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NEWSLETTER - April 8th, 2016
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DMG Newsletter for April 8th, 2016
The Satellites are Spinning as We Sings Our Songs of Praise
The Spirits are Soaring as We Listen to the Sounds of the Muse
Another week Goes by as we Search for Music that Sets us Free...
So Come Visit Us and At least Read the Words to Find those Special Discs from:
3 from Relative Pitch: The Out Louds: Tomas Fujiwara/Ben Goldberg/Mary Halvorson! Jemeel Moondoc & Hilliard Greene! Christian Wolff & Michael Pisaro! Sax Ruins (Tatsuya Yoshida & Ryoko Ono)! Keir Neuringer & Rafal Mazur! Matthew Revert & Vanessa Rossetto! Carlo Costa's Acustica!
Flin van Hemmen/Todd Neufeld/Eivind Opsvik! Marco Eneidi's Cosmic Brujo Mutafuka! Malcolm Goldstein/Ratchet Orchestra! More Movie Gold Rarities! Ruins Back-Catalogue Gems! Toshi Ichiyanagi! Plus Vinyl Rarities from: Stephen O'Malley! Arthur Russell! Steve Reich! Edgar Varese! More & More..!
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The DMG FREE Weekly In-Store Concert Series Continues With:
Sunday, April 10th - Another Rare Triple Header:
6pm: CHERYL PYLE BEYOND DUO With BERN NIX!
7pm: KADAWA: TAL YAHALOM - Guitar/ALMOG SHARVIT - Bass/BEN SILASHI - Drums
8pm: GORDON GRDINA & JON IRABAGON - Guitar & Oudist from Vancouver returns
Sunday, April 17th:
6pm: SARA SCHOENBECK / SANDRA WEISS / ANDREW DRURY- Two Bassoons & Percussion
7pm: ALLISON LAZUR - Solo Tuba & Fixed Media
Sunday, April 24th:
6pm: ROB PRICE / ELLERY ESKELIN / TREVOR DUNN
7pm: PATRICK BRENNAN / SEAN CONLY / BRIAN GRODER
Sunday, May 1st - 25th Anniversary Party for DMG! - Stay tuned..!
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 Music Always Free & the Vibes are Quite Cosy!
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Next, Saturday April 16th is RECORD STORE (APPRECIATION) DAY!
Although DMG hasn't really embraced this industry-made event in the past, we will be doing something special this year. We will have a number of signed records and CDs from a number of Downtown's Finest: Matt Shipp, Michael Bisio, Dave Douglas, Mary Halvorson and more! Friends of DMG, old & new customers and musicians are invited to help us celebrate the fact that DMG still exists after 25 years of providing challenging music to those who still care. Any and all Creative Musicians please come to visit and autograph some of your discs. You can bring some of your LPs or CDs to sign, or sign copies already at the store.
New young sax great Chris Pitsiokos will play here around 6:30 for free!
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THOMAS CHAPIN, NIGHT BIRD SONG (the film) will premiere on April 27 at the NYC International Film Festival - $15 tickets, only 88 seats available, only one screening at 8:30 pm. The film will be shown without intermission, with a short Q&A at the end. If we sell this out, they will open another screening. Please do share and tell your friends and musicians who missed it at the SVA! - Stephanie J. Castillo, director
Dolby 88 Theater - (212) 767-1700
1350 Ave of the Americas, New York, NY 10019
To Buy Tickets Online: www.nyciff.com/thomas-chapin-page
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Three Outstanding New Discs from Mike & Kevin at Relative Pitch Records:
THE OUT LOUDS [TOMAS FUJIWARA/BEN GOLDBERG/MARY HALVORSON] - The Out Louds (Relative Pitch 1042; USA) Featuring Mary Halvorson on guitar, Ben Goldberg on clarinet and Tomas Fujiwara on drums. This fabulous Downtown all-star trio consists of three leaders, each with several bands that they are involved with simultaneously. Each one continues to make leaps and strides, as well as collaborating with elder statesmen & women like Anthony Braxton & Michael Formanek (both Halvorson & Fujiwara). Ben Goldberg has recently been tour with piano master Myra Melford as well as playing six sets here at DMG in November & December of last year (2015), each with a different cast (Nels Cline, Tony Malaby & Tom Rainey). Although Ms. Halvorson and Mr. Fujiwara often work together, this is their first collaboration with Mr. Goldberg.
The disc appears to be group improv session, long and thoughtfully constructed. The opening piece, "Starry/False" is spacious and cloud-like. On "Trout-Lily", Mr. Goldberg & Fujiwara play fast, furious lines together while Ms. Halvorson drops several depth charges , well-placed in the flurry quick circling lines until the guitar and clarinet coalesce their lines together tightly before the conclusion. Mary plays some stark, elegant guitar on "Yellow Queen", letting each note drift, as the rest of the trio quietly rustle around her, building into a more powerful, storm-like eruption when Mary hits the distortion pedal about midway through the piece. Even more explosive is "Preference", which has the guitar and sax spiraling intensely together navigated well by Fujiwara's propulsive drumming. This is a powerful, well-balanced trio which revels shifting combinations and dynamics. Often the guitar or clarinet will lock with the drums while the other lead instruments solos, the center or undertow remains intact of the current shifts gears. There are some truly magical moments here when the trio hit their stride, linking several layers of energy before they switch into some unexpected twists and turns. The Out Louds are no doubt Out Standing! - Bruce Lee Gallanter, DMG
CD $14
JEMEEL MOONDOC & HILLIARD GREENE - Cosmic Nickelodeon (Relative Pitch 1047; USA) Featuring Jemeel Moondoc on alto sax and Hilliard Greene on acoustic bass. After a series of a dozen and a half discs on labels like Eremite, Soul Note and Ayler, Downtown sax giant, Jemeel Moondoc has slowed down with releases over the past few years. This is Mr. Moondoc's third disc for Relative Pitch which includes a another fine duo with Connie Crothers. For this session, Moondoc selected one of Downtown's finest bassists: Hill Greene, who he has worked with on a previous discs for CIMP and last one for Relative Pitch. "Blues for Katie" opens and is a wonderful, laid back bluesy tune that feels just right. There is a piece called "Spiritual Medley" which includes "Swing Low, Sweet Chariot" and "Wade in the Water". It starts with a bowed bass solo which is most stirring before Moondoc's equally touching alto comes in to join him. All of the music here sound like it is coming directly from the heart and soul of each member of the duo. There is something poignant and tasty going here, two great musicians digging in and telling a righteous story. As we get older, we realize how much we are all human and share a certain living spirit with all who listen to what we have to say or sing. Beautiful and haunting. - Bruce Lee Gallanter, DMG
CD $14
KEIR NEURINGER / RAFAL MAZUR - Diachronic Paths (Relative Pitch 1046; USA) Featuring Keir Neuringer on alto sax and Rafal Mazur on acoustic bass guitar. Philly-based saxist Keir Neuringer has an impressive solo sax disc out on New Atlantis from a couple of years back, as well as a couple of earlier duo discs with Karin Hellqvist and another with Rafal Mazur (both Polish musicians, where this disc was recorded). Although Mr. Neuringer is a master of circular breathing, here he balances his lines well with Mr. Mazur's bass, both taking their time to blend their lines around one another in a most conversant way. The interplay here is often tight and intricate as both musicians are so well-matched. I like that these two know ow to lay back and let them simmer quietly. slowly and softly burning as they evolve. There is swell woven tapestry going on here, calm at the center yet occasionally spinning more quickly. Eventually Neuringer's sax starts to move into a new area of bent notes which vibrate and mutate in ways not so easy to explain but seem to have a way of turning our perceptions inside out. These are truly magical moments like entering another alien world world which we somehow recognize but is not that familiar, an alternate universe of sorts. Be patient with this disc since it takes some time to get use to the way things move and change and leave us somewhere else. Towards the end of this disc, things get even more extreme and intense. It sounds as if the gods were angry about something we did and it is now time to pay for the consequences. - Bruce Lee Gallanter, inner space explorer
CD $14
Two New Fascinating Discs from the Great Erstwhile Label, reviews next week
CHRISTIAN WOLFF / MICHAEL PISARO - Looking Around (Erstwhile 080; USA) A fascinating collaboration from two minimalist/Wandelweiser composers: Christian Wolff on prepared piano, whistles, and stones, and Michael Pisaro on guitar, harmonic and stones, recording together in Cambridge, MA for two extended works, "Looking East" and "Looking West".
CD $14
MATTHEW REVERT / VANESSA ROSSETTO - Earnest Rubbish (Erstwhile 079; USA) Three extended compositions using field recordings and electronic processing from Vanessa Rossetto and Matthew Revert, using obscure references in song titles to mask subtle dovetailing and transitioning of concrete sound and mysterious tones.
CD $14
* SAX RUINS [TATSUYA YOSHIDA/RYOKO ONO] - Blimmguass (Skin Graft 112; USA) "Ruins is a long-running avant garde Japanese rock band that has traditionally consisted of drummer Tatsuya Yoshida and a bass player. But Yoshida's compositions are so technical and weird that he's had a hard time holding onto a bassist. He seems to have found a kindred spirit in equally experimental saxophone player Ryoko Ono, though. Blimmguass is the second album from Sax Ruins, in which Yoshida and Ono recast existing Ruins songs for drums and saxophone as well as improvise new material. 'Blimmguass' takes an approach that deftly combines noise rock with a bedrock of tuneful harmony. Ono frequently uses a harmonizer to sound like an entire saxophone section, and then honks wildly over that while Yoshida drives the songs with his powerful, complex drumming. The end result resembles a simultaneously intriguing and unholy combination of free jazz and heavy metal. Sax Ruins is not for the faint of heart, but Yoshida's creativity and Ono's ear for melodic underpinnings gives the pieces a center for listeners to focus on. These lengthy performances are fascinating but they can also be fatiguing. The four improvisations at the end of the album are notable for their short length, but also for how different they sound. The melodic bits are mostly gone from Ono's playing, and Yoshida is so much looser when doing improv that he almost sounds like a different drummer. Intentionally or not, it's a great illustration of how much arranging work goes into the main compositions of Blimmguass." - Chris Conaton, Pop Matters
CD $15
* We just restocked more than a half dozen titles from Tatsuya Yoshida's different bands on Skin Graft. If you order the new Sax Ruins with any of the previous discs, you can take $1 off of each of these discs. This list is further down i this newsletter
CARLO COSTA'S ACUSTICA [With BEN GERSTEIN/JOE MOFFETT/DAN PECK/JONATHAN MORITZ/JESSE STACKEN/SEAN ALI et al - Strata (NeitherNor 004; USA) With five discs out on his own NeitherNor label, percussionist Carlo Costa, continues to evolve with each release. For this disc, Mr. Costa has organized an impressive 13-piece ensemble which includes several known and lesser-known Downtown musicians. You mostly know the brass section: Joe Moffett, Ben Gerstein and Dan Peck, since each keeps pretty busy and appear on numerous discs. You should probably recognize the rhythm section folks as well: Jesse Stacken (piano), Todd Neufeld (acoustic guitar), Sean Ali & Pascal Niggenkemper (acoustic basses).
The name of this disc and one long piece is called "Strata", which refers to layers of rock and soil. This ensemble also deals with layers of sound. Each layer or sub-group is carefully constructed and placed. This disc was recorded (live?) at I-Beam in Brooklyn ad the sound is clean and warm. The sounds often simmer or sizzle and rustle like the wind moving the trees. The use of space and silence is well-handled here with each group going and going, sounding as if this is being conducted or directed. Bowed cymbals, breath-like horns, ultra-subtle strings all take their time to unfold and hover. Eventually several layers, like those eerie strings and horns, sail in and move around one another in almost hypnotic way. The overall sound is much closer to modern chamber music and superbly captured and balanced. Consistently fascinating. - Bruce Lee Gallanter, DMG
CD $14
FLIN VAN HEMMEN With TODD NEUFELD/EIVIND OPSVIK - Drums of Days (NeitherNor 005; USA) Personnel: Todd Neufeld on acoustic guitar, Eivind Opsvik on double bass and Flin van Hemmen on piano & drums + Tony Malaby on saxes for one track. Over the past few years, I've notices Dutch drummer Flin van Hemmen playing with Thomas Heberer and Tony Malaby at places like the Spectrum and here at DMG. For this disc, his debut as a leader I believe, van Hemmen has put together a fine trio with Todd Neufeld on acoustic guitar and Eivind Opsvik on contrabass. You might recognize the name Todd Neufled from his recordings with Tyshawn Sorey and Samuel Blaser. Bassist Eivind Opsvik certainly does get around and can be found on some 50+ discs from key Downtowners: Dave Binney, Harris Eisenstadt and Nate Wolley.
Mr. van Hemmen also plays piano and that is the instrument that opens this disc: stark, hushed, exquisite, carefully crafted acoustic guitar and piano with minimal bass and percussion added like distant spice. Rather Morton Feldman-like and slowly building in intensity. On a track called, "Dream Tree", there sounds like a carnival going on in the distance, a tape of a sample perhaps, but mysterious nonetheless. On the longest track, "Aching Arches", there is a section where a poem is read quietly by two voices, fitting nicely within calm yet suspense-filled environmental music surrounding it. You must be patient with this disc as it unfolds cautiously, at its own subtle pace. The music works better when there is little or no distractions so silence or space is needed to appreciate its precious, dream-like quality. Immensely sublime, much of the time. - Bruce Lee Gallanter, DMG
CD $14
MARCO ENEIDI / ITZAM CANO / GABRIEL LAUBER - Cosmic Brujo Mutafuka (Dimensional 002; Mexico) Featuring Marco Eneidi on alto sax, Itzam Cano on contrabass and Gabriel Lauber on drums. During the eighties and nineties, saxist Marco Eneidi was an important part of the Downtown free/jazz scene, blowing up a storm of intensity with Bill Dixon, William Parker and Peter Brotzmann, as well as having nearly a dozen of his own discs out as a leader. More recently Mr. Eneidi spent a decade in Vienna, Austria but has now moved to Mexico. He just sent us two new discs featuring his Mexican trio and considering I hadn't heard of either member of his rhythm team, I am most impressed. The opening piece is called, "Fire Within" and this is indeed an appropriate title, intense, fire-breathing, free/jazz at its best! The free/jazz spirit is a universal language which transcends established geographical borders. After the explosive first piece, the trio calms down to a fine, more cerebral excursion with some impressive and thoughtful contrabass and strong mallet-work. This trio sounds like they have been working together for a long while as they are consistently tight and erupt together with several lines or currents moving together as one dynamic force. Both the bassist and drummer get their chance to stretch out and dig deep, showing the many sides of creative freedom. My next door next-door neighbor came by when I was playing this disc and asked what this insanity was? I said it is free/jazz from Mexico and smiled. No wall will keep these spirits from reaching us and blowing some minds, time and again! - Bruce Lee Gallanter, DMG
CD $15
COSMIC BRUJO MUTAFUKA [MARCO ENEIDI / ITZAM CANO / GABRIEL LAUBER] - Rhapsody of the Oppressed (Dimensional 003; Mexico) Featuring Marco Eneidi on alto sax, Itzam Cano on contrabass and Gabriel Lauber on drums. This disc was recorded two years later than the previous disc (reviewed above in this newsletter) from this cosmic Mexican free/jazz trio. Former Downtown saxist Marco Eneidi, lived in Austria for a decade and now lives in Cuernavaca, Mexico. The trio have evolved further: stronger, tighter, more intense and like one great spirit force! All but two of the pieces here are short, but no less engaging. In a blindfold test, an experienced Downtown jazz free/jazz expert might just guess that the rhythm team was William Parker and Hamid Drake, this is how strong & spirited this trio sounds. The trio now have a group name, Cosmic Brujo Mutafuka, which sounds appropriate since they sound like a perfectly well-matched trio with no leader, all integral to that group sound. There are those who preach that free jazz is dead or at least old, dusty and no longer worthy of serious study. I disagree. Free music, from around the world, is constantly reinventing itself. No, not all of it is great, but there is no denying the transformative and creative spirits which exist when one jumps in and goes along for the great ride. This is what is found here in great abundance! - Bruce Lee Gallanter, DMG
CD $15
MALCOLM GOLDSTEIN//THE RATCHET ORCHESTRA - Soweto Stomp (Mode 291; USA) Composer/performer Malcolm Goldstein (b.1936) has been active in the presentation of new music and dance since the early 1960s. He received an M.A. in music composition from Columbia University in 1960, having studied with Otto Luening. In the 1960s in New York City, he was a co-founder with James Tenney and Philip Corner of the Tone Roads Ensemble. His "Soundings" improvisations have received international acclaim for having "reinvented violin playing," extending the range of tonal/sound-texture possibilities of the instrument and revealing new dimensions of expressivity.
The pieces on this recording are structured improvisation compositions; none are through-composed, linear pieces with exactly notated tones and rhythms. The sound of the composed improvisations range from jazzy to dense microtonal sounds. The works on 'Soweto Stomp' features Goldstein not only as composer, but also as a soloist and ensemble performer. Established in 1992, the eclectic Ratchet Orchestra serves as a meeting place for Montreal musicians interested in creating new and vibrant music. Many of the city's most active and creative composers, instrumentalists and improvisers play in the ensemble.
Collectively, the Ratchet owe an enormous debt to Goldstein who has mentored and worked with many of the band members in the past. Their close connection is evident in the musical performances here.
CD $15
CHRISTOPHER ZUAR ORCHESTRA With JASON RIGBY/BRIAN LANDRUS/ALAN FERBER/PETE McCANN/FRANK CARLBERG/JOHN HEBERT/ et al - Musings (Sunnyside 1434; USA) "The mind has a tendency to wander - the artist just knows to follow where it leads. Whether struggling with personal issues, searching for one's place in life, reflecting on loved ones or simply observing life as it passes by the nearest window, one's muse can take many forms, all capable of leading to inspiration. For his new recording, Musings, composer/arranger Christopher Zuar incorporates a variety of emotional and musical sources to create a program of highly original, self-reflective and expressive compositions performed by an extraordinary ensemble." CD $15
Back in Stock:
ROSCOE MITCHELL - Sustain and Run (Sesc Selo 0065/15; Brazil) Featuring Roscoe Mitchell on solo soprano & sopranino saxes. Recorded in August of 2013 in Brazil. According to the liner notes, the first recording of solo sax was done in 1937 (by Gene Sedric/Saxophone Doodle). It took another 30 years for Anthony Braxton's 'For Alto' to be released in 1968, ushering in an era solo sax explorations to follow. Since then, there have been dozens of saxists performing solo, although only a few have continued to perform and record throughout their careers: Anthony Braxton, Evan Parker and Roscoe Mitchell are the most prominent. It has been a while since Mr. Mitchell has recorded a solo sax disc, the last one was a three-CD set for Mutable in 2004. This disc was recorded live at Teatro Sesc Pompeia in August of 2013 at two concerts. Mr. Mitchell, who is known to play many reed instruments, sticks to just sopranino (3 tracks) & soprano saxes (1 track). Recordings of solo sopranino sax are pretty rare, although Jon Irabagon did release one last year. This disc is superbly recorded and especially intense. Since Mr. Mitchell is a master of circular breathing and multiphonics, he consistently twists notes inside out in his own distinctive way. Certain high pitched notes cut through, stinging our senses, are quite brittle and often breath-taking. When Mitchell switches to soprano, he is no less focused. He takes his time, cautiously bending each note, assembling fragments in a most fascinating way. Mr. Mitchell does a great job of creating his own sonic world or environment, the stream of notes keeping us off balance so that we have to hold on or drown. Some musicians tend to mellow a bit with age but never Roscoe Mitchell who remains a master musician, composer and bandleader. This is a tour-de-force effort! - Bruce Lee Gallanter, DMG
CD $14
ICP ORCHESTRA [INSTANT COMPOSERS POOL: GUUS JANSSEN/HAN BENNINK/TRISTAN HONSINGER/MICHAEL MOORE/THOMAS HEBERER et al] - East of the Sun (ICP 51; The Netherlands)
CD $20 (last few copies & then most likely gone for good)
When we listed this box-set a couple of months ago, all of our copies we had sold out immediately. They are finally back in stock and all old orders will be take care of. Don't hesitate if you also want this nicely-priced gem:
KLAUS SCHULZE & PETE NAMLOOK - The Dark Side of the Moog Vol. 1-4 [5 CD Set](Made in Germany 1382; Germany) "Complex re-release of the most remarkable and worldwide sought after series The Dark Side Of The Moog by German electronic pioneers Klaus Schulze and Pete Namlook (aka Peter Kuhlmann) in three slip lid boxsets, each with 5 CDs, incl. bonus material and new linernotes. The first box contains Vol. 1 to Vol. 4 and the Best Of-Album The Evolution Of The Dark Side Of The Moog. Their relationship between Klaus and Pete and the exchange of ideas was unorthodox from the beginning of their co-operation, in that they rarely met personally. The most remarkable contacts they had were outside of their studios, for instance their concert of April 1999 at the Jazz Festival in Hamburg , which was released as an edited version on Dark Side Of The Moog, Vol.8 (will be released in the second Boxset) - the interplay and chemistry between them is clearly evident, and it becomes even clearer on the un-edited version of the concert (which will be released as bonus CS on the third boxset). The influence Namlook had on Klaus's music in the middle of the nineties should not be taken lightly, because although Klaus dearly loved those early-analogue elements from his own music, they had become, to an extent, lost. It was Pete who fortified him to go back to the analogue charm of his early albums and it was Pete who supported him in the modification of his analogue instruments, leading finally to the epoch-making Schulze album from 1996 - Are You Sequenced? And so a legendary series of recordings was born. Dark Side Of The Moog grew more or less unplanned to a sprawling, stately-sized series of eleven volumes recorded between 1994 and 2008, only ending with the early, tragic death of Pete on November 8th 2012."
5 CD Set $35
* Bill Laswell/Movie Gold Reissues & Other Downtown Related Self-Releases:
TONY WILLIAMS LIFETIME With JOHN McLAUGHLIN/LARRY YOUNG/JACK BRUCE//BILL LASWELL - Turn It Over (Redux): Mix Translation By Bill Laswell (Movie Gold/Yellow Jester 124C41; UK)
CD $15
ARCANA [BILL LASWELL/TONY WILLIAMS/NICKY SKOPELITIS/PHAROAH SANDERS/BYARD LANCASTER/BUCKETHEAD/GRAHAM HAYNES] - Arc Of The Testimony (Movie Gold ,EEC)
CD $15
AUTONOMOUS ZONE [GINGER BAKER/AKIRA SAKATA/PETER BROTZMANN/BILL LASWELL/HIDEO YAMAKI/ANTON FIER/TOSHINORI KONDO et al] - The Map Is Not The Territory (Movie Gold ,EEC)
CD $15
BILL LASWELL UNAUTHORIZED CUT-UP [V.A. mix With ORNETTE COLEMAN/WILLIAM S BURROUGHS/PHAROAH SANDERS/TONY WILLIAMS et al] - Vol 1: Excavation (Movie Gold ,USA)
CD $15
BILL LASWELL - In Praise Of Shadows: Laswell Remixes Classical Recordings (Movie Gold ,USA)
CD $14
FLYING MIJINKO BAND [AKIRA SAKATA/BILL LASWELL/NICKY SKOPELITIS/MICHIHIRO SATO/ANTON FIER et al] - Central Asian Tour [2 CD set] (Movie Gold ,Japan)
2 CD Set $20
MATERIAL [BILL LASWELL With MICHAEL BEINHORN/CLIFF CULTRERI or ROBERT QUINE/FRED MAHER or BILL BACON] - Temporary Music 1979-1981 [aka Secret Life]: Temporary Music 1/Temporary Music 2/American Songs (Movie Gold ,EEC)
CD $15
MATERIAL [BILL LASWELL/MICHAEL BEINHORN/FRED MAHER/SONNY SHARROCK/FRED FRITH/HENRY THREADGILL/GEORGE E LEWIS/OLU DARA/BILLY BANG et al - Memory Serves (Movie Gold ,EEC)
CD $15
POWER TOOLS [RONALD SHANNON JACKSON/BILL FRISELL/MELVIN GIBBS] - Strange Meeting (Self-Released; USA) [2nd edition CD-R]
CD $16
POWER TOOLS [RONALD SHANNON JACKSON/BILL FRISELL/MELVIN GIBBS] - Live in London (Self-Released; USA)[CD-R]
CD $16
AKIRA SAKATA With BILL LASWELL/NICKY SKOPELITIS/AIYB DIENG - Silent Plankton (Movie Gold ,EEC)
CD $15
NICKY SKOPELITIS With BILL LASWELL/FRED FRITH/SIMON SHAHEEN/GINGER BAKER/AIYB DIENG - Next To Nothing (Movie Gold ,EEC)
CD $16
TECHNOVOODU [HERBIE HANCOCK/BILL LASWELL] - Astral Black Simulations: Electronic Music 1973-1988 (Movie Gold ,USA)
CD $15
* HIDEO YAMAKI With BILL LASWELL/TOSHINORI KONDO/GINGER BAKER/YASUAKI SHIMIZU/BERNIE WORRELL et al - Shadow Run (Movie Gold ,EEC)
CD $15
Next Saturday, April 16th at 10pm BILL LASWELL and HIDEO YAMAKI (amazing legendary Japanese drummer!) will play a are set at The Stone! Not to be missed!!
* We just restocked more than a half dozen titles from Tatsuya Yoshida's different bands on Skin Graft. If you order the new Sax Ruins with any of the previous discs, you can take $1 off of each of these discs. This list is further down i this newsletter
Rare Skin Graft Restocks:
RUINS - Pallaschtom (Skin Graft 79; USA) Describing the Ruins is like describing The Beatles or Captain Beefheart - you either don't or shouldn't need any explanation. It's the flagship project of The Emperor of Prog, Tatusya Yoshida. But anyway, despite upwards of thirty releases, every Ruins album is a little different. This one is probably the best of their last major phase of development with six-string electric bass guitarist Hisashi Sasaki, who took the aspect of bass guitar virtuosity to its peak within the Ruins oeuvre, virtually functioning as a one-man orchestra between his expert motor system and expert equipment, allowing Yoshida to indulge his most extravagant and complex compositional fantasies for the duo format. The wild, chanting vocals in a Magma-inspired self-invented phonetic system and the god-like herkyjerky spastic seizures of the drumkit and bass guitar unit are as ecstatic as ever here. This brand new release from Skin Graft is a much-needed reissue of the 2000 release for the US market.The album was co-released originally by Tatsuya Yoshida's own Magaibutsu label in Japan and Sonore in France, but the French version that was given better US distribution was missing two of the best "bonus track" style pieces on the album, the "Hard Rock Medley" and the "Progressive Rock Medley", reserved for the Japanese version only (which was, however, personally sold by Yoshida on a US tour at the time, which is how I got my copy), a common practice in the Japanese music business. Both versions did include the "Classical Music Medley", however, and live versions of the prog and hard rock medleys appear on the 2001 Tzadik release Mandala 2000/Live at Kichijoji Mandala II. If you want to hear their Black Sabbath and Mahavishnu Orchestra medleys (somewhat underwhelming to me, to be honest, maybe because they are two of my all-time favorite bands and I'm picky), you have to get their most recent studio album, the 2002 Magaibutsu/Ipecac release Tzomborgha! Here's the breakdown for the three, mind-boggling medleys you will hear on this remastered reissue from Skin Graft. Notice how short they are. The Ruins are the ultimate scientists of Atomic Riffology. - Michael Anton Parker
CD $15
RUINS - Vrresto (Skin Graft 76; USA)"Drummer and leader Tatsuya Yoshida shares writing credits with his bassist, Hisashi Sasaki, on about half the tunes on Ruins' fifth LP of new material, though you'd be hard-pressed to notice a huge difference. In general, their sound is less harsh than on earlier albums, though they have remained one of the most consistently spastic bands in rock history. Vrresto expands on the budding improvisational tendencies of 1995's Hydermomastgroningem, though occasionally at the expense of maintaining the kinetic momentum of the songs. In some ways, this record represents Ruins' transition from punky progressive rock addicts into brawny representatives of the avant-garde. That said, "Warrido" is an energetic track in the classic Ruins style. Similar to many other pieces on this album, this one features Sasaki performing with MIDI enhancements, giving his lines a synthesized edge. Yoshida's bouncy disco beat propels the song, which although technically more sophisticated than previous efforts, is still raw and fun. "Savollodix" is a somewhat chaotic tune that features more MIDI bass and impossibly convoluted vocal gymnastics from the duo. The synth sound is actually similar to that of Yoshida's 1991 solo release, Magaibutsu, and Sasaki overdubs more bass during a section wherein the group's penchant for compact freakout is put to good use." - Dominique Leone, AMG
CD $15
RUINS - Refusal Fossil (Skin Graft 87; USA)new 2007 remaster includes five previously unreleased tracks, all remixed and re-mastered by the band's Yoshida Tatsuya (Koenjihyakkei); 25 tracks total The first Ruins release to feature new bassist Sasaki Hishashi [1998], a longtime vet of the Japanese grindcore scene, Refusal Fossil doesn't deviate at all from the pattern of previous releases -- this is music of extreme intensity, unforgiving bass-and-drum noise typified by stop-on-a-dime tempos and time signatures and lyrics sung in a language plainly not of this earth. ~ Jason Ankeny, AMG
CD $15
RUINS - Alone (Skin Graft 100; USA) Formed by drummer/vocalist Yoshida Tatsuya in 1985, RUINS played two rehearsals as a drum and bass duo before attempting to add a guitarist to fill out their sound. After a handful of rehearsals as a trio, the band abandoned the guitar and chose to jettison forward as a two piece. For nearly 20 years, Yoshida would remain the guiding force behind the band, while RUINS' bass duties would change hands four times. in 2004 Sasaki Hisahi - the last of the four bassists, and also the one with the longest tenure of 10 years - retired from the band. In the summer of 2005, Yoshida took on the task of performing the music of RUINS solo, while performing with a different guest bass player in each city, embarking on the "Bassist Wanted Tour". After that tour, Yoshida continued RUINS as a one-man act, touring as RUINS Alone. It's now been nearly 10 years since the last RUINS album was released. Now, having traveled the world time and time again, refining RUINS for the 21st century, Yoshida has released the debut album from RUINS Alone, featuring all new compositions, as well as new recordings of classic RUINS songs sporting new arrangements!
CD $15
KOENJIHYAKKEI - Viva Koenji!! (Skin Graft 83; USA) When it comes to highly-desired, collector brow perspired, albums, KOENJIHYAKKEI's second full length "Viva Koenji!!" takes the present-day prog cake. With the original pressing routinely going for two arms and a leg on the collector's market, it occurred to those ingenious overseers' at Skin Graft that there just might be interest in seeing the record brought back from the grave. "Following the release of 2005's "Angherr Shisspa", Skin Graft proudly presents Koenjihyakkei's second album "Viva Koenji!!" to western listeners. With the original issue on Japan's God Mountain label largely unheard, "Viva Koenji!!", generally considered the band's heaviest album, returns to print in an affordable remastered edition. Headed by vocalist / composer / drummer extraordinaire, Yoshida Tatsuya (of the bass and drum duo RUINS), Koenjihyakkei sports a listenership comprised of Zeuhl/Magma prog fans, no-wavers and adventurous music enthusiasts; and has proven itself the most exciting contemporary progressive rock act on the planet. " - Charlie Nite.
CD $15
KOREKYOJINN - Tundra (Skin Graft 102; USA)This is Korekyojinn's 6th release and another great, great power-trio release by this excellent Japanese band featuring amazing drummer Yoshida Tatsuya, leader of Ruins and Koenjihyakkei, mighty guitarist Kido Natsuki [Bondage Fruit] and astounding bassist bassist Nasuno Mitsuru [Altered States]. This band is one of my favorite things that Yoshida is involved with - and heaven knows that he's involved with a lot of good stuff! The basic framework of a good Korekyojinn album (and I think this is the best one yet) is that they have good structures for the band to work their magic around, but enough looseness that they can really take off and roar. Highly recommended if you like Yoshida's work, Bondage Fruit or great, heavy power trios. As a friend pointed out (something I never noticed, but once he pointed it out, I had to agree) it's obvious that these guys really like Yes, combined with heavier music, such as Magma; at its best, this reminds me a lot of the very heaviest guitar/bass/drums sections of Yes (think of the opening few minutes of Close to the Edge) with everyone just going full-throttle around a basic theme) but combine it with Christian Vander-esque drumming. Totally great; I can't recommend this enough
CD $15
CHEER-ACCIDENT - Introducing Lemon (Skin Graft 71; USA) "Cheer-Accident is a band overflowing with chops and ideas, but not always the type of focus or good taste needed to put them to best use. Like most of their other work, Introducing Lemon has moments that are brilliant and others that are aimless and annoying. The centerpiece here is the 20-plus-minute opener, "The Autumn Wind Is a Pirate," a long instrumental voyage that alternates between Zappa-like prog acrobatics, a mellow middle section with melodica and acoustic slide guitar, and, out of nowhere, a tight funky part at the end with a gorgeous, trombone-heavy horn arrangement. However, the next song, "Camp o' Physique," is rendered unlistenable by overbearingly jokey vocals, as is the fourth song, "Track 29." On the plus side, "Smile" is a flawless, relaxed pop song that is easily the album's highlight, not just because it's catchy and lyrically moving, but because it has a directness and a sense of tasteful restraint that's often missing elsewhere here. "Find" hits on some of the same jazzy pop cylinders amid its lengthier instrumental passages, which include a long, looping "fade-out" before the song surprisingly picks up again at about the 15-minute mark. Ultimately, of this disc's 70-plus minutes, only about half of it is genuinely entertaining, the rest coming off as either meandering or else downright annoying. Cheer-Accident have a great album in them; they just need to job a better job of editing their ideas." - William York, AMG
CD $15
TREVOR WATTS STRING ENSEMBLE - Cynosure + 3 Bonus Tracks (Hi4Head 018; UK) Featuring: Trevor Watts on alto & soprano saxes, Dave Cole & Steve Hayton on guitars, Steve Donachie on violin, Sandy Spencer on cello, Colin McKenzie on bass guitar, Lindsay Cooper on double bass and Liam Genockey on drums. This set was recorded live at the Notre dame Theatre in London in 1976. Former SME saxist Trevor Watts has evolved through several groups (Amalgam to Moire Music Group), from free to his own version of fusion to an African groove ensemble. The transitions are not really smooth or distinct since there are overlapping members and experimentation going on. This ensemble includes several members of a version of Amalgam (Cole, McKenzie & Genockey) plus two string players (Donachie & Spencer) who I've never heard of.
The music here has an odd, robust rather harmolodic sound, which is no surprise since Ornette Coleman has long been an inspiration for both Trevor Watts and his partner in SME, John Stevens. "Another Time", which is also the title track from an Amalgam release, kicks things off. Since this is a double band with two guitars, two strings and two basses, there is an interlocking groove going on here. The recording is a bit shrill (just needs to be adjusted a bit) but the music is no less infectious. On "No Waiting", Mr. Watts splits up several lines into interlocking patterns. While the band plays those tight, complex lines together, Watts spins a quick web of soprano notes over the top with astonishing results. Towards the end of this piece, the pace speeds up to an exhilarating pace, like riding on a roller coaster. Similar to (Ornette's electric band) Prime Time, this ensemble also has several tight, shifting lines going on simultaneously so that everyone in the band is integral to their interconnected sound. If this were a studio date, it might just one of the great lost gems that combines several styles/ideas into a rich blend that is in-between any established categories. On a piece called "Chip", the ensemble is playing so fast, it sounds as if they about lose balance and fly apart! Unbelievable! Considering that this concert/disc was recorded in 1976, no doubt that this band would give any punk band (like the SexPistols) a run for their money! Too much! - Bruce Lee Gallanter, DMG
CD $12
TOSHI ICHIYANAGI - Shikisokuzekuu-Kuusokuzeshiki (Edition Omega Point 020; Japan) The details of Shikisokuzekuu-Kuusokuzeshiki (1964) are unknown except that it was created at the NHK electronic music studio. According to Toshi Ichiyanagi, there were various discussions about the title, but it would seem to have been eventually broadcasted on the radio with the title Kuu after a producer renamed it. Here, the original title is used, following Ichiyanagi's initial intention. This work has no relation to the short experimental film Shikisokuzekuu (1974), produced by filmmaker Toshio Matsumoto with tape music by Ichiyanagi. Extended Voices was released in 1967 on the Extended Voices LP on Columbia's Odyssey sublabel; a new version mixing baritone voices of Takashi Matsudaira to a monaural tape part was released by Omega Point in 2014 (OPX 013CD), but since the stereo version was found later, it is added here as a tape work without voice. Tape recording provided by Gregor Meyer. Gatefold cardboard sleeve. Liner notes in Japanese and English. Edition of 500 copies.
CD $26
PACIFIC 231 - Ethnicities (Rotorelief 002; France) Ethnicities is a collection of previously unreleased recordings from Pacific 231's post-industrial period. Successive and consecutive cuts were made before the artist put together the concept of the album as a pluricultural diversity of sounds, with tropical steams, exotic journeys, electronic manipulations, urban dins, and industrial mazes. An unexpected psychedelic patchwork from Pacific 231. Composed, recorded, mixed and produced by Pierre Jolivet. Mastered by Laurent Pernice. Graphic design by Patricia Leclerc from pictures from Pierre Jolivet.
CD $15
PACIFIC 231 & VOX POPULI! - Aramesh (Rotorelief 016; France) A collaboration between Pacific 231 and Vox Populi! A synthesis of East-meets-West colliding with the most experimental sounds and collages. Building up stacks of multi-directional creations using binaural technology to fully immerse the listener. Axel Kyrou: JD-800 and Pro One synthesizers, MC-808 and ASR-X workstations, resonant objects, field recordings, voice. Pierre Jolivet: electronics, effects, acousmatic, spatialization. Chester Harlan: guitar on "Gharb." Francois Poli: voices on "Sawt." Mitra Kyrou-Khalatbari: vocals on "Sawt." Arach Khalatbari: flute on "Alif." Fr6 Man: bass and guitar on "Asas." Recorded, produced, and mixed by Axel Kyrou and Pierre Jolivet, 2009, Paris and Dublin. Graphic design by Peter Mendelsund, 2009. Tracks 01, 04, 05, 09, 11, 12, 13, 14, and 15 are binaural recordings.
CD $15
THE FAMILY OF APOSTOLIC - The Family Of Apostolic (Future Days 613; USA) "Apostolic was many things: a label, a collective, a state of mind even. But before all of that, it was a recording studio set up by New Yorker John Townley. As a member of the Magicians, (you recognize that name from the Nuggets albums), Townley worked in some of the finest studios in the USA, but he felt he was on a conveyor belt. 'You had to do the creation ahead of time, which is not my idea of a good time,' he says now. 'You had all this stuff to play with, and you weren't allowed to play with it.' When Townley came into an $85,000 inheritance he immediately invested in a loft building on 10th Street, New York, against the advice of, well, 'everybody'. But there were fellow believers. Friends Matt Hoffman and Michael and Danny Weiss, heirs to the Weiss jewelry fortune, helped assemble the studio, which was built to bleeding-edge specifications and even had a 12-track recorder. Soon, it was attracting likeminded souls such as Frank Zappa, whose Mothers Of Invention recorded several landmark LPs at Apostolic. But the greatest example of the output of this artistic community is the sprawling double LP The Family of Apostolic. A utopian album inspired by global cultures ranging from Pakistani folk songs to Scottish traditional music and Chinese opera, it was made by a cast of 19, bonded by a desire to create 'primitive performance art' from surrealist happenings. 'The idea of Apostolic was that the whole operation was a family,' says Townley. 'Anybody could do anything if they participated.' Despite the possibilities opened up by the studio and the chance to treat the desk as an instrument, The Family Of Apostolic is nonetheless a folk record at heart, and sounds downright spare in places. The experimentation was there in subtle ways, per Townley's desire for each song to be 'like just a natural happening. We were trying to get a very close, upfront, live feeling.' Released under a deal with Vanguard, the rambling album proved too difficult to market. Singles were released under different artist names, serving only to confuse the public more. Soon the studio was heading down the tubes, thanks in part to Jimi Hendrix's multi-track studio Electric Lady opening two blocks away. And before long, the Apostolic dream was over. The album remains a curate's egg, but one filled with delights. Opening track Redeemer asks, 'O say, are you a true believer?' By the time you've listened to our deluxe reissue, you will be."
CD $16
2 LP Set $30
LP Only Section:
STEPHEN O'MALLEY - End Ground (Ideal Recordings 135; Sweden) End Ground forms the 3rd and final installment in a series of records documenting the solo prowess of Sunn 0)))'s Stephen O'Malley released on Sweden's iDEAL Recordings. It was performed on electric guitar thru Sunn model T amps, and captured on zoom H4 at Centre Cultural Suisse, Bad Bonn Carte Blanche, Paris, France, on October 18th, 2013. In solo mode, stripped of his usual accomplices and collaborators, O'Malley is no less than an elemental force. His durational meditations absorb and consume with steady-handed wave after wave of charred, sustained, and sub-harmonized chords casting the mesmerizing minimalist practice of La Monte Young into the physicality of Black Sabbath's original, heavy metal die. The A-side/first half of this 45 minute performance features O'Malley tentatively coaxing out languorous riffs which turn the air around him to a pensive, vibrating mush. As the 2nd half dawns he begins to deliver more crushing blows, drawing out and subsiding the chords with a patented, gut-wrenching and vivifying power that transcends rock, avant-garde, minimalism -- all of that -- to awaken dormant senses not usually experienced with other musics or concise temporality. As with many of the most affective heavy drone recordings by Sunn 0))), among others, a modicum of patience is required in order to attain the right state for reception, but once your mind and body are malleable, the impact is deliciously visceral, primal and whelming. Mastered and cut by Matt Colton. Individually hand-numbered edition of 700 copies.
LP $24
ARTHUR RUSSELL - Tower Of Meaning (Audika 1015; USA) "Arthur's epic minimalist orchestral composition conducted by the late Julius Eastman. Stunningly beautiful, mercurial, and moving. The transcendental, ephemeral soundscape originally intended for theatrical performance. First released in 1983 on Chatham Square. The Audika release replicates the original artwork with remastered audio." 'Almost medievally pure music in which tone combinations of two or three notes tuned to modal/raga scales are played by various instrumental groups. There is a love of listening to the pure combinations per se, as they are delivered at a regular, moderate pace...then, unpredictably, rich or dissonant chords will be held that open your mind's ear, and take your breath away....the sudden ceasing of the music at certain points also has a similar effect.' - 'Blue' Gene Tyranny
LP $19
STEVE REICH - Berkeley University Museum - November 7, 1970 (Modern Silence 001; Malta) A live performance of four early works by Steve Reich: "Four Organs," "My Name Is," "Piano Phase," and "Phase Patterns." This 1970 performance marked an important moment in San Francisco Bay Area new music history with the triumphant return to the East Bay by Reich, who studied at Mills College with Luciano Berio and performed the 1964 world premiere of Terry Riley's seminal In C at the San Francisco Tape Music Center. The resonant acoustics of the University of California at Berkeley Museum's concrete interior were especially appropriate for "Four Organs", with its long additive sustained chords over a maraca pulse. Limited edition of 500. 180 gr
LP $26
EDGAR VARESE - Music of Edgar Varese Vol. 1 (Modern Silence 002; Malta) Reissue of Music Of Edgar Varese, originally released on Columbia Masterworks in 1960. 180-gram LP. Limited edition of 500. From the original liner notes: "Edgard Varese belongs to the generation of Bela Bartok, Igor Stravinsky, and Anton Webern. Each of these composers produced a music of extreme individuality, like nothing of his contemporaries, and a radical break with that of the previous century. They may be said to have carried music to the limits of atomization, where one or another of its different elements seem to predominate. 'Ionisation' (Paris, 1931) requires an ensemble of thirteen musicians who play a total of thirty-seven percussion instruments. . . . Most of 'Ionisation' is composed with sonorities of percussion instruments alone. They are pitched instruments, of course, but belong to a category of pitch that we hear only as 'high' or 'low,' 'deep' or 'shallow'; timbre, rather than pitch, is the most conspicuous property of Varese's orchestra, and rhythm and timbre are the principal elements of 'Ionisation'. . . . The sense of progress and development the listener feels from the first bar to the last, 'Ionisation' is noble music, capable of exalting the listener. When the masterpieces of the twentieth century are enumerated, it should be on the list, not in first place, perhaps, but there, nevertheless. 'Density 21.5,' a composition for unaccompanied flute solo, was written in January 1936, 'at the request of Georges Barrere for the inauguration of his platinum flute.' . . . The 'Poeme Electronique,' an example of Organized Sound, the technique that has come to occupy Varese's attention since 'Density 21.5' (he rejects the term musique concrete as inapplicable to his kind of composition), was created in close collaboration with the architect Le Corbusier for the Philips Radio Corporation's pavilion at the Brussels Exposition. Le Corbusier designed the pavilion in the shape of a three-peaked circus tent externally and (to use his own analogy) in the shape of a cow's stomach internally. This provided a series of hyperbolic and parabolic curves from which Varese could project his 480-seconds-long composition. Along these curves, placed with infinite care, were no fewer than 400 loudspeakers through which the 'Poeme' swept in continuous arcs of sound. . . . The audience, some fifteen or sixteen thousand people daily for six months, evinced reactions almost as kaleidoscopic as the sounds and images they encountered - terror, anger, stunned awe, amusement, wild enthusiasm."
LP $26
EDGAR VARESE - Complete Works (Modern Silence 004; Malta) The French-born Edgar Varese (1883-1965) believed music to be both an art and a science. His pioneering use of electronic instruments like the Theremin, along with his theory of "organized sound," earned him the impressive title of "Father of Electronic Music." Varese spent the early '20s as a starving composer in NYC, writing works like the percussionless "Octandre" and "Integrales," his first piece to use the term "spatial music." Upon returning to Paris in 1928, he composed the celebrated "Ionisation," the first piece ever written for an entirely percussive ensemble (13 percussionists playing 40 instruments). His 1936 piece "Density 21.5," written for solo flute for the premiere of George Barrere's new platinum flute, is one of the great masterpieces for unaccompanied flute. It is also one of the only compositions written by Varese during this decade. His next major work, "Deserts," was in fact not written until 1950. It was the first piece ever written for magnetic tape and orchestra and was meant to be the soundtrack to a film that would juxtapose images of actual deserts with images from past wars (the great "deserts" of civilization). This LP, originally released in 1950, includes "Integrales," "Octandre," "Density 21.5," "Ionisation," "Interpolation I," "Interpolation II," and "Interpolation III." It's reissued here on 180-gram vinyl in a limited edition of 500.
LP $26
` LOMA - A Soul Music Love Affair, Volume Three: Sad, Sad Feeling 1964-68 (Future Days 626; USA) "Several years of in-depth research into the Loma vault provide the content of our third volume. It celebrates the many sophisticated uptown productions on the label, mostly cut in New York under the auspices of Ragovoy, Van McCoy, George Kerr, Richard Tee, and other soul notables. Loma goddess -- and Aretha's favorite singer -- Linda Jones gets us 'Hypnotized' while Bobby Freeman spooks with 'Shadow Of Your Love.' Rarities include soulful items from The Realistics, Bobby Reed, Mary Lee Whitney, and Tommy Starr, along with several unreleased titles, including heart wrenching nuggets by The Enchanters and Carl Hall, and the never-before-heard Bob & Earl gem 'Just One Look In Your Eyes'. With full historical notes on artist and label history and many rare illustrations, Loma: A Soul Music Love Affair is a fresh and invigorating celebration of one of 60s soul's most storied imprints."
LP $25
LOMA - A Soul Music Love Affair, Volume Four: Sweeter Than Sweet Things 1964-68 (Future Days 627; USA) "Last but not least, our unprecedented dig into the Loma Record vaults has thrown up a surfeit of soulful goodies for the final volume, many of which are previously unreleased. Northern soul fans will marvel at the dance-floor potential of The Marvellos' 'I Need You' or The Invincibles' 'Heartstrings.' Aficionados of the Ragovoy-supervised uptown sound will groove on Carl Hall's 'Like I Told You' and Ben Aiken's 'That's All You Gotta Do.' The tracklist also shines light on many unfairly overlooked entries in the Loma listings by the likes of Linda Jones, Billy Storm, The Implements, and The Realistics, and yet more compelling cuts from The Apollas, Teen Turbans, and The Mighty Hannibal remind us just why we love Loma. With full historical notes on artist and label history and many rare illustrations, Loma: A Soul Music Love Affairis a fresh and invigorating celebration of one of 60s soul's most storied imprints."
LP $25
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