“Oh Well” by Peter Green’s Fleetwood Mac
From ‘Then Play On’ album, released in September 1969
I can't help about the shape I'm in
I can't sing, I ain't pretty and my legs are thin
But don't ask me what I think of you
I might not give the answer that you want me to
Now, when I talked to God I knew he'd understand
He said, "Stick by my side and I'll be your guiding hand
But don't ask me what I think of you
I might not give the answer that you want me to”
Earlier this week we heard about the passing of PETER GREEN, founding member, leader, lead guitarist supreme, vocalist and main songwriter for the early Fleetwood Mac band. After taking Eric Clapton’s place in John Mayall’s Bluesbreakers and appearing on the record ‘A Hard Road’ (rel Feb, 1967 & including John McVie on bass), Mr. Green formed Fleetwood Mac with McVie, Jeremy Spencer on guitar & Mick Fleetwood on drums. The original version of Fleetwood Mac made four albums from Feb, 1968 to December, 1969: ‘Self/titled’, ‘Mr. Wonderful’, ‘Then Play On’ and ‘Fleetwood Mac in Chicago’ (Vol. 1 & 2, rel as 2 separate albums originally). In the late sixties, there was something known as the British Blues Invasion and a number of bands emerged around the same time: John Mayall’s Bluesbreakers, Cream, Savoy Brown, Chicken Shack, Jeff Beck Group, Groundhogs, Fleetwood Mac and several others. Of course, starting in 1964, bands like the Rolling Stones, the Animals & the Yardbirds, all big blues fanatics, ignited their own version of blues/rock which soon evolved into other areas (garage, psych, hard rock, etc.). Many considered Fleetwood Mac to be the quintessential British Blues Rock band and I have to agree with that assessment. The original Fleetwood Mac toured quite a bit and came to the US several times. There are dozens of unofficial recordings made during this period, many of which are pretty amazing! Besides being strong blues players, Fleetwood Mac stretched out toward more progressive & psych sounds with their instrumentals. Peter Green was their main man, a brilliant guitarist, singer & songwriter. Their third album is called ‘Then Play On’ and it is Fleetwood Mac at their finest! The above song, “Oh Well,” is the one song that I heard first on a Warner Bros. compilation 2 LP set from the same time and the one song that I will never forget. I love those words, short and to the point with the narrator talking to God in the second verse. Totally hilarious! The second half of the song is an instrumental and it is beyond category, one of the best examples of instrumental rock without regard to genre.
It was also during this period that Peter Green did some jamming with other like-minded bands. On February 11th, 1970, Peter Green sat in with the Grateful Dead at the Fillmore East for a version of “Dark Star” in their second set. Also joining the Dead for that piece was Duane (guitar) & Greg Allman (organ) & Arthur Lee (from Love on congas). The Allman Bros. and Love both opened for the Dead on that three day weekend! Boy, those were the days, what a bill! Here’s is the link to hear that jam: hps://archive.org/details/gd70-02-11.early-late.sbd.sacks.90.sbefail.shnf - check out “Dark Star “ into “Spanish Jam” which leads into a 33 min version of “Turn n Your Lovelight” with all the above guests still sitting in, the crowd letitating!l
Peter Green left Fleetwood Mac after ‘Then Play On’ was released and made one solo album, called ‘The End of the Game’ (1970), which was also pretty great. It was recently reissued by Esoteric with great sound & bonus tracks and we have some copies coming in soon. Word is that Peter Green had a drink which was spiked with LSD and had mental problems, retiring from music for many years before coming back. His playing had indeed changed and was not the same as he was in his prime. There is also a documentary about his rise and fall which is also listed below. I have not watched yet but intend to do so shortly. I have listened to all four early Fleetwood Mac albums this week and they still sound wonderful, more than 50 years later. A special toast to the Great PETER GREEN! Oh well! - Bruce Lee Gallanter, DMG
Here is new video from the great HENRY KAISER Dedicated to Peter Green:
NEW THINGS THIS WEEK BEGIN WITH:
JOHN ZORN with CLAIRE CHASE / DAVID FULMER / CORY SMYTHE / MIRANDA CUCKSON / IKUE MORI / SIMON HANES / et al - Les Maudits (Tzadik 8373; USA) “‘Les Maudits’ presents three dynamic chamber pieces inspired by heroic ‘cursed’ artists of French culture. Demolishing all boundaries and pushing the artistic envelope beyond all expectations Ubu is one of Zorn’s greatest and most outrageous creations-- bizarre musical portrait of the subversive writer Alfred Jarry and his powerful Pataphysical figure Ubu. The Ubu plays were a powerful precursor to many of the European avant-garde experiments of the early 20th century (Dada, Surrealism, Theatre of the Absurd, Futurism, postmodernism) and Zorn captures the vulgar, rebellious, gluttonous, childish and revolutionary spirit of Ubu in this major new studio composition. Accompanying this work are two pieces performed by the International Contemporary Ensemble under the direction of David Fulmer. A concerto grosso in three movements inspired by the work of radical French poet Charles Baudelaire, and Oviri (‘savage' in Tahitian) a touching elegy to Paul Gauguin, the influential and complex artist who helped redefine painting in the 20th century.”
ROVA SAXOPHONE QUARTET [BRUCE ACKLEY / LARRY OCHS / JON RASKIN / STEVE ADAMS] JOHN ZORN (Metalanguage 2011; USA) The Receiving Surfaces: a multi-track recording of the Rova-John Zorn sax quintet in concert at Yoshi's San Francisco in August, 2010. The HQ-180 vinyl LP is a limited edition of only 300 copies!!! The LP exudes a feeling of trust and daring that makes listening to the Rova-Zorn quintet a thrill - explosive, introverted, hair-raising, intuitive, carefree and carefully crafted all at once. The 2010 concert and resultant recording both celebrate a nearly four-decade relationship between Rova members and John Zorn, whom we regard as one of the great visionary musicians and thinkers of our milieu. Even in pre-Rova days we were closely allied with John, and as Rova formed and evolved, our intimate connection with him was maintained through conversation, concerts, recordings, collaboration and friendship. This release may be the culmination of our years in the trenches.
LP $35 [Limited of 300, last few sealed copies left]
LARRY OCHS / ARAM SHELTON QUARTET with KJELL NORDESON / MARK DRESSER / SCOTT WALTON - Continental Drift (Clean Feed 555; Portugal) "Featuring: Larry Ochs - tenor & sopranino saxes, Aram Shelton - alto sax, Mark Dresser or Scott Walton - double bass and Kjell Nordeson - drums. Can musicians of different generations be like-minded companions? Yes they can, at least when their names are Larry Ochs and Aram Shelton, the two composers and bandleaders of this quartet. As they themselves acknowledge, “Continental Drift” is a kinetic meeting of sorts, with compositions that are designed to inspire magnificent contributions from the entire team of players, both individually and collectively. The resulting music profits greatly from each members' individual capacities and personalities. Mr. Ochs and Shelton's musical backgrounds are both quite varied, evidenced by their own separate pasts exploring the worlds of jazz, contemporary classical, electro-acoustic and "other" music. More than that, both have been important voices of the San Francisco Bay Area improvised music scene: Ochs being a cutting-edge Bay Area improviser since the 1970’s, while Shelton, now living in Europe, is also known for his connections to the very different Chicago scene. Each plays in his own way, but they share the same principles and look for very similar results - together creating new music with a jazz approach and an avant-garde attitude, not alienated from history.”
PERRY ROBINSON / ANDREA CENTAZZO - The Journey (Ictus 177; Earth) Featuring Perry Robinson on clarinet, micro-ocarina and bird calls and Andrea Centazzo on percussion, MalletKat (electronic vibes) & sampler. Of the many clarinetists of the 20th century that I admire, Perry Robinson, has remained at the top of my list for many years. I’ve heard Mr. Robinson more than a dozen times with an impressive array of players: Gunter Hampel, Interface, Badal Roy, Bobby Naughton, Burton Greene and Steve Swell. Perry was one of those musicians who never cared about boundaries like style of genre. From Dixieland to fearlessly free to a Grateful Dead cover/jam band, Mr. Robinson remained open to any & all creative musicians. Italian master percussionist, Andrea Centazzo, was a similar kindred spirit who also loved to cross many established borders or genres. This session was recorded in May of 2015 at the house of saxist Peter Kuhn in San Diego, California. It is dedicated to Perry Robinson who passed away in December of 2018, at the great age of 80.
Mr. Centazzo is completely unique in his sound approach. The MalletKat is a MIDI percussion device in which he often changes the sound. Plus Centazzo plays mostly gongs, cymbals and assorted percussion but no longer a trap drum set. Each piece here is called ?The Journey” with a number and this is indeed what it sounds like. Centazzo often creates a variety of textures, timbres and other mysterious sounds while Robinson weaves his playing in and around the flow of events. Considering that this session was recorded in someone’s house and not in a regular studio, the sound is superb! Centazzo has done a great job of balancing, mixing, editing and mastering this disc. The central sound here is Mr. Robinson’s tone on clarinet, lush, warm, playful, imminently expressive but never screaming or pushing things over the top. We can hear quite a bit of the clarinet’s history in this, from freer to klez-like lines to bird call-like sounds. Centazzo’s playing is equally diverse and expressive, changing its sound on every piece. There seems to be some magic going on here, a subtle transcendence that will take you on a journey if you choose to listen. - Bruce Lee Gallanter, DMG
MATTHEW SHIPP / ROB BROWN - Then Now (Rogue Art 0101; France) Just in, review next week
JOHN BUTCHER / THOMAS LEHN / MATTHEW SHIPP - The Clawed Stone (Rogue Art 0099; France) Just arrived, review soon
LAST DREAM OF THE MORNING / JOHN BUTCHER / JOHN EDWARDS / MARK SANDERS - Crucial Anatomy (Trost 196; Austria) Following their fantastic 2017 debut, the trio of John Butcher, John Edwards, and Mark Sanders have returned with another terrific release, this time on Trost Records. For Crucial Anatomy the trio have concocted three minutely detailed improvisations of varying intensity, which sounds like pretty much everything else we cover, doesn't it? But just like there are many top-notch chefs that can't make a good consommé, all but a handful of sax trios sound flaccid and amateurish when compared with this one. These boys are veritable titans of English free improvisation, it's their lifeblood, and they've been at it a good long while. That's what struck me about their debut, and that's what strikes me about this latest release. It's comfort food for free jazz heads, the type of album that'll hold up 50 years from now. No gimmicks, no parlor tricks, just a solid 57-ish minutes of the good stuff, served straight up. To cordially run down the lineup for any newcomers, we have Butcher on tenor and soprano saxophones, Edwards on the double bass, and Sanders on percussion. It's as simple as that.” - Nick Metzger, FreeJazzBlog.org
FOUR FABULOUS NEW DISCS FROM DAVE REMPIS’ AEROPHONIC RECORDS:
JOE McPHEE / DAVE REMPIS / TOMEKA REID / BRANDON LOPEZ / PAAL NILSSEN-LOVE - Of Things Beyond Thule - Vol. 2 (Aerophonic Records 026; USA) Featuring Joe McPhee on pocket trumpet & tenor sax, Dave Rempis on alto, tenor & bari saxes, Tomeka Reid on cello, Brandon Lopez on bass and Paal Nilssen-Love on drums. This disc was recorded live at the Hungry Brain in Chicago in December of 2018. Ever since the Vandermark 5 disbanded in 2010, their other frontline saxist, Dave Rempis, has been on a roll. First there were a half dozen discs on the now defunct 482-Music label and then Mr. Rempis started his own Aerophonics label which is now up to their 28th release! Rempis has also been touring with as many different bands as is possible, I have been fortunate to run into him in Amsterdam, London (over the past decade) and hearing him at several great sets in NYC!
This is the second release from this particular all-star quintet, their earlier one was a LTD edition LP release. No doubt you know all the folks here from their extensive resumes. Right from the start, this music has a warm, spiritual, free/jazz sound. The cello/contrabass/drums rhythm team is throbbing underneath as a fire-breathing tenor (alto?) sax wails on top. Eventually Joe McPhee’s blistering pocket trumpet enters as things soon calm down, soon just the two horns (bari sax & trumpet) are exchanging lines cautiously. In the next section we hear some great slow burning bari and tenor sax interplay with strong, feisty rhythm team support. There is a lovely organic flow going on here as things move from section to section, from moments of blasting to more calm parts. Former Chicago-based cellist, Tomeka Reid, is also integral to the proceedings, moving in & out of the stream and adding her distinctive sound to different sections. Since moving to New York a few years back she keeps getting busier doing many different sessions with Nicole Mitchell, Alexander Hawkins, Dave Douglas & Taylor Ho Bynum, as well as her own great quartet. This is a powerful, uplifting session that sounds consistently inspired throughout! - Bruce Lee Gallanter, DMG
BALLISTER with DAVE REMPIS / FRED LONBERG-HOLM / PAAL NILSSEN-LOVE - Znachki Stilyag (Aerophonic Records 028; USA) Ballister is Dave Rempis on alto & tenor saxes, Fred Lonberg-Holm on cello & electronics and Paal Nilssen-Love on drums & percussion. Ballister is one of Dave Rempis most enduring bands, their first disc was released in 2012, this being their 5th release. This set was recorded live at the Dom Cultural Center in Moscow, in October of 2019. Scandinavian master drummer Paal Nilssen-Love (former of The Thing) and Dave Rempis have been working together for many years on different projects (Territory Band & a recent quintet with Joe McPhee). The same can be said for Mr. Lonberg-Holm and Mr. Rempis, both of whom also worked with the Territory Band and Tim Daisy’s Fulcrum.
Right from the opening eruption, the trio soars high and mighty skywards. The opening piece is called, “F*ck the Money Changers” and it is pretty long (38 minutes), giving each member a chance to stretch out and solo at length. What’s interesting about this is each section, one member creates and pushes the direction. On one section, Nilssen-love begins this hyperactive marching beat which keeps getting faster as the cello also spits fire laying both bass and fractured lines alternately. This is one of those sessions that will keep you on the edge of your seat throughout! - Bruce Lee Gallanter, DMG
KUZU with DAVE REMPIS / TASHI DORJI / TYLER DAMON - Purple Dark Opal (Aerophonic 025; USA) Kuzu is Dave Rempis on alto, tenor & baritone saxes, Tashi Dorji on guitar and Tyler Damon on drums. The word is still spreading in recent years: watch for a guitarist named Tashi Dorji. Although originally from Bhutan and currently living in Asheville, Tennessee, Mr. Dorji has a strong reputation as a gifted guitarist. Mr. Dorji can be heard on a few LP’s releases, to solo acoustic guitar disc albums, as well as two duo LP’s with Eivind Kang and Mette Rasmussen. This is the third release by Kuzu, just one the many different bands that Dave Rempis has been touring and recording with.
This disc was recorded live at the Sugar Maple in Milwaukee, WI in October of 2018. It begins with some sublime, spacious mallet playing before the Mr. Rempis’ sprawling alto sax enters and soon some strange guitar-like sounds. What happens with bands that tour and play together in a stretch is that they develop a group sound, unified yet still evolving and exploring. This is what we have here, the trio sounds more like one intense, focused firestorm of activity. After listening to a ton of Dead jams from the late sixties/early seventies over the past few months, I was primed to hear some inspired free jazz/rock/ spiritual jamming, which the first section of this disc sounds like. Things mellow of a bit in the second section while Mr. Dorji takes a slow, expressive, quietly frenetic solo along with Mr. Damon’s equally fractured drums. This piece again builds slowly and becomes more frenetic and intense as it goes eventually the guitar and sax explode together as things go further and further out yet somehow remain connected a centering force. This is a consistently spirited, free-flowing, transcendent effort all the way through. It feels good to take off and soar with this trio higher and higher and…. - Bruce Lee Gallanter, DMG
DAVE REMPIS / FRANK ROSALY DUO - Codes/Myths (Aerophonic 027; USA) Review next week
2 CD Set $16
KENNY WESSEL with ADAM KOLKER / LISA PARROTT / MATT PAVOLKA / RUSS MEISSNER - Unstrung (Self-Produced 01138; USA) Featuring Kenny Wessel on guitars, Lisa Parrott on alto, soprano & bari saxes, Adam Kolker on tenor sax (2 tracks), Matt Pavolka on acoustic bass and Russ Meissner on drums. My earliest recollection of checking our guitarist Kenny Wessell was with Ornette Coleman’s second Prime Time Band at New Music America in Miami, FL in 1988. It was no small feat to be playing great harmolodic music Ornette so early in one’s career. Since then, Mr. Wessel has worked with Adam Rudolph, Karl Berger, Badal Roy & Stomu Takeishi. This is Mr. Wessel’s fourth release as a leader or co-leader. I recognize all the musicians here from their varied sessions: Ms. Parrott (w/ Rob Reddy & Shaker N’ Bakers), Mr. Kolker (w/ Bobby Previte, Owen Howard & several strong leader dates on Sunnyside) and Mr. Pavolka (w/ Ohad Talmor, the New talent Jazz Orchestra (BJU) & a couple of leader dates).
Mr. Wessel composed 7 of the 10 songs here, with two by his former bandleader, Ornette Coleman and an ancient standard, “Over the Rainbow”. On the opener, “Unstrung”, Mr. Wessell, plays with deft restraint, his enticing tone using a sly amount of sustain (John Abercrombie-like at times). There is a dreamy vibe, a slow, simmering swing/flow going on here. Ken takes a lovely country-rockish solo on “In Due Course”, which would fit on an old Buffalo Springfield record. “Lullaby #3” is a sad & lovely, sort of lullaby for just guitar and sax (Ms. Parrott), most poignant. Bassist Pavolka does a fine job of plucking up a storm on “Sliding”, the deep, haunting melody is well-played by the guitar & bari sax together in striking harmony. “When Will I See You Again?” is an Ornette song and as Ken says, it does have a “hauntingly beautiful melody”. Most enchanting! “On a Good Day” was inspired by a tricky rhythmic pattern that Ken learned from drummer/composer/multi-bandleader Adam Rudolph. Hence, Mr. Wessel plays several interconnected lines around one another, a marvel of ingenuity. The other Ornette song, “Storyteller”, has a more cerebral, spiritual Trane-like vibe with throbbing bassline at center and a sumptuous spinning bari sax (Surman-like) & guitar dreamworld. It is indeed a highlight here. The final track is an exquisite version of “Over the Rainbow”, a song I used to take for granted (as corny) until I heard Joe Lee Wilson sing it solo at a festival at Columbia U in the late seventies. Joe Lee had folks in the audience opening weeping from the breathtaking version he did. Mr. Wessel also does a fine job of playing an equally exquisite, lovely version to close out this great disc. - Bruce Lee Gallanter, DMG
PAUL VAN KEMENADE / STEVKO BUSCH / MARKUS STOCKHAUSEN / MARKKU OUNASKARI - Double Solo / Fugara (Kemo 024; Netherlands) Featuring Paul Van Kemenade on alto sax, Markus Stockhausen on trumpet & flugelhorn, Stevko Busch on piano and Markku Ounaskari on drums. Dutch alto saxist, Paul van Kemenade, always appears to be juggling several bands at the same time. His own label, Kemo, has just reached their 25th release, half of which have found their ways into the DMG bins & database. This ambitious 2 CD set features two sessions from four fine musicians, one a reissue from 2102 and the other a newly recorded session. Son of Karlheinz Stockhausen, Markus played in his father’s ensemble, as well as collaborating with Arild Andersen, Paul Dunmall, Mike Mantler & Mark Nauseef, recording several discs for the ECM label as a leader. Dutch pianist, Stevko Busch, I only know from an obscure band called Contraband who had a disc out on the Attacca label. Finnish drummer Markku Ounaskari, we know from his work with Raoul Bjorkenheim (in eCsTaSy) and Sinikka Langeland (another ECM artist).
The first disc here is a rerelease of an earlier disc called ‘Fugara’ from 2012. Each member of the quartet, aside from the drummer, contributes compositions plus we get one cover by Abdullah Ibrahim (a/k/a Dollar Brand). This disc was recorded live at the Bimhuis in Amsterdam in December of 2011, the sound is superb, rather ECM-like but not too mellow. The opening song was composed by Markus Stockhausen for a children’s orchestra and it is a lovely, warm, enchanting melody. Several pieces here are based on choral music written for the Russian Orthodox Church. Each of these three pieces do have a charming, spiritual sort of vibe going on. “Plotiju Usnuv/Andrea: features some exquisite flugelhorn playing by Mr. Stockhausen, like Kenny Wheeler at his most haunting. Mr. Van Kemenade’s “Picking Cranberries” featuring some superb flugel & alto sax interplay, supported by Mr. Busch’s equally lush (Keith Jarrett-like) piano. This is just disc one, I will get to Disc 2 later. - BLG
2 CD Set $16
PHILIP GAYLE with LOREN CONNORS / SHELLEY HIRSCH / MICHAEL EVANS / CHARLES WATERS / STEPHANIE GRIFFIN - Reject. Defect. (Yabyum 007; USA) Featuring Philip Gayle on guitars, mandolins, waterphone, etc, Loren Connors on guitar, Michael Evans (Holy Ghost Spermic Brotherhood) on percussion, Shelley Hirsch on voice, Stephanie Griffin on viola, Charles Waters (Gold Sparkle Band) on bass clarinet and Emilie-Anne Jendron on violin. I’ve known experimental guitarist & multi-instrumentalist, Philip Gayle since the turn of the millenium, although he hasn’t left us with a new CD since 2015. We are old friends and I can appreciate how far out some of his previous discs have been. Mr. Gayle has mostly released solo or duo offerings in the past.
All of his collaborators here are Downtown musicians with diverse backgrounds and no doubt you recognize their names. I don’t think that any of the above musicians have worked together previously since they all come from varied backgrounds. Although about half of the 11 pieces here are solo, Mr. Gayle loves to overdub several layers of odd sounds: various acoustic guitars & mandolins are plucked, banged on with objects, bent with a slide or vibrated with a bow are utilized to make some mysterious sounding, disorienting waves. On three pieces most of the other musicians are well utilized, creating a mesmerizing world of strange swirling sounds. It is the sound of the waterphone (a bowed metal vase-like instrument) that is at the center and placing us in another dimension, where things move in slow motion and we are kept off our regular balance. My old friend, Shelley Hirsch, sounds wonderfully hilarious as she morphs between several characters, often changing her voice as the narrator of our new weird world. On “No Comment Death”, the sounds becomes more dense and cerebral, swirling sounds furiously spinning: layers of manipulated acoustic guitars, odd percussion and other ghost-like sounds difficult to figure out. At times, Mr. Gayle sounds a bit like Eugene Chadbourne twisting out notes on an acoustic guitar or banjo. Shelley reminds me of Suzy Creamcheese, the young woman who makes appearances on several early Mother of Invention albums, adding her own quirky sense of humor, something we desperately need during these strange, difficult times. It sounds like one of the guitars was sped up on (the devilishly quick) “Selling Dogma, No Exceptions”, while the other guitar plays a quick walking bass-line. I am also a longtime friend & fan of Loren Mazzacane Connors, distinctive blues/rock/space guitarist who is in his world, playing-wise. Mr. Connors often plays solo, although he has done some occasional duos with Suzanne Langille (his wife) and the late poet Steve Dalachinsky (check them out on-line). What makes this disc is special is getting to hear Loren play a duo with someone who can match his otherworldly sounds. Mr. Gayle spins a soft, spacey web around Loren with eerie waterphone and careful, string fragments floating in the mix. At more than 70 minutes, this is quite a bit to adjust to. Word is that Philip Gayle just moved to Japan and may not be back for a long time. Our loss. So glad that Mr. Gayle left us with his last couple of releases. - Bruce Lee Gallanter, DMG
BERP with PHILIP GAYLE / BEN LIND / ERNESTO DIAZ-INFANTE / BARBARA ROSE LANGE - Live and Studio Recordings, Nov 2001 (Yabyum 006; USA) Berp features Philip Gayle on stringed instruments, percussion, toys & waterphone, Ernesto Diaz-Infante on stringed instruments, percussion & toys, Barbara Rose Lange on violin, Ben Lind on voice plus guest Domokos Benczedi on a broken hurdy-gurdy. This disc was recorded in Houston, Texas way back in November of 2001 at a studio & live session, nearly 20 years ago. I am not sure when I first encountered Philip Gayle but this disc might have been recorded (in 2001) before that. There was once a compilation called, ‘Generate Records- 1999-2009, which did include both experimental guitarists, Philip Gayle and Ernesto Diaz-Infante. Mr. Diaz-Infante is another more obscure guitarist & pianist who has worked with an eclectic cast: Chris Forsyth, Jeff Kaiser, W.O.O. plus several solo piano offerings. No idea what happened to Mr. Diaz-Infante, perhaps he is retired from playing and/or teaching today. No idea about the other members of this project either.
Like everything else I’ve heard from Philip Gayle, this session is experimental, free music at its best and weirdest. The first trade is a duo with both string players: Gayle and Diaz-Infante. Both sound like they are being played by some sort of manipulated acoustic string things, rubbing, plucking, bending & twisting notes inside-out, most fascinating! The following four pieces are all quartet pieces with revolving members. Things go even further out on “Bunt”, which features layers of bent stringed things (like a broken hurdy-gurdy) and the odd hand percussion. What is interesting about this is that although we know most of the instrumentation involved it is difficult to tell who is doing what. The liner notes say that Ben Lind does vocals, what we hear are the occasional vocal-like sounds, similar to the other unpredictable, hard-to pinpoint sounds that are constantly swirling and changing as they go. The last piece is a live session which is long (46 minutes) and unfolds slowly, picking up speed and giving all four members of the quartet a change to stretch out and interact in different combinations. Again, quite a bit of strange sounds, some easy to figure out, some not so much, but pretty engaging nonetheless. If you need some all purpose weirdness in your life, this is a good place to start. - Bruce Lee Gallanter, DMG
CHARLES HAYWARD with NICK- DOYNE-DITMAS / ORPHY ROBINSON / SEAN O’HAGAN / ASHLEIGH MARSH / SIMON KING / et al - Crossfade Estate (KlangGalerie GG 340; Germany) Charles Hayward is a founding member of the legendary British band This Heat (as well as Quiet Sun, Camberwell Now & Massacre) and who reunited for two tours over the last couple of years, playing in NYC twice and blowing their audiences away at each show. Aside from This Heat and the reunion version of Massacre, Mr. Hayward has also had a separate career as a solo artist: singer, drummer, song-writer, cantankerous character plus doing the occasional improv sessions with assorted like-minded improvisers: Haino Keiji, Thurston Moore and the About Group. With the final demise of This Heat, Mr. Hayward has resumed his solo career with a fine disc from last year called, ‘Begin Anywhere’. For this new offering, Mr. Hayward has gathered a nine piece ensemble which include a few familiar figures: Nick-Doyne Ditmas (earlier collaborator & Monkey Puzzle), Orphy Robinson (for Robert Wyatt, LIO & Bruise), Simon King (Hawkwind) and Sean O’Hagan (High Lamas & Stereolab).
Nine musicians is more than what Mr. Hayward usually works with yet there is certainly an effort here to keep things flowing and focused. The music is continuous. “Aperture” has great hypnotic groove, sort of subtle prog with some sly synths & saxes swirling around. Hayward keeps things interesting by playing their great grooves underneath while we get some swell “Catfood”-like piano (from Chris Cornetto), steel drums (Orphy Robinson), floating saxes (Rob Mills), etc. Mr. Hayward’s distinctive voice is only used on occasion, as well as his quaint melodica playing. There is something both laid back and most enchanting about this disc, like a somber journey through some Canterbury or prog history with occasional detours through unexpected ghost towns. - Bruce Lee Gallanter, DMG
PASCAL COMELADE / MARC HURTADO - Larme Secrete (Klanggalerie GG 334; Germany) “Pascal Comelade was born in Montpellier, France. After living in Barcelona for several years, he made his first album, under the name of Fluence, influenced by electronic music and by the group Heldon. Since 1980 Comelade has released music under his own name. Ever since, his music has become more acoustic and is often characterized by the sounds of toy instruments, used as solo-instruments or as an integral part of the sound of his group, the Bel Canto Orchestra. Marc Hurtado is one half of the experimental French duo Étant Donnés. Active since the end of the 1970s, the group has released several albums, also collaborating with people like Alan Vega, Lydia Lunch, Michael Gira or Genesis P-Orridge. Hurtado has also released several solo albums under his own name, again collaborating with various artists, and has toured with Lydia Lunch celebrating the music of Suicide. Larme Secrete is the first time that Comelade and Hurtado have collaborated. Larme Secrete is the sound of an electric shock, the sound of two hearts beating at the same rhythm, united in the pulsating and hypnotic music of Pascal Comelade melted in the fire of the celestial poems of Marc Hurtado. Synthesizers, guitars, drums, organ, piano, sound loops, whispering, flying,screaming voices transport you in a blazing sonic dream.”
JEAN-JACQUES BIRGE - Perspectives for the 22nd Century (Musee D’Ethnographie De Geneve; Switzerland) “Commissioned by the Ethnographic Museum of Geneva (MEG), Jean-Jacques Birgé composed a work based on the MEG's International Archives of Folk Music (IAFM). Perspectives for the 22nd Century includes 31 pieces recorded between 1930 and 1952 and compiled by Constantin Brăiloiu (1893-1958), founder of the IAFM and an authoritative reference in the field of traditional music. Perspectives for the 22nd Century is written on the basis of an anticipation scenario where the survivors of the disaster of 2152 live on the ruins of the MEG and decide to rebuild themselves from the archives discovered on site. The composition mixes acoustic instruments, some of which belong to the MEG collections, virtual instruments, ambiences, and sound archives. A disturbing echo of current events, Perspectives for the 22nd Century is a sound fiction following the journey of humans who must reinvent themselves. In these times of questioning about the future of the planet and of humanity, Jean-Jacques Birgé wanted to dedicate this work to C.F. Ramuz and Vercors. This CD is the fifth title to appear in the series of recordings published by the MEG and devoted to contemporary creations composed on the basis of its sound archives. Inside-out digipack, includes 44-page booklet with preface, French/English notes, and photographs by Jean-Jacques Birgé and Madeleine Leclair.”
REINHOLD FRIEDL - KRAFFT (Zeitkratzer 027; Germany) “KRAFFT for orchestra was composed in 2016 as a commission of the French State, and was premiered in Paris and Marseille, France. The composition has a similar kind of metric structure as String Quartet No.3: all instruments play in rhythmic unison throughout. KRAFFT is an ironic-onomatopoetic wrong spelling of the German term "Kraft", meaning "power" or "force". The listener should feel exposed to a sonic undertow. The notion of huge power and force is often connected to the existence of clandestine and unknown rules controlling the world around us; something is happening, but we do not know exactly what, when or how. KRAFFT enforces textural listening as Richard Wood described it "an unwinding strip of 'texture': just listen to that; not to its various strands as such, not to one single strand, but to it as a whole, an unwinding ribbon, varying as it goes in width, in colour, in depth, in thickness, in weight, in character, but always a unity." KRAFFT is composed with the help of the computer program TTM (Textural Transformation Machine), developed by Friedl to sculpt multiple random processes. It has been programmed by Sukandar Kartadinata.”
ZEITKRATZER & MARIAM WALLENTIN - The Shape of Jazz to Come (Zeitkratzer 025; Germany) Zeitkratzer keeps on being good for a surprise and finally goes jazz! Looking at the line-up of the "modern composition supergroup" (The Wire) it seems astonishing that it took so long: Saxophonists Frank Gratkowski and Hayden Chisholm both won independently the German radio SWR Jazz award, the French horn virtuoso Hild Sofie Tafjord grew up with jazz, as her father and uncle are members of Norwegian jazz group Brazz Brothers, Hilary Jeffery toured with numerous jazz musicians, as did drummer Maurice de Martin who spent his early years in the New York downtown scene. Reinhold Friedl studied piano with Alexander von Schlippenbach, and Ulrich Phillipp is a known improviser who toured with Charles Gayle -- and Zeitkratzer is joined by a second bass player: Martin Heinze, a member tof he Berlin Philharmonic Orchestra. The idea for The Shape of Jazz to Come arose, when Zeitkratzer met the outstanding Swedish singer Mariam Wallentin at a festival in France. Wallentin is most known for her solo and duo projects Mariam the Believer and Wildbirds & Peacedrums but also as a jazz musician: she is a member of Mats Gustafsson's Fire! Orchestra and was already awarded the Swedish Jazz Prize. Zeitkratzer and Mariam Wallentin now together present a tribute to great jazz musicians from Sweet Emma Barrett to Muhal Richard Abrams. The release opens with Muhal Richard Abrams's incredible "Bird Song", one of the rare jazz compositions including live-electronics. "Bird Song" sounds like real Zeitkratzer: raw, direct, urgent, the sounds mirrored on a huge hall plate. "Struttin' With Some Barbecue" was composed by Lil Hardin Armstrong, Louis Armstrong's first wife. It was so successful that he even tried to claim the authorship but lost in court. Zeitkratzer and Mariam Wallentin here perform it in a funny contemporary Dixieland version, directly leading to the sad classic "Cry Me A River". Crying instruments support Wallentin's expressive voice. Sweet Emma Barrett's "Jelly Roll Blues" becomes as crunchy and brutal as it's words and message promote: a noise-blues, stomping, atonal, and belligerent. In "Strange Fruit", Mariam Wallentin's voice reflects the brutality and deep sadness, supported by Lisa Marie Landgraf's bitterly scratching violin solo. Geri Allen's "Drummer Song" finally is a fast-forward tribute to modern jazz: small explosions, sophisticated rhythms and licks, improvised group culminations, while "My Funny Valentine" is tactfully reduced to its famous melody and a chromatic bass line. Recorded live at Festival Sacrum Profanum in Krakow, Poland.
Historic and Archival Recordings and DVDs!
MASAYUKI TAKAYANAGI NEW DIRECTION UNIT - Axis / Another Revolvable Thing (Blank Forms 015-16; USA) “Axis/Another Revolvable Thing is the second installment of Blank Forms' archival reissues of the music of Japan's eternal revolutionary Masayuki Takayanagi, following April Is The Cruellest Month (BF 008CD/LP), a 1975 studio record by his New Direction Unit. Comprised of recordings of a September 5, 1975 concert by the New Direction Unit at Yasuda Seimei Hall in Tokyo's Shinjuku district, the two-part set showcases Takayanagi in deep pursuit of what he began calling "non-section music" after leaping beyond the confines of his prior descriptor "real jazz". The quartet of Takayanagi (guitar), Kenji Mori (reeds), Nobuyoshi Ino (bass, cello), and Hiroshi Yamazaki (percussion) deftly explores the twin poles of Takayanagi's spacious "gradually projection" and explosively virulent "mass projection" concepts across six pieces, titled "Fragments I-VI". Includes original liner notes by Japanese free jazz critic Teruto Soejima (newly translated for this edition). Originally issued in two individual LP volumes in rearranged order; the two separate LP reissues, Axis/Another Revolvable Thing 1 (BF 015LP) and Axis/Another Revolvable Thing 2 (BF 016LP), keep this rearranged order. Double-CD version presents the Another Revolvable Thing concert in chronological sequence for the first time.
Masayuki "Jojo" Takayanagi (1932-1991) was a maverick Japanese guitarist, a revolutionary spirit whose oeuvre embodied the radical political movements of late '60s Japan. Having cut his teeth as an accomplished Lennie Tristano disciple playing cool jazz in the late '50s, Takayanagi had his mind blown by the Chicago Transit Authority's "Free Form Guitar" in 1969 and promptly turned his back on the jazz scene. Takayanagi had found a new direction, an annihilation of jazz and its associated idolatry of hegemonic American culture. Aiming his virtuoso chops towards the stratosphere, Takayanagi dedicated himself to the art of the freakout, laying waste to tradition left and right, most notably via the all-out assault of his aptly-named New Direction for the Arts (later New Direction Unit) and collaborations with like-minded outsider saxophonist Kaoru Abe. His innovations on the instrument parallel those of Sonny Sharrock and Derek Bailey and paved the way for the Japanese necromancy of Keiji Haino and Otomo Yoshihide.”
2 CD Set $18
PETER GREEN with ZOOT MONEY / NICK BUCK / ALEX DMOCHOSKI / GODREY MACLEAN - The End Of The Game: 50th Anniversary Remastered & Expanded Edition (Esoteric 2710; UK) Esoteric Recordings are pleased to announce the release of a newly re-mastered and expanded 50th anniversary edition of the first solo album by the legendary Peter Green. This is former Fleetwood Mac’s leader & lead guitarist, Peter Green’s first solo record, made right after he left the band. Within a year of his departure, Mr. Green was dosed with acid, had a bad trip and has had mental problems for many years afterwards, retiring from music for many years. Serious listeners and music journalists are divided about this album. Some think it is sad, unfinished, just aimless jams going on and on. Some think it is brilliant. I am somewhere in the middle, there are some great moments throughout yet Mr. Green takes his time to contribute some strong solos. The band which includes Zoot Money (from Eric Burdon & the Animals) and Alex Dmochowski (from Aynsley Dunbar Retaliation & Zappa sessions), also take their time to play some long and winding groove/jams. From time to time, Peter Green inserts certain cosmic riffs or short solos which gives these jams a more transcendent quality which never lasts for too long. I do dig this disc but it does sound a bit under-baked. If you want to hear some primo Peter Green guitar, get ‘Then Play On’ by Fleetwood and any of the unofficial (bootleg) sets from 1968 & 1969. They rule! Peter Green just left us to jam with Jimi Hendrix, Jerry Garcia and the rest of those cosmic guitar legends hanging out on the heavens above. Hail Peter Green! - BLG/DMG
PETER GREEN - Story: Man Of The World (Henry Hadaway Org MVD 9484; USA) After replacing the legendary Eric Clapton in John Mayall's Bluesbreakers, Peter went on to form Peter Green's Fleetwood Mac, one of the most successful bands to come out of Britain in the 60's. Peter's genius on the guitar was matched by the songs he wrote including Black Magic Woman, later a huge debut hit for Santana, and the supernatural and sublime instrumental Albatross, as well as the classic Oh Well. The film traces that early success, explores Peter s drug use and his eternal spiral into schizophrenia. The film also examines how the treatment he received (electroconvulsive therapy) prolonged his illness and extended absence from the music scene. The story continues with Peter s fragile mental and artistic recovery, his return to the recording studio and live music scene in the mid 1990's that saw his most positive creative output for many years. It portrays an artist who has now come to express his feelings, not just through the guitar music he still loves, but also his art and photography. The film contains extensive and rare archive footage of live and studio performances, stills and original in-depth interviews with Peter Green, Mick Fleetwood, John McVie, Mike Vernon, (legendary producer of the original Fleetwood Mac Blue Horizons albums), Noel Gallagher, John Mayall, Dennis Keane (road manager), Martin Celmins, (Peter s official biographer), Carlos Santana, Jeremy Spencer, (the original Fleetwood Mac guitarist) and many others who were fortunate to work with or know this extraordinary Man of the World.”
CONRAD SCHNITZLER - Con (Bureau B 350 Germany) “Bureau B present a reissue of Conrad Schnitzler's Con, originally released in 1978. Conrad Schnitzler: In the electric garden by Wolfgang Seidel, May 2020: "... Whilst on shore leave in Düsseldorf, Conrad Schnitzler heard about a professor at the School of Art (Kunstschule) who also accepted students into his class without high school diplomas. Conrad Schnitzler became one of them. The spirit of a fundamental new beginning bonded this generation of artists together, with Karlheinz Stockhausen and Gottfried Michael Koenig the most radical proponents. Perhaps it was due to the fact that music had been so corrupted under National Socialist rule, from classical to the Schlager variety. Schnitzler was fascinated by the new sounds he heard on the radio in the evenings. To his ears, they connected the struggle for independence to the planning and precision he had learned as a mechanical engineer. At the same time, he understood that music like this was only possible within an institutional framework to which he had no access. So, he set about creating his own framework. Schnitzler bought his first synthesizer in the early 1970s -- a considerable investment at the time. The introduction of the compact cassette had liberated duplication and distribution from the realm of the record company, but Schnitzler also recognized the creative potential of the medium, beyond its practical functions. He built a 'cassette organ' out of 12 cassette recorders and two cases for his musical collages. Towards the end of the decade, he could be found on the Kurfürstendamm, West Berlin's premier boulevard, cassette recorders slung over his shoulders as his music boomed out of battery-powered loudspeakers . . . Buoyed by the success of Tangerine Dream, Peter Baumann, Schnitzler's successor in the band, established the Paragon Studio. Schnitzler had left after their first LP in the belief that the creative potential of the group had reached its limit, but their friendship endured. Baumann made use of downtime in the studio to pursue his own musical experiments. And then Conrad Schnitzler appeared at the door with a small Korg synthesizer, a sequencer, and his EMS Synthi (a portable model in an attaché case), having transported the whole lot on his delivery bicycle . . . The last record to be completed at Paragon reveals Schnitzler's lighthearted rapprochement with German New Wave (Neue Deutsche Welle) . . . The Paragon Studio era, with sound engineer Will Roper, whose work with Schnitzler gave him the opportunity to demonstrate his skills in tape manipulation, splicing, editing, and looping, came to an end when the studio was sold and Peter Baumann moved to the USA."
CONRAD SCHNITZLER & FRANK BRETSCHNEIDER - Con-Struct (Bureau B 349; Germany) About the Con-Struct series: Conrad Schnitzler liked to embark on daily excursions through the sonic diversity of his synthesizers. Finding exceptional sounds with great regularity, he preserved them for use in combination with each other in subsequent live performances. He thus amassed a vast sound archive of his discoveries over time. When the m=minimal label in Berlin reissued two Conrad Schnitzler albums at the outset of the 2010s, label honcho Jens Strüver was granted access to this audio library. Strüver came up with the idea of con-structing new compositions, not remixes, from the archived material. On completion of the first Con-Struct album (MINIMAL 007CD/LP, 2011), he decided to develop the concept into a series, with different electronic musicians invited into Schnitzler's unique world of sound.
Frank Bretschneider on his "Con-Structions": "I read the name Conrad Schnitzler for the first time in the article about Tangerine Dream in the Rowohlt Rock Lexicon from 1973. The first time I heard his music was only in 1980, when his wave track 'Auf dem Schwarzen Kanal' was played on the radio . . . It wasn't until 1988 that I heard from Schnitzler again, a tape on Jörg Thomasius's East Berlin Kröten Kassetten label. And again almost ten years later his Plate Lunch CDs Rot and 00/106 (1997). But it was all too rough and raw for me, both in terms of sound and organization, kind of mechanically and not really cool. Only after I heard Wolfgang Seidel at the NBI around 2002 with one of his tape concerts, I came slowly closer. Schnitzler's early role as cofounder of two influential bands is one reason for the ongoing reception. Another is his consequence as an artist. 'I'm not interested in having publicity or a public feedback' he declared in a 1996 interview. It remains an open question whether one has to completely refuse to do so. But I was always fascinated by this almost extinct way of being an artist in its full independence. Just as I feel connected, as a self-taught person and as someone who prefers to look forward instead of looking back: 'I don't want nostalgia.' After all it was Jens Strüver who inspired me to work with Conrad Schnitzer's material. I had the idea of flowing music in which patterns develop, shift, dissolve and finally reorganize. A modular system seemed the most suitable to connect Schnitzler's world with my own by triggering and modulating his sounds via a sampling module and supplementing them with my own."
ATTENTION ALL CREATIVE MUSICIANS OUT THERE, Around the world.
If you have a link, for some music that you are working on and want to share it with the folks who read the DMG Newsletter, please send the link to DMG at DMG@Downtownmusicgallery.com. Many of us are going stir crazy staying at home so if you want to inspire us and help us get through these difficult times, please show us what you got. I listed some these last week but have also a few more.
MORE THINGS TO DO WHILE YOU ARE WAITING AROUND FOR THE WORLD TO END OR GET BETTER:
STILL STIR CRAZY AFTER ALL THESE YEARS!
This is the section where I usually recommend upcoming concerts in the NYC area. As far as I can tell there are no upcoming shows anywhere around here, except perhaps on-line. All places I usually frequent are now closed for the foreseeable future. And everyone is worried about the near future, their health and their sanity for their friends and family. I am trying to come up with something inspirational to put out there but I am also very worried about myself, the store, all of the creative musicians that we need and support, as well as everyone else who has lost their jobs.
I have been at home at my old apartment in New Jersey, cleaning, reorganizing my collection, finding lots of doubles, listening to dozens of records, CD’s,cassettes and DVD’s. And working on my ongoing series of discographies and assorted music lists.
Over the past month a number of musicians have been putting up some music on-line for anyone to check out. I know that many of us are going a bit stir crazy so it is time to do some soul searching and serious listening. Here is a list of some music links to check out:
THIS IS FROM MY GOOD FRIEND JESSICA HALLOCK,
who runs the New York Noise website and helps to promote creative music from hundreds of different musicians! At the beginning of April, Jessica convinced me not to go to the store and stay at home & work from there/here. Thanks to Jessica, Frank Meadows and Charmaine Lee, I have taken their advice seriously and I remain safe and alive (at home) while the store continues to do mail-order. Thanks Jessica, I do appreciate your tough love, this is what it takes sometimes to get the elder folks to break with their usual routine or habits and think more clearly about life.
This is from Jessica Hallock, please do check it out, there is so much to explore here and I know some of you are bored and need some inspiration/distraction:
Livestreams are obviously no replacement for live shows, but they're all the community we have right now––so experimental music calendar NYC-Noise.com now provides links to livestreams (with artist / curator donation info); a roundup of local musicians' releases; COVID-19-related resources, including links to grants, petitions, & a local venue donation list; & an Instagram account (@NYC_Noise) promoting artists and releases. Please let me know about your livestreams &/or new records at www.nyc-noise.com/submit.
The Steve Circuit by Yuko Otomo & Matt Mottel:
Anthology Film Archives with Andrew Lampert
This Summer, 2020, ISSUE and the Lower Manhattan Cultural Council present The Steve Circuit, an episodic series of videos and digital artwork dedicated to the late beloved poet Steve Dalachinsky developed by his wife, painter and poet Yuko Otomo, and interdisciplinary artist Matt Mottel. Born in Brooklyn in 1946, Dalachinsky was an unforgettable fixture within particular strains of experimental music, poetry, and art—and at cultural happenings and gatherings of all kinds in Lower Manhattan and beyond. Dalachinsky was an important figure to many. He passed away September 16th, 2019.
Steve’s art was created in tandem with the public life he lived. The places he inhabited—arts venues, community gardens, the New York Public Library neighborhood branch, his Spring Street sidewalk store—were all part of his daily routine. He was influenced by the culture he witnessed. He created his art both in public and at home. Late at night, in his apartment, after returning from film screenings, art openings, and multiple concerts, he returned to his collage artwork and to type up the poems he had written by hand during the day out in the world.
Over the course of six events throughout the Summer, 2020, these historical sites will be revealed in a weekly online presentation. Each week, videos made by Otomo & Mottel will be streamed pairing Dalachinsky text, recordings, and artwork, with additional artistic collaborators who were part of the Dalachinsky orbit. The online cultural map and presentation will provide a “virtual polaroid snapshot” of Downtown New York’s cultural history.
In addition to Otomo and Mottel, the series will feature contributions from Vito Ricci & Lise Vachon, Andrew Lampert, Jean Carla Rodea & Gerald Cleaver, Tom Surgal & Lin Culbertson, William Parker & Matthew Shipp, Lee Ranaldo & Leah Singer, and Loren Connors & Suzanne Langille.
HAPPY BIRTHDAY TO TERRY RILEY - June 24th!
Here is a new version of Terry’s “In C” (Covid Version)
Organized by Benjamin Miller in Detroit
COVID ENSEMBLE: John D Morton electric Guitar Pulse, Ben Miller acoustic-electric-bass guitars, Mike Khoury violin, Molly Jones flute, Kevin Gosa alto-soprano saxophones, Roger Clark Miller jaymar toy piano, Mike List marimba, Thom Monks vibraphone, John Keith wurlitzer and Clem Fortuna accordion.
1 hour long and truly transcendent! - BLG
THIS IS FROM GUITAR MASTER HENRY KAISER:
I have been recording video performances weekly and they get posted on Thursdays on the Cuneiform Records Youtube page.
once in a while they are historical old thangs from my video archive
and I will be doing more collaborations with other improvisors.
I plan to keep this up until there are live gigs again
so there will likely be a lot more of these
From INGRID LAUBROCK & TOM RAINEY:
Every Week for the entirety of this pandemic/lockdown INGRID LAUBROCK & TOM RAINEY have been posting a new duo offering. I have listened to every one of these as they were sent out and am much impressed by the way this duo continues to evolve and work their way through many ideas. You can check out each one here:
This comes from electric bassist, GIACOMO MEREGA:
My series is called ‘Solipsism Digest’. More vids to come!
This is from good friend DON WHITE from Texas and who goes to the FIMAV Fest every year:
Two Live Sets with Experimental Guitarist SANDY EWEN:
They Who Sound Special Delivery - Sandy Ewen, Houston, TX, 5/30/20:
Etched In The Eye with Sandy Ewen - Guitar, Objects, Danny Kamins - Alto and Baritone Saxes & Robert Pearson - Keyboards
Space HL, Houston, TX, 12/19/19: https://youtu.be/zO19zhPrQhI
This is from Kevin Reilly at Relative Pitch Records:
JAMES BRANDON LEWIS Live at The Spectrum, In Brooklyn:
Support your favorite artists on Friday through bandcamp.
They are waiving their revenue share.
THOMAS SAYERS ELLIS is the leader of the great Poetry/Music/Confrontation Band HEROES ARE GANG LEADERS a/k/a HAGL.
HAGL has a website that you should check out at: www.heroesaregangleaders.com
for the latest intersection of music-minded words and word-minded music and while you are there also check out The Lokotown Reverb where classic overlooked Oral Literature, Studio Recordings and Live Performances are given a fresh look!
GIANTHOLOGY is a forum for writing not whining, aesthetics not agenda, ideas not issues, vision not victimhood, GIANTHOLOGY is edited by the members of Heroes Are Gang Leaders.
Send 2 to 4 unpublished works to HeroesAreGangLeaders@gmail.com.
ROULETTE AT HOME:
Roulette TV: Nick Dunston
In early 2019, Roulette TV sat down with bassist and composer Nick Dunston ahead of the first concert of his year-long Van Lier Fellowship. In addition to the interview, this episode features live performance footage of Dunston's quintet Atlantic Extraction and the world premiere of The Floor is Lava! written for five double basses. Dunston also premiered La Operación—a multi-movement composition written for soprano voice, two alto saxophones, two double basses, and two percussionists—as part of his fellowship in the same year. Check out:
https://vimeo.com/342125717?utm_source=Roulette Master List&utm_campaign=34384bb216-EMAIL_CAMPAIGN_2018_08_15_09_07_COPY_01&utm_medium=email&utm_term=0_c36db137d7-34384bb216-302668229
Playlist: Excerpts from the Black Avant-Garde - Tracks by Tomeka Reid, Reggie Workman, Diedre Murray, Anthony Davis, Amiri Baraka, Henry Threadgill, William Parker, Matana Roberts from the Roulette concert archive. - https://soundcloud.com/roulette_intermedium/sets/blackavantgarde?utm_source=Roulette Master List&utm_campaign=34384bb216-EMAIL_CAMPAIGN_2018_08_15_09_07_COPY_01&utm_medium=email&utm_term=0_c36db137d7-34384bb216-302668229
The weekly stream on WFMU features concert recordings by Roscoe Mitchell & Francesco Filidei, John Oswald/Miguel Frasconi/Marvin Green, and Wadada Leo Smith’s Nyabinghi Arkeztra from 1991 at Roulette. Tune in: 1. https://wfmu.org/playlists/shows/93933?utm_source=Roulette Master List&utm_campaign=34384bb216-EMAIL_CAMPAIGN_2018_08_15_09_07_COPY_01&utm_medium=email&utm_term=0_c36db137d7-34384bb216-302668229
2. https://roulette.org/event/wadada-selasie-leo-smith-2/?utm_source=Roulette Master List&utm_campaign=34384bb216-EMAIL_CAMPAIGN_2018_08_15_09_07_COPY_01&utm_medium=email&utm_term=0_c36db137d7-34384bb216-302668229
ARTS FOR ART Presents:
Oliver Lake Big Band:
Vincent Chancey Trio:
My good friend & guitar master GARY LUCAS is playing half hour sets at his apartment in the West village every Tuesday, Thursday & Saturday at 3pm EST on Facebook. Different songs on each episode. Here is the link: https://www.facebook.com/gary.lucas.5836