There’s a Chill in the Air
And It’s Starting to Get Colder
Winter is Coming and We’re All Getting Older
Take Time to Warm Up to Some Good Tea or Tasty Soup
And Savor the Sounds of These Musicians/Magicians:
John Zorn & Eugene Chadbourne Book/LP Rarity! Mary Halvorson Quartet with Miles Okazaki Perform the Final Masada Book of Angels CD! Tomas Fujiwara Triple Double: Brandon Seabrook/Mary Halvorson/Ralph Alessi/Taylor Ho Bynum/Gerald Cleaver!
Dave Douglas and the Westerlies! Henry Kaiser & Ian Brighton! Brian Chase / Ben Goldberg / Ron Reich! Josh Sinton Solo Contrabass Clarinet! Dirty Songs: Evan Parker / David Toop / Steve Beresford..! Randy Weston Solo! Plus Lots of Vinyl from: Taylor Ho Bynum! Harry Partch & Gate 5 Ensemble! Men & Volts! And even more…
THE DMG 26TH ANNIVERSARY SERIES OF SONIC CELEBRATIONS Continue with:
Sunday, October 22nd:
6pm: XPANDED RōNIN PHASING: PATRICK BRENNAN - Alto Sax & Compositions / JASON KAO HWANG - Violin / PATRICK HOLMES - Clarinet / BRIAN GRODER - Trumpet
7pm: LUIS CONDE from Buenos Aires & JOSH SINTON from NYC - International Multi-Reeds Duo!
Sunday, October 29th:
6pm: FLIP CITY: DAVID AARON / WILL McEVOY / DAVE GOULD -
Sunday, November 5th:
6pm: CHERYL PYLE / MICHAEL EATON / CLAIRE DALY / MATT LAVELLE / GENE COLEMAN - Flutes / Soprano Sax / Bari Sax/ Bass Clarinet / Flutes
7pm: JONATHAN MORITZ / SEAN ALI / CARLO COSTA - Tenor Sax / ContraBass / Percussion
Sunday, November 12th:
6pm: ROBERT DICK - Solo Flute!
7pm: GIACOMO MEREGA / ANDREW SMILEY / ELI ASHER - Electric Bass / Guitar / Trumpet!
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
JOHN ZORN and RYAN McNAMARA Performances This Weekend:
This Sunday & Monday, October 22nd & 23rd at 9pm at the Guggenheim Museum
This is the premiere of a Works & Process commission for the unique architecture of the Guggenheim’s Peter B. Lewis Theater. Collaborating with a community of dancers and artists with whom he has worked for years, Ryan McNamara will create a performance set to Commedia dell’arte by composer John Zorn.
TICKET LINK: www.guggenheim.org/event/ryan-mcnamara-and-john-zorn
CODE: PULCINELLA - $20 - no cap on numbers
CODE: HARLEQUIN - $10 – capped at 30 per performance, i.e. once 30 tickets have been purchased the code expires
This Week’s Dynamite Discs Begins with this Rarity:
JOHN ZORN / EUGENE CHADBOURNE - 1977-1981 (Song Cycle Records 986; UK) Song Cycle Records present a reissue of 1977-1981, a collection of rare free-jazz pieces performed by John Zorn and selected by the American guitarist and music critic Eugene Chadbourne originally released in 1998. Originally released to accompany the book release of Sonora: John Zorn (Materiali Sonori), the album is presented here for the first time in an exclusive release in limited edition on vinyl. This special issue includes the original book that features exclusive interviews, essays, and photos about the artist's entire oeuvre up to 1988.
LP BOOK $40 [LTD Edition / In stock next week / Pre-orders taken now]
MARY HALVORSON QUARTET With MILES OKAZAKI / DREW GRESS / TOMAS FUJIWARA - Paimon: The Book Of Angels Volume 32 (Tzadik 8356; USA) “After thirteen years and thirty-two CDs Zorn’s expansive Book of Angels project is now complete! This final installment presents the last ten unrecorded compositions from Masada Book Two and the variety, drama and lyricism is just as strong as the very first volume. Mary Halvorson, a long time Masada fan and one of the most acclaimed guitarists of her generation leads a dynamic quartet featuring Miles Okazaki, Drew Gress and Tomas Fujiwara. The music is intense, wild and incredibly varied—a beautiful and fitting conclusion to this historic Masada series—hailed as one of Zorn’s best!”
If you have been fortunate enough to hear this amazing all-star quartet live at the Village Vanguard or at a Bagatelles Marathon, then you know that they are amongst the best of the three dozen plus bands or soloists that have been interpreting either of Mr. Zorn's massive songbooks. I caught them last night (10/6/17) at the Skirlball Center at NYU and they were pretty incredible! You need this disc, believe me! - BLG
TOMAS FUJIWARA With MARY HALVORSON / BRANDON SEABROOK / RALPH ALESSI / TAYLOR HO BYNUM / GERALD CLEAVER - Triple Double (Firehouse12 04-01-026; USA) Featuring Mary Halvorson & Brandon Seabrook on guitars, Ralph Alessi on trumpet, Taylor Ho Bynum on cornet, Thomas Fujiwara on drums & compositions and Gerald Cleaver on drums. With each of Tomas Fujiwara’s previous discs as a leader, he has expanded the personnel and his palette as a composer. From duos through trios through his quintet (The Hook Up) until this, now his sextet or perhaps a double trio. Since both quitters and both brass players are so different in their approach, Fujiwara works hard to utilize their distinctive styles. “Diving for Quarters” starts with both guitars playing these bent lines together, fractured yet somehow interlocking just right. The back gets into a great, somewhat twisted groove, repeating over and over, with the trumpets sailing/soloing one at a time over the top. The last section of this piece features both drummers playing the spinning lines together in a tight communion. Mr. Fujiwara does a good job of creating these intricate patterns or grooves and then having them shift into something else entirely midway through a piece. Another great device is having the drums and guitar(s) locking into to one another while one of the brass men solos on top. Since both Mr. Seabrook and Ms. Halvorson can shred when need be, they both employ some furious, spiky lines both together and apart. Tomas uses the voice (spoken word from a drum lesson?) of his former teacher & legendary drummer, Alan Dawson, for a piece called, “For Alan” which features some wonderful double drum interplay, a tour-de-force by both drummers who work so well together. Like the guitarists, both horn players have their own unique voices and get a chance to stretch out with several inspired solos. I dig near the end of “Decisive Shadow”, when one of the guitarist kicks in the distortion pedal to give this piece more of a sort of punk or no wave edge, an unexpected delight. Every time I listen to this disc, I hear more intricate interaction and arrangements that might go unnoticed until we have time to listen closer for a second or third time. I have caught this band twice and appreciate that they are one of the best of Downtown’s most demanding units. Looking forward to listening to this again to hear even more buried treasure. - Bruce Lee Gallanter, DMG
DAVE DOUGLAS With THE WESTERLIES - Little Giant Still Life (Greenleaf 1058; USA) Featuring Dave Douglas on trumpet & compositions, the Westerlies: Riley Mulherkar & Zubin Hensler on trumpets, Andy Clausen & Willem de Koch on trombones plus Anwar Marshall on drums. “Dave Douglas has evolved into one of the giants of jazz. He's willing to take chances and expands familiar concepts, while possessing a signature sound and style amid all his technical gifts. On this release he charts a brass and drums course with the New York-based 4-man horn section and recording artists The Westerlies, along with ace drummer Anwar Marshall (Kurt Rosenwinkel, Fresh Cut Orchestra).
Due to the all-brass framework I occasionally experienced a bit of listening fatigue, yet the radiant themes with Douglas' sinuous arrangements yield gratifying results. On the opener "Champion," the musicians' pumping notes are supported by Marshall's crisp and precision-oriented beats, as the band intertwines a bluesy spirit with blustery phrasings and hard-hitting intervals. Moreover, there are an abundance of crests and sinuously executed passages on this album as the ensemble operates in perpetual motion while reengineering primary motifs along the way.
Marshall provides muscle and a pliant impetus throughout, as Douglas often contrasts and counterbalances The Westerlies' tightly organized unison lines. However, the blues element underscores many of the leader's lyrical soloing jaunts such as "Little Giant Still Life," where the band maps out a memorable hook with an upfront demeanor. Here, Douglas' raspy accents and down and dirty choruses offset pieces like "Bunting," which offers a little free-form mayhem and soaring crescendos.
The musicians tender a mesmeric sequence of musical events, constructed on odd-metered and near-flawlessly executed unison lines, but "Swing Landscape" is rather laidback as the trumpeter's soloing includes shades of gospel and trad jazz applications. Indeed, the hornists mix it up in rather spry fashion during the bridge. And the circuitous "Colonial Cubism," combines bustling bop with old school jazz frameworks. Hence, it's a piece that projects an alternative view. Consequently, Douglas and associates are supreme change agents by offering a disparate outlook on many of the roads previously traversed, implemented with gilded hues and the utmost synergy.” - Glenn Astarita, AllAboutJazz
IAN BRIGHTON / HENRY KAISER - Together Apart (Fractal Music 175; USA) Featuring Henry Kaiser and Ian Brighton on guitars, one solo each and the rest are duos. West coast guitarist, Henry Kaiser, thrives in the duo situation and has worked with dozens of other guitarists both known and not so. Mr. Kaiser’s previous disc on his Fractal label featured a dozen guitar duets, each one very different from the next. Although British guitarist Ian Brighton studied with Derek Bailey and has worked with Evan Parker, Steve Beresford and Tony Oxley, his name is not as widely recognized. It turns out that Mr. Brighton disappeared from the London scene for more than a quartet century and has recently returned to live performances. This disc begins with a solo piece by Mr. Brighton call “In Memoriam, Jack and Rose Brighton”, perhaps Mr. Brighton’s parents. This piece sounds to me like the way Derek Bailey or Henry Kaiser leave those notes hanging carefully in the air. Note fragments cautiously squeezed out, with certain notes resonating, hanging calmly in the air. Mr. Kaiser’s solo is next and he covers “Spoonful”, the Willie Dixon blues standards that was made famous by Cream some fifty years ago. Kaiser plays it on an acoustic guitar and slowly bends and twists certain notes, stretching the melody out and adding his own uniques flurries of notes. The first duo piece is called, “Getting Started” and the title seems appropriate as the duo take their to time to get acquainted, slowly bending notes in similar ways. On, “Sounds of the Soil- Pt 2”, both guitarists employ devices to rub and bends the strings in odd ways, similar to the sounds of prepared piano. Both of these guitarists sound similar at times and work well together weaving their fragments into a tight tapestry. I dig the way the each note on “Cathedral Voices” is suspended, drifting and humming rather like an organ (in a church). It often sounds like both of these guitarists are having an ongoing conversation, with lots of interesting banter going back and forth. Once I calmed down a bit, I started hearing much more going on than I initially did at the store where I am often distracted easily. The final piece, “In the Last Place”, the duo erupt on the noisier side, their sound brittle but intense! Mr. Kaiser is currently back at Antarctica for his annual sojourn. In the meantime, he has left us with another gem for serious listening. - Bruce Lee Gallanter
BEN GOLDBERG / BRIAN CHASE / RON REICH - Title of Work (BAG 013; USA) Featuring Ben Goldberg on clarinet, Rob Reich on accordion and Brian Chase on drums. West clarinetist, Ben Goldberg, recently did a week at The Stone (10/10-10/15/17) and played with a different assemblage of musicians each night. I caught four out of six nights and was amazed at the diversity and creativity of each set. Mr. Goldberg also played five Sundays at DMG last year (2016), working with a variety of local greats, often finding new kindred spirits to work with. The person that organized this session is drummer Brian Chase, who has blossomed as a gifted Downtown musician working with Andrea Parkins, Jeremiah Cymerman and Alan Licht. Bay area accordionist Rob Reich has worked with Darren Johnston and Tin Hat.
It seems that it was Brian Chase who organized this session, which is an all improvised date. Commencing with a piece called “Whorls”, the trio sounds like it is moving in shifting spurts, slow yet self-assured. “Eideric” sounds like eerie chamber music with wheezing accordion, quaint clarinet and modest, yet minimal drums. This is an acoustic trio, who seem more interested in the tone or the timbre of each instrument, carefully blending the warm, wooden sounds of the clarinet, accordion and drums together. The clarinet and accordion sound especially enchanting as they weave their lines around one another, it is often hard to tell them apart. The trio often sound like they are taking their time and in no hurray to go too far out. The music often has a sublime, somber quality which feels just right. The results sound like a soundtrack for an animated fairy tale, fun and slightly quirky with a few unexpected twists and turns. So tasty with minimal seasoning. - Bruce Lee Gallanter, DMG
CD $14 (released next month, we have a few now)
BRANDON LOPEZ With SAM YULSMAN / CHRIS CORSANO - Holy, Holy (Torr Bed Visions TV46; USA) Featuring Brandon Lopez on contrabass, Sam Yulsman on piano and Chris Corsano on drums. Over the last few years there appears to be a new generation of double bassists rising up from the Downtown Scene and emerging as serious contenders. The current top of the heap is Brandon Lopez who we’ve heard with Nate Wooley, Guillermo Gregorio and Chris Pitsiokos in recent times. I also caught Mr. Lopez in a duo with Dave Rempis a few months back at Owl Parlor and was blown away by this duo! Mr. Lopez played a spirited solo set at DMG last Sunday (10/15/17) and left us with his new trio CD. I know little about pianist Sam Yulsan who is on this disc but I do know drummer Chris Corsano pretty well, since he is one of the most creative and distinctive percussionists I’ve heard in the past decade. Check out his playing with Evan Parker, Sir Richard Bishop (in Rangda), Nate Wooley or Joe McPhee.
This disc begins with some strange bowed bass sounds, something that Mr. Lopez has been working on and making his own. Eventually the piano and percussion enter and they start to erupt… the balance of spaciousness and busyness is just right. Even when things calm down to a minimum, the results are most cautious and filled with suspense. The overall trio sound is often mesmerizing, rather dream-like and moving in waves. The tension and flow keeps escalating as things evolve bringing things to a long crescendo before sailing down to a more restrained conclusion. The trio sounds like one force since the move together in focused waves, ascending and then descending over time. This disc does a fine job of taking us along for a ongoing journey, like a sail-boat moving on an active body of water with a healthy balance of more placid and even some stormy sections. - Bruce Lee Gallanter, DMG
CD $15 [LTD Edition of 90]
* JOSH SINTON - Krasa (Irabbagast Records 009; USA) Featuring Josh Sinton on solo contrabass clarinet. Aside from projects like Ideal Bread and working with Nate Wooley or Harris Eisenstadt, Mr. Sinton has been working on challenging himself with assorted improv, trio and now a solo project. A solo contrabass clarinet disc is certainly rare, especially since so few actually focus on this difficult member of the clarinet family. Starting with “Sound”, Mr. Sinton unleashes a disturbing, grumbling, low-end, bent note series of tones. Sinton takes his time and explores a variety of strange, other-worldly sounds, twisting certain notes inside out. Thick foghorn-like drones, science-fiction sounding scary bursts, scary sounds nearly impossible to describe is what we get here. At one point Mr. Sinton seems to be talking through his clarinet, the words hard to make out but no less effective. He uses a mic and volume pedal on one track to make things even more disturbing. Even without manipulating his sounds, Sinton works hard at crafting his sounds in fascinating, ever-shifting ways. It is occasionally difficult to tell what he playing since some of these sounds are so alien sounding and filled with startling textures, twists and turns. Ever since Anthony Braxton’s early seminal solo sax effort, ‘For Alto’, was released in 1968, it has become a rite of passage to do a solo reeds offering which is often a challenge to the musician involved as well as the listener on the other end. ‘Krasa’ can be added to the solo reeds hall of fame, so take the challenge yourself. - Bruce Lee Gallanter, DMG
* John Sinton will be playing here at DMG, this Sunday (11/22/17) at 7pm in duet with Luis Conde from Buenos Aires
DIRTY SONGS With DAVID TOOP / EVAN PARKER / STEVE BERESFORD / PHIL MINTON / MARK SANDERS - Dirty Songs Play Dirty Songs (Audika Records 1019; USA) "Directed and produced by David Toop, Dirty Songs Play Dirty Songs reacts against our poisonous present, inspired anti-nostalgically by similarly reactive records and live performances from the 20th century: The Soft Machine and Pink Floyd 1967-68, The MC5's Kick Out the Jams, The Stooges, Sun Ra's Cosmic Tones For Mental Therapy, and The Heat Is On by The Isley Brothers. Dirty Songs Play Dirty Songs is the musical offshoot of a project conceived by artist Maxime Rossi, originating in (among other things) speculations on the (then unreleased) legendary Pink Floyd 'John Latham' recordings (1967) and FBI investigations (1964) into subversive and obscene messages supposedly buried within the recorded lyrics of The Kingsmen's 'Louie Louie'. Developed through conversations between Maxime Rossi and David Toop and through support from Fondation Fiminco & MRAC, these ideas metamorphosed into the band and recordings known as Dirty Songs, existing both as audio recordings and audio-visual elements of Maxime Rossi's installation Christmas On Earth Continued, exhibited at MRAC in November 2017. Dirty Songs is David Toop (bass, guitar, digital electronics, VCS3 synth), Phil Minton (voices), Evan Parker (soprano and tenor saxophones), Steve Beresford (Farfisa organ, VCS3 synth), Mark Sanders (drums). Package designed by Tom Recchion."
RANDY WESTON - Solo Piano... Live (Hi Hat 3065; UK) Randy Weston, solo piano live on CBC's "Jazz Beat" Program. Jazz piano great Randy Weston was often at his best playing as an unaccompanied soloist. Broadcast on the CBC's "Jazz Beat" program, this disc combines two solo performances, one from 1985 at Toronto's Bamboo club and the other from 1993 at the Edmonton Jazz City Music Festival, hosted by Katie Malloch. The entire CBC-FM broadcast is presented here, digitally remastered with background notes and images, and includes an interview with Katie Malloch and Randy Weston.
STANLEY CLARKE - Live... Hymn Of The Seventh Galaxy (Hi Hat 3082; UK) Stanley Clarke, live at Denver's Rainbow Theater on October 24th, 1979. By the end of the 1970s, Stanley Clarke was not only one of jazz's most influential bass players, but also one of its most popular artists. These performances from his show at Denver's Rainbow Theater on October 24th, 1979, broadcast on KBCO-FM, features material from five of his '70s studio albums, including his signature tune "School Days". Also in the set is a version of Return To Forever's "Hymn Of The Seventh Galaxy", as well as his interpretation of fellow jazz master bassist Charles Mingus's "Goodbye Pork Pie Hat". The entire KBCO-FM radio broadcast is presented here, digitally remastered.
Three New Ones from the Neos Label:
ANDERS ELIASSON - Complete Works for Piano and Harpsichord (Neos 10831; Germany) Performed by Andreas Skouras, piano and harpsichord. Anders Eliasson, born in 1947 in Borlänge in the Swedish province of Dalarna (died in 2013 in Stockholm), found in the early 1970s -- after a long, intensive and often desperate search, with the study of traditional and current musical languages and techniques -- the key that opened up in him that uncharted, unlimited space which he explored thereafter, sharing it with each listener who opens himself to it. Andreas Skouras has now recorded the complete works of Eliasson for solo keyboard instruments. What the work group Sequenza signifies for Luciano Berio and the solo series for Kalevi Aho (NEOS 10915CD), is for Anders Eliasson the Disegno ("drawing"): a series of mostly solo pieces for various instruments that run through his (chamber music) oeuvre like a red thread. The enormous Suolo is doubtless the climax of Eliasson's piano oeuvre. Disegno per clavicembalo is striking in its close relationship to J. S. Bach. The choice of instrument underlines this relationship, but it is the motif B-A-C-H that forms the compressed motivic center of the composition. Personnel: Andreas Skouras - piano, harpsichord.
NIKOLAUS BRASS - Works for Piano Solo (Neos 11601; Germany) Nikolaus Brass, born in Lindau in 1949, initially studied medicine and took private composition lessons with Peter Kiesewetter at the Munich Academy of Music. He concluded his medical studies at the Free University of Berlin. He studied composition with Frank Michael Beyer and later privately with Helmut Lachenmann. Between 1978 and 1986, he regularly attended the Darmstadt Summer Courses, where he also met with Morton Feldman. After being invited to the Gaudeamus Muziekweek in the Netherlands, he began publishing his compositions in 1981. Since then, he has had numerous premieres at the most important new music festivals, such as the Donaueschingen Festival, musica viva Munich, Ultraschall Berlin, ECLAT Stuttgart, Klangspuren Schwaz, or Witten Days for New Chamber Music. Personnel: Jan Philip Schulze - piano.
TATSIANA ZELIANKO // ALEXANDRA MALVIEVSKAYA - Piano Works (Neos 11718; Germany) The composer and pianist Tatsiana Zelianko (*1980) is originally from Belarus and completed her education at the Belarussian State Music Academy in Minsk, where she earned a master's degree in instrumental interpretation (piano) and completed studies culminating with the diploma for piano pedagogy and chamber music. She subsequently worked as a concert pianist at the Philharmonie of Brest in Belarus. After moving to Luxembourg in 2008, she began occupying herself with contemporary composition, studying composition and music analysis at the Conservatoire de la Ville de Luxembourg, where she won two first prizes. In 2015, she was awarded first prize in the senior class at the international composition competition "Artistes en herbe" in Luxembourg. One year later she obtained state recognition in Luxembourg as a professional freelance artist. Since 2013, her works have been in the catalog "Luxembourg Music Publishers a.s.b.l.", which is comprised of Luxembourgian composers. In August 2018, Tatsiana Zelianko will be a guest composer at the international festival Musiciennes à Oues-sant. Tatsiana Zelianko's compositions, including the works on this CD, primarily aim to "stimulate stories". Personnel: Alexandra Matvievskaya - piano.
ELODIE - Vieux Silence (Ideologic Organ 027; France) Stephen O'Malley on Elodie, the project of Andrew Chalk and Timo van Luijk, and their album Vieux Silence: "Having been entranced by both Andrew Chalk's work with Mirror (and back to his solo works as Ferial Confine, plus multiple collaborations with David Jackman, The New Blockaders, Daisuke Suzuki, etc.), and Timo van Luijk (as Af Ursin, In Camera, La Poupée Vivante, and collaborations with Kris Vanderstraeten and others) for many years, I was naturally intrigued to hear about and hear their duo project Elodie. The project formed in 2010, and has spanned eleven beautiful albums already, to date. Vieux Silence for Ideologic Organ is their first release presented outside of their own record publishing nook, Faraway Press and La Scie Dorée. However this is not the first encounter between Ideologic Organ and Elodie, they performed at a night in London I curated in February 2012, alongside Jessika Kenney and Eyvind Kang. Elodie's performance was among the most delicately engaging and savant I have witnessed... so very quiet, with snow falling in London outside Cafe Oto's windows, the audience palpably entered a high intensity listening focus. The impression of this vivid memory is striking, considering how spare each of the individual elements present that night were. Vieux Silence, and Elodie in general, provoke a visual imagination in an instant, perhaps filtered through aged watercolor, tape grain, antique lenses, forgotten levels of listening, and observational patience. On this gorgeous album, Chalk and van Luijk also collaborate with piano, pedal steel, and clarinet (played by: Tom James Scott, Daniel Morris, and Jean-Noel Rebilly, respectively). Each detail carefully considered a and coloring step-by-step, like an impressionist watercolor." Personnel: Tom James Scott - piano; Jean-Noël Rebilly - clarinet; Daniel Morris - guitar pedal steel. Mastered and cut by Rashad Becker at Dubplates & Mastering.
YAIR ELAZAR GLOTMAN - Compound (Subtext 014; UK) Under his guises Blessed Initiative and Ketev, as well as his own name, composer and sound artist Yair Elazar Glotman has explored extended techniques and processes to forge new sonic textures and musical forms. Compound picks up where the previous solo work under Glotman's own name -- Études (SUB 013LP, 2015) -- left off. The acoustic sound palette has now expanded from solo contrabass into a trio including pianist Rieko Okuda and percussionist Marcello Silvio Busato. Glotman guides the trio into utilizing sounds from the edges of their instruments' abilities -- arguably mere byproducts of harmony -- and through improvisation, repetition, and post-production, conjures new sonic bodies over two side-long pieces. His guidelines for each improvisation gave the players autonomy to emphasize the microscopic details of certain sounds: the shudder of a piano key, the hum of a cymbal, the incidental click of a plucked contrabass string. The recordings were then layered and reformulated by Glotman into two separate structures to complete the composition process. Both "Veil" and "Revelate" utilize the full spectral potential of each instrument, revealing new rhythmic patterns and harmonic content in the process. Taking Glotman's microscopic focus on instrument noises, using Études as a starting point, the trio on Compound ultimately bring into question both density and contrast, rhythm itself losing its stricter structures and becoming a purely pattern-based driving force in the music. The resultant unit contradicts and opposes itself, all sorts of clashing rhythms and melodies coexisting within the body of the two compositions of evolving sonic architecture. Based in Berlin, Yair Elazar Glotman is a classically-trained musician and sound artist. Besides previous works on Subtext including Études, a collaborative score with James Ginzburg's 2014 experimental film Nimbes (SUB 012EP, 2014), and the eponymous debut of his Blessed Initiative project (SUB 009CD/019LP, 2016), Glotman has released music via Opal Tapes and others under the nom de plume Ketev.
OUTRO TEMPLE - Electronic And Contemporary Music From Brazil, 1978-1992 (Music from Memory 016; Netherlands) Double CD release of the outstanding compilation, Outro Tempo: Electronic And Contemporary Music From Brazil, 1978-1992. Contains three tracks not included on the double LP version (MFM 016LP). For their first multi-artist compilation, Music From Memory take a trip to the heart of the Amazon rainforest. Outro Tempo: Electronic And Contemporary Music From Brazil, 1978-1992 explores the outer reaches of Brazilian music, where indigenous rhythms mix with synthesizers and where MPB mingles with drum computers. As Brazil faced the last years of its military dictatorship and transition to democracy, a generation of forward-thinking musicians developed an alternative vision of Brazilian music and culture. They embraced traditionally shunned electronic production methods and infused their music with elements of ambient, jazz-fusion, and minimalism. At the same time they referenced the musical forms and spirituality of indigenous tribes from the Amazon. The music they produced was a complex and mesmerizing tapestry that vividly evoked Brazilian landscapes and simultaneously reached out to the world beyond its borders.
2 CD Set $21
THE GAMELAN OF THE WALKING WARRIORS - Gamelan Beleganjur And The Music Of The Ngaben Funerary Ritual In Bali (Akuphone 1007; France) A fascinating immersion in the heart of a funeral ceremony live recorded in Bali, where gongs, cymbals, and drums give rhythm to the bewitching atmosphere of this mortuary procession. The international audience's interest into Balinese music and its gamelan orchestras dates back to the edition of large ethnographic series in the 1950s, '60s, and '70s which largely encouraged the discovery of this music beyond Indonesia's borders. Taking advantage of a more advanced technology, compared to the vinyl golden era, the present field recordings produced in 2011 render, at the closest, the power of gamelans. Gamelan is presented here in two forms. The first one (tracks 1 to 4) offers a display of Beleganjur music out of the ritual context, which can be differentiated by a more melodic form and a more dramatic and hypnotic aspect in the compositions. The second one (tracks 5 to 9) presents the Beleganjur style in the ceremonial context of the Ngaben funerary rite in the village of Peliatan. The utmost vitality of these orchestras springs out throughout the different stages of these funerals, and the sound environment surrounding the musicians immerse the listener in the very heart of the procession following the corpse. With The Gamelan Of The Walking Warriors, Akuphone carries on its exploration of ritual and ceremonial music with those materials of rare intensity. These recordings were collected by Vincenzo Della Ratta, PhD in Ethnomusicology from the Sapienza University (Rome). As a specialist of the gongs music from the Austronesian cultures of Southeast Asia, Della Ratta is the author of numerous articles on the subject. His field researches have already been edited as a vinyl entitled Kwangkay: Funerary Music Of The Dayak Benuaq Of Borneo (SF 106LP, 2016). Tracks 1 to 4 were recorded in the village of Wanagiri, in the district ("kecamatan") of Sukasada, of the regency of Buleleng. Tracks 5 to 9 were recorded in the village of Peliang, in the district of Ubud, of the regency of Gianyar. CD version comes in a digipak with 12-page booklet.
VISIONS OF DARKNESS - (In Iranian Contemporary Music)(Cold Spring 242; UK) A gathering of majestic, heavy, dark ambient, ritual, drone, and noise music from Iran. Highly original and monolithic, with stunning production, Visions Of Darkness stands shoulder to shoulder with the giants of the dark ambient scene. In a country where youth culture has been heavily restricted for so long, it's significant when a cultural form such as this has an opportunity to reach a wider audience -- aided by the abstract nature of dark ambient, drone, and noise. In comparison, the dance music scene has a harder time taking root in Iran due to the illegality of men and women dancing in public together. However, the growth of the experimental electronic scene is going to be about more than a mere novelty reaction to a political paradigm shift. The darkness here is a consequence of the mood of the artists -- darker after the country was put on a black list and more restrictions were applied to many things, including monetary transactions to and from Iran. As a consequence, Iranian artists have a great difficulty getting the resources to better develop their projects. Despite this, the enthusiasm and will for Iranian musicians to promote their music shines through. Edited by Unexplained Sounds Group; Curated by Raﬀaele Pezzella (Sonologyst) and Morego Dimmer (aka Mohamadreza G). Features: Saint Abdullah, Xerxes The Dark, S.S.M.P, Alphaxone, Limen, Ali Phi, Reza Solatipour, Nojan, Hossein RangChi, Narcissa Kasraï, Rhonchus, DSM¸ idft, Nyctalllz, Poo Yar, Anunnaki Signal, Soheil Soheili, XSIX, Crows In The Rain, Downtown Of Hong Kong, and Mehdi Behbudi & Vahide Sistaani.
2 CD Set $19
COMMON EIDER, KING EIDER - Shrines For The Unwanted, Respite For The Cast Aside (Cold Spring 243; UK) The triumphant reawakening of San Francisco's masters of behemoth ritualistic darkness. Within Shrines For The Unwanted, Respite For The Cast Aside, bone, antler, and voice produce connective threads between the worlds, as guitar and percussion punctuate shifts in mood. Voices call to the spirits, and the spirits call back in return. Recorded in 2016 during four private, collective only rituals, the pieces pull the listener through the darkest and most overgrown trails of the blackest forest. Monumental and horizon-less, ritualistic black ambience. Vocal visitations by A.C. Way of Sutekh Hexen. Common Eider, King Eider is headed by Rob Fisk (ex-Deerhoof), Andee Connors (A Minor Forest, legendary aQuarius boss). Spot-varnished digipak.
KHMER ROUGE SURVIVORS - They Will Kill You, If You Cry (Glitterbeat 036; Germany) The third volume in Glitterbeat's Hidden Musics series. Sublime, unheralded, heartbreaking, and inspiring sounds from Cambodia, featuring traditional-based musicians who survived the genocidal Khmer Rouge regime recorded by Grammy-winning producer Ian Brennan (Zomba Prison Project, Tinariwen, Hanoi Masters (GB 021CD/LP)). Notes by producer Ian Brennan: "Singer Thorn Seyma, had discovered by chance just days before our arrival that her father, Thom Mouy, had apparently been quite a famous singer in the Sixties before perishing himself in the killing fields. As in many post-genocidal countries, communal living is common, with people assembling ad hoc, surrogate families. With a large group of such survivors, we visited a crowded shopping mall full of things that no one buys, just display after display of what people can't have. And there singer, Chea Sean (age 45) - who has spent her life nearby as a rice farmer - rode an escalator for the first time, which was a main attraction for having brought us there. . . . We had the good fortune of recording with sixty-year-old Han Nai, from the mountainous far north, near the border of Thailand. He is reportedly one of two people left in the world who play the Kann (a bamboo horn). In a country where the pop-charts revealed that 19 out of 20 hit songs were in English, concerns about cultural extinction in this region are far from hyperbole. Fifty-year-old poet and guitarist, Thuch Savanj, bears the scars of war on his face, having been deformed by the same shrapnel that claimed his mother's life. Musical director, flautist, and percussion player, Arn Chorn Pond managed to survive, first by playing music to entertain the Khmer Rouge troops, and later by himself becoming a child soldier against the Vietnamese, in a kill or be killed scenario. . . . On the road to visit the legendary Kong Nai ('the Ray Charles of Cambodia') we passed aging bombcraters the size of ponds that had filled with stagnant rain water. Parents commonly warn their children, 'If you try to play like Kong Nai, you too will go blind,' as a way to scare youngsters away from music, so that they will hopefully instead follow some other, more respectable career pursuit. But as amazing a musician as Kong Nai is, he was rivaled by another virtually unknown chapie dwng veng (long neck 'guitar') master, Soun San. San was left with a crooked leg and walks with a crutch, but all struggle seems to vanish from his being when he enters trance-like blues states, where he literally tears the shirt from his own chest and beats the floor and walls to emphasize vocal phrases. Being that he lives in the capital's flight path, that is a jet airliner that is audible, almost clipping his building and dovetailing exactly at the end of one song. Another blind-singer, sixty year old, Keut Ran, keeps the Smot vocal style alive, one that bears an uncanny resemblance to the hollerin' style of America's backwoods in the Deep South." Performers: Rab Ban, Mon Hai, Soun San, Keut Ran, Thuch Savang, Kong Nai, Prom Chantol, Ouch Savy, Keut Rann, Thorn Seyma, and Arn Chorn Pond.
NOURA MINT SEYMALI - Arbina (Glitterbeat 038; Germany) "A full blown sandstorm of hypnotic grooves, melding traditional Mauritanian instruments, like the ardine and tidinite, within an electrified psychedelic rock band" -The Quietus. The 2014 release of Noura Mint Seymali's debut album, Tzenni (GB 016CD/LP), launched her onto year-end lists and the stages of renowned international festivals. Noura Mint Seymali hails from a Moorish musical dynasty in Mauritania, and chose at an early age to embrace the art-form that is its lifeblood. Yet traditional pedigree has proven but a stepping-stone for Seymali's work, with which she simultaneously popularizes and reimagines Moorish music on the global stage, taking her family's legacy to new heights as arguably Mauritania's most widely exported musical act of all time. Wielding the griot's idiom, a form itself distilled from centuries of trans-Saharan musical knowledge, Noura Mint Seymali's sound as heard on her blistering second international release, Arbina, carves out a unique position in the musical cartography of West Africa, at once her country's leading proponent of the avant-garde and yet a rigorously devoted tradition-bearer. Delving deeper into the wellspring of Moorish roots, as is after all the tried and true way of the griot, the album strengthens her core sound, applying a cohesive aesthetic approach to the reinterpretation of Moorish tradition in contemporary context. The band is heard here in full relief; soaring vocals and guitar at the forefront, the mesmerizing sparkle of the ardine, elemental basslines and propulsive rhythms swirling together to conjure a 360-degree vibe. Arbina refines a sound that the band has gradually intensified over years of touring, aiming to posit a new genre from Mauritania, distinct unto itself; music of the "Azawan." Supported by guitarist fellow griot, her husband Jeiche Ould Chighaly, Seymali's tempestuous voice is answered with electrified counterpoint, with Chighaly's quarter-tone-rich guitar phraseology flashing out lightning-bolt ideas. Heir to the same music culture as Seymali, Chighaly intimates the leading role of the tidinit (Moorish lute) under the wedding khaima with the gusto of a rock guitar hero. Bassist Ousmane Touré, who has found a singular style of Moorish low-end groove over the course of many years, can be heard on this album with greater force and vigor than ever before. Drummer and producer Matthew Tinari drives the ensemble forward with the agility and precision need to make the beats cut. Many of the songs on Arbina call out to the divine, from which the album takes its title, and ask for grace and protection. Lyrically, the Moorish griot tradition is complex and associative. Poetry is held in a continuum between author and audience in which a singer may draw on disparate sources, selecting individual lines here or there for musicality to form a lyrical patchwork expressing larger ideas via association. A griot may relate her own thoughts and poetry, sing poetry written for and about her by a third party, and transmit lines from one party addressing another in the course of a single song. With this fluid narrative voice, stories are told. Recorded and mixed by Tony Maimone at Studio G Brooklyn, NY.
GAYE SU AKYOL - Hologram Imparatorlugu (Glitterbeat 040; Germany) Singer-songwriter Gaye Su Akyol's second album, Hologram Ĭmparatorluğu (Hologram Empire), twines sultry Turkish melodies around spiky, twanging guitars and insistent rhythms. "It's a cliché, but the city is a bridge that combines cultures, and that's very true in music, especially the Greek influence," Akyol explains. "When I was young, we visited Anatolia every year. I had the chance to observe and realise the different perspectives and practices of cultures. That made me feel closer to the diversity of Anatolian civilisation." But that, and the old music on Turkish Radio Television that she internalized, were only parts of the mix that helped shape her sound. She was constantly seeking out the new and the different, something to set off sparks in her emotions. "When I heard Nirvana's Nevermind for the first time, my mind blew up. I discovered other Seattle bands, then people like Nick Cave, Joy Division, Sonic Youth, and Einstürzende Neubauten. A bit later I heard Jefferson Airplane's 'White Rabbit.' The dark, mellow mood of the music, the use of the instruments and the vocal technique of Grace Slick greatly inspired me and led me into psychedelia and then surf bands. What they all did seemed to fit with older Turkish singers I loved like Selda Bağcan and Müzeyyen Senar." The daughter of acclaimed Turkish painter Muzaffer Akyol, Akyol earned a degree in social anthropology and worked as an artist before creating music took over. She experimented, feeling her way towards her vision. And when she met the band Bubituzak, something clicked. They understood what she was doing; they became part of her art. Together they recorded her debut, Develerle Yaşıyorum, in 2013, following it with acclaimed, masked performances in Turkey and at festivals across Europe. "I love masks," Akyol laughs. "They bring mystery and fun, flexibility and a psychedelic aesthetic. Since Bubituzak are already a band, we want to use masks to cover their faces in a mysterious and symbolic way." That first disc seeded the ground. Hologram Ĭmparatorluğu bears the full fruit of the partnership. It digs deeper, fired with a seductive, shadowy passion. The sound is cinematic and gorgeous and Gaye's luminous voice brilliantly orchestrates shifting moods. Echoing the bittersweet tendrils of Turkey's faded past and dramatic present, her lyrics are bold and deeply personal. It is no surprise that she cites Turkish writers like Melih Cevdet Anday and Sabahattin Ali and the English poet William Blake as crucial artistic influences. Hologram Ĭmparatorluğu is heady, powerfully intoxicating and beautifully dangerous.
TAMIKREST - Kidal (Germany 043; Germany) All around the town of Kidal, the Malian desert stretches in every direction. Endless horizons of rock and sand, barren and parched. This is the southwestern edge of the Sahara, the home of the Tuareg people, and the Kidal is one of their main cultural centers. Fought over, conquered, and reconquered, it remains the symbol of Tuareg defiance and hope, the spiritual home of a dispossessed people. It is also the town in which Tamikrest first came together as a group, and on Kidal, Tamikrest's fourth studio album, the band pays homage to this place that's nurtured them and their people. It's a cry of suffering and the yell of rebellion. It's power and resistance. This is pure Tuareg rock 'n' roll. "I wrote most of the songs when I was in the desert," explains singer and lead guitarist Ousmane Ag Mossa. But it had to be that way, he says. "If you want to talk about the situation, you really need to live it." From the simmering intensity behind the opener, "Mawarniha Tartit," through the sweet slide work of second guitarist Paul Salvagnac on "Atwitas" to the full-blooded roar on "Adoutat Salilagh," this is a band fired with passion for their people and the centuries of injustice they've endured. "Kidal, the cradle of all these uprisings, continues to resist the many acts perpetrated by obscure hands against our people," notes band associate Rhissa Ag Mohamed. "This album evokes all the suffering and manipulation of our populations caught in pincers on all sides." From their debut in 2010 onward, Tamikrest have had the fire in their music, and it's built with each release. Chatma, their third disc, hit number one on the World Music Charts Europe and was acclaimed as one of the albums of the year in publications across the globe. Songlines magazine gave them the Best Group Award, while their live performances showed a band whose sound sent sparks flying. With Kidal, that blaze is roaring. The songs here mirror their joys, their pain and their unwillingness to accept things as they are. There's a raw beauty in Tamikrest's rock 'n' roll. It's there in the driving, insistent groove that powers the songs, the lean, snaking basslines and guitars that twine and twist around the melodies, and the utterly natural musical blending of Sahel Africa, the Maghreb, and the West -- a reflection of influences as diverse as Pink Floyd, Rachid Taha, and flamenco. Yet the Sahara, and the people who live there, is always firmly at its heart. This album celebrates who the Tuareg are, the Kel Tamasheq ("those who speak Tamasheq"), the keepers of an ancient and endangered cultural voice. Kidal is the music of defiance, of hope. It's rock 'n' roll from the Sahara, the sound of the Tuareg dream, a dream that will be renewed again, in their ancestral town: Kidal. Recorded at Studio Bogolan, Bamako, Mali, August and September, 2016. Produced by Mark Mulholland (Afro-Haitian Experimental Orchestra). Mixed by Grammy Award-winning engineer David Odlum (Tinariwen) at Black Box Recording, Noyant-la-Gravoyère, France. Ousmane Ag Mossa: vocals, lead guitar, acoustic guitar; Aghaly Ag Mohamedine: djembe, backing vocals; Cheick Ag Tiglia: bass, acoustic guitar, backing vocals; Paul Salvagnac: lead and rhythm guitar, acoustic guitar, slide guitar; Nicolas Grupp: drums and percussion.
KING AYISOBA - 1000 Can Die (Glitterbeat 044; Germany) In King Ayisoba, Ghana's ancient empire, the 21st century global express, the rhythms that created the past, and the beats forging the present all converge. "King Ayisoba and his band know that traditional instruments are stronger than anything modern," says album producer Zea (The Ex's Arnold de Boer). "Playing them is a gift from God. They'll take what they can use from electronica, from hiplife (the hugely popular Ghanaian style that fuses the local highlife music with hip-hop) but they won't let it beat them, because they know what they have is more powerful. Their music is pulled from the ground." The juxtaposition of the two on 1000 Can Die shows the irresistible drive of both sides. The thick, squelching bass and beats that push under the older rhythms of "Anka Yen Tu Kwai" are overtaken by the guluku and dundun drums that bring in "Yalma Dage Wanga," its rapid-fire melody dictated by Ayisoba's voice and two-string kologo lute. "We wanted the drums leading and upfront all the time, not as exotic additions," Zea says. "The sense of tradition always rises above everything." That overwhelming sense of the past in the present has been the hallmark of King Ayisoba's career. Born in Bolgatanga in rural Ghana, he was a prodigy on the kologo, playing locally until he'd outgrown the possibilities of the area. Moving to Accra, the country's biggest city, he eventually released the song "I Want To See You, My Father." There was nothing modern about it. No hiplife rap, no electronic beats. But somehow it conquered the country and brought the tradition firmly into the mainstream. "It was Song of the Year and Traditional Song of the Year," Zea recalls. "He also had a song called 'Modern Ghanaians' that said we shouldn't forget the tradition. Instead we should use it to fight modern problems." On the juggernaut of 1000 Can Die, the trailblazing Nigerian saxophonist Orlando Julius adds a raw, reedy quality to "Dapagara," while on "Wine Lange," the only song not to feature kologo, Sakuto Yongo's one-string gonju fiddle takes the music into a different, ancient dimension. The title-cut features Ghanaian rapper and producer M3nsa alongside the shapeshifting vision of legendary reggae producer Lee "Scratch" Perry. Alone or with beats, ultimately the power that propels 1000 Can Die comes from the band itself, from the sense of history that forms every piece of music. On 1000 Can Die, King Ayisoba is digging a new future from Ghana's soil. King Ayisoba: vocals and kologo; Abaadongo Adontanga: dancer, backing vocals, dorgo; Ayuune Sulley: sinyaka, backing vocals; Gemeka Abobe Azure: guluku and dundun drums; Ayamga Francis: djembe and bemne drums.
Restocked! Last Copies of These Great Discs from Scottish Improvisers: Raymond MacDonald and the Glasgow Improvisers Orchestra!
RAYMOND MacDONALD & MARILYN CRISPELL - Parallel Moments (Babel 13125; UK) Featuring Raymond MacDonald on alto & soprano saxes and Marilyn Crispell on piano. This disc was recorded at both the Vortex Club and at Premises studio in London in November of 2010. In the ever-expanding list of great female pianists, Marilyn Crispell as long remained near the top. Although she records infrequently nowadays, I savor her collaborations with Tisziji Munoz, Barry Guy and Anthony Braxton.
The opening piece sounds like an ancient ballad, quite poignant and rather sad. MacDonald has a lovely, well-worn, warm tone on his alto as if he was trying to evoke a memory/melody from the Ellington songbook. Things become stark on “Town and City Halls”, while MacDonald slowly bends his notes ever so carefully on his soprano sax while Ms. Crispell plays minimal fragments underneath. As things evolve, the duo start traveling further out, freer, more frenzied at times but always tightly together. Both of these folks are gifted improvisers who always wind up in a similar place winding their way around one another in a cosmic communion. From calm to explosive. it all works like a fascinating dialogue between two old friends. If this is their first meeting, it certainly doesn’t sound like it. - Bruce Lee Gallanter, DMG
LOL COXHILL & RAMOND MacDONALD - Morphometry (Glo-Spot 1108; UK)“Asked in 2014 what he would like for his birthday, the Scottish producer and broadcaster John Cavanagh suggested that a crowd-funder be set up to release an album he had recorded by the saxophonists Lol Coxhill and Raymond MacDonald in July 2008. Now that present is here, resplendent on custard-coloured vinyl, with a delightful front cover woodcut by Ian Barrett. Coxhill, who died in 2012, was a regular visitor to Scotland, and struck up a warm relationship in his later years with Cavanagh, Bill Wells and Glasgow Improvisers Orchestra, of whom MacDonald is a key member. That quality comes through in these duets, recorded over an evening with a single malt to hand. Coxhill is on typically inquisitive and generous form, offering finely spun threads of soprano sax for MacDonald to elaborate on with his alto. Together they conjure a gently surreal world of chirruping blackbirds, Bashovian frogs, and skylarks improvising freely on Rodgers & Hart.” - Stewart Smith for The Quietus
LP $25 [LTD Edition of 100]
GLASGOW IMPROVISERS ORCHESTRA With LOL COXHILL & EVAN PARKER - Improcherto for (for HB) by George Burt (Iorram Records GN 82; Scotland) “If you want to have a description of Improcherto you only have to look at the cover: it is a very simple graphic score (based on the ones Barry Guy has developed for his orchestras) for the piece by the orchestra’s guitarist George Burt, who wanted to write a more complicated composition but also tried to limit melodramatic conduction. According to his liner notes he was “trying to get to the essence of how (these scores) work” drawing little diagrams on post-its. The result is that Improcherto is a really dense nearly 40-minute-orchestral composition with a lot of space for solos and tight group interaction. Sometimes the whole orchestra takes a break to give the soloists space just to come back even more forceful.
What distinguishes GIO from related larger ensembles (like the London Jazz Composer’s Orchestra or the London Improviser’s Orchestra) is its unusual line up, it is less brass dominated and therefore makes room for a more open display of softer textures through its strings, flutes, and woodwinds but most of all because of its strong, yet delicate rhythm section. But don’t be misled: there can be powerful chords and sudden swells to structure the composition. Very often “Improcherto” sounds like classical music, there are allusions to Schönberg or Hindemith, but there is also a great visuality in the piece, an almost soundtrack-like component.
The architecture of the piece follows a similar basic structure: four of the five solo parts start with the soloist completely on his own before the orchestra integrates the player again allowing him to float over the other instruments. Particularly Evan Parker (who simply is a great team player) shows what a great listener he is. Although he delivers his typical Parker specifics and sounds, his solo is a marvelous part in the context of the composition. Even when he is out there all on his own, you can conceive your own score supporting him before the orchestra picks him up elegantly after all. The only exception in this sequence of things is Ray MacDonald’s solo which is only backed up by the rhythm section (the trumpet and the baritone) providing a broken rumba beat. If you want to find a week spot in this composition, you might call this uniformity, although the splendid soloists – besides Parker and MacDonald the late Lol Coxhill, Neil Davidson with his Derek-Bailey-like approach and John Burgess - compensate for that easily. And there is a good deal of humor as well, for example when Coxhill stops his solo abruptly to remind the band: “Don’t forget to stop me”.
The album is dedicated to the British trumpet and cornet player Harry Beckett, an old companion of Parker and Coxhill, who died while George Burt was composing the piece.” - Martin Schray, FreeJazzBlog
GLASGOW IMPROVISERS ORCHESTRA With GEORGE LEWIS - Metamorphic Rock (Iorram Records ML 83; Scotland) 40 minutes of free improvisation form George Lewis and GIO recorded in December 2007 mid way through preparatory work on Lewis's new piece, 'Artificial Life 2007' for the orchestra. One continuous take revealing the group in its subtlest and most raucous modes. Artwork by Sarah Tripp. CD 500 copies "This is the fifth disc the Glasgow Improvisers Orchestra that we've mentioned, each of the previous ones have included collaborations with Evan Parker, Barry Guy, Maggie Nicols and the London Improvisers Orchestra. 'Metamorphic Rock' is a most impressive collaboration between George Lewis and the Glasgow Improvers Orchestra recorded in December of 2007. This disc was recorded during preparation for a George Lewis piece called "Artificial Life 2007". This version of the Scottish orchestra consisted of 18 members including George Burt (acoustic guitar) & Raymond MacDonald (alto & soprano sax) who are co-leaders of a fine ensemble with a half dozen releases out. Besides the regular instrumentation of four reeds, 3 brass, 2 guitars, piano, cello, 3 double basses, 2 drums & voice, Nick Fells adds shakuhachi & laptop. Although this piece is improvised, you can tell that this large ensemble has been active for a while. It is superbly recorded and well-balanced, you can pick out where each instrument is in the stereo spectrum. There is a dynamic duo exchange between acoustic bass & quiet, fractured electric guitar in the first section. Slowly other instruments fade in: flute, trombone, acoustic guitar, all hovering underneath the waves floating above. The piece often sounds as if it is being conducted or directed, building in tempo and density as it evolves. I like the way certain sounds combine and wrap themselves around one another. There is section where perhaps a bowed string, high-end reed, voice, laptop & acoustic bass blend into a singular, mysterious sound that is hard to define yet still fascinating to hear. I am reminded of the better moments in life where a large group of individuals communicate in a most positive way, listening closely and entering into a spirited dialogue. This entire session unfolds like a novel without the use of words, where action and interaction remain focused and mesmerizing throughout. - Bruce Lee Gallanter, Downtown Music Gallery
GLASGOW IMPROVISERS ORCHESTRA - Sevens (Tob Records 0036; UK) GIO Sevens was recorded in 2013 at Dunollie Castle, when the mighty Glasgow Improvisers Orchestra was invited to perform in Oban. This small grouping were able to get to Oban early enough to make this record and, for my money, it is as good as anything to come out of the GIO stable.
GIO Sevens reminds me of those qualities that I find irresistible in key improvising ensembles such as the Spontaneous Music Ensemble, the Art Ensemble Of Chicago, the Jimmy Giuffre 3 (with Paul Bley and Steve Swallow), Sun Ra and his Arkestra and the Ganelin Trio. Not that the music here sounds like any of these. Rather it has a similar timeless feel to it that exists on its own terms and in its own space.
Music is intentionally organized sound, often (or only) acquiring its meaning for the listener within a social and cultural context. To be considered 'music,' it must have form and structure. With free improv, the form is best described as 'contingent form.' That is form that is contingent on the actions of the individuals performing, the abilities and experiences they bring to bear, their interactions, the space in which they perform and the presence of any ambient sounds in the performance space. It arises in the moment, though contingent on the (musical) histories of the performer(s). But it is no more random than my childhood recollections of Ms Nicholls.
The final track, "The Garden" (recorded in the castle garden), illustrates this perfectly. The listener hears birdsong in the background. Bird-song and other non-human sounds of nature are so familiar that we accept such sounds as having a kind of form. With improvised music, the problem for some lies in the fact that the sounds produced cannot be accommodated easily into received notions of melody, harmony, rhythm and structure.
Yet, the fifteen minutes of "The Garden" contain both a number of different and beautiful melodic episodes. These come mainly Raymond MacDonald's saxophone, Emma Roche's gorgeously birdlike flute, Nicole McNeilly on trombone and the voice of Nicola MacDonald. The improvisation also features a repeating, swirling pulse produced by Stuart Brown's percussion and the percussive effects of George Burt and Neil Davidson on guitars. Nicola MacDonald's melodica also contributes a drone-like counter to the percussion. And there are harmonies too—in the long notes held by brass and woodwinds and from the interweaving melodic lines. This is music that emerges with a naturalness that seems bathed in the warm hues and colours of the environment in which it was recorded.” - Duncan Heining, AllAboutJazz, excerpt of longer review
MARY HALVORSON OCTET With JON IRABAGON/INGRID LAUBROCK/JONATHAN FINLAYSON/JACOB GARCHIK/SUSAN ALCORN/JOHN HEBERT/CHES SMITH - Away with You (Firehouse12 024; USA) “Continuing her streak of outstanding releases, guitarist extraordinaire Mary Halvorson once again shows her determination to build upon her unique style as a composer and bandleader. She's taken her septet from 2013's superb Illusionary Sea and added an eighth member, pedal steel guitarist Susan Alcorn, and the resulting music is typical Halvorson: harmonically complex, emotionally compelling, and full of interesting moments worth savoring. The first thing one notices about Alcorn's presence is the sense of atmosphere she provides. On the third track, "The Absolute Almost," she offers spare, crystalline notes that gradually emerge and then drift away, providing a somber opening to the cut. Then Halvorson herself joins in, with carefully placed notes that emerge in a pensive dialogue with Alcorn to continue the subdued conversation, before a break in which the rest of the band jumps in to take the piece in a dramatically different direction, full of bounce and rhythmic drive. (It's little surprises like these that always make listening to a Halvorson record such an adventure.) Alcorn's role seems to liberate Halvorson's playing, freeing up subtle opportunities for her to contribute to the group as an equal rather than as a dominant voice. It's also immediately evident how well this group works together as a unit. Drummer Ches Smith and bassist John Hébert have worked as Halvorson's partners for several recordings, to the point that they are an intuitive element of the rhythmic fluidity that is one of her trademarks. Even during the record's more raucous moments, there's never a sense that they're in danger of losing control of the pulse. And the horns are as fabulous as you would expect: with Jonathan Finlayson, Jon Irabagon, Ingrid Laubrock and Jacob Garchik in the lineup, Halvorson has a superlative brass section for her rich compositions, each member equally adept as a soloist or as an ensemble contributor. Perhaps the most engaging aspect of the recording is its strong emotional core. Listening to the opening of the record, "Spirit Splitter," and the jubilant horn interplay that propels the track, it is clear that this is music to be enjoyed, not simply admired or respected. Whether we are taken down a path of exultant cacophony or melancholy musings, with Halvorson as our guide it is sure to involve her irresistible melodic sensibility. I'm sure Halvorson's next installment in her impressive catalog will continue to surprise and astonish, but in the meantime she's given us another exceptional record to celebrate.” - Troy Dostert, All About Jazz
2 LP Set $30
TAYLOR HO BYNUM With NATE WOOLEY/JIM HOBBS/INGRID LAUBROCK/MATT BAUDER/BILL LOWE/STEVE SWELL/VINCENT CHANCEY/MARY HALVORSON/JSAON HWANG/TOMEKA REID/STEPHANIE RICHARDS/JAY HOGGARD/KEN FILIANO/TOMAS FUJIWARA - Enter the Plustet (Firehouse12 025; USA) “Cornetist/composer Taylor Ho Bynum has proven to be a visionary composer, striking the difficult balance between free improvised and arranged music. While accomplished in any group setting, he has shown a particular gift for extended works in larger group situations as in two recent Firehouse 12 Records releases, his sextet Apparent Distance (2011) and sextet and 7-tet on the impressive box set Navigation (The Complete Firehouse 12 Recordings) (2012). On Bynum's new release Enter the Plus Tet he incorporates some high-quality personnel additions to his core sextet, creating a bigger and more diverse sound. Saxophonists Jim Hobbs, Matt Bauder, guitarist Mary Halvorson, bassist Ken Filiano, drummer Tomas Fujiwara and Bill Lowe on tuba and trombone were all participants in the afore mentioned sextet/7-tet recordings. Among those joining them are trumpeters Stephanie Richards (Asphalt Orchestra) and the now ubiquitous Nate Wooley, saxophonist Ingrid Laubrock and Jason Kao Hwang on violin. The fifteen-deep ensemble —particularly due to the additional strings—has a full orchestral feel when Bynum calls for that outcome. Approximately half of Enter the Plus Tet is consumed by the opening "Sleeping Giant," a composition that was inspired by Bynum's hiking experiences on the trail near his New Haven residence. A bit of "getting there is half the fun" enters his thinking as the ensemble briefly visits landmarks on a circuitous journey, quickly moving on to parts unknown. The title of the piece, however, is tribute to Prince, whose legacy and untimely death had a strong impact on Bynum. Both Wooley and Richards have featured improvisations along with Laubrock, Hwang and trombonist Steve Swell. "Three (for Me We & Them)" is dedicated to the jazz orchestras inspired by the very different styles of Duke Ellington and Sun Ra. The piece was written by Bynum for James Jabbo Ware's orchestra from which the name of the tune was taken. The solos on the personal closing piece, "That Which Only...Never Before," fall mostly to the core group members Bynum, Hobbs but include Tomeka Reid on cello. The AACM and the Chicago Jazz Festival are among the organization that have commissioned Reid who leads her own quartet as well. With Enter the Plus Tet Bynum paints a lucid, but unpredictable picture to elucidate his vision for these works. The addition of Wooley and Swell—with their idiosyncratic styles—is a perfect fit and Stephanie Richards is a name that will be better known in the near future. The Plus Tet recently shared billing with Wadada Leo Smith at the Festival of New Trumpet Music at Manhattan's New School.” - Karl Ackermann, All About Jazz
HARRY PARTCH//THE GATE 5 ENSEMBLE - And On The Seventh Day Petals Fell In Petaluma (New World Records 90002; USA) Performed by The Gate 5 Ensemble: Harry Partch (director), Danlee Mitchell, Harry Partch, Michael Ranta, Emil Richards, Wallace Snow, Stephen Tosh. Limited edition LP release (180 gram vinyl) with previously unpublished bonus tracks free download card. "'In late 1962 Harry Partch returned to California and began a project that would not only become the bones of a masterwork, Delusion of the Fury, but have a life of its own. In a too-small space within an abandoned Petaluma chick hatchery, Partch gathered the instruments he had designed and built -- new and old -- eager to once again expand the boundaries of his compositional fabric. He learned each individual part as he composed, establishing that it could be played. And On The Seventh Day Petals Fell In Petaluma (1963-64, rev. 1966) was born of his exploration and assembled with that 'minimum of players' over a three-year period. In spite of rough conditions and meager resources Partch's dogged persistence, along with the efforts of his dedicated assistants, eventually succeeded in realizing the 34 verses of expanded duets. With this album we revisit an important work and turning-point, guided by the original 'Statement' Partch wrote for the first commercial release of the piece. Previously only excerpted, it is a voicing of his beliefs that transcends one project to illuminate an entire purpose. We also reprise exquisite notes by the late Bob Gilmore, who distills and explains the story of Petals so clearly and eloquently. No one wants a dead reissue, so by digging into the archives, I am pleased to offer hidden gems. First, The Petals Sessions is an aural glance into the cramped quarters of the recording space, as composer and players labor to bring new notes to life, Harry himself giving direction. The montage ends with a 'test take' by Danlee Mitchell and Michael Ranta that could have easily been a keeper! Finally, we present the original Verse 17. In 1964 Partch wrote two duets that used the Adapted Viola; by the time the piece was finished in 1967, he had excised them. The ending track -- never before released -- brings Harry back to life, playing and recording Adapted Viola for one of the last times. I was completely unaware of this recording until I examined the outtakes and it glows, fifty years on. That Petals ever came to be, like much of Partch's story, stands somewhere between determination and miracle.' --Jon Szanto, The Harry Partch Foundation"
MEN & VOLTS - A Giraffe Is Listening To The Radio: Men & Volts Play Captain Beefheart (Feeding Tube 306; USA) "Men & Volts was one of Boston's great bands, and I was sorry to see them fold up their tent in 1993. I had always known they started as a combo dedicated to playing the music of Capt. Beefheart & the Magic Band, but I was not in Beantown during this era, and thus missed the few shows they played in their original format. Over the years I have bugged David Greenberger (who I knew through his work with The Duplex Planet, etc.) about tapes of this material, but he always claimed it was not really up to snuff. Eventually, however, I wore him down and he turned over various audio recordings of Men & Volts playing the Magic Band's repertoire. And man, much of it was totally great. These guys rehearsed three times a week for the better part of 1979 in order to get the stuff figured out, and they really nailed aspects of the material. Those deeply-versed in live recordings of the Captain will notice some differences pretty fast, although many people who have caught this on in-store play have assumed it is a new Beefheart boot. And I think they really managed to capture the essential, weird swing of the Magic Band. The music on the album is a little lo-fi on spots, but we think it will get most people wiggling with pleasure. And the album title is a fairly obscure reference to a Cal Schenkel drawing that referenced a tune from Trout Mask Replica (1969). Figure it out and impress your friends with what a goddamn nerd you are." --Byron Coley, 2017 Edition of 300.
NIKO KARLSSON - Valosta Valoon (Feeding Tube 331; USA) "Viewed from the American sub-underground (aka our headquarters), the Finnish scene always looks like a haven of freaks. Surely there are lots of dull rock, pop, and rap outfits from this chilly and heavily forested country, but they don't get exported, so we don't have to hear them. The Finnish bands we've known and loved are psych, prog, hardcore, free jazz, and post-form monsters of all shapes and sizes. A new name to add to the list of Deadly Finns (thanks, Eno) is Niko Karlsson. Well, not entirely new. He had a few very good and different bands called Navigations, Orange Hora, and Altaat (all of whom have recordings out there) and also cut a solo CDR for Spirit of Orr back in 2012. He also plays now and then in Lau Nau's band, and plays a little banjo and guitar on the latest Kiila LP (Näköpiirin Rajolla on Alt.vinyl). But Valosta Valoon ("Light to Light") is his first solo vinyl, so we think of it (in a way) as his debut to the wider world, and it is fully cooked. The sound is a mingling of guitar, percussion, and electronics, all swirled into an abstract sluice of music that hangs at the edge of consciousness. The music was recorded over a five year period (2011-2016) but it has that undateable quality we all love. Drones run into feedback surges run into gentle clamor, and on and on and on. There are a few parts that make me think of something Ben Chasny might have done if he'd found just the right psychedelics, but most of the record is beautiful surges of unique brain pummel. As sweet as ice." - Byron Coley, 2017 Edition of 300.
Back in stock Fresh Vinyl from ESP-Disk:
ALBERT AYLER With GARY PEACOCK/SUNNY MURRAY - Spiritual Unity (ESP-Disk 1002; USA) Spiritual Unity was Ayler's monumental first album for ESP, recorded July 10th, 1964. Albert Ayler - saxophone; Gary Peacock - bass; Sunny Murray - percussion. "The first recording issued by the iconoclastic ESP-Disk, and considered by many to be Ayler's finest studio work, Spiritual Unity is a giant of free jazz. In the 40 years since its release, Spiritual Unity has become a 'classic' and Ayler has become a legend." Remastered from the original tapes for the first time! Manufactured in the USA by the original label.
ALBERT AYLER With CHARLES TYLER/DONALD AYLER/CALL COBBS/GARY PEACOCK/HENRY GRIMES/SUNNY MURRAY - Spirits Rejoice (ESP 1020; USA) "Recorded live at New York's Judson Hall on September 23 1965, Spirits Rejoice is one of Albert Ayler's wildest, noisiest albums, partly because it's one of the very few that teams him with another saxophonist, altoist Charles Tyler. It's also one of the earliest recordings to feature Ayler's brother Don playing an amateurish but expressive trumpet, and the ensemble is further expanded by using bassists Henry Grimes and Gary Peacock together on three of the five tracks; plus, the rubato "Angels" finds Ayler interacting with Call Cobbs' harpsichord in an odd, twinkling evocation of the spiritual spheres. Aside from that more spacious reflection, most of the album is given over to furious ensemble interaction and hard-blowing solos that always place in-the-moment passion above standard jazz technique. Freed up by the presence of the trumpet and alto, Ayler's playing concentrates on the rich lower register of his horn and all the honks and growls that go with it; his already thick, huge tone has rarely seemed more monolithic. Spirits Rejoice also provides an opportunity to hear the sources of Ayler's simple, traditional melodies becoming more eclectic. The nearly 12-minute title track has a pronounced New Orleans marching band feel, switching between two themes reminiscent of a hymn and a hunting bugle call, and the brief "Holy Family" is downright R&B-flavored. "Prophet" touches on a different side of Ayler's old-time march influence, with machine-gun cracks and militaristic cadences from drummer Sunny Murray driving the raggedly energetic ensemble themes. For all its apparent chaos, Spirits Rejoice is often surprisingly pre-arranged -- witness all the careening harmony passages that accompany the theme statements, and the seamless transitions of the title track. Spirits Rejoice is proof that there was an underlying logic even to Ayler's most extreme moments, and that's why it remains a tremendously inspiring recording." ~ Steve Huey, AMG
ALBERT AYLER With GARY PEACOCK/SUNNY MURRAY - Prophecy (ESP Disk 3030; USA)
PHAROAH SANDERS With STAN FOSTER/JANE GETZ/WILLIAM BENNETT/MARVIN PATTILLO - Pharoah’s First (ESP Disk 1003; USA)
PAUL BLEY TRIO With STEVE SWALLOW/BARRY ALTSCHUL - Closer (ESP_Disk 1021; USA) This historic album, originally released on ESP-Disk in 1965 (featuring drummer Barry Altschul and bassist Steve Swallow), is one of Canadian-born pianist Paul Bley's most adventurous albums of the period. Bley helped spearhead the 1960s free jazz movement, standing shoulder to shoulder with men like Ornette Coleman and Don Cherry."
Bruce Lee Gallanter’s Recommended Gig List for October of 2017
THE STONE RESIDENCIES - OKKYUNG LEE - OCT 17–22
THE STONE AT THE NEW SCHOOL—55 WEST 13TH STREET
FRIDAY AND SATURDAY NIGHTS OCTOBER 20–21 AT 8:30PM
FRIDAY OCTOBER 20— Oscalypso: Friedlander's tribute band plays new originals inspired by Oscar Pettiford as well as some of OP's most well-known masterpieces like "Bohemia After Dark" and "Tamalpais Love Song" Erik Friedlander (cello) Michael Blake (saxophone) Uri Caine (piano) Michael Sarin (drums) Michael Bates (bass)
SATURDAY OCTOBER 21—Friedlander's new quartet "Throw A Glass" plays Artemisia a new hypnotic, absinthe-inspired project that will be released in 2018. Erik Friedlander (cello) Uri Caine (piano) Ches Smith (drums) Shanir Blumenkranz (bass)
8:30 pm - Banff Night II - Noah Becker (alto saxophone, clarinet) Conner Duke (bass) Jasper Dütz (bass clarinet, saxophone) Noa Fort (voice) Noah Abrahams Gershwin (guitar) Alex Hamburger (flute, baritone saxophone) Colin Avery Hinton (drums) Okkyung Lee (cello) Chien Chien Lu (vibes) Prawit Siriwat (guitar) Jonah Udall (guitar) Theo Walentiny (piano)
830 pm - Liberty Ellman (guitar) & Okkyung Lee (cello, composition)
8:30 pm - Maeve Gilchrist (harp) Okkyung Lee (cello, composition) Eivind Opsvik (bass) Jacob Sacks (piano)
THE STONE RESIDENCIES / BILLY MARTIN / OCT 24–29
8:30 pm - Bee Line - Chris Cochrane (guitar) Kato Hideki (bass) Billy Martin (drums)
THE STONE COMMISSIONS
WEDNESDAY OCTOBER 25: BRIAN MARSELLA
In collaboration with National Sawdust The Stone presents a series of World Premieres the last Wednesday of every month through 2017.
7pm at National Sawdust in Williamsburg. For details check https://nationalsawdust.org/event/jazz-stone-commissioning-series/TWENTY FIVE DOLLARS
8:30 pm - Imogai - Ned Rothenberg (shakuhachi, reeds, flutes) Billy Martin (percussion)
THE STONE AT RUSS AND DAUGHTERS CAFE!
THURSDAY OCTOBER 26: JULIAN LAGE
ONE SET AT 8PM—ADMISSION FREE!
The Stone is proud to present music at Russ and Daughters Cafe at 127 Orchard Street the last Thursday of every month! Drop by for smoked fish, pickles and great music!
8:30 pm - Universal Melodic Brass Band - Steven Bernstein, Frank London (trumpets) Art Baron, Curtis Fowlkes (trombones) Matt Darriau, Oscar Noriega (reeds) Ben Stapp (tuba) Billy Martin (drums)
THE STONE AT THE NEW SCHOOL—55 WEST 13TH STREET
JEN SHYU: Song of Silver Geese Pi Records CD release
FRIDAY AND SATURDAY NIGHTS OCTOBER 27-28 AT 830PM
FRIDAY OCTOBER 27—Song of Silver Geese: Jen Shyu (compositions, vocals, piano, Taiwanese moon lute, gayageum, soribuk, Japanese biwa, violin, percussion) Chris Dingman (vibraphone) Mariel Roberts (cello) Ches Smith (drums) Kaoru Watanabe (winds)
SATURDAY OCTOBER 28—Nine Doors, solo ritual drama in 8 languages: Jen Shyu (compositions, vocals, piano, Taiwanese moon lute, gayageum, soribuk, Japanese biwa, percussion)
8:30 pm - Music for Film - Jane Scarpentoni (cello) Pauline Kim (violin) Conrad Harris (violin) Isabel Hagen (viola)
8:30 pm - Vevé Méchanique - Billy Martin (electronics, percussion) Martin Dosh (keyboards, electronics, percussion) Todd Clouser (guitar) JT Bates (drums)
8:30 pm - Other Dimensions in Percussion
Billy Martin with the Komodo Whirlygig Orchestra
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 Oct 20
8:35PM DAN WEISS TRIO - Dan Weiss, drums; Jacob Sacks, piano; Ben Street, bass
Saturday Oct 21
6:00PM THE POINT SCHMOINT! Matt Robbins, vocals, keys; Dave Levy, trumpet; Caleb Curtis, alto sax, flute; Jeremy Powell, tenor sax, clarinet; Eric Burns, guitar; Adrian Moring, bass; Britt Ciampa, drums
8:35PM LAGE LUND QUARTET - Lage Lund, guitar; Sullivan Fortner, piano; Matt Brewer, bass;
Sunday Oct 22
6:00PM GEMINI JOURNEY PRESENTS: MOVIE MUSIC MAGIC! - Diane Block, violin; Terry Batts, cello; Fred Simpson, percussion/poet; LinDel Sandlin; Bernard
Block, special guests Gemini Journey presents: Movie Music Magic! image
8:01PM SARA SERPA TRIO - Sara Serpa, voice; Kris Davis, piano; Chris Tordini, bass
Mon, Oct 23
8:30PM THE DAVID LOPATO TRIO
David Lopato, paino; Ratzo Harris, bass; Michael Sarin, drums
Tues Oct 24
6:00PM "WE HAVE A TUNE"- LIVE @ CORNELIA STREET CAFE - Jasper Dutz, reeds & recorders; Michael Wang, trombone and recorders; Jeremy Corren, piano; John Koozin, bass; Jongkuk "JK" Kim, drums
8:00PM BEZ VISE - voice, piano
Wednesday Oct 25
8:00PM JAMES SHIPP & NADJE NOORDHUIS DUO - James Shipp, percussion; Nadje Noordhuis, flugel horn
9:30PM ENDLESS FIELD - Jesse Lewis, guitar; Ike Strum, bass
Thursday Oct 26
8:00PM JEFF MILES GROUP - Jeff Miles, guitar, voice; Steve Brickman, sax, guitar, voice; Michael Thomas, sax; Zach Lapidus, piano, synth, voice; Alesandra Gabrielle, vocals; Pablo Menares, bass; Rodrigo Recabarren, drums
9:30PM MICHAEL THOMAS QUARTET - Michael Thomas, saxophone; Luis Perdomo, piano; Edward Perez, bass; Jimmy Macbride, drums
Friday Oct 27
8:30PM PORCH MUSIC - Leslie Goshko, piano, vocals; Andy Christie, banjo, vocals; Phil Denniston, guitar, vocals; Rick Dennis, bass; Christopher Troy Sanchez, percussion
10:00PM THE BLUEGRASS CONSPIRACY - Tara Linhardt, mandolin; Christian Apuzzo, guitar; Mary Simpson, voice, fiddle; Larry Legend, bass
Saturday Oct 28
6:00PM AMY ALLISON LEE FELDMAN - Amy Allison, vocals, composition; Lee Feldman, piano, vocals, composition
8:35PM MALABY FEST: TONY MALABY TRIO - Tony Malaby, tenor sax; Ben Monder, guitar; Tom Rainey, drums
Sunday Oct 29
8:01PM ROGERIO SOUZA WITH BILLY NEWMAN AND TIAGO DO BANDOLIM - Rogerio Souza, guitar; Tiago Souza, bandolim; Billy Newman, guitar; Evan Francis, flute; Tom Armstrong, pandeiro, percussion
Friday, October 20th 8:30 PM
Chris Cochrane – guitar
Stuart Popejoy – bass
Scott R. Looney – piano
Sarah Bernstein – violin
Reuben Radding – bass
Sunday, October 22nd 9:00 PM
Martin Sued Vitor Gonçalves
Martin Sued (Bandoneon)
Vitor Gonçalves (Piano & Accordion)
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.
October 2017 at Shapeshifter:
Ole Mathisen: Sax
Marko Djordjevic: Drums
Matt Garrison: Bass
8:15p Laszlo Gardony Solo
9:15p Christian Artmann Quartet - Laszlo Gardony (piano), Christian Artmann (flutes), Johannes Weidenmueller (bass) and Jeff Hirshfield (drums)
7pm: Yuriy Galkin Nonet 'Nine Of A Kind"
Yuriy Galkin - acoustic bass
Dave Smith - trumpet
Pasha Karchevsky - trumpet
Nick Vayenas - trombone
Alex LoRe - alto saxophone
Julieta Euginio - tenor saxophone
Tony Lustig - baritone saxophone
Glenn Zaleski - piano
Colin Stranahan - drums
8.15 - Pasha Karchevsky quintet
Pasha Karchevsky - trumpet
Azat Bayazitov - tenor sax
Gabriel Vicens - guitar
Eddy Khaimovich - electric bass
Samvel Sarkisyan - drums
9:30pThe Andrew Pereira Quartet, and will feature:
Andrew Pereira - Alto Sax
Vaughn Stoffey - Guitar
Cole Davis - Bass
Jongkuk Kim - Drums
7pm: F.W. Murnau's Nosferatu with Live Accompaniment
The Flushing Remonstrance
9:30: Ryota Sugawara BFN band
Ryota Sugawara - bass / Yusuke Yamanouchi - guitar
Christopher Palmer - trombone / Ruby Choi - voice
Ittetsu Nasuda - keyboards / Sohei Oyama - drums
7pm: Jay Rodriguez and Shaping Forces for movement .A new Work Featuring
The Qi Tao Brooklyn -Tai Chi and Chinese Kung Fu School
Led by SIFU Peter Berman and SIFU Tyzann Hsu
Featuring Genji Siraisi Drums , Peter Drungle piano, Craig Harris And special guests ..
Oct 30 -
7pm: BOKCO MASS
Brooklyn College Conservatory Mondays at ShapeShifter Lab
Composers’ Collective and Media Scoring Night
Douglas Cohen, Faculty Coordinator; Simon Brown, Program Coordinator;
Jonathan Zalben, Media Scoring Director
The Composers’ Collective presents a concert featuring music from the Brooklyn College Composers’ Forum and the Media Scoring Program at the Feirstein School for Cinema.
Shapeshifter is located at
18 Whitwell Place in Brooklyn, NY
R train to Union stop
Sound It Out series @ Greenwich House – Concerts, October 2017
November 10: Ricardo Grilli
November 11: Double-bill – Marc Hannaford Trio Satoshi Takeishi, etc
December 14: Mike Baggetta & Anders Nilsson with Jerome Harris & Satoshi Takeishi
Greenwich House Music School:
46 Barrow Street, just west of 7th Avenue South in New York City’s West Village - www.greenwichhouse.org / 212-242-4770.