September Starts with a Modest List of Grand Gems from:
Nels Cline ‘Lovers’ 2 CD Set: Erik Friedlander/Zeena Parkins/Julian Lage/ et al! Illegral Crowns: Mary Halvorson/Taylor Ho Bynum/Benoit Delbecq/Tomas Fujiwara! Nate Wooley Argonautica: Ron Miles, Cory Smythe..! Steve Buschemi & Elliott Sharp! Battle Trance II!
Quinsin Nachoff/David Binney/Matt Mitchell/Kenny Wollesen! Eric Revis With Orrin Evans/John Ellis/Gerald Cleaver..! Sara Serpa & Andre Matos! Amazonas: Biggi Vinkeloe! Julius Eastman! Barney Childs! Helmut Lachenmann! New on Wanderweiser: John Cage/Alvin Lucier/Christian Wolff/Jurg Frey! Tamer Abu Ghazaleh! Mia Dyberg & Kamilla Kovacs!
Archival Discs from: James Luther Dickinson! Klaus Schulze! Controlled Bleeding! Paul Bowles Book/Box Set! The Shaggs! Pauline Oliveros & Musique Nouvelles! Peter Brotzmann’s Full Blast and Lots more..!
The DMG FREE Weekly In-Store Concert Series Continues With:
Sunday, September 4th - CD Release Set* !
6pm HERB ROBERTSON - Trumpet/ JOE BATTAGLIA - Guitar/ RICH MESSBAUER - Bass/ ALLAN MEDNARD - Drums!
Sunday, September 11th:
6pm: CAMILO ANGELES - Flutist from Peru / CHRIS PITSIOKOS - Alto sax / BRANDON LOPEZ - Contrabass!
Sunday, September 18th: DMG Welcomes Two New Tenor Saxists to Town:
6pm: ABRAHAM MENNEN - Solo Tenor Sax!
7pm: ALEC HARPER - Solo Tenor Sax!
Sunday, September 25th:
6pm: GHOSTS OF THE HOLY GHOST SPERMIC BROTHERHOOD: ANDY HAAS / DAVID GROLLMAN / MICHAEL EVANS Return!
7pm: STEVE SWELL & DIDRIK INVALDSEN - Trombone & Trumpet Duo!
Sunday, October 2nd:
6pm: OMAR TAMEZ / GUILLERMO GREGORIO / ANGELICA SANCHEZ / MARIA GRAND!
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!
NELS CLINE With ERIK FRIEDLANDER/ZEENA PARKINS/JULIAN LAGE/YUKA HONDA/DEVIN HOFF/STEVEN BERNSTEIN/ALAN FERBER/JD PARRAN/BEN GOLDBERG/JEFF GAUTHIER/ et al - Lovers [2 CD Set](Blue Note B002505102; USA) Last week I caught some five sets from the Nels Cline Residency at The Stone (8/23-28/16) and was knocked out from the diversity, creativity and unpredictability of each set. Nels Cline is known as an electric guitar daredevil/virtuoso who has worked in various jazz bands, rock bands (from the Geraldine Fibbers to Mike Watt Trio to roots/rock pioneers Wilco to Phil Lesh & Friends) to a wide array of improv situations including numerous guitar duos (Thurston Moore, Mary Halvorson, Fred Frith, Elliott Sharp). What surprised me last week was how much acoustic guitar Nels played last week in duos with Marc Ribot and Julian Lage. Over the past couple of decades, Nels has led a variety of bands/projects for labels: Enja, Cryptogramophone and Mack Avenue. His current band, the Nels Cline Singers, has evolved from record to record and will be recording a John Zorn Masada Book Three session later this year.
For the past few years, Nels has been mentioning working on an ongoing project of what he calls “songs for lovers”. This long awaited 2 CD set has finally arrived and has been well worth the long wait. For these sessions, Nels picked some twenty plus musicians from the east and west coasts, recording over two months in November and December of 2013. There are some 13 covers and five originals, each one dealing with various aspects of the power/effect of love. You could call this “mood music” but that would oversimplify how transcendent it really is. Commencing with an introduction called, “Diaphanous”, which has some lush, softly swirling strings underneath. This sails right into the standard, “Glad to be Unhappy” (Rodgers & Hart), which gets a sublime rendition. Mr. Cline wisely chose to put the lyrics to the standards in the liner notes, although there are no vocals, we get a better idea of what these songs are telling us about the affairs of the heart. Although many of the great jazz guitarists like John Abercrombie, Pat Metheny and John Scofield claim to have been influenced by the late Jim Hall, we can actually hear that influence at the center of some of the songs here, like “Beautiful Love”, where both Nels and Julian Lage both play exquisitely together. It seems as if Nels has saved up some of loveliest and most enchanting songs for this album, since each song rings true and touches those heartstrings no matter where they lie. The problem with mood music or love songs is that many of them sound corny or insincere. This is not the case here as the mood, creative playing and arranging encompasses much more than we might imagine. Love can be many things: haunting, disorienting, soothing, enchanting, overwhelming, confusing, hard to pin down. Mr. Cline also chose a few covers like Jimmy Guiffre’s “Cry, Want” and Gabor Szabo’s “Lady Gabor”, both are superbly arranged with wonderful strings, horns, angelic harp, marimba and those ghost-like swirls that Nels knows when to let loose. The overall vibe here is once of a soundtrack for an old movie that makes us feel at home, thinking about our loved ones past and present. Unlike many of Nels Cline’s other projects or records, there are not (guitar) fireworks going on. The music is just as rewarding nonetheless, we just have to calm down and go with the flow: the ghosts of love are ascending and blending most righteously. - Bruce Lee Gallanter, DMG
2 CD Set $18
ILLEGAL CROWNS [MARY HALVORSON / TOMAS FUJIWARA / BENOIT DELBECQ / TAYLOR HO BYNUM] - Illegal Crowns (RouguArt 066; France) Featuring Mary Halvorson on electric guitar, Taylor Ho Bynum on cornet & flugelhorn, Benoit Delbecq on prepared & unprepared piano and Tomas Fujiwara on drums. Besides playing in several ensembles with Anthony Braxton, Ms. Halvorson, Mr Ho Bynum and Mr. Fujiwara all lead different bands and collaborate with an ever-growing community of forward-thinking musicians. French pianist, Benoit Delbecq, also keeps busy with a cast of international sonic explorers: Francois Houle, Samuel Blaser, Michael Moore and Gianluca Petrella, as well as recording in solo, duos, trios, quartets and quintets.
This is a superb studio season, recorded in Meudon, France in May of 2014 and each member of the quartet contributed one or two pieces. As is often the case for much new music these days, the lines between composition and improvisation are often blurred, hence the culmination of a group sound based on ever-changing factors. The opener, “Colle & Acrylique” by Mr. Delbecq, has a slightly twisted, repeated line that sounds rather like a child’s game. The angular prepared piano and drums play the reoccurring riff while the guitar and cornet move in soft circular waves around them. Most charming. Both Mr. Delbecq and Ms. Halvorson sound like they are coming from a similar sonic area as they bend notes around one another intricately. All four members of the quartet speed up and slow down together and apart, but always seem to come together as one. My favorite piece is the title track, “Illegal Crowns” which was written by Ms. Halvorson. It has a somber yet lovely theme which is laid back and dreamy. It sounds as if it were recorded under the ocean and slowly becomes more free as it evolves. Erupting intensely in certain sections and then settling into more charted terrain at times. “Holograms” has an odd structure with some well-written yet unpredictable parts for the guitar, piano and flugel or cornet. The final piece, “Wry Tulips” is the longest and goes through different sections, some free and frenzied, some partially written or focused so that we hear those tight, shifting parts emerging and submerging in the currents. I get the feeling that it will take several listening sessions to dig deeper into what makes this disc so special. Most impressive on the third listen anyway, can’t wait to dig in again and again. - Bruce Lee Gallanter, DMG
NATE WOOLEY With RON MILES / COREY SMYTHE / JOZEF DUMOULIN / RUDY ROYSTON / DEVIN GRAY - Argonautica (Firehouse 12; USA) “Argonautica is yet another fascinating Nate Wooley project that’s been around for years but is only just now being recorded. As described by Firehouse 12: “Argonautica is a sonic analog to the epic poem of the same name. Built in three parts, or chapters, the music makes oblique reference to dodecaphony, ambient tape music, and the driving minimalist rock of Terry Riley.” Argonautica is dedicated to Ron Miles, though it owes a huge debt to Miles Davis and early-to-mid-’70s fusion, with its thick drums, double piano-keyboard middle, and piercing trumpet and cornet.
Wooley’s described the group as a double trio. One trio is Wooley on trumpet, Cory Smythe (a staple of Tyshawn Sorey’s trio and double trio) on piano, and Devin Gray on drums. The second trio is Miles on cornet, with Jozef Dumoulin (who also plays in Bureau of Atomic Tourism) on Fender Rhodes and various electronics, and Rudy Royston on drums. Royston’s presence is also a call back to his playing on Miles’s My Cruel Heart, which Wooley cites as a reference point (and which is criminally out of print, being a Gramavision title). On record, the trios sounds more fluid and cohesive than the description implies, with each player seeming to slide effortlessly from trio to trio.
A single, unbroken track, “Argonautica” opens on Miles unaccompanied, with the band members gradually filling in from the bottom up. Dumoulin brings a hefty dose of funk, and the drummers lock in a classic fusion-y jazz/rock groove. The whole first third is fairly straight, with Miles, Dumoulin, and Wooley alternately soloing and playing the melody. It’s the second third that gets truly expansive, with muted brass improvising, as snippets of the melody bubble up and fade away before they can coalesce. During a piano solo, there’s almost an inner call-and-response, with Smythe’s right and left hand playing off each other dramatically. The doubling motif returns when Wooley and Miles play a long, barely-accompanied duet improvisation. In the last part, Wooley and Miles play a gorgeous unison, Davis-inspired melody, while Dumoulin and Smythe loop a unison counter melody. Twinning the brass line is particularly effective, and Wooley really shows his respect for Miles here, with a melody that blends warmth and atonality, in a way Miles perfected during his career. Gray and Royston lay down fierce, driving beats, ultimately pulling the band apart, leading to a slow denouement of long tones and fading keyboard runs.
Argonautica is a heavy slab and shows yet another side to Wooley. Outside of BOAT, I don’t recall him going quite as deep into jazz/rock territory, but it so comfortably fits his compositional mode. The small duos and trios tucked into a larger piece, the way threads of melody come together and pull apart, all these emerging hallmarks of his style and interests really benefit from the boost of energy injected by Gray, Royston, and especially Dumoulin. Unsurprisingly, this would make a killer BOAT album, and I would love to hear that group also tackle “Argonautica.” It’s a composition that’s definitely ripe for multiple interpretations.” - Lee Rice Epstein, FreeJazzBlog
STEVE BUSCEMI & ELLIOTT SHARP - Rub Out the Word / William Burroughs Cut-Outs (Infrequent Seams 9; USA) “You don't have to follow Beat literature to have some familiarity with writer William S. Burroughs, especially in his spoken word role. Performance artist Laurie Anderson collaborated with him several times, notably on You're the Guy I Want to Share My Money With (Giorno Poetry Systems, 1981) and Mister Heartbreak (Warner Bros., 1984). Bill Laswell's Material featured Burroughs reciting passages from his book The Western Lands to musical accompaniment on the album Seven Souls (Virgin Records, 1989).
Actor Steve Buscemi (who has a long history in experimental theater, along with his more high profile roles in television series like Boardwalk Empire and films like Fargo and Reservoir Dogs) and experimental guitarist/multi-instrumentalist Elliott Sharp teamed up for the live performance documented here in 2014 as part of WSB100, New York's month-long celebration of the 100th anniversary of Burrough's birth. Buscemi's narration of assorted Burroughs texts is the main focus, and his evocation of Burroughs' distinctive gravelly delivery is remarkable.
As Buscemi recites texts about writing, the cut-up technique, language as a virus, and the advantages and disadvantages of various recreational drugs—to cite a few topics—Sharp's guitar and electronics create an evocative background. Supportive and atmospheric, skittering and whirring by turns, it is music to set up the narration, never fighting with it for the audience's attention. Burroughs' words retain their hypnotic, hallucinatory power—a power only enhanced by the backing music.” - Mark Sullivan, AllAboutJazz
QUINSIN NACHOFF With DAVID BINNEY / MATT MITCHELL / KENNY WOLLESEN - Flux (Mythology; Canada) Featuring Quinsin Nachoff on tenor sax & compositions, David Binney on alto sax, Matt Mitchell on piano, Fender Rhodes, Wurlitzer, organ & Moog and Kenny Wollesen on drums and percussion. I’ve caught the Toronto-bassed saxist, Quinsin Nachoff, live on a couple of occasions and have always dug what he does. Once with bassist Michael Bates and once with another great bassist Mark Helias. Mr. Nachoff has several self-produced discs out, for the last two he has decided to not use a bassist. On ‘Flux’, Nachoff has selected an outstanding New York based quartet with David Binney on alto sax, Matt Mitchell on various keyboards and Kenny Wollesen on drums & percussion. There are only six pieces here and it sounds like a great of thought went into composing and recording this music. “Tightrope” is nearly 13 minutes long and develops a theme, slow and assured with a long, story-like sax solo. This is followed by another fine long solo from Mr. Binney. Matt Mitchell sounds great as he repeats the theme and then twists and turns it inside out, adding frantic chords like sly punctuation, building to a great intense conclusion. Mr. Nachoff plays an M-Base like sax solo on “Complimentary Opposites”, speeding up and slowing down while Binney’s alto weaves tightly around him. Another young master is pianist Matt Mitchell, whose solos begin modestly and evolve sections which are elegant and then rambunctious. What is interesting about this music is that it doesn’t really sound like any other modern jazz, it is closer to a chamber music hybrid, expanding and contracting as they go. At times, I am reminded of Tim Berne’s Snakeoil band of which Mr. Mitchell is an integral member. “Astral Echo Poem” starts with some shrewd harmonies for both saxes, with calm yet well woven electric piano from Mr. Mitchell. “Tilted” features some marvelous, hyperactive piano with both saxes playing their intricate parts on top. I like the way both saxes start to create a swirling kaleidoscope at one point before the prog-like electric piano solo. It will take some time to absorb the different levels of complex writing and playing going on here so dig deep for further rewards. - Bruce Lee Gallanter, DMG
ERIC REVIS With ORRIN EVANS / JOHN ELLIS / STACY DILLARD / GERALD CLEAVER + FREDDIE HENDRIX / OZ NOY / et al - Laughter’s Necklace of Tears (11.11 Records; USA) Featuring Eric Revis on contrabass & compositions, Orrin Evans on piano & melodica, John Ellis on tenor & soprano saxes & bass clarinet, Stacy Dillard on tenor sax and Gerald Cleaver on drums plus guests: Oz Noy on guitars, Freddie Hendrix on trumpet and Gizem Yucel on viola. This is the second self-released disc from the great bassist Eric Revis, who has worked with Jason Moran, Kris Davis and Avram Fefer and who has four fabulous CDs out on the Clean Feed label, each with differing personnel.
Mr. Revis has organized a superfine quintet for this session, each member a leader or serious collaborator. Mr. Revis wrote all but one song here and it sounds like he had this particular group in mind. The short yet effective intro for this disc features what sounds like an orchestra of strings (just Gizem Yucel overdubbed?) with Mr. Revis’ superb bass at the center. I dig the way Mr. Revis writes for the reeds (bass clarinet & tenor) on “Assata”, with those circular lines spinning together. Choosing the ever-inventive Gerald Cleaver on drums was a great idea as he shifts effortlessly through those difficult rhythmic schemes. Another winner is pianist Orrin Evans who again must reinvent himself on every piece, swinging hard one moment and then adding Monkish punctuation from time to time. “Suicide 4 Life”, has Revis bass, pumping at the center while Mr. Evans plays the central melody on melodica and muted piano strings. It sounds as if it is about to spin apart but doesn’t quite fly apart. “Grafting Silence” has both tenors spiraling tightly together in a near-free exchange, with Mr. Cleaver’s explosive drums and Mr. Revis’ bass erupting together in tight, free waves. This disc ends with a great, deconstructed version of Monk’s relatively rare, “Shuffle Boil”. The song goes back and forth between a metalish theme featuring the riveting guitar of Oz Noy with the lop-sided rhythms of that Monk melody. Oz Noy actually lays back and plays a fine, bluesy guitar solo midway, sounding like a steel guitar at times. The ends with a a rip-roaring metal guitar solo which should sound misplaced but still fits just right. The heart and soul of this disc is Eric Revis’ mighty bass which is always at the center, holding everything together, no matter where it goes. 4 stars! - Bruce Lee Gallanter, DMG
The Next Three Discs will be in stock Early Next Week:
BATTLE TRANCE [TRAVIS LaPLANTE/MATT NELSON/PARICK BREINER/JEREMY VINER] - Blades of Love (New Amsterdam 080; USA) “Any musician can tell you that there is a profound connection between the breath and making music. There's the physical action, of course — one makes the other possible — but there are also the metaphysical bonds between breathing and creating. This connection has been acknowledged and honored since time immemorial: Think of the Latin word spiritus, for example, which means, quite literally, both "breath" and "spirit." Or, to turn to another tradition: One of the great, ancient Hindu sacred texts, the Mandukya Upanishad, teaches that the syllable "om" represents, in its four distinct elements (a-u-m-silence), the entire universe. "A" is the initial act of creation; "u," sound resonating and coming into consciousness; "m," sound turning inward as the lips close and the body hums with vibration; and, finally, there comes silence, which is just as integral as sound.
Apart from singers, perhaps no musicians feel that interdependence between breath, music and creation as keenly as wind and brass players. The unusual quartet Battle Trance — comprising four wildly talented tenor saxophonists in leader Travis Laplante, Patrick Breiner, Matt Nelson and Jeremy Viner — makes that meeting place the heart of its new album, Blade Of Love, which the group calls an exploration of "the physical and spiritual intersection of the saxophone and the human body." The album is a recording of Laplante's three-part composition of the same name.
As visceral and inventive as Laplante's writing can be, and as rigorously as he puts his quartet through its paces using extended technique, he also leads his players — and listeners — through a study of sonic contrasts. The piece opens with a sustained, nearly two-minute blast of sound that fairly shakes the listener out of complacency; from there, the musicians shift away from their instruments into cooed chanting that is not unlike medieval polyphony, then retreat into overlapping textures of voice and reeds that call to mind the collaborations between Norwegian saxophonist Jan Garbarek and the British vocal quartet the Hilliard Ensemble.
And yet, Laplante brings Battle Trance somewhere apart from those dreamscapes: on the whole, somewhere more emotionally forceful, less ethereal and far blunter, even when the composer draws his players into tender quietude before casting them into lapping circles of ostinatos and fiendishly difficult flurries of notes. This is a fierce piece and one that demands attention.” - Anastasia Tsioulcas, NPR
KEVIN HAYS NEW DAY TRIO With Rob Jost / Greg Joseph - North (Sunnyside 1464; USA) Having lived in the Sugar Hill neighborhood of Harlem for five years, pianist Kevin Hays couldn’t escape the vibrations of the historic neighborhood. He was reminded of the deep musical history of Harlem when he photographed a wall that was uncovered in the midst of the City’s continuous redevelopment. The wall was festooned with concert posters from decades past, an image Hays interpolated for the cover of his new recording, North. In New York City, Harlem is considered North. Hays isn’t the only pianist to find a special meaning in the top of the compass. Glenn Gould made a well-known documentary about the tundra of Canada and his fascination with it in the late 1960s entitled The Idea of North. There is something in these latitudes that Hays finds compelling, not only for historical reasons, but for emotional and spiritual reasons, as well. Hays relates a feeling of calm that came from his prior residence in Upstate New York, a place of beauty and repose; the album title also references finding one’s true North on one’s spiritual compass.
SARA SERPA & ANDRE MATOS - All the Dreams (Sunnyside 4028; USA) Featuring Sara Serpa on voice & piano, Andre Matos on guitar & electric bass plus Pete Rende on synth & Billy Mintz on drums (3 tracks each). “Serpa & Matos make for a kindred-spirit duo, even beyond being husband and wife. Her fresh, subtly virtuosic singing blends beautifully with his gleaming, flowing guitar playing. “We do complement each other as performers easily, with most of the songs being reducible to just voice and guitar,” Matos says. “In the studio, we’re able to guide each other to the best performances possible, with sometimes even the best arrangements coming after the first take. Our tunes tend to have slightly different vibes, with Sara’s a bit more intricate and mine less dense, simpler. It creates a nice balance, we hope.”
In addition to those of Pessoa/Campos, the songs of All the Dreams include words by his fellow Portuguese writer Luis Amaro, Brazilian poet Clarice Lispector and the great Englishman William Blake, as well as lyrics by Serpa and Matos. There are songs about night, dreams and the imagination, about accepting sadness and offering forgiveness, about identity and empathy, about love and memory. Even the songs without words impart a sense of mystery and romance, with Serpa singing vocalese on such gems as the opening “Calma.” One of the album’s other, lyrical highlights is “Lisboa,” Serpa’s tune-rich paean to the ancient capital of Portugal. “The words stem from something a taxi driver once told me about Lisbon having 14,000 streets, alleys and staircases – and all those reflecting so many memories, for me, for everyone who has lived there,” Serpa says. “Because I live in America now, the city is distant from me, but somehow it remains so close to my heart. Every time I return to Lisbon, the memories come flooding back, the sense of place and time so strong. And music can evoke feelings of time and place – of memory – like little else in art.” - Sunnyside
Sold Out & Restocked for this Set:
HERB ROBERTSON / RICH MESSBAUER / TOM SAYEK - Diablo En Musica (Out/In Space 8521; USA) Herb Robertson, Rich Messbauer and Tom Sayek's release, Diablo En Musica, emerges into the spectrum of great avant-garde jazz musical inputs. It defies harsh categorization, since it often engrafts disparate musical layouts into the scope of this work. In this acoustic trio, Robertson's on-off switch changes the course between weird and somewhat inauspicious movements into full sound ore parts and multifarious fingering and mute manoeuvres. In addition, drummer Tom Sayek lodges in as a strong ward off. On various tracks, the band inflicts improv and free parameters into heated jazz grooves and swirling themes. Bassist Rich Messbauer prompts with textural and off-kilter lines while the trio weaves choruses plotted upon gloomy musings and boisterous Robertson escapades. On the piece X-Rays, Robertson and Sayek render a touch of contemporary motif, but as the progression continues, they grub into torrid, free-jazz and improv swing vamps. Messbauer fuses arco and string stylizations into various motifs, yet the trio's chemistry and mode of attack embodies hard-bop and semi-structured developments. In essence, some of the trio's compositions are constructed within free rhythmic cadences and with Long Way Back the artists generate a marvellous Celtic-like pattern atop swaging flows and trickling hard-bop swashes. Doubtless, Robertson's vast horn flams and foxiness anticipation is in full duress here. On Low Bow, the trio executes strange sounds with short-circuited dins attaining a middle-ground alongside acoustic twisted rhythms. With Diablo En Musica, Herb Robertson, Rich Messbauer, and Tom Sayek inject hair-raising elements of soul and inspiring concepts into the grand skulduggery of avant-garde type matters.
PETER FREY - DANIEL STUDER With JOHN BUTCHER/GERRY HEMINGWAY/HANS KOCH/MAGDA MAYAS/GIANCARLO SCHIAFFINI/CHRISTIAN WEBER/ et al - Zurich Concerts - 15 Years of Kontrabassduo Studer-Frey [2 CD Set](Leo 750/751; UK) Featuring the contrabass duo of Peter K Frey and Daniel Studer with guests John Butcher on saxes, Jacques Demierre on piano, Gerry Hemingway on drums, Harald Kimmig on violin, Hans Koch on bass clarinet, Magda Mayas on piano, Giancarlo Schiaffini on trombone, Jan Schegel on electric bass, Michael Seigner on electric guitar, Christian Weber on bass and Alfred Zimmerlin on cello. Contrabass duos are still relatively rare although I have heard the Marks Brothers (Helias & Dresser), as well as several duos with Peter Kowald: William Parker, Barry Guy and Damon Smith. This bass duo has been together for 15 years. I don’t know very much about either bassist although both have worked with Christopher Gallio. Each piece of this double disc set features either 1 or 2 guests and as mach as five on one section. I recognize half of the names of the musicians here (Hemingway, Butcher & Koch), but at least a new name for me (Seigner). A number of these musicians are Swiss and can be heard on labels: Intakt, Leo and Percasso.
Each guest musician brings their own sound and improv approach to the bass duo. The sonic interplay is often fascinating and always changing depending on who is featured. Legendary Italian trombonist Schiaffini and Hans Koch are up first and work together quite well. All four players spin several lines around one another, blending and bending and weaving impressively. Berlin based pianist, Magda Mayas, is known by those have heard her inside-the-piano explorations, but is under-recorded. She fits extremely well here,rubbing strings with objects of some sort which sounds right when the bassist are bowing or plucking their strings in similar ways. The second disc has three long trios with Gerry Hemingway, John Butcher and Jacques Demierre. Each of these are strong and spirited as each of these men are master improvisers. Extraordinary! Hemingway sounds like he is playing with his old partner bassist Mark Dresser since both bassists here also deal with similar extended technique sonic palette. The trio with John Butcher is nearly thirty minutes long and takes time to evolve. Even on their own without a guest, the two bassist sound fine exploring the contrabasses together. There hasn’t been a double CD on Leo in a long while. This one is filled with captivating sounds so spend some time with it. - Bruce Lee Gallanter, DMG
2 CD Set $30
AMAZONAS [BIGGI VINKELOE/THOMAS GUSTAFSSON/ANDERS KJELLBERG/ANNIKA TORNQVIST] - Deep Talk (Soda Music 12; Sweden) Amazonas are/is Biggi Vinkeloe on alto sax & flute, Thomas Gustafsson on soprano sax, Annika Tornqvist on bass and Anders Kjellberg on drums. I’ve known Swedish saxist Biggi Vinkeloe for many years, both live in New York (here at DMG a couple of times), as well as on more than a dozen discs with other Europeans (Peter Kowald & Barre Phillips), Downtowners (Steve Swell & Ken Filiano) and Bay Area’s best (Donald Robinson & Damon Smith). The other members of this Swedish quartet I know less well but have worked with some names I recognize: Mr. Gustafsson (with Bengt Berger), Mr. Kjellberg (Don Cherry & Louis Sclavis). Bassist Annika Tornqvist is the only name I don’t recognize.
The first time I listened to this disc a few weeks ago, I marveled at how strong it was/is. Starting off with Ms. Vinkeloe on flute, buzzing purposely at first with just the skeletal drums backing her. Slowly the bass and soprano sax enters, the spirit growing in levels of inventiveness and intensity. “The Snake” has a somewhat funky groove and sly sax from Ms. Vinkeloe, I like the way Biggi bends those notes inside-out, eventually the soprano comes in, both saxes weaving as the vibe calms down to a soft simmer. Both saxes work together, bending their notes around one another, playing long lines and finishing each others sentences. What makes this disc so good is the way everything unfolds, everyone listens and gets their chance to stretch out without stepping on one another. Sometimes the rhythm teams lays out so that the two reeds can play just by themselves as one. The quartet often sounds like they are having fun, spontaneously creating a web which connects all four members. One of the best improv dates I’ve heard recently! - Bruce Lee Gallanter, DMG
MIA DYBERG / KAMILLA KOVACS - Stories (Gateway Music 2014; Denmark) Featuring Mia Dyberg on alto sax and Kamilla Kovacs on voice. In the liner notes for this disc, thanks are given to Masada bassist Greg Cohen, with whom both of these women studied in Berlin. I know Danish saxist Mia Dyberg from the time I gave a speech at the Jyderup Festival Music Worksop in June of 2015, just north of Copenhagen. Ms. Dyberg attended and played at this fest. Ms. Dyberg also came to town and played at DMG in October of 2015. We just got a handful of copies in the mail from Mia this week so here goes… Ms. Kovacs is a jazz singer with a sumptuous, enchanting voice. She sings in English with no obvious accent. Ms. Dyberg sounds fine on alto sax, the two always sound warm, inviting and inventive but never too far out. There was some preparation involved here as Mia plays rich harmonies with Kamilla’s voice. The voice and sax often play with equal tenderness, both caressing the each other and those haunting, somber melodies. What makes this work is that much of this is stripped down to bare essentials without too much experimentation. A few of these songs actually sound like standards, somehow familiar yet… Surpisingly tasty and consistently engaging. - Bruce Lee Gallantner, DMG
Modern Composer Section:
JULIUS EASTMAN - Femenine (Frozen Reeds 006; Finland) This recording is the première release of Julius Eastman's Femenine, for chamber ensemble. It is Femenine's only known recording, documenting a 1974 performance by the S.E.M. Ensemble (with the composer on piano) that has lain unheard for decades. The music of Julius Eastman (1940-1990) is enjoying an ongoing period of rediscovery. Known best in the past for his work with figures like Peter Maxwell Davies, Arthur Russell, and Meredith Monk, today his own formidable compositions continue to draw increasing admiration. Joyous, insistent, and immersive, Femenine bathes the listener in surges of tonal color from intertwining winds, piano, violin, pitched percussion, synthesizer, and -- uniquely -- the composer's own invention of mechanized sleigh bells, which provide the 72-minute piece with its characteristic pulse. Illuminating sleeve notes are provided by composer and author Mary Jane Leach, who is co-editor of Gay Guerrilla, a 2015 collection of essays on Eastman's life and music. Recorded by Steve Cellum -- co-producer of Arthur Russell's World of Echo - and mastered by Denis Blackham. CD in slim card package with insert. "Eastman's stated aim with Femenine was to please listeners, saying of the piece that 'the end sounds like the angels opening up heaven . . . should we say euphoria?' " - Mary Jane Leach
BARNEY CHILDS - Heaven to clear when day did close (New World Records 80779; USA) Featuring: David Ward-Steinman, piano; Nancy Turetzky, flute, piccolo; Bert Turetzky, contrabass; Phillip Rehfeldt, clarinet, bass clarinet, bassoon; Scott Vance, clarinet; Ron George, percussion, bass drum; Chris Corman, Blake Van Vliet, bass drum.
Barney Childs (1926–2000) is perhaps best known for his innovative scores that weave indeterminacy and improvisation with traditional musical structures and notations. Eclectic in nature, Childs’s compositions freely explored diverse avenues of musical thought and drew inspiration from many sources, including traditional western concert music (especially that of such composers as Hindemith, Ives, Ruggles, and Copland), the open form works of John Cage, and jazz of all periods and styles.
Childs’s compositions usually have wonderfully idiosyncratic aspects to them, rather than following the dictates of either a system or an established style. He said that “to make music I make choices, as we all do, but I’m unable to presume that music must prove a doctrine, and I cannot accept music merely as process made audible. I choose what will happen simply because it seems to be the right thing to have happen, and in no other way.” Thus, the pieces cannot be easily analyzed, and in fact, he dismisses the idea that the value of a work can be or should be determined by whether or not the resulting work is capable of a brilliant analysis.
His pieces consciously play with the listener’s expectations, constantly balancing the familiar with the unexpected, so that the listener is “anticipating what is about to happen: the future is defined and qualified, as far as we can define it, by expectation and anticipation, and this is continually being fulfilled or surprised.” This is exactly what makes a Childs piece work: the interplay between what is expected and what is not. This recording is a tribute to Childs by some of his close friends, performed and produced as a labor of love.
37 Songs (1971) [piano solo], Any Five (1965) [flute/piccolo, bass clarinet/bassoon, contrabass, percussion, piano], Heaven to clear when day did close (1980) [piano solo], Music for Bass Drum (3 players) (1964), Music for Contrabass and Friend (1964) [bass and clarinet], Real music (1981) [two clarinets], Sonata for Solo Clarinet (1951), Stances for Flute and Silence (1963).
Three New Discs from the Neos Label:
HELMUT LACHENMANN - String Quartets [DVD](Neos 51001DVD; Germany) DVD is NTSC and region-free. Helmut Lachenmann presents a DVD release titled String Quartets. Helmut Lachenmann on the wonderful performers of the piece, Stadler Quartett: "Meeting and working with the musicians of the Stadler Quartett: one of my most precious memories and experiences - accuracy and euphony, even and especially in the 'extraterritorial' realm of noise and reverberations, and finally, along with their willingness to probe new performance techniques: inspired music-making and exquisite artistry. In short, everything needed to make an audience alert and attentive - and a composer happy. One cannot express gratitude, words are bound to fail." Sound format: PCM 2.0 Stereo. Picture format: 16:9. Total playing time: 76 minutes.
JOHANNES X. SCHACHTNER - Works For Ensemble (Neos 1602; Germany) Johannes X. Schachtner lives in Munich as a freelance conductor and composer. After completing studies in composition and orchestral conducting, he was awarded residences as a scholarship holder in Bamberg and Paris. His works are performed by such internationally renowned soloists as Julia Fischer, Julius Berger, Adrien Boisseau, and Maximilian Hornung and by the conductor Ulf Schirmer. Author Norbert Niemann on Schachtner: "When we first met in 2009, the then 24-year-old impressed me with his stupendous knowledge and extraordinary level of reflection. The son of a musical family going back several generations, the young conductor and composer had internalized music history to such an extent that each conversation with him contributed to an expansion of my musical horizon. At that time I heard pieces by Schachtner for the first time, including an early version of his Chamber Symphony, presented here in a condensed form as Symphonic Essay. It was not difficult to recognize the work's relationship to Beethoven, based on two bars shortly before the end of the Eighth Symphony. This is because his art of composition is created out of a thorough questioning of musical tradition." Performed by the Ensemble Zeitsprung featuring Markus Elsner (conductor), Thérèse Wincent (soprano), and Peter Schöne (baritone).
MARCUS ANTONIUS WESSELMANN - Ensemble Works II (Neos 11609; Germany) Neos presents its third release featuring Cologne-based composer Marcus Antonius Wesselmann (born in Germany in 1965). The internationally renowned Ensemble Modern performs the works, conducted by Franck Ollu. Wesselmann has, according to one critic, shot from zero to 60 with the concert program partly documented in this CD. Since his emergence, he has fully established himself in the contemporary musical landscape, combining elements of minimal music with strict constructions and an exuberant playfulness with virtually transcendent virtuosity. Founded in 1980 and based in Frankfurt am Main since 1985, the Ensemble Modern is one of the world's leading ensembles for contemporary music. The ensemble unites numerous soloists from several countries, all of whom contribute to the ensemble's rich cultural background. The Ensemble Modern is famous for its unique organizational structure, unlike any other in the world: there is no artistic director and all of its members are responsible for jointly selecting and implementing projects, co-productions, and financial matters.
Four New Discs from Edition Wanderweiser Composers Label IN STOCK NEXT WEEK:
EDWIN ALEXANDER BUCHHOL // JOHN CAGE / MICHAEL PISARO / JURG FREY / ANTOINE BEUGER - Accordion Music (Edition Wandelweiser EWR 9601/2; Austria) Four works interpreted for accordion performed by Edwin Alexander Buchhol, including John Cage's "Cheap Imitation"; Michael Pisaro's "Here (2)"; Jurg Frey's "Sam Lazaro Bros." and Antoine Beuger's "die geschichte des sandkorns".
2 CD Set $14
JURG FREY // ALVIN LUCIER / CHRISTIAN WOLFF / BURKHARD SCHLOTHAUER - s/t (Edition Wandelweiser EWR 9608; Austria) Six compositions from Lucier, Wolff, Schlothauer, and Frey, exploring harmonic beats on the acoustic clarinet, deriving melody in unexpected ways; seeking static tones between sound and noise; and investigating melodic variations; inquisitive, thought-provoking, alluring work.
CLEMENS MERKEL // BRUNO MADERNA/ANTOINE BEUGER/ WOLFGANG VON SCHWEINITZ/THOMAS STIEGLER - s/t (Edition Wandelweiser EWR 9606; Austria) Violinist Clemens Merkel interprets compositions by Wolfgang von Schweinitz's "Sonata for Violine Solo"; Antonie Beuger's "Unwritten Page"; Bruno Madema's "Piece Pour Ivry"; and Thomas Stiegler's cycle "Kammerkomplex" ("quasi una fantasia", "gran partita" and "sonata facile").
SYLVIA OCOUGNE / CHICO MELLO - Musica Brasileira Descomposta (Edition Wandelweiser EWR 9603; Austria) The Brazilian duo of Silvia Ocougne and Chico Mello, residing in Berlin, create a sonic collage of traditional popular and contemporary elements influenced by both Berlin and Brazil, using the unusual orchestration of instruments including tuba, matchbox, clarinet.
Four from the Irish New Music Label Ergodos:
PETER ADRIAANSZ - Enclosures (Ergodos 025; Ireland) Written between 2008 and 2013, Enclosures is a treasury of chamber music highlighting Netherlands-based composer Peter Adriaansz's fastidious artistic mind. These works all possess seductive surfaces but their extremely careful designs make for profound, even revelatory experiences. "His work is abstract music of a high order, reanimating the medieval idea of music as applied number," wrote the late writer and performer Bob Gilmore, to whose memory this record is dedicated, "But the questions it asks are defiantly of the twenty-first century, questions about musical perception, about the nature of sound and the passage of time." "Attachments", written for pianist Saskia Lankhoorn, carefully explores and exploits different sonic aspects of a specially-prepared piano. Supple rhythmic patterns are back-lit by droning sine tones to create redolent atmospheres, gently flickering and undulating. "Phrase" and "Fraction" were composed as companion pieces for the Hague-based Ensemble Klang. The former is nearly hallucinatory in its singular treatment of a melody on soprano saxophone. The latter - a fervent world of strummed, picked and hammered metal strings - takes after American composer Henry Cowell's harmonic tempo scales, where the music's speed is intertwined with the intervals of the harmony. The record finishes with "Enclosures", composed for Amsterdam microtonal music specialists, Trio Scordatura. Over time, people become attuned to the most subtle gradations of sonic interval - people are deeply immersed and emerge newly sensitized. Peter Adriaansz (pronounced 'pay-ter ah-dree-ons') was born in Seattle in 1966 and studied composition at the conservatories of The Hague and Rotterdam, where his teachers included Louis Andriessen, Brian Ferneyhough and Peter-Jan Wagemans. Adriaansz's work can be characterized by a systematic, research-oriented approach towards music, an approach in which sound, structure and audible mathematics constitute the main ingredients. Starting in 2005, an increasing interest in flexibility, variable forms and - especially - microtonal reflection can also be observed in his work. This latter interest led, among other works, to several large-scale compositions for amplified ensembles.
SIMON O'CONNOR - What Is Living And What Is Dead (Ergodos 021; Ireland) What Is Living And What Is Dead marks the solo debut of Irish composer Simon O'Connor on the Ergodos label. An immaculately crafted, beautiful and poignant collection of nine piano pieces, this album is the result of over three years work from conception to release. "I wanted to create something that could make a profound emotional connection with people, music that could really draw listeners inward to themselves and awaken a sense of joy in the beauty of the world around them," says O'Connor of the 57-minute long collection, which takes its title from a lecture given by the late historian and social commentator Tony Judt, "More than ever, I felt the need to create music that could reconnect every listener to an innocent sense of wonder; music that takes its joy in simple melody and delicate harmony; music that is - at its core - an embodiment of optimism." Childlike melodies are pitched against ever-changing harmonic landscapes, in a desperate plea for beauty in a world gone austere. This is a wordless political polemic that cries out for more space, beauty, slowness and understanding in a time of pessimism and intellectual voids. Performed by Ireland's foremost young pianist Michael McHale, What Is Living And What Is Dead is the work of the Irish production duo of Garrett Sholdice and Benedict Schlepper-Connolly. Recorded in Berlin and then completed in Munich by renowned mastering engineer Christoph Stickel (ecm, Deutsche Grammophon, Sony Classical). Simon O'Connor is a Dublin-based composer who formed seminal Dublin psych-rock band The Jimmy Cake. A graduate of Trinity College, Dublin, where he studied with composers Donnacha Dennehy and Kevin Volans, O'Connor has for many years worked primarily in a tonal, minimal palette, writing for chamber ensembles and solo musicians.
MICHAEL McHALE - Schubert: Four Impromptus (ERgodos 022; Ireland) Franz Schubert's Impromptus, Opus 90, were composed in 1827, the year before the composer's death at the age of 31. Schubert: Four Impromptus juxtaposes these limpid, yet emotionally complex piano pieces with companion interludes by three Irish composers. Simon O'Connor's "Self Portrait" lovingly traces back over the shapes of the first impromptu, whilst at the same time interpolating strokes that are more typical of his own style. "Was Du Mir Warst" ("What You Were To Me") by Benedict Schlepper-Connolly takes its title from a letter that Schubert wrote in his final days. Rhapsodic and intimate, the music is constantly reflecting back on itself, yet always tumbling forward. With dark colors, saturation and a sense of getting lost, Garrett Sholdice's "The Dreams Flow Down, Too" refers to Schubert's song "Nacht Und Träume" ("Night And Dreams"), both in its title and in the quoted music of its ending. Michael McHale's sensitive performances allow our perceptions of what is familiar and what is strange to shift. The listener becomes immersed in a new world: expansive, dark and organismal. Belfast-born Michael McHale is one of Ireland's leading pianists. Michael's debut solo album The Irish Piano (2012) was selected as "CD of the Week" by critic Norman Lebrecht, who described it as "a scintillating recital - fascinating from start to stop", whilst Gramophone praised, "the singing sensibility of McHale's sensitive and polished pianism". Ergodos produces concerts and recordings, and runs its own ensemble, Ergodos Musicians.
SIMON O'CONNOR & MICHELLE O'ROURKE - Left Behind: Songs of the 1916 Widows (Ergodos 023; Ireland) Written by composer and curator Simon O'Connor, and commissioned and presented by vocalist Michelle O'Rourke, Left Behind is a new collection of songs to mark the centenary of the 1916 Easter Rising. Drawing on the experiences of the wives of prominent rebel leaders, O'Rourke and O'Connor have created a unique suite of compositions that offer an emotional, human perspective on a narrative that is too often told in baldly male heroic terms. Beginning life as simple vocal/piano pieces, these songs have been transformed with the addition of O'Connor's former bandmates from celebrated Dublin rock band The Jimmy Cake and The Robinson Panoramic Quartet, a dynamic Dublin-based string ensemble. These ensembles bring a dramatic energy to the retelling of the stories of Maud Gonne, Grace and Muriel Gifford, Agnes Mallin and others. "So much of our engagement with history is purely political, and so rarely we allow ourselves to read between the lines to find human realities," says O'Connor, "Sinéad McCoole's book, Easter Widows (2014), the key historical reference for this work, allowed us to empathize with and understand the human cost, the real life narratives of the revolutionary period." "More so than any art form, music places us squarely in this emotional space," adds vocalist Michelle O'Rourke, "With these songs, we hope to give life to some of these feelings, these emotions and the sense of loss felt by many women and children who were left behind by men who were dominated by what they felt was a higher calling." Praise for the premiere performance of Left Behind: "The moody, slender, ethereal settings of Left Behind- held together by O'Rourke and the extraordinary beauty of her voice." -- Michael Dervan, The Irish Times. "a searingly sad tribute to the 1916 widows [...] beautifully crafted and very affecting" -- The Sunday Business Post. "There was no shortage of music contributions for the 1916 centenary, but I doubt if there was anything more original or insightful than this thought-provoking collection that focused not on the rebel leaders, but on their wives and sweethearts." -- The Sunday Business Post. Listen hear: //b2b.forcedexposure.com/productView.do?id=90236
BEADY BELLE With JOSHUA REDMAN/BUGGE WESSELTOFT/MATHIAS EICK/ et al - On My Own (Jazzland 3779138; Norway) Beady Belle presents On My Own on Jazzland Recordings. Recorded in New York City, the songs features a strong - but not overpowering - undercurrent of '70s soul and vocal jazz, mixtures of intimacy and exuberance, and pulsations both urban and urbane. The musicians include Bugge Wesseltoft (who is also the producer) on keys, Gregory Hutchinson on drums, Reuben Rogers on bass. On My Own also features Joshua Redman on sax, Mathias Eick on trumpet and Fran Cathcart on guitar. Beady's compositional and lyrical skills are also showcased here as never before, weaving new tapestries through which her voice is the golden thread. Melodically gripping, harmonically intricate, lyrically intelligent (without pretentiousness) and underpinned by solid grooves. With each release, Beady Belle's voice has become richer, more capable, and laced with nuance and subtle expressiveness. Simply put, there is no one else like her. Check Ready Bell out at: http://b2b.forcedexposure.com/productView.do?id=90332
TAMER ABU GHAZALEH - Thulth (Mostakell MST 002; Egypt) Tamer Abu Ghazaleh's Thulth takes the listener to lush and complex grounds with its rich sound, flowing with gentle melancholic melody and multiple sonic layers. It also takes the listener into sudden ferocious walls-of-sounds, it's a sharp reminder of Tamer Abu Ghazaleh's abilities as one of the few to imbue the region's sound with sentiments of fury and restlessness. Thulth also shows Tamer Abu Ghazaleh's vocal prowess, gutsy modal twisting, fragmented structuring, constant shape-shifting of styles and dizzying vocal harmonies. Check out Tamer Abu Ghazaleh at: http://b2b.forcedexposure.com/productView.do?id=90122
THE UKRAINIANS - Evolutsiya: 40 Best And Rarest 1991-2016 (Eastblok Music 027; Germany) The Ukrainians's Evolutsiya: 40 Best And Rarest 1991-2016 is compilation featuring songs from the "Ukrainianizing" band. Len Liggins of The Ukrainians talks about the band and the release: The Ukrainians - the first quarter of a century 1991 to 2016. It has been a long journey that has taken us 25 years by trains, planes and battered vans and wherever we're going, it feels like we haven't got there yet - but it has been a fantastic ride! Our music is borne from the meeting of east and west, Ukrainian and British, and the genetic make-up of the band reflects this. Some members have a Ukrainian background and some don't. The result is a musical hybrid created from the meeting of different cultures. We have always felt moved to create our own songs. Because of our 'musical influences', Ukrainian folk music and western rock music, it feels natural to record our thoughts and emotions in this 'hybrid' style. Of course we also play traditional Ukrainian folk songs, of which there are thousands - composed centuries ago by a people whose culture had often been suppressed and whose only emotional and political outlet was in song. The resulting energy and emotion, combined with the poetry of the Ukrainian language makes it a wonderful listening experience, even for those who do not speak the language. The fact that The Ukrainians have been asked to play festivals all over the world clearly shows that this is the case. We also occasionally record our own 'Ukrainianized' versions of classic western pop or rock songs. They are, after all the folk songs of our age. Our band's music can be interpreted as specifically Ukrainian in its musical and lyrical content, but the songs' themes are most definitely universal because they reflect a whole range of emotions felt by the whole of humanity: love and loss, fear and bravery, ecstasy and despair. Many labels have been attached to The Ukrainians in an effort to categorize us. 'Cossack Punk' is one we particularly like, but it doesn't tell the whole story, as I'm sure you'll agree when you listen to this collection of our best and rarest tracks.” Check it out at:http://b2b.forcedexposure.com/productView.do?id=90241
2 CD Set $18
Historic & Archival Records Recordings & Reissues:
JAMES LUTHER DICKINSON - Dixie Fried (Future Days Recordings 623; USA) " 'People like Stan Phillips thought I was scary, that I was over the top - but I could play rock n'roll.' -- Jim Dickinson. The late Jim Dickinson is one of the most eclectic personages rock n'roll has ever thrown up: a musical maverick. From Sun Records and Ardent Studios in the 1960s, to sessions with the Rolling Stones, Ry Cooder and Bob Dylan, significant productions of Big Star and the Replacements, and the twisted roots rock of his own Mud Boy & The Neutrons, the man was never, ever predictable. A solo album had not been at the forefront of Jim Dickinson's mind then, but once the idea was put in place by Jerry Wexler at Atlantic, he reacted conceptually, and with gusto. Dickinson always shot from the hip. He could be coarse on a rocker like 'Wine,' or dignified and joyous when celebrating 'The Strength of Love.' Inebriated laments like 'Wild Bill Jones' contrast sharply with the carny talk of 'O How She Dances,' and a shifting, indignant anti-war recitation entitled 'John Brown.' As a music maker who could relate equally to both the intellectual and the visceral aspects of popular culture, anything Dickinson lent his hand to was at least interesting and frequently rewarding. Such is the case with Dixie Fried, his solo debut from 1972. Unsuccessful upon release, the record now is now a cult item that, for many, mirrors the deliciously unexpected twists and turns of Dickinson's subsequent career. Remastered from the original tapes. Features seven unreleased tracks. Liner notes include excerpts from unpublished memoirs. Rare ephemera from Dickinson archives."
HORACE ANDY/CORNEL CAMPBELL/JOHNNY CLARKE/LINVAL THOMPSON/YABBY U/ et al - Kingston Allstars Meet Downtown at King Tubbys (Kingston Sounds 002; UK) Kingston Sounds follow up with another great compilation in the shape of Kingston Allstars. 1973 to 1976 was a period in reggae's history when the music coming from Kingston Jamaica was at its peak. So many talented singers, who sang soulful/righteous songs, found their way onto tape. Maybe it was the competition between the studios like Randys Channel 1 and Harry J and the quality of the singers available to sing these tunes. Bunny Lee productions are once again under the spotlight, with rare tracks from Freddie McKay, Horace Andy, Jimmy Riley, Cornel Campbell, Wayne Jarrett, Johnny Clarke, Ronnie Davis and curiously a handful of tracks not usually associated with Striker Lee, like Locksley (sometimes Lacksley) Castell's "Some Good" (on the same rhythm that Augustus Pablo used for Hugh Mundell's "Revolution a Come"), Linval Thompsons's "Wicked Dem" (on Pablo's own "Rockers Dub" rhythm) and Yabby U's "Stand Up and Fight". But whatever caused the explosion the mighty voices. The tracks were culled together from sessions recorded at the fore mentioned legendary studios. Then taken to King Tubby's home style studio at 18 Drummlie Avenue in the Waterhouse district of Kingston. This is where the great dub-master himself would record the vocal tracks, a method in which he preferred to work and then mix the tracks Tubby style. Kingston Sound have travelled to Jamaica and listened to hours of master tapes to develop Kingston Allstars. So sit back and enjoy a wicked set by Kingston's finest. Check out: http://b2b.forcedexposure.com/productView.do?id=25550
KLAUS SCHULZE - Timewind (Made in Germany MIG 1532; Germany) "Re-release of the originally 1974 released Klaus Schulze classic album Timewind, includes generous bonus and a 16-page booklet. Evolving slowly but deliberately over the course of each album side, Timewind has been deemed an electronic version of an Indian raga. It resembles in many ways a longer variation of the third track from Tangerine Dream's classic 1974 album Phaedra, 'Movements of a Visionary', but it remains a transitional work somewhere between the krautrock of Schulze's earlier output and the Berlin School character of his following efforts. The intention of Timewind was to invoke a timeless state in the listener. Both track titles are references to the nineteenth-century composer Richard Wagner, Bayreuth is the Bavarian town where Wagner had an opera house built for the first performance of his massive Ring Cycle. Wahnfried is the name of Wagner's home in Bayreuth in the grounds of which he was buried in 1883. It is also a pen-name used by Schulze himself."
2 CD Set $23
KLAUS SCHULZE - Mirage (Made in Germany 562; Germany) " 'In the long run, this album will establish Klaus Schulze as an outstanding composer of electronic music', said the reviewer of Record World back in 1977 when he heard Mirage. Mirage is a masterpiece. Schulze's flexibility in terms of spirit and final production is shown here in a bizarre electronic winter landscape. The music used for this re-release was carefully transferred from original old analog master-tapes to digital equipment. And for those who have already everything of Klaus Schulze (including the Mirage album), he used here a slightly different version of 'Velvet Voyage'. Also a formerly unreleased long track which Klaus recorded six month prior to Mirage, the complete version of a soundtrack piece for a Dutch movie was added. Just five minutes from it were used once in a (long deleted) sampler. Klaus Schulze first attracted attention as a member of the German pioneers of electronic music, Tangerine Dream. Following the release of their debut LP, Electronic Meditation he departed for a solo career. Klaus's recorded work typically features extended pieces sometimes filling an entire album built around computer-generated synthesizers and other specially programmed electronic effects. Klaus Schulze remains a cult figure in the whole world. He is widely considered an avant-garde mainstay as well as a founding father of both the new-age space music and electronica genres."
CONTROLLED BLEEDING - Knees And Bones (ArtofFact 252; Canada) "Knees And Bones was Controlled Bleeding's first vinyl. In many ways, this was the definitive industrial record of the period. The Artoffact reissue expands Knees And Bones to a double-LP, including a full LP's worth of bonus material, notably the amazing 'Swallowing Scrap Metal Pt. 5.5', which appeared as the final track of the Knees And Bones CD, another out of print Controlled Bleeding artifact."
CONTROLLED BLEEDING - Distress Signals I & II (ArtofFact 249; Canada)
"Released on Gary Mundy's Broken Flag label in 1984, the first Controlled Bleeding album was Distress Signals, an almost impossible to find cassette-only album of power-noise and distorted vocals. Distress Signals I and II will be released by Artoffact Records in this combined double-CD featuring the original artwork of Distress Signals, as well as a copy of the liner notes from the tape insert."
2 CD Set $22
CONTROLLED BLEEDING - Body Samples (ArtofFact 251; Canada) "In 1984, Controlled Bleeding released its first album on the Dossier label in Germany, a label with which Controlled Bleeding would collaborate closely. Experimental, noise-laden industrial, Body Samples is at times less abrasive than its predecessors. The Artoffact Records reissue expands the original vinyl pressing with a number of unreleased bonus tracks into remastered 2CD edition."
2 CD Set $18
Sold Out & Now Repressed!
PAUL BOWLES - Music of Morocco: Recorded by Paul Bowles, 1959 [4 CD Box/Book Set](Dust-to-digital 046; USA) Repressed! Silkscreened cigar box with foil stamping details throughout, 120-page leatherette book, and four CDs containing 4 hours and 30 minutes of audio. Includes introduction by Lee Ranaldo, field notes by Paul Bowles, and annotations by Philip Schuyler. From July to December 1959, Paul Bowles crisscrossed Morocco making recordings of traditional music under the auspices of the Library of Congress. Although the trip occupied less than six months in a long and busy career, it was the culmination of Bowles's longstanding interest in North African music. The resulting collection remained a musical touchstone for the rest of his life and an important part of his mythology. Paul Bowles (1910-1999) was an American expatriate composer and author. He became associated with Tangier, Morocco, where he settled in 1947 and lived for 52 years to the end of his life. While living in Morocco, Bowles became a magnet for those envisioning the artist's life away from the mainstream. He was idolized by writers of the Beat Generation, many of whom (William Burroughs, Gregory Corso, Allen Ginsberg, and Jack Kerouac) visited Bowles and his wife Jane in Tangier -- a city Burroughs would later reimagine as the "Interzone" in his 1959 novel Naked Lunch. Over four months in 1959, Bowles traveled an estimated 25,000 miles around Morocco, capturing vocal and instrumental (including dance) music of various tribes and other indigenous populations at 23 locations throughout the country. In 1972, the Library of Congress issued a double LP titled Music of Morocco, containing selections from the collection. This four-CD set contains the recordings included on that double LP in addition to a wealth of never-before-heard music from this rich collection. Includes performances by Maallem Ahmed, Rais Ahmed ben Bakrim, Moqaddem Mohammed ben Salem, Chikh Ayyad ou Haddou, Rais Mahamad ben Mohammed, Chikh Hamed bel Hadj Hamadi ben Allal, Maallem Ahmed Gacha, Chikha Fatoma bent Kaddour, Cheikha Haddouj bent Fatma Rohou, Mohammed bel Hassan El Ferqa dial Guedra (Bechara), Maalem Abdeslam Sarsi el Mahet, Sadiq ben Mohammed Laghzaoui Morsan Embarek ben Mohammed, Maalem Mohammed Rhiata, Si Mohammed Bel Hassan Soudani, Maallem Taieb ben Mbarek, Hazan Isaac Ouanounou, members of the Hevrat Gezekel, Hazan Semtob Knafo, Amram Castiel, Hevrat David Hamelekh, Maalem el Hocein, Abdelkrim Rais, and members of the Family of the Chorfa of Ouezzane, as well as recordings of unknown performers.
4 CD Box/Book Set $56
THE SHAGGS - Philosophy Of The World (Light in the Attic 151; USA) "In 1968, three sisters from Fremont, New Hampshire strapped on their instruments and declared themselves The Shaggs. At that moment begun a peculiar tale that would last far beyond the group's five-year run. Dot, Betty and Helen (and occasionally Rachel, the fourth sister) played in the group on the insistence of their father, Austin Wiggin Jr., who was convinced they were going to be big. Years earlier, Austin's mother gave him a palm reading, predicting that her son would marry a strawberry blonde woman, that he would have two sons after his mother died, and that his daughters would form a popular music outfit. The first two became reality, so Austin was certain the third would follow suit. With pure confidence and his mother's bold prediction, Austin decided that his daughters would forgo attending the local high school in favor of home schooling interspersed with a strict regiment of instrumental and vocal practice, along with jumping jacks and sit-ups. Soon after The Shaggs would enter Fleetwood Recording studios in Revere, Massachusetts to record their sole album, Philosophy Of The World, a collection of garage rock tunes that balanced charm and discordance in equal measure. Austin would spend most of his savings not only on the session but also on the manufacturing costs to press up 1,000 copies of the album (900 of which mysteriously vanished upon completion). Throughout Philosophy Of The World simple truths are revealed through the pen of sister Dot, the songwriter of the band. The rich people want what the poor people got, just as the poor people want what the rich people got. Your parents love you. There is happiness in nearness and sadness in the farness. The album failed to fulfill Austin's expectations of rock stardom, though the group remained together until their father's death, performing frequently at the Fremont town hall and a local nursing home, no further albums were released. That might have been the end of it, until rock band NRBQ discovered a copy at a Massachusetts radio station and re-released it in 1980. Rolling Stone's reviewer at the time described it as 'the most stunningly awful wonderful record I've heard in ages'. Nearly 50 years later, the album ranks among the most polarizing LPs of all time. Some said it was the worst thing ever made. Others felt it was one of the great long players of the 20th century. Frank Zappa famously dubbed the band 'better than The Beatles', while Kurt Cobain placed the album at #5 on his list of Top 50 favorite albums. Original copies of the album fetch for $10,000. Decades later and one could argue that maybe Austin was right all along. We're all here, still enthralled by the purity of The Shaggs. Liner notes by legendary musician, writer and compiler, Lenny Kaye (Patti Smith, Nuggets). Book features unseen photos and ephemera. Artwork restored and expanded to a gatefold jacket. Newly remastered."
PAULINE OLIVEROS + MUSIQUES NOUVELLES - Four Meditations/Sound Geometries (Sub Rosa 422; Belgium) LP version. Pauline Oliveros surrounded by Belgian ensemble Musiques Nouvelles, performing two long pieces for orchestra. "Sound Geometries for Chamber Orchestra, Expanded Instrument System and 5.1 Surround Sound System" by Pauline Oliveros was premiered in Brussels. The 3 sections metaphors of the piece are intended to guide the players in their feelings and approaches to conducted, guided and improvisational music making to create differing atmospheres for each of the three sections. Players sounds are picked up during the performance by microphones, processed in one of ten geometrical patterns by the Oliveros designed Expanded Instrument System (EIS) to transform and move the player's sounds in space in the 5.1 surround sound system. "Meditation for Orchestra" asks the performers to listen then sound. Listen means to include all that is sounding and to find a space for each sound that is made. Pauline Oliveros and Ione are guests of Ensemble Musiques Nouvelle in this studio performance of "Meditation".
LP $16 or CD $15
FULL BLAST [PETER BROTZMANN / MARINO PLIAKAS / MICHAEL WERTMULLER] - Risc (Trost 148; Austria) Double LP version. Gatefold sleeve. With all the projects Peter Brötzmann is currently working on, Full Blast -- with the precise and dynamic Swiss rhythm section of Marino Pliakas and Michael Wertmüller -- is the most consistent and the longest-running. Their fifth album finds the band in a studio again, with time and the desire to try something new. Seven compositions in the distinctive, strong Full Blast nature get an exciting electronic treatment by Michael Wertmüller (with electronics by Gerd Rische, recorded months before his death in October 2015) during and after the recording. For mixing the band decided to work with Gareth Jones (well-known for his work with Einstürzende Neubauten and Depeche Mode), whom they have used with Pliakas's band Steamboat Switzerland before. Full Blast have created an album that in its nonconformity and richness in variety stands on his own in contemporary jazz. Peter Brötzmann: reeds; Marino Pliakas: e-bass; Michael Wertmüller: drums. Recorded live on March 11 and 12, 2015 at Garnison 7, Vienna. Mixed by Gareth Jones, London, November 2015. Mastered by Martin Siewert, December 2015. Produced by Konstantin Drobil and Michael Wertmüller. Cover art by Peter Brötzmann. Designed by Brötzmann and Klaus Untiet.
2 LP Set $30
CHRIS CORSANO / MASSIMO PUPILLO - Via Combusta (Trost 144; Austria) Massimo Pupillo, of Italian jazz-noise monsters ZU, and Chris Corsano, drummer of Rangda (with Sir Richard Bishop), Chikamorachi (with Akira Sakata & Darin Gray), and in kicking projects with Joe McPhee, Evan Parker, Okkyung Lee, Bill Orcutt, team up for an overwhelming heavy drum and bass improv studio-session. Chris Corsano: drums and percussion. Massimo Pupillo: electric bass. Recorded, mixed and mastered by Bruno Germano on April 2015 at Vacuum Studio, Bologna, Italy. Artwork by Lasse Marhaug.
Bruce Lee Gallanter’s Recommended Gig List for August of 2016:
THE STONE is located at the NW corner of Avenue C & East 2nd Sts.
THE STONE RESIDENCIES - STEVE COLEMAN 60TH BIRTHDAY CELEBRATION
AUG 30 – SEPT 25 - A full month of performances in celebration of Steve Coleman’s 60th birthday!
8 and 10 pm - Steve Coleman and Five Elements= Steve Coleman (sax) Jonathan Finlayson (trumpet) Miles Okazaki (guitar) Anthony Tidd (bass) Sean Rickman
8 and 10 pm - Steve Coleman and Five Elements - Steve Coleman (sax) Jonathan Finlayson (trumpet) Miles Okazaki (guitar) Anthony Tidd (bass) Sean Rickman
8 and 10 pm - Steve Coleman and Five Elements - Steve Coleman (sax) Jonathan Finlayson (trumpet) Miles Okazaki (guitar) Anthony Tidd (bass) Sean Rickman
8 and 10 pm - Duos-Trios-Quartet - Combinations: Steve Coleman (alto sax) Mark Turner (tenor sax) Jonathan Finlayson (trumpet) Miles Okazaki (guitar), Linda Oh (bass, 1st set) Matt Brewer (bass, 2nd set) Neeraj Mehta (perc)
8 and 10 pm - Duos-Trios-Quartet - Combinations: Steve Coleman (alto sax) Maria Grand (tenor sax) Jonathan Finlayson (trumpet) Miles Okazaki (guitar) Matt Brewer (bass) Neeraj Mehta (percussion)
8 and 10 pm - Steve Coleman and Five Elements - Steve Coleman (alto sax) Jonathan Finlayson (trumpet) Miles Okazaki (guitar) Anthony Tidd (bass) Sean Rickman (drums)
8 and 10 pm - Steve Coleman and Five Elements - Steve Coleman (alto sax) Miles Okazaki (guitar) Anthony Tidd (bass) Sean Rickman (drums)
8 and 10 pm - Steve Coleman and Five Elements - Steve Coleman (alto sax) Jonathan Finlayson (trumpet) Miles Okazaki (guitar) Anthony Tidd (bass) Sean Rickman (drums)
8 and 10 pm - Steve Coleman and Five Elements - Steve Coleman (alto sax) Jonathan Finlayson (trumpet) Miles Okazaki (guitar) Anthony Tidd (bass) Sean Rickman (drums)
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 Sep 02
6:00PM OSKAR STENMARK NYC QUARTET - Oskar Stenmark, flugelhorn; Billy Test, piano; Vicente Archer, double bass; Jalon Archie, drum kit
9:00PM PETER BRENDLER QUARTET - Peter Brendler, bass, comp.; Rich Perry, tenor sax; Ben Monder, guitar; Vinnie Sperrazza, drums
10:30PM JEFF DAVIS - HOLYOKE - Jason Rigby, tenor sax; Jon Goldberger, guitar; Russ Lossing, piano, clavinet; Eivind Opsvik, bass; Jeff Davis, drums, comp.
Saturday Sep 03
9:00PM & 10:30PM KERMIT DRISCOLL QUARTET - Ben Monder, guitar; Kris Davis, piano; Kermit Driscoll, bass; Jared Schonig, drums
Sunday Sep 04
8:35PM DJANGO AT CORNELIA STREET/TIM CLEMENT DJANGO EXPERIENCE - Tim Clement, guitar; Adrien Chevalier, violin; Josh Kaye, guitar; Eduardo Belo, bass
Mon Sept 5th:
8:30PM AMRAM & CO - David Amram, piano, french horn, flutes, composition; Kevin Twigg, drums, glockenspiel; Rene Hart, bass; Elliot Peper, bongos
Tues Sept 6th:
8:00PM VOXECSTATIC: SUZANNE LORGE WILD BIRDS CD RELEASE - Suzanne Lorge, voice; Mark Kross, piano; John Loerke, bass; Jeff Potter, drums
9:30PM VOXECSTATIC: FAURÉ AT PLAY: CD RELEASE - Louise Rogers, voice; Mark Kross, piano; w/ John Loehrke, bass; Jeff Potter drums; & Jamie Baum, flutes
Wednesday Sep 07
6:00PM ELEKTRA KURTIS & ENSEMBLE ELEKTRA - Elektra Kurtis, violin; Curtis Stewart, violin; Lefteris Bournias, clarinet; Jerome Harris, electric bass; Reggie Nicholson, drums
8:00PM MATT MARANTZ QUARTET, CD RELEASE: AURA - Matt Marantz, sax, ewi; Luke Marantz, piano; Rick Rosato, bass; Tommy Crane, drums
9:30PM MATT PANAYIDES QUARTET - Matt Panayides, guitar, comp; Matt Vashlishan, alto sax, soprano sax; Steve LaSpina, bass; Alex Ritz, drums
Thursday Sep 08
8:01PM SABBAGH, JERMYN, MILLER, CD RELEASE: LEAN - Jerome Sabbagh, saxes; Simon Jermyn, bass, effects; Allison Miller, drums, effects
Friday Sep 09
9:00PM & 10:30PM MARTIN NEVIN GROUP - Roman Filiu, alto sax; Kyle Wilson, tenor sax; Sam Harris, piano; Martin Nevin, bass; Craig Weinrib, drums
Saturday Sep 10
9:00PM & 10:30PM ARI HOENIG & CHICO PINHEIRO TRIO - Chico Pinheiro, guitar; Eduardo Belo, bass; Ari Hoenig, drums
Sunday Sep 11
6:00PM REMEMBRANCES OF 9 11 - Robin Hirsch; Edith Lettner, saxophone, duduk
8:35PM MOSTLY OTHER PEOPLE DO THE KILLING SEPTET - Steven Bernstein, trumpet; Bryan Murray, sax; Dave Taylor, trombone; Terry McMannus, guitar; Ron Stabinsky, piano; Moppa Elliott, bass; Kevin Shea, drums
I-Beam Presents - September, 2016 Schedule:
Friday, September 16th 8:30 PM
Past Present – Night 1
The Norwegian duo Past Present + Andrew D’Angelo
Saturday, September 17th 8:30 PM
Past Present – Night 2
Duo15 - The Norwegian Duo Past Present + Andrew D’Angelo
Sunday, September 18th 8:30 PM
Susan Alcorn Quartet:
Nate Wooley – Trumpet
Susan Alcorn – Pedal Steel
Mary Halvorson – Guitar
Ryan Sawyer – Drums
Wednesday, September 21st 8:30 PM
Gordon Grdina Quartet
Gordon Grdina – Guitar
Russ lossing – Piano
Oscar Noriega – Alto + Clarinet
Satoshi Takeishi – Drums
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 September Schedule:
8:15p - Bangin' Bülows Nice Jazz Quartet
Frederik Emil Bülow, Drums
Mikas Bøgh Olesen, Guitar
Jon Døssing Bendixen, Piano and synth
Adrian Christensen, Double Bass
8:15p - Chiara Izzi duo feat. Shai Maestro
Chiara Izzi (vocals); Shai Maestro (piano)
8:15p and 9:30p - Michael Webster's Leading Lines
Michael Webster's Leading Lines featuring Dick Oatts & Ingrid Jensen
Rob Mosher - soprano sax/oboe/English horn
Sam Sadigursky - alto sax/flute/alto flute
Quinsin Nachoff - tenor sax/clarinet
Carl Maraghi - baritone sax/bass clarinet
Nadje Noordhuis - trumpet/flugelhorn
Michael Fahie - trombone
Jesse Lewis - guitar
Jesse Stacken - keyboards
Ike Sturm - bass
Jared Schonig - drums
Jeremy Noller - percussion
Sara Caswell, Antonia Nelson - violins
Adam Matthes, Carrie Frey - violas
Leigh Stuart, Maria Jeffers - cellos
8pm: Tribecastan - May All the Gods Smile
John Kruth – Mandolin, Mandocello, Flutes, Banjo, Portuguese Guitar, Harmonica, Sitar,
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…
Kirk Driscoll – Drums
John Turner – Trumpet
Ray Peterson – Bass
7pm: The Gentle Ben Quartet
Gentle Ben -trombone
Jonathan Thomas- piano
Malik McLaurine- bass
Sept 11pm- FREE
Digital and Acoustic Sessions Part VI
Free Workshop 6:30 - 8
Performances: 8:30 - 11
Shapeshifter is located at
18 Whitwell Place in Brooklyn, NY
R train to Union stop
Sound It Out series @ Greenwich House
Concerts, Sept-Dec 2016
Saturday, September 10, 8:00 p.m. – Fifth-Anniversary Season Kickoff!!
Tim Berne & John Hébert
Tim Berne, alto saxophone; John Hébert, double-bass
Friday, September 16, 8:00 p.m. – New All-Star Ensemble!
Angelica Sanchez Nonet : Angelica Sanchez, piano; Thomas Heberer, trumpet; Kirk Knuffke, cornet; Chris Speed, tenor saxophone; Michael Attias, alto saxophone; Ben Goldberg, clarinets; Omar Tamez, guitar; John Hébert, double-bass; Sam Ospovat, drums
Thursday, October 6, 8:00 p.m. – Altoissimo!
Roman Filiu Quartet: Roman Filiu, alto saxophone; Ralph Alessi, trumpet; Thomas Morgan, double-bass; Billy Hart, drums
Saturday, October 15, 8:00 p.m. – Strings and Things!
Hank Roberts Sextet: Hank Roberts, cello; Dana Lyn, violin; Mike McGinnis; reeds; Brian Drye, trombone; Jacob Sacks, piano; Vinnie Sperrazza, drums
Wednesday, October 19, 8:00 p.m. – From the Windy City Scene!
Jason Stein’s Hearts & Minds: Jason Stein, bass clarinet; Paul Giallorenzo, synthesizer, pianet; Chad Taylor drums
Thursday, November 3, 8:00 p.m. – Hot New Trio!
Anna Webber’s Simple Trio - Anna Webber, saxophones; Matt Mitchell, piano; John Hollenbeck, drums
Friday, November 4, 8:00 p.m. – Beautiful New Ensemble!
Oded Lev-Ari Group: Oded Lev-Ari, conductor; full band lineup, TBA
Saturday, November 12, 8:00 p.m. – In Praise of Ornette!
Fay Victor’s In Praise of Ornette: Fay Victor, voice, arrangements, text; Darius Jones, alto saxophone; Kenny Wessel, electric guitar; Sean Conly, double-bass
Wednesday, November 30, 7:30 p.m. – Guitar Double-Bill!
Mike Baggetta Trio + Anders Nilsson Trio: Mike Baggetta, guitar; Jerome Harris, bass; Billy Mintz, drums; Anders Nilsson, guitar; Michaël Attias, alto saxophone; Ken Filiano, double-bass
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
Saturday, September 3rd at 9pm
2 Havemeyer Street in Brooklyn
Icepick feat. Nate Wooley - trumpet, Ingebrigt Haker-Flaten - bass, Chris Corsano - drums
CP Unit: Chris Pitsiokos, Brandon Seabrook, Tim Dahl, Weasel Walter
Maestro Day: Sam Weinberg, Henry Fraser, Joe Moffett, Connor Baker
Ruby Nightingale solo
Tuesday, September 13th, 8pm
The Klinker, - 244 West 54th, Suite 602
Vauxhall Pleasure Gardens
(Miguel Frasconi: glass, Stephen Flinn: percussion, Viv Corringham: voice)
David Watson: guitar
Al Margolis/If Bwana: strings and things & Steve Roe: poetic explorations