Big SUNNYSIDE CD/DVD Sale: 50 items Now on sale!
SUNNYSIDE is one of our favorite labels which is based in New York and has been putting out some 30 strong releases every year. Their founder was previous involved with the great French Owl label so there are a number of Owl releases found below. For every 10 CD’s you pick, you can take the next one for FREE. Only the single CD’s can be taken as a free one. All releases below count as 1 item each, no matter how many discs are inside. Most of these titles are not in stock but should be here within a week or so please be patient. - BLG
RAN BLAKE - Wende (Owl/Sunnyside 3516; USA) Ran makes music for all parts of a man: for the “guts”, like they used to say, and for the head, which is for thinking with, and for taking a beating from a billy-club. It’s because Ran Blake also, and specially, makes music for the head, that every word counts, every word he puts to his music. He hits [the piano] like a wildman. ‘Wende’ is the perfect encapsulation of the pianist's sensibilities...conspire to create a nightscape of intrigue and magic.
PAUL BLEY / JIMMY GIUFFRE / STEVE SWALLOW - The Life Of A Trio: Saturday (Owl/Sunnyside 3514; USA)in 1961-62 with pianist Paul Bley and a 20-year-old Steve Swallow on upright bass, the Third Stream innovator created the best music of his career - telepathic performances that continue to astound and inspire more than four decades later. This 1989 reunion of Giuffre's remarkable group. Older, wiser and still stunningly in tune with each other, the threesome take up where they left off and the resulting double-disc of music is every bit as riveting as the original.
PAUL BLEY / JIMMY GIUFFRE / STEVE SWALLOW - The Life Of A Trio: Sunday (Owl/Sunnyside 3515; USA) It is more that the three musicians demonstrate the kind of serenity that goes with mastery, and once more, a certain easy relationship with the time of the music which marks out the Masters - serenity and detachment : the notion of playing around with the rhythm of the piece, to hold it effortlessly and ride the beat without any sense of urgency or panic. They are both grave and relaxed at the same time because they have the knowledge, and they are marking time in every sense.
PAUL BLEY & GARY PEACOCK - Partners (Owl/Sunnyside 3503; USA) What can be said of Paul Bley and Gary Peacock is that they’ve continually mixed with every single player whose relationship to jazz has been essentially poetic : angry or self-effacing perhaps, but poetic. What stands out in their approach and bonds them together is the delicacy of expression in their playing coupled with a dynamic use of space (interiority), a clear strand of intelligence, and an overall feel which springs out of friendship, and makes itself felt whether or not we know of their friendship
LUIZ BONFA - Le Roi de la Bossa Nova (Sunnyside 3037; USA)When Luiz Bonfa recorded Le Roi de La Bossa Nova in 1962, and En direct du Brésil, in 1963, one 12-song LP and one EP of four titles gathered together here on one CD, the Bossa Nova had definitively conquered the whole world. The composer of two of the main themes for the film Orfeu Negro, which was awarded the “Palme d'Or” at the Cannes Film Festival, Luiz Bonfa was no longer an unknown outside his native Brazil and so he was naturally one of the rare musicians invited to take part in the first Bossa Nova Festival held at Carnegie Hall in New York in November 1962, a concert that was both a society event and a major music-event worldwide.
DENIS COLIN TRIO with DIDIER PETIT / PABLO CUECO - Something in Common (Sunnyside 3024; USA) Something in Common from the Denis Colin Trio commands attention. The trio, comprised of bass clarinet, cello and percussion, seamlessly mixes, R&B, hip-hop, gospel and jazz – re-interpreting songs from Wyclef Jean’s Diallo to Coltrane’s Amen. The record also features stellar performances by Gwen Matthews and gospel group The Steeles (featured on Prince’s Graffiti Bridge). Stand-out packaging includes classic photographs of Sonny Rollins, Archie Shepp, images from the civil rights movement and much more.
JACQUES COURSIL With MARK WHITECAGE / PERRY ROBINSON / BOBBY FEW / ALAN SILVA / SUNNY MURRAY et al - Trails Of Tears (Sunnyside 3085; USA) "Like Clameurs (released in 2007) ‘Trails of Tears’ has its roots in a profound quest for meaning. Using the terrifying tales of he Cherokee nation;s long, hard battle as its argument - like some Cherokee Iliad the outline of which is traced by Bernard Vincent in his accompanying notes - the music of Jacques Coursil calls on the fundaments of Afro-Armerican history, one of whose most important expressions is represented by Jazz (a number of black American musicians. like Sunny Murray, can claim Amerindian origins.)
JACQUES COURSIL With MINO CINELU / ALEX BERNARD et al - Clameurs (Sunnyside 3073; USA) The four oratorios for trumpet and voice that make up CLAMEURS restore the world-cry of four poets in their own tongues, Creole, French and Arabic. But this clamor is neither a lament nor hatred. The trumpet hears and breathes naked words. It is a mouth-drum, the instrument of appeal. "In this world where things hurt," wrote Frantz Fanon, "truth has no need to be flung in men's faces." It has to be sought out and sung: its place is in music
STAN GETZ / KENNY BARRON - People Time: The Complete Recordings - Live At Cafe Montmarte 1991 [7 CD set] (Sunnyside 3084; USA) "One should always listen closely when people are saying goodbye," Katherine Hepburn tells us in "Stage Door." Likewise, Stan Getz, the great tenor saxophonist, found a way to make sure that people would be listening closely when he experienced what would be his last hurrah. Just a few months before his death, Getz (1927-1991) decided to make a live album with the pianist Kenny Barron. Getz and Mr. Barron—who had just spent five years performing with the bassist Rufus Reid and the drummer Victor Lewis in what was quite possibly the best quartet of Getz's career—formed a sort of band within a band, working four nights in front of a live audience (and a recording crew) at the Café Montmartre in Copenhagen. Shortly after Getz's death, 14 of these tracks were issued on a two-CD album titled "People Time." Now, Universal Music France is issuing the complete recordings—48 performances on seven discs that amount to as moving a last will and testament as I have ever heard by a major musician.” - Will Friedwald, THE WALL STREET JOURNAL - December 2009
7 CD Set $32
JIMMY GIUFFRE 3 With PAUL BLEY/STEVE SWALLOW - Fly Away Little Bird (Owl/Sunnyside 3504; USA) This is number 4 of the OWL series that Sunnyside is offering in the US. The french OWL label (now owned by Universal Music) became the most important French jazz label of the 80's. The quality of the recordings and the esthetic of the art made the reputation of the label. One of the most intriguing groups that Jimmy Giuffre led was the trio that he had during 1961-1962 with pianist Paul Bley and bassist Steve Swallow. Giuffre sought to free up his music with subtlety, a use of space and quiet volume. Thirty years later, in 1992, the trio re-united for the first of three OWL sessions. This is the first. Not to be missed.
TIGRAN HAMASYAN With BEN WENDEL / SAM MINAIE / CHRIS TORDINI / NATE WOOD / et al - Shadow Theatre (Sunnyside 3099; USA) Shadow Theater shows the breadth of this young experimenter’s vision, and it shows how much a young musician these days can make jazz and folk music sound like experimental pop — and the other way around. Hamasyan has already collaborated with figures ranging from American post-hip-hop producer Prefuse 73 to Tunisian oud master Dhafer Youssef to French electronic musician Fowatile. Shadow Theater compounds the painterly jazz piano playing that won him first place at the 2006 Thelonious Monk International Jazz Competition with folk influences from his native Armenia. Along the way, it adds a bodily jolt of death metal and a range of kinetic electronic textures that root the record firmly in today, and give it a greater appeal to non-jazz listeners than any of his previous efforts.
HAPPY APPLE [ERIK FRATZKE/DAVE KING/MICHAEL LEWIS] - The Peace Between Our Companies (Sunnyside 3026; USA) It appears that Happy Apple served as a model of what The Bad Plus could do. Balancing that desire for freedom with form, the trio is tight with very arranged music, despite the apparent near-abandon the band applies throughout the album's eight songs, There are all kinds of cultural references, both popular as well as high-brow, but the altitude taken leans toward the antic. - John Ephland, Downbeat
HAPPY APPLE [ERIK FRATZKE/DAVE KING/MICHAEL LEWIS] - Youth Oriented (Sunnyside 3006; USA)The Minneapolis, MN-based trio's fifth outing features more of the musicians' playful, rebellious spirit and enterprising methodologies, as the Youth Oriented motif is depicted in cartoonish fashion within the CD booklet. In addition, the artists' unique sound, consisting of alternative jazz-rock musings, has already spawned a rash of imitators within the modern jazz circuit. Nevertheless, the trio surges onward with more power-packed rock beats and flashy time changes. Notions of a Sonic Youth-type jazz outfit come to mind.... they frequently up the ante, due to their gritty discourses amid elements of soul and chutzpah. Many of these works feature gradually climactic opuses and searing exchanges. Hence, a charismatic lot, with a nouveau approach to jazz music in general as this band traverses the road less traveled. Recommended. ~ Glenn Astarita, All Music Guide
DAVE HOLLAND BIG BAND With CHRIS POTTER/ROBIN EUBANKS/JOSH ROSEMAN/TAYLOR HASKINS et al - Overtime (Dare2 01/Sunnyside 3028; USA) Hats off. The ambitious charts make room for loads of micro action, like reed-section riffing, brass-section swirling and rhythm-section funking. But the composer's craft unites the elements into a swinging whole. Seldom do the tunes become a series of mere events.
Jim Macnie, Downbeat, May 2005
DAVE HOLLAND QUINTET with CHRIS POTTER / STEVE NELSON / RIBIN EUBANKS / NATE SMITH - Critical Mass (Dare2 02/Sunnyside 3058; USA) Following up on his 2005 Grammy win for Overtime, Dave Holland returns with all of the original members as well as new member Nate Smith (drums). The album includes 4 new Holland compositions as well as one from each of the band members. Critical Mass sounds like an album made by a group of world-class musicians that have performed together for nearly a decade. Great tunes and interplay that borders on musical telepathy.
LEE KONITZ/MICHEL PETRUCCIANI - Toot Sweet (Owl/Sunnyside 3501; USA) This is the first CD of the OWL series that Sunnyside is offering in the US. The french OWL label (now owned by Universal Music) became the most important French jazz label of the 80's. The quality of the recordings and the esthetic of the art made the reputation of the label. The Lee Konitz / Michel Petrucciani collaboration documents the meeting of the allways young master saxophonist and the young already mature pianist. Recorded in Paris, France, in May 1982.
LEE KONITZ/KENNY WERNER - Unleemited (Owl/Sunnyside 3511; USA) Following in the wake of Tristano, Billy Bauer, Ronnie Ball, Sal Mosca, Elvin Jones, Dick Katz, Red Mitchell, Martial Solal, Michel Petrucciani, Harold Danko and others, comes Kenny Werner to act as pilot. It is he who drops and weighs anchor. He sails alongside the reefs, listening attentively to the siren’song but never allowing himself to be lured in.
The riddle of the captain’s age is well known to him: it is the age of tireless youth, the age of joyous risk and carefree certainty, the age at which gravity can be assumed with an air of lightness. Werner, in supplying the response to Konitz’s call allows us to distinguish more clearly the saxophonist’s monologue.
STEVE KUHN With MIROSLAV VITOUS / ALDO ROMANO - Oceans In The Sky (Owl/Sunnyside 3508; USA) Kuhn's playing combines the harmonic richness of Bill Evans with the more direct approach of Bud Powell. On 1989's Oceans in the Sky, Kuhn demonstrates both his boppish side with his reading of Kenny Dorham's "" and his impressionistic side with Debussy's "La PlusQue Lente" which flows into Duke Ellington's "Passion Flower." - ALAN LANKIN
STEVE KUHN/STEVE SWALLOW - Two By 2 (Owl/Sunnyside 3526; USA)There’s no need to introduce these two master musicians to jazz audiences. The pianist Steve Kuhn, in addition to having a great career as a leader that continues in the halls, clubs and festivals of America, Europe and Japan, was a sideman of choice for John Coltrane, Stan Getz, Art Farmer and Art Blakey. For his part, Steve Swallow, also an alumni of Farmer and Getz groups, has been a unique bass player (electric) ever since his early days with Paul Bley and Jimmy Giuffre, as well as a highly regarded composer. The duo format of this CD allows both musicians to express their individualism in complete empathy with each other. Here we have two masters at work.
STEVE LACY With GEORGE E LEWIS / IRENE AEBI / JEAN-JACQUES AVENEL / JOHN BETSCH - The Beat Suite (Sunnyside 3012; USA) The Beat Suite, alto saxophonist Steve Lacy's latest foray into what he calls lit-jazz, features the poetry of the Beats – jazz lovers all – set to Lacy's music. The Beats (Jack Kerouac, Alan Ginsberg, Gregory Corso, William Burroughs and more) are given a surprisingly accessible treatment here, considering Lacy's reputation for being "out there."
Steve Lacy, under the influence of the great New Orleans altoist Sidney Bechet, started his musical journey playing Dixieland back in the early fifties, but moved quickly into the realm of avant-garde, playing with pianist Cecil Taylor from 1955-57. In a nearly fifty-year career, he has made more than eighty recordings as a leader; but thirty-plus years of living in Europe – recording on small labels there – has kept his US profile lower than it should be. - Dan McClenaghan - All About Jazz
JEANNE LEE With LEO SMITH GUNTER HAMPEL / DAVE HOLLAND / JEROME HARRIS / MARK WHITECAGE / et al - Natural Affinities (Owl/Sunnyside 3509; USA) This long-unavailable 1992 masterpiece by singer Jeanne Lee showcases the astonishing range and depth of the premier free-jazz vocalist of her time. Lee brought an intimate sensuality to whatever she sang, with a smooth, smoky alto voice that wrapped her material in a warm embrace. And as this diverse album shows, she could sing just about any kind of material well. She sounds as relaxed and assured swinging "I Thought About You" with singer/pianist Paul Broadnax (a cousin) as she does floating the free rhythms of trumpeter Leo Smith’s "Trilogy" or grooving Ntozake Shange’s lyrics over the Brazilian beat of "Ambrosia Mama." "Mingus Meditations," an impressive duet with bassist Dave Holland that uses a passage from Mingus’s autobiography Beneath the Underdog, drifts effortlessly between speech and improvised song.
JEANNE LEE & MAL WALDRON - After Hours (Owl/Sunnyside 3502; USA)Waldron recorded a few albums with Lee in the nineties, including After Hours, reissued by Owl/Sunnyside. Recorded in two days, this session features standards and timeless gems rendered with love by two old pros. Their collaboration results in a warm intimacy with the material and each other’s style.
JOHN McLAUGHLIN / REMEMBER SHAKTI with ZAKIR HUSSAIN / U. SHRINIVAS/ et al - The Way of Beauty (Sunnyside 3076; USA) East-West fusions are so common now, that the idea of a British guitarist with a jazz-rock pedigree mixing it up with Indian classical musicians raises no eyebrows. But in 1975, when John McLaughlin debuted Shakti, the concept and the music itself where downright alien. - Jeff Tamarkin, JazzTimes - June 2008
MEMPHIS SLIM - Paris Mississippi Blues (Sunnyside 3025; USA) This double-CD has some of the very best of his recordings for the Barclay label, emphasizing his working groups on the first CD and some all-star dates on the second. There are many exuberant performances on this reissue along with low-down blues and a few instrumentals. Among the guests are bassist Willie Dixon, pianist Roosevelt Sykes (his duets with Slim are delightful), Buddy Guy, Freddie King and even jazz altoist Sonny Criss.
Although completists will prefer to get the many original sessions, this two-fer serves as a perfect introduction to the music of Memphis Slim, with the music straddling the boundaries between blues, vintage R&B and swinging jazz. ~ Scott Yanow, All Music Guide
2 CD Set $12
DANIEL MILLE with DANIEL GOYONE / JEAN-CHRISTOPHE MALLIARD / REMI VIGNOLO / et al - Entre Chien et Loup (Sunnyside 3018; USA) For his fourth opus, Entre Chien et Loup, Daniel Mille was crystal-clear in his mind: "I wanted to make an accordionist's record, not an accordion album, and pay special attention to the compositions. Composing is like a second trade, to me. When people listen to one of my pieces, like those of Daniel Goyone, I like the writing to be recognized." In that respect, Piazzola and Toninho Horta have nourished him as much as jazz or the dancehalls of the Rue de Lappe.
CHARLES MINGUS With CHARLES McPHERSON / BOBBY JONES / EDDIE PRESTON / JAKI BYARD / DANNIE RICHMOND - Mingus In Paris: The Complete 'America' Session 1970 [2 CD set] (Sue Mingus/Sunnyside 3065; USA)This was recorded on October 31st 1970 in a single, sleepless night, the fleeting space of a session that took place almost undetected, and in a sort of urgent calm. The scene was a deserted Decca studio on the rue Beaujon, a stone's throw from the Champs-Élysées; the session had been set up (for the America label) at a few hours' notice by Pierre Jaubert, the day after a concert given by the sextet at the TNP, and this particular studio date was long considered minor in the Mingus discography when compared with the masterpieces he achieved in maturity. And yet, from both a historical and a musical standpoint, this unexpected session – it was anything but premeditated – undeniably stands apart in the bassist's work; originally released as two records (Pithycanthropus Erectus and Blue Bird), and here reissued for the first time in its entire, intimate dramaturgy, the recordings constitute precious and moving testimony to one of the least-documented periods of his exceptional career; with hindsight, it was a period that saw the decisive moment when, after years of doubt and silence, Mingus found a new confidence and faith in his music; it was the instant when he began his final creative resurrection.
2 CD Set $14
MINGUS BIG BAND/ORCHESTRA/DYNASTY with CRAIG HANDY/ABRAHAM BURTON/MIGUEL ZENON/SCOTT ROBINSON/FRANL LACY/JACK WALRATH/GEORGE COLLIGAN/ et al - I Am Three (Sue Mingus/Sunnyside 3029; USA)“In other words, I am three,” begins Charles Mingus's autobiography, referring to his different incarnations — the vulnerable man, the angry and passionate man, the observer. For the first time, all arrangements for the Mingus Big Band and the Mingus Dynasty were created by performing musicians within the bands: bassist Boris Kozlov, trombonist Earl McIntyre, trombonist Robin Eubanks and saxophonist John Stubblefield. The two Mingus Orchestra arrangements are by Sy Johnson.
MINGUS BIG BAND with EDDIE HENDERSON/JACK WALRATH/ABRHAM BURTON/WAYNE ESCOFFERY/SEAMUS BLAKE/RONNIE CUBER/FRANK LACY/DAVE KIKOSKI/KENNY DAVIS/ et al - Live At The Blue Note In Tokyo, December 31 2005 (Sue Mingus/Sunnyside 3042; USA) Thirty years ago, in late December, 1976, Charles Mingus performed a series of concerts in Tokyo with his quintet. In 2005, also in December, another Mingus band rounded out a week at Tokyo’s famous Blue Note Club with a live recording on New Year’s Eve. Trumpet player Jack Walrath was on hand for both events, linking past and present. The original tour included Walrath, Charles Mingus, Dannie Richmond, Danny Mixon and Ricky Ford. The current 14-piece ensemble, the Mingus Big Band, is the legacy group that carries Mingus’s voice into the future. For the past fifteen years it has kept Mingus’s music passionately alive in a weekly residency in Manhattan and in clubs and concert halls across the world.
RED MITCHELL TRIO with BOBO STENSON / RUNE CARLSSON - One Long String (Sunnyside 3063; USA)Recorded during a visit to Paris (a true miracle!), "One Long String" was the first album to do justice to the innovations that Red Mitchell brought to an instrument he was totally in love with… which is probably the truth, because they say he always asked for a room with two beds when he was touring, so that he could tuck his bass in on one of them… He tuned it like a cello, in fifths, and he'd come up with an astute amplification system that extended the sound of the notes, establishing a legato in the melody line that people hadn't heard before on a bass.
None of these tunes is less than excellent, but if you had to pick one, then (quite subjectively) it would have to be Narbild, which has a deliciously Scandinavian flavor; it's a marvel of jazz chamber music, and its resuscitation forty years later shows it's lost none of its freshness. - Alain Tercinet, June 2006
MICHEL PETRUCCIANI/RON McCLURE - Cold Blues (Owl/Sunnyside 3520; USA) Michel Petrucciani's last OWL recording before hooking up with Blue Note, this set of duets matches the tiny but powerful pianist with bassist Ron McClure. They perform post-bop explorations of four originals (including an ad-lib "Cold Blues"), "Autumn Leaves" and "There Will Never Be Another You." The interplay between the two musicians is impressive, but although McClure plays a prominent role, Petrucciani is clearly the dominant force. Worth searching for. - Scott Yanow, All Music Guide
MICHEL PETRUCCIANI - Oracle's Destiny (Owl/Sunnyside 3519; USA) He said of himself, laughing: «I’m a guy who goes fast». Or again, mocking himself with seriousness, «I’m a very quick guy, it’s not a choice, nor a desire, it’s my life that goes fast». On this album, Michel Petrucciani went fast, and got to the point fast, but with a slowness that’s delicious. Be it in ballads with a majestic rhythm, harmonic meditations without constraint, or on medium tempos (the tempos of the gods), the music is deployed with fullness, and no artifice to put us off the track. The only title to excite the music is Aldo Romano’s composition Amalgame (the others are by the pianist); the remainder are set free far from any nervousness, and are offered, quite naturally, as a gift to Bill Evans, to whom Oracle’s Destiny is predictably dedicated.
MICHEL PETRUCCIANI with ALDO ROMANO / JEAN-FRANCOIS JENNY-CLARK - Michel Petrucciani (Sunnyside 3510; USA) Here we have Michel Petrucciani debut on OWL is first label (he recorded 6 albums for the label). The rhythm section, one of the best in Europe, features Jean-François Jenny-Clark and Aldo Romano.
The great little man is already there in this beautiful session. “the pianist at age 18 already a powerful force... and is more heavily influenced here by Bill Evans than he would be later. The trio performs two originals a piece by the pianist and drummer Romano, plus "Days of Wine and Roses" and a romp on "Cherokee." This CD shows that Petrucciani was a brilliant player from the start. ~ Scott Yanow - All Music Guide
MICHEL PORTAL With TONY MALABY/JEF LEE JOHNSON/TONY HYMAS/FRANCOIS MOUTIN et al - Birdwatcher (Sunnyside 3064; USA)The only common factor of all the musical and sound experiences led by Michel Portal is the improvisation and his demand: putting himself constantly at risk, throwing himself away. Even his movie music, even his interpretations of classical music testify to this urgent need.
Michel Portal recorded Bird Watching in Minneapolis with “locals” heavyweights Tony Hymas, Michael Bland, Erik Fratzke, JT Bates and out towners Tony Malaby, Airto Moreira, Jef Lee Johnson and Francois Moutin.
CHRIS POTTER UNDERGROUND With ADAM ROGERS/CRAIG TABORN/NATE SMITH - Follow The Red Line: Live At The Village Vanguard (Sunnyside 3075; USA) Saxophonist Chris Potter has been pushing the limits of the saxophone since his entrance to the jazz scene. Potter created the Underground band as a vehicle for his explorations in improvisation and composition. Though the band has only been around for a short time, it has proven to be one of the most engaging and far-reaching ensembles around. The new recording, Follow the Red Line, documents the band in its element, a live performance at the famed Village Vanguard, and expands upon their previous release, Underground (Sunnyside 2006). The band consists of young stalwarts Craig Taborn (keyboards), Adam Rogers (guitar) and Nate Smith (drums). This recording serves as a perfect expose of Potter’s prowess as composer and performer.
CHRIS POTTER 10 With MARK FELDMAN / MICHAEL RABINOWITZ / STEVE CARDENAS / SCOTT COLLEY / et al - Song For Anyone (Sunnyside 3074; USA)His work as a leader has now grown imposing. This year, Potter released this—refreshingly unique and unusual—studio album of compositions for tentet. Potter, let there be no mistake, has become one of the most ambitious and ingenious jazz musicians of the new century. - Will Layman, PopMatters - December 2007
CHRIS POTTER QUARTET with KEVIN HAYS / SCOTT COLLEY / BILL STEWART - LIFT - Live at the Village Vanguard (Sunnyside 3022; USA) A Modern Masterpiece: By Fully capturing the unique power and synergy these four master musician's produce on stage, Lift is an exemplar of live recording. Not only is the sound quality crystal clear, but Potter and company reach peaks of collective creativity one rarely hears, and even more rarely encounters on recordings. - Franz A. Matzner , All About Jazz
BADEN POWELL - Canta Vincius Moraes e Paolo Cesar Pinheiro (Sunnyside 3038; USA) Baden Powell was a genius, although versatile, and also a fighter, although vulnerable, and his career reached both the summit and the deepest abyss. The peaks were often reached by the grace of some exceptional encounters. The reed needed a stake to support it, and among those who carried the artist were his two main musical partners, Vinicius de Moraes in the Sixties and Paolo César Pinheiro in the Seventies; with them, Baden Powell wrote the best of his work.
BADEN POWELL - O Universo Musical de Baden Powell (Sunnyside 3016; USA) Throughout these multifarious works, featuring Powell performing solo guitar and with various ensembles, the listener is provided with a radiant glimpse of his virtuosity and depth. On various works, Powell melds a distinct sense of classicism with buoyancy and sophistication. Sure, bossa nova and samba-based rhythms are firmly rooted within his palate. Yet, Powell's insightful ability to step out of preconceived boundaries becomes apparent from the opening moments of disc one. His delicate plucking and strumming are augmented by his penchant for injecting a driving force into many of these compositions, featuring the inherent rhythmic elements of Brazilian music. He performs with horns and strings on certain tracks, amid endeavors with standard rhythm sections and percussionists.
Regardless, Powell's artisanship is partly founded upon the jubilance and festive-like environs of a Brazilian carnival. He molds the tried and true into a deeply personalized methodology, witnessed by his rhythmically complex renditions of Monk's "'Round About Midnight" and other works. Sadly, Powell's severe alcoholism took its toll, resulting in his death in 2000. ~ Glenn Astarita, All Music Guide
2 CD Set $14
BADEN POWELL with PAUL MORIAT ORCHESTRA - Le Monde Musical de Baden Powell (Sunnyside 3056; USA) In November 1962, a North American producer organized a mini Bossa Nova festival in New York, the chance for the cream of Brazil’s musicians to appear on the famous stage at Carnegie Hall. Among those due at the event was Baden Powell, but he had to decline the invitation at the last minute for family reasons. He still had his ticket, however, and promised to make the trip at a later date. After some sleight of hand, he changed the destination of his flight from Rio and went to Paris instead of New York. “You have to go to Paris, man, that’s where everything’s happening,” said a friend, during one of those dinners where the glasses never empty; “and the wines are so much better than in The United States!”. Baden Powell packed clothes for two weeks, the length of the stay he’d planned, and boarded a plane.
ALDO ROMANO / JOE LOVANO - Ten Tales (Sunnyside 3507; USA) Ten Tales (Sunnyside) features the spontaneous outpourings of drummer Aldo Romano and tenor saxophonist Joe Lovano. Recorded in a Paris studio in 1989, the album parses one 90-minute improvisation into 10 discrete and surprisingly self-contained tracks. Melody is never far from the forefront here, thanks to Lovano's deep lyricism and Romano's easygoing pulse; Nate Chinen - Jazz times
ROSWELL RUDD'S MALICOOL With TOUMANI DIABATE - Malicool (Sunnyside/Soundscape 3008; USA) The legendary jazz trombonist Roswell Rudd joins forces with the great Malian kora master, Toumani Diabate on this groundbreaking new CD. The project was recorded in Mali's bustling capital city, Bamako in 2001. Rudd's robust trombone tones and Diabate's 21-stringed, harpish kora solos are supported by an outstanding group of Malian musicians from the celebrated jeli caste. The music is an absolute blast.
LINDA SHARROCK / ERIC WATSON - Listen To The Night (Owl/Sunnyside 3525; USA)On the advice of a poetry teacher, Linda Sharrock gave even greater prominence to the words of her songs, as if they were autobiographical. She also rekindled a more traditional jazz vocal style while carefully staying away from conservatism: in 1988, she gave her own interpretation of songs traditionally associated with Billie Holiday ( "On Holiday") in duet with bassist Jamaaladeen Tacuma; in 1994 , with pianist Eric Watson she adopted the same stripped down style ( "Listen to the Night"). Constantly in search of new experiences, she returned to her hometown to perform with her musical accomplice Wolfgang Puschnig, an album where her words do battle with those of rappers The Roots and the Austrian poet Ernst Jandl.
The lasting imprint of European jazz and her inquisitive spirit (a legacy of her "free years ") led her to encounters of all kinds: with the Vienna Art Orchestra (Lush Life, in 1996); Trio with Puschnig and Michel Godard; in Korea with Dhafer Youssef and traditional musicians (1997); a duet with Eric Watson to reread the classics of Duke Ellington (1997); Japan with Aki Onda (1998); and many more.
SIVUCA - Samba Nouvelle Vague (Sunnyside 3057; USA) It was a "vida de viajante"(a traveler’s life), as Luiz Gonzaga's song says, that began professionally in Sivuca’s native state before he emigrated (a classic move for someone from the Nordeste) to the south to achieve fame in Rio at the beginning of the Fifties. There, in 1952, Sivuca recorded 78's that were stunning in their virtuosity and musicality. Then France became his home in exile for a while, a land cherished by Brazilians – he recorded two 10" LP's there which make up this record – before a lengthy, productive period in the USA where he became musical director for Harry Belafonte and Myriam Makeba – in fact he was the arranger of Pata Pata, a song that achieved international fame. As both a man from the Nordeste and an accordionist, Sivuca couldn't avoid the baião and the forros, those popular dances with a warmly trivial atmosphere. If he continued to play regularly in this hugely popular musicgenre, Sivuca had too much of a musician's soul not to be attracted by more sophisticated forms of music, all the more so since he was a witness to the blooming of Bossa Nova, and he had bathed in the magnificent song heritage of the years between 1930 and 1950. The breadth of the repertoire featured on this CD draws on those sources. An accordionist as well as a pianist, guitarist and arranger, Sivuca, who has an impressive swing, covers all registers of the accordion, doubles on vocals and has himself accompanied note for note by the flute or the saxophone; from there comes the particular sound that is an enchantment on this record.
RANDY WESTON/BILLY HARPER - The Roots Of The Blues (Sunnyside 3097; USA) Originally having met in 1972 at a Tangiers music festival, legendary pianist Randy Weston and tenor giant Billy Harper have collaborated on an off for over four decades, the most notable being their recording made at Montreaux Jazz Festival in 1974, Carnival. The pair’s new recording, The Roots of the Blues, brings these two giants of jazz together to create moving renditions of ten compositions from Weston’s incredible anthology along with three standards and a Harper original. The underlying elements intertwining Weston and Harper are a deep understanding of and heart felt connections to the blues.
RANDY WESTON & THE GNAWA MASTER MUSICIANS OF MOROCCO - Spirit! The Power Of Music (Sunnyside 3015; USA)Recorded live at Lafayette Presbyterian Church , Brooklyn.Starts with Randy Weston with a piano solo followed with accompaniment by the African Rhythms musicians. The Master Gnaoua Musicians from Tanger and Marrakech of Morocco performed separately and then together. Later, all the groups co-mingling and joined together, including Randy Weston & African Rhythms and the Gnaoua Masters of Morocco for an extraordinary, climactic extravaganza punctuated by the drumming of Gnaoua master, M'Barek Ben Othman, and Randy's thundering and roiling piano notes sending the audience into a spiritual frenzy that couldn't be contained or reserved.
KENNY BARRON & THE BRAZILIAN KNIGHTS [MAURICIO EINHORN/IDRISS BOUDRIQUA/LULA GALVAO/SERGIO BARROZO/RAFAEL BARATA] CLAUDIO RODITI - Kenny Barron & The Brazilian Knights (Sunnyside 3093 ,USA) "That June 10th 2012 in Rio was like a dream come true: imagine recording Kenny (on his birthday) with people I consider to be the best jazz musicians in Brazil! It was an event I’d had in mind for years. For one thing, aside from being a great friend, Kenny is my favourite pianist, ever since his early days with Yusef Lateef and Dizzy Gillespie… I knew Kenny loved Brazilian music; he’d played it with Dizzy, and he’d done several great albums including one with the Trio da Paz – Duduka da Fonseca, Nilson Matta, Romero Lubambo –, The Brazilian Knights… of New York! And another thing: my Brazilian friends Mauricio Einhorn, Idriss Boudrioua, Alberto Chimelli and Lula Galvão all dreamed that one day they’d be playing with their idol Kenny Barron.
I remember suggesting this to Kenny over a nice lunch at the steak house in Jazz@ Lincoln Center. Another great Brazilian producer was present, Estevão Herman, an incredible jazz-collector, and we talked about recording in Rio with the best local musicians... Kenny knew and had already heard some of the musicians we wanted on the session: Lula Galvão and Idriss Boudrioua. Both were present at that memorable concert during the ‘99 Bern Jazz Festival, when Claudio Roditi and I organized the first concert in Europe of singer Rosa Passos (not to mention the participation of Paquito D’Rivera and Raul de Souza!) Kenny knew Mauricio and his famous compositions of course. The unknowns were Sergio, a bass player from Rio who’s played with everybody, and Rafael, who represents the young drumming-style of Brazil. I must say that Kenny’s answer was very simple and definitive: «Yes, I want to do it!»
Another major element in this project was the contribution of a dear friend of mine, Alberto Chimelli, a pianist/composer/arranger. How frustrating: Alberto is an incredible piano-player, he was the anchorjust listen to the swinging lines developed by Sergio on bass. Rafael Barata is the rising star of drumming in Rio, and a regular player with many stars in Brazil. He’s part of the rhythm-section with pianist and singer Eliane Elias, and it’s a pleasure to hear his unique percussion and fills throughout this record.
When it comes to Brazilian Jazz, there is nothing like recording on the spot. Kenny and the Knights had a ball bringing you this music full of joy and emotions. Listen to it, drink it, eat it like a fruit from Brazil…..without any moderation!” - Jacques Muyal, June 2012
KENNY BARRON TRIO With RAY DRUMMOND / BEN RILEY - Live at Bradley’s (Sunnyside 3002; USA) This CD was recorded live at the Greenwich Village bar that, for 25 years, showcased the best jazz pianists in the world. The atmosphere was relaxed and intimate, the audience hip and respectful; this collection reflects that history as it reveals three veteran masters at their best. Here are extended explorations of five varied tunes, featuring the elegant fluidity of Kenny Barron's piano, the fat sound and ever-swinging pulse of Ray Drummond's bass, and the superb intricacy of Ben Riley on drums. The session opens with Exhibit A of how to sustain 15 minutes of eager interest in a simple Tin Pan Alley ditty, "Everybody Loves My Baby." This is followed by a bebop burner on Miles Davis' "Solar," a beautiful "Blue Moon," and a silken take on James Williams' haunting "Alter Ego." The longest track is that old warhorse "Canadian Sunset," where Barron's graceful touch and playfulness -- and the trio's mutual inspiration -- completely banish the usual cowpoke plodding associated with this tune and really make it kick. This is an excellent CD full of serenely joyful energy, and it reveals new layers of delight with each spin. ~ Judith Schlesinger, All Music Guide
KENNY BARRON TRIO With RAY DRUMMOND / BEN RILEY - The Perfect Set / Live at Bradley’s II (Sunnyside 3031; USA) You can hear Bradley's life force on Kenny Barron's The Perfect Set—which was the second one, at midnight, on April 6, 1986. The trio, with Ray Drummond on bass and Ben Riley on drums, had been together for over seven years; The Perfect Set presents Barron in the purest state of musical creation. A live recording doesn’t rely on producer tricks, multiple takes, or an engineer’s aural alchemy. It rests on the telepathic interplay of the musicians, as evidenced by the riveting rapport between Barron and his cohorts.
On the first track, “You Don’t Know What Love Is,” Barron’s opening piano statement flows with the kind of graceful grandeur he’s displayed for the past four decades, then Riley and Drummond turn the tune from a ballad to a stately, midtempo number with a bouncy walking bassline. Next up is a Barron original entitled “The Only One,” a spirited uptempo offering based on Thelonious Monk’s “Hackensack.” Another Barron composition, the haunting “Twilight Song,” (also recorded with bassist Charlie Haden on the CD Night and the City) is rendered here with a bouncy bossa nova beat. The Monk vibe returns again on “Shuffle Boil,” a solo tour-de-force where Barron takes the Harlem stride style rent party rhythms that Monk learned from the legendary James P. Johnson, and updates them for the 21st Century. The set concludes with a supersonic rendition of Monk’s classic, “Well, You Needn’t.”
KENNY BARRON With LIONEL LOUKE / STEVE WILSON / FRANCISCO MELA / GRADY TATE / GRETCHEN PARLATO - The Traveler (Sunnyside 3079; USA) "With ""The Traveler"" Kenny Barron offers us an album of ballads that are both timeless, and subtly new, in the soft manner in which he slips imperceptibly between one mood and another. Beneath its apparent eclecticism, ""The Traveler"", finally, is perhaps the most personal, most accomplished record ever released by Kenny Barron. It is a masterpiece from a poet of ellipses and insinuation, and it brims with elegance and melancholy; without a doubt, in this decidedly lavish world, it opens out onto even more horizons.
With all his senses on the alert, Barron allows the mood of the album to drift unnoticeably towards other, more sensually contemporary territories, thereby providing the finest example of the incredible adaptability that is still the heart of his genius: that unique way of allowing himself to be carried into the universe of the musicians he accompanies—and those accompanying him—while the music, not even for a moment, never ceases to belong to him."
KENNY BARRON QUINTET with STEFON HARRIS / ANNE DRUMMOND / KIYOSHI KITAGAWA / KIM THOMPSON - Images (Sunnyside 3021; USA) Here Kenny Barron renews with a more orchestral music, and at each instant his talents as an arranger and composer burst into sight. This is a totally original quintet – which he leads with a sense of ellipse and understatement that is his alone – and from within it emerge the pastel grace of Anne Drummond’s flutes, the extraordinary polyrhythm of Kim Thompson’s drums and, perhaps most noticeably, the immense talent of vibraphone-player Stefon Harris, already noticed alongside Greg Osby and Jason Moran.
Here Kenny Barron offers us fluid, melodic music that swings and yet remains direct, even in its most audacious moments, music sounding like a kind of synthesis of his preoccupations, a sort of precipitation of his decidedly uncommon talents. There is also elegance here, a clear style that is aerial and dynamic; something fragile, too, in the alloys of timbre, a certain melancholy which, now and then, catches up with the constant euphoria emanating from this rigorous music that is also fun, music attached to the blues and tradition yet always innovative – in a word, it unites all those qualities which make jazz remain incomparable music, and Kenny Barron one of its most loyal servants.
KENNY BARRON with ROMERO LUBAMBO / ANNE DRUMMOND / NILSON MATTA / DUDUKA da FONSECA - Canta Brasil (Sunnyside 3005; USA) “Canta Brasil is pianist Kenny Barron's most intensive exploration of Brazilian music since 1993's Grammy-nominated Sambao, and it is unquestionably one of the finest marriages of a North American jazz musician and a Latin rhythm section I've ever heard.”
This next section features overstock items which we currently have too many copies so we have reduced the prices on each. Many are relatively new, someone/ are old and found in drawers. All are worth considering for purchase…
KENNY MILLIONS & OTOMO YOSHIHIDE - Without Kuryokhun (Long Arms 99021; Russia) Originally this was supposed to have been a trio tour of Russia with Sergey Kuryokhin on piano, Otomo on turntables & samples and Keshavan on reeds, mini guitar & voice. Sergey's untimely death in 1996 forced the trio to become a duo for two special gigs in St. Petersburg & Moscow in November of '96. This release is from the Moscow gig, half live and half live & remixed by Otomo. Keshavan is also known as Kenny Millions and has that twisted sense of humor that Sergey also loved to dip into. Otomo also seems to be inspired by Sergey's odd & unexpected ever-changing approach, with piano samples possibly from Sergey himself. The live tracks show a thoughtful, minimalist approach which blends silly wordless vocals and funky sax with suspenseful samples and an appreciative audience to egg them on. The remixed live tracks are much wackier, with Otomo's diverse manipulations of Kehavan's sax, clarinet & voice samples. It sometimes sounds as if my cd player is skipping, but this is just Otomo's doing. There is one track of noise explosions for those who need these extremes, but not for too long. Overall, this sounds more like an Otomo excursion, with all of its layered samples weaved together. A piano was placed on stage at both of these gigs in respect for Sergey, his spirit seems to inhabit this fine release. - BLG
CD Sale $12
PHIL MINTON & VERYAN WESTON - Ways for an Orchestra (ReR/IDA 036; Italy) The music of Phil Minton and Veryan Weston comes as a unique combination of different elements. From free improvisation to the song form in its broadest sense. After three great studio albums the Minton Weston duo is back with a program of unprecedented arrangements for small orchestra and the result is outstanding. The music flows with great pathos through unique interpretations of original compositions and pieces by Eric Dolphy, Luc Ex, Lindsay Cooper, Jacques Brel... The intense voice of Phil Minton and the magnificent pianism of Veryan Weston drive the rich orchestral texture through a highly dense concert program.” Think about it: Phil Minton has come along way. Mr. Minton first played trumpet and sang with Mike Westbrook, starting around 1972. The Westbrook Band and Henry Cow collaborated and toured together on & off from 1976-1978. Fred Frith (from Henry Cow) continued to work with Phil Minton in the early eighties when Frith had moved to the Lower East Side, producing & releasing an album of solo vocals called “A Doughnut In Both Hands” for Frith’s own Rift Records label. Mr. Frith soon organized a duo/trio with cellist Tom Cora and harpist Zeena Parkins also around the same time. Minton continued to work with Mike Westbrook, as we’ll as with Sven Ake-Johansson, Peter Brotzmann, Roger Turner & Alfred 23 Harsh, his experimental vocals getting even further out all the time. Mr. Cora eventually moved to south France and put together a group called The Roof with Mr. Minton, Luc Ex & Michael Vatcher, making two great albums. When Mr. Cora passed away in April of 1998, his quartet continued as Four Walls, with Veryan Weston taking his place. Phil Minton and Veryan Weston continued to play as a duo after Four Walls disbanded, eventually making a half dozen discs as a duo and as a quartet. Aside from becoming a completely unique, experimental/improvising vocalist, Mr. Minton and Mr. Weston have long covered a variety cover songs from an eclectic catalogue of composers, here covering: Eric Dolphy, Leiber & Stoller, Arthur Sullivan, Jacques Brel, Elvis Presley and the late Lindsay Cooper (from Henry Cow). Along with the duo, added are Fabio Sacconi on double bass and the Orchestra del Teatro Comunale di Bologna. The results are often stunning, since this is the first time in many years that Phil Minton’s strange yet unique voice if supported by a piano and orchestra. The well-chosen words were provided by James Joyce, Adrian Mitchell (UK beat poet), Ho Chi Minh and other more political sources.
CD Sale $14
EYVIND KANG with ALAN BISHOP / MARCO DALPANE / MG_INC ORCHESTRA - Chirality (ReR/IDA 037; Italy) “As result of another Angelica Festival production this new Eyvind Kang album presents a new cycle of works including compositions and songs for mixed orchestra with Kang at the head of a large ensemble featuring traditional instruments (strings and winds), synthesizers, percussion, plus voice and field recordings from Alan Bishop (Sun City Girls). The Seattle-area based strings wizard, Eyvind Kang, is in a class of his own. Not only is he a gifted improviser who has worked with Bill Frisell, Robin Holcomb, Wayne Horvitz, the Secret Chiefs 3 and the Sun City Girls, Mr. Kang is also a dynamic composer who successfully blends modern classical, avant jazz with ancient influences, a psychedelic strands seem to flow his universal stream. Kang recorded five fabulous CD’s for the Tzadik label in the past decade. Since then Mr. Kang has been involved in a series of solo and duo efforts with Jessika Kenney and Tashi Dorji, all LP only releases. For this disc, Mr. Kang has expanded his vision and palette of instruments. Although Kang composed most of the music, two members of the now defunct Sun City Girls, Alan & Richard Bishop, also contributed one song each, as well as using a piece from modern classical composer James Tenney. The full instrumentation features Eyvind Kang as the conductor, chironomy (directing singers of Gregorian chant), viola & lyrics, Alan Bishop voice, lyric & field recordings, Marco Dalpane accordion & Moog synthesizer and the MG_INC Orchestra (from Modena, Italy). The piece begins with what sounds like a raga, precious, slight bent-note viola floating above a drone/cushion of electronics & strings. The quirky yet somehow charming voice & twisted lyrics of Alan Bishop are featured here. The lyrics do a good job of capturing a nightmarish drug-induced dreamscape in India (“a Calcutta codeine come”). As a longtime fan of completely unpredictable punk band, Sun City Girls, it seems like a sly move to have their vocalist, Alan Bishop, singing with semi-serious orchestral support. I found the lyrics, vocals and music to be immensely enchanting, creating their own unique world, rather like a fractured fairy tale of sorts. - Bruce Lee Gallanter, DMG
CD Sale $14
JOE McPHEE / PAAL NILSSEN-LOVE - Songs the Big Chief (PNL 046; EEC) Featuring Joe McPhee on tenor sax & pocket trumpet and Paal Nilssen-Love on drums & percussion. NY state-based saxist, Joe McPhee and Scandinavian drummer, Paal Nilssen-Love have been collaborating for more than a decade. Their first duo disc was released in 2009 plus both musicians played with Peter Brotzmann and The Thing. Aside from a couple of other duo discs, there is a 7 CD set out on PNL from 2015. This disc was recorded live at Cafe Oto in December of 2017. The title of this CD, ‘Song for the Big Chief’ was inspired by the passing of Sunny Murray, one of the originators of free/jazz drumming from the early 1960/s with Cecil Taylor. The long opening track features the melody of the ancient standard, “Old Man River”, which Mr. McPhee with the utmost poignancy and conviction. When Mr. Nilssen-Love enters on mallets, the vibe goes from simmer to boiling point as the steam in the kettle starts to whistle. This is a powerful, intense and throttling duo, the tenor sax & drums whipping up a storm together. Both of these musicians work well together since both are inventive, play from the heart, soul and minds. There is strong sympathetic, organic flow going on here, everything is connected. There is a long drum or rather cymbals solo which is most inventive, a truly transcendent segment within the flow. The blend of solemn sections with more explosive moments is righteously balanced. I found this disc to be more like sonic medicine which helps us, inspires us to feel better and tastes wonderful for our ears and minds. - Bruce Lee Gallanter, DMG
CD Sale $13
MATT DARRIAU'S PARADOX TRIO with BRAD SHEPIK / RUFUS CAPPADOCIA / SEIDO SALIFOSKI - Paradox Trio (Knitworks 171; USA) Paradox Trio - which became a quartet soon after its formation but has continued to be known as a trio in name only -- was formed by Matt Darriau in 1994, a few years after the multi-reedist moved from Boston to New York City. The band has provided a small-ensemble context for Darriau to continue the sort of stylistic fusion he began exploring while a member of Boston-based big band Orange Then Blue: a melding of jazz and creative improvisation with the melodies, modes, and rhythms of Balkan, klezmer, Celtic, and Gypsy folk music traditions. In addition to Darriau, the band's earliest incarnation featured percussionist Seido Salifoski from Macedonia and cellist Rufus Cappadocia (noted for his "ethno-slap-funk-cello" style) from Hamilton, Ontario; Brad Shepik soon joined the group on guitar, at which point this first album was recorded . Composer Darriau's songs draw their inspiration from jazz, gypsy rhythms and klezmer; the group's instrumentation includes sax, flute, electric cello, guitar and dumbek. ~ Jason Ankeny, AMG
CD Sale $10
MARIO PAVONE With THOMAS CHAPIN / MARTY EHRLICH / PETER McEACHERN / PETER MADSEN / STEVE JOHNS - Dancers Tale (Knitworks 205; USA) An early and outstanding effort by one of Downtown’s best bassists, composers and bandleaders. Long out of print.
CD Sale $10
TISZIJI MUNOZ With BOB MOSES / JOHN LOCKWOOD / JUSTIN PURTILL - Love At First Sound (Anami 023; USA) Featuring Cosmic vibrations from Tisziji Munoz on lead guitar & synth, John Lockwood & Justin Purtill on contrabasses and Ra-Kalam Bob Moses on drums. It has been a couple of years since the last disc by our favorite guitarist/guru, Tisziji Munoz, so many of us have been jonesing for a new treat from our main man.DMG get phone-calls & e-mail from those who need to hear those cosmic streams of notes that Tisziji always delivers and as always it has been well worth the long wait. 'Love at First Sound' was recorded live at the Regent Theatre in Arlington, Mass., yet it sounds so warm like a studio date in that sympathetic-sounding room. Our journey begins with "Visiting This Planet", which drifts in slowly, ascending in calm waves. Both bassists are buzzing together as Ra-Kalam spins his web on the drums. Tisziji takes his, building and occasionally bending those streams of notes upwards to other worlds. The constantly shifting tide, moves in waves of rhythm and washes over us, putting us into a dream-like state. Munoz composed all but one of the tunes here and each one has a hypnotic inner melody that shines through the dense motion of the constant stream. This music seems to be vibrating between opposite worlds: the struggle between the darkness and the light, a breath-taking lyrical melody caressed vs. lightning-like layers of shimmering notes and very free-flowing vs. focused pulsating rhythms. "No Self, No Thought, No Mind" ends with an enchanting, rapturous, slow-motion lullaby that brings me to tears whenever I hear it. About halfway through "and No Time", the quartet reach for and hit another level as the intensity is turned up to full blast. It reminds me of when Trane hits his stride and the streams of notes start to vibrate and we are lifted higher and higher. This is a rarity in most musical experiences, yet when it happens we know we are witnessing something special. Bob Moses is in amazing form this night, both he and Tisziji, sound completely hooked up, sailing together, unleashing their stream into the cosmic flow, like lava from a volcano. John Lockwood is featured on "Ode to the Mother", first on bowed and then plucked bass, both sounding splendid, setting up this touching tune for Munoz's haunting melody which burns at the center. What makes this so special is the way Tisziji reaches for the stars with his waterfall of notes, yet he holds back enough so that we can always go a little higher with each cascading wave. It is hard to come back down to mother earth after journeying to the stars, yet this where we all must end up. Thanks once more to Tisziji Munoz and his truly cosmic quartet for their spiritual healing-force music. Next stop Jupiter. - BLG
CD Sale $10
IAN HAMER SEXTET With KEITH CHRISTIE/TUBBY HAYES/ALAN SKIDMORE/ALAN BRANSCOMBE/DICK MORRISSEY / et al - Acropolis (Jasmine 641; UK) Five different lineups of trumpeter Hamer's sextet spanning the years 1966-1974 are represented here. Besides including three of the UK's finest saxmen, the rest of the personnel includes Keith Christie on trombone, Harry South on piano, Daryl Runswick, Ron Matthewson or Kenny Napper on bass and Bill Eyden or Spike Wells on drums. The five different lineups of trumpeter Hamer's sextet represented here are: Lineup I: 5 cuts from 1966 with Christie , Morrissey, South, Napper , Eyden Lineup II: 5 cuts from 1967-69 with Christie, Hayes , and probably the rhythm section of South, Napper, Eyden Lineup III: 3 cuts from 1972 with Christie, Hayes, Branscombe , Runswick , Spike Wells Lineup IV: 4 cuts from 1973 with Christie, Hayes, Branscombe, Wells, Matthewson Lineup V: 4 cuts from 1974 with Christie, Skidmore , Branscombe, Matthewson, Wells "I was only vaguely familiar with British trumpet hero Ian Hamer before getting this fine disc. Turns out the Mr. Hamer began playing with legendary UK saxist Tubby Hayes in 1955 and has been pretty active ever since - he even appears on the 'Ixesha' album by Moholo's Dedication Orchestra in 1993! He is now in his 70's and is semi-retired, but has had a long career as a top sessions player from the fifties through the eighties. He played on sessions for the Beatles and Tom Jones in the sixties and was featured in the trumpet section for the big bands of Mike Gibbs, Stan Tracy and Ted Heath. Hamer put together his own sextet in 1966 which included his close friend Dick Morrissey on tenor sax and who later co-led the amazing UK electric jazz/rock band If. The first disc features Ian's first sextet live in London in 1966 and it is indeed a superb offering. Can't say that I familiar with any of the players here, except for Morrissey, but everyone plays with passion and fire. Great solos from Ian on trumpet, Dick on tenor sax, Harry South on piano and Keith Christie on trombone. Hamer wrote all of tunes for this session, which are not so far removed from a Blue Note date from the same era. They play a groovy island-like song called "Tobago", which has that "St. Thomas" like ebullient riff. The hard charging "Chow Mein" burns intensely with powerful, high flying solos from the trumpet, tenor sax and the trombone. The next three sessions (1967-1973) feature the legendary Tubby Hayes on tenor sax with another fine rhythm team - Alan Branscombe on pianos, Daryl Runswick on basses and Spike Wells on drums. Tubby Hayes was one of the greatest jazz saxists to emerge from Europe in the fifties and sixties, even spending some time over here and playing with a number of America's best jazz players. Tubby has an incredibly enchanting tone and plays with immense power and passion throughout. Even the few ballads included are done with extreme taste, Christie's trombone and Ian's trumpet each take heart-warming solos. A number of the solos by Tubby are well worth the price of admission, stunning in their energy and inventiveness. The third session is from 1972 and you can tell that the jazz/rock thing is in evidence with some great electric (fuzz & wah-wah) piano by Branscombe, el. bass by Daryl Runswick (who also worked with Ray Russell & Keith Tippett) and the kicking drums of Spike Wells. Again, the trumpet, trombone (Christie) and tenor sax (still Tubby) take great solos. This is as great as any other jazz/rock I've heard from the same era and is not that different from Nucleus. What's interesting is seeing how Hamer's composing has evolved along with the times, becoming more modern with each session, even moving into freer terrain on "Sienna Red", also from 1972. The fourth session is from 1973, the same year that Tubby Hayes passed away, due to physical problems and earlier drug problem, yet Tubby stills plays beautifully. Drummer Spike Wells is one of the highlights of the three of five sessions here and is certainly one the best drummers I've heard, jeez, whatever happened to him?!? The final session is from 1974 and features another tenor sax giant, Alan Skidmore. The sextet do their only cover tune, Wayne Shorter's "This is For Albert", written during Wayne's days with Art Blakey. Both Ian (sounding a bit like Freddie Hubbard) and Skidmore take fine solos, as does Keith Christie on trombone. The final sessions is more laid back with some lovely playing and writing from Ian Hamer himself. 'Acropolis' is another of those long lost treasures of British jazz that has finally become available for those of us hip enough to recognize its immense importance." - BLG
2 CD Sale Set $14
TRIO BRAAMDEJOODEVATCHER [MICHIEL BRAAM/WILBERT De JOODE/MICHAEL VATCHER] - Change This Song (BBB 8 SBT; Netherlands) Featuring Michiel Braam on piano & compositions, Wilbert de Joode on double bass and Michael Vatcher on drums. This was recorded live at The Bimhuis in Amsterdam in February and October of 2005. An extraordinary and most creative modern jazz piano trio that sound unlike anyone else. They do sound like they are taking the angular music of Monk and turning it inside out. They play both tight and loose at the same time, speeding up and slowing down simultaneously, yet consistently working together as one. Even the bassist solos, which he does often and quite well, the piano and drums spin around him in tight web of activity. What is most amazing here is the way these pieces moves in unexpected directions and involve strange structures or devices that connect them. Familiar themes all of sudden transmute into something completely different. Although Mr. Braam has written all of the pieces, the trio is perfectly balanced and each member integral to the overall sound. The great bassist, Wilbert de Joode, is often at the center of many of the tunes, holding it down, pinching those strings and plucking those melodies with resourcefulness and taste, often as the piano and percussion play skeletally around him. A marvel of invention and creative spirit throughout. - BLG
CD Sale $12
ROBERT MUSSO'S AXIOMATIC With MARK DATERMAN/ELLIOT LEVIN/DAVE DREIWITZ/CALVIN WESTON - The Birds of My Senses / Live at The Stone (MuWorks 007; USA) Robert Musso & Mark Daterman on guitars, Elliott Levin on tenor sax, flute and vocals, Dave Dreiwitz on bass and Calvin Weston on drums. Daredevil guitarist for Machine Gun and main engineer/collaborator for Bill Laswell for nearly three decades, Robert Musso plays live and releases discs on his own label on rare occasion. Last year's Axiomatic power trio CD was an excellent studio disc with Mr. Laswell on bass for one track. Musso's new Axiomatic band is a fantastic quintet with two guitars, the ubiquitous Philly legend Elliott Levin on sax & flute, electric bass great Dave Dreiwitz (Ween & Tiny Lights) and Philly's finest drummer Calvin Weston (Ornette, Blood Ulmer, Vernon Reid, etc.). Second guitarist Mark Daterman is an old friend of Musso's and fine guitarist on his own. Yes, this is an all-star band! Although this disc is live at The Stone, the sound is splendid. Starting with "Show the Garden", the music is relaxed, lovely and trance-like with a superb, sublime guitar from Mr. Musso and some fine fuzz bass from Mr. Dreiwitz. I dig the way this song mutates into a kind of middle-eastern grooves with a dynamic sustain-tone solo from Musso before it comes to an end. This piece also an anchored by the powerful, swirling drums of Mr. Weston. Starting with the second song, Mr. Daterman plays the second guitar, nailing down the complex parts that Musso has written (as well as soloing on occasion quite rightly) while Musso takes a series of outstanding guitar solos. The quintet is super tight, the rhythm team especially strong. Calvin Weston is the perfect drummer for this band as he is consistently interacting tightly with both guitars and the bass, pushing and supporting simultaneously. By the time the group gets to "Horn of an Empty Bell", Mr. Levin erupts on tenor sax, a powerful jazz/rock anthem. Both Elliott's tenor solo and Musso's guitar solo are amazing, going for the gusto, soaring higher and higher with some incredible and intricate quintet interplay in the second half. Eventually this piece calms down a features a fine, sly, laid-back solo from Mr. Daterman before it comes to an end. All six songs here are superb, memorable on several levels. Bassist Dreiwitz stretches out and solos on "Zephyr's Request", both he and Mr. Levin on flute are featured and show how much they are integral to the magic that this entire quintet resonates with. As with anything that Bob Musso produces, this disc is a gem and rises above the mountain of discs that are released everyday no matter that so few are actually selling in any sort of a great quantity. Marvelous! - Bruce Lee Gallanter, Downtown Music Gallery
CD Sale $10
CLEAN FEED SALE LIST:
ARTHURS / KHROUSTALIOV / SARTORIOUS - Hangkerum (Clean Feed 539; EEC) "Personnel: Tom Arthurs - trumpets, Isambard Khroustaliov - electronics and Julian Sartorious - drums and percussion. The best music is always the one created by singular musicians, as we learned from the history of jazz. Tom Arthurs, Isambard Khroustaliov (the alias of Sam Britton) and Julian Sartorius are three of them in present times, and from them we can only expect... the unexpected. Arthurs has a duo with Khroystaliov for some years now, Vaucanson's Muse, and his collaborations with Sartorius aren’t new either, but what we heard by them didn’t prepare us for this trio. Everything in “Hangkerum” happens in the domains of subtlety, nuance and detail, and sometimes it’s difficult to understand who does what in the mix of timbres and textures or where compositon stops and improvisation starts. All the materials are melted, even considering the foreign origins of all the musical references. The muted trumpet sound is somewhat familiar to the Miles Davis one, but Arthurs couldn’t be more distant from the Dark Prince. His lines and flights make us remember John Taylor and Jimmy Giuffre, but also the Berlin’s Echtzeitmusik scene, composers like Ligeti, Ferrari and Feldman, the pygmies of Central Africa, Brazilian popular music and David Sylvian. Khroustaliov’s electronics may suggest the clynical research work done at IRCAM and STEIM, but it also reflects his collaborations with Aphex Twin and Matthew Herbert. A master of rhythmic patterns, Sartorius give us the very little, through repeated locked grooves, but also an unique perspective of amplification of the unheard, specially when manipulating non-musical objects. The result of the combination of these three inquisitive minds is astonishing."
ZACK CLARKE TRIO with KIM CASS / DRE HOCEVAR - Vertical Shores (Clean Feed 533; Portugal) “Personnel: Zack Clarke - piano, Kim Cass - double bass and Dre Hocevar -drums. Pianist and composer Zack Clarke is a worker of forms, expanding the ones he chooses far beyond their inventions. Of course, when manipulating form, Clarke manages all of the inherent idiomatic factors while keeping himself away from any established sublabels, be it “third stream”, “fusion” or “collage”. After dealing with electro-acoustic projects including his acclaimed Random Acts of Order and Mesophase, his focus returns to the acoustic jazz piano trio in Vertical Shores. It is in this format that we are able to see Clarke’s pianism on full display. Working with great improvisers Kim Cass and Dre Hocevar, the trio pushes into new territory using their shared aesthetic and textural sensibilities as well as a virtuosic technical proficiency between the three. What interests Clarke and his peers on Vertical Shores is the use of the return to the classic trio configuration as a tool for the purpose of creating a new beginning. The result rewards the listener with a world seen at a different slant.”
JOÃO LENCASTRE’S COMMUNION 3 with JACOB SACKS / EIVEND OPSVIK - Song(s) of Hope (Clean Feed 538; Portugal) Personnel: “João Lencastre - drums & analogue synth, Jacob Sacks - piano and Eivind Opsvik - double bass. Portuguese drummer and composer João Lencastre began his Communion project in 2005, after his first visit to New York in 2002 set the scene for developing relationships with New York musicians. There he first heard and met David Binney and in 2003 Lencastre joined Binney on stage for some Portuguese dates and in 2004 he met Jacob Sacks and Thomas Morgan, who would later join Communion, when Binney’s Quartet toured. In 2005 Communion took its first real shape with a tour featuring Phil Grenadier. Since then, Communion has had a dynamic line-up, working with João’s compositions, of Quintet, Septet, and Trio. Six albums have been released with the participation of David Binney, Thomas Morgan, Bill Carrothers, Phil Grenadier, Leo Genovese, Benny Lackner, Jacob Sacks,Eivind Opsvik, and others. With Jacob Sacks and Eivind Opsvik he has created a “redux” version of the project, adapting his ideas to the piano trio format. After the Communion 3 debut album Movements in Freedom, released in late 2017 on Clean Feed, here is a second opus in Song(s) of Hope: "Cecil Taylor meets Morton Feldman meets “popish” epic themes, meets analogue synth frequency explorations." as Lencastre himself describes. Lencastre has found consummate partners in the translation to sound of his scores, both Sacks and Opsvik sharing his own personal characteristics in terms of elegance, subtlety and a vivid sense of drive. With only these three, less is indeed more, proving that there’s beauty in economy on Song(s) of Hope.”
NICK FRASER With TONY MALABY / ANDREW DOWNING / ROB CLUTTON - Is Life Long? (Clean Feed 452; Portugal)"What do Anthony Braxton, Wynton Marsalis, William Parker and Dave Liebman have in common? The fact that they have played with a drummer from the Toronto jazz scene, Nick Fraser, one of those few cases of a musician so flexible that he can practice all the tendencies of this music. Or, when he is the band leader and composer, chooses to cross those different styles, as that combination enables his capacities to swing and to color, to control time and to design textures. Generally, you either shine in one domain or the other, but not Fraser, preferring small gestures instead of technically exhibitionist actions and always committing to the kind of improvisation that has a sense of natural, moment to moment form. He has found a soul mate in Tony Malaby and if their previous partnerships were already gems of contemporary jazz, the new “Is Life Long?” has all the ingredients to convince you to take this record to your hidden island. One of them is the way Andrew Downing's cello combines either with Malaby’s saxes, amplifying the melodic effect, or with the double bass of Rob Clutton, for a richer harmony. The others are on the CD for you to find..."
THE FICTIVE FIVE with LARRY OCHS / NATE WOOLEY / KEN FILIANO / PASCAL NIGGENKEMPER / HARRIS EISENDSTADT - Anything is Possible (Clean Feed 514) "Personnel: Larry Ochs tenor & sopranino saxes, Nate Wooley - trumpet, Ken Filiano - bass & effects, Pascal Niggenkemper - bass & effects and Harris Eisenstadt - drums. Larry Ochs quintet with trumpeter Nate Wooley, bassists Ken Filiano and Pascal Niggenkemper and drummer Harris Eisenstadt started with an intriguing ambition: to create soundscapes (landscapes with sound, or what the acousmatic French composers call “cinema pour l’oreille” – cinema for the ear in English) with the language of jazz and the procedures of improvisation. To fulfill this concept, Ochs sought inspiration from visual artists and film directors like William Kentridge and Wim Wenders. Or, the reverse: upon realization of the soundscape, he dedicated the work to a filmmaker; essentially inviting the invitee (and all listeners) to create imagery for the now existing soundscape. At their second opus, “Anything is Possible”, the connection with specific personalities and their works is more loose, but it continues. One piece is dedicated to Spike Lee and another to Warren Sonbert, but in the middle there’s a tribute to Cecil Taylor, in a gesture saying much about the recognition of the inner imagentic qualities of music itself, personified by a master in that domain. The presence of two double basses keeps the center of gravity of the music lower than in a common jazz combo, with crispy drumming on the bottom and, on the top, two horns contrasting harsh (Ochs tenor saxophone) and crystalline (Wooley) sounds, either when playing unisons or getting argumentative. If you know Larry Ochs from his work with the Rova saxophone quartet you’ll recognize the same type of structures and narrative strategies, but it will be different. Here, the ignition of your imaginative skills is intended."
CORTEX [THOMAS JOHANSSON / KRISTOFFER ALBERTS / OLA HOYER / GARD NILSSON] - GARD NILSSON] - Live in New York (Clean Feed 381; EEC) Personnel: Thomas Johansson - trumpet, Kristoffer Alberts - saxophones, Ola Høyer - double bass & Gard Nilssen drums. On Cortex second release with Clean Feed Records you’ll find them again in the best context possible: in concert. Considering that the band works in the tradition pioneered by Ornette Coleman, this concert recording has a special significance, because it took place in the world capital of jazz, New York. The approach may be somewhat European, but the music registered here seemed (and seems) at home. Critics wrote at the occasion that Cortex is walking the same routes where we can find John Zorn’s Masada. This means the music is energetic and robust, with a frenetic rhythm section and a trumpet / sax frontline very exact when delivering unisons and counterpoints and free in the improvised solos. The music is simultaneously heavy and agile, flowing as a bird of prey in open air, and defying gravity. A must have, must listen!
ROOTS MAGIC With ALBERTO POPOLIA / ERRICO DE FABRITILIS / GIANFRANCO TEDESCHI / FABRIZIO SPERA - Last Kind Words (Clean Feed 437; Portugal) Personnel: Alberto Popolla - clarinet & bass clarinet, Errico De Fabritiis - alto & baritone sax, Gianfranco Tedeschi - double bass, Fabrizio Spera - drums; GUESTS: Luca Venitucci organ on tracks 1, 4, 9 piano on 6, Luca Tilli cello, and Antonio Castiello dub effects. "There’s a good side in the present day global dimension and that’s called “cultural syncretism”. Roots Magic is an Italian band who's gradually building up a repertoire between Deep Blues and Creative Jazz, and this is their second effort. As in their previous release, the track list consists of personal renditions of Delta Blues classics (mostly Charlie Patton) played with an overtly exploratory attitude derived from the Free Jazz tradition, as well as a number of pieces composed by some chosen Jazz artists such as Roscoe Mitchell, Julius Hemphill, Henry Threadgill, Hamiet Bluiett, including a couple of unearthed gems, "November Cotton Flower" by the great late Marion Brown and "Last Kind Words", a moving pre-war song by the obscure and legendary Geshie Wiley. This is some kind of familiar and bizarre sound creation, rooted in the essence of African-American music in its most Folkish character. Perhaps, only Non-American musicians could get the right distance to imagine something like this. Some sort of synthesized Black-influenced music based on sharp horn charts and a variety of Backbeats from Funk to Dub mutations. A whole sound world coming from the utmost respect for the originals, mixed up with good humor and subversive attitude. Needless to add that Black Music is at the very origin of every urban musical expression of today and this band shows us how and why..."
MATT PIET & HIS DISORGANIZATION With JOSH BERMAN / NICK MAZZARELLA / TIM DAISY - Rummage Out (Clean Feed465; Portugal)Personnel: Matt Piet on piano, Josh Berman on cornet, Nick Mazzarella on alto sax and Tim Daisy on drums & percussion. There are some new protagonists in the Chicago jazz scene, due to the revelation of a younger generation of musicians and the defection of some of the big names to other American regions, like Jeff Parker and Rob Mazurek. One of these Chicago exponents, gradually gaining importance, is pianist and composer Matt Piet, a former student at Boston’s Berklee College of Music. Leader of two fundamental bands in the city, Matt Piet Trio and Four Letter Words, and one of the vertices of the Rempis / Piet / Daisy triangle, he has broken into the Chicago improvised music community as a "melodic player” whose "tonefulness is thrillingly shaken by a rhythmic volatility and a fractal sense of phrasing”, according to the jazz journalist Peter Margasak, who compared his sound to Cecil Taylor in the late ‘50s and the early ‘60s. Piet’s is a welcome approach, considering that one of the members of the new band Matt Piet & His Disorganization is the saxophonist Nick Mazzarella, often described as a direct heir of the illustrious altoists Eric Dolphy, Ornette Coleman, Henry Threadgill and Oliver Lake, and like them driven to “embody the history of jazz while pushing it forward into new realms” (Troy Dostert). The same characteristic defines cornet player Josh Berman, a player known to combine aspects of pre-bebop jazz with avant-garde experimentation, sometimes producing a strikingly dissonant New Orleans style. In this bass-less quartet, the drummer/percussionist is Tim Daisy, one of the most versatile rhythmitists in activity today, equally at ease with the fire music of Ken Vandermark and the electro-acoustic abstract explorations of Kyle Bruckmann. Chicago jazz is very much alive, and Rummage Out is fantastic proof.
ELLIOTT SHARP/SCOTT FIELDS - Scharfefelder (Clean Feed Guitar 03; Portugal) Listening closely to the duo of Elliott Sharp and Scott Fields one can hear a compact history of modern composition and improvisation. Although the duo has a sound all its own, under the surface you can sense traces of 'New Music, minimalism, free jazz, and blues. For this duo, the two composer-instrumentalists focuses on the interactions of two acoustic guitars, the pure unprocessed sound of metal strings shaking wood. This is intimate music. The CD was recorded live to tape in a small room with the two musicians facing each other. Both of the musicians have long been interested in composition, improvisation, and borders between them. That's why, without discussing 'rules' for the project, Sharp and Fields each packed their compositions for the duo with a mixture or conventional notation, graphic notation, and structures for improvisation. Composer, multi-instrumentalist, and sound-artist Sharp has central to the experimental music scene in New York City for more than thirty years. He has released more than 200 recordings spanning the musical spectrum. He pioneered ways of applying fractal geometry, chaos theory, and genetic metaphors to musical composition and interaction as well as pioneering use of computers in live improvisation. His compositions have been performed by the RadioSinfonie Frankfurt, Ensemble Modern, Ensemble Rezonanz, Kronos Quartet, and Zeitkratzer. His Quarks Swim Free premiered at the Venice Biennale in September 2003 and his chamber opera EmPyre premiered at the 2006 Biennale. Scott Fields was born in Chicago in the early 1950s. As a teenager he played guitar, sang, and wrote songs for rock and blues bands. In 1969 Fields formed the trio Life Rhythms, which was certainly the loudest avant-jazz group in Chicago at the time and it performed most often at rock venues and festivals. In addition to guitar, in this group Fields played tenor and soprano saxophone, flute, clarinet, and sundry percussion. Soon after that time, however, Fields stopped performing. In 1989 Fields began working as a musician again. Since then Fields has toured throughout North America, Europe, and Asia. He has released 18 CDs as a leader or co-leader and has been a sideman on many other recordings. He has been commissioned by the Milwaukee Improvisers Orchestra, Kanopy Dance, Li Chiao-Ping Dance, the Wisconsin Alliance for Composers, Yoshiko Kanda, Douglas Rosenburg, Arno Oehri, and the Koln Musiktriennale.
WEIGHTLESS [JOHN BUTCHER/ALBERTO BRAIDA/JOHN EDWARDS/FABRIZIO SPERA] - A Brush With Dignity (Clean Feed 154; Portugal) British artists and intellectuals have an old fascination for the Italian culture, and Italians like the way they, and their history and classical art, are envisioned by English writers, poets, painters and filmmakers. That's, inevitably, the context of this cooperative effort between John Butcher and John Edwards, from one side, and Alberto Braida and Fabrizio Spera, from the other. It demands your full attention, not because it's difficult (it may be, at times, but who wants real good music to be "easy"?), but because it's intense and needs your open ear, time and close listening. First of all, the music is totally improvised, even if it seems meticulously composed. No contradiction here: that's what the improvising masters do, and all the four of them are specially gifted in that aspect. Then, you'll notice there's no leader or hierarchical organization, everything happening through a collective flow, and that's why the credits go to a band name, Weightless. No-one even tries to start an ego-trip: this is a society of equals. Finally, you'll find yourself in a state of bliss, because the resulting music couldn't be more surprising.
Bruce Lee Gallanter’s Recommended Gig List for November & December 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 is closed for holidays between November 23rd & December 2nd, 2019
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
The Stone Series at HappyLucky No. 1 is Curated by John Zorn
The Stone Series: Friday, November 22, 2019
STEPHAN CRUMP with Ellery Eskelin, Adam O’Farrill and Patricia Brennan
Ellery Eskelin - tenor saxophone
Adam O’Farrill - trumpet
Patricia Brennan - marimba & vibraphone
Stephan Crump - acoustic bass
The Stone Series: Saturday, November 23, 2019
STEPHAN CRUMP with Kris Davis and Eric McPherson
Stephan Crump - Acoustic Bass
Kris Davis - Piano
Eric McPherson - Drums
8PM CONCERT / $20 ADMISSION
HappyLucky No. 1 is located at
734 Nostrand Ave, near Sterling
easy access from the A/C/2/3/4 trains
SATURDAY, NOVEMBER 30, 2019 - 8:00 PM 10:00 PM
SACKBUT SATURDAYS: KALIA VANDEVER JOE FIEDLER
Kalia Vandever Quartet (8:00 pm)
Kalia Vandever - trombone
Lee Meadvin - guitar
Nick Dunston - bass
Connor Parks - drums
Joe Fiedler Trio (9:00 pm)
Joe Fielder - Trombone
Pete McCann - Guitar
Jeff Davis - Drums
WEDNESDAY, DECEMBER 4, 2019 - 8:30 PM 10:30 PM
LEFT BOMB BAY FOLK TREE
Left Bomb Bay
Eli Wallace-piano, synth
Walter Stinson-bass & compositions.
SATURDAY, DECEMBER 7, 2019 - 8:30 PM 10:30 PM
MICHEL MAURER’S MERIDIAN: THE SHAPE OF NOON, ALBUM RELEASE CELEBRATION.
Alex Levine - guitar
Peyton Pleninger - tenor saxophone
Ben Rolston - double bass
Michel Maurer - drums, compositions
IBEAM BROOKLYN, 168 7TH STREET, BROOKLYN, NY, 11215
Tamio Shiraishi - solo alto saxophone and electronics
Cory O'Brien - solo electronics
Installation art by Jake Coen [vibrations, motors, mirrors, and jello]
Friday December 6th, 8pm
Mirror in the Woods, 575 Union St. Brooklyn, NY
Invocation is a series on the last Friday of every month curated by Drew Wesely and Eli Wallace featuring durational musical performances paired with installation art works created specifically for each iteration. Musicians and artists work in coordination to create an immersive environment in which all present become equal participants to the space in which they are enveloped. www.facebook.com/events/1379799998837013/
Bushwick Improvised Music Series Continues:
Monday December 2nd:
Downstairs @ Bushwick Public House
1288 Myrtle Avenue in Bushwick, Brooklyn
(Across the street from M train Central Ave stop)
Thursday, December 12th at 8pm:
Pre-Hanukkah Smackdown with
At Drom (85 Avenue A between 5th St. and 6th St. in the heart of the East Village)
Klezmer-rockers Golem team up with 10-piece Jewish Afrobeat big band Zion80 and klezmer-bhangra fusion ensemble Sharabi for a pre-Hanukkah smackdown at Drom, one of New York City’s premier world music venues: Drom: 85 Avenue A between 5th St. and 6th St. in the heart of the East Village. Tickets are $20 in advance or $25 at the door
Three of the most innovative and exciting bands in the NYC Jewish music scene will be playing at Drom in the East Village on Dec 12. Golem has been klez-rocking for nearly 20 years and recently performed on Action Bronson's Vice TV show 'That's Delicious.' Zion80 mashes up Jewish music with Nigerian Afrobeat and jazz and has been called 'a truly spiritual experience' by the NY Times. Sharabi is the world's only Yiddish-Punjabi klezmer-bhangra band, led by Grammy winning trumpeter Frank London and Grammy-nominated percussionist Deep Singh.
ADAM RUDOLPH’S GO ORGANIC ORCHESTRA BROOKLYN RAGA MASSI!
RAGMALA: A Garland of Ragas - CD/LP release concert!
Thursday December 12 - Karuna Trio: Adam Rudolph, Hamid Drake, Alexis Marcelo
Free admission: www.lincolncenter.org/atrium/show/karuna-trio-featuring-hamid-drake-adam-rudolph-and-alexis-marcelo
Friday December 13 RAGMALA: A Garland of Ragas - CD/LP release concert
36 performers - beautiful Elebash hall only seats 180 - this concert will most likely sell out
Advance tickets: www.eventbrite.com/e/live365-adam-rudolphs-go-organic-orchestra-and-brooklyn-raga-massive-tickets-66487547043
Hi, we're Downtown Music Gallery and in addition to the retailing and
mail-order of an amazing assortment of jazz, improv, and progressive
we also do all the mail-order for the Tzadik and Avant labels!!!
Monday through Sunday Noon to 6pm
Downtown Music Gallery
13 Monroe Street
(between Catherine and Market Streets in Manhattan's Chinatown)
"F" to East Broadway stop
Tel: 212 473-0043
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