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DMG Newsletter for February 17th, 2017

This Week’s Sonic Menu Features Tasty Treats from:

Stephan Crump / Ingrid Laubrock / Cory Smythe! Aki Takase & David Murray! Four from Cuneiform: Microscopic Septet/Chicago/London Underground/Thinking Plague/Ed Palermo Big Band! Stuart Popejoy/Steve Swell/Avram Fefer/Sarah Bernstein/Kenny Wolleson! Iconoclast!

Ross Hammond Solo 12-String! Jon Irabagon New Trio! Plus Historic/Archival/Restocked discs from: Terry Riley Classic 2 CD Set! Karen Dalton! Duology Andrew Cyrille! Marco Eneidi’s Cosmic Brujo Mutafuka! Big Ellery Eskelin Collection of Rarities! FMR Sale and LP’s from Diz & Bird! Marcel Duchamp! And even more..!


The FREE DMG Weekly New Music In-Store Series Continues on Sundays with:

Sunday, February 19th:
6pm: NICK FRASER and INGRID LAUBROCK - Drums & Sax - Toronto / New York
7pm: MOOSEBUMPS: Sax and Drums from Sweden

Sunday, February 26th:

Sunday, March 5th:

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


New Things! Two from Intakt in Stock early next week:

STEPHAN CRUMP / INGRID LAUBROCK / CORY SMYTHE - Planktonic Finales (Intakt 285; Switzerland) Featuring Stephan Crump on acoustic bass, Ingrid Laubrock on tenor & soprano sax and Cory Smythe on piano. Just last week I reviewed a new quartet disc led by bassist Stephan Crump which was is in constant rotation at DMG. I caught Mr. Crump with the Kris Davis Trio as well recently and love his duo with Mary Halvorson as well as his Rosetta Trio. Ingrid Laubrock has blossomed since moving to New York and leads several great bands, as well as putting herself in many challenging improv situations. Pianist Cory Smythe has collaborated with Tyshawn Sorey for two fine records and has played the written music of several noted composers.
Although this appears to be an all improv session, it is difficult to tell since it does sound like thoughtfully composed chamber music. Cautious, slow moving, refined, thematic, an idea or phrase is started by one member of the trio and then real interaction takes over. The tenor sax and bowed bass play tight lines around one another while the piano inserts quick fractured phrases connecting with all three. Ms. Laubrock draws from a wealth of tenor styles/phrases/ideas, reinventing her approach over and over while the music unfolds, switching directions and moves in unexpected ways. Marvelous music. Expanding, contracting, reaching deep inside, taking chances and ending with surprising twists. Another one of those wonderful improv sessions that captured the moment just right. There are a handful of explosive moments that will knock you on your tush, if you aren’t already sitting down. So watch out! - Bruce Lee Gallanter, DMG
CD $18

AKI TAKASE / DAVID MURRAY - Cherry Sakura (Intakt 278; Switzerland) “Coming hard on the heels of the excellent collaboration album Perfection, saxophonist and bass clarinet player David Murray teams up with pianist Aki Takase for a stellar album of duet performances. They open the album with the dark and moody "Cherry - Sakura" which is dark and lonely, yet romantic. There are solo spots for each musician and some lush collective playing. "A Very Long Letter" is fast and bouncy with a buoyant pulse. Murray plays some very exciting and scouring tenor saxophone which is balanced by rippling and dynamic piano. The music is reflexive, powerfully strong and rhythmic, with solo spots for squalls of muscular saxophone, and clashing notes and chords. The Thelonious Monk composition "Let's Cool One" is a real treat with swinging bass clarinet and piano developing into a great keyboard solo which has a touch of the stride style, and then a return to a dancing and swaying duet. The lush tenor saxophone and piano ballad "To A.P. Kern" has a soft, sultry and very patient form, with well executed solo sections for each musician. "Stressology" is a very nice medium to up tempo song that evokes powerful peals of sound from Murray's saxophone, which sounds truly inspired, and he is met with a classy statement from his partner. Murray develops a scratchy, raw and immediate tone on "Nobuko" which is met with a full and serious tone from the keyboard, developing into a patient and spacious improvised section. They return to a bright and swinging feel on "Blues for David," making for a rich sounding conversation amongst friends, and a patient and thoughtful piano solo. Finally, "A Long March to Freedom" ends the album in sparkling form, beginning at a medium to low tempo, approaching a ballad format, with Murray's huge tenor saxophone tone engaging Takase's deep and emotional piano chords. The music evolves into a soulful and gentle duet with spacious piano playing and lustrous saxophone. This music has the makings of an inspired partnership, and the album will be released next month marking a bravura performance that should not be missed.” - Tim Niland,
CD $18

Four Fabulous New Discs from Our Friends at the CUNEIFORM Label in Stock Next Week:

THE MICROSCOPIC SEPTET - Been Up So Long It Looks Like Down to Me: The Micros Play the Blues (Cuneiform 425; USA)
CD $15

CD $15

THINKING PLAGUE - Hoping Against Hope (Cuneiform 421; USA) America’s greatest progressive/RIO-like band returns! 35 years and still evolving!
CD $15

THE ED PALERMO BIG BAND - The Great Un-American Songbook: Volumes I & II (Cuneiform 435-436; USA) Covering: The Beatles, the Move, Rolling Stones, Cream, Jeff Beck, King Crimson, Jeff Beck, Blodwyn Pig & many more!
2 CD Set $21

Cuneiform Releases with Blurbs below:

THE MICROSCOPIC SEPTET With JOEL FORRESTER / PHILLIP JOHNSTON/ et al - Been Up So Long It Looks Like Down to Me: The Micros Play the Blues (Cuneiform 425; USA) “It takes an unusual band to make news out of the blues, and The Microscopic Septet deliver a gripping investigation of the form on Been Up So Long It Looks Like Down to Me: The Micros Play the Blues, which continues the band’s brilliant resurgence.
Since storming back into action in 2006 after a 14-year hiatus, the radically old-school combo has continued to evolve and extend its reputation. The new album builds on the band’s longstanding love of that most basic and profound musical form, bringing the same reverently irreverent and insistently playful approach to the blues that has marked the Micros music from the beginning. The blues provide another avenue for the band to explore jazz history while forging a sound quite unlike any other ensemble.
Simultaneously embracing the past and the future makes perfect sense when you consider the fraught time and place that gave birth to the Microscopic Septet. In the early 1980s the New York jazz scene was divided, sometimes bitterly, between the emergence of the ‘new traditionalists’ as typified by Wynton Marsalis and the experimentation and stylistic mash-ups of the emerging downtown players. Rejecting allegiance to any particular camp or faction, the Micros forged their own path with an ethos succinctly summed up by co-leader Phillip Johnston: “Break all the rules and respect all the saints.”
Embracing jazz’s populist legacy, the Micros brought Uptown jazz back Downtown, where they made a compelling case that swing could look forward as well as backward. The band adopted a name that playfully alluded to its orchestral palette. As Johnston explained at the time, “The instrumentation is enough to give us a big range of colors and work compositionally in an expansive way.”
The band is built upon the felicitous partnership of Johnston and Joel Forrester, who met in the early 70s and bonded over shared musical aesthetics, humor, and similarly skewed worldviews. Eager to break away from the jazz straightjacket of head-solo-head formats, they honed extended, lapidary jazz compositions that segued gracefully between different themes in a single piece, hearkening forward to forms employed by Sun Ra, Duke Ellington and Jelly Roll Morton. The music drew on the entire history of jazz, as well as polkas, tangos, antic cartoon themes, klezmer, and new wave rock. No matter how eclectic their influences, the Micros always hewed to the band’s prime directive. “It’s gotta swing, whether its Latin or R&B or straight-ahead blowing,” Johnston says. “That’s the foundation of what we do.”
CD $15

CHICAGO/LONDON UNDERGROUND With ROB MAZUREK/ALEXANDER HAWKINS/JOHN EDWARDS/ CHAD TAYLOR - A Night Walking Through Mirrors (Cuneiform 428; USA)“At a time when the world is mired in divisiveness, a time of wall-building and fear-mongering, it takes visionaries to build bridges rather than tear them down. “This is protest music,” insists Rob Mazurek. “It always has been. That’s why it’s called ‘Underground’ - it’s not just called that for fun. We really believe in it. The world has become so homogenized and leans so far towards the right, and this music expresses complete freedom and lack of borders. Our music is all about the obliteration of any kind of oppression, the tearing down of any kind of wall - freedom and equality, both sonically and spiritually.”
For the last two decades the Chicago Underground Duo – Rob Mazurek and Chad Taylor – have created music meant to open minds and explore alien territory. Now, on A Night Walking Through Mirrors, they’ve created a new Transatlantic partnership in the form of Chicago / London Underground, inviting a pair of renowned British improvisers –Alexander Hawkins and John Edwards – into the creative fold. The result is an expansive sonic adventure whose every unexpected note and alchemical reaction runs counter to the limited imaginations ruling social media name-calling and clannish provincialism.
To celebrate the occasion of the duo's 20th anniversary, Mazurek and Taylor invited two London-based artists with whom they’d never collaborated but they deeply admired. “We love their playing and thought they’d be a nice complement to what we do,” Mazurek explains. When it comes to the rare occasions when he and Taylor do bring other musicians into the fold, he continues, “The only criteria is people who are completely open to anything, no matter how outlandish or crazy the idea is. They just have to be 100 percent into the moment and what we’re doing.”
“Alexander Hawkins is a very dynamic player,” Mazurek says. “His harmonic and melodic sense as well as his phrasing and his approach to playing, whether songs or free playing, are very interesting and wide-ranging. John Edwards plays the most amount of bass I’ve ever heard anybody play. He plays a lot but nothing is wasted; it all means so much. They could go anywhere, so it was just a matter of being in the moment and letting the instincts roll. It was powerful, elegant, noisy, melodic, rhythmic, free - it had all the elements that usually come up when you think about making a complete and interesting set.”
Hawkins and Edwards are newcomers to one of Mazurek’s longest-running musical partnerships. “We’re sonic and spiritual brothers,” Mazurek says of his profound partnership with Taylor. “It’s a special relationship, one of those cosmic things where it just works. It’s amazing that we’ve kept it going this long and hopefully we’ll continue for another 20 years.”
The album’s title, A Night Walking Through Mirrors, is an evocative fit for this exploratory set, capturing the sense of alluring disorientation, of sympathetic worlds upon worlds echoing into infinity. “It really felt like we would be playing and somebody would take a left turn and we’d be in another dimension,” Mazurek recalls. “Another person would take a right turn and we’d be in yet another dimension, but everybody was right there. It really did feel like a night spent walking through mirrors in that respect.” - Cuneiform
CD $15

THINKING PLAGUE - Hoping Against Hope (Cuneiform 421; USA) “Clouds scud across a storm-wracked sky, but while briefly exposing rare shards of blue, most often, blacker, gloomier grays lurk behind the mists. Sometimes a work of art enables us to articulate our thoughts and feelings in times of upheaval and chaos. In an era when the world has seemingly come off its hinges, an album like Hoping Against Hope offers listeners the consolation that they are not alone. But more than that, this intellectually complex work offers tools to help us make sense, affectively at least, of the whole sorry mess.
Thinking Plague is a storied band, whose thirty-five year history has seen it cleave consistently to the extreme limits of what is possible to do within rock music. Much of the music it released has owed more to traditions external to rock, such as folk, chamber music, and particularly, the avant-garde tradition of twentieth-century classical music.
Thinking Plague are often cited as the leading light of the American arm of the ‘Rock In Opposition’ movement, genre-defying and, above all, unique.
The arrangements we hear on Hoping Against Hope are those we will hear live. Even when singer Elaine di Falco’s accordion is written and recorded in multiple voices, the parts are realizable by a single instrument.
Leader and composer Mike Johnson and newest member Bill Pohl’s tightly scored twin guitars are panned out wide enough for the listener to balance the pursuit of an individual voice against the ensemble texture, which is the creative focus, a carefully crafted polyphony served by each instrumental voice. Pohl’s addition brings a second electric guitar to the texture for the first time, enabling more sinuous scoring, rather than making the sound more ‘rock’.
There is a familiar vocabulary in play, a harmonic palette and a phraseology that has evolved considerably over the band’s lifespan without extreme points of rupture, despite major changes and sometimes long gaps between releases; this is clearly the same band that we heard in the 1980s, but Johnson is writing from a creative position that is fruitfully removed from that he occupied even four years ago. As demanding as this music may be, it is made to sound easy, and more importantly, beautiful.”
CD $15

THE ED PALERMO BIG BAND - The Great Un-American Songbook: Volumes I & II (Cuneiform 435-436; USA) “Crazy times call for outrageous music, and few jazz ensembles are better prepared to meet the surreality of this reality-TV-era than the antic and epically creative Ed Palermo Big Band. The New Jersey saxophonist, composer and arranger is best known for his celebrated performances interpreting the ingenious compositions of Frank Zappa, an extensive body of work documented on previous Cuneiform albums.
But his fifth project for the label, The Great Un-American Songbook Volumes 1 & 2, is a love letter to the rockers who ruled the AM and FM airwaves in the 1960s via successive waves of the British Invasion. Featuring largely the same stellar cast of players as last year’s gloriously eclectic One Child Left Behind, the 18-piece EPBB lovingly reinvents songs famous and obscure, leaving them readily recognizable and utterly transformed. The first installments in what he hopes to be an ongoing project, these two volumes give a whole new meaning to 'swinging London'.
More than any other EPBB release, The Great Un-American Songbook is like rummaging around Palermo’s record collection and playing tracks at random after imbibing an espresso-laced bottle of absinu th. He’s the first to admit that the album is a highly personal and nostalgia-induced undertaking. “Almost everything I do lately is reliving my past,” Palermo says. “With the craft and skill I’ve developed being an arranger for all these years, I can now take those songs that I grew up with and loved, and reinterpret them. I picked my favorite songs, songs that I’m going to want to hear and play a lot. There’s really no other way to explain my selection process.
By the end of the long and winding road through Palermo’s musical backpages there’s no doubt that his nostalgia is our delight, as vintage rock songs make for state-of-the-art jazz. “Anything can be grist for the mill,” Palermo says. “Once I start an arrangement I get so into it. I’m going to put my spin on it.”
Nothing demonstrates the ensemble’s ongoing vitality better than the stellar cast of players, with many longtime collaborators. Many of these top-shelf musicians have been in the band for more than a decade, and they bring wide ranging experience, expert musicianship and emotional intensity to Palermo’s music. From the first note, well, after the goat, the band manifests greatness in a truly Un-American cause. From the Beatles, Rolling Stones and Jeff Beck to King Crimson, Traffic, and Jethro Tull, The EPBB storms the British invasion and plants the American flag (upside down)!” - Cuneiform
2 CD Set $21

STUART POPEJOY With STEVE SWELL / AVRAM FEFER / SARAH BERNSTEIN / KENNY WOLLESON - “Pleonid” (Leo 783; UK) ‘Pleonid’ is a large composed work which takes up the whole CD - 59'37. It is a single track, with indexes to allow navigation at roughly 7-minute intervals. The work is generated and scored by software which Stuart developed between 2007 and 2012. To record the work live he put together the band of New York improvisers: Sarah Bernstein - violin, Avram Fefer - alto sax, Steve Swell - trombone, Stuart Popejoy - bass guitar and Kenny Wolleson - vibes and drums. - Can’t wait to hear it, my review next week.
CD $16

ROSS HAMMOND - Follow Your Heart [LTD Edition CD-R](Prescott; USA) Slow and steady, Ross Hammond keeps releasing under-recognized gems with himself on guitar in variety of situations. From solo to duos or trios or quartets with a well-selected cast: Vinny Golia, Oliver Lake, Alex Cline, Calvin Weston and Sameer Gupta (on tablas). This is a solo guitar session from our fave Sacramento based guitarist, only his second solo effort out of the dozen discs he has released on his own Prescott label. Ross seems to have the blues when this disc opens with singular slide phrase hanging in the air, cutting through the bullsh*t. “Sinner Man” it is called it sounds like Hammond is playing an acoustic 12 string with a slide. At times, Hammond sounds like Ry Cooder with bits of Ralph Towner or Leo Kottke thrown in for good measure. Hammond often has several lines moving at the same time, some repeating, some building… “Life in 3D” sounds like a missing track from that early Takoma comp featuring John Fahey, Peter Lang & Kottke. Mr. Hammond has been playing more slide in recent years and has gotten better, more convincing with each release. The cover looks like a hazy day in the woods with some fog rolling in. The music here does have a rich, swampy, sly, earthy, eerie… sort of vibe. I haven’t heard a solo acoustic guitar record in a long time nearly as fine as this although I haven’t gotten that new Ralph Towner promo yet from ECM. - Bruce Lee Gallanter, DMG
CD $8

JON IRABAGON, JOHN HEGRE & NILS ARE DRONEN - Axis (Rune Grammofon 3190; Norway) Filipino-American Jon Irabagon has topped both the Rising Star Alto Saxophone and the Rising Star Tenor Saxophone categories in Down Beat's critics polls and been named one of Time Out New York's 25 New York City Jazz Icons. A founding member of Mostly Other People Do The Killing, he is also an integral member of the Mary Halvorson Quintet, Dave Douglas Quintet, and Barry Altschul's 3Dom Factor. John Hegre is a musician, songwriter, sound engineer, and a pioneer of the Norwegian noise music scene. He founded Jazzkammer with Lasse Marhaug in 1998, releasing their debut album Timex (RCD 2014CD) on Rune Grammofon the year after. He has been involved with close to 50 releases on various labels. Nils Are Drønen has been a player on the fertile music scene in Bergen since teaming up with Hegre 20 years ago. He is part of several constellations, including The Last Hurrah!!, playing on their The Beauty Of Fake album (RCD 2145CD/RLP 3145/RLP 3145LTD-LP, 2013) and The Great Gig In Disguise 10" (REP 2121EP, 2011). With Jazzkamer he has recorded six albums and toured Europe, Asia, and America.
CD $15 (pre-order, available soon)
LP $26 (available now)

ICONOCLAST [LEO CIESA / JULIE JOSLYN] - Driven to Defiance (Fang 989-17; USA) Iconoclast is Leo Ciesa on drums, keyboards & grand piano and Julie Josyln on alto sax, violin, electronics and voice. It might seem hard to believe but Iconoclast is celebrating their 30th anniversary this year (with some 10 releases), a landmark considering how few bands reach that age. If the name of Leo Ciesa sounds familiar, it should since Mr. Ciesa has been the longtime drummer for Dr. Nerve, the best and most enduring progressive/jazz/rock band to hail from New York. “Nothing Untold” opens with a lovely, laid back acoustic duo of haunting alto sax and melodic mallets on tom toms. The great prog-rock is alive and well on “Too Late to Worry”, which has a swell double sax theme and powerful drum support. It sounds like the duo spent quite a bit of time in the studio since some of these pieces have several layers of instruments, yet none are overly complex, just written and well-paced. “Spheres of Influence” features some hilarious, vocal gibberish in the center of quick swirling, electronics, piano and drums. “The Flat Magnetic Girl” has some charming Sun Ra-like keyboards and then mutates into a twisted duo for bent-note violin and drums and them turns into a somber, “Taps” like conclusion. There is one song that is a bit disturbing called, “Part of the Hour” which has a forlorn vibe and words about parts of someone’s face being missing. This song has a sad yet resilient vibe which I find most enchanting. What I dig most about this disc is that it never hits you over the head, instead finds a way to thoughtful and at times cosy with moments of twisted interplay selectively employed. Time to listen again and not be distracted by today’s events. - BLG/DMG
CD $12

Historic & Archival Recordings:

TERRY RILEY - Rainbow in Cologne (Be! Free 621516; France) Outstanding! For this historic 2 CD set we get long live versions of two of Terry Riley’s classic works, “Rainbow in Curved Air” (61 minutes) and “Persian Surgery Dervishes” (50 minutes). Even better than the originals as these pieces have evolved over time.
2 CD Set $28

KAREN DALTON - Green Rocky Road (Megaphone 018; UK) Originally released in 2008. Another chapter in the ever-evolving story of Karen Dalton. These are home recordings, taped by Joe Loop, as was the acclaimed double live album Cotton Eyed Joe (MEGAUK 015CD, 2007). These recordings were made at Dalton's home in Boulder, Colorado, on a reel-to-reel. It sounds like the album Dalton would have released in 1963 had she been given the opportunity. Here are the first takes of "Ribbon Bow," "Katie Cruel," and "In the Evening," and a more complete document of Dalton's repertoire on banjo. During their first long stay in Colorado, Dalton and her husband Richard Tucker were lucky enough to find in Joe Loop an enlightened club owner who would book them often but who was also a self-taught sound engineer. Joe Loop recorded a couple of Dalton's shows, and would also occasionally bring his reel-to-reel machine to Dalton and Tucker's house on Pine Street so they could record their burgeoning musical ideas. Some jams were recorded with Tucker trying his hand at the saxophone, without the ease he showed on vocals. But Dalton was overwhelmed by the reel-to-reel machine's possibilities and would gladly experiment by herself with overdubs -- something of a portastudio a couple of decades before it became a musician's household commodity. By the grace of Joe Loop's faith, we now have a document of what a 1963 Karen Dalton album would be like.
CD $13

LO KA PING - Lost Sounds of the Tao: Chinese Masters of the Guqin (World Arbiter 2004; USA) Discovered on the shelf of the late Teresa Sterne who created the Nonesuch Explorer series, Lost Sounds of the Tao was first published in 2001 and now comes back through new cutting-edge restoration software. Lo Ka Ping, guqin. recorded 1970, 1971. The guqin was Confucius' instrument, used by scholars and nobles for self-purification. Lo was a Taoist priest (1896-1980) who lived in the remote lands of the New Territories behind Hong Kong, recorded by a pupil in 1970. These rare archival tapes were assembled after an extensive hunt in Hong Kong, New York, California and Taiwan." From the liner notes: "A tape ready of four traditional pieces (Side I) and four original pieces (Side II) for ch'in, played by an old master who lives in a country home in the New Territories. There emerged a vibrant expressive art, its first impression the forthright spirituality of a Blind Willie Johnson (yes, some scales have the blue note intonation!) who made his Ming Dynasty qin state and moan out visions, as panoramas of ancient brush paintings danced before my eyes, attaining life in sound, all their varied densities in depicting nature now breathing amidst sonic rainbows unleashed through the qin's harmonics. The scratching of the silk strings as one changes the finger positions is referred to as the instrument's respiration. Lo's non-thematic use of the fundamental tones in the beginning of the first piece were akin to a veena beginning a raga, causing one to wonder if this manner had become embedded in his music from the early visits by Indian Buddhists, who had brought their own instruments to China. What so casually endows Lo's playing with profundity and depth is the philosophy behind the music, entering the sound through the Tao rather than displaying the fruits of a learned craft, for he was completely self-taught and thus freed from any burden of tradition. His performances, compared to most other players, brim with vitality and spirit, like found objects emerging forth into independent existences, unlike the imposed rhythmic regularity and extremely slow tempi the works are often given by scholars. Lo was alive until 1980 (age 84).
CD $14

FABIANO DO NASCIMENTO - Tempo dos Mestres (Now-Again NA 5146; USA) "Tempo dos Mestres (Time of the Masters) is the second album from the tireless, young Brazilian guitarist Fabiano Do Nascimento. It finds its roots in the depths of the Amazon rainforest, passed down through generations of Native Brazilians, and is imbibed by the Afro-Brazilian culture that arose after Portuguese colonization. This blend is not new in Brazil, and is represented musically by great Brazilian musicians both known and celebrated -- the guitarist Baden Powell and catalyst Hermeto Pascoal, both direct influences on Do Nascimento -- and less exposed, like the experimentalist Carioca, one of Do Nascimento's mentors, and the Brazilian psychedelic pioneer Lula Cortes, whose album Paebiru rewrote Brazilian rock's history in 1975. It is the third Brazilian album released on Now-Again, following Seu Jorge and Almaz and Do Nascimento's debut Dança dos Tempos. Do Nascimento's is joined on Tempo dos Mestres by his long time percussionist, Ricardo 'Tiki' Pasillas on trap drums and percussion, and Sam Gendel on saxophone and flute. Vocals are performed by Thalma de Freitas and Carla Hasset. These tracks were recorded live in the studio with no overdubs, straight to 2" analog-tape, and only sparingly mastered to focus on the subtleties of the performances. Do Nascimento's fans include legendary percussionist Airto Moreira, who recorded Dança dos Tempos and can be found playing live with Do Nascimento. 'He's Brazilian but (his mind is) from a place in Brazil that is not common.' Moreira states. 'Fortunately, we still have some musicians who like to play music and who like to touch the instrument and who like that energy!' Do Nascimento takes his music, and his place in Brazil's lineage, seriously, and he often travels the vast country, spending time in the rainforest, living life as it was lived in the distant past, while studying with still living masters as he searches for new directions of the path trod by the geniuses whose influence abounds in contemporary music, but whose names are still unfamiliar. 'Being a musician -- feeling, studying, experiencing, living music -- this comes first, right?' Do Nascimento questions. ' Second, we hope that the depths of knowledge in the music from the masters before us can be shared more, each time, to the younger generations coming.' In Tempo dos Mestres Do Nascimento answers himself with a beautiful entry into the evolving language of timeless Brazilian music."
CD $17

Back in stock after a few years and at a cheaper price:

DUOLOGY [MICHAEL MARCUS/TED DANIEL] ANDREW CYRILLE - With Andrew Cyrille (JazzWerkStatt123; Germany) From 2012; “Duology is Michael Marcus (clarinet) and Ted Daniel (trumpet, flugelhorn). And Duology = the new album from the pair with master drummer Andrew Cyrille. They're an interesting group, as the musicians are all seasoned players whose abilities as support players are superb. A really open-ended approach to the playing field makes the possibilities seem innumerable with musicians of this calibre; and you may keep your hopes up because these guys came to ball.
The opening melody line of “Vigilance” immediately made me miss the bass line. Early Ornette & Cherry are easily detected as influences and maybe that's the reason why. (You are conditioned to hearing Haden's part underneath, even when the drums lay out.) Daniel takes a solo about a minute in, sounding pretty mu-like. Halfway through the track, Marcus takes the lead and spends his spotlight time thumbing through the surplus of ideas he has running around in his head. Not cohesive in any way, but completely fascinating. Then he and Daniel wind improvised lines around each other for a minute before returning to the head.
By the time you enter the world of “Zight Pulse,” it becomes apparent that Ornette and Cherry are going to be the reference point for Marcus and Daniel – and that Cyrille's approach, including the sound of the high-pitched and barely muted ride tom, is going to lean a bit toward Ed Blackwell on this date. It makes sense. Both Blackwell and Cyrille are careful, thoughtful, subtle and very natural players. Neither man is fussy, flashy, or overly aggressive, which are all too often the hallmarks of the free jazz drummer. Or at least the stereotype.
Cyrille gets his first extended solo during “Eclectic Autumns” and stays anchored to the rhythm of the track, but in a very exploratory fashion. His playing throughout swings with accents in surprising places. One great idea after another rolls out of Marcus' horn, this time in a way that is so artistically, aesthetically, mathematically sound that I suddenly realize he was jerking my chain during “Vigilance”. The first time through, I had to go back and listen to that track again right away just to be sure.
The album's longest cut, “Tripartite (Body, Soul and Spirit),” is appropriately divided into 3 sections – but Marcus sits this one out. Daniel blows some tub farts while Cyrille's gut pounding steadily churns, representing the Body section fairly well. The less, uh, earthy sections of the track are (more) beautiful; and there's a direct Ornette quote on this one, in case you weren't aware of his influence on all of this yet. But really, it's a testament to Daniel that it doesn't feel anything less than perfectly natural & heartfelt. In lesser hands, this could have been disastrously cloying.
“Epicycles” is perfectly titled. Loopy spirals from all players that weave around each other with careful precision. As great as the chemistry is between these amazing musicians, and as airy as the music feels without the sonic anchor of a bassist, I still find myself missing the sound of that instrument. Sometimes, as on this track, I actually find myself mentally writing the bass line. Any bassists looking for a creative outlet could do far worse than playing along with this disc.” - Tom Burris, FreeJazzBlog
CD $17

About six months ago, we got in two great discs from former Downtown saxist Marco Eneidi and his great Mexican free/jazz trio. Marco had contacted me and was then living in Mexico. I was very glad to hear from him after so many years and was knocked out by both disc. We had sold out of both of them quickly and Mr. Eneidi has since passed away, quite suddenly from what I hear. Since then, I was contacted by a member of the trio and we have finally gotten both back in stock. If you some need some international free/jazz at its best, then do not wait to get these gems!

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

HEARTS & MINDS [JASON STEIN / PAUL GIALLORENZO / FRANK ROSALY] - Hearts & Minds (Astral Spirits 026; USA) “Astral Spirits should release “Stocky,” the opening track from the debut Hearts & Minds album, as a 7” single asap! Paul Giallorenzo's keyboards propel this no-wave gem into a bizarre plane where its catchy, jerky riff could jump-start a whole new genre. Seriously, this brilliant, bizarre, brief little track is potentially monumental. Don't let this moment pass! Now slow down the intensity and speed of the opener & spread its parts out over the length of an entire album and here's what you get: Giallorenzo's keyboard bass lines plodding stiffly straight outta vintage Sun Ra. Jason Stein's playing is suddenly reminiscent of John Gilmore, although that probably has more to do with me – and Giallorenzo – projecting that onto him than anything else. Frank Rosaly alternately swings and jerks the rhythm in the way that only Frank does. Giallorenzo changes textures as often as Rosaly changes rhythms. And I'll be damned if Stein's tone doesn't keep getting grittier and smoother at the same time. Prog-rock also rears its ugly head in the best possible way, with a Soft Machine-style melody at the root of “Streaming,” on which Giallorenzo also keeps a vintage Alice Coltrane sounding bass line moving the whole thing along. Stein takes a solo here that is highly melodic, while also exuding a natural masculine roughness. There is also a track called “Nick Masonry” whose second half features a melody that sounds like it came straight from the Gong songbook. And more of Soft Machine's melodic sense is found on the closer “Old Balance”. The band draws from a wealth of diverse sources and the combination of these elements is perfectly balanced. Highly recommended.” - Tom Burris, FreeJazzBlog Featuring Jason Stein on bass clarinet, Paul Giallorenzo on synthesizer & electric pianist and Frank Rosaly on drums & electronics. Stranger than fiction is this bit of great luck: Chicago bass clarinetist Jason Stein has been touring and opening his step-sister, the famous comedian Amy Schumer and playing a short set of his own avant/jazz at stadiums across the country. Jason Stein’s longtime trio, Locksmith Isidore, includes Downtown drummer Mike Pride and has three fine discs out on Clean Feed. Mr. Stein also has an odd album with pop vocalist Sharon Van Etten on the 482-Music label. Recently Jaaon Stein put together a new trio with two other fine musicians: Paul Giallorenzo on synth & pianet and Frank Rosaly on drums & electronics. “When the Chicago trio of Jason Stein, Paul Giallorenzo, and Frank Rosaly, known as Hearts & Minds, plays music Sun Ra smiles from somewhere interplanetary. Not that the mighty Ra favored small groups, he mostly worked with his large Arkestra, rather, it's that the wellspring for this 21st century music are his concepts and instrumentation. Sun Ra's saxophonist John Gilmore, then later Robert Cummings, employed a bass clarinet as Jason Stein does here. Drummer Frank Rosaly juggles varied and complex rhythms, plus applies electronics. Keyboardist Paul Giallorenzo does as well, playing synthesizer and the vintage E-pianet, an electro-mechanical piano. Chicago is a prime location for Hearts & Minds. From the 1940s through 1960, Ra's concepts on futurism and music bloomed on the South Side as he resolved that space was the place. The mayhem of the opening track "Stocky" clangs overblown bass clarinet against fevered and frenetic drumming and the electric jabs and blips of keyboard sorcery. The trio, having caught your attention, dives deeper, mixing composed passages with sometime barely repressible passages. The trawling "Rocked And Eroded" stakes itself to the memory of Eric Dolphy's sound on Out To Lunch! (Blue Note, 1964), with Stein marching notes to the odd meter of Rosaly's gallop. We have, though, come a ways since the days of Dolphy. The trio turns to the pinwheeling of electronics with "An Unfortunate Lack Of Role;" Giallorenzo's e-pianet forcing glints and flashes of current as re-entry sounds over Rosaly's swarming sounds on every percussive surface at hand. The trio is fond of starting a piece like "Streaming" with a solid melody and groove, breaking into concise Stein and Giallorenzo solos. Other times, as on "Nick Masonry," they work from just a sketch only to pick up steam and melody. Mostly they are fans of a glorious degeneration, you might call improvisation, but we'll call interstellar entropy.” - Mark Corroto. All About Jazz
CD $15
LP $18

BLG Reviews a Handful of Recent Releases that Deserve More Attention:

JEAN-BRICE GODET - Lignes De Cretes (Clean Feed 406; Portugal) Featuring Jean-Brice Godet on clarinets, radio & dictaphones, Pascal Niggenkemper on double bass & objects and Sylvain Darrifourcq on drums, percussion & zither. This trio set was recorded live in Paris in May of 2016. I’ve known bassist Pascal Niggenkemper for a while while he was living here and playing solos and duos with Sean Ali, as well as loads of collaborations with Joachim Badenhorst, Gebhard Ullmann and Thomas Heberer. Mr. Niggenkemper’s two seven piece units disc are amongst the many hidden treasures found on the Clean Feed label. I can’t say I know much about the other two members of this trio, although Mr. Godet does appear on a recent disc from a Joelle Leandre 10-piece on Ayler. And with instrumentation listed as: dictaphones, objects and zither, you know we are in store for some weirdness. “No Border” features layers of drones, rubbed or bowed surfaces simmering together. Some of the sounds are disorienting, like a swarm of crazed bees buzzing together. The clarinet doesn’t even appear for a long while and when it does, it slowly enters the picture. When it finally hits its stride, spinning quick lines, it is just one part of the sound mass of eerie electronics or some odd bowed piece of metal (lamp shade, perhaps). I’m glad they lay back on “No Logo”, taking their time to build into an intense, soaring, flight to the clouds. There is a section where it sounds as if someone is slowing down and speeding up a record on a turntable, very odd. Is that contrabass clarinet letting out those low-end blurts on “No God”? A long journey through some sonly. evolving soundscapes/sunsets. - Bruce Lee Gallanter, DMG
CD $15

LAJOS DUDAS with PHILIPP VAN ENDERT / KURT BILLKER / JOCHEN BUTTNER - Some Great Songs, Vol. 2 (JazzSick 5106; Germany) Featuring Lajos Dudas on clarinet, Philipp van Endert on guitar and Kurt Billker or Jochen Buttner on percussion. It has been some twenty years since German/Hungarian clarinetist, Lajos Dudas, released his first volume of ’Some Great Songs’ (Double Moon Records, 1998). In the meantime, Mr. Dudas has released more than a dozen discs, some improv-based and some with standards. Mr. Dudas picks a handful of popular standards from Mingus, Bill Evans, Charlie Chaplin, Miles Davis and Paul Desmond, doesn’t do them is a predictable way. This disc starts with a bossa nova called, “Falsa Baina” which has a lovely, infectious groove. “Goodbye Pork Pie Hat” is probably Charles Mingus’ most popular songs. The version is here is stripped down and filled with sublime suspense. Since there is no bassist here, guitarist van Endert switches between bass lines, tasty chords or comping and the occasional solo. Bill Evans’ song, “Interplay” is again played most elegantly, with a minimum of notes so that each one counts. Mr. Dudas wrote one song for this disc, “A Quiet Day”, which actually sounds like a standard, a ballad which is laid back and refreshingly pure sounding. I can’t recall the last time I heard a version of Charlie Chaplin’s “Smile” but this version is quite tasty. The highlight here for me is Dudas’ version of Paul Desmond’s “Take Five”, a hot for the Dave Brubeck Quartet in the late 1950’s. It is taken at a slower pace and has a dreamy quality which makes it all the hypnotic. Mr. Dudas has a lovely, lyrical tone on clarinet, one of the most endearing voices I’ve heard. This is perfect music to play late at night when one is trying to wind down from a stress-filled day. There is a calm center here yet both Mr. Dudas and Mr. van Endert quietly insert some surprising twists and turns into the arrangements. A refreshing change of pace from the usual free/jazz blowouts. - Bruce Lee Gallanter, DMG
CD $12

Big Ellery Eskelin CD Sale:

We needed to restock a few titles so Ellery Eskelin came to visit and left us with the very last sealed copies of a dozen or so of his discs on Hatology. Any disc listed as “last sealed copy”, means that that is all there is. So check your stock, it might me you last opportunity to complete your Ellery Eskelin collection. Check the DMG database if you want to read any of my reviews.

CD $20

ELLERY ESKELIN With ANDREA PARKINS/JIM BLACK/ERIK FRIEDLANDER/JOE DALEY - Ramifications (Hatology 551; Switzerland) - Last Sealed copy!
CD $20

ELLERY ESKELIN & HAN BENNINK - Dissonant Characters (Hat ology 534; Switzerland)-Last Sealed copy!
CD $25

ELLERY ESKELIN/ANDREA PARKINS/JIM BLACK - Arcanum Moderne (Hat ology 588; Switzerland)- Last Sealed copy!
CD $20

ELLERY ESKELIN/ANDREA PARKINS/JIM BLACK - Kulak, 29 & 30 (Hat ology 521; Switzerland) - Last Sealed copy!
CD $20

ELLERY ESKELIN/ANDREA PARKINS/JIM BLACK - Five Other Pieces ( 2) (Hat ology 533; Switzerland)- Last Sealed copy!
CD $20

ELLERY ESKELIN/ANDREA PARKINS/JIM BLACK - The Secret Museum (Hat ology 552; Switzerland) - Last Sealed copy!
CD $20

ELLERY ESKELIN/ANDREA PARKINS/JIM BLACK - 12 ( 1) Imaginary Views (Hat ology 584; Switzerland) - Last Sealed copy!
CD $20

ELLERY ESKELIN With DREW GRESS/PHIL HAYNES - Forms (Hat ology 592; Switzerland)- Last Sealed copy!
CD $20

ELLERY ESKELIN With MAT MANERI/ERIK FRIEDLANDER/MARK DRESSER/MATT MORAN - Vanishing Point (Hat ology 577; Switzerland)- Last Sealed copy!
CD $20

ELLERY ESKELIN/ANDREA PARKINS/JIM BLACK - One Great Day... (Hat ology 691; Switzerland)
CD $16

ELLERY ESKELIN/ANDREA PARKINS/JIM BLACK - One Great Day... Live (Hat ology 683; Switzerland) - Last sealed copy!
CD $16

CD $14

CD $14

ELLERY ESKELIN - Solo: Live At Snugs (Hat ology 731 ,Switzerland)
CD $16

ELLERY ESKELIN TRIO With JOE DALEY/ARTO TUNCBOYACIYAN - Figure of Speech (SoulNote 121232; Italy) - A few sealed copies left!
CD $12

ELLERY ESKELIN With DREW GRESS/PHIL HAYNES - Forms (Hat ology 592; Switzerland)- Last sealed copy!
CD $20

ELLERY ESKELIN TRIO With GARY VERSACE AND GERRY HEMINGWAY - Trio Willisau - Live (Hat ology 741 ,Switzerland)
CD $16

ELLERY ESKELIN/ANDREA PARKINS/JIM BLACK - On the Road With… (Prime Source 3010)
DVD $5.00

2 CD Set $12

CD $10

DAVID LIEBMAN / ELLERY ESKELIN / TONY MARINO / JIM BLACK - Different but the Same (Hatology 615; Switzerland) - Last sealed copy!
CD $20

OPEN LOOSE [MARK HELIAS / ELLERY ESKELIN / TOM RAINEY] - Come Back Ahead (Koch 7861; USA) Last few sealed copies with cut corner!
CD $16

CD $12

ROB PRICE QUARTET With ELLERY ESKELIN / TREVOR DUNN / JIM BLACK - I Really Do Not See the Signal (Gutbrain 06; USA)
CD $10

FMR Sale Overstock Sale - All titles below now $10 each!

CD $10

CD $10

CD $10

NEIL McGOVERN/PAUL DUNMALL - Intervention: Based on 60 Studies For Saxophone (FMR 334; UK)
CD $10

CD $10

JOS ZWAANENBURG - 20 Odd Years: Music For Flute(s) & Live Electronics (FMR 316; UK)
CD $10

Small LP Only Section:

CHARLEY PARKER & DIZZY GILLESPIE - Bird And Diz (Doxy ACV 2083; Russia) Originally released in 1952; reissued on 140-gram clear vinyl. The final collaborative studio recording by Charlie Parker and Dizzy Gillespie. Producer Norman Granz's original liner notes: "Modern jazz has had from the start two main sources whence came most of the ideas. These two founts, as it were, of inspiration and of ideas are Charlie Parker and Dizzy Gillespie. Indisputably they have enriched the lore of jazz throughout the world. They have taken what people have built before them, refashioned it in many ways, added to it, and have sent the jazz edifice soaring for others to look up to; be inspired by, and, eventually, build upon. Most of the playing of Parker and Gillespie together was in the period 1944-46. At that time Gillespie had a small unit in which Parker was the featured soloist. Shortly after that period, they separated, each to go his own way. This album represents the first get-together, in a sense, of the two since their separation. I took, as an ideal rhythm section, Thelonious Monk, who is a lesser light in modern jazz but, nevertheless, an important one; Curly Russell, an itinerant bassist, in the modern idiom; and Buddy Rich, a very swinging drummer. We made the sides contained in this album at a very happy date; and I think you will agree that Parker and Gillespie are fresher and better than ever before, and axiomatically as they play, so does modern jazz grow."
LP $21

MARCEL DUCHAMP - The Entire Musical Work Of Marcel Duchamp (Song Cycle 989; UK) Song Cycle Records present a reissue of The Entire Musical Work Of Marcel Duchamp, originally released by Multhipla Records in 1976. The Entire Musical Work Of Marcel Duchamp is a collection of experimental pieces composed in 1913 by the legendary artist, and executed by Petr Kotik and the S.E.M. Ensemble in 1976. Employing chance operations and non-musical sounds, Marcel Duchamp's musical oeuvre predated some radical concepts developed forty years later by John Cage. Presented here on 180 gram vinyl.
LP $30

KINK GONG - Imer Zeillos (Discrepant 037; UK( Imer Zeillos is another unique document of Laurent Jeanneau's collection of surreal soundscapes of augmented field recordings, this time using two very different source recordings to create his own unique brand of alien music. Using contact mic recordings of various Turkish instruments - saz, cura, and tanbur (played by Remi Solliez) - Jeanneau alchemically collages them with his archival recordings of South East Asia to create a surreal space between the instrument's tones and resonances with the other-worldly beauty of the field recordings.
LP $24


Bruce Lee Gallanter’s Recommended Gig List for January of 2017


2/17 Friday
9 pm - DarkMatterHalo - Brandon Ross, Doug Wieselman (electric guitar) Hardedge (soundesign) Special Guest: Sadiq Bey (voice, electronics)

2/18 Saturday
9 pm - Harriet Tubman “Meta” - Brandon Ross (electric guitar, banjo) Melvin Gibbs (electric bass) JT Lewis (drums) Alicia Hall Moran (mezzo soprano) Wadada Leo Smith (trumpet)

2/19 Sunday
9 pm - Phantom Station - Brandon Ross (electric guitar, taisho harp) Graham Haynes (cornet, electronics) Hardedge (soundesign) JT Lewis (drums)


2/21 Tuesday
9 pm - Dispatches from the Unknown - Fabian Almazan (piano) Ike Sturm (bass) Satoshi Takeishi (percussion), Anna Webber (sax, flute) Chris Dingman (vibraphone); World premiere of solo works from the new podcast by Inner Arts Initiative “Dispatches from the Unknown,” exploring the creative process behind musical composition. Concert will be followed by artist discussion and Q&A.

2/22 Wednesday
9 pm - Trio - Chris Dingman (vibes) Tony Scherr (bass) Kenny Wolleson (drums)
Dingman unveils new compositions for trio exploring sonic and textural possibilities of the vibraphone, featuring two seasoned veterans of the scene.

2/23 Thursday
9 pm - The Subliminal and the Sublime; Chris Dingman (vibes) Loren Stillman (sax) Fabian Almazan (piano) Ryan Ferreira (guitar) Chris Tordini (bass) Jared Schonig (drums)

2/24 Friday
9 pm - Omens - Steve Lehman (alto sax) Matt Brewer (bass) Tyshawn Sorey (drums) Chris Dingman (vibes); A reunion of Dingman’s first NYC-based ensemble, in its first performance since 2005. Ominous, visceral, and complex music played by a band of visionary artists.

2/25 Saturday
9 pm - Waking Dreams - Chris Dingman (vibes) Ryan Ferreira (guitar) Chris Tordini (bass) Tommy Crane (drums) Miriam Elhajli (vocals); Dingman’s flagship ensemble plays new songs featuring guest vocalist Miriam Elhajli, new instrumental compositions, and highlights from his debut album Waking Dreams.

2/26 Sunday
9 pm - Solo, Duo, Trio, Quartet, Quintet - Chris Dingman (vibes) Kaoru Watanabe (flutes) Charlie Burnham (violin) Ryan Ferreira (guitar) Zaneta Sykes (percussion); New directions and combinations for a group of lyrical players well-versed in multiple languages of improvisation.

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 STONE COMMISSIONS - MATT MITCHELL - 7pm at National Sawdust in Williamsburg
In collaboration with National Sawdust The Stone presents a series of World Premieres the last Wednesday of every month through 2017. Featuring: Matt Mitchell (piano, Prophet 6, modular synth, electronics) Kim Cass (upright bass) Kate Gentile (drums, gongs, percussion) Dan Weiss (tabla) Ches Smith (vibes, glockenspiel, percussion, gongs, hand drums, timpani) Patricia Brennan (vibes, marimba) Katie Andrews (harp) Anna Webber (flute, alto flute, bass flute) Jon Irabagon (sopranino sax, soprano sax) Ben Kono (oboe, english horn) Sara Schoenbeck (bassoon) Scott Robinson (contrabass clarinet,bass sax); For details check / TWENTY FIVE DOLLARS


The CORNELIA STREET CAFE - 212-989-9319
29 Cornelia St in the heart of the West Greenwich Village, NYC

Friday Feb 17
9:00PM & 10:30PM SARA SERPA TRIO - Sara Serpa, voice; Ingrid Laubrock, tenor sax; Erik Friedlander, cello

Saturday Feb 18
6:00PM THE PARHELION TRIO - Sarah Carrier, flute; Ashleé Miller, clarinet; Andrea Christie, piano The Parhelion Trio image
9:00PM & 10:30PM KINAN AZMEH'S CITY BAND - Kinan Azmeh, clarinet; Kyle Sanna, guitar; Josh Myers, bass; John Hadfield, percussion, drums

Sunday Feb 19
6:00PM GLASSER/TAUBENHOUSE - Dave Glasser, alto sax; Yaniv Taubenhouse, piano
Steven Bernstein, trumpet; Bryan Murray, saxophone; Dave Taylor, trombone; Brandon Seabrook, guitar; Ron Stabinsky, piano; Moppa Elliott, bass; Kevin Shea, drums

Mon Feb 20th:
8:30PM AN EVENING OF SONG, POETRY AND MUSIC - Barry Wallenstein, poetry; Alexis Cole, vocalist; Alan Rosenthal, piano; Ken Filiano, bass; Vincent Chancey, french horn; Jeremy Carlstedt, drums

Tues Feb 21st:
8:01PM DAN WEISS TRIO - Dan Weiss, drums; Jacob Sacks, piano; Ben Street, bass

Wednesday Feb 22
8:00PM TOM GUARNA'S WISHING STONES PROJECT - Tom Guarna, guitar; Jon Cowherd, piano; Matt Clohesy, bass; Allan Mednard, drums
9:30PM JON COWHERD MERCY PROJECT - Jon Cowherd, piano; Tom Guarna, guitar; Dan Rieser, drums; Doug Weiss, bass

Thursday Feb 23
8:01PM PAUL JONES SEXTET - Paul Jones, tenor sax; Alex LoRe, alto sax; Perry Smith, guitar; Glenn Zaleski, piano; Johannes Felscher, bass; Allan Mednard, drums

Friday Feb 24
9:00PM & 10:30PM THE CRASH TRIO ONE - Tony Malaby, tenor sax; Leo Genovese, piano; Santi Debriano, bass; Francisco Mela, drums

Saturday Feb 25
69:00PM & 10:30PM TOM CHANG QUINTET - Tom Chang, guitar, comp.; Jeremy Powell, tenor sax; Quinsin Nachoff, tenor sax; Sam Minaie, bass; tba, drums

Sunday Feb 26
6:00PM ELEKTRA KURTIS WITH PUBLIQUARTET - Elektra Kurtis, violin; Curtis Stewart, violin; Jannina Norpoth, violin; Nick Revel, viola; Amanda Gookin, cello
8:35PM SOFIA RIBEIRO - Sofia Ribeiro, voice; Juan Andres Ospina, piano; Petros Klampanis, bass; Marcelo Woloski, percussion


I-Beam Presents:

Saturday, February 18th 8:30 PM
Susan Alcorn & Sylvie Courvoisier
Susan Alcorn – Pedal Steel
Sylvie Courvoisier – Piano

Friday, March 3rd 8:00 PM
Liebowitz / Lyons / Filiano / Wimberly
Duo (8:00 pm)
Carol Liebowitz – piano
Nick Lyons – alto saxophone
Quartet (9:00 pm)
Carol Liebowitz – piano
Nick Lyons – alto saxophone
Ken Filiano – bass
Michael Wimberly – drums

FLYWAYS : 3 Birds : Maviel / Lane / Bloom
Friday, March 10th 8:00 PM
Anais Maviel Voice & Drum
Adam Lane Bass
Mara Rosenbloom Piano & Composition
8:00pm & 9:00pm Sets

Barcelona meets Brooklyn Eva Novoa Trio Analog Sextet
Saturday, March 11th 7:30 PM
7:30pm - Barcelona meets Brooklyn
Eva Novoa, piano
Manel Fortià, bass
8:30pm - Eva Novoa Trio
Eva Novoa, piano
Kim Cass, bass
Devin Gray, drums
9:30 - Analog Sextet
Sarah Bernstein, violin
Dave Scott, trumpet
Sean Sonderegger, tenor saxophone & bass clarinet
Eva Novoa, piano
Max Johnson, bass
Jeff Hirshfield, drums

Zeena Parkins
Saturday, March 25th 8:30 PM $
8:30 Zeena Parkins/Mary Halvorson
9:30 Zeena Parkins TBD

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 January 2017:

Feb 17
8:15p- Funk Pterodatyl
Sarah Mount- Vocals
Jonathan Hoard- Vocals
Yahzeed Divine- Emcee
Alejandro Chapa- Bass
Wesley Maples- Sax
Ian Barnett- Drums
Finnegan Bryan singer- Guitar
Cale Hawkins- Keyboard

Feb 22 -
7:30p - Erica Seguine and Meg Okura's ensembles Double Bil

Feb 23
ShapeShifter Presents: Mute the Commercials
7pm Set-Mute the Commercials
8:15pm set-Matt Robbins Group

Feb 24:
7p & 8:15p - Anthony Smith's Retrosonik
"Reimagining the 80's"
Anthony Smith: vibraphone
Featuring Laura Angyal: vocals
Marcos Varela: bass

Shapeshifter is located at
18 Whitwell Place in Brooklyn, NY
R train to Union stop



Sound It Out series @ Greenwich House – Concerts, January-June 2017

Saturday, February 18, 8:00 p.m. – Special ECM duo show!
Francois Couturier, piano & Anja Lechner, cello

Saturday, March 4, 7:30 p.m. – Two sets of classical meets jazz!
Michael Bates’ Shostakovich Project- Michael Bates, double-bass/arrangements; Russ Johnson, trumpet; Greg Tardy, saxophone/clarinet; Russ Lossing, piano/Fender Rhodes; Michael Sarin, drums

Thursday, March 16, 7:30 p.m. – Double-bill of duos!
Sylvie Courvoisier Mary Halvorson & Mark Feldman
Sylvie Courvoisier, piano; Mary Halvorson, guitar; Mark Feldman, violin

Saturday, March 25, 7:30 p.m. – All-star double-bill!
Wadada Leo Smith & Angelica Sanchez Angelica Sanchez Trio w/ Michael Formanek & Tyshawn Sorey, Wadada Leo Smith, trumpet; Angelica Sanchez, piano

Friday, March 31, 7:30 p.m. – Cross-generational double-bill!
Ralph Alessi solo Alex Koo, Mark Turner & Ralph Alessi - trumpet
Alex Koo Derudder, piano; Mark Turner, tenor saxophone; Ralph Alessi, trumpet

Greenwich House Music School:
46 Barrow Street, just west of 7th Avenue South in
New York City’s West Village; / 212-242-4770


The Jazz Gallery Presents:

Ingrid Jensen – trumpet
Christine Jensen – saxophone
Ben Monder – guitar
Matt Clohesy – bass
Jon Wikan – drums
each set: $22/$12 members
sets at 7.30pm 9.30pm

Henry Threadgill – reeds
Vijay Iyer – piano
Dafnis Prieto – drums
sets at 7.30pm 9.30pm
$40/$25 members; limited cabaret seating $50/$35members


The Klinker
Monday February 20th at 7.30 pm

Matthew Ostrowski: electronics Viv Corringham: voice, electronics
Ben Gerstein: trombone, tapes Flin van Hemmen: percussion, tapes
MESH: Michael Evans: percussion Susan Hefner: dance - Entrance: $10

The Klinker is located at 149 Christopher Street, NY 10019


Alt Guitar Summit 2017 Lineup:

March 10th at Le Poisson Rouge Celebrating Pat Metheny: Featuring Nels Cline, Rez Abbasi, Nir Felder, Joel Harrison String Choir, Mike Moreno, Camila Meza, Liberty Ellman, and Miles Okazaki Quartet. Also will include an interview with Pat Metheny!

Sat., March 11-Studio 151 / Nublu 151 Avenue C 8-11 pm: Solo Voices and Communal Raptures: Nels Cline Solo; John Schott Trio; Rafiq Bhatia Collective with Marcus Gilmore and Rahsaan Carter; Adam Rudolph’s Go Organic Guitar Orchestra: feat. Miles Okazaki, Nels Cline, Joel Harrison, David Gilmore, Damon Banks, Rez Abbasi, Kenny Wessel, Marco Cappelli and more

March 15th at National Sawdust: Guitars From Heaven and Hell
Featuring Steven Mackey, Dither Guitar Quartet, Joel Harrison’s Resophonic Guitar Orchestra w/ Elliott Sharp and Brandon Ross; Steven Bernstein Blue Campfire w/ Dave Tronzo, Steve Cardenas and special guest guitarist