideas made with much tape editing and analog synthesizers that only emerged from me in the pieces for KPM Electrosound and later in the 1970s, so there was a certain energetic outpouring of crude vitality from these earlier works. After all those years, I had little idea of how the original film tracks were mixed, so I transferred all those initial ingredients to my preferred digital setup and made new pieces, keeping each group of modules under its original title where known. In a few cases I added or strengthened a melodic line and, where pure electronic tones were made on tape with inevitable dropouts, remade the tones digitally. The pieces, influenced by the original pavilion layout, then suggested to me that they be grouped in four movements. One piece, 'Wool', is left out because it was lifted as 'Twist And Knit For Two Guitars' for my As He Stands (1973) album. Maybe if this lowly composer had been allowed to go to Japan, to join and probably embarrass the gray-suited British Government officials, he would have remembered more about the final structure of the films - and maybe just as well he wasn't, and therefore didn't." Recorded, composed, and mixed by Ron Geesin.
CD $17


ECSTATIC VISION - For The Masses (Heavy Psych Sounds 109; Italy) Philadelphia heavy psych quartet Ecstatic Vision (regarded as the second coming of vintage Hawkwind) return with For the Masses. After bursting onto the scene with their 2015 tribal-psychedelic LP, Sonic Praise (HPS 110LP/LTD-LP), touring the USA with Yob and Uncle Acid & The Deadbeats, crushing Roadburn, then quickly releasing a for-heads-only, noisy, psychedelic-garage record to weed out the weak (Raw Rock Fury, 2017), Ecstatic Vision have pulled themselves out of the muck to deliver their finest album to date. Recorded in Philadelphia at Retro City Studios with Joe Boldizar and mixed/mastered by Tim Green (Earthless, The Melvins) at Louder Studios in Grass Valley, CA, Ecstatic Vision's recent fuzzed-out sound has been sculpted it into a hi/fi psychedelic wonderland. This album is the closest the band has gotten to achieving the energy of their untouchable live shows on tape. EV took a simpler approach on the art this time, using the Spanish dream-team of Edko Fuzz and Bangalore Studios. For The Masses blends tripped-out synth, semi-catatonic desert driving tunes, Afro-tribal funkadelic bibes, troglodyte-Detroit rock grooves, acid freak-outs, ethereal psychedelic hymns, and mind-altering krautrock into Ecstatic Vision's outsider take on modern music. It's like if Tangerine Dream jammed with Lemmy and the Asheton Brothers and decided to play some world music and free jazz in 1971.
CD $17


NAT BIRCHALL QUARTET - The Storyteller - A Musical Tribute to Yusef Lateef (Jazzman Records JMan 115; USA) With 20 years passing since his first foray into recorded jazz, Nat Birchall now ranks as one of the premier saxophonists of his generation. With several highly acclaimed albums in the locker, he now returns with his most ambitious project yet: a tribute to the legend that is Yusef Lateef titled, The Storyteller - A Musical Tribute to Yusef Lateef. Double-LP version comes in a gatefold; 180 gram vinyl; Includes download card.
Nat Birchall on the project: "When Jazzman Gerald first mentioned to me the idea of doing an album as a tribute to the jazz giant Dr Yusef A. Lateef, my first thought was 'Where on earth do I start?' Lateef was such a colossus of music, and his scope so broad, that I couldn't hope to begin to cover his musical universe. He was a master of the tenor saxophone, a master of the flute, a master ballad player, a master blues player. Not to mention his skills as a composer and arranger and of course his exploration and use of musical methodology and instruments from all over the world. I've always been a great admirer of Lateef, and the challenge was intriguing, so I decided to give it go. We interpreted some of his own compositions (Brother John, Morning and Ching Miau) as well as some compositions by others that he made his own by careful arrangement and interpretation ('Love Theme from Spartacus', 'Ringo Oiwake'). I also wrote some original songs that, while certainly not written in his style, might be said to fall into his very broad approach to music making. I also wanted to utilize as many different instruments as possible, something I hadn't explored too much until this album. So it was a nice opportunity to finally get around to playing some of the many small instruments I've collected over the years; the Turkish zurna, the mbira from Zimbabwe, the balaphon from Mali and the arghul from Egypt. We have also tried to use varied time signatures in the music, so we have songs in 3/4, 5/4 and 7/4 time, as well as the standard 4/4. Ultimately the best music tells a story to the listener and takes them to places they might not have imagined themselves. Yusef Lateef certainly did that, and as such was a master storyteller."
CD $15


KJETIL MULELID TRIO - What You Thought Was Home (Rune Grammofon 2208; Norway) Eight new beguiling Kjetil Mulelid compositions expertly balancing energetic, often rhythmically complex and harmonically rich music with beautiful and evocative melodies. It's not all about Mulelid though, bassist Bjørn Marius Hegge (31) and drummer Andreas Skår Winther (28) effortlessly conjure additional layers, tones, and textures, incorporating a sense of calm; an unhurried yet constantly unfolding sound world which can be said to be distinctively Scandinavian, most typically heard in Hegge's sole composition "Bruremarsj (Wedding March)". Kjetil André Mulelid grew up in the small village of Hurdal, and started playing the piano when he was nine, after hearing Chopin on the stereo. In high school, he had the good fortune of studying with some inspiring piano teachers. Later he received a bachelor's degree in jazz performance at NTNU in Trondheim, again being blessed with top teachers, such as Erling Aksdal, Vigleik Storaas, and Espen Berg. He is also a member of jazz quartet Wako. Bjørn Marius Hegge has been making waves on the Norwegian jazz scene lately, with his quintet's debut album Hegge winning a Norwegian Grammy. He also has his own trio with pianist Oscar Grönberg and young drummer ace Hans Hulbækmo.”
CD $15


SPACEMEN 3 - Live in Europe 1989 (Orbit 062; USA) “Recorded over four nights in Germany during what turned out to be Spacemen 3's final tour, Live in Europe 1989 is far better than the more ragged earlier Spacemen 3 live album, 1988's Performance. The album's also notable for documenting the group's short-lived quartet line-up, with bassist Willie Carruthers and drummer Jon Mattock. Despite the change in rhythm sections, the focus is, as always, on guitarists Pete Kember and Jason Pierce, who by this point in the group's career aren't even pretending to be interested in standard verse-chorus-verse structure. Rather surprisingly, only one of the 13 tracks; a 16-minute take on Playing With Fire's center-piece track "Suicide" breaks the ten-minute barrier that was so often smashed through on the group's studio recordings, but there's still an epic, expansive feel to these loose, perfectly ragged performances. Although newcomers are advised to start with 1988's Playing With Fire or 1990's Recurring (ORBIT 055CD), Live in Europe 1989 is essential for fans. Originally released in 1995. "Rollercoaster" was the opening song for most of 1989 after coming on stage to the sounds of "Ecstasy Symphony" (or on one occasion, "Mr. Spaceman" by The Byrds. "Bo Diddley Jam" is an instrumental jam occasionally included as part of the regular set. "2:35" was a regular part of the Spacemen set since the band's first recordings in 1984. The original lyrics for "Walkin' With Jesus" included the line "Listen Sweet Lord, forgive me my sins. Cause I can't stand this life without sweet heroin". Deleted for the studio recordings, Jason would occasionally sing them live as recorded here in 1989. Spacemen 3 only regularly performed "Suicide", "Revolution", and "How Does It Feel?" from Playing With Fire while ignoring other tracks. Every so often one of them would turn up like "I Believe It" and "Lord Can You Hear Me?" "Things'll Never Be The Same" was a part of the Spacemen 3 live set since 1984. Both "Revolution" and "Suicide" had been part of the band's live set for almost a year before the studio versions were officially released. This incendiary version comes from a 1989 show in which "Revolution" was often played twice. "Suicide" was typically the last song of the set and could last anywhere from 15 to 45 minutes. "Take Me To The Other Side" was one of the band's most intense workouts, always a strong crowd pleaser, and rarely out of the set.”
CD $15


CONTROLLED DEATH - Symphony For The Black Murder (Urashima 125; Italy) “Controlled Death is the new project by the Japanese noise legend Masonna and Symphony For The Black Murder was first official work released in April 2018 in a vinyl edition of 199 copies. The activities of Controlled Death are like archaic revival to the music experience before Masonna. You can also find the pathology image of the early industrial period and the shadows of Vienna activism such as Hermann Nitsch. The existence and art that pierces through conspicuous consciousness and dives to areas of unconsciousness due to death and pleasure. The tracks on the album are based on obsessive and compulsive synth drones with voice, effects, and tapes. The smell of death is soaked in every sound produced by the brilliant mind of Maso Yamazaki. Anxiety, alienation, and hypochondria turn into a deep paranoia in pain. Without hesitation, the bodies are emptied, leaving the field to an electronics purulence of rare power disconcerting: a perfect Symphony For The Black Murder. This CD issue includes a 30-minute bonus track recorded live during "Black Murder Gig" at Namba Bears Osaka on September 1, 2018. Digipack; edition of 199.”
CD $17


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JULIUS EASTMAN - The N*gger Series (Blume 014-015; Italy) Very limited double-LP bundled version of the two individual LPs, 180 gram color vinyl. Includes printed inner, Nagaoka anti-static record sleeve, plus and Obi-style insert in a fold-out outer sleeve. Only a handful of years ago, the name Julius Eastman would have been met by a unanimous blank look. The legacy of this once-darling of the New York post-minimal avant-garde had, since his untimely death at the age of 49, in 1990, been almost entirely lost. Eastman's story is as fascinating as they come: black, angry, and queer in an all too polite, straight white musical world. A prodigy and genius whose music took him to astounding heights, whose unwillingness to conform and play by the rules took him down the path of drug abuse and homelessness, as well as the loss of his scores. Even before his death, he was already a forgotten name. Eastman belongs to a generation of composers who inherited the mantel left by minimalism, but despite being highly respected by his peers, he was given few chances to record his work, relegating most of his talent as a singer and pianist to the realization of others' work. It was Eastman who conducted the iconic recording of Arthur Russell's Tower of Meaning, and whose piano cuts its way across the 1976 recording of Morton Feldman's For Frank O'Hara. It's likely that Eastman's work would have been entirely lost, had it not been for rigorous efforts of a few close friends, the most persistent of whom was the composer, Mary Jane Leach, who spent years tracking down his lost scores. These efforts eventually led to the comprehensive CD collection, Unjust Malaise (2005). It was the beginning of a turning tide, and over the 13 years since, Eastman's singular voice has slowly returned to the audience he always deserved. It also represented the recorded debut of some his most thrilling and controversial work, three compositions for piano from what he called the N*gger Series: Gay Guerrilla, Evil N*gger, and Crazy N*gger. The three pieces are now issued across two LPs in their first-ever vinyl release with extensive liner notes by Leach and Bradford Bailey. These three seminal works by one of the most important, but neglected, American composers of the 1970s and '80s, return to the light once more. Not only are they an entire rethinking of musical minimalism, but they ferociously blow the doors off of what classical music can be. Mastered by Giuseppe Ielasi. All three compositions on these 2 LPs are for piano quartet: Performed by: Frank Ferko, Janet Kattas, Julius Eastman, Patricia Martin. Recorded 1979/80.
2 LP Set $54

DANIEL CARTER / PATRICK HOLMES / MATTHEW PUTMAN / HILLIARD GREENE / FEDERICO UGHI - Electric Telepathy (577 Records 5821; USA) Featuring Daniel Carter on saxes, clarinet, flute & trumpet, Patrick Holmes on clarinet, Matthew Putnam on keyboards, Hilliard Greene on contrabass and Federico Ughi on drums. Nothing is is what it seems to be. Italian-born, once London-based drummer, Federico Ughi, has been working in the Brooklyn/NY area for the past two decades. He has also been running this, the 577 Records label for almost as long. Mr. Ughi has organized a series of bands using many of Downtown’s better players: Daniel Carter, Sabir Mateen and William Parker, as well as choosing a number of equally impressive up & coming musicians from the Downtown area. Clarinetist Patrick Holmes has been working at the outskirts of the local scene for many years and appears on just a handful of recordings. This is the second release from the same quintet, whose first album came out earlier this year. Like the set at the store last week (9/18/19), the music here was not what I expected. The album begins with eerie, rolling electric piano and masterful mallet-work. It sounds somewhat like the later period Doors and is most hypnotic. Soon the spiraling clarinet comes in weaving its way over the crashing waves underneath. The other instruments float in one at a time taking slow, thoughtful solos: bowed bass, Sun Ra-like electric keyboard and soprano sax, all floating in a dream-like haze, sublime and uplifting. On Side Two the pieces are shorter and evoke different moods with chances for all five members to stretch-out within the established mood. This is a studio recurring and the sound is splendid throughout. - Bruce Lee Gallanter, DMG
LP $20


DONALD McKENZIE with NELS CINE / MELVIN GIBBS / VERNON REID - Silenced (5799 577 Records; USA) This is a reissue of the first volume of ’Silenced’, which was released on cassette only not that long ago. Both volumes of ’Silenced’ feature duos with the great drummer Don McKenzie: Nels Cline & Vernon Reid on guitars and Melvin Gibbs on electric bass. Since moving here from L.A. several years ago, ace guitarist Nels Cline, has kept pretty busy playing as often as is possible when not touring with Wilco (well known roots rock giants). I’ve caught Nels playing all over the place over the past few years: The Stone, Roulette, Nublu, even here at DMG on occasion. The entire first side of this album is a 20 minute duo with Mr. McKenzie and Mr. Cline. This is a studio effort, recorded at Bill Laswell’s Orange Music Studio by James Dellacoma and the sound is superb! Nels Cline is a master of many devices for his guitar and is often shifting between several manipulations/settings. Mr. McKenzie is the perfect partner for this duo as he works his way through a variety of styles and ideas: funk/rock/jazz/freefrom whatever. Mr. Cline also whips out the occasional lightning flash-like licks when not altering his guitar in all sorts of odd ways. The duos with bassist Melvin Gibbs (from Harriet Tubman) and Vernon Reid (Living Color, etc,) are equally diverse and most impressive. Three OUTstanding duos! - Bruce Lee Gallanter, DMG
LP Only $20

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G. CALVIN WESTON / THE PHEONIX ORCHESTRA - Dust and Ash (577 Records 5826; USA) Featuring G. Calvin Weston on drums & pocket trumpet, Tom Spiker on electric guitar, David Dzubinski on piano & keyboard, Carlos Santiago & Benjamin Sutin on violins, Ajibola Rivers on cello, Elliot Garland on electric bass & Kayle Brecher on vocals (minimal & used selectively). Philly-based drummer, Calvin Weston, has worked with a unique assortment of diverse musicians: Ornette Coleman’s Primetime, the Lounge Lizards & John Lurie solo projects, Blood Ulmer and Marc Ribot. Even more unexpected are the half dozen releases as a leader, each of which with different personnel (John Medeski, Elliott Levin, Todd Rundgren & This Van Leer?!?) and each one interesting in its own way. Which brings us to the Mr. Weston’s new ensemble, the 9 piece Phoenix Orchestra. I didn’t recognize the names of the other musicians except their previous work with Mr. Weston, plus violinist Carlos Santiago, was once a member of the impossible to pigeonhole Philly band named Normal Love. Most of the music on this album was composed by Mr. Weston & keyboardist David Dzubinski. The results here are extraordinary, complex, tight and well-executed. The liner notes mention that Mr. Weston’s main early inspiration was the Mahavishnu Orchestra. This bands sounds very similar in several ways. The title piece sounds like it came right off of Mahavishnu’s ‘Apocalypse’ album, complete with quick pumping electric bass, masterful drums and featuring an exciting violin solo (watch out Jean Luc Ponty!). This music sound like the best aspects of early jazz/rock, before the term fusion took over and became sadly predictable. Although the song “Incarnate” has a funky groove, it is still infectious, with some great sly, slinky guitar riffs in the back and more stunning violin & electric piano interplay up front. I am currently reviewing this on vinyl which does sound marvelous, dynamic, warm, intense, burning, funky, inspired and without a doubt, one of this year’s best undiscovered treasures. One of the many highlights here is a splendid drum solo called, “Thunder”, which bridges two other superb songs just right. This is a monster disc so you best take notice, dive in and grab a copy for yourself. It will be released on CD sometime soon for all the old folks in their retirement communities. Peace. - Bruce Lee Gallanter, DMG
LP $20


WINFRIED MUHLUM-PYRAPHEROS - Musica Nova Contemplativa (Blume 016; USA) Blume present the first ever reissue of Winfried Mühlum-Pyrápheros's Musica Nova Contemplativa, originally released in 1970. This stunning artifact of its era has, until now, remained among the rarest artifacts in the field of cross-disciplinary efforts known as the Artist Record: sonic adventures embarked on by artists primarily dedicated to the visual realm. Creatively challenging, ahead of its time, and unquestionably beautiful, its rare musicality sets the stage for alternate understandings of what minimalism was and came from, during its early years. Droning and tense, subtle melodic elements underpin sheets of tone and atonality, sculpting an incongruous sense of spatial ambience; the concept of Musica Nova Contemplativa drew on a unique, unfixed compositional system created by combining traditional musical notation with mobile and variable elements, expressed graphically as a system of coordinates which leave variation, interpretation, and improvisation up to the performer. Captured as eleven distinct movements, the work, in hindsight, can now be understood as a lost, freestanding work of musical minimalism, echoing idiomatic roots in Fluxus and the raw temperaments of artists like Tony Conrad and Henry Flynt, threaded with touchstones in the work of Eliane Radigue, Giacinto Scelsi, and Jani Christou. Born in Germany during 1941 and educated in philosophy and psychology, over the last half century the bulk of Winfried Mühlum-Pyrápheros's artistic output has been largely oriented around painting, sculpture, and installation, each focused on the experiences of phenomena, environment, and light. Musica Nova Contemplativa was composed in 1964 as a graphic score, then it was interpreted and recorded by Mühlum-Pyrápheros on violin and Johann Georg Ickler on organ three years later in a Franciscan church in Bensheim as is a logical extension of the artists broader concerns: seeking further territories of inclusive and expansive environments of experience. Intended as acoustic extensions of his paintings, the collective contents of the album are a metaphysical and esoteric rising in sound. Out-of-print for almost 50 years, this edition represents its first ever reissue in any form, complete with an interview between Winfried Mühlum-Pyrápheros and Stefan Bremer conducted for the occasion of this reissue, and newly commissioned liner notes by Bradford Bailey. Includes printed inner sleeve and an original insert that functions as obi; Edition of 300.
LP $26


BUDDY COLLETTE SEPTET - Polynesia (Trunk 082; UK) The rarest of all exotic LPs, like Eden Ahbez but with extra added death. This bizarre, rarely heard masterpiece brings together jazz, ancient manuscripts, and a convicted murderer... Issued originally in 1959 it originates from Phoenix, Arizona. The concept behind the recording was unusual -- to bring together two unconnected worlds: the jazz genius of Buddy Collette with the academic oriental studies and translations of A.I Groeg. Little can be found of A.I. Groeg, but before the LP was recorded A.I Groeg had translated several Polynesian and Japanese manuscripts. These form the basis of the dark narrations and lyrics across the album. Sublime vocalist Marni Nixon, the voice of Maria in West Side Story (1961), was brought in for two songs and fledgling actor Robert Sorrels (now a convicted murderer) supplied the strangely unsettling and almost otherworldly narration. The original LP states that "Buddy was given carte blanche with the material. After six months of composing and studying with the voice soloists, the results were two instrumentals and two songs on side one, and tone poems on side two. The latter represents a new musical genre. They are musical descriptions, preceded by spoken lines, and they become tone poems or musical illustrations inspired by the islanders, their words and marvelous simplicity. The mood is complete, yet hovers strangely in the air like a vague tantalizing dream." Jonny Trunk on the reissue: 'I'd first heard the album in about 2010 on a bizarre bootlegged CD (edited strangely with exotic library music), and spent the next few years desperately trying to find an original pressing. About one copy turns up a year, it seems to be far rarer than the legendary Eden's Island album (1960) and occupies a similar musical space. But this album has a little more death. Heaven knows what new listeners will think of Polynesia, but it sure is a dark and weird musical trip. One I feel everyone should take." Personnel: Buddy Collette - flute, clarinet; Gene Cipriano - oboe, English horn, bass clarinet; Gerald Wilson - trumpet; Justin Ditullio - cello; Al Viola - guitar, banjo; Red Callender - bass, tuba; Earl Palmer - drums; Ed Lustgarden - cello. New sleeve notes by Trunk.
LP $30

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JOHN ZORN SEPTEMBER, 2019 BIG BIRTHDAY CD SALE Part 2:
The sale continues until the end of September:

To help celebrate JON ZORN’s 66th Birthday, we are having a monthlong Zorn/Tzadik CD sale. We are doing this in three parts, each one of around 55 CD’s each, listed over three weeks. The the entire 160 count list will appear on the DMG website in the next few days. This sale does not include any discs from the Masada, Naked City or Filmworks series. You must order at least 3 pieces in order to get the discount. Please give us a week or two to get these orders together especially if you are ordering a large quantity of CD’s. Also, please cut & paste the entire (single or double) CD listing so we know what to charge you. All domestic orders will ship via media mail with tracking unless you want us to ship 1st class (1-3 Cd’s, approx) or priority mail, which is quicker & more expensive. PLEASE LIST IN THE SUBJECT LINE IF YOU ARE ORDERING FROM JOHN ZORN SEPTEMBER, 2019 BIG BIRTHDAY CD SALE. - thanks, BLG/DMG

JOHN ZORN // FRED SHERRY / DAVID FULMER / KENNY WOLLESEN / ANU KOMSI - Music And Its Double (Tzadik 8092; USA)
CD Sale $13 [3 or 4 copies] / $12.50 [5 copies]

JOHN ZORN With MARC RIBOT/ANTHONY COLEMAN/ERIK FRIEDLANDER/GREG COHEN et al - Music for Children - 10th Anniversary Edition: Music Romance Vol I (Tzadik 7321; USA)
CD Sale $13 [3 or 4 copies] / $12.50 [5 copies]

JOHN ZORN // LISA BIELAWA / JENNIFER CHOI / LOIS MARTIN / FRED SHERRY / et al - Mysterium (Tzadik 8018)
CD Sale $13 [3 or 4 copies] / $12.50 [5 copies]

JOHN ZORN //ARDITTI QUARTET / JEFF ZEIGLER / CHRIS OTTO / JAY CAMPBELL / STEPHEN GOSLING / TALEA ENSEMBLE / et al - Myth And Mythopoeia (Tzadik 8318; USA)
CD Sale $14 [$2 off reg price for 3 CDs from September, 2019]

JOHN ZORN & YAMANTAKA 'YAMATSUKA' EYE - Nani Nani II (Tzadik 7250; USA)
CD Sale $13 [3 or 4 copies] / $12.50 [5 copies]

JOHN ZORN//BILL FRISELL/FRED FRITH/WAYNE HORVITZ/ANTHONY COLEMAN/JOEY BARON/SAMM BENNETT et al - New Traditions In East Asian Bar Bands (Tzadik 7311; USA)
CD Sale $13 [3 or 4 copies] / $12.50 [5 copies]

JOHN ZORN With ROB BURGER / BILL LASWELL / KEVIN NORTON - Nosferatu (Tzadik 7397; USA)
CD Sale $15 [$2 off reg price for 3 CDs from September, 2019]

JOHN ZORN//NOVA EXPRESS [JOHN MEDESKI/KENNY WOLLESEN/TREVOR DUNN/JOEY BARON] - Nova Express (Tzadik 7389; USA)
CD Sale $13 [3 or 4 copies] / $12.50 [5 copies]

JOHN ZORN // THE DREAMERS [MARC RIBOT / JAMIE SAFT / KENNY WOLLESEN / TREVOR DUNN / JOEY BARON / CYRO BAPTISTA] - O’o (Tzadik 7376; USA)
CD Sale $15 [$2 off reg price for 3 CDs from September, 2019]

JOHN ZORN // DITHER [GUITAR QUARTET] - Olympiad Vol. 1: Dither Plays Zorn (Tzadik 8327; USA)
CD Sale $13 [3 or 4 copies] / $12.50 [5 copies]

JOHN ZORN//NOVA EXPRESS [JOHN MEDESKI/KENNY WOLLESEN/TREVOR DUNN/JOEY BARON] IKUE MORI - On Leaves Of Grass (Tzadik 8320; USA)
CD Sale $13 [3 or 4 copies] / $12.50 [5 copies]

JOHN ZORN // ICE ENSEMBLE - On The Torment Of Saints, The Casting Of Spells And The Evocation Of Spirits (Tzadik 9003; USA)
CD Sale $13 [3 or 4 copies] / $12.50 [5 copies]

JOHN ZORN With POLLY BRADFIELD / CHARLES K NOYES / BOB OSTERTAG / MARK E MILLER - Pool (Tzadik 7316-1; USA)
CD Sale $13 [3 or 4 copies] / $12.50 [5 copies]

JOHN ZORN // ABRAXAS [SHANIR EZRA BLUMENKRANZ / EYAL MAOZ / ARAM BAJAKIAN / KENNY GROHOWSKI] - Psychomagia (Tzadik 8313; USA)
CD Sale $13 [3 or 4 copies] / $12.50 [5 copies]

JOHN ZORN // JIM PUGLIESE / CAROL EMANUEL / ERIK FRIEDLANDER / JILL JAFFEE - Redbird: For Agnes Martin (Tzadik 7008; USA)
CD Sale $13 [3 or 4 copies] / $12.50 [5 copies]

JOHN ZORN With IKUE MORI / TREVOR DUNN / KENNY WOLLESEN / et al - Rimbaud (Tzadik 8301)
CD Sale $14 [$2 off reg price for 3 CDs from September, 2019 Sale]

JOHN ZORN // JENNIFER CHOI / STEPHEN DRURY / FRED SHERRY / JIM PUGLIESE / WILLIAM WINANT / et al - Rituals (Tzadik 8011; USA)
CD Sale $13 [3 or 4 copies] / $12.50 [5 copies]

JOHN ZORN // JACK QUARTET - Sacred Visions (Tzadik 8345; USA)
CD Sale $14 [$2 off reg price for 3 CDs from September, 2019 Sale]

JOHN ZORN//CRACOW KLEZMER BAND - Sanatorium Under the Sign of the Hourglass: A Tribute to Bruno Schultz (Tzadik 7349; USA)
CD Sale $13 [3 or 4 copies] / $12.50 [5 copies]

JOHN ZORN // THE SAPPHITES [MARTHA CLUVER/LISA BIELAWA/KATHRYN MULVEHILL/ABIGAIL FISCHER/KIRSTEN SOLLEK] - Shir Hashirim: The Song Of Songs (Tzadik 8310; USA)
CD Sale $13 [3 or 4 copies] / $12.50 [5 copies]

JOHN ZORN//SIMULACRUM [JOHN MEDESKI/MATT HOLLENBERG/KENNY GROHOWSKI] - Simulacrum (Tzadik 8330; USA)
CD Sale $15 [$2 off reg price for 3 CDs from September, 2019]

JOHN ZORN//MOONCHILD: MIKE PATTON/TREVOR DUNN/JOEY BARON IKUE MORI/JAMIE SAFT - Six Litanies for Heliogabalus (File Card Composition Series)(Tzadik 7361; USA)
CD Sale $13 [3 or 4 copies] / $12.50 [5 copies]

JOHN ZORN With JENNIFER CHOI - Songs From The Hermetic Theatre (Tzadik 7066; USA)
CD Sale $13 [3 or 4 copies] / $12.50 [5 copies]

JOHN ZORN//MARK FELDMAN/ERIK FRIEDLANDER/JOYCE HAMMANN/LOIS MARTIN - String Quartets (Tzadik 7047; USA)
CD Sale $13 [3 or 4 copies] / $12.50 [5 copies]

JOHN ZORN With MARC RIBOT / ROBERT QUINE / MARK FELDMAN / MIKE PATTON / et al - Taboo and Exile: Music Romance Vol II (Tzadik 7325; USA)
CD Sale $13 [3 or 4 copies] / $12.50 [5 copies]

JOHN ZORN // MOONCHILD: MIKE PATTON / TREVOR DUNN / JOEY BARON JOHN MEDESKI - Templars - In Sacred Blood (Tzadik 7398; USA)
CD Sale $15 [$2 off reg price for 3 CDs from September, 2019]

JOHN ZORN WITH MARTY EHRLICH / ROBERT QUINE / CHRISTIAN MARCLAY / ZEENA PARKINS / JIM STALEY /WAYNE HORVITZ / et al - The Bribe (Tzadik 7320; USA)
CD Sale $13 [3 or 4 copies] / $12.50 [5 copies]

JOHN ZORN//NOVA EXPRESS [JOHN MEDESKI/KENNY WOLLESEN/TREVOR DUNN/JOEY BARON] MARK FELDMAN/ERIK FRIEDLANDER - The Concealed: Esoteric Secret And Hidden Traditions Out Of The East (Tzadik 8304; USA)
CD Sale $14 [$2 off reg price for 3 CDs from September, 2019 Sale]

JOHN ZORN//MOONCHILD: MIKE PATTON/TREVOR DUNN/JOEY BARON MARC RIBOT - The Crucible (Tzadik 7372; USA)
CD Sale $13 [3 or 4 copies] / $12.50 [5 copies]

JOHN ZORN With BILL FRISELL / ROBERT QUINE / CHRISTIAN MARCLAY / CAROL EMANUEL / BOBBY PREVITE / et al - Godard/Spillane (File Card Composition Series) (Tzadik 7324; USA)
CD Sale $13 [3 or 4 copies] / $12.50 [5 copies]

JOHN ZORN // JAY CAMPBELL / MICHAEL NICOLAS / CHRIS OTOO / STEPHEN GOSLING - Hen to Pan (Tzadik 8329; USA)
CD Sale $15 [$2 off reg price for 3 CDs from September, 2019]

JOHN ZORN With EUGENE CHADBOURNE/WAYNE HORVITZ/BOB OSTERTAG/POLLY BRADFIELD/MARK E MILLER - Hockey (Tzadik 7316; USA)
CD Sale $13 [3 or 4 copies] / $12.50 [5 copies]

JOHN ZORN With MIKE PATTON / BILL LASWELL / JAMIE SAFT / GREG COHEN / CYRO BAPTISTA / et al - IAO: Music In Sacred Light (File Card Composition Series)(Tzadik 7338; USA)
CD Sale $13 [3 or 4 copies] / $12.50 [5 copies]

JOHN ZORN With CHES SMITH / IKUE MORI - In a Convex Mirror (Tzadik 8360; USA)
CD Sale $13 [3 or 4 copies] / $12.50 [5 copies]

JOHN ZORN // GNOSTIC TRIO [BILL FRISELL/CAROL EMANUEL/KENNY WOLLESEN] - In Lambeth: Visions From The Walled Garden Of William Blake (Tzadik 8309; USA)
CD Sale $13 [3 or 4 copies] / $12.50 [5 copies]

JOHN ZORN//ALHAMBRA TRIO [ROB BURGER/GREG COHEN/BEN PEROWSKY] KENNY WOLLESEN/CAROL EMANUEL/SHANIR EZRA BLUMENKRANZ - In Search Of The Miraculous: Hymns, Prayers And Sacred Dances (Tzadik 7379; USA)
CD Sale $13 [3 or 4 copies] / $12.50 [5 copies]

JOHN ZORN//SIMULACRUM [JOHN MEDESKI MATT HOLLENBERG / KENNY GROHOWSKI] - Inferno (Tzadik 8336)
CD Sale $15 [$2 off reg price for 3 CDs from September, 2019]

JOHN ZORN // JULIAN LAGE / MATT HOLLENBERG / TREVOR DUNN / KENNY GROHOWSKI - Insurrection (Tzadik 8359; USA)
CD Sale $13 [2-4 copies] / $12.50 [5 copies]

JOHN ZORN With MARC RIBOT / JOHN MEDESKI / IKUE MORI / TREVOR DUNN / CYRO BAPTISTA/KENNY WOLLESEN - Interzone (File Card Composition Series) (Tzadik 7387; USA)
CD Sale $13 [3 or 4 copies] / $12.50 [5 copies]

JOHN ZORN//MOONCHILD: MIKE PATTON/TREVOR DUNN/JOEY BARON MARC RIBOT - Ipsissimus (Tzadik 7386; USA)
CD Sale $13 [3 or 4 copies] / $12.50 [5 copies]

JOHN ZORN // JAMES MOORE - James Moore Plays The Book Of Heads - CD and DVD of a film by Stephen Taylor (Tzadik 8337; USA)
CD DVD Sale $22 [$2 off reg price for 3 CDs from September, 2019]

JOHN ZORN//MARK FELDMAN/MARC RIBOT/ANTHONY COLEMAN/MARK DRESSER/FRANK LONDON / et al - Kristallnacht (File Card Composition Series)(Tzadik 7301; USA)
CD Sale $13 [3 or 4 copies] / $12.50 [5 copies]

JOHN ZORN With EUGENE CHADBOURNE/HENRY KAISER/POLLY BRADFIELD/LaDONNA SMITH/DAVEY WILLIAMS/BRUCE ACKLEY/MARK ABBOTT - Lacrosse (Tzadik 7316-1; USA)
2 CD Sale Set $18 [when you order 3 CD’s from the September, 2019 Sale]

FRED FRITH / JOHN ZORN - Late Works (Tzadik 7634; USA)
CD Sale $13 [3 or 4 copies] / $12.50 [5 copies]

JOHN ZORN // PAULINE KIM / DAVID FULMER / CHRIS OTTO - Lemma: Compositions For Violin (Tzadik 8095; USA)
CD Sale $13 [3 or 4 copies] / $12.50 [5 copies]

JOHN ZORN // STEPHEN GOSLING TRIO With GREG COHEN / TYSHAWN SOREY - Live At The Hall Of Mirrors (Tzadik 8317; USA)
CD Sale $13 [3 or 4 copies] / $12.50 [5 copies]

JOHN ZORN LOCUS SOLUS With ARTO LINDSAY / ANTON FIER / WAYNE HORVITZ / IKUE MORI / PETER BLEGVAD / CHRISTIAN MARCLAY / et al - Locus Solus (Tzadik 7303; USA)
CD Sale $13 [3 or 4 copies] / $12.50 [5 copies]

JOHN ZORN // JENNIFER CHOI / ERIK FRIEDLANDER / STEPHEN DRURY - Luminescence (Tzadik 8131; USA)
CD Sale $13 [3 or 4 copies] / $12.50 [5 copies]

JOHN ZORN//JENNIFER CHOI/ERIK FRIEDLANDER/STEPHEN DRURY - Madness, Love And Mysticism (Tzadik 7065; USA)
CD Sale $13 [3 or 4 copies] / $12.50 [5 copies]

JOHN ZORN - Madrigals - For Six Female Voices (Tzadik 8339; USA)
CD Sale $14 [$2 off reg price for 3 CDs from September, 2019]

JOHN ZORN // JENNIFER CHOI / FRED SHERRY / MIKE LOWENSTERN / et al - Magick (Tzadik 8006; USA)
CD Sale $13 [3 or 4 copies] / $12.50 [5 copies]

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Bruce Lee Gallanter’s Recommended Gig List for September of 2019:

THE NEW STONE
Is Located at the New School’s Glass Box Theatre
55 West 13th street - just east of 6th ave

THE STONE RESIDENCIES - ZEENA PARKINS - SEPT 10–14

9/13 Friday
8:30 pm - MZM TRIO - Myra Melford (piano) Zeena Parkins (harp) Miya Masaoka (koto)

9/14 Saturday
8:30 pm - TRIO - William Winant (percussion) Ikue Mori (electronics) Zeena Parkins (harp)

THE STONE RESIDENCIES - MATT MITCHELL - SEPT 17–21

9/17 Tuesday
8:30 pm - Matt Mitchell, Craig Taborn, Ches Smith, Dan Weiss
Matt Mitchell, Craig Taborn (synthes) Ches Smith, Dan Weiss (drums)

9/18 Wednesday
8:30 pm - Snark Horse A - Matt Mitchell (piano, compositions) Kate Gentile (drums, compositions) Ben Gerstein (trombone) Mat Maneri (viola) Brandon Seabrook (guitar)

9/19 Thursday
8:30 pm - Chamber Music - Matt Mitchell (piano, compositions) Sara Schoenbeck (bassoon) Joanna Mattrey (viola) Miranda Cuckson (violin) Mariel Roberts (cello)

9/20 Friday
8:30 pm - Snark Horse 1 - Matt Mitchell (piano, compositions) Kate Gentile (drums, compositions) Ava Mendoza (guitar) Kim Cass (bass) Davy Lazar (trumpet) Matt Nelson (tenor sax)

9/21 Saturday
8:30 pm - Phalanx Ambassadors - Matt Mitchell (piano, compositions) Miles Okazaki (guitar) Patricia Brennan (vibes, marimba) Kim Cass (bass) Kate Gentile (drums)

THE (NEW) STONE is located in The New School’s Glass Box Theatre  
All Sets at The New Stone start at 8:30pm Tickets: $20
There are no refreshments or merchandise at The Stone. 
Only music. All ages are welcome. Cash Only at the door. 
A serious listening environment.
The Stone is booked purely on a curatorial basis

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THE JAZZ GALLERY Presents:

Saturday, September 14th:
NICK DUNSTON’S ‘ATLANTIC EXTRACTION’
Louna Dekker-Vargas – flute, alto flute, piccolo
Ledah Finck – violin, viola
Tal Yahalom –guitar
Nick Dunston – bass, compositions
Stephen Boegehold – drums
sets at 7.30pm 9.30pm

Saturday, September 21st:
TONY MALABY EUROPEAN TRIO
Tony Malaby -tenor & soprano saxophones
Joe Malone -Fender rhodes & keys
Melvin Bauer –drums & compositions
sets at 7.30pm 9.30pm

Monday, September 23rd:
INGRID LAUBROCK SEXTET
Ingrid Laubrock – tenor saxophone, soprano saxophone, compositions
Brandon Seabrook – guitar
Michael Formanek – bass
Tom Rainey – drums
Mazz Swift – violin
Tomeka Reid – cello
Sets at 7:30pm & 9:30 pm

The Jazz Gallery is located at:
1160 Broadway, 5th fl
between 27th 28th streets
New York, NY 10001
info@jazzgallery.org

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Bushwick Improvised Music Series Continues:

Monday September 16th
7pm Ken Silverman - guitar
Sam McPherson - bass
Andy O'Neill - drums

8pm Stephen Gauci - tenor saxophone
Drew Wesely - guitar
Adam Lane - bass
Kevin Shea - drums

9pm Lesley Mok - drums
David Leon - alto saxophone
Yuma Uesaka - tenor saxophone

9:45pm Stephen Boegehold - drums
Michaël Attias - alto saxophone
Davy Lazar - trumpet
Jessica Ackerley - guitar

10:45pm Drew Wesely - guitar
Jake Henry - trumpet
Jason Nazary - drums

11:30pm Vinicius Ciccone Cajado - bass
Kenji Herbert - guitar
11:30pm Matt Bent ensemble

Downstairs @ Bushwick Public House
http://bushwickpublichouse.com/ gaucimusic.com
1288 Myrtle Avenue in Bushwick, Brooklyn
(Across the street from M train Central Ave stop)