Attention DMG Newsletter Subscribers:
For some strange reason, many of you never received ‘Part 1’ of last week’s newsletter, which was transmitted on Thursday (6/22/17), when you usually send it out. And a number of you got ‘Part 2’ twice?!?!
In the future, when you get one part of the newsletter and not the other part, PLEASE just respond to the part you got and ask for the one you didn’t. As long as it is during working hours, it will get sent to you ASAP. Also, don’t forget that you can always read it on-line on our website usually within a short time of e-mail transmission. thanks for your understanding and support. -
I have included a handful of reviews from last week’s newsletter since I’m sure that some of you missed these listings the first time around. thanks for your understanding, Bruce Lee Gallanter, DMG
Lost during Transmission, No One knows why but…
Part 1 of last week’s newsletter seemed to have disappeared!
Another Great Week of Stand-Out Releases from these fine folks:
John Zorn // Julian Lage & Gyan Riley! Burning Ghosts! Matthew Shipp / Rob Brown / William Parker! Larry Ochs Drumming Core Guests! Henry Kaiser Guitar Duos: Derek Bailey / Fred Frith / Eugene Chadbourne / Nels Cline / Elliott Sharp..! Satoko Fujji & Natsuki Tamura!
Kate Gentile / Matt Mitchell / Jeremy Viner / Adam Hopkins! Oregon! Tanya Kalmanovitch & Mat Maneri! Andy Haas! Bill Orcutt! Arto Lindsay! Christian Marclay & Okkyung Lee! Plus Archival Discs from Bob Marley! King Tubby & Aggrovators! Stan Getz! J.J. Johnson! Benny Golson!
Grateful Dead and Inner Peace: Mainstream Records: Harold Land! Hadley Caliman..! Plus Vinyl from: Mat Maneri & Tanya Kalmanovitch! Maggi Payne! Loren Connors! Bruce Ditmas! Paul Panhuysen! Dick Higgins! Terry Fox and the Flower Travellin’ Band!
THE DMG 26TH ANNIVERSARY SERIES OF SONIC CELEBRATIONS Continue with:
Sunday, July 2nd:
6pm: AUGMENTED TRIAD: AARON RUBINSTEIN / JONATHAN MILBERGER / MICHAEL LAROCCA
Sunday, July 9th:
6pm: The VORKTIP TRIO:
NICOLAS LETMAN-BURTINOVIC - Bass/ ELIJAH SHIFFER - Sax / BRITT CIAMPA - Drums
Super Rare Night Saturday, July 15th Set:
6pm: HENRY KAISER - Solo Electric Guitar!
Sunday, July 16th:
6pm: GUILLERMO GREGORIO!
Sunday, July 23rd:
6pm: BILLY MINTZ QUINTET: TONY MALABY / JOHN GROSS / ROBERTA PIKET / HILLIARD GREENE!
7pm: MAT MANERI & TANYA KALMANOVITCH - LP Release Set!
DMG is located at 13 Monroe St. (between Catherine & Market Sts) in a basement below a small gallery. Take the F train to East Broadway or the 6 train to Canal or the B or D to Grand, or the M-15 bus to Madison & Catherine. Come on Down, the Sunday Music Series is Always Free & the Vibes are Always Cosy
Two Great Discs from Tzadik:
JOHN ZORN // JULIAN LAGE / GYAN RILEY - Midsummer Moons (Tzadik 8354; USA) For millennia the moon has been a subject of deep fascination— a symbol of love, lust, madness and dreams. More than a passive observer, it is a powerful force whose brilliant luminosity exerts an intoxicating effect upon the winds, the tides, our emotions and more. This dark and moody CD of music inspired by Shakespearian Lunar imagery features ten lyrical compositions evoking the magic of Sister Moon. Stunningly performed by two of the most fabulous new guitarists working today—Julian Lage and Gyan Riley, this is a beautiful and heartfelt program of music for late night contemplation on a romantic midsummer evening.
BURNING GHOSTS [With DANIEL ROSENBOOM / JAKE VOSSLER / RICHARD GIDDENS / AARON McLENDON] - Reclamation (Tzadik 7815; USA) A politically motivated quartet at the forefront of the jazz-metal underground featuring four of the most acclaimed musicians in the LA experimental music scene. Playing scorching instrumentals that touch on heavy metal and jazz, the music is uncompromising and intense, filled with precise rhythmic complexity and textural power. Their first release on Tzadik is an incendiary blockbuster and is destined to become an instant classic!
MATTHEW SHIPP / ROB BROWN / WILLIAM PARKER - Magnetism(s) (Rogue Art 076; France) Featuring Matthew Shipp on piano, Rob Brown on alto sax & flute and William Parker on contrabass. This impressive 2 CD set features a studio session from 1999 that was previously released on the Bleu Regard label but has been out-of-print for a long while and was called ‘Magnetism’. The second disc is a live recording from July of 2016 at The (Old) Stone and is being released for the first time. Another different is that the earlier, studio days features written material from Mr. Shipp while the second CD is mainly improvised. All three of these Downtown giants have been playing together in duos, trios and quartets for around three decades so we know something special is going on here. If you are fortunate enough to hear the new William Parker Quartets CD on Aum Fidelity, you know that both Rob Brown and William parker are in especially fine form, their playing has reached a new height. The live trio date here from last year at The Stone is also extraordinary. Since there is no drummer here to hold the trio to a central pulse, the trio create their own web, a well-woven, thoughtful tapestry that breathes life. There are incredible duo sections which take place like the first piano & bass segment where the duo speed up and slow down in a more organic way, always connected. There are moments when Mr. Shipp’s piano get into those dark, dense waters while Mr. Brown’s alto sax dances on top, balancing between the stronger and less charged currents. Mr. Parker often holds the bottom end together with fleet and throbbing bass lines. Was this set just another night at The (Old) Stone? If so, it shows how often the fireworks erupt and knock us on our tushes. OUT-standing! - BLG/DMG - 6/28/17
Here’s my review of the first session, a studio date from 1999: Matt tells me that this cd was not supposed to be released until next year, so let us look to the future and act as if this century has ended and the world has not come to an end. What is different about this release is that it is comprised of twenty mostly short improvisations/compositions for trios, duos and solos. Each piece seems to explore a different mood or terrain, sometimes minimal and haunting, often evoking a variety provocative sensations. There are moments which sound like modern classical angular stark suspended in silence types of twists. Matt even plays inside the piano at one point and this certainly the most minimal I've heard any of these three play ever. Quite a refreshing and unexpected change from these usual maximalists. Even the occasional bursts of energy are kept brief. Ideas are often explored one at a time, each piece works on its own accord, nothing is overwhelming. The solos pieces are usually the shortest and most concise. Those rare moments of full throttle ("Magnetism X") are a welcome relief and break up the tension when it is most needed. There are only a few times when their usual dense transmissions get too thick, but nothing lasts too long. For any of you wondering what all the praise for Matt Shipp is about, this release would be a good place to begin to unravel the mystery and for those of you who own all 15 or so CD’s by our local piano hero - this one is different, so both groups would be worthy of their time and moolah. - Bruce Lee Gallanter, DMG
2 CD Set $25
LARRY OCHS & DRUMMING CORE With SATOKO FUJII / NATSUKI TAMURA / SCOTT AMENDOLA / WILLIAM WINANT / MATTHIAS BOSSI - Wild Red Yellow (Rogue Art 075; France) Featuring Larry Ochs on tenor & sopranino saxes, Natsuki Tamura on trumpet, Satoko Fujii on piano & synth, Scott Amendola, Matthias Bossi and William Winant on assorted percussion & electronics. Rova Sax Quartet founding member Larry Ochs has had a series of offshoot ensembles that he works with like What We Live and the Sax & Drumming Core. The original Sax & Drumming Core consisted of Mr. Ochs and two drummers. For the previous Sax & Drumming Core disc in Rogue Art, Mr. Ochs added Satoko Fujii and Natsuki Tamura, who were also members of Rova Orkestrova. For this session, Mr. Ochs also added a third percussionist: William Winant.
This disc was recorded at Fantasy Studios in Berkeley, CA and the sound is superb. Mr. Ochs composed all three pieces here and it sounds like he spent a good deal of time considering how to get the best from his special sextet. Ms. Fujii switches between synth and piano, her synth playing a rarity on records. All three percussionists come from varied backgrounds: Mr. Amendola (for Nels Cline & Ben Goldberg), Mr. Bossi (Sleepytime Gorilla Museum to Fred Frith) and Mr. Winant (classical work for John Zorn) and each one plays different percussion instruments. Hence, a wide diversity of percussive sounds. The blend of bowed cymbals, timpani, gongs with sax, trumpet and piano or synth is consistently shifting and expanding. I dig when one person solos and the background continues to evolve, there are several layers of ideas coalescing, so we have to listen closely to hear the entire picture. Natsuki Tamura is one of the best and often under-rated trumpeters alive. Tamura is in especially fine form here, taking a couple of amazing solos, as well as some incredible interplay with the Ochs’ saxes, Satoko’s piano and/or the mighty percussion trio. There are some extraordinary moments on “A Sorcerer’s Fate”, where Ochs has written some tight, high-flying parts for both horns which are way intense, sort of announcing of things to come. The title track, “Wild Red Yellow” is long and unfolds slowly with ancient sounding percussive sounds, eerie sopranino & trumpets smears… Since Mr. Ochs has been working with usually two drummers in this unit, there is an obvious-sounding connection going on here that fuels the energy and direction of this project. The piano is often referred to as a percussion instrument, this is especially evident when Ms. Fujii is coaxing sounds out of it with sticks or other objects used inside the piano. I caught Mr. Winant in a trio the other night (6/25/17) at The Stone with Chris Brown and John Zorn. Winant is a master of textures and timbres on his odd percussion instruments. You can hear him work his magical sounds here most selectively. This is yet another masterwork from the ever-growing treasure chest of goodies from Rogue Art! - Bruce Lee Gallanter, DMG
* HENRY KAISER With DEREK BAILEY / FRED FRITH / EUGENE CHADBOURNE / SANDY EWEN / DAVEY WILLIAMS / NELS CLINE / ELLIOTT SHARP / BILL FRISELL / JOHN RUSSELL / et al - Friends & Heroes: Guitar Duets (Fractal Music; USA) One of Henry Kaiser's most favorite recording and performing formats is the guitar duet. He has been fortunate to record with many heroes of his, who became his friends; as well as with friends who have become his heroes. That’s what’s being celebrated here. Kaiser has selected some unreleased tracks for this release, as well as out-of-print items from various ancient and obscure recording from his past 40 years of album recordings. Recorded 1977 - 2017. Bruce’s review next week
CD $10 (In stock soon!)
* HENRY KAISER will play a are solo electric guitar set here at DMG on Saturday, July 15th at 6pm!
A couple of weeks ago (6/23/17), I caught Satoko Fujii’s quartet KAZE play at I-Beam in Brooklyn. I’ve caught this quartet several times in the past but this set was just incredible! One could tell that this (1/2 French-1/2 Japanese) quartet has been around for a few years and that they were on tour for the past week or so. The ever-prolific Mr. Fujii remains one of the finest, most creative and diverse pianists on the planet, hence I cherish each of her 3 dozen plus discs. Just got two new ones listed below so, dig in…!
SATOKO FUJII / NATSUKI TAMURA - Kisaragi (Libra 102-042; Japan) Featuring Satoko Fujii on piano and Natsuki Tamura on trumpet. Ms. Fujii and Mr. Tamura have been both marriage and musical partners for many moons, recording in duos, trios, quartets and several orchestras together. Both Fujii and Tamura are strong composers and bandleaders as well as serious improvisers. This disc is a studio effort recorded in NY in 2015 during a brutal cold spell. The first recording that this duo did for this disc was done in Berlin where they were living at the time. The duo were not happy with the initial recording so they threw out what they had. This disc is superbly recorded and you can hear the duo create their own sonic world, slowly moving as they go. Ms. Fujii has been working inside the piano more often when she gets the opportunity and here she cautiously rubs the strings with certain objects. While this date is not as minimal as lower cased improv, the couple explore the quieter side of restrained experimentation. Natsuki also plays toys, little squeeze dolls at times, being carefully to add them at the right time. Much of this is filled with suspense and careful, focused sounds. The music here is like a story unfolding or perhaps a soundtrack to a sly science-fiction animation. The instruments are two characters interacting or conversing, slowly taking their time, spinning magic webs around one another like a golden thread in an intricate tapestry. As the sun is slowly setting today, the music organically unfolds in a similar way. The stars are aligned and the music is also perfectly balanced. - Bruce Lee Gallanter, DMG
GATO LIBRE [NATSUKI TAMURA / SATOKO FUJII / YASUKO KANEKO] - Neko (Libra 103-040; Japan) Gato Libre has been around since 2003 and has recorded six superfine CDs. The band has also had quite a bit of tragedy since two of the original members passed away, bassist Norikatsu Koreyasu (in 2011) and guitarist Kazuhiko Tsumura (in 2015). Both times bandleader Natsuki Tamura thought that the band shouldn’t continue but the widows of each member encouraged the band to continue. And so we have the new, reborn version of Gato Libre, a tribute to members past and present. This version features Natsuki Tamura on trumpet & compositions, Ms. Yasuko Kaneko on trombone and Satoko Fujii on accordion. “Tama” opens with a haunting, wheezing accordion drone with sublime, solemn trumpet and trombone harmonies floating on top like ghosts/spirits set free from the Planet Earth. While Ms. Fujii creates a series of drones or long tones, both trumpeter Tamura and trombonist Kaneko, take slow, thoughtful and often touching solos, as well as creating rich enchanting harmonies. Ms. Fujii’s accordion shimmers like waves in the ocean or like like tears running down our faces. Liquid memories that continue to haunt us. Naksuki’s sound on trumpet is deep and personal, like a soft voice in the distance crying out for help. Time is being slowed down here so we must slow down with it to adjust to what is going on. The sounds are carefully stretched out, patience is required and rewards are extraordinary. All of the parts in this puzzle are balanced just right, so come on down and take the slow train another world where we visit the loved ones that have moved on to another more peaceful place. Amen. - Bruce Lee Gallanter, DMG
KATE GENTILE With JEREMY VINER / MATT MITCHELL / ADAM HOPKINS - Mannequins (Skirl 037; USA) Featuring Kate Gentile on drums, vibes & compositions, Jeremy Viner on tenor sax & clarinet, Matt Mitchell on piano, Prophet 6 synth & electronics and Adam Hopkins on bass. Generally ever week, I review at least one disc by someone who is not that well-known and I am blown away. This week’s big surprise is the debut by drummer/composer Kate Gentile. I have noticed Ms. Gentile’s name popping up over the past few years and have seen her play with Matt Mitchell. Her current quartet features the ubiquitous Matt Mitchell (for Tim Berne & Claudia Quintet) on various keyboards, Jeremy Viner (from Battle Trance) on reeds and Adam Hopkins (on a recent CD from Myk Freedman) on bass.
From the gitgo, we begin with “Stars Covered in Clouds of Metal” which has a fractured yet tight M-Base-like structure with Matt Mitchell playing some adding sounding synth. The piece is pretty short yet soon we launch into an almost Braxtonian, bent repeating figure which sounds like nearly like Ghost Trance Music. I dig the way Ms. Gentile splits the quartet in halts at times with the bass & drums locking into one pattern while the sax & keyboards lock into another related figure. On “Trapezoidal Nirvana” things calm down midway to a sparse . somber section before they ascend again into quicker, spiraling patterns. On each piece Ms. Gentile sets up a series of patterns/ compositions to have the quartet work their way through. It is a challenge that her marvelous quartet is up to and obviously work their way through more twists and turns than a complex puzzle or game. What I find most interesting is that it has taken someone like Steve Coleman (or Tim Berne) upwards of three decades and perhaps three dozen releases to get to the point where hhis ensembles can pull off his ever challenging (pattern-based) music. Enter the debut of Ms. Kate Gentile, who has hit a home run of composing her own complex pattern-based music right out of the gate. Pretty damn impressive indeed! This disc is 72 minutes long so it will take a long time to absorb ints wealth of riches. Are you up for the challenge? I certainly hope so. - Bruce Lee Gallanter
CD $14 (this Skirl CD comes in a regular digipak & not one of those DVD-sized packages)
ANDY HAAS - Taballah II (Resonant Music 014; USA) This is a solo project from Andy Haas who plays alto sax, monologue and taal tarang (electronic tabla). I’ve known of Downtown saxist and experimental composer, Andy Haas, for some three decades and he continues to surprise me with each release. Mr. Haas has some two dozen discs as solo efforts, duos and trios like Radio I-Ching and the Spermic Brotherhood. This is Mr. Haas’ second solo disc under the title. ’Taballah’. Although Mr. Haas has been a member of a new wave band in the mid-eighties, he has always evolved through stages by working with jazz, improv, rock and noise bands throughout his long career. He is hard to pin down but everything I’ve heard from him is consistently engaging. Starting with “Breathturn”, Mr. Haas uses the the electronic tabla for a sly groove but put it through some devices to make it sound more mysterious. Haas plays some rather hypnotic sax, slowly dancing on top, the vibe is sort-of middle-eastern, similar to something a snake-charmer might do. On each piece, Haas alters the tail tarang, so that the groove bubbles and twists differently throughout. On “Wind Waves”, Haas adds some sort of static, bending it inside-out while his sly sax plays soft dervishes on top. The tone of the sax is central and the only consistent voice here. On “Bornee on the Flood”, the tarang sounds like analogue synth and has a swell Komische vibe. Mr. Haas’ tone on sax has never sounded warmer or more refined than here, it is almost as if his tone on sax has aged to the ancient balladeer sound once made famous by sax men like Coleman Hawkins or Johnny Hodges. What makes this even better is the way he has surrounded his sublime, well-worn sax sound with layers of mutant grooves or beats. I played this disc last night before I went to bed and had a dream about hanging out somewhere safe in the middle-east and all of a sudden a spaceship lands and out come some friendly aliens… who were hanging this, “In some far place, many light years in space, I will wait for you!” Perhaps Sun Ra is coming back to save us all. - Bruce Lee Gallanter, DMG
OREGON [RALPH TOWNER / PAUL McCANDLESS / PAULINO DALLA PORTA / MARTY WALKER] - Lantern (CAM Jazz 5058; USA) “Despite having to replace percussionists a couple of times since its inception in 1970, Oregon's otherwise consistent lineup of reed/woodwind multi-instrumentalist Paul McCandless, guitarist/pianist/primary composer Ralph Towner and double bassist Glen Moore remained unchanged for forty-five years—surely some kind of record in the jazz world. And with current drummer/percussionist Mark Walker joining the group for 1997's Northwest Passage (Intuition), Oregon has, over the last two decades, enjoyed its longest-standing lineup. Until 2015, that is, when it was announced, on Walker's website, that Moore was leaving the band after forty-three years, to act "on his long held desire to pursue his individual vision of music," and "to spend more time with his family." At the time, while the band announced that it would, indeed, continue, with Italian bassist Paolino Dalla Porta taking Moore's place, there were few fans of the group—in particular, those who've followed Oregon for any significant amount of time—who weren't concerned that his departure would have serious implications for a band whose identity has been so distinctive since first emerging with original percussionist/sitarist Collin Walcott, the result of meeting during its members' tenure in saxophonist Paul Winter's Consort group of the late '60s/early '70s. Towner may have long been the group's primary composer, but one or two Moore compositions invariably showed up on most Oregon recordings...pieces that, along with the bassist's often unconventional approach, brought a certain playful mischief and wit to the group. In a group whose co-founders had been together as long as Towner, McCandless and Moore, it's undeniable that every one of them brought something special that ultimately contributed to Oregon's collective sound and unique combination of form and freedom. The good news is that, despite Dalla Porta bearing little resemblance to Moore, Lantern—the group's first to feature its new bassist and first studio effort since 2012's Family Tree (the group's fourth release since finding a new home on the Italian Cam Jazz imprint in 2005 with Prime)—makes clear that, while the influx of new blood has altered the group's complexion to some extent, it remains a group that sounds like no other. Simply put: Lantern remains an album that could be made by no-one else but Oregon. Oregon may, indeed, have certain signatures that apply to many records, including: a couple of tunes culled and rearranged for the group from Towner's solo discography with Germany's ECM Records (the metrically and thematically knotty "Duende," first heard on the guitarist's Travel Guide (2013), and more pastoral "Dolomiti Dance," from his most recent ECM date, My Foolish Heart); the revisitation of a previously recorded Oregon composition (a more decidedly swinging version of Towner's "The Glide," first heard on the group's final recording with Walcott before his untimely 1984 death in a road accident while the group was on tour in Germany, Crossing (ECM, 1985)); and a collective spontaneous composition, freely improvised by the entire group (the atmospheric, occasionally abstruse title track and only one to feature Towner's synthesizer...and Walker's drum synthesizer as well) that, nevertheless, gradually assumes a semblance of structure and the suggestion of preconception where there is none...one of Oregon's most significant signatures...and modus operandi...since its inception. Still, if that in any way suggests that the group has settled into a comfort zone, think again: if anything, while there are certain touchstones common to many Oregon recordings, and certain methodologies that have come to define its sound and approach to harmony and melody, Lantern makes clear that, forty-seven years on, and with its two remaining co-founders well into their senior years, Oregon remains as effortlessly surprising and holistically inimitable as it's ever been. Sure, Oregon is not the regular groundbreaker it once was on albums like 1974's particularly memorable Winter Light (Vanguard), 1980's still thrilling In Performance (Elektra), or its first post- Walcott album with Trilok Gurtu, 1987's Ecotopia (ECM). For any group to exist this long, it cannot possibly continue to be rapidly revolutionary album-after-album; instead it ultimately becomes something more evolutionary, where its ongoing redefinition and development is subtler and more gradual. Still, not only does Dalla Porta infuse the group with fresh blood through a more lyrical approach and less hard-edged tone; he also demonstrates, with his sole compositional contribution— the 11/8, largely hand percussion-driven "Aeolian Tale"—that he clearly "gets" Oregon, on a gently melodic piece that sounds as though it could fit on any Oregon album from across its long career, with Towner's classical guitar and McCandless' soprano saxophone bringing the composition right into the group's wheelhouse. Walker, too, continues to contribute to Oregon's already sizeable repertoire, this time with the modal "Walk the Walk." With Towner on piano and McCandless, again, on soprano saxophone, the group achieves a rare full-on boil with a track that's not just Lantern's fiercest composition, but one of the group's most flat-out incendiary tracks ever, featuring a drum solo that, constructed with sharp focus, suggests that, despite building a solid reputation over the years (in particular in the Afro-Cuban world), Walker still deserves to find an even broader following. The ever-virtuosic yet never extraneous McCandless doesn't contribute any new originals this time around, but he does provide a lovely arrangement of the 17th Century Scottish traditional, "The Water is Wide." Not unlike the group's regularly performed look at Jim Pepper's "Witchi-Tai-To," it's a relaxed rendition made all the more "Oregon" through McCandless' choice of bass clarinet as its melodic instrument, with Towner on piano and Dalla Porta, on this track, somehow channelling a hint of Moore during his solo. Three new Towner compositions round out Lantern's ten-song, hour-long set. "Not Forgotten," with Towner on classical guitar and McCandless on English horn, feels like classic Oregon; Towner's harmonic approach has long been a distinctive part of the Oregon sound, one that few others have been able to approach capturing, and here he solos with the broad intervallic movements that have also become signature for a guitarist informed heavily by his first instrument, piano...even when reduced to but six strings "Hop, Skip and a Thump" is more playful, with a memorably singable melody—and, like the title, a form that moves from thematic hops and skips to a more thumping pulse, even as Dalla Porta and Walker ultimately bring an amiable, pliant sense of swing to their support of both McCandless' oboe solo and Towner's own turn on classical guitar, while "Figurine" is a pastoral piano-driven miniature—a duet for Oregon's two remaining co-founders that, in its delicate nuances and subtlest turns of phrase, shines a soft spotlight on a chemistry shared by these two for nearly a lifetime. With Towner now 77, at this point every new Oregon album—or solo release, for that matter—is truly a gift; that said, Lantern demonstrates that neither he nor the group (even with a new member) are in any way slowing down when it comes to music that's filled with effortless mastery and rare collective chemistry. At its current pace of releases—one every three-to-five years—it is, hard though this may be to contemplate, a harsh reality that the number of future Oregon albums may likely be counted on the fingers of one hand. But whether or not the superb Lantern turns out to be the group's studio swan song or it has another few up its sleeve, when this groundbreaking group—perhaps the first worthy of the description "world music"—is finished, it will have left a legacy few others can match...and a stellar discography of remarkable size, consistency and, equally important, relevance. With Oregon's unparalleled approach to composition, improvisation and performance, and with a collective chemistry as deeply profound and eminently appealing as that heard on Lantern—even with a new member— it's a legacy sure to last long after its time is over...though, hopefully, that time remains in the far distant future.” - John Kelman, AllAboutJazz
CD $15 (In stock next week)
* TANYA KALMANOVITCH / MAT MANERI DUO - Magic Mountain (Dahabenzapple 001; USA) Featuring Tanya Kalmanovitch and Mat Maneri both on violas. Although I’ve been checking out Mat Maneri for more than thirty years, I believe that Mat has been reaching a new level playing over the past few years. Starting with the Ches Smith Trio’s ‘The Bell’ on ECM and onwards through a series of great trio discs on Leo, Clean Feed and Aum Fidelity, Mr. Maneri has really hit his stride! What makes these trios work so well is that Maneri has often worked with some of these musicians over and over (Ivo Perelman, Matt Shipp & Tony Malaby), hence creating their own improv/language which is ever-evolving. Mr. Maneri has also been working with another fine violist, Tanya Klamanovitch, in a trio with Ivo Perelman. Perhaps you recognize Ms. Kalmanovitch from his work with Myra Melford or her own Hut Five ensemble.
This is the first album on Mat Maneri’s own Dahabenzapple label and it is something else. Since Mat Maneri, like his late father Joe, long dealt with microtonalities, it takes a bit of getting used to the odd, unique somewhat bent-sounding notes that both Maneri’s worked with. Both Mat and Ms. Kalmanovitch appear to be coming from a similar area of tonal/timbral exploration. Their notes seem to hover close to one another like ghosts drifting or slowly dancing together. “By the Ocean of Time” is an interesting title since we are all swimming, floating or drowning in an ocean of time, sometimes struggling but always surviving (hopefully). Mat told me that he rejected several pressings of this album until he got one that sounded just right. The title track, “Magic Mountain” is a side-long, epic piece and a highlight for me. The music breathes and unfolds most organically, carefully crafted note by note. Both violas work hard at playing the same note or coming close and sharing a fragile slightly bent harmonic area, tense yet focused. Since this music moves or evolves slowly it does some time or patience to adjust. Once you find your way, you are rewarded with a unique world or view. A skewered but incredible nonetheless. This great duo will play a concert at DMG in a few weeks so stay tuned. - Bruce Lee Gallanter, DMG
2 LP Set $25
* The TANYA KALMANOVITCH / MAT MANERI DUO will play here at DMG on Sunday, July 23rd at 7pm for free - please don’t miss it!
RIVERSIDE - DAVE DOUGLAS / STEVE SWALLOW / CHET DOXAS / JIM DOXAS - The New National Anthem (Greenleaf 1056; USA) Riverside is Dave Douglas on trumpet, Chet Doxas on clarinet & tenor sax, Steve Swallow on electric bass and Jim Doxas on drums. This is the second disc from Dave Douglas’ Riverside quartet, whose personnel has remained the same. Their first disc was a tribute to Jimmy Giuffre. This disc appears to be a tribute to composer Carla Bley with three of her songs covered here. Riverside bassist Steve Swallow is also the longtime partner of Ms. Bley and one of his songs is covered here as well. The ever prolific Dave Douglas composed most of the other songs himself. The title track is first and it is done briefly, mostly just stating the quaint, quirky theme without solos. Mr. Douglas’ “Old Country” has some rich harmonies for the trumpet and tenor to play through with some great crisscrossing solos from both horns. “King Conlon” (for composer Conlon Nancarrow?), has a unique Ornette-like bent swing groove that I find most charming. I dig the way the trumpet and clarinet share tight lines and then do some swell question & answer, back & forth interplay. “King Korn” is an old Carla Bley song from the sixties which seems to have it own logic, I recall a version by Paul Bley fro way back when. What I have always dug about Carla Bley is that her tunes have thoughtful melodies, seem simple yet are often not what they seem. You have to listen to them a few times to hear what is actually buried beneath the calm surface. “Enormous Tots”, another Carla Bley song, goes back and forth between drunken swagger and some fast/slow/fast/slow sections, it doesn’t quite sound like any other composer I could put me finger on. It took a few spins to actually hear how this disc holds together, I am still marveling at the unpredictable way things unfold unrushed. Mr. Douglas has done a good job of writing these folkish melodies which are quaint or charming, recalling an older period/style of traditional American folklore. It reminds me of a time when things were simpler or at least not nearly as stressful as they are today. I got to listen to this record again without any distraction, since there is something very tasty at the center, nut bitter but perhaps bittersweet. - Bruce Lee Gallanter, DMG
* Riverside will play two CD release sets on June 30th & July 1st at 8:30pm each night at The New Stone - Arnold Hall at the New School - 55 W 13th Street, NYC
BILL ORCUTT - Bill Orcutt (Palilia 048; USA) For those not following Bill Orcutt's drift into increasingly ear-friendly orbits in his recent live sets, Bill Orcutt -- his first solo electric studio album -- shocks with its space and sensitivity. On this eponymous record, Orcutt mines the expansiveness and sustain possible on the electric guitar, letting notes spin out and decay at the edge of feedback. His pachinko-parlor pacing, marked by unraveling clockspring accelerandos crashing into unexpectedly suspended tones, is still in evidence. But here, his developing melodicism maps a near-contemplative mental realm, orbiting St. Joan-era Loren Connors more than the cascading treble clatter of his duo LPs with Chris Corsano and others. From the first notes of Ornette Coleman's "Lonely Woman", there's a lucidity and slow-burning lyricism that make Orcutt's plunges into barbed-wire fingerpicking all the more striking. While no one's about to mistake Orcutt for Jim Hall, you could probably play this for your jazzbo friends (should you be unlucky enough to have them) without raising any eyebrows. Orcutt's track selection mirrors his obsession with American popular song in its most banal manifestations, as radically reimagined via acoustic guitar on a variety of releases, including 2013's exhaustive Twenty Five Songs 7" box set, and the Editions Mego album A History of Every One (EMEGO 173CD/LP, 2013). Many of the songs from those two releases are here -- but stretched into new arrangements that explore the upper regions of the guitar neck (hitherto unexplorable on his shakily-intonated acoustic Kay), and lighting up new corners of each arrangement with a sensitivity born from years of reinterpretation. The result is a languid, freeform drift through Orcutt's internal cosmos into galaxies unknown to their original interpreters -- and occasionally, Orcutt himself. Most striking is "White Christmas", its careening low-register melodies crashing into complex chords that transcend Orcutt's primitive four-string fretboard. Orcutt's original compositions are equally striking. One of them -- "The World Without Me" -- is unique to this album, and notable for its trebly flurry of Clapton-esque 12th-fret drizzle. "O Platitudes!" by contrast, spins ever-faster in the cadence of a hand-cranked music box, before grinding to a near halt, its higher-key electricity standing in for the moaning vocalizations on Orcutt's acoustic rendition as heard on his 2014 VDSQ LP. With its deep-space beauty, harmonic complexity, and dark dissonance, Bill Orcutt is a stunning landmark in Orcutt's form-destroying trajectory.
BORBETOMAGUS - A Pollock of Sound (Taping Policies 9850; USA) Borbetomagus: A Pollock of Sound is the first feature-length documentary about the legendary improv / noise group Borbetomagus. Filmmaker Jef Mertens brings a raw, urgent, and unpolished vision focusing on a band that has spent almost four decades defining and redefining not just their music, but the boundaries of music itself. Band members Don Dietrich, Donald Miller, and Jim Sauter tell their story with the help of artists, writers, photographers, and filmmakers that include noted critic Byron Coley, drummer Chris Corsano, guitarist Thurston Moore, groundbreaking Japanese noise unit Hijokaidan, and Switzerland's masters of "cracked electronics," Voice Crack. Includes never-before-seen archival footage, amazing photographic finds, and previously unreleased recordings.
Newer Northern Spy New Releases Now in Stock:
ARTO LINDSAY With MELVIN GIBBS / KASSA OVERALL / PAUL WILSON / PATRICK HIGGINS / RYU TAKAHASHI / et al - Cuidado Madame (Northern Spy 090; USA) The album is titled after an infamous 1970 Julio Bressane film about oppressed housemaids revolting against and brutally murdering their mistresses. The literal • Candomblé (spiritual rhythms revolving around possession and trance) served as the foundation for the record. The process began with recordings of atabaques in Brazil. Lindsay wrote melodies and lyrics over the rhythms in the studio in Brooklyn. The album is an exploration of the cultural nexus of Afro-Brazilian spirituality and western modernity.
When people talk about Arto Lindsay’s body of work, they often project a reductive dichotomy. There is Scary Arto and Sexy Arto. Scary Arto’s music is stormy and serrated and ruthless and almost deranged; evoking perhaps the glare and noise of New York City. Sexy Arto’s music is seductive and warm and textured and ethereal; evoking perhaps the dappled sunlight of Brazil. Both musics seem dreamlike. In the sense that there are many kinds of dreams.
In 2014, Northern Spy issued a unique and conceptually provocative double-disc anthology of Arto’s solo work, called ‘Encyclopedia Of Arto’. Disc 1 was a “best of Arto Lindsay” survey of his solo albums. Disc 2 was something much more unusual: many of the same songs from disc one, performed live with Arto’s signature haywire noise guitar (Scary Arto) juxtaposed against his lilting, slyly erotic, post-Caetano vocal style (Sexy Arto).
The choice to marry Sexy and Scary into a single performance was striking and bold. I cannot speak for Arto, but my read of the statement was that it rebuked the notion that his vision is somehow binary. It felt like fresh terrain.
This brings us to Cuidado Madame, the long awaited new album, where Arto’s mastery is in full bloom. Though the album certainly favors Sexy Arto, its fearlessness makes us let go of our boring, dichotomous ideas. On offer is the full, inimitable Arto Lindsay range of texture, noise, technology, ensemble playing, melody and poetry, sensuality and intellect. You will find that you stop analyzing and parsing. You will find that you surrender. In the sense that there are many kinds of dreams. – Chad Clark, Beauty Pill
OKKYUNG LEE / CHRISTIAN MARCLAY - Amalgam (Northern Spy 082; USA) Featuring Christian Marclay on turntables & cover images and Okkyung Lee on cello. This disc was recorded live at Cafe Oto in London in April of 2014. Ever since moving here from Boston in the early aughts, Okkyung Lee has mastered the art of networking and has played with many of Downtown’s most creative musicians. Ms. Lee quickly worked her way into John Zorn’s close-knit cast of crafty musicians and soon had two fine disc out the Tzadik label. Her networking skills paid off as she has been working with a cast of international players: Steve Beresford, John Edwards, Phil Minton and Evan Parker. Turntablist Christian Marclay is one of the original Downtown players, an integral part of the DT scene for more than three decades. Mr. Marclay has also been successful for doing exhibitions in revered galleries and museums around the world. He seems have moved more into the museum circuit over the past decade and playing less musical performances. He finally left New York a few years back and has relocated to London which is where this set was recorded. Cafe Oto and the Vortex have become to places to play in London for creative musicians over the past decade.
This disc consists of one long set and it well recorded. Both of these musicians are gifted improvers and this disc captures them at their best: intense, explosive, firework like eruptions… Mr. Marclay does a great job of sampling a diverse array of sounds and then manipulating them by slowing down and speeding up his turntables. Scratchy records, static, hums and many unidentifiable sounds which keep changing. Ms. Lee is a dazzling improvisers, bending and twisting and working her bow into a wide variety of strange sounds on her trusty cello. This duo bristles with focused tension, pushing each other higher and tighter as they evolve. At one point Ms. Lee plays a series of drones, bowing the string in different combinations, some strings resonate in one way while others vibrate in different ways. Marclay is a great match, also altering his spunds in different ways, the combination both focused and confusing simultaneously. I’ve been to many a Downtown improv set over the past forty years. This set captures that spirit in a strong rather intoxicating way, keeping us off-balance yet unable to get off of the roller coaster once it starts to ascend. - Bruce Lee Gallanter, DMG
ONEIDA & RHYS CHATHAM - What’s Your Sign? (Northern Spy 080; USA) NYC-bred, Paris-based avant-garde guitar legend and minimalist composer Rhys Chatham and long-running psychedelic free-rock juggernaut and Brooklyn institution Oneida—have joined forces on their first collaborative album proper titled What’s Your Sign?,
“When I first met up with the merry men of Oneida at their rehearsal studio in Brooklyn, I was a little nervous about how things were going to go, because I was thinking of them as basically a rock group, perhaps with a bit of an edge and a bit of noise, but essentially rock,” recalls Chatham. “I was nervous about it because I was coming to the session with my Outdoor Spell loop/delay setup, and I wasn’t too sure about how that would work with straight ahead rock. So you can imagine my surprise when the drummer, Kid Millions, started playing in a style that owed more to free music and noise than it did to rock. And so did what the other guys were playing. It worked just fine, and the music sounded great!”
With six compositions credited to Oneida and Rhys Chatham, What’s Your Sign?—Oneida’s first set of original material since 2012’s A List of the Burning Mountains and Chatham’s second LP in 2016 (Pythagorean Dream the first) and third overall for Northern Spy—is an exercise in freethinking sonic explorations from an uncompromising, genre-defying group whose collective output has shaped the experimental music landscape extending over the last four decades.
Recorded and mixed at Menegroth The Thousand Caves by Colin Marston, Oneida and Rhys Chatham and mastered by James Plotkin, What’s Your Sign?’s six shapeshifters are ecstatic journeys into a psych-rock future-world. Warped, alien jam action like the jet engine-drone roar of “Well Tuned Guitar” and the in-your-face noise-rock screams of “You Get Brighter” harken back to the legendary free-improv all-nighters that took place at The Ocropolis, Oneida’s former studio/performance space in Williamsburg.
Even with Chatham thrust deep into Oneida’s sound-deconstructing fray, the songwriting process didn’t stray too far from the norm of past efforts. What’s Your Sign? was born out of playing together, jamming on monolithic riffs and squelching electronics, discussing and editing. Both “Civil Weather” and “A. Philip Randolph and Back Bay Station” approach firebreathing 60’s free jazz vibes driven by Millions’ rolling and manic beats and ear bleeding double-horn-fueled drone, thanks to a Hanoi Jane-Chatham trumpet duet.
From its drums-bashing, cacophonous beginning to its skronky trumpet-loaded conclusion, the instant chemistry betwixt Rhys Chatham and Oneida is what makes What’s Your Sign? such a seamless and natural partnership: ageless vanguards of minimalism, free-improvisation and noise banding together in a holier than thou union of NYC experimental.
Back in stock:
RAVI SHANKAR - In Hollywood, 1971 - (2 CD Set)(Northern Spy 073; USA) Pandit Ravi Shankar was a sitar master and pioneer; widely credited with popularizing sitar and Indian classical music in the West. Through his association with George Harrison, he also popularized the benefit concert with Concert for Bangladesh in 1971. Earlier that same year, Ravi Shankar performed a morning concert in his home on Highland Avenue in Hollywood, California with Harrison in attendance. As Ravi’s wife, Sukanya Shankar, attests in her amazing liner notes, this concert most certainly sowed the seed for the overwhelmingly successful Concert for Bangladesh. These four Ragas are beautifully recorded, and they sound phenomenal after tape transfer, audio restoration, and mastering by Barry Phillips. Participants: Ravi Shankar (Sitar), Alla Rakha (Tabla) and Kamala Chakravarty (Tanpura).
2 CD set $20
RICHARD H. KIRK - Dasein (InTone 009; UK) Dasein is Richard H. Kirk's first solo album since 2011. Recorded, produced, and written by the founding member of Cabaret Voltaire himself, the album was constructed at Western Works, Sheffield, over a three-year period. Work began with recording on midi and analog synthesizers before guitar and vocals -- his first use of vocals in ten years -- were added. Kirk explains, "A lot of time was spent on post-production, editing and then living with the material and I think it benefited from stepping back and then revisiting after doing other things." Although it's not an overtly political album, it's hard not to hear a reaction to recent years' world events in the overwhelming urgency of "Nuclear Cloud", "20 Block Lockdown", or "New Lucifer / The Truth Is Bad". When questioned Kirk admits, "It's not really a political album, but over recent years -- during the recording -- all manner of horror show events have cropped up and now we seem to be in a rerun of the Cold War with Russia back as the Bogeyman." The album's title, Dasein (a German word meaning "being there" or "presence", often translated into English as "existence"), is a fundamental concept in existentialism. Kirk explains "culture succumbs to nostalgia in much the same way that an individual looks back wistfully to adolescence or childhood -- the nostalgia is partly for a time when he or she wasn't nostalgic, just lived purely in the now." In 2014, during the recording period, Kirk started performing live again with Cabaret Voltaire, so the two projects coexisted in tandem. Although Kirk's varied projects have always existed separate to one another, says Kirk, "in the past some solo works served as a blueprint for what I did later with Cabaret Voltaire."
NOMADE ORQUESTRA - Entremundos (Far Out Recordings FARO 198; UK) Nomade Orquestra return from the stratosphere via Brazil with their second offering: Entremundos ("Between Worlds"). Gazing outward through a kaleidoscope from the heart of Sao Paulo's jazz scene, the collective consciousness of the ten-man orquestra has dreamt up an adventurous amalgam of earth's most far reaching musical cultures. Recorded at Red Bull Studios, Sao Paulo, Entremundos is like a cosmic musical playground where Ethio-jazz, Indian classical, and Oriental sounds dance around Afro-Brazilian roots rhythms and Northern hemisphere jazz, funk, soul, library music, and hip-hop influences. The sheer vastness of the album is astounding, Nomade Orquestra have quite literally conquered the world in sound. Nomade Orquestra are some of the most accomplished musicians in their city. They're also avid record collectors, citing the coming-together of their expansive musical knowledges as key to their unique sound. Album opener "Jardim De Zaira" -- a tribute to the neighborhood on the outskirts of the famous ABC region, where the band meet and rehearse -- hosts a playful unison of vibraphone, guitar, horns, and keyboards reminiscent of Stereolab's funkiest late '90s output. "Felag Mengu" lies somewhere between the groovy, brooding Ethio-jazz of Mulatu Astatke and Tinariwen's hazy desert rock, and "Olho Do Tempo" is another enchanting incarnation of the band's impossible to define brand of global roots music. The album's wildest moment comes from the roaring off-road, big-band joy-ride "Rinoceronte Blues" with hillbilly harmonica, soulful organ stabs, and soaring horn arrangements, further highlighting the depths of Nomade Orquestra's endless span of influences. With Gilles Peterson singing their praise and rave reviews from the likes of Wax Poetics, Record Collector, and Songlines, Nomade Orquestra's self-titled debut album (FARO 189CD/LP, 2015) launched them from their humble beginnings to international recognition. They also embarked on their first tour outside of Brazil. CD version comes in a jewel case.
POP MAKOSSA - The Invasive Dance Beat of Cameroon 1976-1984 / various artists (Analog Africa 083; Germany) The Pop Makossa adventure started in 2009, when Analog Africa founder Samy Ben Redjeb first travelled to Cameroon to make an initial assessment of the country's musical situation. He returned with enough tracks for an explosive compilation highlighting the period when funk and disco sounds began to infiltrate the makossa style popular throughout Cameroon. From the very beginning, there were several mysteries hanging over Pop Makossa. It was not until DJ and music producer Déni Shain was dispatched to Cameroon to finalize the project, license the songs, scan photographs, and interview the artists that some of the biggest question marks began to disappear. His journey from the port city of Douala to the capital of Yaoundé brought him in contact with the lives and stories of many of the musicians who had shaped the sound of Cameroon's dance music in its most fertile decade. The beat that holds everything together has its origins in the rhythms of the Sawa people: ambassey, bolobo, assiko and essewé, a traditional funeral dance. But it wasn't until these rhythms arrived in the cities of Cameroon and collided with merengue, high-life, Congolese rumba, and, later, funk and disco, that modern makossa was born. Makossa managed to unify the whole of Cameroon, and it was successful in part because it was so adaptable. Some of the greatest makossa hits incorporated the electrifying guitars and tight grooves of funk, while others were laced with cosmic flourishes made possible by the advent of the synthesizer. However much came down to the bass; and from the rubbery hustle underpinning Mystic Djim's "Yaoundé Girls" to the luminous liquid disco lines which propel Pasteur Lappé's "Sekele Movement", Pop Makossa demonstrates why Cameroonian bass players are some of the most revered in the world. "Pop Makossa Invasion", an obscure tune recorded for Radio Buea makes its debut here and joins the pantheon of extraordinary songs that plugged Cameroon's makossa style into the modern world. Also features: Dream Stars, Mystic Djim & The Spirits, Bill Loko, Eko, Olinga Gaston, Emmanuel Kahe et Jeanette Kemogne, Nkodo Si-Tony, Bernard Ntone, Pat' Ndoye, and Clément Djimogne. CD version includes a 44-page booklet.
BOB MARLEY & THE WAILERS - Lively Up Yourself: Roots Of A Revolution (1967-1971)(WeWantSounds 006; UK) A superbly crafted Bob Marley set, compiled and annotated by French journalist Vincent Tarrière, chronicles the story behind this legendary article "The Wild Side of Paradise" published by Rolling Stone Magazine in 1973. Features a handpicked selection of Bob Marley's best songs, recorded at his creative peak, during the late '60s and early '70s, when he was working with producers Bunny Lee, Leslie Kong, and Lee Perry. 1973 was a turning point for Jamaican music. Perry Henzell's highly-acclaimed film The Harder They Come had come out the year before and Bob Marley had just signed with Island Records and was about to take the world by storm. In July 1973, Rolling Stone Magazine published "The Wild Side of Paradise", a major story about Jamaica and its vibrant musical scene written by Michael Thomas with striking photos by Arthur Gorson. The pair had travelled to the island to soak up the atmosphere and immerse themselves in the local music scene. There they met a 28 year old Marley who was about to tour Europe. "The Wild Side of Paradise" was a bold move for the magazine. Jamaican music was essentially unknown in the western world up to that point. "Revolution was in the air and, ten years into independence, Jamaica was on fire," remembers Gorson. Through connections with Island Records' Chris Blackwell, Thomas and Gorson managed to spend time with Marley and a series of iconic photos of the artist was taken by Gorson, one of which is on the cover of this album. "Wild Side" was the first major feature focusing on Jamaican music and would help put reggae on the international map. The article was also the seed of Thomas's book Babylon On A Thin Wire in collaboration with Adrian Boot (1976). In 1973, Bob Marley was indeed no newcomer on the Jamaican scene. He'd been active since the early '60s and had recorded some of his most creative output accompanied by his group, The Wailers. The music is fresh and undiluted, catchy and inspired, and shows Marley's genius at crafting beautiful melodies. The set features several of his early classics such as "Duppy Conqueror" and "Caution", as well as lesser-known gems such as "Wisdom" and "Long Long Winter", and songs that would find a second life on his Island albums, such as "Trench Town Rock" or "Concrete Jungle".
KING TUBBY AND THE AGGROVATORS - Shalom Dub (Radiation Roots 13; Italy) Radiation Roots present a reissue of King Tubby And The Aggrovators' Shalom Dub, originally released in 1975. The house band of Bunny "Striker" Lee was formed in the mid-1970s by some of Jamaica's most prominent and musically expressive session players. The shifting core line-up spun off from the Soul Syndicate and thus typically featured Earl "Chinna" Smith and Tony Chin on guitar and Bernard "Touter" Harvey on organ. Carlton "Santa" was the main drummer, but Carlton Barrett of the Wailers band and "Benbow" Creary were sometimes featured. Most crucially, on bass, Aston "Family Man" Barrett shifted to Fully Fullwood (and occasionally, Earl "Bagga" Walker), until Robbie Shakespeare took over, becoming the bandleader. The band was responsible for the popular "flying cymbal" style that took Jamaica by storm, and you can hear it in abundance on this killer dub set from 1975. Its excellent cuts of Cornell Campbell and Johnnie Clarke material mixed at King Tubby's studio are a must for all serious fans of dub. CD version includes two bonus tracks.
RAGNAR JOHNSON - Ethiopian Urban And Tribal Music: Mindanoo Mistiru/Gold From Wax (Sub Rosa SR 434; Belgium) Sub Rosa present a reissue of volume one (Mindanoo Mistiru) and two (Gold From Wax) of Ethiopian Urban And Tribal Music, both originally released as two distinct LPs on Lyrichord in 1972. Mindanoo Mistiru and Gold From Wax were recorded by Ragnar Johnson. Ethiopia contains many diverse peoples and many styles of music. It was still an empire in July and August of 1971 when these recordings were made. Over 70 languages and 200 dialects are spoken in Ethiopia. In much of the music, lyrics are more important than instrumentation, and the transmission is oral. The urban musicians, the bagana, and Mary Armeede, were recorded in Addis Ababa. Ethiopian urban musicians come from many parts of the country and are familiar with, and adapt to, styles of regions other than their own. The Afar divination chants and flutes were recorded in the Danakil desert. The Anuak toum and Nuer harp, lament and dance were recorded near the Sudan border. The Konso dance and the Gidole Fila flute dance were recorded near the Kenya border. Mindanoo Mistiru means "What is the Unknown?". Gold From Wax refers to the two layers of meaning in Amharic poetry. File under: Le Coeur du Monde. Double CD version comes in a six-panel digipack; Includes booklet.
2 CD Set $18
Historic, Archival Recordings & Reissues:
STAN GETZ With GERRY MULLIGAN/OSCAR PETERSON/STEVE KUHN/ROY HAYNES/CHARLIE BYRD/BOB BROOKMEYER/JIM HALL/HANK JONES/JOAO GILBERTO/ANTONIO CARLOS JOBIM/ et al - The Classic Albums Collection: 1955-1963 (Enlightenment 9122; EEC) The collection features eight essential Stan Getz albums: Getz & Gilberto - Volumes 1 & 2, Big Band Bossa Nova, Jazz Samba, Stan Getz & J.J. Johnson, Focus, Jazz Giants ’58. Great arrangers like Gary McFarland, Eddie Sauter,etc.
4 CD Set $18
J.J. JOHNSON With BOBBY JASPAR/NAT ADDERLEY/TOMMY FLANAGAN/HANK JONES/HORACE SILVER/CEDAR WALTON/PERCY HEATH/PAUL CHAMBERS/MAX ROACH/ELVIN JONES/ALBERT HEATH / et al - Columbia Albums Collection: 1956-1961 (Enlightenment 9117; EEC) “James Louis Johnson was born on 24th January 1924 in Indianapolis, Indiana, to Reverend James Horace and Nina Johnson, and was raised in a strict, disciplinarian household. His mother encouraged him to start playing piano at the age of nine, before he temporarily moved to baritone saxophone. When his school friends at Crispus Attucks High School needed a trombone player for their band, James Jr. made the final switch, and trombone would remain his instrument of choice for the rest of his life. Heavily influenced by the likes of Dickie Wells, Trummy Young and J.C. Higginbotham, Johnson began his professional career in 1941 when he joined the band of Clarence Love. He moved on to pianist Snookum Russell's group in 1942, where he played alongside trumpeter Fats Navarro. His career reached new heights that year too when he was invited to join Benny Carter's orchestra as player and arranger, a post he held for three years. During this time, Johnson made his first recordings, and appeared at the first Jazz at the Philharmonic concert. Sadly, on 4th February 2001, after a long battle with prostate cancer, J.J. Johnson took the decision to go out on his own terms; he ended his life by his own hand via a single gunshot wound at age 77. This four CD box set compiles the entirety of J.J. Johnson's work as bandleader for the Columbia label, originally released between 1956 and 1961. Featuring eight complete albums, and over five hours of music, all in glorious remastered sound, this compilation will prove both a perfect starting point for those new to J.J.'s music, and a welcome reminder for those already well-versed.”
4 CD Set $18
BENNY GOLSON With ART FARMER/KENNY DORHAM/LEE MORGAN/JIMMY CLEVELAND/CURTIS FULLER/GIGI GRYCE/JULIUS WATKINS/WYNTON KELLY/BARRY HARRIS/PAUL CHAMBERS/CHARLIE PERSIP/MAX ROACH/PHILLY JOE JONES - Classic Albums Collection - 1957-1962 (Enlightenment 9118; EEC) his collection brings together the finest recordings Golson produced as leader during his career, containing eight complete original albums all in superior remastered audio quality. Serving as both a perfect introduction to the work of this musical giant and a welcome reminder of the man's finest output, this set will delight all those who take the time to listen.
4 CD Set $18
INNER PEACE With HAROLD LAND / HADLEY CALIMAN / FRANK FOSTER / ROY HAYNE/ PETE YELLIN / SONNY RED / SHELLY MANNE / et al - Rare Spiritual Funk And Jazz Gems - The Supreme Sound Of Producer Bob Shad (WeWantSounds 007; UK) Wewantsounds are back with a superb selection of spiritual jazz and funk grooves from legendary producer Bob Shad's Mainstream Records catalogue. Bob Shad was one of the greatest music producers of the 20th century, having worked with all the music giants, from Charlie Parker and Dizzy Gillespie to Sarah Vaughan, Lightnin' Hopkins, The Platters, and Janis Joplin to name just a few. "Bobby Shad was a legend in our family" says his grandson Judd Apatow who, together with his sister Mia, looks after Shad's back catalogue, Mainstream Records. Like his peers, jazz producers Creed Taylor and Bob Thiele, Shad went independent in the '60s, and by the early '70s, he was producing a string of superb albums mixing spiritual jazz with funk and soul. These albums are now being rediscovered by new generation of soul and jazz lovers hooked on the music of Kamasi Washington and Shabaka Hutchings. Recorded between 1971 and '73, the Fender-Rhodes-drenched tracks on Inner Peace showcase Shad's unique deep jazz sound. They feature such revered musicians as Harold Land, Roy Haynes, and Frank Foster, together with a younger generation of talented musicians led by Buddy Terry, Dave Hubbard, and LaMont Johnson. Here they are accompanied by the cream of '70s jazz session musicians including Bernard Purdie, Buster Williams, Eddie Henderson, James Mtume, Stanley Clarke, and Cecil Bridgewater. The Mainstream catalogue has been sampled by a long list of revered DJs and hip hop producers over the years. Roy Haynes's "Senyah" was sampled by De La Soul on "Pony Ride" and Shelly Manne's short outro "Infinity" forms the unmissable backbone of Jeru The Damaja's all-time hip hop classic, "Come Clean". A fitting tribute to the supreme sound of producer Bob Shad. Wewantsounds will start a reissue program of original Mainstream albums with bonus material and rare photos from the vaults. Also features: Charles Williams, Hadley Caliman, Pete Yellin & Sonny Red.
CD $18 (In stock next week)
GRATEFUL DEAD - Harding Theater 1971 (Left Field Media 544; EEC) Keith Godchaux joined Grateful Dead in mid October 1971 as a replacement on keyboards for the ailing Pigpen who was unable to undertake the rigors of touring in the late '71 season. The group were re-energised by this new intake of talent, and the brace of home-turf shows performed at Frisco's Harding Theater across the 6th and 7th November weekend were rarely bettered at this juncture in the Dead's career. The 500 seater Old Harding was a tiny venue for the group at a time when most local shows were either at Winterland or, occasionally, at the Berkeley Community Theater. With the second-night the subject of an FM radio broadcast, the band is in great spirits, chatting it up to the crowd - both in the hall and on the radio - despite technical difficulties a-plenty, most notably in the opening numbers when a problem with monitors and some intermittent dropping of the radio signal during the second cut 'Black Eyed Woman' is a little irritating. The show had been flagged up on the afternoon of the gig via an announcement on KSFX FM, who were broadcasting from the venue, and which indicated that tickets would go on sale at 2pm. Contrary to popular wisdom and convention of the day, the New Riders Of The Purple Sage did not open the show. Instead, the Dead played two long sets - making it certainly the longest show of this leg. As they tune up, Garcia and Lesh wax academic, with Jerry positing "if you are sitting at home next to your radio...you're hearing the music faster than if you're in the hall." After a solid opening with 'Truckin,' Bob Weir announces "you'll all be appalled to learn that our monitors just went out and we just don't know what to do. That means we don't have the foggiest idea of what we are doing up here." Phil Lesh retorts "this probably isn't even going out on the radio, so why worry?" (it was..!)
3 CD Set $20
MAGGI PAYNE - Crystal (Aguirre Records ZORN 046; Belgium) Aguirre Records present a reissue of Maggi Payne's challenging electronic album Crystal, originally released in 1986. Maggi Payne is an American composer, flutist, video artist, and co-director of the Center for Contemporary Music, Mills College where she teaches recording engineering, composition, and electronic music. Her work involves electroacoustic, instrumental, and vocal works along with works involving visuals, including dancers outfitted with electroluminescent wire and videos she creates using images ranging from nature to the abstract. She has composed music for dance, theatre, and video. Crystal was first released in 1986 on the Lovely Music label. Home to experimental musicians such as Robert Ashley, David Behrman, Pauline Oliveros, and Alvin Lucier. On Crystal, flute, spoken voice, sonifications, and synthesizers are processed to create dense and massive structures. Maggi Payne's musical imagination is vivid: she is interested in the surreal, the inward, the micro, and the accumulation of physical and psychological tension. Periods of silence gently evolve into flowing drones of complex resonances. Oozing drones evolve into dense and powerful peaks of short duration. The compositions and sounds on Crystal have incredible depth, a profound logic and, though not "pretty", an irresistible beauty. 180 gram vinyl; Remastered and cut at 45rpm by Rashad Becker; Gatefold sleeve with liner notes by the artist; Artwork by Atelier Brenda.
BRUCE DITMAS - Visioni Sconvolgenti (Dead-Cert 010; UK) With roots in the early developments of modular synthesis and free jazz and revered amongst the most discerning collectors of international jazz, electronic music, and American avant-garde, the experimental drummer known as Bruce Ditmas occupies a firm branch on contemporary experimental music's family tree. As the one time romantic partner (and artistic collaborator) of sound poet Joan La Barbara (later to be Miss Morton Subotnik) and the stand-out session drummer for both Robert Mason's mutant synth Stardrive project and Gil Evan's legendary Jimi Hendrix tribute band, Ditmas is best savored as the first recorded solo artist to utilize Robert Moog's lesser-known Moog Drum controller -- an instrument which over the course of two 1977 independent LPs (Aeray Dust and Yellow) would become synonymous with his blooming reputation. Raised in Miami, nurtured in New York City, and willingly exploited internationally, Bruce's public life as a child prodigy-cum-world jazz crusader (drawing similarities with the likes of France's Jacques Thollot) has seen him spread his select discography over many imprints, including Joan La Barbara's own Wizard Label, Enja, and ECM -- socializing with sound designers like Suzanne Ciani and collaborating on projects penned by Annette Peacock, Paul Bley, and his long running collaborator Enrico Rava. Spending the last thirty years travelling between America and Italy as a full-time jazz musician whilst working with inter-communal music initiatives, film directors, and theater groups, Bruce has retained the same maverick passion and macabre creative influences channeling brutalism, futurism, science fiction, and psychological horror through his percussive mantra and avant-garde approach to instrument manipulation and recontextualization. The selected titles on Visioni Sconvolgenti are extracted from various recordings made over the last three decades, comprising field recording techniques and percussive manipulation resulting in gritty tonal soundscapes and angular sonic sculptures, while drawing theoretical comparisons with European proto-industrial units like Germany's Faust, Swiss electronic jazz pioneer Bruno Spoerri, Czech sonic illustrator Milan Grygar, and sprawling generation of Parisian musique concrète informed anti-melodic luminaries. Reflecting a lifelong career in active melodic drum exploration and vivid existential sound design, Visioni Sconvolgenti provides an alternative, darker, meditative, glimpse into the work of a proactive composer at his non-conformist best in the uninhibited confides of his own home analog studio. Artwork by Andy Votel. Cut at Dubplates & Mastering; Edition of 500.
10” LP $18
PAUL PANHUYSEN - Twenty-Three Carillon Sudokus (Number Made Visible - Number Made Audible)(Edition Telemark 628-08; Germany) Carillon Sudokus is the sonic counterpart to Oog & Oor (Eye & Ear), the last work that Dutch sound and visual artist Paul Panhuysen (1934-2015) realized. Oog & Oor was a design made with his daughter Sappho Panhuysen for a temporary installation in the lighted column of the Rietveld bus shelter next to the town hall of Eindhoven. It is a further development from Eight Double Sudokus, a series of large-scale prints exhibited at Museum De Pont in Tilburg in 2012. Both designs were created using sudoku puzzles and comprise various shapes of different colors whose structure was derived from the number sequences present in individual sudokus. Panhuysen used number systems such as magic squares, the Fibonacci series and the golden ratio in much of his art because he felt that instead of limiting his artistic freedom, such systems allowed him to make new discoveries and realize works that transcended his own imagination. René van Peer describes the composition in the liner notes: "A system is evidently at work behind the order of colours and shapes in these prints. On the other hand it is far from obvious what the underlying order actually is. Coloured bands and arcs converge in a rhythmic play of lines. Some originate from the same point, joining to form a right angle or part of a circle. Others touch only at the point or remain loose ends in a wave of motion. The orderliness of the structure and the erratic behaviour of the straight and curved lines strive for predominance in the series." These principles can also be applied to pitch and musical phrases. For Eight Double Sudokus, Panhuysen composed eight pieces for piano that were heard during the exhibition. For Oog & Oor, he envisioned music for the carillon, a bell tower on the roof of the Eindhoven town hall. The original idea was to generate 365 sudoku-based pieces, one for each day of the year that the installation was to be shown. In the end, around 50 pieces were realized in collaboration with town carillonneur Rosemarie Seuntiëns. Side A of this LP contains 11 pieces played live by Seuntiëns on the ceremonial ending of Oog & Oor on August 28, 2015. Side B features 12 pieces played mechanically by the carillon. Comes in full-color gatefold sleeve with printed inner sleeve; Liner notes by René van Peer; Edition of 300.
LOREN CONNORS - Evangeline (Recital 029; USA) Recital present the first-time vinyl issue of Loren Connors's Evangeline, originally released as a limited CD in 1998. Evangeline finds Connors working in a narrative structure. This album trails the story of Evangeline, the heroine of an epic-poem written in 1847. Loren's guitar tone follows the weary landscapes and mournful souls of the characters. Thematically, Evangeline falls in line with the other romantic Connors LPs Recital has published, Airs (2015) and Lullaby (2016), though with a defining arc in direction. Parallel guitar preludes begin this collection, leading to distant ballads in spheres of reverb. Suzanne Langille softly singing on the first track sets this album as a child's fable. As longing, clouded in dreams of loss and devotion. Includes an 8.5"x11" insert: a story written by Suzanne Langille based on the epic poem, Evangeline; Includes restored audio and new artwork by Loren Connors; Remastered for vinyl by Sean McCann; Edition of 500.
DICK HIGGINS - Poems And Metapoems (Recital 033; USA) Recital present a reissue of Dick Higgins's Poems And Metapoems, originally released on cassette by New Wilderness Audiographics in 1982. Label head Sean McCann on the reissue: "Since the beginning of Recital, I have been trying to publish the work of Dick Higgins. He is a chief figure in my artistic world, a hero of mine. And now, with the assistance of Charlie Morrow, it has finally happened. The first vinyl album ever published of Higgins! Many know Dick Higgins as the father of intermedia, a key player in the birth of fluxus, and the owner/operator of the fabulous Something Else Press. His own poetry is what stirred me. Namely, his book Foew & Ombwhnw (1969), which contains one of my favorite of his works, 'Moments in the Lives of Great Women,' along with other lovely poems (some included on this LP). This recording is of Dick himself reading his own poetry. Poems And Metapoems begins with a voice/tape manipulation piece from 1962, while the rest of the collection employs only language manipulation. Alike a cantor, each word is delivered perfectly with strong warmth. His ability to relay pattern-based poems into sonics is impressive. This album was recorded in 1982, and contains the reading of poems written between 1958-1980. Originally published as a cassette tape by New Wilderness Audiographics, which is nearly impossible to find now. The audio has been remastered and cleaned up for this edition. Dick lived large and was a busybody. All the faucets were running within him, handles broken off. Always pulling to mesh painfulness with playfulness, heart-warmth with heartbreak, comedy with tragedy etc. It is this plurality that Higgins encourages us to spark and flourish." Includes a 16-page pamphlet of notes and poetry by Higgins and an essay on both Higgins and New Wilderness Audiographics by Charlie Morrow; Edition of 470.
TERRY FOX - 552 Steps Through 11 Pairs Of Strings (Edition Telemark 628-07; Germany) When Terry Fox went from San Francisco to Europe in 1972, he discovered the great pavement labyrinth at Chartre Cathedral. It consists of 11 concentric rings with 552 steps and 34 turns leading to the center. The discovery of the labyrinth became a revelation to him: He saw it as a metaphor for his own life, the numbers of rings and turns corresponding to cycles of health and sickness he had undergone. Thus, he decided to base all of his works until 1978 on the labyrinth. These include two major sound works, one of which -- The Labyrinth Scored For The Purrs Of 11 Cats -- was later released on cassette (1989) and LP (2009), while the other has remained unreleased so far. 552 Steps Through 11 Pairs Of Strings was a performance made in Fox's loft in San Francisco on August 14, 1976, starting at 10pm and lasting four-and-a-half hours. He stretched 11 pairs of piano wires of 11 different thicknesses across the floor and attached them to turnbuckles at each end, which he then hooked to eye-screws in the wooden floor. Each of the piano wire pairs were passed over a wooden bridge at both ends. over a wooden bridge at both ends. He played this instrument with a soft mallet in one hand and a score in the other. The score was a 34-foot string tied with 552 knots. Each knot represented a step in the labyrinth with the 34 turns indicated by either a piece of wire in a knot (a move to the next longer pair of wires) or a rubber band around a knot (a move to the next shorter pair). The audience was in the dark loft of the floor below. Alan Scarritt describes the performance in the liner notes: "We were all mesmerized by the beauty of the piece and lost in its grace. Around midnight a light rain began to fall outside the windows completing the piece's perfection. He played for another two hours or so. It also happened to be my birthday. It was the best birthday I ever had." This double LP includes four selections from the performance. Comes in a gatefold sleeve with a reproduction of the score, a photograph and a drawing of the instrument, and the invitation card to the performance; Texts by Terry Fox and Alan Scarritt; Edition of 300.
2 LP Set $40
FLOWER TRAVELLIN' BAND - Anywhere (Grey Vinyl)(Phoenix Records 30548; UK) Phoenix Records present a reissue of Flower Travellin' Band's debut album Anywhere, originally released in 1970. Anywhere is the first album from the legendary Japanese rockers fronted by Yuya Uchida. Although an album consisting mainly of cover versions, Anywhere still exhibited many of the musical traits that were to come to the fore on the band's next release, the classic 1971 album Satori (ASH 3002CD/LP), an album of original material delivered with panache by the increasingly confident Uchida. An album made memorable by its risque cover as well as its ground-breaking approach to Western rock music. 180 gram grey color vinyl; Original LP artwork; Includes original Japanese insert; Includes CD.
LP CD $25
Bruce Lee Gallanter’s Recommended Gig List for June & July of 2017
THE STONE RESIDENCIES - KARL BERGER - JUNE 27 - JULY 2
8:30 pm - Sertso/Berger Quintet - Kenny Wessel (guitar) Ken Filiano (bass) Warren Smith (drums) Ingrid Sertso (vocals, poetry) Karl Berger (vibes, piano)
THE STONE AT THE NEW SCHOOL—55 WEST 13TH STREET
DAVE DOUGLAS: RIVERSIDE: The New National Anthem
Dedicated to the music of CARLA BLEY—Greenleaf Music CD release.
FRIDAY AND SATURDAY NIGHTS JUNE 30-JULY 1 AT 830 - Dave Douglas (trumpet) Chet Doxas (reeds) Steve Swallow (bass) Jim Doxas (drums)
Steven Bernstein (trumpet) Peter Apfelbaum (tenor sax, flute) Billy Martin (drums) Ingrid Sertso (vocals, poetry) Karl Berger (piano, vibes) Ken Filiano (bass)
8:30 pm - Steven Bernstein's Millennial Territory Orchestra - Steven Bernstein (trumpet) Curtis Fowlkes (trombone) Charlie Burnham (violin) Doug Wieselman (clarinet) Peter Apfelbaum (tenor sax) Erik Lawrence (baritone sax) Matt Munisteri (guitar) Ben Allison (bass) Ben Perowsky (drums)
THE STONE RESIDENCIES - TYSHAWN SOREY - JULY 4-9
8:30 pm - DUO - Jen Shyu (vocals, small percussion, moon lute) Tyshawn Sorey (percussion)
8:30 pm - SMIRK - Alan Bjorklund (trumpet, compositions) Jeremy Viner (tenor saxophone) Travis Reuter (guitar) Matt Mitchell (piano) Kim Cass (bass) Tyshawn Sorey (drum set)
THE STONE AT THE NEW SCHOOL—55 WEST 13TH STREET - BRIAN MARSELLA
FRIDAY AND SATURDAY NIGHTS JULY 7-8 AT 830
JULY 7—BRIAN MARSELLA PLAYS JOHN ZORN'S BAGATELLES: Brian Marsella (piano)
JULY 8—BRIAN MARSELLA TRIO PLAYS MASADA: Brian Marsella (piano) with bass and drums
8:30 pm - QUARTET - Peter Evans (trumpet) Tyshawn Sorey (piano/synthesizer) Tim Dahl (bass) Weasel Walter (drum set)
8:30 pm - TYSHAWN SOREY BIRTHDAY DUO - John Zorn (alto sax) Tyshawn Sorey (drums)
8:30 pm - TYSHAWN SOREY SOLO (drum set, percussion, piano, trombone, installation)
(In preparation for an upcoming recording)
8:30 pm - Burning Ghosts - Daniel Rosenboom (trumpet) Jake Vossler (guitars) Richard Giddens (bass) Aaron McLendon (drums); A rare and special concert by this exciting LA band to celebrate their new CD on TZADIK—AVANT-ACTIVIST Metal-Jazz from the LA Underground!!
All Sets 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. There is no phone.
There is no food or beverage served or allowed
just a serious listening environment.
The Stone is booked purely on a curatorial basis
The CORNELIA STREET CAFE - 212-989-9319
29 Cornelia St in the heart of the West Greenwich Village, NYC
Friday Jun 30
9:00PM & 10:30PM RUSS JOHNSON QUARTET - Russ Johnson, trumpet, comp.; Aruan Ortiz, piano; Michael Formanek, bass; Gerald Cleaver, drums
Sat July 1st:
9:00PM & 10:30PM RUSS JOHNSON QUARTET - Russ Johnson, trumpet, comp.; Aruan Ortiz, piano; Michael Formanek, bass; Gerald Cleaver, drums
Sunday Jul 02
8:35PM VOXECSTATIC SPECIAL EDITION: KURT ELLING voice; Will Vinson, alto sax; Vinnie Valentino, guitar; Matt Penman, bass
Monday Jul 03
8:30PM AMRAM & CO - David Amram, piano, french horn, flutes, composition & surprises; Kevin Twigg, drums, glockenspiel; Rene Hart, bass; Elliot Peper, bongos
Wed July 5th:
6:00PM ANNIE CHEN QUARTET - Annie Chen, voice, composition; Marius Duboule, guitar; Michael Bates, bass; Deric Dickens, drums; Nathaniel Gao, sax,
8:00PM ALEX BROWN TRIO - Alex Brown, piano; Zach Brown, bass; Daniel Dor, drums
9:30PM ABELITA MATEUS TRIO - Abelita Mateus, piano; Itaiguara Brandao, bass; Philip Gillette, drums
Thursday Jul 06
8:01PM JULIEN LABRO & OLLI SOIKKELI QUARTET - Julien Labro, accordion; Olli Soikkeli, guitar; Jorge Roeder, bass; Colin Stranahan, drums
Friday Jul 07
9:00PM PAUL JONES SEXTET - Paul Jones, tenor sax; Alex LoRe, alto sax Johannes Felscher, bass;
10:30PM MATT DAVIS TRIO - Matt Davis, guitar; Ben Bryden, sax; Austin Walker, drums
Saturday Jul 08
9:00PM & 10:30PM PETER BRENDLER QUARTET - Peter Brendler, bass, comp.; Rich Perry, tenor sax; Gary Versace, piano; Vinnie Sperrazza, drums
Shapeshifter June & July, 2017:
7pm: The Toby Tobias Ensemble / A Musical Perspective in Black and White
8:15p - The Recess Bureau
Max Pollak - vocals, tap, percussion
Livya Howard Yashar - vocals, tap, percussion
Samuel Torres - congas, percussion
Christos Rafalides - vibraphone
Ivan Renta - tenor sax
8:15p Samuel Torres Sextet
7pm: Young Street
Bass - Reggie Young
DaiQuan Davis - Drums
Anthony Miller - Keys
James Cage - Trumpet
Andrew Swift - Guitar
8:15p - Makrokosmos Orchestra - Fifteen-player ensemble playing compositions by Tim O’Dell and Richard Nelson, including premiere of O’Dell’s Selfless. Featuring Christine Correa, voice; Peter Bloom flutes; Adam Kolker, tenor saxophone, clarinet; Tim O'Dell, alto and soprano saxophones; Alan Brady, bass clarinet; Marshall Sealy, French horn; John Carlson, trumpet; Jacob Varmus, trumpet, cornet; David Chamberlain, euphonium; Dale Turk, bass trombone; Rick Bassett, keyboards, sound design; Richard Nelson, guitar; Matt Pavolka, bass; Rex Benincasa, percussion; and Rob Garcia, drums.
7pm: Run With Me Ep Release Tour - palatine
8:15 - Loop-n-Roll - Brian Hill
July 12 - A Night of Illusions V featuring:
Edward Gavitt's Group & Daryl's Trifecta
7pm Edward Gavitt's Group
8:15p Daryl's Trifecta:
Alfredo Colon(EWI/Alto Sax) Nat Janoff (Guitar), Sean Wayland(Piano/Synths), Daryl Chen (Electric Bass) & Kenny Grohowski (Drums).
July 13 and 14
7:30pm & 9:00pm - William Parker / In Order To Survive
In Order To Survive
William Parker: bass, compositions
Hamid Drake: drums
Rob Brown: alto sax
$20 @door / $18 online advanced / $15 student/ seniors @door
Shapeshifter is located at
18 Whitwell Place in Brooklyn, NY
R train to Union stop
Friday, June 30th 8:00 PM
Billy Mintz Liebowitz/Caine Duo
8pm: Billy Mintz – drums (solo)
9pm: Liebowitz/Caine Duo
Carol Liebowitz – piano
Adam Caine – guitar
Saturday, July 1st 8:30 PM
Joe Morris/Sylvie Courvoisier
8:30 - Joe Morris – Guitar / Sylvie Courvoisier – Piano
9:30 - Joe Morris – guitar
Mark Feldman – violin
Julian Gerstin Sextet
Saturday, July 8th 8:00 PM
Drums from Martinique and Cuba mingle with rhythms of Turkey and Bulgaria in the world of percussionist/composer Julian Gerstin. His sextet is fronted by clarinetist Anna Patton, playing with one foot in jazz and the other in Macedonia, and trumpeter Don Anderson, adding a salsa veteran’s heat. Pianist Andy Jaffe brings a fresh and coloristic ear; bassist Wes Brown’s gigs have spanned the history of jazz from Earl “Fatha” Hines to Wadada Leo Smith and Fred Ho; and drummer Ben James has anchored both Camper van Beethoven and free jazz great John Tchicai. The sextet has just released its first CD and is touring this summer.
Friday, July 14th 8:30 PM
Endangered Blood (night 1)
Jim Black – Drums
Chris Speed – Tenor / Clarinet
Oscar Noriega – Alto / Clarinet / Bass Clarinet
Trevor Dunn – Bass
Saturday, July 15th 8:30 PM
Endangered Blood (night 2)
Jim Black – Drums
Chris Speed – Tenor / Clarinet
Oscar Noriega – Alto / Clarinet / Bass Clarinet
Trevor Dunn – Bass
I-Beam is located at 168 7th Street in Brooklyn, NY 11215 - Directions: SUBWAY: Take the F or R trains to 4th Ave & 9th Street. Walk down 4th ave to 7th street. Make a left on 7th and walk past 3rd ave. We are located on the ground floor, the grey doors to the right of the stairs of #168.