All Newsletters | Subscribe Here

DMG Newsletter for Friday, January 11th, 2019

“Pride of Man”
Performed by Quicksilver Messenger Service - s/t 1st LP - 1968

Turn around go back down
back the way you came
can’t you see that flash of fire
Ten times brighter then the day
and behold a mighty city
broken in the dust again
OH GOD, pride of man
broken in the dust again

Turn around go back down
back the way you came
Babylon is laid to waste
Egypt’s buried in her shame
their mighty men are all beaten down
their kings are all falling in the ways
OH GOD, pride of man
broken in the dust again

turn around go back down
back the way you came
terror is on every side
though our leaders are dismayed
all those who place their faith in fire
In fire their fate shall be repaid
OH GOD, pride of man
broken in the dust again

turn around go back down
back the way you came
and shout a warning to the nation
that the sword of god is raised
get Babylon backed by its city
rich in treasure wide in fame
OH GOD, pride of man
broken in the dust again

And it shall cause your tower to fall
make of you a pyre of flame
oh you who dwell on many waters
rich in treasure wide in fame
you bow unto your god of gold
your pride of might shall be a shame
for only god can lead his people
back unto the earth again
OH GOD, Pride of man
broken in the dust again
our holy mountain be restored
Have mercy on the people
Oh Lord…

Written (& recorded) by Hamilton Camp but made popular by Quicksilver Messenger Service. I recall hearing this song on FM radio in 1968 many times. The apocalyptical lyrics have always haunted me. As I walk through Penn Station 5 or 6 days a week, I see the sign for Babylon (on LIRR) and I sing out, “Babylon is laid to waste, Egypt’s buried in her shame”! Is the End coming soon?!? Is what I think about as I sing.


This Week’s Sonic Delights from This Cast Musicians & Magicians:

Roscoe Mitchell & George Lewis! Matthew Shipp & Mat Maneri! The AACM Great Black Music Ensemble! Human Feel: Andrew D’Angelo / Chris Speed / Kurt Rosenwinkel / Jim Black! Endangered Blood!

Christoph Irniger Pilgrim! Blaise Siwula / Loggia / Namenwirth Trio! Heroes Are Gang Leaders 4! Zack Clarke 5! Richard Youngs! Plus Archival Discs from McCoy Tyner! Count Basie! Two from The Residents! Three from Klaus Schulze! Rare Vinyl from Henri Pousseur! Steve Stapleton & David Tibet! Leadbelly..!

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

 Sunday, January 13th:
6pm: DISSIPATED FACE 2019: In memory or our guitarist Michael Lublin who passed in 2018

 Sunday, January 20th:
6pm: MATANA ROBERTS and DARIUS JONES - Alto Sax Duets - First Time Duet!
7pm: RaaDie: LORENZ RABB - Trumpet Electronics / CHRISTOF DIENZ - Zither Electronics

 Sunday, January 27th:

Sunday, February 3rd:
7pm: THE BEYOND GROUP: CHERYL PYLE - C & Alto Flutes / MICHAEL EATON - Soprano Sax /
CLAIRE de BRUNNER - Bassoon / GENE COLEMAN - Bass Flute & Piccolo

Sunday, February 10th:

Sunday, February 17th:

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. You can check the weekly in-store sets through our Instagram feed

ANNOUNCEMENT to All Drummers who have played here at DMG!

We are soon going to be losing our Gretch drum kit which will go back to the rehearsal studio from where it came. We still have two drum kits left but both are not very good. Plus our hi-hat stand recently broke!?! To any drummers, if you can donate any parts, drums, cymbals, hardware, etc., please do so and let us know. Former Dutch drummer Michael Vatcher is currently living uptown and helps out here on Mondays. He will be helping us take better care of what we have as far as the drums and gear. Thanks for your time and any help. - BLG



This Saturday, January 12th at HOLO

This event will include a solo and duet performance by guitarist
LOREN CONNORS with violinist LAURA ORTMAN, followed by
A duet performance of Connors with violinist SAMARA LUBELSKI and solo by Ms. Lubelski. 

H0L0 is at 1090 Wyckoff Ave., corner of Decatur Street, near border of
Brooklyn and Queens. Entrance is on Wyckoff. 

Music starts 8pm. Doors open 7pm.
L Train to Halsey station. - $10 cover.


Beginning with this Important Release:

ROSCOE MITCHELL / GEORGE LEWIS - Voyage and Homecoming (Rogue Art 0086; France) “Roscoe Mitchell and George Lewis first met in the summer of 1971 on Chicago’s South Side, where both musicians were born and raised. Mitchell and the Art Ensemble of Chicago, had just returned to the South Side after a two-year sojourn in Europe, and Lewis was back home too, taking a break from his undergraduate studies at Yale. Since then, they collaborated very regularly, pushing each time the limits of the possible in music. This album, the latest chapter of a creative partnership spanning five decades, is a major step in their collaboration and is thus much more than just the sum of the immense talent of each of them.”
Both Roscoe Mitchell and George Lewis are early members of the AACM, an infinitely important and influential music-based organization which recently passed their half century mark and continues today! Besides being master musicians, composers and multiple bandleaders, both Mr. Mitchell (Mills College) and Mr. Lewis (Columbia University) are also professors at two important schools. Although both Mitchell and Lewis have hundreds of records between their large discography, they have worked together on only a few previous recordings for Black Saint, Sackville and Avant labels. There was also a more recent trio with AACM founder Muhal Richard Abrams, which ended with Mr. Abrams passed away in October of 2017. I haven’t heard this new duo disc as of yet but an really looking forward to hearing it as both of these men are true musical pioneers. - BLG
CD $16

MATTHEW SHIPP / MAT MANERI - Conference of the Mat/ts (Rogue Art 0084; France) Featuring Mat Maneri on viola and Matt Shipp on piano. Longtime Downtowners Mat Maneri and Matthew Shipp have been collaborating for some 25 years, with some dozen discs of duos, trios and quartets. After a number of great collaborations in the 1990’s, they have worked together much less frequently in recent years, although there was a fine trio offering with Whit Dickey from 2017. Since the turn of the aughts (2010), Mr. Shipp has mainly been working & recording in his own solo, duo and trio situations. Mat Maneri, on the other hand, has consistently found new improvisers to work with: Evan Parker, Lucian Ban and Tony Malaby to start.
This disc is superbly recorded with both instruments in perfect sync. Both Mat’s sound as if they are breathing together, caressing and bending notes carefully together, shadowing each others moves. On many of the more recent solo and trio discs by Matt Shipp, we often hear him playing certain themes and embellishing them depending on his mood or who is is working with. Mr. Maneri has a way of pushing Mr. Shipp further out and out of his usual comfort zone. This duo is often filled with suspense, a dark undertow and a way of connecting on different levels. Mr. Shipp’s is more chamber-like, rather majestic at times with some occasional dark eruptions from both musicians. There are number of astonishing moments when one musician will play a phrase which will slowly evolve while the other musicians reacts, redirecting the flow as the dialogue continues. We can tell that these two master improvisers have worked together for a long while since they sound completely connected throughout this entire disc. A rich conversation between tow old friends. - Bruce Lee Gallanter, DMG
CD $16

AACM GREAT BLACK MUSIC ENSEMBLE With ERNEST DAWKINS / BEN LAMAR GAY / JEROME CROSWELL / et al - Live @ The Currency Exchange Cafe Volume 1 (AACM; USA) For more than fifty years, the AACM (Association for the Advancement of Creative Music), has continued lead the way for nurturing creative music in a hostile environment. Initially based in Chicago and founded by Muhal Richard Abrams with Roscoe Mitchell, Anthony Braxton, (Wadada) Leo Smith, Henry Threadgill, etc., the AACM has continued to evolve and inspire musicians and listeners worldwide. There are branches both in Chicago and in NYC, with your truly still attending monthly AACM gigs when they occur. This disc documents a current version of the Chicago AACM and is led by the greatest saxist & bandleader, Ernest Dawkins plus the highly respected, up & coming Ben Lamar Gay on cornet. There are eleven musicians on this disc, but only a couple of names I recognize: Ernest Dawkins, longtime leader of the New Horizons Ensemble and member of the Ethnic Heritage Society. The other name I know of is cornetist Ben Lamar Gay, who has recorded with Jaimie Branch and who has a well-regarded album out on the International Anthem label. Although the music here is all spontaneous improvisations, it sounds very focused or directed. Starting with “Ancient to the Future, Power Stronger Than Itself”, which has long been the them for Art Ensemble of Chicago (AEoC). The opening piece is epic length and does sound quite a bit like the organic, inside/outside vibe of the Art Ensemble. Female vocalist, Saalik Ziyad, is in fine form, her voice riveting at times, backed by the spirited saxes of Mr. Dawkins, Ed House on tenor and/or Adam Zanolini on soprano sax & flute. When she chants, her voice has that dreamy, Sun Ra-like vibe. Like the Art Ensembles’ concept/embrace of history of jazz, so too the AACM GBM Ensemble captures the long, flowing, festive and uplifting spirit. Each member of the unit seems like a perfect choice for wherever the ensemble goes. Inspired solos from most of the members (cornet, soprano sax & percussion) are scattered throughout, making this disc consistently compelling. At times the ensemble evolves into duos or trios, while keeping the magic of spiritual improv flames growing. For those of us who love spiritual jazz, this disc is a must-have: aural medicine for serious listeners worldwide. Delicious with just the right amount of spice! - Bruce Lee Gallanter, DMG
CD $14

HUMAN FEEL with ANDREW D’ANGELO / CHRIS SPEED / KURT ROSENWINKEL / JIM BLACK - Gold (Intakt 322; Switzerland) Human Feel have been together 30 years now, with no personnel changes in almost as long. Chris Speed, Andrew D'Angelo, Kurt Rosenwinkel and Jim Black had been developing individual and collective vocabularies in this very outfit, which went on to epitomize the ’90s downtown scene. Through it all Human Feel has carried on, and whenever they reconvene they have new musical stories to tell, and old ways of relating, of honing musical structures that depend on precision in the details yet leave much to be determined in performance. Now Human Feel present 'Gold' 12 years after their last album. The fusion of various musical idioms and the subtle play of calculation and spontaneity provide a highly individual musical language. Jim Black says, “We were joking recently we only make an album every 10 years now ... The past four years we’ve been getting together more often to work on new material, and to record when schedules allow. We had an amazing European tour in November 2017. The band just gets better. We believe more than ever that the four of us making music together is a necessity, and we intend to keep doing it wherever and whenever we can.”
CD $18

Back in stock after nearly three months:

ENDANGERED BLOOD [CHRIS SPEED / OSCAR NOREIGA / TREVOR DUNN / JIM BLACK] - Don’t Freak Out! (Skirl 043; USA) This is the third disc from Endangered Blood, an all-star quartet on the Skirl label. The personnel remains: Chris Speed on tenor sax & compositions, Oscar Noreiga on alto sax & compositions, Trevor Dunn on bass and Jim Black on drums. Although this quartet have been around for around a decade, their connections go back much further. Longtime cohorts, Mr. Speed and Mr. Black were both members of Tim Bern’e great Bloodcount group who reigned in the early nineties. Reeds wiz, Oscar Noreiga, is a current member of Tim Berne’s Snakeoil, another fine Downtown all-star unit. Ever-ready and in-demand bassist Trevor Dunn is all over the place, from Mr. Bungle to Electric Masada to Curtis Hasselbring’s New Mellow Edwards which also includes Mr. Speed. I love the title, “Passion Fruit Birthday Cake”, which opens this disc. There is something infectious about the melody here, rather like “St. Thomas” by Sonny Rollins. Joyous, jubilant and laid back. As time goes on, I’ve noticed that Chris Speed’s tone has grown more mellow, rather dream-like. “Koreana” is especially somber as if we are all walking in slow motion, not about to raise the pulse or spirits too much. On “Easy Blues”, the two saxes play the theme together in lovely slow burning harmonies while the rhythm team kick up some dust by accelerating here and there. I like the way Mr. Speed spins out those lines on “Varmints”, both he and Mr. Black are completely in sync, speeding up to a frenetic pace without breaking a sweat, eventually slowing down to a simmer. There is something most enchanting about, “Waiting for Marni”, as both saxes swirl around one another in a elegant, haunting way, weaving their ever so quick lines quietly. It sounds as if this is coming from the more cerebral side of West Coast jazz… has Chris Speed’s move to LA perhaps effected him in ways which sound obvious or am I reading into things too much?!? There is something lovely going on here, possibly a more mature attitude, instead of the nervous, neurotic energy that is at the center of many Downtown bands. On the next to the last piece, ”Diego Partido”, both saxes cut loose as does the great rhythm team. It is a marvel of quick, cascading lines that just keep spinning profusely throughout! What this piece reminds me of the most is: Lee Konitz and Warne Marsh, at their best. No easy feet I assure you. This disc ends with hushed, touching ballad, which would fit on a Duke Ellington album with any number of suave saxists like Johnny Hodges or Paul Gonzalves. When I spoke with Chris Speed earlier (October of 2018), he said that Lester Young, Lee Konitz & Warne Marsh were all big influences. Is this romantic music? It does feels fine and is good for the heart. - Bruce Lee Gallanter, DMG
CD $14

CHRISTOPH IRNIGER PILGRIM With STEFAN AEBY / DAVE GISLER / et al - Crosswinds (Intakt 323; Switzerland) “Christoph Irniger, a prodigious stylist with a warm sound, presents the third album with his band Pilgrim on Intakt Records. With "Crosswinds" the saxophonist who relishes adventure and surprise delivers a cultivated studio album. Multi-layered, subtle and melodically entangled, the eight pieces radiate a wondrous, atmospheric tranquility. A highly nuanced music with a magical sound. Peter Margasak writes in the liner notes: "Crosswinds – this new, gorgeously considered, but luxuriantly open new recording by tenor saxophonist Christoph Irniger’s Pilgrim – is palpably more relaxed on the surface than the quintet’s previous albums, yet beneath that veneer of calm is intensely focused and rigorous interplay as well as a level of risk-taking. Irniger and his bandmates have developed a richly contemporary sound that melds ideas from some of the most harmonically advanced thinkers in the US with a distinctly European flavor heard most explicitly“.
CD $18

PUGS & CROWS - Uncle (Self-produced; Canada) Pugs & Crows are/is Meredith Bates on violin & viola, Cat Toren on piano & vibes, Cole Schmidt on guitars & compositions, Russell Sholberg on basses and Ben Brown on drums plus guests Chris Gestrin on various keyboards, Tony Wilson on guitar, a string quartet (with Peggy Lee & Josh Zubot) & Marin Patenaude on vocals. Pugs & Crows are a Vancouver based quintet, led by guitarist Cole Schmidt. This is their second disc although Mr. Schmidt has worked with cellist Peggy Lee and left us with a great disc last year by a band called Sick Boss?!?. You should recall some of the guest musicians from their work on the Songlines or Drip Audio labels: Chris Gestrin, Tony Wilson and Peggy Lee.
One of the things I dug the most about the Drip Audio label (who released the first Pugs & Crows CD), if that no one cares about pigeon-holes so that jazz, rock, folk & world musicians all work together without anyone forcing any boundaries. The opening & closing song here, “One for the Big Light” into “Not My Circus Not My Monkeys”, is a sort of quirky rock song, with compelling female (familiar-sounding) vocals, surrounded by swirling strings, piano & guitar and a tight, rockin’ rhythm team. Singer, Marin Patenaude, has a strong voice and is consistently enchanting. What makes this even better is Mr. Schmidt’s writing and arranging, the guitar and string quartet often swell together , whether backing the voice of the rest of the quintet. Considering that I have heard so few rock records last year (2018), this disc would certainly be a top tenner for me. Perhaps Pug & Crows could open for another great roots rock band from Vancouver like the New Pornographers in the future?!? When not rocking too much, these songs have a haunting, solemn core which can be most hypnotic at times. I like that Ms. Patenaude has a modest voice, never emoting too much or drawing attention to herself, remains most charming nonetheless. I would think that one of those old folks magazines like Mojo or Uncut would appreciate this disc so let’s hope for the best. - Bruce Lee Gallanter, DMG
CD $14

BLAISE SIWULA / JOHN LOGGIA / ARON NAMENWIRTH - Past the Potatoes (No Frills Music 015; USA) Personnel: Blaise Siwula on soprano & tenor saxes, Aron Namenwirth on guitar & banjo and John Loggia on drums & percussion. I’ve known saxist Blaise Siwula for several decades now, especially for founding and running the COMA series at ABC-No Rio. That series, much like our own ongoing Sunday night free music series at DMG, has involved hundreds of musicians throughout its long history. The COMA series often ended with a group improv which included all the musicians who had played earlier that night. Hence, Mr. Siwula, has collaborated with hundreds of musicians from around the world throughout its long history. I didn’t recognize either of the other tow musicians on this disc, although it was Aron Namenwirth, who played here last Sunday (1/6/19) with Jorge Nuno & Reggie Sylvester.
Mr. Siwula starts off on soprano sax leads the way with sprawling drums and guitar matching his stream of notes. Mr. Siwula slows down a bit when he switches to tenor sax, his tone coming from an older style, his partners also slow down and provide some more restrained counterpoint. The slower tempo also permeates the first half of “The Ruined Garden”, with Blaise on soprano once again, Mr. Namenwirth playing somber bass-like fragments underneath, the tempo increasing throughout as the trio lifts off for flight. There are some portions that are more laid back, with the trio playing slow-burning excursions. At times it seems as if all three players are revolving in seperate yet connected orbits together.
CD $10

HEROES ARE GANG LEADERS with THOMAS SAYERS ELLIS / JAMES BRANDON LEWIS / LUKE STEWART / ET AL - The Amiri Baraka Sessions (Flat Langston's Ark Eyes; USA) Featuring Thomas Sayers Ellis - poetry, James Brandon Lewis on tenor sax, Janice Lowe on piano, Luke Stewart on bass, Warren Crudup on drums, plus guests - Michael Bisio - bass & Dominic Fragman - drums, plus several vocalists/poets and other musicians. This is the fourth disc from Heroes are Gang Leaders a/k/a HAGL, a NY-based poetry & music collective led by Thomas Sayers Ellis. This disc begins with some superfine laid-back tenor sax from my good pal James Brandon Lewis. On “Amina”, Mr. Ellis starts to let it out, making talking or rapping or perhaps just making a long list of observations or even telling ongoing story of sorts. As a shrewd counterpoint to Mr. Ellis, several female voices (Margaret Morris…) sing or chant their own lines in an inciting swirl. The JB Lewis Trio provides some swell, funky jazz groovin’ underneath while several voices make different observations. HAGL do an occasional cover, like Sly Stone’s “Everybody is a Star”, but stretch it out, adding a gospel-like chorus and more righteous sax. Mr. Ellis can be hilarious or even ridiculous in his descriptions of modern life but this is what these times often call for. “What it is..!” What makes this so nice is that there is little or no completely free playing here, all of the music serves and supports the different wordsmiths. The are number of infectious songs or melodies that keep this in the uplifting, inspirational vibe/groove. This entire disc is some 74 minutes long and what you know it that it is superb from the beginning until the righteous end. - Bruce Lee Gallanter, DMG
CD $14

ZACK CLARKE With CHRIS IRVINE / CHARLOTTE GREVE / NICK DUNSTON / LEONID GALAGANOV - Mesophase (Clean Feed 502; Portugal) Personnel: Zack Clarke on piano, electronics & compositions, Chris Irvine on cello, Charlotte Greve on sax, clarinet & flute, Nick Dunston on double bass and Leonid Galaganov on percussion, waterphone & shakuhachi. This is the second discs from NY-based pianist Zack Clarke for the Clean Feed label, his first was a piano trio of sorts. The frontline of this quintet are all new names for me: Mr. Clarke, Chris Irvine and Charlotte Greve. I do know the members of the rhythm team: bassist Nick Dunston I recently heard with Dave Douglas and drummer, Leonid Galaganov, I’ve heard with William Parker, Jesse Dulman and Kyoko Kitamura.
From the way it is described in the liner notes, it is fascinating to hear the way Mr. Clarke composed, organized and directed the quintet. Starting with electronics only to generate an impression of daily life around the city and eventually adding a score for the instruments to follow. Th music itself does have a sublime, ambient, sort of soundtrack-like vibe. On the opener, “Curtain”, the flute, cello, piano, electronics & drums all swirl around one another, creating a hypnotic sense of suspense. Th music moves in unfolding waves, with a current flowing underneath. The sound or recording is superb, we can hear each instrument perfectly, sometimes close-up, sometimes in the distance. The are a number of subsections which stand out, the piano/cello/clarinet on “Generative” sound orchestral or chamber-like, in sync and flowing together as one undertow. The electronics here are used minimal and just to add ambience (occasional eeriness) or subtle textures. The density increases on “Tilted”, the turbulence swells up and then calms back down… Pianist Zack Clarke gets to stretch out and show his prowess with sweeping lines on “Reticence”. Mr. Clarke’s intention of trying to capture a journey outside in the city sounds most successful as I listen to this disc and got the feeling of being transported back to NYC where I am heading later today. - Bruce Lee Gallanter, DMG
CD $15

RICHARD YOUNGS - This Is Not A Lament (Fourth Dimension FD 098; UK) Return of Richard Youngs to Fourth Dimension, a label that has supported his work since the early 1990s via collaborations with Simon Wickham-Smith. The latter returns to this set, based around the notion of songs featuring special guests. Spread over the two discs, the eleven songs here assume all manner of sonic guises that are often difficult or sometimes blissed-out, but always rewarding. Most include guests, themselves from a wide variety of backgrounds (taking in all from groups such as Trembling Bells and Vibracathedral Orchestra to folk, bagpipe music, and abstract electronics), and are each named after a geographical location for reasons only the artists know. Spanning almost two hours, it not only once again illustrates precisely how prolific an artist Richard Youngs is, but it firmly compounds his place as one who can comfortably traverse everything from avant forms of songwriting to those even less charted spaces. As visionary as Robert Wyatt, he unwittingly exudes everything most perceive the very idea of English eccentricity as being. So-called "outsider" music rarely arrives so pronounced and at the same time so warm and inviting. Special guests include: Alasdair Roberts, Donald WG Lindsay, Neil Campbell, Sybren Renema, Alastair Galbraith, Reg Norris, Mick Elborado, Norifumi Shimogawa, Oren Ambarchi, and Simon Wickham-Smith.
2 CD Set $17

Historic and Archival Releases:

McCOY TYNER w/ CLARK TERRY / CHARLIE MARIANO / JIMMY GARRISON / ART DAVIS / HENRY GRIMES / STEVE DAVIS / BOB CRANSHAW / ROY HAYNES / ELVIN JONES / et al - The Impulse Albums Collections (Enlightenment 9160; EEC) Born in Philadelphia on 11th December 1938, as a youth McCoy Tyner was encouraged to study piano by his mother and began lessons at age 13. Within two years music had become the focal point in his life and Tyner was playing on his neighbour's instrument, but his family soon invested in one of his own for the budding musician, following which he began hosting jam sessions at home. Among his friends were a number of other young musos who would go on to make their mark in the field of jazz, including Lee Morgan, Archie Shepp, Bobby Timmons, Reggie Workman, and most notably, fellow pianist Bud Powell and his brother Richie. McCoy later said, "Bud and Richie Powell moved into my neighborhood. Bud was a major influence on me during my early teens. He was very dynamic." Tyner later attended the West Philadelphia Music School and the Granoff School Of Music. Also included as part of this collection, is a rare, previously unreleased recording of a jam session undertaken by members of John Coltrane's group in Munich in 1961, led by Eric Dolphy on bass clarinet and McCoy Tyner on piano. This unique and rarely heard recording also featured Reggie Workman on bass, Mel Lewis on drums, and Coltrane himself contributed trumpet to one number. This complete 4 CD collection, containing almost five hours of music, showcases all of Tyner's work with Impulse! as a bandleader, bringing together as it does McCoy Tyner's finest early releases, during a period that the great man went from being a breakaway from John Coltrane's group, to a fully-fledged international and wildly respected jazz band-leader in his own right. This boxed set will thus serve as both welcome reminder of this sublime musician's best ever work, or as a starting point for those not yet flying the flag. Albums included: ‘Inception’, ‘Reaching Forth’, ‘Nights of Ballads & Blues’, ‘Today and Tomorrow’, ‘Live at Newport’ & ‘McCoy Tyner Plays Ellington’.
4 CD Set $18

COUNT BASIE - The Classic Roulette Collection 1958-1959 (Enlightenment 9159; EEC) “Born William James Basie in Red Band, New Jersey on 21st August 1904, 'Count' Basie began his musical journey by learning both drums and piano, and although he was a more naturally a pianist, he preferred the drums as a youth. By 15 though, he was focussing solely on the keyboards, discouraged by friend and future Duke Ellington drummer Sonny Greer, knowing he could never match Greer's skills on the 'skins'. Basie's family were musical; his father played the mellophone and his mother the piano, teaching the young William how to play from an early age. In 1924 he moved to Harlem where his musical career began, later becoming one of the most successful jazz bandleaders; in 1935 he formed his own orchestra. In 1937, Basie decided to move the orchestra to New York and when the famous pianist Fletcher Henderson caught an early performance at the Roseland Ballroom, he noted that the orchestra lacked "polish and presentation". This didn't prove to be an issue however as throughout the '30s and '40s, the orchestra popularity and skill set continued to grow. Focusing on Basie's work with Roulette Records in 1958 and 1959, one of the busiest periods of his 50 year career, this collection showcases some of his most lauded work and includes his most successful albums to date. Recording over 100 albums with his orchestra who despite Basie's death on 26th April, 1984 are still active to this day, Basie remains one of the pioneering bandleaders in Jazz and Swing music. This 4CD will serve as welcome reminder to those already familiar with the Count and will prove a fantastic introduction to any new Count Basie fans.”
Albums included: ’The Atomic Mr. Basie’, ‘Basie Plays Hefti’, ‘Chairman of the Board’, ’Sing Along with Basie’ (with Lambert, Hendricks & Ross), ’Strike up the Band’ (with Tony Bennett), ‘Every Day I Have the Blues’ (with Joe Williams)…
4 CD Set $18

THE RESIDENTS - Eskimo pREServed Edition (Cryptic Corp NRT 008; USA) "Formed in the early 1970s, The Residents have been charting a unique path through the musical landscape for over 45 years. From far-out, experimental recordings to highly conceptual, innovative multi-platform projects, the band has refused to stand still, and continues to move in several different directions at once. But you probably already knew that. Produced with The Cryptic Corporation using archival tapes supplied by The Residents themselves, this package explores and expands the classic 1979 album -- the record which brought The Residents to a wider, international audience. Including an acapella suite, live in the studio recordings, related unreleased recordings, the 'Goosebump' and 'Replacement' projects and live tracks, this is The Residents as we've always wanted to hear them. Bonus material includes unheard 1978 Demo, album acapellas, unreleased tracks and live in the studio material."
2 CD Set $20

THE RESIDENTS - Commercial Album - pREServed Edition (Cryptic Corp NRT 009; USA) "Formed in the early 1970s, The Residents have been charting a unique path through the musical landscape for over 45 years. From far-out, experimental recordings to highly conceptual, innovative multi-platform projects, the band has refused to stand still, and continues to move in several different directions at once. But you probably already knew that. Produced with The Cryptic Corporation using archival tapes supplied by The Residents themselves, this package explores and expands the classic 1980 album -- the record which cemented The Residents' reputation as conceptual cultural observers with aspirations towards the mainstream. Including unheard outtakes, live rehearsals, re-workings and live interpretations, this is The Residents as we've always wanted to hear them. Bonus material includes unused period recordings (including several one-minute pieces), live-in-the-studio material and concert recordings."
2 CD Set $20

KLAUS SCHULZE - La Vie Electronique 5 (Made in Germany MIG 140; Germany) "Re-launch of the successful and partly out-of-print La Vie Electronique series by Klaus Schulze in a new digifile. MIG will gradually make the out-of-print volumes available again. La Vie Electonique Vol. 5 contains works from 1976 to 1977. 'Berlin Schönberg' was recorded in 1976 on a radio concert in Berlin. 'Vie de rêve' is from a concert from the same year, recorded in Reims in France. 'Nostalgic Echo' and 'Titanische Tage' are also solo concerts from 1976. One year later 'For Barry Graves' was recorded -- a short kurzes concert for the WDR-program 'Musik Extra 3'. 'The Oberhausen Tape' was recorded in 1976 (the second part of this concert is on La Vie Electronique Volume 6) 'The Poet' finally is a typical gem from the Moondawn era."
3 CD Set $20

KLAUS SCHULZE - La Vie Electronique 6 (Made in Germany MIG 150; Germany) "Re-launch of the successful and partly out-of-print La Vie Electronique series by Klaus Schulze in a new digifile. MIG will gradually make the out-of-print volumes available again. CD 1, on the one hand, contains the second part of the Oberhausen-concert, with 'Schwanensee' on the other: two solo pieces which were recorded in 1976 in the studio in Hambühren. 'Fear at Madame Tussaud's' was recorded in April, 1977 in the London planetarium -- at that time a novelty, for it was the first time that a concert was held in a planetarium. 'Zeitgeist' is a concert which was recorded on October 17th, 1977 in front of 5500 people in the Saint Michael cathedral in Brussels, 'Inside The Harlequin' is the encore of this evening. The recording date of 'La Vie Secrète' cannot be exactly determined after all years any more. Recorded either in 1977/78 or 1975 this piece remains a very quiet, almost meditative jewel. In contrast to this stands 'Barracuda Drum', recorded about 1978 with Harald Grosskopf on drums. Last but not least at the end of the third CD we encounter the Klaus Schulze of 1979: In October and November that year Klaus Schulze was on tour with Arthur Brown ('Fire'). 'There was Greatness in the Room' is a fragment of the encore of concert from October, 29th 1979 in Brussels. The specific thing about this recording: Beside the voice of Arthur Brown the vocoder-voice of Klaus Schulze is also to be heard."
3 CD Set $20

KLAUS SCHULZE - La Vie Electronique 8 (Made in Germany MIG 170; Germany) "Re-launch of the successful and partly out-of-print La Vie Electronique series by Klaus Schulze in a new digifile. MIG will gradually make the out-of-print volumes available again. During the years 1977 to 1983 Klaus Schulze recorded some of his more introspective works. Albums like Mirage, Dune, and Dig It saw a significant change in his style of playing and his way of composing. While Schulze was quickly expanding his collection of synthesizers, that ultimately had its effect on the outlook of the music and the possibilities of performing that in a more exquisite way. Play a track like 'Synthasy' and notice that Schulze has come a long way since Timewind and Moondawn. On this 8th part of La Vie Electronique there's a selection of stuff that was archived beside his official albums in those years."
3 CD Set $20

BROSELMASCHINE - It Was 50 Years Ago Today (Made in Germany MIG 2132; Germany) "Bröselmaschine is one of the oldest bands from Germany and still alive! The reactions to their latest studio album (2017) were awesome by critics and fans. All over the world, especially in USA and Japan, the debut album from 1971 is listed as one of the most important Krautrock albums of all time - beneath Amon Düül, Can and Tangerine Dream (e.g. the New York Blog 'Pigeon & Planes' rank 9 of 20). On the occasion of their 50th anniversary MIG will release an anthology box set containing 5 CDs and two DVDs - a complete documentary of this unique band (1968 to 2017). An impressive 48 page booklet with extended liner notes and photos makes this release a special gem. The box set contains all studio albums including the iconic debut, carefully restored and digitally remastered. For the album I Feel Fine we got the original two inch multi-track tapes baked and digitalized; our proven sound engineer Hoppi made a contemporary mix, but for all that still ensouled by the ghosts of the '70s. The album Graublau (Greyblue) was digitally remastered from the original analogue 1/4inch master tape from 1984. It is fascinating and entertaining to follow this extraordinary band through the decades in different line-ups. On guitar: Willi Kissmer and Michael Dommers (previously Wallenstein) and, of cause mastermind Peter Bursch, who is also playing the sitar. Part of the band for many years are also exceptional German drummer Manni von Bohr, and on keyboards Helge Schneider. There are also Klaus Dapper on flutes and saxophone, Deltlef Wiederhöft on bass, the great Nippy Noya on percussions and many, many more."
5-CD / 2-DVD Set $60

KIM HIORTHOY & RUNE KRISTOFFERSEN - Let's Put It To Music: 20 Years Of Rune Grammofon (Rune Grammofon 2200BK; Norway) After having borrowed lines from Jimi Hendrix and English poets for all previous anniversary releases, Rune Grammofon struck out for this one until Kim Hiorthøy, well after the deadline, accidentally stumbled over Johnny Cash and Forever Words: The Unknown Poems (2016). Let's Put It To Music quite nails it when it comes to the basic idea of the book and how the label approach the whole process of making a record. As Tim Gane is quoted in Adrian Shaughnessy's introduction "a Stereolab record was never finished until the cover was done". That rings true for Rune Grammofon as well, and they would like to add that a sleeve is never designed for the sole purpose of selling a product (it took 28 releases before an artist was pictured on the sleeve), or necessarily reflect the music in any way, but rather to establish a suggestive relation between the two, often based on the album title or a song title, but not in an obvious way. After some 200 releases, Kim has never "explained" a sleeve design, and Rune can't remember ever asking him. But it's hard to recall another label that has worked with one designer exclusively for 20 years and 200 releases. The exclusivity was a premise for the collaboration from the very beginning, but Rune certainly never had any expectations about how long the label would be able to keep it going. Especially when considering that Kim is occupied on a number of arenas; as photographer, filmmaker, illustrator, painter, writer, musician, dancer, and choreographer. As one will discover, the book is far from being a catalog lining up the releases (it's not even "complete" or chronological in that sense), but gives an interesting insight by also including sketches, rejected designs, and unused ideas that never left the drawing board... until now. Lists are a source of controversy, as Hedvig Mollestad discusses rather well in her text. The idea of including a 7" single also came late, and would depend on getting at last one track really quick. To Rune Grammofon's delight, they miraculously ended up with what is surely three of the most beautiful tracks in their catalog, and all exclusive for this release, featuring Fire! Orchestra, Maja S. K. Ratkje, and The Last Hurrah!! with Nora Zheng. Introductions by David Fricke and Adrian Shaughnessy. 224 pages.
7” / BOOK $52

A Few LP Only Releases to Consider:

HENRI POUSSEUR - Early Experimental Electronic Music 1954-1961 (Fantome Phonographique OME 1012; Italy) Henri Pousseur was a Belgian composer, teacher, and music theorist active from the 1950s on, influenced by Pierre Boulez, Karlheinz Stockhausen, and Luciano Berio. Pousseur may be lesser known than those contemporaries but his composition and technique is regarded by many as equaling, if not surpassing much of the work of those more famous names. Realized in the same Cologne radio studio as much of Stockhausen's most famous work, this collection brings together some of Pousseur's greatest work, early tape and electronic masterpieces that deserve the recognition afforded many of his more famous contemporaries.
LP $24

RUNE LINDBLAD - Death Of The Moon & Other Early Works (Fantome Phonographique OME 1016; Italy) Rune Lindblad was born in Gothenburg, Sweden in 1923 and began composing music in 1953. This was a time when composers in Germany and France were feuding over the merits of electronic music made by pure wave oscillators versus Musique concrète, which used the tape recorder as its main instrument. Lindblad, however did not see these genres as mutually exclusive. In fact, Lindblad extended his work to incorporate other mediums along with his approach to music. Deeply involved with woodcuts and painting, Lindblad was already experimenting with using damaged 16mm film in his Optica 1 as early as 1959. Not surprisingly, since Lindblad represented no institutionalized school of thought, his experiments went unnoticed for many years with the exception of his demonstration of Musique concrète in a concert at Folkets Hus in 1957 where the audience demanded their money back and the critics called his concert "pure torture". Until a retrospective published by Radium in 1989 there were only two recordings of Rune Lindblad's compositions; one was the single side of a 7" record released in 1957, the other a full length album published in 1975. Both of these recordings were poorly distributed and remain fairly unknown. Lindblad taught at Gothenburg University; among his students were Rolf Enstrom, Ake Parmerud, and Ulf Billing. The music on Death Of The Moon & Other Early Works has lain dormant for almost 35 years. It was recorded at a time when Lindblad was forced to borrow equipment from the University in Gothenburg in the evening and have it returned by sunrise the next morning. These compositions are essentially tape music, where individual performances are fed back and forth between tape recorders in a style represented by the technical limitations during this time period.
LP $24

STEVEN STAPLETON / DAVID TIBET - The Threats Of Memories Double (Dirter Promotions DProm 141; UK) "The Sadness Of Things" was originally released as side one of Steven Stapleton and David Tibet's The Sadness Of Things (1991). "The Dead Side Of The Moon" and "BubbleHead" were, respectively, sides one and two of Stapleton and Tibet's Musicalische Kürbs Hütte (1996). "DreamBreath" is a previously unreleased outtake from Musical Pumpkin Cottage (1996). Gatefold sleeve; Includes insert with lyrics and credits.
2 LP Set $32

LEADBELLY - King Of The 12-String Guitar (Wax Love WLV 82105; Italy) Huddie William Ledbetter, better known to the world as Leadbelly, was one of the most celebrated guitarists and vocalists of 20th century American music. He introduced the world to many traditional folk and gospel songs and his versions remain some of the most well-known and beautiful ever cut to tape. Born on a plantation in Louisiana in 1888, Leadbelly got his start as a teenager performing in the red-light district of Shreveport. "Discovered" by the legendary folklorists John and Alan Lomax while Leadbelly was serving time in Angola state prison for attempted murder. They recorded him while in prison and in 1934, at the age of 46, made these recordings, the first commercial recordings of his career. Featuring a wide repertoire of folk and blues songs along with his powerful voice and unique guitar style, these tracks are absolute cornerstones of American folk and blues music and some of the greatest tracks he ever cut.
LP $17

MANCE LIPSCOMB - Texas Songster (Wax Love WLV 82104; Italy) Mance Lipscomb - born Beau De Glen Lipscomb near Navasota, Texas in 1895, and nicknamed Mance (short for emancipation) by a childhood friend -- was an incredible guitarist and blues singers who didn't make a recording until the age of 65. Discovered during the folk and blues revival of the late '50s and early '60s, Lipscomb would record regularly until his death in 1976 at the age of 80. A tenant farmer for most of his life, Lipscomb was the son of a former slave father and half-Choctaw Indian mother. He began playing guitar early in his life and spent most of his life performing at "Saturday night suppers" hosted by local friends or, often, by himself and his wife. After his discovery, Lipscomb would go on to perform at the first ever Monterey Folk Festival in 1963 as well as at numerous clubs of the folk-revival, most notable The Ash Grove in Los Angeles. Collected here are his earliest recordings, from 1960, and they are some of the most beautiful and transcendent of Texas folk-blues. Crucial recordings from one of the greatest individual voices of the folk and blues revival.
LP $17

BLIND BOY FULLER - East Coast Piedmont Style (Wax Love WLV 82106; Italy) Blind Boy Fuller, from Wadesboro, North Carolina, was one of the originators and most famous progenitors of what's known as the Piedmont Style of blues music, characterized by rhythmic bass lines played by the thumb while the melody is fingerpicked, resulting in a sound similar to ragtime. Though he lived only until the age of 40, Fuller recorded extensively from 1935-1940 and the recordings collected here are some of his most famous ever. Essential blues on Wax Love from one of the greatest talents of the Southeast.
LP $17


The “Unerhoert” (Outrageous, Unheard of) Music Festival, sponsored by Intakt Records in Zurich, Switzerland, featured great European jazz musicians whom we rarely see in the United States. From November 23 through December 2, concerts were held in various unusual venues: a red-stoned factory on the banks of the lake in the beautiful medieval old town, a metal machine shop, clubs carved out of wide-opened expanses inside industrial developments, theaters and art galleries inside historic buildings, even a senior citizens home.
Irene Schweizer and Sylvie Courvoisier played joyously propulsive duets in homage to Cecil Tayler. The drummer Gunter Baby Summer punctuated the lilting trumpet of Till Bonner with a kazoo, a bucket of kitchen ware strewn on the floor, and mallets and sticks. The Kukuruz Quartet, on four upright pianos in the machine shop, interpreted the music of the homeless, now deceased, composer Julius Eastman and his progeny, including Eastman’s rousing “Gay Gorilla” based on a Lutheran hymn. Fred Frith conducted and played with students of the Lucerne School of Jazz, and an octet from that school presented beautiful original compositions of intricate structure and rhythm. Marc Ribot’s Ceramic Dog blew away the detritus of political corruption.
The town is small enough that one could sit next to Irene Schweizer on the tram home from a concert, or greet Mr. Ribot in the restaurant of the red factory, or have a nice conversation with Ms. Courvoisier in the hotel where concert goers and musicians stayed. The Festival’s organizers, Patrick Landolt and his wife Rosemarie Meier, greeted guests warmly at each event, including this writer who, a year earlier, happened to have stood next to Mr. Landolt at a New York Winter Jazz Fest event grumbling that it was standing room only without warning, and promptly received an invitation to Zurich, where Mr. Landolt said that at his festival I’d always have a chair. Indeed, at one concert in Zurich, practically filled to capacity, he handed me a chair saying, “I promised you a chair.”
Another Festival highlight for this writer was a set by the South African Shabaka Hutchings on saxophones, bass clarinet, and various flutes, including a wooden one he bought from a homeless instrument maker who was just about to be arrested by the police. Mr. Hutchings said that despite the tendency to play abstract music at a festival such as this one, he was going to play melody. And he did, with assertive tonal beauty and grace that often hit a ceiling of abstraction before returning to its roots.
A French band called “Freaks”, two saxophones, two guitars, drums, electronics, and a lead violinist named Theo Ceccaldi, played stunningly inventive, curling, bashing jazz-rock, over which the violin soared with dense and twisting melodies.
Having followed Marc Ribot’s playing from his Rootless Cosmopolitans, through the Zorn years, Cubanos Postisos, and Spiritual Unity, the Ceramic Dog set was the most emotionally charged, free blasting music I had heard him play. It felt like he was released, and he released us, to shout and rail against “the big one” who imprisons us and calls the shots. The trio with Ches Smith on drums and Shahzad Ismaily on bass fed each other like flames to a fire, and the music exploded.
The Nigerian American writer, Teju Cole, read a prose poem with projected photographs, word and pictorial images of his search for an integrated self amidst white cultures. He was backed by a trio of Sylvie Courvoisier on piano, Tom Arthurs on trumpet, and Julian Sartorious on drums. They played a restrained flowing undercurrent of music illuminating in itself and supporting Mr. Cole’s piercing voice.
There were many more wonderful concerts every night in the ten day festival, and during the days in Zurich, this welcoming kind of Brigadoon of art, culture, and seemingly very relaxed, well dressed citizens, provided endless galleries, museums, and cd stores to delight the mind.” - Larry Stern, guest writer for DMG


Bruce Lee Gallanter’s Recommended Gig List for January of 2019:

Is Located at the New School’s Glass Box Theatre
55 West 13th street - just east of 6th ave

January 2019 at the Stone 


1/11 Friday
8:30 pm - Dan Weiss (drums) Thomas Morgan (bass) Craig Taborn (piano)

1/12 Saturday
8:30 pm - Farmers by Nature - William Parker (bass) Gerald Cleaver (drums) Craig Taborn (piano)


1/15 Tuesday
8:30 pm - THE MUSIC OF ANDREW HILL - Nate Radley (guitar) Ingrid Jensen (trumpet) Francisco Mela (drums) Chris Tordini (bass) Kris Davis (piano)

1/16 Wednesday
8:30 pm - Jeff ‘Tain’ Watts (drums) John Hébert (bass) and Kris Davis (piano

1/17 Thursday (RB)
8:30 pm - Kris Davis (piano) and Julian Lage (guitar)

1/18 Friday
8:30 pm - Capricorn Climber - Ingrid Laubrock (sax) Trevor Dunn (bass) Tom Rainey (drums) Mat Maneri (viola) Kris Davis (piano) Special Guest Jen Shyu (voice)

1/19 Saturday
8:30 pm - Terri Lyne Carrington (drums) Val Jeanty (turntable) Tony Malaby (sax) and Kris Davis (piano)

THE (NEW) STONE is located in The New School’s Glass Box Theatre  
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


Spectrum is at
70 Flushing Ave, Garage A,
Brooklyn, NY 11205

Friday 11 January
7 PM - Ashley Walters, ‘cello - Los Angeles-based cello virtuoso Ashley Walters returns to Spectrum to present works exploring microtonality, just intonation, improvisation, and scordatura. She will perform Berio’s iconic Sequenza XIV, Plainsound-Litany by Wolfgang von Schweinitz, and Another Secular Calvinist Creed by Andrew McIntosh, all of which were released on her recent solo album, Sweet Anxiety. She will also perform Solo from String Quartet No. 5 by Wadada Leo Smith and the East Coast premiere of Nähte by Trevor Bača.

Saturday 12 January
7 PM - Dan McCarthy \\ Patricia Brennan \\ Sasha Berliner (Bluehaus Night)
Dan McCarthy Quartet
Patricia Brennan Group
Sasha Berliner Group

Sunday 13 January
4 PM - String Noise Sounds: Pauline Kim Harris and Conrad Harris
7 PM - Peter Watrous Jazz Night
Bigger, Louder, Faster
Chet Doxas - saxes
Jacob Sacks - piano
David Ambrosio - bass
Vinnie Sperrazza - drums
Peter Watrous - guitar
Playing music from the ECM catalog, including pieces by Collin Walcott, Kenny Wheeler, Paul Motian and Keith Jarrett.
Adam Kolker/Russ Lossing Quartet: Whispers and Secrets Release Show
Adam Kolker - saxophone
Russ Lossing - piano
John Hebert - bass
Billy Mintz - drums

Wednesday 16 January
8 PM - The New Consort: O Stars, Conspiring Against Me - O Stars, Conspiring Against Me is an examination of the evolving depiction of women in music. The program is built around the American premiere of The Turn, a piece by UK-based composer Ben Rowarth designed to be interspersed with, and thus recontextualize, Claudio Monteverdi’s Lamento d’Arianna. Stories of other legendary female figures comprise the remainder of the program, primarily set by women composers from the past six centuries.

Friday 18 January
7 PM - Lauren Lee - Curious Beings
8:30 PM - Simona Premazzi

Saturday 19 January
7:30 PM - Jennifer Gersten, violin; Laura Davey, piano
9 PM - Teodora Stepančić - Piano

Sunday 20 January
7 PM - 13th century Spanish death-sea-miracle cantiga band with no name
Elliot Cole, Dylan Greene, Sian Ricketts and Tracy Cowart


Bushwick Improvised Music Series Continues:

Monday January 14th

7pm Enrico Oliva - alto sax, 
On Ka Davis - guitar, 
Nick Gianni - keyboard, 
Daniel Carter - woodwinds
Reggie Sylvester - drums

8pm Stephen Gauci - tenor saxophone, 
Adam Lane - bass
 & Kevin Shea - drums

9pm Eric Plaks - piano, 
Don Chapman - saxes,
 Aquilles Navarro - trumpet, 
Ronnie Burrage - drums
William Parker -  bass

9:45pm Stephen Haynes - cornets
, Ben Stapp - tuba/euphonium
, Kenny Warren - trumpet
, Ben Gerstein - trombone
 & Michael Evans - drums/percussion

10:45pm Yoni Kretzmer - tenor saxophone
, Sean Conly - bass
, Tomas Fujiwara - drums

11:30pm  Michael Larocca - drums
 & Matt Gannon - guitar

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


William Hooker in 2019

“360 Degrees of Straight Liftoff” w/ 
Bob Holman, William Parker, Raymond Nat Turner, William Hooker.
Bowery Poetry Club -  308 Bowery, NYC.,
Sunday, January 13, 2019   3 PM  $10 Admission.
Info and tickets – 347-898-7223.

William Hooker event
Live Music / Silent Film - * Solo drums -
“Symbol of the Unconquered” – Oscar Michaeux (1920) a Silent film….

*“QuartetMOON” – w/ Jon Irabagon, Mara Rosenbloom, Adam Lane, William Hooker – 
New music in the free jazz tradition…..
Shapeshifter Lab – 18 Whitwell Place , Brooklyn , NY.  -  
Wednesday Jan 23rd, 2019   7 pm.  General admission $8-$15.00