All Newsletters | Subscribe Here

DMG Newsletter for Friday, August 24th, 2018

What is the Truth and Who is Lying?
Can you See through the BS or Have you Given up Trying?
Is F*x News Fake? Will They Reap What They Sew?
Will This Nightmare Continue? Will the Smokestacks Finally Blow?
I Read the News Today, Oh Boy…
I Keep Thinking when We Wake up, it will All be Over
But the Bombs Keep dropping, So We Better Run for Cover…

Jump in the Stream of Sonic Currents
And Swim in the Ocean of Sympathetic Sound(s)
Let the Music Wash Over Us All,
Floating on Top but don’t Drown…

Rejoice to The New Music from:

Cecil Taylor Winged Serpents Tribute: Sylvie Courvoisier, Kris Davis, Crain Taborn..! Nina Rota Rare Tribute Reissue: Muhal Richard Abrams & Carla Bley Bands! Hamid Drake / Ralph Jones / Adam Rudolph! Jeremiah Cymerman Solo! Rich Halley Trio! Abbey Rader/Peter Kuhn Qt! John Cage ‘Piano Works 10’! Alex Mincek CD & Nate Wooley’s Sound American Books!

Leslie Ross! Penny Rimbaud! Don Cherry/Marion Brown/Evan Parker/John Stevens/Albert Mangelsdorff Baden Baden ’67! Akira Sakata / Pete Cosey / Bill Laswell / Hamid Drake Rare LP! Joe Harriott Quintet/Quartet! Bennink/Coxson/Wales Amplified! LP-only Discs from Little Axe! Lee Scratch Perry & Subatomic Sound System and even more..!


Upcoming Sets at Downtown Music Gallery - FREE, every Sunday at 6pm

Sunday, August 26th
7pm: XANDER NAYLOR / RICK PARKER - Guitar / Trombone and Electronics

Sunday, September 2nd:
6pm: CHARMAINE LEE / BEN BENNETT - Vocals & Percussion
7pm: KYOKO KITAMURA / LEONID GALAGANOV - Vocals / Percussion & Shakuhachi
8pm: CARLOS QUEBRADA / NICOLAS DEL AQUILA from Nicotina y Primavera!

Sunday, September 9th:
6pm: SAMDY: SANDY EWEN / SAM WEINBERG - Guitar on Lap & Sax!
7pm: JOSH SINTON / GUILLERMO GREGORIO - Baritone Sax & Bass Clarinet / Clarinet!

Sunday, September 23rd:
DERIC DICKENS - Two Saxes / Guitar / Drums!

Sunday, September 30th:
6pm: HANS TAMMEN and CHRISTOPH IRMER - Buchla Synth and Violin!

Sunday, October 7th:
6pm: SHANE PARRISH & FRANK MEADOWS - Guitar & ContraBass

DMG is located at 13 Monroe St. (between Catherine & Market Sts) in a basement below a small gallery. Take the F train to East Broadway or the 6 train to Canal or the B or D to Grand, or the M-15 bus to Madison & Catherine. Come on Down, the Sunday Music Series is Always Free & the Vibes are Always Cosy


This Week’s Sonic Delights Begin with an Important Tribute to the Late CECIL TAYLOR:

WINGED SERPENT: SYLVIE COURVOISIER / KRIS DAVIS / CRAIG TABORN / BRIAN MARSELLA / ARUAN ORTIZ / ANTHONY COLEMAN - Six Encomiums For Cecil Taylor (Tzadik 4025; USA) Cecil Taylor was a powerful and unforgettable music force—a fearless visionary and one of the greatest musicians of the past century. His visceral and intense performances influenced generations of musicians, artists, poets, filmmakers and creative minds of every description. This CD features six heartfelt tributes performed by the group Winged Serpents, which consists of six of the most original pianists and musical thinkers working today. Each touched by Cecil’s magic in different ways, they perform improvised tributes to this legendary genius who created a new music that transcended all genres. TZADIK SPECTRUM SERIES
CD $14

NINA ROTA // MUHAL RICHARD ABRAMS / CARLA BLEY BAND / DAVID AMRAM QUINTET / JAKI BYARD / BILL FRISELL / WYNTON & BRANFORD MARSALIS - Amarcord (Corbett VS. Dempsey 051; USA) Corbett Vs. Dempsey present a reissue of Amarcord Nino Rota, a tribute album assembled by producer Hal Willner, originally released by Hannibal Records in 1981. If you think you know how to put a mix-tape together, take a lesson from Hal Willner, the absolute master. In 1981, Willner produced a landmark record of interpretations of music written by Nino Rota for the films of Federico Fellini. With ten tracks and as many different lineups, this record set the template for a series of brilliant tributes that Willner has made over the ensuing 35 years, covering the songbooks of Monk, Mingus, Weill, and Disney, with a mind-expanding range of performers from Eugene Chadbourne to Chuck D to Diamanda Galas to Peter Frampton. On Amarcord Nino Rota, Willner drew together an equally dazzling spectrum of musicians, compiling them into a perfect program that explores Rota's wonderful, sly, sexy oeuvre from contrasting and complementary perspectives. Pianist Jaki Byard sets the stage with the title track and ends things with "La Strada", and in his first appearance on record, guitarist Bill Frisell contributes a haunting solo acoustic version of "Juliet Of The Spirits". Soprano saxophonist Steve Lacy, who lived in Rome early in his international years, offers a take on Rota's "Roma" and vibraphonist Dave Samuels provides interludes and transitions in a couple of spots. On the other end of the size bracket, Muhal Richard Abrams arranges and conducts his band as part of "La Dolce Vita Suite", which ends with a rock group featuring Debbie Harry singing a wordless waltz. The Carla Bley Band presents a daunting, suitably hilarious version of "8 ½", with Gary Windo's ballistic tenor saxophone, a David Amram Quintet with Sharon Freeman on French horn plays "Satyricon", and in a surprise appearance, trumpeter Wynton Marsalis plays alongside his brother Branford, tenor saxophonist George Adams, pianist Kenny Barron, bassist Ron Carter, and drummer Wilbert Fletcher, in William Fischer's arrangement of a medley of Rota chestnuts. Long out-of-print on LP and only released on CD for a hot minute in the early nineties, Amarcord Nino Rota is a certifiable classic.
CD $15

DON CHERRY / MARION BROWN / EVAN PARKER / JOHN STEVENS / ALBERT MANGELSDORFF / JEANNE LEE / GUNTER HAMPEL / PETER KOWALD / et al - Free Jazz Meeting Baden Baden '67 (Hi Hat 3107; UK) Hi Hat presents Free Jazz Meeting Baden Baden '67, capturing a set of live performances from 1967. Since 1966, the Free Jazz Meeting (now known as the SWR NewJazz Meeting) has taken place annually in Baden-Baden, Germany. This disc presents performances that were broadcast in Germany from the second of these events, which took place from December 16 through December 18, 1967. The four pieces feature different lineups of major free jazz musicians from several countries, including such top players as Don Cherry, Marion Brown, Evan Parker, and John Stevens. Featuring Jeanne Lee, Albert Mangelsdorff, Gunter Hampel, Buschi Niebergall, Pierre Courbois, Peter Kowald, and Sven-Åke Johansson. Please note that this disc is only 24 minutes long.
CD $17

HAMID DRAKE / RALPH M. JONES / ADAM RUDOLPH - Karuna (Meta Records 022; USA) Featuring Hamid Drake on drums & percussion, Ralph M. Jones on soprano & tenor saxes, assorted flutes, ney & bass clarinet and Adam Rudolph on drums, keyboards, sintir, thumb pianos, dusun’ goni and percussion. Hamid Drake and Adam Rudolph first met in 1969 when both were 14. They have been collaborating ever since, working with many important musicians: Don Cherry, Fred Anderson, Pharaoh Sanders and Yusef Lateef. Mr. Rudolph and reeds wiz, Ralph Jones go way back as well, first meeting in 1974, and working together in various ensembles ever since: Eternal Wind & Moving Pictures. Mr. Rudolph put together Moving Pictures in 1997 with evolving yet relatively stable personnel, which includes all three of these musicians. In May of this year (2018), Mr. Rudolph did a 5 day residency at The Stone and this trio, known as the Karuna Trio, performed. I caught several sets that week and each one was wonderful, spiritually and musically uplifting. This is a studio session which was recorded in June of 2016 and January of 2017.
This disc was recorded at Bill Laswell’s studio by James Dellatacoma, hence the sound is especially warm, superbly balanced, both ancient and modern sounding simultaneously. “Watergoddess Blues” kicks things off with one of those joyous, hypnotic Hamid Drake drum grooves, his sly hi-hat at the center. Both Mr. Drake and Mr. Rudolph create these righteous, festive, spiritually enchanting grooves throughout, ofter layering various percussion instruments as well as occasional samples, sintir (north African bass-like instrument) and dusun’goni (hunter’s harp with gourd-like body). Mr. Jones switches between various saxes, flutes (including ethinc flutes like ney & hulusli) and bass clarinet. Mr. Rudolph selectively uses a keyboard or sampler for drones or other eerie, haunting sounds to evoke or awaken ancient spirits. I especially like when Mr. Rudolph plays the sintir (or gimbri), a Northern African 3-stringed bass-like instrument, also played by William Parker & Shanir Blumenkranz. All of this music has an organic, outdoors, African village meets other ethnic influences vibe. In the mist of the daily stress of life due to staring at our phones or computer screens in disbelief, I found this disc to be an oasis of positive vibes. Didn’t want it to end anytime soon. Need some sweet, spiritual medicine, this is the potion that we all need! - Bruce Lee Gallanter, DMG
CD $14

JEREMIAH CYMERMAN - Decay of the Angel (5049 Records; USA) This is a solo project featuring Jeremiah Cymerman on clarinet, electronics and percussion. Over the course of some dozen discs, Downtown clarinetist & sonic manipulator, Jeremiah Cymerman, has been experimenting and expanding his palette of sounds in both the solo and small group situations. I always look forward to each and every release since he works hard on each disc. Although he has collaborated with heavy cats like Evan Parker, Peter Evans and Nate Wooley, it is his solo projects in which he goes furthest experimentation. What seems most apparent here is the way in which this session was recorded. Mr. Cymerman loves to close mic his clarinet, carefully capturing and cautiously manipulating the sound. Refined slivers of electronics also are used as tasteful sonic seasoning. The blend between the warm, organic sound of the naked clarinet with different layers of electronics & manipulations is what makes this so seamless and ultimately fascinating. One of the things that Mr. Cymerman does especially well is placing the clarinet and electronics sounds in different places within the stereo spectrum. Headsets or a nice stereo system is required to hear the richness of the sounds and the way they move. A number of odd images were evoked while listening to this disc: a distant foghorn or ship sailing on the ocean’s horizon, ghost-like spirits floating in a sea of dreams. The balance between the calm center and the selective fragments of uneasiness is what makes this so compelling. It is like that state between wakefulness and dreams in which we can almost touch the images hovering in our mind’s eye. - Bruce Lee Gallanter, DMG
CD $14 [LTD Edition of 200/numbered]

PROBOSCI With TIMBA HARRIS / GYAN RILEY - Time to Feed (Mimicry 047; USA) “Having first joined forces in the Gyan Riley Trio, these two composers continue their long-time musical collaboration in duo formation. This recording, steeped with intricacy, subtlety, and shape-shifting energy, adventurously explores the sonic landscape from purely acoustic music to unfamiliar electro-acoustic textures, dancing between delicacy and aggression.”
I reviewed a current disc from the fabulous duo of Timba Harris on violin and Gyan Riley on acoustic guitar a few weeks ago and was knocked out by that duo. It turns out that this is their first disc from a few years back and it is also pretty great. No time to review today but fans of the Secret Chiefs 3 (w/ Timba) and/or Gyan (& Terry) Riley, should take notice of this gem. - BLG
CD $15

RICH HALLEY 3 With CLYDE REED / CARSON HALLEY - The Literature (Pine Eagle 011; USA) Featuring Rich Halley on tenor sax, Clyde Reed on bass and Carson Halley on drums. Over nearly three decades, Portland, Oregon-based saxist Rich Halley can be found on some 20 releases. Although he used to work with Vinny Golia, Bobby Bradford and Michael Vlatkovich, Mr. Halley has had his own trio/quartet with bassist Clyde Reed and his son, Carson Reed for the past decade or so. Most of Mr. Halley’s previous discs involve the freer side jazz and often with a guest horn player like Bradford or Golia.
For this disc Mr. Halley, has decided to perform a dozen avant & straight head jazz standards from: Miles Davis, Thelonious Monk, Charles Mingus, Ornette Coleman, Duke Ellington plus a a couple of old country songs. This shows a much different side to Mr. Halley’s playing. This disc starts off with an ancient bebop song, “Little Willie Leaps” which was written by Mils Davis and recorded some 70 plus years ago in 1947. The trio slow this piece down a bit but still keep the hard swinging energy at the center of the flow. I dig the way that Monk’s “Misterioso” starts off playing the theme at a moderate pace before the trio speed up and sail into the stratosphere, freer yet still connected. Carson Halley’s robust, festive drumming is featured on Mongo Santamaria’s song called “Chano Pozo”. Mr. Halley, Sr., playing sounds warm and somewhat Trane-like on this song but it is the younger Halley’s drumming that sounds like he is providing a serious groove fest. Ornette’s mid-sixties song, “Broadway Blues”, gets a slightly funky treatment here which sounds great. The trio cover an old country standard called “High Powered Mama” by Jimmie Rogers and swagger their way through it. Another highlight is their cover of Ellington’s “Mood Indigo”, which simmers along with ancient, somber grace. What is interesting is the way older jazz and country songs fit together so well, they seems to be coming from a similar place in our collective consciousness. An old song or melody that touches our heartstrings still effects us no matter where it came from. Rich galley’s trio does a fine job of finding that thread that runs through cherished music in general and allowing it to shine through whatever our tastes actually are. - Bruce Lee Gallanter, DMG
CD $12

ABBEY RADER WEST COAST QUARTET With PETER KUHN / DREW CECCATO / KYLE MOTL - Second Gathering (Abray 0074; USA) Featuring Abbey Rader on drums, Peter Kuhn on clarinet & bass clarinet, Drew Ceccato on soprano, tenor & bari saxes and Kyle Motl on contrabass. This was recorded in January of 2018, earlier this year. New Jersey-born drummer, Abbey Rader, has been around the block: a part of the NYC Loft Jazz Scene in the 1970’s, living & teaching in Europe, later in Florida and currently in San Diego. Over two dozen albums, Mr. Rader has worked with many greats: Dave Liebman, Billy Bang, Davey Williams & Kidd Jordan. Since moving to West Coast, (San Diego), Mr. Rder has been leading his own trio & quartet. This is the second disc by this quartet. Another veteran player here is reedman, Peter Kuhn, who was also a member of the Loft Jazz/Downtown scene in the late 70’s/early 80’s and disappeared for three decades due to drug problems. Mr. Kuhn also ended up in San Diego and resurfaced over the past few years also, picking up where he left off by playing free/jazz. Both veterans are now practicing Buddhists, whose spiritual sides have help them with their explorations of freedom in music.
“Slidin’ In and Out” opens midstream with a calm, free flow, Mr. Rader’s superb mallet-work at the center while the two reeds, tenor & clarinet, swirl intensely around one another. The music moves in waves, with several currents flowing in different, connected orbits, simultaneously spinning bursts of energy. This tight, free-flowing and all four members are integral to the unified, quartet sound. What is special about this is this: although it is free, there is no grandstanding, no screaming saxes. Just an ongoing conversation which flows in organic waves, one upon another. In a blindfold test, seasoned listeners might guess a long lost session from TEST or the William Parker/Hamid Drake rhythm team backing amazing reeds players who work perfectly in tandem, spinning cosmic webs of notes, like bees buzzing around a hive. One of the best and most focused free sessions in recent memory! - Bruce Lee Gallanter, DMG
CD $10

ROBERT DICK - TIFFANY CHANG - Raise the River (Rogue Art 0080; France) Featuring Robert Dick on bass flute, glissando headjoint flute, contrabass flute & piccolo and Tiffany Chang on drums & thumb piano. Over the past month or so, I’ve caught Robert Dick play in two flutes duos, one with Nicole Mitchell (at The Stone) and the other with “Hefi” Wisnioski (here, at DMG). Both were extraordinary! This duo disc came out a few months ago but I haven’t had time to review it until now. Mr. Dick always chooses his duet partners with great care and he has chosen Ms. Tiffany Chang, originally Bay Area-based and currently living in NYC, after spending time Tunisia and Taipei. This disc was recorded at a studio in Brooklyn and has incredibly clean, warm, well-balanced sound. Mr. Dick has a striking, haunting sound on his bass flute, this is the first thing that stood out. Although I hadn’t heard much about Ms. Chang before now, she is also an extraordinary, dynamic percussionist. When Mr. Dick switches to his unique glissando headjoint slide flute on “Swedge”, Ms. Chang switches to brushes, the two playing their intricate lines together, creating subtle currents, the balance between the percussive cushion underneath and the quick, criss-crossing flute lines, perfectly in sync. I really like when things calm down to the subtle section of “Nine Portions”, with both musicians carefully interweaving their organic sounds together. I like the way Mr. Dick uses odd vocal sounds to add some unexpected spice to his playing. On the title piece, Ms. Chang plays a long unaccompanied section and shows herself to be an incredibly expressive percussionist, telling a story with just the drums. Ms. Chang also plays some enchanting thumb piano on “This Once”, another strong accompaniment to Mr. Dick’s superb flute playing. Each piece here shows a selective balance of various elements: acoustic, organic, subtle, reflective, eruptive, filled nuances and surprising changes in direction. One of my favorite duo discs of the current batch. - Bruce Lee Gallanter, DMG
CD $16

JOHN CAGE // THOMAS SCHULTZ - The Works for Piano 10 (Mode 305; USA) “The Solo for Piano is part of the legendary “Concert for Piano and Orchestra.” It is an indeterminate work, consisting of 63 pages made of 84 different types of composition, each appearing as its own type of notation. The performer creates his own performance by choosing which pages to play and in which order; pages can also be omitted. Cage began by choosing, using chance operations, a way of composing based on either his Music for Piano series – single notes, or on Winter Music – chords, or aggregates of notes. Chance operations would also determine whether a variation on one of these two types would be used or whether something completely new, with its own subsequent variations, would be written.
When Cage wrote the Two Pieces for Piano (1935), he was already studying with Arnold Schoenberg. Schoenberg’s influence on Cage undoubtedly accounts for the music’s 12-tone-row-based organization, but Cage’s own version of this system had the twelve note series broken down into short pitch/rhythm cells.
Later Cage began a study of Indian philosophy and came to believe that the purpose of music is “to imitate nature in its manner of operation” and “to sober and quiet the mind thus rendering it susceptible to divine influences.” These principles underlie another set of piano pieces that Cage wrote in the months May to August, 1946, entitled again, Two Pieces for Piano (1946). These later pieces are more extensively worked out and possess a sense of urgency and heightened drama, brought about in the first piece by long silences and in the second by a quicker flow and variety of musical events distributed over a greater range of the instrument. The silences heard in the first piece are an early example of what later became a pillar of Cage’s thought and music — the primacy of silence.
In the 1980s Cage planned a set of pieces to be called “Sports,” based on Satie’s set of pieces for piano, Sports et Divertissements. Only two were completed — Perpetual Tango in 1984 (recorded on Mode 31 by Haydée Schvartz), and Swinging in 1989, which is modeled on the second piece in Satie’s set, La Balançoire. Satie’s left hand accompaniment, swinging back and forth across a melody played by the right hand, is still present in Cage’s piece, but Cage has re-fashioned the original melody, mostly lengthening durations. The player is given a range of pitches from which to choose for both right and left hands.”
CD $15

LESLIE ROSS - Drop By Drop, Suddenly (XI Records 141; UK) XI Records releases Drop By Drop, Suddenly, a two-CD set of eleven compositions for bassoon composed and performed by Leslie Ross. Ross is not only an internationally renowned instrument builder but is also an uncompromising creative musician. The first disc starts with a series of short seed pieces that play primarily with the timbral and microtonal differences highlighted between tone-holes, forming a layered effect while playing with only one fingering, single note or multiphonic. They range from the strictly tonal or modal pitch-centered to a thicker atonal and dissonant collection of frequencies. Pieces progress to longer complex ones by the second disc, some of which have as minimal material as the shorter ones, but make more extensive use of live multi-track recordings and frequency filters to further bring out changes in frequencies or accentuate specific multiphonics. The electronics used were created explicitly for each composition using the computer-based program MAX/MSP. Save for the unconventional 15 microphones of the "prepared bassoon", these recordings include pieces with no sound processing whatsoever, as well as pieces that do involve sound processing and multi-tracking. Importantly, however, any processing is made in real time, not post-recording. All recordings are single-take recordings where four speaker channels along with room microphones have been mixed down to stereo. Key clicks occasionally get picked up in a loop recording to return sometimes processed, sometimes not, while in circular breathing a multiphonic might drop out before sounding again. What might sound like clicks or occasional drop outs on some pieces are not overlooked mastering faults but the result of this live processing, presenting these pieces as they would be in performance. With a formal background in classical music and early performance practice, Leslie Ross took a plunge into the free improvisation scene of downtown New York in the mid 1980's and has immersed herself in experimental music ever since. Her connected, parallel, work as a baroque bassoon builder also opened up concurrently into explorations of invented instruments and sound installations. She has presented solo programs, both acoustic and electro-acoustic throughout Europe and the US over the past three decades. In the mid 2000's she returned her music focus to a detailed exploration, analysis and understanding of bassoon multiphonics. It is through this exploration of multiphonics and the subtle changes made when playing with resonance keys that brought her to the music presented on Drop By Drop, Suddenly.
2 CD Set $16

NATE WOOLEY’S SOUND AMERICAN Label and Book Publication Imprint:

ALEX MINCEK - Torrent (Sound American Publications; USA) "Torrent, the first release from the new Sound American label—an extension of the excellent online music magazine edited by trumpeter Nate Wooley—is essentially a portrait disc, but it also happens to be illustrative of a growing trend in contemporary music, where being a composer no longer precludes being a performer. Mincek plays saxophone on two extended works where the instrument is featured, and for most of the album he’s working with New York’s Wet Ink Ensemble, a superb group he’s a founding member of. In a liner note interview, he even acknowledges that his playing on Pendulum VII was partly improvised—a decision that’s certainly related to the composer/performer dynamic. Both that piece and Pneuma pit the saxophone in frenetic, dizzying motion against a medium-sized ensemble, a dynamic collision of rhythm and harmony presented with breathtaking precision and energy. Lines and a shifting timbre regularly change direction, density, and attack, but there’s no missing the active play between the saxophone and the rest of the ensemble, chaotic yet controlled.
  "The album also contains six movements from the composer’s Harmonielehre, a series of duets composed primarily for his Wet Ink colleagues Eric Wubbels (piano) and Josh Modney (violin), and these smaller pieces more clearly present the instruments in a steady dance built around opposition and, less often, harmony. Mincek draws from a half-dozen processes in varying combinations related to harmony, acoustic phenomena, as well as chance procedures and artist choice. The melodic shapes are severe, a quality heightened by extended techniques, and as a whole the pieces bristle with excitement and surprises. The album’s closing piece, Torrent, was written for two quartets working together—Yarn/Wire and Mivos Quartet, both of which shared members with Wet Ink at the time of the recording—with swells of sound and viscous textures seeming to move inexorably toward a portentous climax, when an glassy piano splatters and spasmodic percussion sends things in a different direction, exploding and then slowing down like a dying engine." - Peter Margasak
CD in Lush 28-page small Hardcover Book $15

SOUND AMERICAN - Vol.2: Issues Four through Seven 2014 - Edited by Nate Wooley (Sound American Publications; USA) 170 page book/magazine in four issues/chapters: Issue IV: What is American Music: conversations with or about: Ian Nogoski, John Corbett, Peter Magarsak, Missisippi Records & Dick Spottswood; Issue V: The Philadelphia Issue: Elliott Levin, Bobby Zankel, Jack Rose, Chris Forsythe; Issue VI: The Maker Issue: Harry Partch, Hal Rammell, Nicolas Collins & Laetitia Sonami; Issue VII:The Deep Listening Issue: Pauline Oliveros, Alessandro Bosetti, Nick Hallett, Megan Schubert and Deep Listening by Set Cluett.
Nate Wooley has done a marvelous job here of editing four issues/chapters, each with a different focus by choosing a number of great writers: musicians, composers and all-round thought-provoking journalists. I particularly loved the chapter on Philadelphia since I went to college in south Jersey (Glassboro State, 1972-1976) and got to check out the scene in Philly at that time, becoming friends with Philly musicians like George Bishop, Steve Buchanan, Elliott Levin and Rick Iannicone (Taka-Iki through New Ghost). A number of my favorite music journalists (John Corbett & Peter Magarsak) get to talk at length about subjects they know a great deal about. An outstanding effort from all participants. - Bruce Lee Gallanter, DMG
Book/Journal $16 [170 pages]

SOUND AMERICAN - Vol. 1: The First Three Issues (Sound American Publications; USA) 155 page journal/digest of combined three issues: Vol. 1: The Gospel Issue: featuring writing by Rick Moody, Ben Hall, Nate Wooley and Reverend Roy E. Easley; Vol. 2: The Networking Issue: The League of Automatic Music Composers, Shinkoyo Collective and a History of Female Electronic Music Composers; Vol.3: The John Cage Issue: Cage article by Rob Haskins, Joan LaBarbara & John King, John Cage Number Pieces and Song Books. Again, this is a fascinating study of various aspects of both modern and ancient music from varying perspectives. I read jet a few pages at a time and then spend some time thinking about what I learned and discovered. There is a long list of female experimental and/or electronic music composers that is well worth exploring. As a Jewish listener (or perhaps non-believer), I have always been fascinated by Gospel Music and found the gospel articles here pretty fascinating. Much to consider reading through this series of articles. - Bruce Lee Gallanter, DMG
Book/Journal $16 [155 pages - almost sold out, just a handful left at present - 08/22/18]

PENNY RIMBAUD - Oh Magick Kingdom (Cold Spring Records 259; UK) Originally released in a tiny self-financed run of just 60 CDs in 2011, Cold Spring Records gives Oh Magick Kingdom, the impossible-to-find release by Penny Rimbaud (Crass), the wider attention it deserves. 27 minutes of dark jazz, industrial, bursts of repetitive noise rock and foreboding classical cello, with the initial music laid down by New York duo Japanther, and organically interwoven with the punk poetry of Penny and other Shakespearean "voices". The lyrical subject centers on broken relationships and the conflicts which can exist between love and desire. All elements were recorded at the legendary Dial House in Essex. Comes in a digi-sleeve.
CD $14

COIL ZOS KIA MARC ALMOND - How To Destroy Angels (Cold Spring Records 263; UK) Cold Spring Records present the complete recording of A Slow Fade To Total Transparency. Recorded on August 24th, 1983 at the Air Gallery in London, UK. Personnel for the performance: John Balance (Coil), John Gosling (Zos Kia), Marc Almond (Soft Cell), and live mix by Peter Christopherson (Coil, Throbbing Gristle). Features: "How To Destroy Angels", the complete 23-minute piece; "How To Destroy Angels (Zos Kia Remix)", a nine-minute, unheard remix by John Gosling; and "Baptism Of Fire", an unreleased recording of Zos Kia/Coil at Recession Studios, London, England on October 12, 1983. Liner notes by Michel Faber (Under The Skin (2000), The Crimson Petal And The White). All audio, previously unreleased, has been remastered from the original tapes and is exclusive to this release.
Michel Faber: "Imagine how out-of-step with the dominant culture Coil were when they unveiled themselves in the Air Gallery to perform A Slow Fade To Total Transparency. Subtitled: How To Destroy Angels, the music -- a backing track prepared by John Balance, John Gosling and Peter Christopherson -- bears only scant resemblance to the How To Destroy Angels 12" that Coil would release as their debut vinyl the following year. Instead of the meditative ritual gongs of the 12", what we hear here is a restless, queasy melange of industrial noise, its eerie whistles the perfect backdrop for Marc Almond as he recites a bitter tirade against an ex-lover."
CD $15

EUGENE S. ROBINSON & PHILIPPE PETIT - Chapel In The Pines (Lumberton Trading Company 028; UK) Chapel In The Pines is the latest set of collaborative work by Oxbow front man Eugene Robinson and master of sonic architecture, Philippe Petit, featuring Percy Howard on additional vocals. The five pieces here are built around brooding spoken word accompanied by a range of electronics, guitars, percussion, piano and metallic sounds molded into suitable backdrops. Anybody familiar with the previous collaborative albums -- The Crying of Lot 69 (2011) and Last of the Dead Hot Lovers (2012) -- will be able to grasp the sometimes-ravaged nature at work here. Utterly commanding, Chapel In The Pines ebbs into a space where the literary meets contemporary abstract sound in absolute harmony. Includes booklet of Eugene's words. Mixed and mastered by Petit.
CD $15

JOE HARRIOTT QUINTET QUARTET [With SHAKE KEANE/COLERIDGE GOODE/HARRY SOUTH/PAT SMYTHE/BOBBY ORR/PHIL SEAMEN] - Southern Horizons / Free Form / Abstract plus 6 bonus tracks (Poll Winners 27320; EEC) This incredible 2 CD set contains three amazing albums from the legendary Joe Harriott Quintet first released from 1960-1963. All three are essential gems from the beginning of modern/freer jazz in the UK. "Southern Horizons" has never been reissued as far as I know and "Free Form" & "Abstract" are long out-of-print on CD. Here are a couple of short reviews to get you salivating: "Joe Harriott was another of those outstanding unknown/legends of early British out/jazz. When Ornette Coleman's quartet moved to NY in 1960, they changed everyone's perception of what modern jazz could become. Many critics were furious with this change, referring to it as "anti-jazz" along with John Coltrane & Eric Dolphy. At the very same time in 1960, another amazing young alto sax hero from the West Indies but living in London - Joe Harriott put together his legendary quintet - with the same fire, freeing of boundaries and brilliant new approach called "free form" or "abstract!" Harriott's incredible quintet included two other West Indians - Shake Keane on trumpet & flugel and Coleridge Goode on contrabass, plus Pat Smythe on piano and Phil Seamen (one of UK's greatest jazz drummers of all time & teacher to Ginger Baker). 'Abstract' goes even further than the previous album Free Form to burn down the bridges to the past, even freer and even more spirited, although it is from only two years later!" - Abstract "It is hard to believe that 'Free Form' is from 1960 - almost forty years ago! This music is a complete blast, so tight, so quick, so joyous, overwhelming spirits soaring. Both Joe's alto and Shake's trumpet consistently match wits burnin' together, in the tradition of Diz & Bird updated to Ornette & Don Cherry! Many of Harriott's challenging compositions have that Monkish zig-zagging of lines with Ornette's quartet's brain-frying level of intensity! Word is that Joe Harriott had developed his thing independent of Ornette's influence - making this all the more amazing on many levels!"
2 CD Set $20

Last Copies of These:

HAN BENNINK With JOHN COXON / ASHLEY WALES - Amplified Trio (Treader 08; UK) Legendary Dutch drummer Han Bennink recorded this electric session with John Coxon [Electric Guitar] and Ashley Wales [Electronics] during his visit to the U.K. at their invitation last year. Loud, fierce and darkly mysterious, the velocity and extraordinary momentum of Bennink is forcefully counterpointed by Wales' imaginitive soundscapes and Coxon's irascible guitar.
CD $25 [last copies found - 8/24/18]

Back in stock:

SATOKO FUJII ORCHESTRA NEW YORK - Fukushima (Libra 214-044; Japan) In 2011 an earthquake set into motion the events that would create partial meltdown of fuel rods in the reactors in nuclear power plant in Fukushima, Japan. Radiation was released. The effects are still felt, and will be for decades (at least)—an especially troubling situation for the only country to have experienced the initially catastrophic and ultimately corrosive and malignant aftermath of a nuclear attack.
Satoko Fujii, the Japanese pianist/composer/conductor/band leader has something to say about this, with her CD release of Fukushima. This five part,  hour long personal contemplation of the disaster—shaped by Fujii and her Orchestra New York—breathes into existence with "Part 1," via air blowing through instruments, a wafting of most essential and immediate necessity for the maintenance of life.
This sprawling symphony of sorts travels in a sometimes subdued manner over ominous terrain. The very electric guitar of Nels Cline—in his first recorded appearance in the Orchestra New York—creates searing but almost under-the-radar emissions of ionized radiation, knocking electrons off of the ambient atomic materials in its path. Horns enter. Sometimes they rage; sometimes they fall to their knees in anguish, or howl with pain, or ruminate in sorrow or in askance on the situation. The thirteen piece ensemble—three reeds and six brass, along with bass/guitar/drums rhythm team—breaks into smaller units, then swells into majestic plumes of virulent harmonies, or sharp spikes of tainted atomic material. In "Part 4," a stealthy subterranean moan lays a foundation for brash horn statements, labored breathing, and, ultimately, the chatter of distressed birds—canaries and sparrows engulfed in the invisible wash of deadly radiation. Then a powerful and relentless groove settles in.” - Dan McClenaghan
CD $16

WADADA LEO SMITH / NATSUKI TAMURA / IKUE MORI / SATOKO FUJII - Aspiration (Libra 204-043; Japan) Featuring Wadada Leo Smith & Naksuki Tamura on trumpets. Satoko Fujii on piano and Ikue Mori on electronics. This session was recorded at Firehouse 12 in New Haven, CT and has splendid sound. All four members of this quartet are master musicians, elder statesmen or women and multi- bandleaders. All are also quite prolific as far as recordings go. Both Mr. Smith and Ms. Mori and Ms. Fujii & Mr. Tamura have worked together previously on many discs, hence they have a bond which links their creative spirits. Ms. Fujii brought four compositions to this session. while Mr. Tamura brought one plus there is one group improv piece. It is pretty rare to hear Wadada play with another trumpet player, but all four members of this quartet are integral to the focused group sound. The opening piece, “Intent” is a suspense-filled chamber-like work. Although Mr. Smith’s trumpet is featured, stark, surreal and soaring, the other members play their parts majestically together. Even the one completely improvised piece has that sublime, cautious, chamber-like sound, perfectly balanced upon a spacious canvas. Ms. Mori, who records a great deal for the Tzadik label, is well-utilized here, adding sly, subtle electronic shades which weave their way like a golden thread through a nimble, hypnotic tapestry. The title track is an elegant, somber, thoughtful piece where each sound is well sculpted, a most organic vibe. There is section on “Evolution” where Wadada plays eerie, distant muted trumpet solo while Ms. Fujii selectively adds several fragmented lines, occasionally just laying out while Wadada’s trumpet flickers on top. The final piece, “Stillness”, is calming yet somehow quietly disoriented. As I read reports of Hurricane Harry, I worry about my friends in Texas. When will things get better and not worse..? Hmmmmmmm. - Bruce Lee Gallanter, DMG
CD $16

TRADEN (A/K/A: TRAD, GRAS OCH STENAR) - Traden (Subliminal Sounds 128; Sweden) A brand-new studio album from Träden ("The Trees"), formerly known as Träd, Gräs och Stenar ("Trees Grass and Stones") in different incarnations, but often just called Träden for short. Through long, crescendoing improvisations, Träden has found their own unique path in the music world for decades, creating a music with room for everyone. Many younger musicians and friends of minimalist, experimental music have been inspired and followed, astonished that a bunch of Swedish hippies made the planet's most hypnotic, moss-fragrant psychedelic trance rock. Today, Träden consists of Hanna Östergren (Hills), Sigge Krantz (Archimedes Badkar), Reine Fiske (Dungen, The Amazing), and originator Jakob Sjöholm. Nisse Törnquist (Amason) also plays on three of the songs. In this latest, celebrated edition, the band has played for sold-out houses all over Sweden and other parts of the globe. "When we decided to record and release a new album it's the people who are now in the group that plays on it. We have become a band again in the way that we can once again get out and gig more regularly. The name change is a way of freeing ourselves from the old band and its idiom, thus opening our minds to let the music find new ways, simply giving us more artistic freedom," explains Jakob Sjöholm. The new album was recorded at Träden's countryside music workshop and in good old TGS tradition, much of the material emerged by jamming. Then there are some songs that demanded some toil and despair. It has been a process where everyone in the band has been deeply involved throughout the course of work, in all stages of the production; from the first musical notes to the last choice of colors and images for the album sleeve. The music on the new album makes one to let go and be swept along in a soaring, endearing ecstasy, and be thrown into a wild but safe forest. Even though the band constellation has changed successively, the majestic roar continues. Sometimes the loudness is lifted out to the big, eccentric carpentry and chopped down to a nice "tree porridge". Or on contemplatively growing songs, where the guitars' winding and whirling calls to the very highest air bearings. Many fans describe Träden's rough-cut music in almost spiritual terms. Träden answers with some mighty songs where the band reaches the mind-expanding oscillation that seems to only occur in their music.
CD $15

EINSTURZENDE NEUBAUTEN - Live At Rockpalast (Made in Germany 90532; Germany) "When the band Einstürzende Neubauten was being founded in 1980 there were hardly any others that could have been compared to them. Instead of playing conventional instruments, the band used tools and other objects of daily use to create atonal industrial collages predicting a near downfall (Kollaps). They started with a destructive and nihilistic basic attitude that corresponded to the zeitgeist of post-punk in the early 80's; however, the realization could not be any more radical than this: percussionist F.M. Einheit maltreating the stage with a power drill, mastermind and singer Blixa Bargeld playing the guitar with an electric shaver. If there existed any parallels, then to 'musique concrete' at best. But very soon, nearly unnoticed by their steadily growing community of fans, the picture refined: at an early stage, Blixa Bargeld rejected already comparisons to the British oil barrel beating epigones of Test Department or SPK and during an interview I had with him in 1985, he wondered why the parallels to a group like Ton Steine Scherben could be neglected carelessly. Indeed, the Neubauten managed to escape pure industrial clichés very fast by their individuality, sophistication and above all, their lyrical substance. Even without blaring metal, on albums like Die Zeichnungen des Patienten O.T. and 5 auf der nach oben offenen Richterskala the Neubauten were able to produce gloomy, filgrane and spheric soundscapes ('Armenia', 'Kein Bestandteil sein'). The Rockpalast concert at the Philipshalle in Düsseldorf combines in a unique and compact way all the songs that were relevant and had shaped the band's style (according to the criteria formulated by Bargeld) to this date. The interaction of the line-up which at that time featured Blixa Bargeld, Alexander Hacke, N.U. Unruh, F.M. Einheit and Mark Chung has hardly been captured as perfect and so to the point as in this film document."
CD/DVD $24

TANO TRIO FEAT. LEO GENOVESE / STEFANO BATTAGLIA - Close but Far (Via Veneto Jazz 124; Italy) Via Veneto Jazz presents Close but Far by the Tano Trio featuring Leo Genovese. How do traditions travel among space and time? What defines the collective consciousness of a culture? How do elements that are so far away in reality, become so close in different dimensions? This record is the product of the union of a shared language that exists in two cultures that are geographically far away from each other and living under different contexts, but at the same they are so close. Daniele Germani (saxophone) and Stefano Battaglia (bass) are two musicians from Italy, joined by Leo Genovese (piano) and Juan Chiavassa (drums) from Argentina. Leo and Juan come from Italian families in Argentina. One could argue that Argentina's mother country is Spain, but the culture there is very much influenced by the Italian immigration movements of the past two centuries. So when the two Italians and the two Argentines met in New York, they found out that they actually shared a language beyond both the spoken word and music; they felt like brothers. Close but Far is a story about immigration, about the people who take the chance and leave things behind only to become nomads in search of new experiences and new sounds. These four musicians, who come from similar backgrounds in different parts of the world, gathered in New York City to record this album, and the chemistry among all the elements that come into play make this a unique musical experience. Personnel: Leo Genovese - piano; Daniele Germani - alto saxophone; Stefano Battaglia - bass; Juan Chiavassa - drums.
CD $18

LP Section:

AKIRA SAKATA With PETE COSEY / BILL LASWELL / HAMID DRAKE - Fisherman' (Trost 173; Austria) Trost have unearthed another gem from the Japanese jazz maestro Akira Sakata, together with Bill Laswell, Hamid Drake, and Pete Cosey. Fisherman' was released originally on CD, Japan-only, by Starlets Records in 2001. This release marks its first time on vinyl and available worldwide. Fisherman' is Sakata's ode to folksongs of the sea -- an intense personal statement on the fluidity of tradition. Personnel: Akira Sakata - alto saxophone, vocals, synth; Bill Laswell - bass, synth; Hamid Drake - drums; Pete Cosey - guitar.
LP $22

LEE "SCRATCH" PERRY & SUBATOMIC SOUND SYSTEM - Super Ape Returns To Conquer (Echo Beach 129; Germany) 41 years later, Lee "Scratch" Perry uses today's sound system to revisit his classic Black Ark album that defined Jamaican dub music, reincarnating the magic for the sound system generation. Big question about it: "How do you improve on a masterpiece?" Lee "Scratch" Perry defined dub music with his seminal 1976 Super Ape album, and he returns with New York City's Subatomic Sound System to conquer again, definitively reincarnating the magic of his Black Ark studio in Jamaica, heavy on Ethiopian horns and percussion, while reinvigorating it with the 21st century booming bass and beats that capture the energy of their innovative live electronic show. Largely known as the mentor to Bob Marley, Perry's influence has transcended reggae. Since 2010, he has toured with NYC's Subatomic Sound System, his go-to band for recreating his Black Ark studio sound live on stage, in new exciting ways as a one-of-a-kind hybrid of beat heavy electronics and live musicians, including original Black Ark studio percussionist Larry McDonald. Subatomic Sound System has been pushing the envelope of electronic music in combination with reggae since their inception in 1999. In dub, Lee "Scratch" Perry is a star at organizing and remixing the music with drum and bass in the forefront and tweaking knobs and faders, adding effects like a jazz improvisation. In the 1970s, the idea of a producer as a star, rather than a singer or musician, seemed crazy, but looking across the world of star DJ producers, he is rightly acknowledged as a visionary as well. There are many stories to be told, but this album follows on the mission of the tour which has the goal of reaching out to old fans and new fans. As sound system culture continues to expand globally with reggae and beyond, these are DJ-friendly heavyweight versions of Scratch material that makes sense in the 21st century. "Scratch" started his music career as a dancer so he loves to get a party started even at 81. The album shows that Scratch was 40 years ahead of his time with Super Ape, and that at 81, he's more relevant to youth culture than ever. The original "Burning Man", "Scratch" was called "the Salvador Dali of music" by Keith Richards and Bounty Killer hailed him as "the greatest Jamaican artist of all time". Features: Jahdan Blakkamoore, Screechy Dan, and Ari Up of The Slits. Includes CD.
LP CD $25

LITTLE AXE - Champagne & Grits (Echo Beach 133A; Germany) Echo Beach present the first vinyl issue of Little Axe's Champagne & Grits, originally released in 2003. Champagne & Grits is considered by many to be one of Little Axe's best albums and it features the musicians Doug Wimbish, Keith LeBlanc, and more. 180 gram vinyl; Edition of 500.
For the first time available on vinyl, three albums by Little Axe originally released CD-only on Peter Gabriel's Realworld label. Little Axe, aka Skip McDonald, started his career in music back in the '70s as a member of the Sugarhill Gang backing band (already with longtime collaborators Doug Wimbish and Keith LeBlanc). Later on, the same musicians got involved with Adrian Sherwood and his much beloved progressive reggae/dub label On-U-Sounds. So far McDonald has released a total of eight albums of his own under the Little Axe moniker. Each of them recorded together with Adrian Sherwood, and each of them based around Little Axe's very own and contemporary version of the blues, combining blues with dub, Cajun and gospel sounds. For the first time, Echo Beach offer vinyl versions of the three albums Little Axe released on the Realworld label in the early 2000s.
LP $30

LITTLE AXE - Stone Cold Ohio (Echo Beach 133B; Germany) Echo Beach present the first vinyl issue of Little Axe's Stone Cold Ohio, originally released in 2006. Stone Cold Ohio is another milestone in Little Axe's catalog, once again featuring Doug Wimbish and Keith LeBlanc. 180 gram vinyl; Edition of 500. For the first time available on vinyl, three albums by Little Axe originally released CD-only on Peter Gabriel's Realworld label. Little Axe, aka Skip McDonald, started his career in music back in the '70s as a member of the Sugarhill Gang backing band (already with longtime collaborators Doug Wimbish and Keith LeBlanc). Later on, the same musicians got involved with Adrian Sherwood and his much beloved progressive reggae/dub label On-U-Sounds. So far McDonald has released a total of eight albums of his own under the Little Axe moniker. Each of them recorded together with Adrian Sherwood, and each of them based around Little Axe's very own and contemporary version of the blues, combining blues with dub, Cajun and gospel sounds. For the first time, Echo Beach offer vinyl versions of the three albums Little Axe released on the Realworld label in the early 2000s.
LP $30

LITTLE AXE - Bought For A Dollar, Sold For A Dime (Echo Beach 133C; USA) Originally released in 2008, the songs on Bought For A Dollar, Sold For A Dime are re-recordings of Little Axe's favorite songs. Featuring Doug Wimbish, Keith LeBlanc, and Bernard Fowler (long-standing The Rolling Stones background singer). 180 gram vinyl; Edition of 500.
For the first time available on vinyl, three albums by Little Axe originally released CD-only on Peter Gabriel's Realworld label. Little Axe, aka Skip McDonald, started his career in music back in the '70s as a member of the Sugarhill Gang backing band (already with longtime collaborators Doug Wimbish and Keith LeBlanc). Later on, the same musicians got involved with Adrian Sherwood and his much beloved progressive reggae/dub label On-U-Sounds. So far McDonald has released a total of eight albums of his own under the Little Axe moniker. Each of them recorded together with Adrian Sherwood, and each of them based around Little Axe's very own and contemporary version of the blues, combining blues with dub, Cajun and gospel sounds. For the first time, Echo Beach offer vinyl versions of the three albums Little Axe released on the Realworld label in the early 2000s.
LP $30

Bruce Lee Gallanter’s Recommended Gig List for August of 2018:


8/24 Friday
8:30 pm - Duet with Johnathan Blake
Bill Frisell (guitar) Johnathan Blake (drums)

8/25 Saturday
8:30 - Duet with Mark Guiliana
Bill Frisell (guitar) Mark Guiliana (drums)


8/28 Tuesday
8:30 pm - Chris Cochrane (guitar) Kato Hideki (bass) G Calvin Weston (drums)

In collaboration with National Sawdust The Stone presents a series of World Premieres the last Wednesday of every month through 2018.
7pm at National Sawdust in Williamsburg. For details check

8/29 Wednesday
8:30 pm - Billy Martin (drums, percussion) G Calvin Weston (drums, electronics)

ONE SET AT 8PM—ADMISSION FREE! - The Stone is proud to present music at Russ and Daughters Cafe at 127 Orchard Street the last Thursday of every month! Drop by for smoked fish, pickles and great music!

8/30 Thursday
8:30 pm - G Calvin Weston (drums) Simon Hanes (bass) Jamie Saft (keyboards)

8/31 Friday
8:30 pm - John Medeski (keysboards, organ) & G Calvin Weston (drums)

THE (NEW) STONE is located in The New School’s Glass Box Theatre
55 West 13th street - near 6th ave
All Sets at The New Stone start at 8:30pm Tickets: $20
There are no refreshments or merchandise at The Stone.
Only music. All ages are welcome. Cash Only at the door.
A serious listening environment.
The Stone is booked purely on a curatorial basis

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

Friday Aug 24
6:00PM RYAN SLATKO TRIO FEATURING ARI HOENIG - Ryan Slatko, piano; Ari Hoenig, drums; Alon Near, bass
8:30PM BRAZIL FESTIVAL: VITOR GONÇALVES TRIO - Vitor Gonçalves , accordion; Brazil Festival: Vitor Gonçalves Trio image
10:00PM BRAZIL FESTIVAL: ZÉ LUIS QT - Zé Luis, tenor sax, flutes; Richard Padron, guitar; 

Saturday Aug 25
6:00PM SPARKLING SOUNDS - Dailza Ribeiro, vocals, comp; Elizabeth Clark, visual, conceptual artist; Christopher Encarnacion, poet; Glauco Lima, piano
8:35PM BRAZIL FESTIVAL: HELIO ALVES QUARTET - Helio Alves, piano; Vic Juris, guitar; Edward Perez, bass; Alex Kautz, drums

Sunday- Aug 26
8:30PM ECLECTIC VOCALS FESTIVAL: JUDI SILVANO & THE ZEPHYR BAND: CD RELEASE SHOW - Judi Silvano, vocals, songs, lyrics; Kenny Wessel, guitar; Bruce Arnold, processed guitar; Adam Kolker, bass clarinet & soprano/tenor sax; Ratzo B. Harris, bass; Matt Wilson, drums

Monday - Aug 27:
8:30PM ECLECTIC VOCALS FESTIVAL: NOA FORT QUARTET - Noa Fort, voice, piano, compositions; Josh Deutsch, trumpet; Dan Loomis, bass; Ronen Itzik, drums

Tues - Aug 28th:
6:00PM ARCOIRIS SANDOVAL - ArcoIris Sandoval, piano; Marty Kenney, bass; Kenneth Salters, drums
8:30PM ECLECTIC VOCALS FESTIVAL: SUMMER SERENADES - Ellen Mandel, vocals, piano, composition; Michael Lydon, vocals, guitar, composition; Jessica Crandall, soprano; Mike Weatherly, bass

Wednesday Aug 29
6:00PM MCAULIFFE*AARON*GOULD TRIO - Marie McAuliffe, piano; David Aaron, soprano saxophone; Dave Gould, drums, toys
8:01PM CAMERON BROWN'S DANNIE'S CALYPSO - Lisa Parrott, sop. sax, baritone sax; Jason Rigby, tenor sax, sop. sax; Cameron Brown, bass; Tony Jefferson, drums

Thursday Aug 30
6:00PM ENRICO NERI PRESENTS NY PUZZLE ENSEMBLE - Enrico Neri, drums; Giacomo T, upright bass; Takaaki Otomo, piano; Austin Zhang, saxophones
8:01PM CAMERON BROWN'S OC/DC - Lisa Parrott, alto, baritone sax; Jane Ira Bloom, soprano sax; Cameron Brown, bass; Anthony Pinciotti, drums

Friday Aug 31
8:35PM IGOR LUMPERT QUARTET - Igor Lumpert, tenor sax; Matt Mitchell, piano; John Herbert, bass; tba, drums

Saturday Sep 01
8:35PM DUANE EUBANKS 4TET - Duane Eubanks, trumpet; Anthony Wonsey, piano; Santi Debriano, bass; Chris Beck, drums

Sunday Sep 02
Stephon Alexander, physicist, musician; Robert Dick, flutist
8:01PM DJANGO FEST: DAN LEVINSON - Dan Levinson, clarinet; Vinny Raniolo, guitar; Josh Kaye, guitar; Danny Wheller, bass

I-Beam Presents:

Friday, August 24th 8:00 PM
Innocent When You Dream & Weird Turn Pro
8:00 pm - Innocent When You Dream
Aaron Shragge – dragon mouth trumpet/shakuhachi
Ryan Anselmi -tenor sax
Nico Soffiato -guitar
Alexi David -bass
Deric Dickens -drums
9:30pm - Weird Turn Pro
Chris Klaxton – trumpet
Matt Langley – bass clarinet
Chris Gagne – trombone
Mike Effenberger- piano
Rob Gerry – bass
Mike Walsh – percussion

Saturday, September 8th 8:00 PM
Liebowitz / Lane / Drury
Carol Liebowitz . piano
Adam Lane . bass
Andrew Drury . drums
Eva Novoa Trio

Friday, September 14th 9:00 PM $
Eva Novoa, piano
Drew Gress, bass
Devin Gray, drums

I-Beam is located at 168 7th Street in Brooklyn, NY 11215 - Directions: SUBWAY: Take the F or R trains to 4th Ave & 9th Street. Walk down 4th ave to 7th street. Make a left on 7th and walk past 3rd ave. We are located on the ground floor, the grey doors to the right of the stairs of #168.

The Bushwick Improvised Music Series

Monday August 27th

7pm Zach Swanson - bass
 Leonor Falcon - violin
 Tom Swafford - violin

8pm Stephen Gauci - tenor saxophone
 Kevin Shea - drums
 Hans Tammen - buchla

9pm Shoko Nagai - accordion/electronics
Gamin Kang - piri
 Satoshi Takeishi - percussion

9:45pm Lior Milliger - tenor saxophone
 Ken Filiano - bass 
Joe Hertenstein - drums 
Steve Swell - trombone

10:45pm Jack Wright - alto saxophone
Evan Lipson - bass
Ron Stabinsky - piano
 Kevin Shea - drums

11:30pm  Carlos Quebrada - bass
Sam Weinberg - tenor saxophone
Weasel Walter - drums

Downstairs @ Bushwick Public House
1288 Myrtle Avenue , Bushwick
(Across the street from M train Central Ave stop)



Saturday, September 8, 2018 - Pennovation Center, 3401 Grays Ferry Ave., Philadelphia, PA - Free show 6:00 pm

Tuesday, October 16, 2018 - Music Box, 1148 Main Ave., Cleveland, OH - Doors 5:30 pm & Show 7:30 pm

Wednesday, October 17, 2018 - El Club, 4114 Vernor Hwy, Detroit, MI - Show 8:00 pm

Thursday, October 25, 2018 - Rhodes College, 2000 North Parkway, Memphis, TN - Showtime TBA

Wednesday, October 31, 2018 - Philadelphia, PA - Venue & Showtime TBA

The Sun Ra Arkestra Directed by Marshall Allen has four CD recordings. Two are El Ra Records releases "A Song for the Sun" and "Music for the 21st Century" and the other two are In Out Record label releases "Live at the Paradox" and "Babylon Live".

For additional information about Sun Ra Arkestra Directed by Marshall Allen performances, including venue weblinks, please click on the "Tourdates" tab of the Sun Ra Arkestra website. Booking information for the Sun Ra Arkestra Directed by Marshall Allen is available by clicking on the "Info" tab of the Sun Ra Arkestra website, which is located at:

Shapeshifter Presents:

Sept 5
7p and 8:15 - Improvisors Gathering: East to West and South
7p - Rema Hasumi (piano and voice)
Charlotte Greve (saxophone)
Flin van Hemmen (drums)
8:15p - “Kazuki Yamanaka NYC-Argentina Improv Connection”,
Kazuki Yamanaka (alto sax)
Camila Niebla (tenor sax)
Dana Saul (piano)
Luca Rosenfeld (bass)
Axel Caval (drums)

Sept 6
8:15p - Take Off Collective
Ole Mathisen: Sax electronics
Marko Djordjevic: Drums
Matthew Garrison: Bass electronics

Sept 9
7pm: Mavis Pan Trio
Mavis Pan (Piano/Vocal),
Andreas Brade (Drums),
Ran Livneh (Bass)
8:25p - Hetko, Syracuse & Siegel
Nick Hetko - piano
Rich Syracuse - bass
Jeff “ Siege” Siegel - drums

Sept 11
8:15p- Jan Sturiale TRIO w/Marco Panascia and Colin Stranahan

Sept 13
7p - Allegory of the Cave People
Soprano/Tenor Sax: Will Brown
Alto Sax: Sunhyun Yoo
Voice: Baba Tang
Piano: Anthony Pearlman
Bass/Compositions: Torge Goderstad
Drums: Bryce Collins
8:15p - Paul Steven Ray’s BlueBlackDream
Paul Steven Ray – guitar/soundscapes
Lisette Santiago – Voice/Percussion/Theremin

Shapeshifter is located at:
18 Whitwell Pl, Brooklyn, NY 11215
Phone: 1-646-820-9452


KALI. Z. Concert: Harlem Quartet
Friday, September 7 at 7 PM - 8:45 PM
Greater Calvary Baptist Church
43-55 West 124th Street, NY, New York 10027

KALI. Z. FASTEAU: Harlem Quartet Concert: 100% Spontaneous Composition!

KALI. Z: Piano, Drum Set & Voice
T.K.BLUE: Alto Sax & Flute
RON McBEE: African Percussion


HIGH ZERO Festival (New York edition)
at Roulette
509 Atlantic Ave., Brooklyn, NY, 11217 /

8pm - $18 for each night
Thurday, September 19th
Set 1
Tom Boram (synthesizer, computer, harpsichord)
Ikue Mori (electronics)
C Spencer Yeh (voice, violin)
Set 2
Owen Gardner (guitar, cello)
Shelly Purdy (percussion)
Margaret Schedel (violoncello, electronics)
Set 3
Andrew Bernstein (saxophone)
Jeff Carey (computer, lights)
Jamal Moore (reeds)
Ras Moshe (sax)
JD Parran (woodwinds)
Set 4
Lea Bertucci (bass clarinet, alto sax, electronics)
Samuel Burt (daxophone, bass clarinet
Michael Evans (percussion, theremin)

Friday, September 20th
Set 1
Bonnie Jones (electronics)
Laura Ortman (amplified violin)
Set 2
Rose Hammer Burt (reeds)
Sandy Ewen (guitar)
M.C. Schmidt (electronics, balloon)
Set 3
CK Barlow (electronics, sampling)
John Berndt (reeds, computer, invented instruments)
Tom Hamilton (electronics)
Amirtha Kidambi (voice)
Set 4
Chuck Bettis (electronics, vocals)
Jaimie Branch (trumpet)
Stewart Mostofsky (electronics)

Michael Musillami Trio 2
Michael Musillami, guitar,composer
Joe Fonda, bass
George Schuller, drums
Kirk Knuffke, cornet
Jason Robinson, saxophones, flutes
Friday, September 14, 2018 - Sets at 8:30 PM  10:00 PM
Firehouse 12
45 Crown Street
New Haven Ct. - 203 785 0468

Saturday, September 15, 2018
Sets at 8:00 & 9:15
The Bing Arts Center
716 Sumner Avenue
Springfield, MA - 413 731 9730

Fridman Gallery 5th Anniversary Festival
at Fridayman Gallery
287 Spring St., NY, NY 10013
September 17-25, 2018 - 8pm doors
$20 each night
Co-curated with Daniel Neumann

The Program:
Each night: Victoria Keddie, new videos.
Mon Sep 17
Red Desert play Lucier, Oliveros, Wolff
Ikue Mori
Charmaine Lee, Ben Bennett
Tue Sep 18
Hiro Kone
Drew McDowall
Wed Sep 19
Hiro Kone
Drew McDowall
Emil Bognar-Nasdor
Thu Sep 20
Ka Baird
Tamar Ettun, Miya Masaoka
Younes Baba-Ali
Fri Sep 21
John Driscoll, Cecilia Lopez
Lea Bertucci, Seth Cluett, Phil Edelstein
Sat Sep 22
MV Carbon, Maria Chavez, Lesley Flanigan
Michael Schumacher
Nino Cais, Carla Chaim
Sun Sep 23
Phill Niblock
Yvette Janine Jackson, Abigail Levine
Carver Audain
Mon Sep 24
Octophonic performances:: Ed Bear, Chuck Bettis, Richard Garet, Daniel Neumann
Tue Sep 25
Valentina Kvasova
Vitche-Boul Ra