Just got Back from Florida where the Sun felt So Great!
I needed that Warmth, the Ocean and the Beach in the Orange State
Good Vibes from my Mom, my Sister, My Aunt and Step Family felt swell
But December is Here and The Cold Winds will blow
It is Raining Today, but It Might soon turn to snow
The Music we Love Helps us to Feel Better, This I do Know
So Check out What’s Come in the Week - Sonic Medicine for us all:
Two Gems from Anthony Braxton: New Duo with Miya Masaoka & All-Star Quintet Reissue Rarity! Michel Edelin’s Flute Fever With Nicole Mitchell & John Betsch! New from Hatology/Now: Morton Feldman/James Tenney/Jackson Harrison Trio! Henry Kaiser & Alexei Pliousnine! Chris Pitsiokos Quartet! Bob Drake! Ossatura! Pablo Diax Quinteto! Paula Shocron & Enrique Norris!
Plus Rare Archival Recordings from Sun Ra Arkestra! Keiji Haino! Merzbow! Harry Bertoia! Yoko Ono! Peter Baumann! Two from Ry Cooder! More Enlightenment Reissues: John Lewis! Paul Chambers! Gerry Mulligan! Art Pepper! Oscar Pettiford! Hampton Hawes! Slapp Happy! And Much more!
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The DMG FREE Weekly In-Store Concert Series Continues With:
Sunday, December 4th:
6pm: LOUISE D.E. JENSEN & ADAM CAINE
7pm: LOUISE DE JENSEN SAX TRIO With CHRIS PITSIOKOS & NICK LYONS
Rare Thursday, December 8th Event:
6pm Sharp: SHANE PARISH - Solo Acoustic Guitar & CHRIS PITSIOKOS - Solos & Duo
Sunday, December 11th: No In-Store During
Fred Frith Residency at The Stone!
Sunday, December 18th Double-Header:
6pm: VIV CORRINGHAM / MIA ZABELKA - Vocals / Violin
7pm: EMILIE LESBROS - Solo Vocals
Sunday, December 25th is Christmas Day so there is no in-store
Sunday, January 1st, 2017 is New Years Day so there is also no in-store
Monday, January 2nd 2017: New Years Celebration to Kick Off 2017 With Something Special!
6pm: BEN GOLDBERG Returns to DMG!
DMG is located at 13 Monroe St. (between Catherine & Market Sts) in a basement below a former Buddhist temple & beauty salon. 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 Cosy
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Important Announcement for Rare JOHN ZORN Performance Tonight & Tomorrow Night:
John Zorn: Music for Agnes Martin
Friday, December 2, 2016 at 7pm
Solomon R. Guggenheim Museum
Legendary composer John Zorn assembles a cast of musicians for an evening of music performed in the Guggenheim’s iconic rotunda. Zorn’s “Dark River” from his 1995 album ‘Redbird’ was inspired by Agnes Martin, and this program serves as the premiere of two brand-new compositions also inspired by her work, “Praise” and “Blue Stratagem.” The program concludes with an exhibition viewing of Agnes Martin.
Compositions and performers (in order of appearance)
“Praise” (2016)
Carol Emanuel, harp
Ikue Mori, electronics
William Winant, vibraphone/percussion
John Zorn, vibraphone/percussion
“Dark River” (1995)
William Winant, bass drums
Ches Smith, bass drums
“Curling” (1977), performed by Dither
James Moore, guitar
Gyan Riley, guitar
Taylor Levine, guitar
Josh Lopez, guitar
“Blue Stratagem” (2016), performed by the American Brass Quintet
Kevin Cobb, trumpet
Louis Hanzlik, trumpet
Eric Reed, horn
Michael Powell, trombone
John Rojak, bass trombone
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Two Outstanding Two CD Sets from the Wonderful Rogue Art Label:
MICHEL EDELIN’S FLUTE FEVER ORCHESTRA With NICOLE MITCHELL/SYLVAINE HELARY/JOHN BETCH/ et al - Kalamania - The Song of the Mad Faun Domus (Rogue Art 070; France) Featuring Michel Edelin, Sylvaine Helary, Ludivine Issambourg & Nicole Mitchell on various flutes, Peter Giron on double bass and John Betsch on drums. When French flutist Michel Edelin’s first disc (‘Kuntu’) came out on Rogue Art in 2009, I was amazed that I hadn’t heard of him before this since he was/is one of the finest flutists I’ve heard. This is Mr. Edelin’s forth disc for Rogue Art if we include his guesting on Nicole Mitchell’s Indigo Trio CD. The name of his 6-piece ensemble, Flute Fever, was inspired by the title of the first album (circa 1963) by American flute master Jeremy Steig, who passed away earlier this year (April of 2016). You should know the name of John Betsch, the American expat drummer who has been living in France for decades and played with Steve Lacy for many years. Another member of this group that you might recognize is a young French flutist named Sylvaine Helary. Ms. Helary comes to NY from time to time and left us with a great self-produced disc from her trio a few years back. Since then she has a second great disc with her trio on the Ayler label, has recently recorded with Eve Risser. I heard Ms. Helary sit in with Kris Davis earlier this year at Cornelia Street Cafe. Her playing is extraordinary and the two best flute soloists I heard in recent memory are her and Nicole Mitchell, both of whom are on this disc along with two other great flute players. There two musicians here with whom I am not previously familiar, Ms. Issambourg and Mr. Giron and both play consistently inventive throughout the entire first disc.
The first disc here features the sextet which is four flutes, contrabass and drums. While one flute solos, the other flutes provide layers of counterpoint in different combinations. One by one, each flutist get to take a solo and each solo is special in one way or another. The rhythm team is also something else, providing a strong skeleton or direction for each piece. Legendary drummer, John Betsch, sounds wonderful throughout. There are few unexpected delights here like a duo with Ms. Mitchell’s flute and Ms. Helary’s spoken word in French, shadowing each other in a most magical way. Each of the four flutists takes an amazing solo on “Flying Drum”, the flow of ideas liquid and consistent throughout, like cosmic stream as the great rhythm team speeds up and slows down effortlessly. The second disc is called ‘Domus’ and it is a modest tour-de-force for Michel Edelin on various flutes, prepared and otherwise, some with effects and overdubbed with several intersecting layers. The pieces are relatively short yet remain fascinating nonetheless, as he selectively adds different layers or parts for odd harmonies and/or punctuation. Each piece illustrates various strategies or ideas. Mr. Edelin composed all but one of the 17 pieces, the one cover is Monk’s seminal “Pannonica”, which gets a swell rendition. The Rogue Art label continues to bestow us with sonic treasures known and not so all known. - Bruce Lee Gallanter, DMG
2 CD Set $25
ANTHONY BRAXTON & MIYA MASAOKA - Duo (DCWM) 2013 (Rogue Art 071; France) Featuring Anthony Braxton on sopranino, soprano & alto saxes and electronics and Miya Masaoka on koto. Once based in the Bay Area and currently living in New York since she and her husband George Lewis moved here, koto virtuoso Miya Masaoka has been expanding her palette by playing with a host of Downtown’s most adventurous musicians: Fred Frith, Jennifer Choi, Steve Coleman and many others. Over the past decade or so, visionary composer and multi-reeds wizard, Anthony Braxton, has been also reaching out to play with more gifted musicians from different scenes. Mr. Braxton has also been working more with electronics in recent years, check out his programming for the Diamond Curtain Wall Trio (Victo 108). I am listening to this disc for the first time today and it is sounds wonderful. Review soon when we get more copies in stock - BLG
2 CD Set $25 (we ordered twenty copies & only got six, more coming in a couple of weeks)
Four Super Fine Discs from Hatology and Hat Now in stock early Next Week:
ANTHONY BRAXTON QUINTET With GEORGE LEWIS / MUHAL RICHARD ABRAMS / MARK HELIAS / CHARLES “BOBO” SHAW - Quintet (Basel) 1977 (Hatology 676; Switzerland) "I leave the discovery of favorite episodes or events to you. But its important to remember that despite Braxton's compositional craft-the motivating factors behind the music and the formal glue that holds it together-this is, as Braxton intended all along, music that emerges from the particular combination of musicians. George Lewis is one of Braxton's favorite collaborators, for reasons that should be immediately audible. Muhal Richard Abrams is a rare and fascinating addition to this group. Bassist Mark Helias and drummer Charles "Bobo" Shaw have not often been documented in Braxton's music, yet they were occasional contributors during this period, and their familiarity with and commitment to the music is obvious. Despite the temporary, even fleeting nature of this ensemble, for me, what emanates from these performances is a spirit which exemplifies the life-affirming status of Anthony Braxton's music, reveals new information about the past, and gives us hope for the future."- Art Lange - This is a reissue of Hatology 545, which has been out-of-print for a quite a while.
CD $16
MORTON FELDMAN//JULIET FRASER - Three Voices (Hat Now 198; Switzerland) "In "Three Voices" everything focuses on the singer, and the music Feldman gives her to sing is as unremittingly demanding as anything in his instrumental writing. As the voice twists and turns, rises and falls, folding on itself in complicated repetitions and variations, we are conscious both of the intricacy of the pattern-making and the physical demands it is making."-Christopher Fox, December 2015
"The challenge of recording this piece is to avoid rendering the delicate tapestry cold, clinical, too uniform, dead: on every level, from the text of O'Hara's poem to the performance of Feldman's music, this is a work that is about the very human effort of wondering, reaching, grasping."-Juliet Fraser, December 2015
CD $16
JAMES TENNEY // DARIO CALDERONE - Bass Works (Hat Now 197; Switzerland) "American composer and music theorist James Tenney (1934-2006) occupies a central position in the history of American experimental music. Dedicated to expanding the dimensions of aural perception, he sought innovative ways to reconcile such conventional dualities as sound/noise, consonance/dissonance, and harmony/timbre-all of which are artificial constructs of language that tend to impede the fluidity and rich variability of the listening experience. Just as Tenney was fascinated by the perceptual intersection of musical dichotomies, so did he believe there was no meaningful distinction between his theoretical research and his compositional explorations. He wrote extensively on the perception of musical form from a phenomenological perspective, and he composed numerous works that highlight the elegant and complex relationship among natural acoustic phenomena." - Eric Smigel
CD $16
JACKSON HARRISON TRIO - Sintering (Hatology 723; Switzerland) "Harrison is a melodist who has found his own patterns for melody, apparent in the anxious repetition of an unresolved motif in the opening "Preludial," in the transformative, alchemical heat suggested by "Sintering," or the contrast of the transparent resolution of "River Dolphin." Throughout, Harrison creates his own structural language with a music that is both deceptively simple and, ultimately, wholly beautiful." - Stuart Broomer, August 2014
CD $16
HENRY KAISER / ALEXEI PLIOUSNINE - A Rainbow for Riley (Fractal Music; USA) This features Henry Kaiser and Alexei Pliousnine on true temperament electric guitars. True temperament refers to social fretting on the guitar which makes them play in just intonation, similar to the way Terry Riley has his keyboards tuned for certain compositions. This disc is a tribute to Mr. Riley, influential composer/musician and one of the founding fathers of what is known as minimalist music. The title of this disc most likely comes from the title of Mr. Riley’s classic, ‘A Rainbow in Curved Air’. This is the third recent disc in which Russian guitarist Alexei Pliousnine has appeared with Mr. Kaiser, which includes a quartet and an octet disc. Mr. Kaiser has done many guitar duos throughout his long career: Derek Bailey, Fred Frith, Eugene Chadbourne and (more recently) Killick Hinds. There are only two long pieces found here and unlike most of Mr. Kaiser’s other self-produced discs which can include nearly eighty minutes of music, this disc is a mere 44 minutes. This length does work as this disc seems to complete. “A Band of Phantoms” begins with calm, harp-like flourishes and is magically sublime. Slowly the flow increases in tempo and intensity, from drifting at sea to somewhat more turbulent currents. The guitars are semi-acoustic with several layers of tapped or sustained notes added to the cosmic tapestry. There is a section where some of the sustained tones sound similar to those early Fripp & Eno albums and are equally transcendent. “A Rainbow for Riley” casts a spell with several schools of fish swimming around and with each other, some rather liquid-like spirits, emerging and submerging. The cover of this disc was created by Brandy Gale based on some NASA/HUBBLE imagery and seems like a perfect fit for the magical music found inside. - Bruce Lee Gallanter, DMG
CD $10
CHRIS PITSIOKOS QUARTET - One Eye With a Microscope Attached (Eleatic Records 002; USA) Featuring Chris Pitsiokos on alto sax & compositions, Andrew Smiley on electric guitar, Henry Fraser on electric bass and Jason Nazary on drums. Over the past few years, I have had the opportunity to watch young saxist/composer Chris Pitsiokos grow and evolve into one of Downtown’s freshest voices/players. Whether playing solo (often here at DMG) or improvising with many of Downtown’s finest (from Weasel Walter to Nate Wooley) or playing/leading several of his own bands, Mr. Pitsiokos continues to explore and refine. This is Pitsiokos’ sixth disc as a leader or co-leader and each of his previous discs are vastly different. Last week (November 22-27, 2016), Mr. Pitsiokos did his first residency at The Stone and word is that the music was consistently strong and every set well attended.
The Chris Pitsiokos Quartet has been around for the last year and Chris has worked hard to give the band their own sound. Each member was picked selectively from different sets of experience: Mr. Smiley (from Little Women), Mr. Fraser (for Dre Hocevar) and Jason Nazary (for Darius Jones, Jason Ajemian & Shayna Dulberger). What I find most interesting about this quartet is that they sound like they were influenced by No Wave bands from the late seventies/early eighties (DNA & Contortions). What better person to mix & master this session than Weasel Walter, an expert in No Wave. Commencing with “Dogwood”, the quartet is tight and filled with fractured rhythm cadences. The bass and drums are locked into those frenetic patterns while Chris plays those Zorn-like bent notes on his alto and then Smiley unleashes similar twisted guitar fragments. Mr. Pitsiokos excels at writing those intricate lines for the sax & guitar to play together while the bass & drums flesh out the rest of the sound. Pitsiokos takes a handful of astonishing solos throughout and what makes this even better is the way he has written these incredible interlocking parts for the rest of the quartet to play through, like a well run machine. The last track is also the title track and it is an extraordinary piece, intense, rather progressive in the way it evolves through several sections. Both the sax and the guitar sound like they are two shrewd characters in a twisted short story, sometimes dancing tightly together, sometimes erupting through tight twists and turns. Initially I thought that at 28 minutes, this is a short disc, but after listening to it three times in a row last night, I am convinced there is a lot more going on here that meets the eye or ear at first glance. There seems to be a series of current bands who bridge the gap between No Wave and Progressive Rock. Ava Mendoza’s Unnatural Ways and the Chris Pitsiokos Quartet are perfect examples of this unlikely combination. - Bruce Lee Gallanter, DMG
CD $15
BOB DRAKE - Arx Pilosa (ReRCTA AP01; UK) This is such a remarkable piece of work we don't know where to begin. Anyone who liked the idea-rich, sonically breathtaking and compositionally daring pop music of the '60s, will recognize in these 20 perfectly crafted songs a similar mixture of pop-sensibility and radical innovation, but now recast in contemporary terms and not as pastiche or imitation. If you have hesitated thus far, now's the time to enter the intensely musical world of the Drakian Academy, where unassuming virtuosity and state of the art studio practice are merely means to greater ends. I know we've all heard everything these days, but you haven't heard this. As always, Bob Drake is an enigma, a revered cult figure with a unique & bizarre approach to music. A founding member of the avant-rock band Thinking Plague in the early 1980s, and a member of the 5uu's, Hail and The Science Group (with Chris Cutler, Stevan Kovacs Tickmayer and Fred Frith), he formed his own band, Bob Drake's Cabinet of Curiosities, in 2007. Drake is also a renowned studio engineer, whose engineering credits are absurdly (!) diverse, including mainstream artists the likes of Ice Cube, Tina Turner and Engelbert Humperdinck. A musician's musician, he just does what he does, this time on his 9th solo album. Like several previous releases, this one has been illustrated by fine-artist Joe Mruk, who created a remarkable 36 page full color booklet chock full of original illustrations.
CD $15
OSSATURA - Maps and Mazes (ReR O3; UK) After many years percolating, this 3rd release by Ossatura documents a quite dramatic aesthetic shift - including more acoustic instruments alongside the electronic; more settled, cyclic rhythms; more harmonic concord - even a song. On occasion reminiscent of the Necks in abstract mood, these pieces offer pools of complex, grounded, shifting textures, interpenetrated by atmospheric field recordings. Immersive. compositions by Elio Martusciello, Luca Venitucci and Fabrizio Spera.
CD $15
PABLO DIAZ QUINTETO - Destemporizador (Nendo Dango Records 03; Argentina) Featuring Pablo Moser on tenor sax, Enrique Norris on cornet, Paula Shocron on piano, German Lamonega on contrabass and Pablo Diaz on drums & compositions. Last year, a couple from Buenos Aires, Paula Shocron and Pablo Diaz, left us with a splendid piano trio disc which we still sell copies of and then came to play at DMG earlier this year with Daniel Carter. We just got two discs in the mail from them, this a quintet and a duo with two members of the quintet. The quintet is led by Mr. Diaz, who composed and produced this disc. “Antitonica” opens and has a slow, dreamy quality, I love the way the piano and cornet seem to swim together in a stream provided by the bass and drums. Mr. Diaz wrote some lush, bittersweet harmonies for the horns on “Serpiente de Fuego”, which features a relaxed slow burning Dexter Gordon-like solo from tenorman Pablo Moser. Ms. Shocron shouldn’t be underestimated, her solos go in and out simultaneously, speeding up & slowing down and rarely going where you think they will end up. Mr. Diaz’ drum solo on “Uno es Ritmo” is another highlight as it extends the melodic contour of this song just right. It sounds like Mr. Diaz spent a great deal of time composing arranging this music since he enjoys providing unexpected twists and turns. On “Leon Bonsai”, the quintet changes directions several times midstream, with a somber duo for the tenor and cornet in the center of what becomes a storm earlier and later in the same piece. It will obvious take some time to fuller absorb all of the different ideas that went into making this disc so successful, especially since it is some 71+ minutes long. More wonderful, challenging music from the Argentinean Underground. - Bruce Lee Gallanter, DMG
CD $12
ENRIQUE NORRIS / PAULA SHOCRON - Sono-Psico-Cosmica (Nendo Dango Records; Argentina) Featuring Enrique Norris on cornet & piano and Paula Shocron on piano & percussion. Hailing from Buenos Aires pianist Paula Shocron and drummer Pablo Diaz came to visit us last year and played at DMG earlier this year. Ms. Shocron left us with a mighty fine trio CD which I reviewed and sold a number a copies of. Earlier this week we got a package from Paula & Pablo with two new discs: a quintet led by Mr. Diaz and this duo CD which features two members of the quintet: Ms. Shocron on piano and Enrique Norris on cornet. Rather than be an all improvised duo recording, there are a couple of solo piano pieces by both musicians as well as three well-selected covers by Charles Mingus, Billy Strayhorn and Thelonious Monk. The disc begins with a piano duo called “El Grillo Cosmico” which is stark and spacious, somber yet enchanting. The duo play a splendid version of Mingus’ “Orange was the Color of Her Dress…”, laid back and elegant. Mr. Norris has a fine, warm tone on cornet, glowing and thoughtful. Ms. Shocron’s solo piano piece, “Dos Mundos” is one of the highlights here as she moves from inside the piano to assorted eruptions, balancing the outside and inside elements just right. Mr. Norris plays Billy Strayhorn’s “Single Petal of a Rose” and give it an exquisite reading. Ms. Shocron doesn’t seem to be bound by any one jazz style or influence. I dig the way a piano/cornet duo called “Paisajes Urbanos” works it way through different directions, never knowing where it will end up. The final piece is Monk’s classic “Monk’s Dream”, which is played on two pianos and gets a charming, slightly twisted rendition. A great way to bring this modest yet enchanting disc to a fine close. Where do they all come from…? Again, the Buenos Aires Underground. - Bruce Lee Gallanter, DMG
CD $12
LEI LIANG//THE FORMOSA QUARTET/MARK DRESSER/STEVEN SCHICK - Luminous (New World Records 80784; USA) The result of a rich confluence of many different cultural threads, a vivid and open imagination, and a rigorous intellect, Lei Liang’s (b. 1972) music has a dimensionality to it that’s quite remarkable. Of course acoustic, often luxuriantly so, it somehow also evokes tactility, it sounds like something that could be touched; it evokes shape and color, it sounds like something that could be seen. There are still other layers of significance, especially language and the drama of narrative action, its great sonic variety possibly conjuring character and scene, emotions and ideas different for each performer and listener. Through myriad avenues of potential perception, Liang’s music reaches out and embraces its audience, its intricacies and complexities part and parcel of its naturalness and its direct but highly nuanced communicative voice.
These five compositions represent further explorations of his long-standing research into traditional Asian arts and music and their incorporation into a contemporary music aesthetic. Verge Quartet (2013) is the latest example of Liang’s extensive study of Mongolian music. Trans (2013), written for virtuoso percussionist Steven Schick, incorporates audience participation by having them play more than a hundred pairs of rocks, creating a sonic “cloud” that can be interpreted as rain or other natural sounds. The moon is following us (2015) (for solo piano) represents the composer’s effort to search for a new harmonic language, based on spectral analysis of a Chinese folk song. Liang imagines the composition as a journey through the spectral landscapes hidden within a voice.
“Inkscape” (2014) (for percussion quartet and piano), one of several works in which Liang engages with the idea of Chinese traditional mark-making, either that of calligraphy or painting, is an exploration of the relationship between sound and Chinese ink paintings. In this piece, the piano functions as the “brush,” and the percussion quartet as the “ink.” Luminous (2014) is a concerto written specifically for the innovative bass improviser Mark Dresser. The composer writes, “The instrument’s rich spectra embody ‘voices’ that encompass extreme opposites—lightness and darkness, angels and ghosts, paradise and inferno—unified by a singular vibrating body.”
CD $15
Historic & Archival Recordings, Reissues & Restocked Discs of Importance:
HARRY BERTOIA - Clear Sounds/Perfetta (Sonambient 1033; USA) After nearly 40 years of silence, Harry Bertoia's Sonambient label has been resurrected in order to release the best of Bertoia's unheard recordings from his recently preserved archive of 1/4" tapes. "Clear Sounds" b/w "Perfetta" was cut straight from the original reels and is a true analog pressing. These two pieces were selected for their minimal, meditative and lush harmonic qualities; lacking in the abundance of dynamics and contrasts found on the original Sonambient records, these pieces show another approach to performance. Slow washes of shimmering metallic sculpture rustle thickly like the leaves of a white birch or tall grass in the summer sun. Gorgeous harmonics hover overhead, making audible measurements of the length and purity of Bertoia's metal rod sculptures. Both Harry Bertoia and his brother Oreste composed extensively in the Sonambient barn deep in the woods of rural Pennsylvania where Harry kept over 100 Sonambient sculptures and gongs. The first Sonambient LP Bellissima Bellissima Bellissima / Nova, released in 1970, contains a Harry Bertoia composition on side A and an Oreste Bertoia composition on side B. As an homage to the original Sonambient LP, "Clear Sounds" is a Harry Bertoia piece from June 30, 1973 and "Perfetta" is an Oreste Bertoia piece from June 28, 1971. Harry Bertoia first came into artistic prominence in the late 1930s and his sculptural, ergomonic chairs were soon modernist furniture classics. Inspired by the resonant sounds emanating from metals as he worked them and encouraged by his brother Oreste, whose passion was music, Harry restored a fieldstone "Pennsylvania Dutch" barn as the home for this experiment in sounding sculptures which he had begun in the 1950s. Bertoia was an obsessive composer and relentless experimenter, often working late into the night and accumulating hundreds of tapes of his best performances; Oreste, too, would explore and record the sculptures's sounds during his annual visits to his brother's home in rural Pennsylvania. Over nearly twenty years, adding, culling and rearranging, Bertoia carefully selected nearly 100 harmonious pieces ranging in height from under a foot to more than fifteen feet. Learning by experimentation was common for Bertoia and he mastered the art of tape recording, turning the Sonambient barn into a sound studio with four overhead microphones hanging from the rafters in a square formation. He would experiment with overdubbing by performing along to previous recordings, constantly improving his methods while also honing his performance skills.
CD $15
ULISES CARRION - Dear Reader. Don't Read [CD/272 page Book] (Alga Marghen 095; Italy) Key figure in Mexican conceptual art, Ulises Carrión was an artist, editor, curator, and theorist of the post-1960s international artistic avant-garde. Dear Reader. Don't Read, an A4-size, 272-page book with CD, issued in collaboration with the Museum Reina Sofia in Madrid within the context of Carrion large retrospective, is focused on Ulises Carrión's personal and groundbreaking approach, managing to illustrate all aspects of his artistic and intellectual work. This includes books, magazines, videos, films, sound pieces, mail art, public projects, and performances, along with Carrión's initiatives as curator, editor, distributor, lecturer, archivist, art theorist, and writer. It is a significant body of original work structured to place a spotlight on every facet of his production. Without losing sight of the unclassifiable nature of his oeuvre, this book emphasizes Ulises Carrión's constant search for new cultural strategies and the extent to which his projects were determined by two fundamental themes: structure and language. These represent artistic guidelines influenced by a literary education, which he invariably struggled against, and are pervasive in his work. This duality corresponds to the exhibition title Dear Reader. Don't Read which illustrates his ambiguous relation to literature, a recurring theme in his work. Due to his interest in new art forms and innovative trends, Carrión actively participated in most of the artistic disciplines of his time. He co-founded the independent artist-run space In-Out Center in Amsterdam and founded the legendary bookshop-gallery Other Books and So (1975-79), the first of its kind dedicated to the presentation, production, and distribution of publications that were no longer literary texts nor about art, but rather books that were art or, as Carrión himself called them, "non-books, anti-books, pseudo books, quasi books, concrete books, visual books, conceptual books, structural books, project books, statement books, instruction books". Along with his artistic activities, Ulises Carrión developed a wide range of theoretical work having a great influence on young visual artists. It is fascinating to see that Ulises Carrión's theories are seemingly precursors to more recent art theories of the twenty-first-century digital world. During his most creative artistic period, he participated in the international mail art network which Carrión considered a kind of guerilla strategy.
CD/Book $40
YOKO ONO - Plastic Ono Band (Secretly Canadian 281; USA) "This long-overdue vinyl reissue of Yoko Ono's seminal, but massively under-appreciated Plastic Ono Band has all the makings of a classic rock nostalgia trip: Ono, John Lennon, Ringo Starr, Klaus Voorman and free-jazz legend Ornette Coleman. All the pieces are here to stir up a dangerous amount of nostalgia. But once the needle drops, the record achieves something exactly perpendicular to nostalgia. Released in 1971, the album not only influenced the approach of other musicians for decades, it also sounds absolutely modern 44 years out, eternally fresh despite the forward march of time. Plastic Ono Band not only predicted the intersection of the avant-garde and rock that would take place in the second half of that decade, the album would sound right at home at where that intersection is happening today."
CD $16
PETER BAUMANN - Romance 76 (Bureau B 250; Germany) Bureau B present a reissue of Peter Baumann's solo debut album Romance 76, originally released in 1976. From 1971 to 1977, Peter Baumann was a member of the legendary Berlin band Tangerine Dream. The group were pioneers of the so called Berliner Schule (Berlin School) which had a profound impact on electronic music. With Peter Baumann on board, Tangerine Dream grew into one of the most influential bands in electronic krautrock, sited somewhere between experimental electronica and progressive rock. Baumann's positive aura and eagerness to experiment galvanized the band's music almost instantaneously. His catchy melodies, rich in positivity, propelled Tangerine Dream into the charts. After five years of chart appearances, extensive touring and several albums, Baumann initiated his solo career with Romance 76. "Romance 76 resulted from the urge to create new music. I felt we had begun repeating ourselves in Tangerine Dream and I was keen to discover new things, to carry on experimenting. Improvisation had been common to us all, but on your own it isn't quite so simple." This shift in focus led him to leave Tangerine Dream towards the end of 1977. He and a friend set up the Paragon Studio in Berlin, which would earn a prominent place in music production history. Still a member of the band in 1976, Baumann rented a hall in the ufaFabrik, Berlin to record Romance 76. The influence of Tangerine Dream can clearly be heard on Romance 76, although the arrangements are comparatively minimalist. Sonic similarities to Tangerine Dream can be explained by the fact that the group used the same space for gig rehearsals, giving Baumann access to their instruments. The distinctive sound of a modular synthesizer system can be detected on Romance 76, for example, along with a mellotron. The minimal composition's airiness lends the unusual synth sounds space to unfold in all their glory. A state of affairs for which David Bowie is partially responsible, as Baumann recalls: "We were in Berlin and met him for dinner, then he would call in while I was recording the album, listening carefully to what I was working on. I explained to him what still needed to be done, but Bowie suggested: 'Leave it as it is, there's enough there already.' " At which point Baumann decided to look at the tracks in question as finished. This reissue includes extensive liner notes and rare photographs.
CD $17
PETER BAUMANN - Trans Harmonic Nights (Bureau B 251; Germany) Bureau B present a reissue of Peter Baumann's second solo album Trans Harmonic Nights, originally released in 1979. From 1971 to 1977, Peter Baumann was a member of the legendary Berlin band Tangerine Dream. The group were pioneers of the so called Berliner Schule (Berlin School) which had a profound impact on electronic music. Trans Harmonic Nights sees Baumann continue to break free from the gravitational pull of Tangerine Dream. Hans-Joachim Roedelius was recording the Jardin Au Fou album (BB 023CD/LP) at the same time in his Paragon Studio and some of his carefree positivity seems to have rubbed off on Baumann, judging by the music he came up with. The production phase for Trans Harmonic Nights covered 16 months or thereabouts. Having built the studio and taken care of production on albums for Cluster, Asmus Tietchens, Conrad Schnitzler and Hans-Joachim Roedelius, many of which came out on the French label Egg, he had neither the time nor the inclination to focus on his own compositions. Numerous tracks on the album were actually created at the end of the working day, on downtime, just for fun in the unfinished studio. Peter Baumann explains: "It was a completely different time for music, everything we did was spontaneous, in the moment. My first two records happened when I was working in the studio, simply expressing myself as a musician, sensing which emotions, timbres, rhythms and melodies were closest to me." This approach shines through the music, underpinning its authenticity and making the album such a delight to listen to today: carefree, playful, unbelievably euphoric. Synth lines are exhilaratingly entwined with synthetic plucks, experimental sounds crystallize into sweet melodies, building into ecstatic breaks. Majestic mellotron choirs and added vocoder tones lend an ethereal, surreal touch. It is virtually impossible not to get caught up in this rapture, to be swayed by the infectiously upbeat nature of the music. Not long after releasing this album, Peter Baumann relocated to the USA where he recorded two more albums by the year 1983, dominated by wave and synth pop sounds. In 1984 he founded his own label, Private Music. In the late 1990s he withdrew from the music business altogether, only resurfacing in May 2016 with Machines Of Desire (BB 234CD/LP).
CD $17
PSYCHEMAGIK - Ritual Chants (Eskimo ESK 507964; Belgium) Ritual Chants is a stellar earthbound and outer space odyssey spanning three discs, respectfully embellishing Psychemagik's taste and passion for the wonderful, the sublime and very often unusual. Ritual Chants skillfully shows insights into applying retro finds into a contemporary setting, much of the material acquired via world tours and capturing the excitement of finding and sharing lost jewels. Compiled by Danny McLewin, the renowned record digger of the duo, the three discs are carefully programmed and sequenced into three themes: Love, Beach and Dance, all of which tenderly demonstrate curious ears with a respectful nod to the past and the future via such touchstones as the pre-new age emanations of "Water Sports" by Man Parrish, a beautiful tranquil and cascading synth poem which soothes and pulses, and the sublime and haunting "God's Garden" by John J. Francis. Along with the two mentioned tracks, Love features the Gallic seduction of "L'Amour Joue Au Violon" by Jeanette, a real string-swept lost masterpiece reminiscent of Melody Nelson-era Serge Gainsbourg. On Beach, the booming drum machine mechanics of "Hangin' Out In Space" by Tony Wilson is a galactic deep-fried boogie which will have even robots shaking their metal-ware into the long wee hours, as will the hypnotic Arabic infused brew made by Golden Hands on "Take Me Back". The semi discordant funk of Zru Vogue's "Do the Zru", reminiscent of a later era Can, finds its place on Beach as well. Dance opens with phenomenal and unknown cuts such as "Love And Happiness" by Mansour Sallama and Ennio Morricone's disco-infused hybrid cut "Dance On" adding magic and mysticism, and high quality floor polishers such as Pop-Corn Makers's "Nothing", a sweaty gyrating slice of European sleaze. Psychemagik are a duo as infamous for their production technique as their DJ skills, their prolific edits laced with subtle studio production re-interpreting vintage gems and giving them a contemporary bounce. Love features: The Rias Orchestra, John J. Francis, Chac Mool, Kraan, G.R.C. Five, Free Fantasy, Wavemaker, Bobby Lyle, Babla & Kanchan, FG's Romance, Etienne Vermoessen & Guido Delo, Musyl & Joseppa and Karat. Beach features: El Sueño De Hyparco, Minako Yoshida, Adrian Gurvitz, Hitomi Tohyama, Chagrin D'Amour, Amini, Electric Machine, Jean Guy Ruff, J.M. Black and Danny Boy. Dance features: La P'tite Fred, The Right Combination, Sharpio, Grant Santino, Dionne, Will To Power, Raoul Denis Jr, Dan Lacksman and Family Four.
3 CD Set $21
RY COODER - Ditty Wah Ditty (Good Ship Funke 001; EEC)"If you don't do Top 40 music 'cos of its obvious formula - whether it's good or bad, and there's good and there's bad - then you have to figure out a way to get people to where you are... It takes time... takes a helluva long time..." So pronounces Ry Cooder at the beginning of this 1972 broadcast recording, and indeed had it not been for Ry's version of the old Elvis number 'Little Sister' from 1979's Bop Till You Drop and subsequent soundtracks for movies like Paris, Texas (1984), Cooder might never have reached a much bigger audience than he had at the time of this performance. That he had already made two marvelous solo albums and would release a further five before'79 was of no consequence - traditional and roots music was not in vogue in the 1970s. Cooder was exploring bygone musical genres at the time - blues, country, folk, ragtime, Tex-Mex, RnB, Rock'n'Roll et al - and found old-time recordings which he then personalized and updated. On his breakthrough album, released a few months before this gig, Into the Purple Valley, he chose unusual instrumentation and arrangements of blues, gospel, calypso, and country songs. Ry Cooder's love of the old time bluesmen such as Sleepy John Estes (best known for his composition 'Milk Cow Blues', also popularized by Presley) and Blind Willie Johnson is clear from the set list here, with three of Estes' songs performed (including the otherwise unreleased 'Clean Up At Home') and two of Johnson's. This solo acoustic recording from Ry Cooder, in a radio studio and without an audience, illustrates perfectly where this maverick musician and consummate performer was at in 1972. With the educational and informative introductions given by Ry before many of the numbers - for the benefit of those listening at home and radio station personnel equally - alongside some of the very finest guitar playing you're ever likely to hear, this CD is a near perfect artifact of this era of Ry Cooder's career.
CD $15
RY COODER - Down at the Field (Left Field Media 523; EEC)Having spent the 1960's honing his talent as one the most accomplished guitarists around and playing with such luminaries as Captain Beefheart, Randy Newman and the Rolling Stones, by 1970 Ry Cooder was ready to break out alone and grab has own piece of the limelight. Having signed a multi album deal with Warner Brothers, Cooder at last had a platform on which he could illustrate just why his skills were so in demand by others, and he subsequently released eight majestic albums over the course of the decade. Not bound to any fixed musical genre, over this time he displayed a full range of influences to create a quite staggering body of work which has earned him recognition as one of the all time guitar greats. It was in the spring of 1974, having just released his forth studio record, Paradise and Lunch, that Cooder took to the stage within the intimate surrounds of Ebbetts Field in Denver, Colorado - a venue which holds just 200 at full capacity. With KCUV FM on hand to broadcast the whole event to those not lucky enough to gain entry, 20th May '74 was an inspired evening regardless of which end of the radio you were listening to. Showcasing the maestros deft touch, inventive musicianship and legendary ability to turn the songs of others into Cooder classic, the hour that followed clearly left the audience mesmerised - and upon listening back today, it is easy to understand why. Drawing from the alternative Great American Songbook, choice covers of compositions by a host of Ry's musical heroes, including Sleepy John Estes, Blind Blake and Joseph Spence, Cooder elegantly graces the venue, the airwaves and now, almost 40 years on, this CD, with a display of breathtaking guitar mastery and a truly magnificent performance. Also included here are several bonus tracks taken a show at New York's Bottom Line just four days before, also part of a radio broadcast, this time by NYCs WNYU FM.
CD $15
HOWARD TATE - I Learned It All The Hard Way: Deep Soul Classics 1966-2003 (Playback Records 8502; Australia) "Howard Tate was one of soul music's greatest singers. This 29 track career spanning retrospective illustrates Tate's consistently creative, accomplished prowess as a song interpreter with key selections from his Verve, Turntable, Atlantic, Epic and HT output. Although he was relatively unknown in his day, his stature amongst soul collectors worldwide has grown to legendary status and his songs have been covered by a diverse range of great artists including Janis Joplin, B.B. King, Jimi Hendrix and Ry Cooder. This is essential deep soul!"
CD $15
ERNIE K-DOE - Don't Kill My Groove! The Complete Duke Singles 1964-1970 (Playback Records 8506; Australia) "Ernie K-Doe was the self-proclaimed Emperor of the Universe, one of New Orleans greatest entertainers -- a kinetic barrage of gleefully declarative vocals, wildly colorful sloganeering, show-stopping acrobatic dance moves and eye popping wardrobe. In a city renowned for its flamboyant, half-mad musical practitioners -- K-Doe ranked as one the most eccentric, volatile and beloved characters. This compilation presents (for the first time on CD) a complete collection of the material he recorded for Don Robey's legendary Duke label, 1964-1970 -- a gritty blend of deep, bluesy ballads and funky NOLA soul."
CD $15
O.V. WRIGHT - Treasured Moments: The Complete Backbeat/ABC Singles (Playback Records 8501; Australia) "When O.V. Wright died from a heart attack in 1980, it was a tragic end to one of the greatest artistic runs of any American soul singer. Although the 41 year old had scored thirteen Top 50 R&B hits, his success cannot be measured strictly in commercial terms; rather, Wright is revered as one of the greatest, most expressive and accomplished stylists in the idiom's history, ranking right alongside - if not eclipsing - such famed colleagues as Otis Redding and Solomon Burke. This 2CD set presents a complete compendium of O.V. Wright's scorching 45rpm singles, 41 tracks originally released 1965-1976 on Don Robey's legendary Back Beat label and ABC Records. This is an essential cornerstone of any southern soul collection!"
2 CD Set $18
JOHNNY BRISTOL - Modern Soul Classics 1974-1981 (Playback Records 8504; Australia) "First-ever CD retrospective of legendary songwriter/producer Johnny Bristol's classic solo albums released 1974 through 1981 on MGM, Atlantic and the independent Handshake label. 19 tracks (over 77 minutes) of infinitely playable, sophisticated, smooth soul including the massive R&B hit 'Hang On In There
CD $15
Six More Important Jazz Reissues from Enlightenment - Mostly the 1950’s! In stock Next Week!
JOHN LEWIS With JIM HALL/BARRY GALBRAITH/BARNET WILEN/SACHA DISTEL/BILL PERKINS/CHICO HAMILTON/PERCY HEALTH/CONNIE KAY/KENNY CLARKE/ et al - Classic Albums Collection: 1957-1962 (Enlightenment 9100; EEC) This collection, featuring eight original, remastered Lewis albums in their entirety, is a masterclass in composition and musicianship from a man who bravely defied the boundaries of genre and laid the foundation for scores of writers and arrangers who followed his lead.
4 CD Set $18
PAUL CHAMBERS With JOHN COLTRANE/CLIFFORD JORDAN/CANNONBALL ADDERLEY/KENNY BURRELL/TOMMY FLANAGAN/FREDDIE HUBBARD/KENNY DREW/PHINEAS NEWBORN/ELVIN JONES/ et al - Complete Albums Collection: 1956-1960 (Enlightenment 9099; EEC) One of the most recorded jazz artists of the 1950s and '60s, Paul Chambers is among the founding fathers of modern upright bass. Equaled in his skill and ability on the instrument only by Charles Mingus and Oscar Pettiford, Chambers' virtuosic technique, impeccable timing and finely tuned intonation made him one of the most sought after session musicians of the bop era.
4 CD Set $18
GERRY MULLIGAN With CHET BAKER/LEE KONITZ/ANNIE ROSS/BOB BROOKMEYER/CARSON SMITH/RED MITCHELL/CHICO HAMILTON/DAVE BAILEY/ et al - The Pacific Jazz Collection (Enlightenment 9106; EEC) Featuring nine original releases, all remastered to the highest possible quality and spanning from his earliest 10" records for the label to his final albums - put out by their World Pacific arm - contained within are some of the most important records in the development of West Coast jazz, a selection that has guided and informed this sub-genre since.
4 CD set $18
ART PEPPER With CHET BAKER/HERB GELLER/RICHIE KAMUCA/BUD SHANK/RED GARLAND/PHIL URSO/JACK SHELDON/PHILLY JOE JONES/ et al - 12 Classic Albums: 1954-1962 (Enlightenment 9046; EEC) Art Pepper became known as one of the leading alto-saxophone and clarinet players of the 1950s, voted only second to Charlie Parker as Best Alto Sax player in 'Down Beat' magazine's readers poll of 1952. He expressed early musical interest and talent, and began lessons soon thereafter. He was playing clarinet at nine, switched to alto saxophone at 13, and began jamming on Central Avenue, the black nightclub district of LA. At 17 he began playing professionally with Benny Carter and then became part of the Stan Kenton Orchestra. By the early 1950s, along with Chet Baker, Gerry Mulligan and Shelly Manne, perhaps due more to geography than playing style, Pepper became associated with the West Coast Jazz movement, as contrasted with the East Coast Jazz associated with the likes of Charlie Parker, Dizzy Gillespie and Miles Davis. During the 50s Pepper produced a number of the best regarded jazz albums of the decade, among them Art Pepper Meets the Rhythm Section, Art Pepper + Eleven - Modern Jazz Classics, Gettin' Together, and Smack Up. His career however was repeatedly interrupted by a number of stints in jail, a result of incidents of petty crime due largely to his ongoing heroin addiction. But Art was to have several memorable and productive "comebacks" following such unfortunate and unwanted intervals. Remarkably, his substance abuse and legal travails did not affect the quality of his recordings, which maintained a high level of musicianship throughout his career. His last comeback saw Pepper becoming a member of Buddy Rich's Big Band during 1968 and 1969. In the mid-1970s and early 1980s he toured Europe and Japan with his own groups and recorded dozens more albums, mostly for Fantasy Records. Pepper sadly died of a cerebral haemorrhage in LA on June 15th, 1982, at the age of 56. He is interred in the Abbey of the Psalms Mausoleum in the Hollywood Forever Cemetery, Hollywood.
6 CD Set $20
OSCAR PETTIFORD With CHARLIE ROUSE/JEROME RICHARDSON/JIMMY HAMILTON/DONALD BYRD/BOB BROOKMEYER/JULIUS WATKINS/CLARK TERRY/OSIE JOHNSON/ et al - Classic Albums 1953-1960 (Enlightenment 9054; EEC) Double bassist, cellist and composer Oscar Pettiford was one of the true pioneers of his instrument in 1940s and 1950s jazz, being one of the earliest to play in the bebop idiom and, alongside Charles Mingus, remains one of the most recorded bassists of the genre. At the age of 14, Pettiford famously claimed he adopted the bass because of his dissatisfaction as to the way it was played, instead wishing to develop his own style. Pettiford's first major foray into playing professionally came when he joined the band of saxophonist Charlie Barnet in 1942. He left the company of Barnet in 1943 before moving to New York, where he began to play jam sessions at Minton's Playhouse in Harlem, meeting other bebop pioneers such as Thelonious Monk in the process. Pettiford would spend much of his time working with many high profile performers of the 40s. Towards the end of the 1940s, Pettiford began to truly embrace his secondary instrument. Pettiford suffered a broken arm during a game of baseball that left him unable to play bass for almost a year. As a result, he tuned a cello loaned to him by a friend to the same bass tuning, only an octave higher, and proceeded to play on that throughout his rehabilitation. Making his first recording on the cello in 1950, he would regard it as his secondary instrument for the remainder of his career, and is often credited with bringing it into the jazz mainstream. Pettiford went on to ply his trade alongside the likes of Thelonious Monk on Brilliant Corners, Kenny Dorham on Jazz Contrasts and Sonny Rollins of Freedom Suite, before relocating to Copenhagen, Denmark. With appearances from the likes of Lucky Thompson, Coleman Hawkins and Kenny Clarke, the music contained on these five discs will continue to delight old and new jazz fans alike.
5 CD Set $20
HAMPTON HAWES With RED MITCHELL/BARNEY KESSELL/HAROLD LAND/CHUCK THOMPSON/SCOTT LAFARO/FRANK BUTLER/ et al - Complete Albums Collection 1955-1961 (Enlightenment 9098; EEC) One of the finest and most influential bebop and hard-bop pianists of the 1950s, Hampton Hawes' impeccable sense of timing, swing and expression has left a permanent mark on the entire jazz genre. With a sound that drew heavily on the style of Earl Hines and other leading players from an earlier era, Hawes also blended elements of blues and gospel while employing a technique of using his right hand to emulate horn lines. This unorthodox approach was later popular with a number of esteemed pianists who followed Hawes, including Horace Silver, Oscar Peterson and André Previn. Hampton Hawes' career was cut tragically short on 22nd May 1977, when he died suddenly from a brain hemorrhage aged 48. He was interred at Lincoln Memorial Cemetery alongside his father, who had died five months earlier. In 2004 the city of Los Angeles officially declared his birthday, "Hampton Hawes Day". This collection, containing eight original albums consisting of more than five hours of music, celebrates the early, distinguished career of this magnificent composer and musician. Collating Hampton Hawes' first albums as leader, this four disc set provides the ultimate introduction to this inspirational performer who, despite his premature passing, left an undeniable and lasting impression on the field of jazz piano.
4 CD Set $18
LP Only Mostly Section:
SUN RA & HIS SOLAR ARKESTRA - I Roam The Cosmos (Art Yard 2021; UK) Art Yard continues their voyage into the omniverse of unreleased Sun Ra tapes with I Roam The Cosmos, an unreleased, previously unheard 1972 live session recorded at Slug's Saloon in New York. Fronting a stellar 18-piece incarnation of the Arkestra, I Roam The Cosmos finds Sun Ra taking the listener on a poetic journey to the outer limits of planetary awareness. While the captain of the space-ship declaims his message with Arkestra vocalist June Tyson as co-pilot, the Arkestra voyage into the solar centers of esoteric astro-black knowledge aboard a comet-trail jam on "Discipline 27-II". As current Arkestra member Knoel Scott observes in his liner notes, "Sun Ra was a teacher, come down to earth to spread the enlightenment of the ancients and advance the alter-destiny of humankind. This earth was not his home: he was here to wake the sleepers, and to make sure no-one would forget his message. The universe sent him to converse with us, and I Roam The Cosmos is another unique message from Saturn, delivered for tomorrow's world by Art Yard Records." Liner notes by Knoel Scott and Irwin Chusid. Limited 180 gram vinyl pressing with tip on sleeve.
LP $27
KEIJI HAINO - 1973 Live - Milky Way [LTD Edition/LP Only](Black Truffle 026; Australia) Black Truffle present the first vinyl issue of Keiji Haino's Milky Way. Originally released as a limited CD in Japan by the short lived Mom 'N' Dad Productions in 1993, this release documents a blistering live performance recorded in Kyoto in 1973, five years before the formation of the first line-up of Fushitsusha, and eight years before Haino's first solo album. Working with a mysterious set-up including primitive electronics, homemade acoustic instruments, piano and voice, Haino lets loose a single 48-minute psychedelic maelstrom, marrying the immersive echo-fields of kosmische music to the rough and ready hands-on feel of classic 1960s live electronics à la MEV or Robert Ashley's Wolfman. Despite the absence of guitar, this recording clearly lays the groundwork for the epic blowouts which were to make Haino's name in years to come, building up to a point of almost unbearable intensity in its final minutes as Haino's voice wails over a wall of distorted DIY electronics. At times presaging the psychedelic noise of C.C.C.C., Milky Way shows Haino's singular intensity and ritualistic performance style already in full flower at this early date
in his long career. Presented in raw and immediate room fidelity (complete with dramatic tape drop-out), this is both an essential historical document and a classic performance in its own right. Presented in a deluxe heavyweight sleeve with an inner sleeve featuring Haino's poetry in Japanese, with an English translation by Alan Cummings. Original design by Keiji Haino & Yasunori Arai. LP reissue design via Stephen O'Malley. Mastered and cut by Rashad Becker at D&M, Berlin June 2016. Super rare & very limited!
LP $25
EYVIND KANG & JESSIKA KENNEY - Reverse Tree (Black Truffle 025; Australia)
Black Truffle present Reverse Tree, the new LP from the acclaimed duo of Eyvind Kang and Jessika Kenney. The two are musicians who have established themselves as powerful voices working at a unique intersection of contemporary composition, improvisation, and Asian traditional music forms. Either individually or as a pair, they have worked in contexts ranging from performances of traditional Persian and Javanese music to collaborations with Sunn O))), but their work together as a duo, on The Face Of The Earth (2012) and Aestuarium (SOMA 002LP, 2011), most clearly represents the central concerns of their diverse practices: a music of the inner life of sound, demanding ritualistic focus and promising heightened sensations. On Reverse Tree, the duo expand their work together into the realm of the chamber ensemble, presenting two side-long works that feature Kenney's voice and Kang's viola alongside a multitude of other instrumentalists. Kang's "Thoughts On Being Exiled To The Frontier, For Lord Wei", inspired by a text by the Tang dynasty poet Hsueh T'ao, features an all-star international ensemble: Kang, Kenney, maverick Israeli conductor Ilan Volkov on violin, Icelandic cellist Hildur Guðnadóttir, and guitarists Oren Ambarchi and Stephen O'Malley. The piece is primarily composed of irregular patterns of pizzicato notes and guitar harmonics, gently falling in and out of sync and providing a subtly unstable support for Kenney's voice, which at times is reminiscent of Michiko Hirayama's classic performances of Scelsi. Drawing on 20th century instrumental techniques, alternate tuning systems, non-western music and the experience of nature, the piece opens a space both serene and subtly uneasy. Kenney's "Elm" features Kenney and vocalist Nova Ruth (Filastine, Twin Sista) alongside an ensemble of strings and Seattle's Gamelan Pacifica, performing on Javanese instruments tuned to the slendro scale. An uncanny timbre created by bowing the keys of the Gamelan's instruments, supported by bowed harmonics from the strings, is heard consistently throughout the piece. After a long introductory section in which this harmonic cloud slowly descends from shimmering high notes to rumbling bass, the vocalists enter, singing a slow and stately setting of a 19th century Surakarta poem (attributed to Mangkunegara IV). The poem deals with the idea of a form of knowledge achieved through deeds, as a practice and state of the heart. Presented in a deluxe sleeve designed by Stephen O'Malley; Mastered and cut by Rashad Becker; Cut at 45rpm for maximum fidelity.
LP $19
SLAPP HAPPY (WITH FAUST) - Sort Of (Tapete TR 355; Germany) LP version. 180 gram vinyl. Includes CD. Edition of 500. Tapete present a reissue of Slapp Happy's Sort Of, originally released in 1972. Left-wing intellectual film critic Uwe Nettelbeck, who had good connections to Polydor, had set up his own studio in rural Wümme, disrupting the mainstream with pioneering sounds by the likes of Faust, inventively engineered by the "boffin's boffin", Kurt Graupner. By the time Anthony Moore, one of Nettelbeck's charges, approached his third album in 1972, Polydor's accounting department was fast losing patience with all that experimentalism. So Nettelbeck suggested to Moore that he might write some straight songs (relatively speaking), which in turn prompted Moore to invite his old school friend Peter Blegvad over to Hamburg to form the band Slapp Happy. Dagmar Krause, a young singer from Hamburg and Moore's girlfriend, joined them both on their trip to Wümme to record what was to become Sort Of, using Faust as a backing band. A second album emerged, eschewing, even more clearly than the Sort Of, the heavy rock idioms of the era for an anti-macho playfulness that presaged the sparseness of post punk and the dry jangle of early indie. Nonetheless, Polydor pulled the plug, and Uwe Nettelbeck signed Faust and Slapp Happy over to Richard Branson's nascent Virgin imprint. At the Manor, they would rerecord their second album with UK musicians, bells and whistles for a 1974 release as Slapp Happy, burying the original version in the vaults not to reemerge until 1980 as Acnalbasac Noom (TR 356CD/LP). After being asked which version they prefer today, the band does not take long to choose: "For the more direct approach it would have to be Acnalbasac Noom. It had a naïve spontaneity to it. Naïve in the nicest sense of the word." CD version includes one bonus track and comes in an edition of 500.
LP + CD $24
SLAPP HAPPY (WITH FAUST) - Acnalbasac Noom (Tapete 356; Germany) LP version. 180 gram vinyl. Includes CD. Edition of 500. Tapete present a reissue of Slapp Happy's Acnalbasac Noom, originally released in 1980. Left-wing intellectual film critic Uwe Nettelbeck, who had good connections to Polydor, had set up his own studio in rural Wümme, disrupting the mainstream with pioneering sounds by the likes of Faust, inventively engineered by the "boffin's boffin", Kurt Graupner. By the time Anthony Moore, one of Nettelbeck's charges, approached his third album in 1972, Polydor's accounting department was fast losing patience with all that experimentalism. So Nettelbeck suggested to Moore that he might write some straight songs (relatively speaking), which in turn prompted Moore to invite his old school friend Peter Blegvad over to Hamburg to form the band Slapp Happy. Dagmar Krause, a young singer from Hamburg and Moore's girlfriend, joined them both on their trip to Wümme to record what was to become Sort Of (TR 355CD/LP), using Faust as a backing band. A second album emerged, eschewing, even more clearly than the Sort Of, the heavy rock idioms of the era for an anti-macho playfulness that presaged the sparseness of post punk and the dry jangle of early indie. Nonetheless, Polydor pulled the plug, and Uwe Nettelbeck signed Faust and Slapp Happy over to Richard Branson's nascent Virgin imprint. At the Manor, they would rerecord their second album with UK musicians, bells and whistles for a 1974 release as Slapp Happy, burying the original version in the vaults not to reemerge until 1980 as Acnalbasac Noom. After being asked which version they prefer today, the band does not take long to choose: "For the more direct approach it would have to be Acnalbasac Noom. It had a naïve spontaneity to it. Naïve in the nicest sense of the word."
LP + CD $24
ENNIO MORRICONE - Veruschka [2 LP Set](Dagored 201G; Italy) Dagored present Ennio Morricone's famous soundtrack composed for the 1971 Franco Rubartelli documentary Veruschka, Poesia Di Una Donna. The documentary was about the legendary Veruschka, the world's first supermodel and '60s/'70s icon, who appeared in several cult movies including Blow Up (1966), Salome (1972) and Couleur Chair (1978). In Rubartelli's movie, the viewer follows the beautiful model in a shockingly surreal journey through the rural countryside of Italy on a downward spiral of self-discovery that leads her through so many whacked out head trips; heavily dark and sad with some of the most stunning psychedelic eye candy you can find from the freak-out era of filmmaking, perfectly tuned with one of Ennio Morricone's best scores. A true one kind of experience. Limited deluxe gatefold edition; Double LP on pink and white vinyl.
2 LP Set $40
MERZBOW - Lowest Music.2 (Urashima 113; Italy) Urashima present the first vinyl version of Merzbow's Lowest Music.2, originally recorded and released on cassette in 1982. Merzbow stands as the most important artist in noise music and is the moniker of Masami Akita, born in Tokyo in 1979. Inspired by dadaism and surrealism, Akita took the name for his project from German artist Kurt Schwitters's pre-war architectural assemblage "The Cathedral of Erotic Misery" or "Merzbau". Just as Schwitters attacked the entrenched artistic traditions of his time with his revolutionary avant-garde collages, so too would Akita challenge the contemporary concept of what is called music. Merzbow would draw further influence from the futurist movement. Not only would he embrace the futurists's love of technology and the machine civilization, he would push their fondness for noise to the very boundaries of the extreme. Working in his home, he quickly gained notoriety as a purveyor of a musical genre composed solely of pure, unadulterated noise. Consequently, in 1980 Masami founded the first noise label, Lowest Music and Arts. In this early period he released Lowest Music.2 on cassette using a 4 track reel tape recorder with different loops, recorded by a Mono-aural hand tape recorder. In 1990, Australian legendary label Extreme reissued a new version of the cassette, remixed by Masami Akita by itself and included it in an amazing 50 CD boxset titled Merzbox (2000). No changes of pitch were made in the mastering process. Pressed on 140 gram black vinyl with a black label and a black inner sleeve. Comes in a deluxe silver silkscreen on a black cardboard sleeve. Includes insert with original tape replica cover. Edition of 200.
LP $24
ISAAC HAYES - Do Your Thing (Now-Again 5144; USA) "The full 33-minute, unreleased, psychedelic funk jam session by Memphis rhythm kingpins the Bar-Kays, mixed directly from the original tapes. Contains bonus rhythm section instrumental and booklet detailing the history of this never-before-heard version of one of Isaac Hayes's most famous songs by Hayes historian Bill Dahl. Hayes was already a cutting-edge funk master at Stax Records when he accepted the unprecedented assignment of creating a soundtrack for the 1971 action flick Shaft. At a time when R&B songs routinely timed out at three minutes and under, Hayes's albums for Stax's Enterprise imprint had been breaking new ground since 1969. His masterpiece Hot Buttered Soul consisted of only four tracks, two songs on The Isaac Hayes Movement clocked in at a hair under 12 minutes, and one selection on his ... To Be Continued stretched to 15:33. But his epic 'Do Your Thing,' one of the cornerstones of the two-LP Shaft soundtrack, outdid them all. Occupying nearly the entire last side of the set, it concluded after 19-and-a-half grooving minutes with the overdubbed sound of a needle scratching violently across a piece of vinyl. No one knew that jarring ending masked the existence of another 13 minutes of 'Do Your Thing.' Consigned to the vaults, those improvisatory extensions -- somewhere in between free-jazz and psychedelic rock -- were seemingly destined never to be heard. Until now."
LP $18
WAKE YOU UP! - Vol. 2: The Rise And Fall Of Nigerian Rock (1972-1977)(Now-Again 5143; USA) "The Western world was in the throes of peace, love and flower power as Nigeria descended into Civil War in 1967. The rock scene that developed during the following three years of bloodshed and destruction would come to heal the country, propagate the world-wide ideal of the modern Nigerian, and propel Fela to stardom after conflict ended in 1970. Wake Up You! tells the story of this time, pays homage to these now-forgotten musicians and their struggle, and brings to light the funk and psychedelic fury they created as they wrested free of the ravages of the late 1960s and created thrilling, original Nigerian rock music throughout the 1970s." Artists include: Funkees, The Doves, The Believers, Tony Grey & The Black 7, Ceejebs, The Identicals, The Hygrades, and Theodore Nemy.
LP $26
CALABAR-ITU ROAD - Groovy Sounds From South Eastern Nigeria (1972-1982)(Comb & Razor 1004; USA) "This Black Friday RSD exclusive is housed in a hand silk-screened jacket from Antidesigns. When most people think about Nigerian music, the first thing that comes to mind is Lagos -- the country's main commercial center, the glittering megacity that spawned Yoruba-speaking music luminaries such as Fela Kuti, King Sunny Ade, Sir Shina Peters and Wizkid. But Nigeria is a country of rich diversity, especially in its music: From the Igbo highlife and rock bands of east-central region, to the deep Edo roots rhythms from the midwest, to the keening, ornamented Fulani melodies of the north. But one region whose music has remained largely underexplored is the south eastern land of the Efik and Ibibio ethnic groups in Cross River and Akwa Ibom State -- the region colloquially referred to as 'Calabar.' A cradle of culture, this region was one of the earliest outposts of Nigerian popular music. Its primordial rhythms traveled across the Atlantic during the slave trade to provide the part of the foundation for Afro-Cuban grooves that would go on to influence the development of jazz, rock & roll, R&B and funk. With the new Calabar-Itu Road compilation, Comb & Razor Sound presents 15 heavy tracks recorded in the decade between 1972 and 1982, spotlighting rare music from 'Calabar' superstars such as Etubom Rex Williams, Cross River Nationale, Charles 'Effi' Duke, The Doves and Mary Afi Usuah. The package features a magazine-style booklet containing a wealth of information about the milieu with rare photographs and illustrations. The Calabar-Itu Road is the major artery linking modern-day Cross River and Akwa Ibom States. And Calabar-Itu Road: Groovy Sounds From South Eastern Nigeria (1972-1982) will link the region's music to the rest of the world!"
2 LP Set $30
ABDOU EL OMARI - Nuits D'ete (Radio Martiko 001; Belgium) Radio Martiko present a reissue of Abdou El Omari's Nuits D'été, originally released in Morocco in 1976. Reissue of this ultra-rare oriental psych monster from the organ king of Casablanca, combining traditional rhythms with spaced-out modern sounds. First part of Abdou El Omari's Nuits trilogy. Includes download code. Listen: https://b2b.forcedexposure.com/productView.do?id=92111
LP $26
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Bruce Lee Gallanter’s Recommended Gig List for December of 2016:
THE STONE RESIDENCIES - MARC RIBOT - NOV 29-DEC 4
12/2 Friday
8 pm - SOLO: SONGS - Marc Ribot (guitars, voice)
10 pm - Susie Ibarra (drums) Dave Douglas (trumpet) Marc Ribot (guitar)
12/3 Saturday
8 pm - SOLO IMPROVISATIONS - Marc Ribot (guitars)
10 pm - Milford Graves (drums) Shahzad Ismaily (bass) Marc Ribot (guitar) - $25
12/4 Sunday
8 pm - SOLO GUITAR RECITAL: CASSEUS / ZORN / CAGE - Marc Ribot (guitar)
10 pm - Ceramic Dog - Marc Ribot (guitar) Ches Smith (drums) Shahzad Ismaily
THE STONE RESIDENCIES - FRED FRITH - DEC 6-11
12/6 Tuesday
8 pm - Ches Smith (drums) Fred Frith & Mary Halvorson (guitars)
10 pm - Ches Smith (drums) Ikue Mori (laptop electronics) Fred Frith (guitar)
12/7 Wednesday
8 pm - Gyan Riley (guitar) and Fred Frith (guitar)
10 pm - Sylvie Courvoisier (piano) and Fred Frith (guitar)
12/8 Thursday
8 pm - Ikue Mori (laptop) and Fred Frith (home-made instruments)
10 pm - Clara Weil (voice) Ikue Mori (laptop) Fred Frith (home-mades)
12/9 Friday
8 pm - Laurie Anderson (keyboard, violin, voice) & Fred Frith (guitar, objects)
10 pm - Ava Mendoza, Fred Frith (guitars) & Okkyung Lee (cello)
12/10 Saturday
8 pm - Zeena Parkins (harp. el. harp) & Fred Frith (piano, guitar)
10 pm - Yuka Honda (synthesizer, electronics) Yoshimio (drums, voice) Fred Frith (piano, guitar)
12/11 Sunday
8 pm - Nate Wooley (trumpet) Tania Chen (piano, electronics) Fred Frith (guitar)
10 pm - Tania Chen (piano, electronics) Nava Dunkelman (percussion) Fred Frith (guitar)
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 Dec 02
9:00PM & 10:30PM PETROS KLAMPANIS: ΒΡΑΖίΛ - Magda Giannikou, voice, accordion; Yotam Silberstein, guitar; Julian Shore, piano; Keita Ogawa, percussion; Roggerio Boccato, percussion; Petros Klampanis, bass, arr.; Gokce Erem, violin; Carrie Frey, viola; Adam Fisher, cello
SaturdayDec 03
9:00PM & 10:30PM PETROS KLAMPANIS QUINTET - Yotam Silberstein, guitar; Itai Kris, flute; Vitor Goncalves, accordion; Petros Klampanis, bass; John Hadfield, percussion
Sunday Dec 04
8:35PM DJANGO AT CORNELIA STREET: OLLI SOIKKELI - Olli Soikkeli, guitar, comp.; Julian Labro, accordion; Eduardo Belo, bass
Mon December 5th:
8:30PM AMRAM & CO - David Amram, piano, french horn, flutes, composition & surprises; Kevin Twigg, drums, glockenspiel; Rene Hart, bass; Elliot Peper, bongos
Tuesday Dec 06
8:00PM ALEXIS COLE PRESENTS SUNY PURCHASE JAZZ VOCAL STUDIO NIGHT
Alexis Cole; Alex Hamburger, Peter Isaac; Maria Quintanilla, Anne McLean; Emily Blumenthal; Jack Morrison; Gabriella Khoury, Kira Goidel, voice; Jack Redsecker, piano; Michael Migliore, bass; Mike Alfieri, drums
Alexis Cole presents SUNY Purchase Jazz Vocal Studio Night image
9:30PM VOXECSTATIC:RENATO DIZ & MARIA QUINTANILLA'S - Maria Quintanilla, voice; Renato Diz, piano
Wednesday Dec 07
8:30PM PRIVATE EVENT
Thursday Dec 08
8:00PM JAMES SHIPP'S CHORO FUBAR - James Shipp, percussion, synth, true stories; Vitor Goncalves, piano, keyboard; Mike Lavalle, bass, synth; Sergio Krawkowski, pandeiro, electronics; Richie Barshay, drums 9:30PM JON SINGER AND FRIENDS - Jon Singer, percussion; Carmen Staaf, piano; Alexa Barchini, voice; Myk Freedman, guitar; Mika Godbole, percussion; Noel Brennan, percussion; Alby Roblejo, percussion
Friday Dec 09
6:00PM RITA AND THE METER READERS PLAY HAYDN, SCHUMANN, AND DOHNANYI
Margarita Rovenskaya, piano; Adrianne Munden-Dixon, violin; Carrie Frey, viola; Julia Henderson, cello
9:00PM PAUL JONES SEXTET - Paul Jones, tenor sax; Alex LoRe, alto sax; Matt Davis, guitar; Glenn Zaleski, piano; Johannes Felscher, bass; Peter Kronreif,
10:30PM ALEX LORE QUINTET - Alex LoRe, alto sax; Aaron Parks, piano; Rick Rosato, bass; Allan Mednard, drums
Sat Dec 10th
12:00AM TOM CHANG QUARTET - Tom Chang, guitar, comp.; Mitch Marcus, tenor sax; Sam Minaie, bass; Nate Wood, drums
6pm: 6:00PM JOE CARTER & PETER CHERCHES - Joe Carter, guitar; Peter Cherches, voice
8:30PM JANE IRA BLOOM EARLY AMERICANS - Jane Ira Bloom, soprano sax; Mark Helias, bass; Bobby Previte , drums
*****
I-Beam Presents:
Friday, December 9th 12:00 AM
Jacob Sacks + Orlando Hernandez
Jacob Sacks – Piano
Orlando Hernandez – Tap
Saturday, December 10th 8:30 PM
Jacob Sacks + Orlando Hernandez (Night 2)
Jacob Sacks – Piano
Orlando Hernandez – Tap
Saturday, December 17th 8:30 PM
BEE LINE
Billy Martin – drums and percussion
Chris Cochrane – guitar and…
Kato Hideki – Bass
I-Beam is located at 168 7th Street in Brooklyn, NY 11215 - Directions: SUBWAY: Take the F or R trains to 4th Ave & 9th Street. Walk down 4th ave to 7th street. Make a left on 7th and walk past 3rd ave. We are located on the ground floor, the grey doors to the right of the stairs of #168.
******
Shapeshifter November Schedule:
Dec 2
8:30p - ShapeShifter+ Presents: Sound of a Flower Suite #1
A Music and Dance Suite Featuring:
Majid Khaliq and Gelan Lambert
with the Sfumato Symphony Orchestra
9:30: Jentsch Group No Net
Topics in American History
Michel Gentile (fl, al fl)
Michael McGinnis (cl, bs cl)
Jason Rigby (sop sax, ten sax)
David Smith (tpt, flgl)
Brian Drye (trb)
Jacob Sacks (pno)
Chris Jentsch (e gtr, compositions)
Jim Whitney (dbl b)
Eric Halvorson (drums, perc)
JC Sanford (conductor)
Dec 4
8pm: Sharik Hasan Trio
Sharik Hasan - piano
Alexander L. J. Tóth - bass
Anthony A. Tóth - drums
Dec 5
7pm: Peter Knoll Trio
Peter Knoll (guitar)
Mark Peterson (bass)
Andy O'Neill (drums)
Dec 6: ShapeShifter Plus Presents:
1st set: Taulant Mehmeti
2nd set: Ayman Boujlida
Line up:
1st set
Baden Goyo: Piano
Jill McKenna: Bass
Ayman Boujlida: Drums
Taulant Mehmeti: Guitar, band leader
2nd set:
Gabriel Chakarji: Piano
Taulant Mehmeti: Guitar
Jill McKenna: Bass
Ayman Boujlida: Drums, Band Leader
Dec 7
7pm: Matt Malanowski Stories Project
Matt Malanowski-Piano
Adam O'Farrill- Trumpet
Rocky Amer- Trombone
Shai Golan- Saxes
Cole Davis- Bass
Russell Holzman- Drums
8:15p : Matt Malanowski-Piano
Adam O'Farrill- Trumpet
Rocky Amer- Trombone
Shai Golan- Saxes
Cole Davis- Bass
Russell Holzman- Drums
Dec 8
7pm: Chris Jentsch NO-NET
Jeff Miles-Guitar
Alex Clough-Keyboards
John Gray-Bass
Alex Feldman-Drums
8:15: Stephanos Chytiris Quartet
Joe Morris (g) / Dan Peck (tuba)
Ingrid Laubrock (ts) / Stephanos Chytiris (d)
Dec 8
7pm Jeff Miles-Guitar
Alex Clough-Keyboards
John Gray-Bass
Alex Feldman-Drums
Dec 9
8:30p - Coal Again - The Tribecastan Holiday Show
John Kruth – Mandolin, Mandocello, Flutes, Banjo, Portuguese Guitar, Harmonica, Sitar, vox
Jeff Greene – Yayli Tambur, Nyckleharpa, Ukulele, Marimba, Double Flutes…
Boris Kinberg – Timbales, Congas, Bongos, Marracas
Kenny Margolis – Accordion, Organ / Chris Morrow – Trombone
Premik Russell Tubbs – Lap Steel, Guitar, Alto Sax, Clarinet…
John Turner – Trumpet / Ray Peterson – Bass / Kirk Driscoll – Drums
Dec 11
An Evening of Uncompromised Cross-Cultural Progress Jazz & Beyond
7:30p Eyal Maoz & Yaron Stavi
8:30p Beledo & Special Guests
9:45p Gilad Atzmon & the Orient House Ensemble feat. Yaron Staavi w/ special guest Amina Figarova
Shapeshifter is located at
18 Whitwell Place in Brooklyn, NY
R train to Union stop
********
Sound It Out series @ Greenwich House
Concerts, Dec 2016
Friday, December 2, 8:00 p.m. – Great Quintet! - Dave Scott Quintet: Dave Scott, trumpet; Rich Perry, tenor saxophone; Gary Versace, piano; John Hébert, double-bass; Satoshi Takeishi, drums
Thursday, December 15, 8:00 p.m. – Powerhouse Double-Bill!
Mara Rosenbloom Trio + Sean Conly’s Re: Action+1
Mara Rosenbloom, piano; Sean Conly, double-bass; Chad Taylor, drums
Sean Conly, double-bass; Michaël Attias & Tony Malaby, saxes; Kris Davis, piano; Gerald Cleaver, drums
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
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3 ECM Concerts Upcoming in December, Not to Miss!
Saturday, December 3rd at 7pm
SUN OF GOLDFINGER;
TIM BERNE / DAVID TORN / CHES SMITH!
At National Sawdust in Brooklyn
80 North 6th St. (Take L train to Bedford)
tickets at www.nationalsawdust.org
Friday, December 9th at 7:30
DAVID VIRELLES ANTENNA - CD Release Concert
With MARCUS GILMORE, RAFIQ BHATIA & Others
Le Poisson Rouge - 158 Bleecker St, NYC
tickets at LPR.com
Tuesday, December 20th at 7pm
WADADA LEO SMITH / VIJAY IYER
At National Sawdust in Brooklyn
80 North 6th St. (Take L train to Bedford)
tickets at www.nationalsawdust.org
******
NY Forward Festival 2016
Brooklyn Dec 9th, 10th, 11th
375 Lorimer St
Brooklyn, New York 11206
2016 PROGRAM
Friday December 9th
MP Landis Paintings
6:00pm - Gene Moore + Daniel Moore + Gene Janas
Gene Moore (guitar)
Daniel Moore (electronics)
Gene Janas (bass)
6:45pm - Mary Anne Driscoll and Daniel Carter
Daniel Carter (winds)
Mary Anne Driscoll (piano)
7:30pm - Bichi - Tobias Wilner (solo electronics)
8:00pm
Adam Lane Trio
Darius Jones (alto saxophone)
Adam Lane (bass)
Vijay Anderson (drums)
8:45pm - Daniel Carter, Tobias Wilner, Djibril Toure, Federico Ughi
Daniel Carter (winds)
Tobias Wilner (electronics)
Djibril Toure (bass)
Federico Ughi (drums)
9:30pm
G Calvin Weston
Improv Messenger album release party
Grant Calvin Weston (drums and electronics)
Saturday December 10th
MP Landis Paintings
6:15pm - Hot Date
Chris Welcome (synthesizer)
Shayna Dulberger (tape collage)
7:00pm - Aella
Patrick Breiner (tenor saxophone)
Max Goldman (drums)
7:45pm
Daniel Carter, Patrick Holmes, Matthew Putman, Federico Ughi
Daniel Carter (winds)
Patrick Holmes (clarinet)
Matthew Putman (piano)
Federico Ughi (drums)
8:30pm - Maria Chavez
Solo turntable performance
9:15pm - Daniel Carter, Watson Jennison, William Parker, Federico Ughi
Daniel Carter (winds, piano)
Watson Jennison (winds, piano)
William Parker (bass)
Federico Ughi (drums)
Sunday December 11th
MP Landis Paintings
5:45pm - Gabriele Meirano (China)
New Vintage Sessions album release party
Andreas Günther (tenor saxophone, flute) (Germany)
Gabriele Meirano (piano)
6:30pm - Nick Lyons
Nick Lyons (alto saxophone)
Patrick Holmes (clarinet)
Kazzrie Jaxen (piano)
Adam Caine (guitar)
7:15pm - Ancestral Duo
Luke Stewart (bass, percussion, electronics)
Jamal Moore (woodwinds, percussion, electronics)
8:00pm
Federico Ughi
Heart Talk album release party
David Schnug (tenor saxophone)
Mike Irwin (trumpet)
Jeff Snyder (electronics)
Federico Ughi (drums)
8:45pm - Remembering Connie Crothers
Richard Tabnik (alto saxophone)
Harvey Diamond (piano)
Ken Filiano (bass)
Roger Mancuso (drums)
9:30pm - The Listening Group
Daniel Carter (winds)
Nick Lyons (alto saxophone)
Patrick Holmes (clarinet)
Claire de Brunner (bassoon)
Jeff Snyder (electronics)
Stelios Michas (guitar)
Jonah Rosenberg (piano)
Zach Swanson (bass)
Federico Ughi (drums)
577 RECORDS & FORWARD FESTIVAL
Independent music based in Brooklyn, New York