International Improv is a Language of Its Own
Which Crosses All Borders or Barriers and is not Held Down by Words or Lyrics
Each Disc Reviewed This Week Creates its Own World or Mythology
So Take the Time to Experience These New Worlds with Music from:
John Zorn’s Hermetic Organ Vol 5! Connie Converse Comp: Laurie Anderson / Mike Patton / Mary Halvorson & Jessica Pavone..! Paal Nilssen-Love Large Unit & Duo: Frode Gjerstad! Jurg Frey 5 CD Set! Julius Eastman! John Butcher & Akio Suzuki!
Robert Dick / Uli Johannes Kieckbusch / Alfred Zimmerlin! Zero Point: Daniel Carter/Marius Duboule/Michael Bates/Deric Dickens! Keiji Haino / Jim O’Rourke / Oren Ambarchi LP! Todd Capp’s Mystery Train!
Plus Historic Music from Charles Mingus Sextet 1964! Captain Beefheart & His Magic Band! Cluster! John Cage 3 CD Set Edition RZ! Harry Bertoia CD/DVD! Pascal Comelade! Albert Ayler on LP’s! Serge Gainsbourg & Jean-Claude Vannier! And Even More..!
THE DMG 26TH ANNIVERSARY SERIES OF SONIC CELEBRATIONS Continue with:
Sunday, November 19th:
6pm: TODD CAPP / SYLVAIN KASSAP / GUILLERMO GREGORIO / PATRICK HOLMES / MICHAEL LYTLE Clarinet Choir
7pm: ANDY HAAS and DON FIORINO - Sax/Electronics and Guitar
Sunday, November 26th:
6pm: FRANCOIS GRILLOT / RICH ROSENTHAL / LEONID GALAGANOV - ContraBass/Guitar/Drums
7pm: VIV CORRINGHAM and GLEN HALL - Experimental Vocals and Multi-Instruments
Sunday, December 3rd:
6pm: ANDERS NILSSON / HAMPUS OHMAN-FROLUND / SAM KULIK Scandinavian Guitar & Drums Trombone
7pm: AARON NOVIK / PATRICK HOLMES / THOMAS HEBERER - Clarinet / B-flat Clarinet / Trumpet
Rare Monday, December 4th Event:
6pm: NH / MM / GERALD CLEAVER Trio
7pm: CHRIS PITSIOKOS - Solo Alto Sax!
Sunday, December 10th:
6pm: DISSIPATED FACE: DANIEL CARTER / KURT RALSKE / STEPHEN POPKIN /
MICHAEL LUBLIN / WILL DAHL / BILL MILKOWSKI
7pm: RAS MOSHE /KYOKO KITAMURA / ANDERS NILSSON
Sunday, December 17th:
6pm: ATTRACTIVE NUISANCE: CRAIG FLANAGIN & NORMANDY SHERWOOD: Modular Electronics
7pm: PRAIRIE MUFFIN: FUNG CHERN HWEI - Solo Violin!
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
This week, the Village Vanguard in NYC is the place to be!
Six nights & one matinee of John Zorn’s Masada Book Three! Tonight is ABRAXAS!
Picture the Mahavishnu Orchestra going Electric Klez - They Rule!!!
John Zorn’s Masada Book Three: NOVEMBER 14 - 19 2017
MASADA at the VANGUARD Next Week
6 Nights & a Matinee Performance
Here’s the rest of the schedule:
Eyal Maoz - guitar
Aram Bajakian - guitar
shanir blumenkranz - bass
Kenny Grohowski - drums
matt hollenberg guitar
nick shellenberger keyboards, voice
dan kennedy bass
larry kwartowitz drums
VADIM NESELOVSKYI TRIO—early set
vadim neselovskyi piano
ronen itzik bass
dan loomis drums
BRIAN MARSELLA TRIO—late set
brian marsella piano
kim cass bass
kenny wollesen drums
BANQUET OF THE SPIRITS—2 sets
Shanir Blumenkranz - bass
Tim Keiper drums
Brian Marsella keyboards
Cyro Baptista - percussion
3pm matinee LAGE-RILEY
gyan riley - guitar
julian lage - guitar
ZION 80—2 sets
Jon Madof - guitar
Frank London - trumpet
Greg Wall - tenor sax
Jessica Lurie - bari sax
Zach Mayer - bari sax
Brian Marsella - organ
Yoshie Fruchter - guitar
Shanir Blumenkranz - bass
Evan Pazner - drums
Marlon Sobol - percussion
Cyro Baptista - percussion
special guest- John Zorn - sax
The Village Vanguard is located at
178 Seventh Ave. South (just below West 11th St. in Greenwich Village)
New York, New York, 10014 - 212-255-4037
Reserve tickets at: www.instantseats.com/index.cfmfuseaction=home.venue&VenueID=1&sid=3
This Week's Great Discs Begin with this:
JOHN ZORN - The Hermetic Organ - Philharmonie De Paris (Tzadik 8357; USA) John Zorn returns to his original instrument with a new volume of organ improvisations recorded at his infamous Weekend in Paris in April 2017. The organ at the Grand Salle Pierre Boulez is one of the most powerful and versatile in France, and Zorn approaches it with great sensitivity and wild abandon. Includes both the full 40 minute concert recording, and over 30 additional minutes of Zorn alone at the manuals in rehearsal the same day. Release date: End of November 2017; TZADIK ARCHIVAL SERIES
CONNIE CONVERSE // LAURIE ANDERSON/MIKE PATTON/MARY HALVORSON & JESSICA PAVONE /PETRA HADEN/EYVIND KANG/MARTHA WAINWRIGHT/ELYSIAN FIELDS/JEFF TWEEDY/SAM AMIDON/ et al - Vanity Of Vanities - A Tribute To Connie Converse (Tzadik 4019; USA) "Connie Converse was a remarkable composer who worked in the 1950s and 1960s. By 1974, depressed over her lack of recognition and success, she packed up her belongings and drove off never to be heard of again. Little known in her lifetime, she is now viewed as a pioneer of the modern singer/songwriter genre. This exciting compilation collects fifteen of her most unique and soulful songs performed by an all-star group of contemporary singer/songwriters. Featuring an informative essay by musician and Converse scholar David Garland, Vanity of Vanities is a heartfelt tribute to one of the unsung heroes of contemporary songwriting." TZADIK SPECTRUM SERIES
PAAL NILSSEN-LOVE LARGE UNIT - Selected Tracks (PNL 037; Norway) After four years of extensive touring and five albums, of which one was a photo book with two CDs, it's time to look back, but also forward. SELECTED TRACKS 2013-2017 gives the listener a chance to hear the band's continuous development in retrospect. The disc starts off with two tracks from the forthcoming album FLUKU, which will be released in September 2017. First, a kind of game piece where every soloist has to decide on the spot who to accompany them on various given material. Second, a ballad which brings out a new side to Nilssen-Love's writing. "ANA" features an extended version of the band, including two Brazilian percussionists, and shows Nilssen-Love's passion for Brazilian rhythms. "Fendika" was recorded at the band's last concert during their 15 gig tour of North America in 2015 and there's no doubt what those two weeks did to the band. "Fortar Hardar" was recorded at the band's "debut" in Europe, at the famous Moers festival in Germany. An audience of 2000 were thrilled to pieces by the bands energy and strength. "Culius" was recorded at the band's very first concert at Molde Jazzfestival in 2013, after two days of rehearsal out in the woods. Nilssen-Love's immediate conclusion was that this a band and not a project. About 60 concerts later, and following a slight change in the line-up, there's no doubt this will go on!
PAAL NILSSEN-LOVE / FRODE GJERSTAD - Nearby Faraway (PNL 036; Norway) Featuring: Frode Gjerstad: alto and bass saxophone, Bb and contrabass clarinet and Paal Nilssen-Love: Asba drums. Recorded at Gandsveien Studio, Stavanger, Norway on September 12th 2016 and mixed December 2016 by Frode Gjerstad. Cover by Lasse Marhaug. We recorded this music as a tribute to Eivin One Pedersen (1956-2012). We miss him deeply.
JURG FREY - L’ame est sans Retenue 1 (Erstwhile ErstClass 002-5; USA) Swiss composer Jurg Frey has obviously spent a great deal of time considering “silence”, what it is and how it is used in the music he listens to and composes. The liner notes notes here mainly deal with “silence” and how to think about it. Most of Mr. Frey’s recordings are found on Edition Wandelweiser, an Austrian label run by composers who have thought seriously about the way silence is used in their music. Mr. Frey also records for Ertswhile (superb duo CD with Radu Malfatti) and Another Timbre. “L’ame est sans Retenue 1” is a six hour long work for electronic music spread over five CD’s. It was recorded and assembled in 1997/98 and is now being released for the first time. As I listen, there seems to be a cautious balance between the silent and other (mostly electronic) sounds. The sound of wind or running water permeate at first, floating above of blocks of silence. The sounds or samples seem to evolve and evoke different things: a car motor, distant static, ethereal sounds not so easy to identify. Six hours is a long time to sit for and experience this entire work so I have to find the time to do so. I am currently listening to disc three and have already found a certain sense to the way things unfold. I am reminded of Morton Feldman’s ’String Quartet No. 2’, which is nearly as long and takes a great deal of patience to listen to in its entirety. After a while I do notice that silences between the sounds seems to be very carefully weighed, both elements seem to enhance one another. It will take some time to fully absorb so… I am most impressed since only a label like Erstwhile would care enough to have this work released. - Bruce Lee Gallanter, DMG
“Swiss composer Jürg Frey's six hour long electronic tape piece l'âme est sans retenue I was recorded and assembled in 1997/98 and is now being released for the first time. It is the longest piece Frey has ever composed in his over 40 year career.
In this piece, Frey utilized the sounds of field recordings he made in Berlin in 1997 as the source materials, alternately inserted between long stretches of silence. Frey was particularly focusing around that time on how the dynamic relation between sound and silence can affect our perception of the silence in a frame of space and time. By using the environmental sounds of field recordings and silence as materials, which was an unusual method of composing music at that time, Frey created a subtle but captivating flow over the six hours in which nearly imperceptible pitches, rhythms, dynamics, textures, overtone - all emanating from the natural environment - are faintly consonant with each other. “It’s about how ‘normal’, ‘regular’ things are transformed – by the work of composing, by decisions, by intuition, by the ear – to an art work.” (Jürg Frey)
The title “L’âme est sans retenue” is a quotation of a single, isolated sentence from French poet and writer Edmond Jabès’s book Désir d’un commencement, Angoisse d’une seule fin (Desire for a Beginning, Dread of One Single End). The simple clear-cut structure and slightly enigmatic, ambiguous air of Frey’s l'âme est sans retenue I echo with the world of Jabès’s book, in which a large portion of white space (silence) is distinctly present between blocks of sentences and a list of evocative keywords create an introspective, silent, distant atmosphere.” - Erstwhile
5 CD Set $44
JULIUS EASTMAN - The Zürich Concert (New World Records 80797; USA) The composer is therefore enjoined to accomplish the following: she must establish himself as a major instrumentalist, he must not wait upon a descending being, and she must become an interpreter, not only of her own music and career, but also the music of her contemporaries, and give a fresh new view of the known and unknown classics. - Julius Eastman
Just when you think you are grasping the breadth and quality of the music of Julius Eastman (1940–1990), a recording such as Julius Eastman: The Zürich Concert shows up, and you have to go back and reassess his work and wonder what will show up next. This recording is from a 1980 solo seventy-minute improvisatory concert in Zürich, a cherished cassette made by a friend of Eastman’s, who recently realized its uniqueness and decided that he should share it. The Zürich Concert was performed on October 25, 1980 in the Aula Rämibühl gallery. Eastman was in Europe participating in The Kitchen tour, and a Swiss friend, Dieter Hall, a painter who had been living in the East Village, arranged the concert. Hall recorded it on a cassette machine, so there is the inevitable gap when the tape had to be turned over, as Eastman played non-stop for seventy minutes.
Simply put, The Zürich Concert is a revelation. Listening to this recording, one is overwhelmed by the cascades of sound, the power of the playing. It almost seems as if the piano will start bouncing across the floor like an out-of-control washing machine. But there is also space and delicacy in the playing. As a whole, the music never flags, and your attention doesn’t wane, as you are drawn in by the intensity of the playing and the coherence and wonder of the music being made.”
CD $15 (In stock early next week)
JOHN BUTCHER / AKIO SUZUKI - Immediate Landscapes (Ftarri 987; Japan) Featuring John Butcher on tenor & soprano saxes and Akio Suzuki on pebbles, glass & brass plates, wooden screws, voice analapos, etc. Japanese composer, Akio Suzuki, is known as a pioneer of sound art, often working in galleries, amplifying his own self-designed devices and recording sounds in specific environments. It makes perfect sense that British improv sax specialist, John Butcher, who also works in galleries and other unique environments (like caves), would find some common ground for explorations with Mr. Suzuki. This disc was recorded on the Arika “Resonant Spaces” Tour in Scotland & Orkney in 2006 and at the Ftarri Festival at SuperDeluxe, in November of 2015. What sets this apart from other John Butcher discs I’ve heard is that although his sax sounds are in the center of the mix, it is the other sounds that are just as integral. Those other sounds are not so easy to identify: bent bird chirps, porpoise or whale-like sounds, cerebral resonating sounds, some rather vocal-like (children?) but it is hard to tell the source. Butcher takes his time and waits for the right moment(s) to his unique sax sounds to ever-changing environment that Mr. Suzuki creates. Mr. Butcher has long experimented with the placement of his saxes in a variety of settings. Hence, his sax often shape shifts as he moves around. The results often keeps us at the edge of our seats since we never know where certain sounds are coming from or how they are made. This makes for some serious, stimulating listening. Although some British or even Euro improv is referred to as “insect music”, this is more like music made by small furry animals in a cosy environment. - Bruce Lee Gallanter, DMG
ROBERT DICK / ULI JOHANNES KIECKBUSCH / ALFRED ZIMMERLIN - @ (Unit 4697; Switzerland) Featuring Robert Dick on flutes, Uli Johannes Kieckbusch on piano and Alfred Zimmerlin on cello. This disc was recorded at a radio studio in Zurich, Switzerland in November of 2001 but not released until now, some 16 years later. Flute virtuoso, Robert Dick, is an early member of the Downtown Scene, moving to NY in 1980 and working with Zorn & Chadbourne crew some 35 years ago. Mr. Dick has long sought out other like-minded players from around the globe and living in Switzerland for a decade which was most likely when this was recorded. I recognize the name of the cellist here, Alfed Zimmerlin, from his work with Christoph Gallio, John Butcher and Saadet Turkoz. German pianist, Uli Johannes Kieckbusch is not a name I’ve hard us before now, but is a composer as well as an improviser.
Although the titles of the dozen pieces here are often humorous: “Escher and Doppler Fans Meet at Phil’s”, the music is pretty impressive. In some of the early pieces, one instrument will begin playing tentatively at first, while the other slowly come in, sometimes in bursts of activity. The music is superbly recorded, the balance just right. Mr. Zimmerlin occasionally works inside the piano with objects, a ping pong ball perhaps rubbing the strings which make them sound rather like a harpsichord. There are some truly amazing and intense moments here where the trio explode and take off, as well as quiet more restrained moments which are equally captivating. There are even a bit of hilarious goofy vocal sounds, like a crazy person’s exclamations. This is improvisation and exploration at its best! - Bruce Lee Gallanter, DMG
* ZERO POINT // DANIEL CARTER / MARIUS DUBOULE / MICHAEL BATES / DERIC DICKENS - Thoughts Become Matter (MTM 006; USA) Zero Point is Daniel Carter on reeds & trumpet, Marius Duboule on classical & electric guitars, Michael Bates on double bass and Deric Dickens on drums. Out of the hundreds of strong improvisers in the current Downtown network, Daniel Carter, continues to outdo everyone else with the vast number musicians known and little known who he seeks out. Considering the Mr. Carter refuses to be the leader of any group he plays with, he has found a series of gifted players from amongst a vast ocean of local musicians. Zero Point is yet another quartet that Carter is a part of, along with former Canadian bassist Michael Bates (bandleader himself & who work with Michael Blake) and a drummer named Deric Dickens, who has worked with Kirk Knuffke & Jef Lederer. The only name I didn’t recognize here is guitarist Marius Duboule. This is a studio date and was recorded by Jimmy Katz who has done a marvelous job, warm, focused and well-balanced. The opening track, “Errance”, is a somber, dreamy, slow moving piece featuring the superb, sublime flute-work of Daniel Carter and elegant, whispered guitar of Mr. Duboule. When Duboule switches to electric guitar on the title piece, he adds some distortion but keeps the temperature to a simmering level, carefully bending certain notes, like adding a bit of spice to an already tasty meal. There seems to be something going on here which is just below the surface, a soft-spoken conversation, relaxed yet thoughtful. Although things appear to be calm on top, there is more going on below which takes one time and reflection to hear within. Drummer Deric Dickens’ name is first on the personnel list on the back of this disc and he often sounds like he is leading or at least providing a centering navigation to the quartet. What I really dig about this is this: although this music is mainly free, there is a calm, focused dialogue that runs through this entire disc. This is not sixties free.jazz energy music but a refined brand of freedom which tastes like some contemplative medicine here to help soothe our souls. - Bruce Lee Gallanter, DMG
* Zero Point will tentatively be playing here at DMG on Sunday, January 14th at 7pm!
* TODD CAPP’S MYSTERY TRAIN With MICHAEL LYTLE / KURT RALSKE / CECILE BROCHE / Et Al - Wintersweet Sixteen (Noncept 002; USA) Todd Capp’s Mystery Train is an ongoing project which features several groups with varying personnel: Michael Lytle on bass clarinet, Kurt Ralske on cornet, Cecile Broche on violin, Watson Jennison on flute, Andrew Lafkas on acoustic bass, Gao Jiafeng, Michel A. Holmes & Matthew Ostrowski on electronics and Todd Capp on drums. There are tow members of Mystery Train who appear on each piece and who coproducer this disc: Todd Capp and Kurt Ralske. Todd Capp was a part of the Loft Jazz Scene in the seventies and even ran a large unit known as the Improvising Orchestra whose one and only release was recorded in 1978, almost 40 years ago. Mr. Capp seemed to disappear from the scene in the eighties and nineties, as far I can tell but re-emerged in the nineties working with Stephen Gauci, John Hagen and Daniel Carter. Kurt Ralske used to play guitar with Dissipated Face (a band I was very close with) and founded Ultra Vivid Scene (great 4AD band). Mr. Ralske eventually quit playing guitar and got involved with video experiments, going on the teach at college. In the last decade, Mr. Ralske returned to playing and picked up his original instrument, the cornet. You should recognize the names of Michael Lytle (longtime member of Dr. Nerve & Meltable Snaps) and Andrew Lafkas, whose music I’ve reviewed on other occasions and who has worked with Bill Dixon.
This is the second disc by Todd Capp’s Mystery Train and the most of the core members remain the same. There are six pieces on this disc, eating with slightly different personnel, four quartets, one trio and one duo. Although Todd Capp originally began as a free/loft jazz drummer, he often seeks out improvisers who are free of genres or rules, in between categories or classification. Each quartet piece features one or two electronics players, adding a more mysterious quality which is hard to pin down to a recognizable instrument. Mr. Capp’s drumming is often at the center here, carefully weaving hypnotic lines with his superb mallet playing. Cornetist Ralske, who is on every track, usually limits his range, while making every note count, his tone is like a melancholy ghost drifting through the fog in a graveyard. Each invited guest get one track to stretch out at length. Another early Downtowner, Michael Lytle, is featured on “Bear’s Lair” where he bass clarinet and Ralske’s cornet slowly intertwine weaving a quiet yet fascinating web. The electronics (by Jiafeng) and drums provide a strong cushion of support, like a rhythm team organically breathing together. Violinist Cecile Broche has played here at DMG on several occasions and is featured on “Noisettes”. She is a gifted improviser and sounds particularly inspired (often soft and weird) as she plays with Matt Ostrowski (another early Downtowner) on electronics, Ralske and Capp underneath. Is that Ms. Broche playing through some device or Ostrowski’s electronics, hard to tell. This piece is consistently fascinating. “Khora One” also features two electronics players and again it is hard to tell who is doing what but the results are most compelling. Mr. Ralske’s melancholy cornet drifts over an ocean of eerie electronic fish. The final piece, “Shadows Broken” features the duo of Andrew Lafkas on acoustic bass and Todd Capp on drums. These two musicians have been working together for a long while and it does sound like that. Mr. Lafkas used to work with Bill Dixon and know how to make every note/sound count. This piece sounds like a ballad and is quite touching. Mr. Lafkas’ bass is featured and shows him to be an under-recognized master. It is a perfect way to bring this sublime and occasionally mysterious session to close. - Bruce Lee Gallanter, DMG
* Todd Capp’s Clarinet Choir will play here at DMG this Sunday at 6pm & will include clarinetist Patrick Holmes
WE MUST BUILD ALTERNATIVE MODELS - self/titled (Noncept 103; USA) This disc features a nine piece ensemble with Patrick Holmes on clarinet, Tyler Wilcox on soprano sax, Kurt Ralske on cornet, Laura Ortman on violin, Marcia Bassett on guitar, Barry Weisblat on electronics, Andrew Lafkas on bass and Sandy Gordon & Todd Capp on percussion. The liner notes for this disc define and explain the use of Esperanto, an international language which was first mentioned in the late 1800’s. Esperanto was invented to bridge that which has separated different groups of humans who speak different languages from one another. Perhaps the title of this disc and ensemble, ‘We Must Build Alternative Models’, is referring to the hope of more folks learning Esperanto. Especially in times when we seem to be so divided. The first sound on this disc is from contrabassist Andrew Lafkas, who used to work with Bill Dixon and has learned how to shape or focus musicians in different settings. Slowly, this ensemble builds as different musicians move in waves around one another. Although the bowed bass is often at the center, the other instruments (like the clarinet, soprano sax & cornet) rise and fall and swirl in tight orbits. As this piece evolves, other instruments: guitar, violin, electronics & percussion, slowly enter, the entire ensemble breathing together, organically, magically. There seems to be a strong balance between the free and directed elements of this music as if someone is conducting, directing or at least helping keep things focused at times. Towards the second half, the sound or vibe gets somewhat harrowing like a sea of ghost trying to flee from the underworld. It is currently raining a bit and the sky is gray. This music seems to fit what I see outside my window. Let’s all speak in Esperanto for one day and go for a ride on the spiritual roller coaster tat this music provides. - Bruce Lee Gallanter, DMG
HUI-CHUN LIN / DAVIDE PIERSANTI - A Gash into Normality (Creative Sources 373; Portugal)
Featuring Hui-Chun Lin on cello & voice and Davide Piersante on trombone. Taiwan-born, Berlin-based cellist Ms. Hui-Chun Lin recently sent us a half dozen discs to review. Most of these discs each have different personnel, although percussionist Peter Kuhnsch can be found on a few of these. I reviewed two strong quartet discs over the past 2 days and now have a couple of duo discs to check out. This one features Ms. Lin on cello & voice and Davide Piersanti on trombone. This disc was recorded live in Berlin where Ms. Lin currently lives. While the first two (quartet) CD’s I reviewed with Ms. Lin sounded partially written or directed, this one sounds more improvised like a stimulating ongoing dialogue. Davide Piersanti, who I had not heard of before now, sounds great, playing quick lines on his trombone in a long stream while Ms. Lin also plays percussively, bouncing her bow on the strings, in restless spurts. Both of hess musicians are well matched and sound inspired tossing ideas back and forth. Three reviews done and three more to do. - BLG/DMG
JOHN CAGE // SWR SINFONIEO ORCHESTER BADEN-BADEN - Klang Der Wandlungen (Edition RZ 1033-35; Germany) From the liner notes by Jakob Ullmann (translated by Peter Gebert and Molly McDolan): "It was during a break in the inaugural meeting of the East German section of the IGNM (International Society for Contemporary Music) in March of 1990 when Reinhard Oehlschlägel, the long-standing music editor of Deutschlandfunk in Cologne, suggested taking advantage of the fact that John Cage was to attend the summer courses in Darmstadt as a special guest by inviting John Cage to East Berlin. . . . Making Giacinto Scelsi's works accessible in the concert hall, the discovery of the quiet and the intangible in the late works of Luigi Nono, the deeply impressed reception even of distant traditions beyond the realm of music by Morton Feldman, and more, had led to the development of a sound phenomenon that would almost have to be called a style, and Cage's works such as 72, and perhaps even more, 103, seem to fit in seamlessly. . . . Cage wrote In A Landscape in 1948 to a choreography of Louise Lippold; the rhythmic structure of the lyrical work echoes the structure of Lippold's dance with its 15 × 15 (5-7-3) measures, while the modal soundscape of the piece is clearly modeled on the aesthetic of Eric Satie. Thirty-four years later, Cage composed a piece for 1-20 concert harps, which was premiered in the same year in Minneapolis. In this piece, Postcard From Heaven, Cage draws on three double ragas, which are used both in their ascending and descending forms, and the characteristics of which may be utilized . . . The thirteen parts of Some Of The Harmony Of Maine for organ are based upon movements from a chorale book published in 1794 by Supply Belcher in Boston. Each piece is indicated by the title and, in abbreviation, the meter of the chorale. Cage did not change any of the notes of the original movements; instead, he used chance operations to decide which notes were to be carried over, which to be removed, the duration of these notes, and in which organ registers they were to be played." Performed by: SWR Sinfonieorchester Baden-Baden und Freiburg, conductor Jonathan Stockhammer; Kölner Rundfunk-Sinfonie-Orchester, conductor: Arturo Tamayo; Gabriele Emde - harp; Jakob Ullmann - organ. Includes a booklet in German and English.
3 CD Set $50
HARRY BERTOIA - Sonambients: The Sound Sculpture Of Harry Bertoia (Important Records 1034; USA) Sonambients: The Sound Sculpture Of Harry Bertoia is a deluxe CD/DVD package containing historic recordings made in Harry Bertoia's Sonambient barn. The DVD, a film titled Sonambients: The Sound Sculpture of Harry Bertoia, by Jeffrey and Miriam Eger, was shot in 1971 and follows Harry Bertoia in performance and interview throughout his Sonambient barn deep in the Pennsylvania woods. This film offers a rare opportunity to follow the artist in practice, listening carefully as he moves contemplatively through his sculptures and gongs. Interview footage offers rare insight into Bertoia's inspiration and process. A separate CD contains four exclusive, recently discovered audio recordings. Included are the two earliest known collaborative tapes from Harry and brother Oreste, morning and evening sessions dated October 12, 1969, as well as a collaboration between the Bertoia brothers and their sister Ave who sings in careful unison with the overtones being produced by the sculptures. With the passing of Oreste Bertoia in 1972, these recordings mark the last meeting of all three Bertoia siblings. A 16-page booklet includes many never before seen production stills shot by Jeffrey Eger. These iconic images capture the essence of the artist in practice. DVD is NTSC format, region free.
RAFAEL TORAL - Moon Field (Room40 480; Australia) “On Moon Field, Rafael Toral breaks new ground, it is his first edition that moves outward, beyond the Space Program series. This collection of three extended and interlocking works, mark the beginning of a transitional period into a new phase. Building on the explorations of his almost decade and a half of work with the Space Program, Mood Field seeks a more open sensibility and integrates a range of new elements and new directions. These elements reposition the potential interplays of his chosen musical elements. "Moon Field was originally written for live performance by a configuration of the Space Collective 3," Toral explains, "It was with Ricardo Webbens on modular synths, Riccardo Dillon Wanke on electric piano and myself on electronic instruments. While working on it, the piece revealed a strange hovering quality, a kind of stasis. It's alive and awake, like all the recent Space Program music, but doesn't seem to want to go anywhere. The music wanted to be something very peculiar and I changed it a lot in response to that. It also revealed what I find a kind of nocturnal mood, as if we were listening to alien signals with satellites crossing the sky under the moonlight." Moon Field's middle section, "The Horizon", sees Toral entering a broader acoustic field. The piece weaves a fresh examination of the ambient music he worked on between 1987 and 2003 with the fabric of post- free jazz-inspired phrasing with electronic instruments. The results extend the free roaming aspects of the Space Program and mark out a distinctive and deeply personal approach to sonic atmospherics. This is the first step into a much larger, richer universe.”
Historic, Archival Recordings & Reissues:
CHARLES MINGUS SEXTET With ERIC DOLPHY - Copenhagen 1964 (Hi Hat 3090; UK) Charles Mingus Sextet, live at Store Sal, Odd Fellow Palace, Copenhagen on April 14th, 1964. In April 1964, Charles Mingus took his remarkable band to Europe. Having fulfilled eagerly anticipated dates in Amsterdam, Oslo, and Stockholm, they played the remarkable set captured here in the Great Hall of the Odd Fellows' Palace in Copenhagen on the evening of Tuesday 14th. Fired up by an altercation in a shirt shop earlier in the day, Mingus gives an especially fiery performance, as does Eric Dolphy, who had already decided to settle in Europe, unaware that he had only two months left to live. Originally broadcast on Danish radio, the full set is presented here, digitally remastered, together with background notes and images.
2 CD Set $24
CAPTAIN BEEFHEART & HIS MAGIC BAND - My Father's Place, Roslyn, '78 (Keyhole 9084; UK) Captain Beefheart & His Magic Band, live at My Father's Place, Roslyn on November 18th, 1978. After a period of relative inactivity, in 1978 Captain Beefheart reemerged with a new Magic Band and a superb album, Shiny Beast (Bat Chain Puller) (1978). To promote it, they undertook a club tour of the US, to the delight of his devoted fans. The wonderfully energetic show, featured here, was performed in a 200-seat supper club in Long Island on November 18th, 1978 and broadcast on WLIR-FM, and finds the band tackling material from the breadth of his career to date. The entire WLIR-FM broadcast is presented here with background notes and images.
2 CD Set $24
CLUSTER - Qua (Bureau B 274; Germany) Reissue of the last studio album by Cluster, the legendary krautronic duo of Dieter Moebius and Hans-Joachim Roedelius, recorded in Ohio in 2009 by Tim Story. From Story's liner notes: "My role, as I imagined it, was to emulate Conny Plank, the great Cluster producer and a hero I'd never had a chance to meet. An impossible burden of course, so I simply tried to make the recording process as invisible as possible, offer as many interesting sonic options as I could, and give Cluster the chance to be Cluster -- to express that deep and unique dialog that only Moebi and Achim fully understand. Moebi had brought along some of his wonderfully quirky loops, but the rest was simply an embrace of the technology and toys that they found in the studio. Old drum machines, a gaudy orange Farfisa (solos on which Achim would always seem to center around the one temperamentally unreliable note), cutting edge keyboards and processors, a cheap Yamaha Omnichord. The results were, to my ears at least, stunning. Seventeen miniature worlds, some icy, some warm, all infused with that Cluster elusiveness and unpredictability. Playful, dark, funny, human, Qua captures that deceptive Cluster heartbeat -- unmistakably modern but utterly timeless. Adorned later with Moebi's slyly nonsensical titles ('Putoil' for example, which features a 'solo' made from Moebi's recording of our squeaky bathroom door), and his cheerfully Dada cover, Qua's evolution was a true privilege to witness. Achim told me recently that he considers Qua the perfect swansong for Cluster. At the time, though, the album's freshness and open-ended creativity seemed like simply another alluring dispatch from a conversation that would pick up again many more times, as it had for four decades. But Moebi's passing in 2015 gives Qua a finality that contradicts the music's transitory, slippery otherworldliness. The album's closing track 'Imtrerion,' with Moebi's deeply stirring loop embellished ever so gracefully with Achim's spare accompaniment, never fails to choke me up."
CLUSTER & FARNBAUER -Live in Vienna 1980 (Bureau B 275; Germnay) The first live recording of Cluster (Dieter Moebius and Hans-Joachim Roedelius), and their only collaboration with Austrian musician Joshi Farnbauer (drums and percussion), recorded in Vienna in 1980. A sonic throwback to their early years, reissued on CD. Were one to be presented with two separate stacks of Cluster recordings -- one composed of their studio work, the other of live performances -- an innocent listener might conclude they are the efforts of two completely different artists. This would understandably have been the case in 1980, when the structured, tuneful miniatures of 1979's Grosses Wasser (BB 026CD/LP) and 1981's Curiosum (BB 038CD/LP) were unlikely bookends to the sprawling electroacoustic abstractions of Live in Vienna. But as fans of the idiosyncratic duo already knew, Cluster's trajectory was always a restless one -- more about disruption than gentle evolution. As Live in Vienna's sound engineer, Eric Spitzer-Marlyn, recalls, Cluster's 1980 performance at the Wiener Festwochen Alternativ would have been called a "happening" in an earlier time. Growing out of the Actionism movement of the '60s, the festival was more performance art than music concert. Disdainful of the tired, commodified art of the establishment, it was a sound marked by brash, improvised, avant-garde techniques. Spitzer-Marlyn also recalls that it was loud. For those who had grown up with Cluster's accessible '70s work with Eno and Plank, and their collaboration with Michael Rother in Harmonia, Live in Vienna's slow-growing swaths of electronics and noise must have represented a bit of a shock. But it was really more of a throwback to Cluster's earliest years, when they performed dense electronic "jams" with Conrad Schnitzler as Kluster. The addition in Vienna of Joshi Farnbauer, a friend and fellow artist who played percussion and explored the sound possibilities of his own sculptures, also mirrored the fluid and spontaneous configurations that characterized those times. As chance would have it, they never met up with Farnbauer again.
The Mostly LP Only Section:
KEIJI HAINO / JIM O'ROURKE / OREN AMBARCHI - This Dazzling, Genuine "Difference" Now Where Shall It Go? (Black truffle 030; Australia) Black Truffle presents the eighth full-length release from the trio of Keiji Haino, Jim O'Rourke, and Oren Ambarchi. Over the course of four LP sides, the October 2014 concert documented here ranges from rock power trio dynamics to maelstroms of analog electronics. Once again, the three demonstrate their commitment to pushing into new areas of instrumental exploration and group interaction. Where their previous releases featured extended vocal workouts from Haino, his vocalizations here are restricted to the occasional impassioned cry, putting the focus squarely on instrumental interplay. More than ever before, this feels like the work of three equals, with O'Rourke or Ambarchi taking the lead role as often as Haino does. The four pieces presented here each focus on extended development. The first side is propelled by Ambarchi's busy, Jack DeJohnette-esque cymbal and tom work, which provides a skittering yet insistent pulse over which Haino and O'Rourke's FX-saturated strings rise and fall, momentarily converging for passages of near stasis before wandering through areas of gently sour discord; O'Rourke's use of a six-string bass here boosts the harmonic density of the music and often makes his contribution difficult to distinguish from Haino's guitar. On the second side, O'Rourke uses his pedals to make his bass near unrecognizable, generating a squelching, harmonically unstable riff that Ambarchi accompanies with a semi-martial snare pattern. Haino moves between frenetic octave-doubled fuzz riffing and streams of feedback. The third side is the most abstract; Continuing Haino's explorations of new instruments, the side opens with a long passage of toy piano. Alongside occasional vocal interjections from Haino (singing in English), Ambarchi creates delicate textures on cymbals and metallic percussion while O'Rourke, for the first time in this group, performs on the EMS Synthi. With Haino joining in with his own electronics, the side eventually builds to a chaotic climax. Beginning with a sequence of "fourth world" drums and flute, the final side unfolds an epic build-up over a hypnotic foundation of pounding toms. Moving from flute to vocals to electronics, Haino eventually picks up the guitar in the second half of the piece, igniting a spectral blur over driving rhythms from bass and drums that eventually builds to a frenzied climax. Cover image by Traianos Pakioufakis; Live action pics by Mike Kubeck.
2LP Set $30
KONSTRUKT & KEIJI HAINO - A Philosophy Warping, Little By Little That Way Lies A Quagmire (Karl Records 043; Germany) Turkish free jazzers Konstrukt and the Japanese avant-garde/noise icon Keiji Haino present their first collaboration album. Formed early 2008 in Istanbul, Konstrukt have since been gaining high reputation and an ever-growing audience within European improvised music circles. Over the past decade, the Turkish free jazzers not only released a couple of superb albums under their own name -- they also regularly invite significant musicians like Peter Brötzmann, Joe McPhee, William Parker, Akira Sakata, Marshall Allen, Evan Parker, Thurston Moore, Michael Zerang, Alfred Harth, or Alexander Hawkins for recording sessions and/or concerts (a.o. at festivals like A L'arme, .Konfrontationen Nickels-Dorf, Krakow Jazz Autumn). Their latest work A Philosophy Warping, Little By Little That Way Lies A Quagmire sees Konstrukt team up with Keiji Haino -- and besides all the elements you may well expect from such a musical meeting like Konstrukt's "acerbic razor-edged sound" (Mark Corroto, All About Jazz) and Haino's unmistakable voice/guitar explosions, there's also some real surprises...
Personnel: Korhan Futacı - alto and tenor saxophones, zurna, kaval, sipsi, instant loops, voice; Umut Çaglar - Moog (MicroMoog), Korg (X-911), gralla, bamboo flutes, xylophones, percussion, tape echo, Vermona (Retroverb); Berkan Tilavel - Nord (Drum2), electronic percussion, tef, cymbal; Erdem Göymen - drums, cymbals, percussion; Keiji Haino: electric guitar, percussion, voice, airsynths. Cover painting "Escape" by Artur Trojanowski. Recorded and mixed by Ozan Öner at Pür Recording Studio, Istanbul. Mastered by Rashad Becker at Dubplates & Mastering, Berlin.
PASCAL COMELADE - Paralelo (Because Music 5543159; France) Because Music present the first reissue of Pascal Comelade's Paralelo, originally released in 1980. This first reissue identically features all the elements of the original version: the black and white sleeve with its painting made by Don Jacques Ciccolini, and all musical features popularized by Pascal Comelade (repetitive music, the concept of sequences, and continuous sound). Auto-produced on his own label Parasite, Comelade mainly uses one instrument for all parts of the album: an EMS/AKS synthesizer. Recorded on K7 and 2-track tape recorder Revox A77, Paralelo is the most representative album from Pascal Comelade's electronic times (1974/1981). A part from "Beyrouth 66", "Musique Ridicule", and "Erratum Musical", the album features a vocal loop (from English composer Gavin Bryars). This reissue comes as double-LP; the original version gets extended with the second vinyl. On the C side: "Séquences Païennes" are extracted from 1978 recording sessions, partially released on a 7" in 1979 and fully reissued in the six-CD boxset Rocanrolorama in 2016; On the D side: "15 Minutes de Sonoto-Luddisme", originally entitled "Musique par Correspondance" was recorded between Montpellier and London (1978-1981) with David Cunningham (member of the Flying Lizards and producer for Michael Nyman and This Heat). This musical track gets extended on more than 15 minutes that engrave the meeting between the two musicians. Gatefold sleeve; Includes CD.
2 LP CD $32
ALBERT AYLER - Bells [White Vinyl](ESP-Disk 1010; USA) Reissue on 180-gram opaque white vinyl. Originally released in 1965. The transitional "Bells" was just under 20 minutes, released originally as one side of a clear vinyl LP with the other side empty of music. It was recorded at a May 1, 1965, Town Hall concert of ESP artists, displaying Albert Ayler's new group, which added Albert's brother Donald and Charles Tyler. The denser sound of "Bells" shows Ayler moving towards the bigger sonic statement made on Spirits Rejoice (ESPDISK 1020CD/LP), his September 23, 1965, Judson Hall session. By the way, "Bells" as heard here is not, in fact, a single composition; rather, it is a medley moving from "Holy Ghost" to an unnamed theme and then into "Bells" proper. ESP-Disk' founder Bernard Stollman was so excited by "Bells" that it was released without delaying to record additional music to fill the other side of the LP. Both Donald Ayler and Charles Tyler were making their recorded debuts; Tyler would go on to record for ESP as a leader (Charles Tyler Ensemble (ESPDISK 1029CD, 1966), and Eastern Man Alone (ESPDISK 1059CD, 1967)). One vinyl pressing of Spiritual Unity (ESPDISK 1002CD/LP) in the '60s substituted a different track for "Spirits." Mr. Stollman had no memory of how this had happened, but it was subsequently corrected and became a rarity known only to rabid collectors and ESP fanatics. The one that is on all the CDs (except for one Japanese release with both) and all the rest of the vinyl editions is the same tune as what is titled "Saints" on Witches & Devils (aka Spirits, recorded on February 24, 1964). The anomalous substitution, which does sound somewhat similar, is the same tune known as "Vibrations" on the album Vibrations (aka Ghosts) and as "[tune Q]2" in Revenant's Holy Ghost boxed set. Martin Davidson (owner of Emanem, another indie label responsible for many groundbreaking jazz releases) suggested that ESP-Disk' include this mysterious rarity on its 50th-anniversary CD edition of Spiritual Unity (ESPDISK 1002CD), and supplied the sound file. ESP kept the vinyl edition of Spiritual Unity as originally intended. How to get "Vibrations" out on vinyl, then? Well, Bells has long had plenty of open space on its B-side. . . .
ALBERT AYLER With JOHN TCHICAI / DON CHERRY / ROSWELL RUDD / GARY PEACOCK / SUNNY MURRAY - New York Eye and Ear Control (ESP-Disk 1016; USA) Originally released in 1966. Featured artists: Albert Ayler (tenor sax), Ed Blackwell (trumpet), Don Cherry (trumpet, cornet), Sunny Murray (drums), Gary Peacock (bass), Roswell Rudd (trombone), John Tchicai (saxophone, alto sax). Michael Snow is a Canadian national treasure, a true Renaissance man. He assembled a stellar group to improvise a sound track for his art film, titled Walking Woman, featuring a silhouette that is rumored to have been inspired by Carla Bley. Digitally remastered. Manufactured in the USA by the original label. New digipak format. "This is a very interesting set, music that was freely improvised and used as the soundtrack for the 34-minute short film New York Eye and Ear Control. Tenor saxophonist Albert Ayler leads the all-star sextet (which also includes trumpeter Don Cherry, altoist John Tchicai, trombonist Roswell Rudd, bassist Gary Peacock and drummer Sunny Murray) on two lengthy jams. The music is fiery but with enough colorful moments to hold one's interest throughout." --Scott Yanow, AllMusic
JOHN GORDON With JAMES SPAULDING / WAYMOND REED / et al - Erotica Suite (Everland Jazz 006; Austria) Everland Jazz present an official reissue of John Gordon's Erotica Suite, originally released in 1978. One of the rarest albums on Strata-East Records. a great later label effort under the leadership of trombonist John Gordon -- with work by James Spaulding on alto and flute, John Miller on piano and keyboards, Waymond Reed on trumpet, Lyle Atkinson on bass, and Frank Derrick on drums and bells; The whole thing has a very spiritual feel, and it features the long "Erotica Suite", plus "Ora Lee Tingle", "Blue Na", and "Neleh". Licensed by Strata-East Records.
THE DESCENDANTS OF MIKE AND PHOEBE - A Spirit Speaks (Everland 005; Austria) Everland Jazz present a reissue of The Descendants Of Mike And Phoebe's A Spirit Speaks, originally released in 1974. "This delightfully eclectic LP is a prime example of '70s soul jazz. It is an early fusion record combining elements from jazz, gospel, soul and blues. It even has an edge of classical music, to be heard in the clear soprano voice of lead singer A. Grace Lee Mims on several tracks. As such it is a great sign of the times, the early seventies when musical experimentation and coalition was all abound. Bass player and band member Bill Lee would later gain fame as being the father of controversial filmmaker Spike Lee and worked as musical director/conductor on four of his son's excellent movie soundtracks. For sure you can already hear the early influences here! This is the best sounding reissue of A Spirit Speaks since its original release in 1974 and comes in an exact replica of the great original cover art." - Marc Janssen Licensed from Strata-East Records.
SERGE GAINSBOURG & JEAN-CLAUDE VANNIER - Les Chemins De Katmandou (Finders Keepers 100; UK) After decades in the making, Finders Keepers present the first-ever pressing of Serge Gainsbourg's most elusive and coveted soundtrack studio recordings, co-written, arranged, and orchestrated by the genius Jean-Claude Vannier (the arranger behind 1971's Histoire De Melody Nelson) during what many consider to be the dynamic duo's most definitive creative period. Believed to have been lost in a studio fire by Gainsbourg enthusiasts for over forty years (a myth that also shrouds Morricone's lost Danger Diabolik soundtrack), the misplaced master-tapes for the drug-fueled/Mai 68 cash-in/road-movie Les Chemins De Katmandou (1969) have been widely considered the final audio jigsaw piece in an immaculate discography/filmography, thus earning this soundtrack bona fide holy grail status amongst the most avid disc detectives. Featuring the original crack team of Paris based players now recognized as French library music royalty, this album epitomizes the inimitable musical direction and expert psychedelic pop musicianship that graced classic Gainsbourg/Vannier soundtracks like La Horse (1970), Cannabis (1970), and Sex Shop (1972), the sound that laid the stylistic, future-proof foundations for subsequent decades of forward-thinking Gallic funk mastery. Comprising Vannier's signature recipe of thick plucked bass lines, close-mic'd drums, biting clavinet, and Eastern influenced strings and percussion (and a sprinkling of subtle traditional French instrumentation) the soundtrack to Les Chemins De Katmandou ("The Road To Katmandu", or "The Pleasure Pit") captures Vannier and Gainsbourg in the first year of their creative partnership capturing their unique embryonic energy. The music on this record contains the full extent of the music found on the newly discovered studio tapes. It has since been preserved through the "baking" process, re-emulsified, transferred, remastered, and recompiled and sequenced in accordance with the original screenplay in close collaboration with Finders Keepers and inaugural artist, Jean-Claude Vannier.
BILL PLUMMER & THE COSMIC BROTHERHOOD - Bill Plummer & The Cosmic Brotherhood (Captain High Records 4801; Austria) Presenting a reissue of Bill Plummer & The Cosmic Brotherhood, originally released in 1968. Long thought to be lost to only the most industrious of crate diggers, Bill Plummer's 1968 album Bill Plummer & The Cosmic Brotherhood makes its triumphant return on Captain High Records. Already an accomplished jazz bassist at the time of the album's release, Bill Plummer turned heads on The Cosmic Brotherhood with heavy Eastern and psychedelic influences that challenged contemporary ideas about jazz. Original compositions like "Journey To The East" and "Arc 294" are colored by striking sitar sounds, rhythmic chanting, and melodic improvisation, while Plummer lends his distinctive touch to songs by The Byrds ("Lady Friend") and Burt Bacharach ("The Look of Love"). The result is an album that reflects a musician at the peak of his creative powers, unafraid to explore new ideas and sounds that meld into a cohesive, spectacular album.
Bruce Lee Gallanter’s Recommended Gig List for November of 2017:
THE STONE AT THE NEW SCHOOL—55 WEST 13TH STREET
JENNIFER CHOI - FRIDAY AND SATURDAY NIGHTS NOVEMBER 17-18 AT 830PM
FRIDAY NOVEMBER 17—The Secret Quartet: Cornelius Dufallo, Jennifer Choi (violins) Lev Zhurbin (viola) Yves Dharamraj (cello) Earle Brown-String Quartet / Lev Zhurbin - Culai / Trevor Dunn- String
SATURDAY NOVEMBER 18—Jennifer Choi (violin) Kathleen Supove (piano) Neil Rolnick (laptop) Vasko Dukovski (clarinet) Alexandra Joan (piano) / Rolnick-Deal With the Devil (duo) * / Jen Shyu-Jum Jeng Yi* / Missy Mazzoli-A Thousand Tongues / Stravinsky-The Soldier's Tale (Trio Version) *world premiere
THE STONE RESIDENCIES - IKUE MORI - NOV 14-19
8:30 pm - Ikue Mori, Ned Rothenberg, Magda Mayas and Billy Martin - Ikue Mori (electronics) Ned Rothenberg (reeds) Billy Martin (drums) Magda Mayas (piano)
8:30 pm - TRIO - Ikue Mori (electronics) Okkyung Lee (cello) George Lewis (trombone)
8:30 pm - STONE BENEFIT IMPROV NIGHT
Ikue Mori (electronics) John Zorn (sax) and many special guests
THE STONE RESIDENCIES - CHRIS COCHRANE - NOV 21–26
8:30 pm - Volar Portex - Chris Cochrane (guitar) Jessica Lurie (saxes, flute) Terry Dame (soprano sax and homemades) Billy Martin (drums)
8:30 pm - Chris Cochrane with Mamal Dap, playing the music of J Dilla and Madlib; Chris Cochrane (guitar) Killian Karlsson (guitar) Reed Sutherland (bass) Colin Jalbert (drums) Zack Cross (keyboards)
CLOSED FOR THANKSGIVING - HAVE A HAPPY HOLIDAY! - Gobble Gobble
8:30 pm - The Chutneys - Chris Cochrane (guitar) Fast Forward (percussion) Gelsey Bell (vocals)
8:30 pm - Collapsible Shoulder: Chris Cochrane (guitar, vocals) Kato Hideki (bass) Kevin Bud Jones (electronics) Brian Chase (drums) Special Guest Stuart Popejoy (bass, effects)
8:30 pm - Chris Cochrane (guitar) Kevin Shea (drums) Gordon Beeferman (keyboards) Zeena Parkins (harp)
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 Nov 17
6:00PM AN EVENING OF SONG, POETRY AND MUSIC - Barry Wallenstein, poetry; Alan Rosenthal, piano; Ken Filiano, bass; Robert Silverman, trumpet; Jeremy Carlstedt, drums; Vincent Chancey, french horn; and Farzad Amoozegar, setar
8:35PM DAN WEISS, MATT MITCHELL DUO " FOURTH FLOOR " - Dan Weiss, drums; Matt Mitchell, piano
Saturday Nov 18
8:35PM JIM BLACK TRIO - Elias Stemeseder, piano; Desmond White, bass; Jim Black , drums
Sunday Nov 19
8:01PM NEW BRAZILIAN PERSPECTIVES: ALEX KAUTZ GROUP - Helio Alves, piano; Edward Perez, bass; Alex Kautz, drums New Brazilian Perspectives: Alex Kautz
Mon November 20th:
8:30PM MORRISON MOTEL - John Morrison, curator; Liam McEneaney, guest Motelmeister - Rachel Feinstein; Adrienne Iapalucci; Ellen Karis; Jeff Lawrence; Frank Vignola
Tuesday Nov 21
8:01PM REAL FEELS - John Raymond, trumpet; Gilad Hekselman, guitar; Colin Stranahan, drums
Wed Nov 22:
6:00PM DIEGO BARBER: CLASSIC GUITAR
8:01PM MARTA SANCHEZ QUINTET PRESENTING - Alex Lore, alto sax; Jerome Sabbagh, tenor sax; Rick Rosato, bass; Daniel Dor, drums;Marta Sanchez, piano
Friday Nov 24
6:00PM ANDRÉ CARVALHO GROUP - Jeremy Powell, saxophone; Eitan Gofman, saxophone, bass clarinet and flute; André Matos, guitar; André Carvalho, 8:35PM HUSH POINT - Jeremy Udden, alto, c melody saxes; John McNeil, trumpet; Aryeh Kobrinsky, bass; Jay Sawyer, drums, percussion
Saturday Nov 25
8:35PM HUSH POINT - Jeremy Udden, alto, c melody saxes; John McNeil, trumpet; Aryeh Kobrinsky, bass; Jay Sawyer, drums, percussion
Sunday Nov 26
8:00PM OSKAR STENMARK NYC QUARTET - Oskar Stenmark, flugelhorn; Billy Test, piano; Vincente Archer, bass; Kush Abadey, drums
9:30PM NICK SANDERS, LOGAN STROSHAL DUO - Nick Sanders, piano; Logan Strosahl, sax
November at Shapeshifter:
7:30pm: Brooklyn Tribute Concert for Jeff Buckley in the 20th Year of his Afterlife
FRIDAY, NOVEMBER 17TH, WOULD BE JEFF BUCKLEY'S 51ST BIRTHDAY, ON THE YEAR OF THE 20TH ANNIVERSARY OF HIS AFTERLIFE SINCE HIS UNTIMELY PASSING IN 1997.WE WILL REMEMBER, CELEBRATE, AND RELIVE THE ARTIST'S WORK IN AN INTIMATE NIGHT OF DIVERSE JEFF BUCKLEY COVERS AND ORIGINAL WORKS BY A RANGE OF TALENTED MUSICIANS. www.eventbrite.com/e/brooklyn-tribute-concert-for-jeff-buckley-in-the-20th-year-of-his-afterlife-tickets-38086438563
7pm - Kennedy - Brainchild of composer/songwriter Kurt Juergens, The Broadest Blue's debut album Kennedy is a grand-storytelling chamber pop endeavor in the tradition of Brian Wilson's SMiLE and Sufjan Stevens' Illinois. Lurking mid-century harmonic textures and novel instrumentations provide the backdrop for a dark exposé of the assassination of our 35th president. - thebroadestblue.com
8pm: Johnny Mercier
Johnny Mercier- piano, keyboards and organ
Rogerst Charles- Saxophone
Eli Menezes- Guitar
Patrick Andy- Bass
Ben Nicolas- Drums
Shapeshifter is located at
18 Whitwell Place in Brooklyn, NY
R train to Union stop
Friday, November 17th 8:30 PM
Gato Libre featuring Satoko Fujii
Kappa Maki – trumpet
Neko Jaras – trombone
Satoko Fujii – accordion
Saturday, November 18th 8:30 PM
Maloney / Yeh
Meredith Maloney -piano
C Spencer Yeh -violin
Lena Bloch Quartet
Saturday, December 2nd 8:30 PM
Lena Bloch (tenor saxophone)
Russ Lossing (piano)
Cameron Brown (bass)
Billy Mintz (drums)
Saturday, December 9th 8:30 PM
Sperrazza / Drye / Roberts / Doxas
Brian Drye – Trombone
Vinnie Sperrazza – Drums
Hank Roberts – Cello
Chet Doxas – Saxophone
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.
The Bushwick Improvised Music Series:
Monday December 18th
7pm Eric Plaks - piano
Don Chapman - tenor saxophone
Zach Swanson - bass
Jeremy Carlstedt - drums
8pm Stephen Gauci - tenor saxophone
Sandy Ewen - guitar/electronics
Adam Lane - bass
Kevin Shea - drums
9pm Drew Wesely - guitar/electronics
Aaron Edgecomb - drums/percussion
9:30pm Josh Sinton - baritone sax/bs.clarinet
Christopher Hoffman - cello
Tom Rainey - drums
10:30pm Alvaro Domene - guitar/electronics
Briggan Krauss - alto saxophone
Lucas Koenig - drums
Downstairs @ Bushwick Public House
1288 Myrtle Avenue , Bushwick
(Across the street from M train Central Ave stop)
$10 suggested donation / gaucimusic.com
AN EVENING OF JAZZ WITH SYLVAIN KASSAP, STEVE DALACHINSKY & TODD CAPP
Monday, November 20th at 8pm
At Zurcher Gallery - 33 Bleecker St., NYC
Just east of Lafayette
take the 6, B, D, F & M trains to the Broadway & Lafayette stop
ADAM RUDOLPH’S GO: ORGANIC ORCHESTRA
31 winds, strings, percussion
Composed and Improvisationally conducted by Adam Rudolph
Monday November 27 8pm $15
At Roulette - 509 Atlantic Ave Brooklyn, NY 11217
Michel Gentile – c and alto flute, bamboo flutes
Sylvain Leroux - tambin, flute, bamboo flutes
Ze Luis – c and alto flute, bamboo flutes
Mariano Gil - bass flute, piccolo, bamboo flutes
Graham Haynes – cornet, flugelhorn, kudu horn
Stephen Haynes – trumpet, flugelhorn, kudu horn
Peter Zummo - trombone, didjiridoo
Libby Schwartz - french horn, kudu
Ned Rothernberg - clarinet, shakuhachi
Sean Sonderegger – soprano sax, contrabass clarinet, ney
Ivan Barenboim - clarinet
Avram Fefer – tenor sax
Sara Shoenbeck - bassoon, sona
Sana Nagano – violin
Mark Chung – violin
Elektra Kurtis – violin
Julianne Carney-Chung – violin
Gwen Laster – viola
Melanie Dyer – viola
Alva Anderson - viola and vocal
Leco Reis - contrabas
Marco Cappelli - acoustic guitar
Kenny Wessel - electric guitar
Alexis Marcelo – piano and electric keyboards
Mia Theodoratus - harp
Damon Banks - electric bass
John Hadfield- frame drums, percussion
Dan Kurfirst - cajon, frame drums, percussion
Rogerio Boccato - pandero, zabumba, percussion
Keita Ogawa - frame drums, percussion
BILL LASWELL & LARAAJI - AMBIENT CHURCH
December 16th, 2017 at 8pm
Bushwick United Methodist Church
1139 Bushwick Ave., Brooklyn - 718-574-6610
TICKETS@ambient.church - $25 - discounts for members