“Motherly Love” by the Mothers of Invention
From Their Debut 2 LP Set: ‘Freak-Out!’ (1966)
The brotherly and otherly love
Is just the thing for you
You know your Mothers' gonna love ya
Till ya don't know what to do
The Mothers got love
That'll drive ya mad
They're ravin' 'bout the way we do
No need to feel lonely...
No need to feel sad,
If we ever get a hold on you
What you need is...
(Come on get it now)
The brotherly and otherly love
Is just the thing for you
You know your Mothers' gonna love ya
Till ya don't know what to do
Nature's been good
To this here band
Don't ever think we're shy
Send us up some little groupies
And we'll take their hands
And rock 'em till they sweat and cry
What you need is...
Motherly love (Get it now)
The brotherly and otherly love
Is just the thing for you
You know your Mothers' gonna love ya
Till ya don't know what to do
We can love ya
Till ya have a heart attack
You'd best believe that's true
We'll bite your neck
And scratch your back
Till you don't know what to do
What you need is...
The brotherly and otherly love
Is just the thing for you
You know your Mothers' gonna love ya
Till ya don't know what to do
You know I've got a little Motherly love for you baby
You know I've got a little Motherly love for you honey
You know it doesn't bother me at all
That you're only 18 years old
'Cause I got a little Motherly love for you baby
Pow pow pow pow
This Sunday is Mothers Day! Please take some time to reach out and thank your Mother or keep her in your thoughts if she is no longer with you. My Mom has been and will remain an inspiration to me. She has supported, consoled and helped me in many ways through my long live, all of the ups & downs, no matter what. She turned 90 in November of last year and I was honored to help her with her birthday celebration in Florida several months ago. Remember, a Mother’s love in unconditional so keep that in mind when you think about your Mom’s. The above song is from the first Mothers of Invention record, which changed my life when I bought in the Summer of 1967 ay t age 13. Yes, “Motherly Love” is rather tongue-in-cheek, as are most lyrics by Frank Zappa. However, there is also a element of truth buried in the humor as well: Motherly Love will help us all, you best believe that’s true! - BLG/DMG
The Downtown Music Gallery 28th Anniversary Celebrations begins on May 1st!
Every In-store in May Helps Celebrate the Spirit of Creative Music Performed Live.
Here's the schedule:
Sunday, May 12th:
6pm: GUILLERMO GREGORIO ENSEMBLE: SARAH BERNSTEIN / NICK JOZWIAK Guest!
7pm: MATTEO LIBERATORE / JON IRABAGON - Guitar / Sax!
8pm: ODD GRAVITY: THOMAS HELTON / JAIMIE BRANCH / MICHAEL EVANS!
Super Rare Monday Night, May 13th DMG-28 Event:
6:30: DAMON SMITH / MICHAEL FOSTER / THOMAS HELTON / SANDY EWEN!
Sunday May 19th: No InStore
Bruce Lee Gallanter will be Attending FIMAV:
The International Festival Musique Actuelle Victoriaville!
Sunday, May 26th:
6pm: JONATHAN CHEN / GAMIN - Electronics / Korean Double Reeds!
Sunday, June 2nd:
6pm: WHAT HAPPENS IN A YEAR: GIACOMO MEREGA / JOSH SINTON / TODD NEUFELD!
7pm: URS LEIMGRUBER - Solo Sax!
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
Two Highly Recommended Gigs for This Weekend:
EVAN PARKER Mini Tour May, 2019:
Friday, May 10th, 8pm at Zürcher Gallery
EVAN PARKER & NED ROTHENBERG duo
33 Bleecker St., NY NY 10012 -
$20 tickets can be purchased at the door. Opens at 7:30.
Saturday, May 11th at 7:30 & 9:30pm:
JOHN ESCREET / EVAN PARKER / CHES SMITH Guest!
Jazz Gallery - 1160 Broadway, 5th fl
between 27th 28th streets
New York, NY 10001 USA
Two Amazing New Discs from the Great CUNEIFORM Label:
HENRY KAISER / ANTHONY PIROG / TRACY SILVERMAN / ANDY WEST / JEFF SIPE - Five Times Surprise (Cuneiform 448; USA) Featuring: Henry Kaiser & Anthony Pirog - six-string guitars, Tracy Silverman - six-string electric violin, Andy West – six-string bass and Jeff Sipe - drums. Five Times Surprise brings together a volatile mix of longtime compatriots and newly forged relationships. The distinguished improvisers all boast exceptionally diverse resumes. More than finding common ground, they reveal a vast universe of possibilities fueled by creative conflagration and genre blurring. “We’re improvisers who can walk into a room and create something together,” says the project's original instigator Henry Kaiser, who then listed the salient qualities of his fellow players here: the ability to listen, kindness, generosity, and—rare in this electric realm—a sense of humor. All those factors were at work on this new recording.
Kaiser regards many of his musical projects as “fun, experimental science projects” and this band came to life when he was offered a week to rehearse and then record in a professional studio with whomever he wanted aboard! This gave all of these musical masters of the free the chance to play exactly what they wanted to play in an electric jazz/rock context.
‘Five Times Surprise’ comprises a wealth of six-stringers: Kaiser on guitars and effects; his friend, the DC-based unorthodox guitarist Anthony Pirog, who is currently reaching a new audience as a member of The Messthetics, which features half of DC legends Fugazi; six-string bassist Andy West who was a founding member of the legendary Dixie Dregs (formed in the ‘70s and steeped in hard, southern rock with a heavy-meets-classical sound); and renowned fusion six-string electric violinist Tracy Silverman who has worked with Turtle Island String Quartet and Bach To The Future and progressively beyond.
Add volcanic drummer Jeff Sipe [who has recorded with Shawn Lane & Jonas Hellborg, co-founded Aquarium Rescue Unit and toured with Jimmy Herring’s Invisible Whip as to opener to John McLaughlin’s last US tour] to the mix and you get the full background to the formation of the band who recorded intense and complex music that owes something to the influence to John McLaughlin’s pioneering jazz-fusion band Mahavishnu Orchestra. “It’s not a tribute to John and the group,” Kaiser says. “It’s our personal experiences of that music that resulted in the processes that brought us all together. We all loved that music. All the 5XS tunes are originals that we collectively wrote, except for one Mahavishnu cover, ‘You Know You Know’” - CuneiBlurb
2 CD Set Version $16 [Until we run out!, special thanks to our good friends Steve Feigenbaum from Wayside and Henry Kaiser for taking care of us!]
THE SPELLCASTERS with JOEL HARRISON / DAVE CHAPPELL / ANTHONY PIROG / JOHN PREVITE / BARRY HART - Music of the Anacostia Delta (Cuneiform 445; USA) It all started at the legendary Northern Virginia roadhouse JV's. D.C. born guitarists Anthony Pirog and Joel Harrison, musical soul mates, and now doing their first gig together, tore into a set of jazz-amped honkytonk songs before a stunned crowd. But two Telecasters wasn't enough. The bassist for the show, John Previti, who backed up guitar legend Danny Gatton for twenty years, had invited acclaimed local guitar slinger, Dave Chappell, to sit in. Soon three Telecasters were blazing away, exploring shared history and new frontiers. The Spellcasters were born.
The Spellcasters specialize in music made by and for that unique and marvelous American invention, the Fender Telecaster. Two "Telly" masters who have particularly inspired the band are D.C. legends Danny Gatton and Roy Buchanan. As much as they celebrate these mentors, though, The Spellcasters have sought their own identity, which is a crossroads of styles that straddles the Mason-Dixon Line, where jazz, rockabilly, R&B, country, and rock ’n’ roll are one.
This is not so much a band of soloists as it is a guitar orchestra. It could be argued that The Anacostia Delta, comprising D.C., Southern Maryland, and Northern Virginia, has its own regional sound. If so, this group is devoted to exploring every corner.
Anthony Pirog is the youngest member of the tribe, an avowed experimentalist, and yet an old soul with deep knowledge of tradition. He's part of the renowned duo Janel and Anthony as well as The Messthetics. It's hard to think about the great experimental scene in DC, without immediately thinking of him!
Dave Chappell has played with countless D.C. musicians, and leads his own "take-no-prisoners" group that rocks, wails, and twangs all over town. He took lessons with Gatton in the early 80's and performed with him.
Joel Harrison is a fearless adventurer based in Brooklyn, NY with 20 CDs of original music and genre-bashing covers under his name. For him the Spellcasters is a road back to his roots. Harrison grew up in D.C. following Gatton around like a stray dog.
Bassist John Previti and drummer Barry Hart have intersected with a broad swath of D.C's finest since the 1970's. Previti was Gatton's bassist for 20 years and together they've backed up Gatton, Evan Johns, Rick Whitehead, and members of The Nighthawks, and toured together in Danny's group Fun House in the late 1980's. Their chops have been honed by thousands of gigs from the White House to The Crab Shack.
The Spellcasters is very much a live band, and they built their chemistry over two years of gigs in the D.C. area. In that spirit, six out of the eleven songs on the CD were recorded in concert. It's got a fun, loose vibe, but is also full of well-considered arrangements such as Harrison's close-voiced slant on Monk's Bright Mississippi, the lovely give and take on Bill Frisell's That Was Then, or the swinging chimes of Chappell's Jax Boogie.
Music of the Anacostia Delta is a love letter to The Telecaster, and its greatest exponents: Jimmy Bryant, Roy Nichols, Jerry Donahue, Buchanan and Gatton, Jeff Beck, Frisell, and beyond.” - CuneiBlurb
Back in Stock After a Month’s Journey by Banana Boat from Italy:
WAYNE HORVITZ EUROPEAN ORCHESTRA with SILKE EBERHARD / ALEX WARD / LUCA CALABRESE / ERIC BOEREN / WOLTER WEIRBOS / GERHARD GSCHLOSSL / et al - Live at the Bimhuis (Novara Jazz 002; Italy) Featuring Wayne Horvitz - composer & conduction, Luca Calabrese & Eric Boeren on trumpets, Silke Eberhard, Edoardo Marraffa & John Dikeman on saxes, Wolter Weirbos & Gerhard Schlossl on trombones, Alex Ward on clarinet & guitar, Danilo Gallo on bass and Zeno de Rossi on drums. This was recorded live at the Bimhuis in Amsterdam and includes a well selected Italian/Dutch crew. The late Butch Morris was a longtime friend and early collaborator with Wayne Horvitz. Since Mr. Morris’ recent passing, Mr. Horvitz has been working on his own version of conducting, something that Mr. Morris pioneered over several decades. I know most of the personnel here from different groupings and labels. Along with another orchestral disc out on the National Sawdust label, Mr. Horvitz is showing himself to be an excellent compose and conductor of strong, spirited and well thought out music.
Right from the first note, we low there is something special going on here. Mr. Horvitz has written some skeletal themes to open each piece. The theme(s) are woven together with layers of freer and written parts, which emerge from a rich ocean to connected currents. Mr. Horvitz has long worked with material which has that Americana sound, elements of folk, blues, jazz from various eras are all part of his palette. It is something he shares with his wife & occasional collaborator Robin Holcomb, as well as their longtime cohort Bill Frisell. While the waves of written music evolve, swirling together, the varied horns spin a web around one another, peppering the band with short blasts or solos. Besides the often heart-warming music that Mr. Horvitz has long created, it is also the righteous, touching harmonies he writes for the rest of the ensemble which make this so magical. This is a live recording and it has splendid sound. This disc is some 74 minutes long and I was consistently enchanted throughout its long length. Could this be the great disc of the year? Definitely a contender! - Bruce Lee Gallanter, DMG
ANGELIKA NIESCIER with CHRIS TORDINI / GERALD CLEAVER JONATHAN FINLAYSON - New York Trio (Intakt 321; Switzerland) “During the current decade Cologne-based saxophonist Angelika Niescier has made her connection to New York's elite improvisational jazz community readily clear. Her trio CD The Berlin Concert, was voted one of the most important releases of 2018 by Downbeat.
This stunning new recording suggests that only the Atlantic Ocean separates her from the agile collaborators heard here. Once again her music is anchored by the bass playing of Chris Tordini, the saxophonist's longest-running stateside partner. The album includes the first recorded evidence of her simpatico ties with drummer Gerald Cleaver and trumpeter Jonathan Finlayson.
On numerous pieces Niescier has experimented with various Cagean compositional devices to propel, complicate, and energize improvisational endeavors. She's long been stimulated by the ideas of John Cage, but this recording marks the first time she's chosen to apply them to her own work, albeit in a highly personalized
fashion. Peter Margasak writes in the liner notes: "This fresh direction only suggests a blossoming of Niescier's creativity, as she complements the enlargement of her New York circle with an expansion of compositional models."
JOHN GREAVES with VINCENT COURTOIS / SOPHIA DOMANCICH / ZEENA PARKINS / JAKKO JAKSZYK / et al - Life Size (Manticore 003; EEC) "I have been lucky enough to work with one of the most respected and talented British composers, Welsh-born John Greaves who is a true living legend in alternative music. He led the European avant-garde as a founder member of Henry Cow with Fred Frith and Lindsay Cooper, then his bass was the driving force in bands like National Health and Love Of Life Orchestra. He played with Brian Eno,Robert Wyatt, Mike Oldfield, Michael Nyman, Penguin Café Orchestra, Carla Bley and Michael Mantler just to mention a few. His songwriting partnership with Peter Blegvad gave birth to gems like “Bad Alchemy”, “How Beautiful You Are “ and “The Song”.
On his new album “Life Size” he shares the vocals with a remarkable cast. Three fabulous, uniquely different female voices: Valérie Gabail, Annie Barbazza, Himiko Paganotti and Greaves himself sing a collection of songs in French, English and Italian, moving from pure pop thru Debussy-esque Apollinaire to sensual spoken-word; there’s even a song by Robert Wyatt, an old friend from way back when. The line-up of musicians is equally stellar.
“Life Size” is an album of stunning beauty and inner grace and sure will be a classic for the future, and intended to be the logical sequel to the critically acclaimed “Songs”, which, by the way, has been remastered at our Elfo Studios to state of the art sound quality. Treat yourself to a very special musical journey.” - Wayside
* SAM OSPOVAT / KIM CASS / MATT MITCHELL with BRANDON SEABROOK / NICK LYONS / LORIN BENEDICT - Angles Ride (Skirl 045; USA) Featuring Sam Ospovat on drums & electronics, Matt Mitchell on piano and Kim Cass on bass plus Brandon Seabrook on guitar, Nick Lyons on alto sax and Lorin Benedict on scat vocals. Since the turn of the millennium, we seen & heard a number of great drummers who have arrived in New York, many of whom are also strong composers and bandleaders. Sam Ospovat migrated here from California and has worked with Ava Mendoza in Unnatural Ways, Brandon Seabrook and others. Mr. Ospovat has chosen some strong players to work with: the ubiquitous Matt Mitchell (for Tim Berne & Dave Douglas), daredevil guitarist Brandon Seabrook (Triple Double & Content Provider), Nick Lyons (William Parker & Listening Group), Kim Cass and Lorin Benedict.
This disc starts off with “Off the Shelf Self”, which seems to move in two directions at once, the rhythm team speeding up and then slowing down while the piano moves in waves, tapping out fragments of lines. On “Beynon’s Bounce”, Mitchell plays slow, dreamy lines while the bass & drums double the tempo tightly shifting together on the common chords. Mr. Ospovat does a good job of keeping a central groove or repeating lines going while, locking in with the bass while the piano shifts between alternating currents. By “The Martian Way”, Nick Lyon’s sax is added to play that tight M-Base-like line. Legendary but under-recognized scat/jazz vocalist & mathematician, Mr. Lorin Benedict, adds his charming, unique voice (with formulas but not words) to “Rancune”. For “Trans Life”, the trio with sax & guitar added, starts off slowly, lurching forward in waves which increase in tempo with fractured sax & guitar punctuation peppered selectively. On each piece, Ospovat seems to slow things down even more so he carefully weave different lines together, knitting a calm tapestry within. Although this disc is relatively short (33 minutes), I played several times in a row to hear the way different lines connect above and below the surface. If you give this gem some time, you will be most impressed as well. - Bruce Lee Gallanter, DMG
CD $14 / LP $18
* This Saturday, May 11th, SAM OSPOVAT will have a CD release concert at I-Beam in Brooklyn for two sets at 2 Sets - 8:30 and 9:45pm. All six members of the above trio 3 will be playing at this set!
CHRIS COCHRANE / STUART POPEJOY - Geologic Time (Infrequent Seams 1016; USA) Featuring Chris Cochrane on electric guitar and Stuart Popejoy on electric bass. Longtime Downtown guitarist & occasional singer, Chris Cochrane, has remained enigmatic and impossible to pigeonhole throughout his long music career. He has played in numerous Downtown bands like No Safety, Curlew and for Eszter Balint, as well as having a few of his own records as a leader (just 3 in 30 years). Still, a style or distinct sound would be difficult to describe. Mr. Cochrane has a current band called Collapsible Shoulder, which I have yet to hear. This band does include bassist Stuart Popejoy, a young Downtown musician who played an amazing duet here with Chris Pitsiokos last Sunday (5/5/19). Mr. Popejoy has played in both metal projects and improv situations.
This duo disc was recorded live in different locations in NYC in 2014 & 2015. “Eemian” kicks things off with a howling drone of controlled feedback or layered distortion, expanding & contracting as it flows. The chiming guitar starts to ring like demonic church bells in the second half of this piece. On “Tractored Out”, there are several layers warped guitars & bass, all howling, humming or throbbing together. It is hard to tell what is be played on “Date Night with the Kids”, is that static or layers of distortion or strings being rubbed with an object..?!? The sound is somewhat disorienting, most effective nonetheless. What makes this disc special is the way the guitar and bass are being used to create diverse sounds that effect us yet there is very little recognizable music or melody involved. What is that??? Whale sounds? industrial sounds? Alien, mutant music of some sort..? The entire CD does evoke quite a bit of feelings, vibes and (minds’ eye) scenery. - Bruce Lee Gallanter, DMG
ERHARD HIRT With MARK WHITECAGE / JOE FONDA / LOU GRASSI - New York Connection (Klopotec IZK 049; Germany) Featuring Erhard Hirt on guitar & electronics, Mark Whitecage on alto sax & clarinet, Joe Fonda on contrabass & flute and Lou Grassi on drums. German guitarist, Erhard Hirt, has worked with many creative players like Lol Coxhill, John Butcher, Mike Cooper and Eugene Chadbourne. Mr. Hirt has several solo guitar records on labels like FMP & Nurnichtnur, but considering that he is pushing 70, he is unfortunately under-recorded. For this live set, Mr. Hirt hooks up with the three living members of the Nu Band: Mark Whitecage, Joe Fonda and Lou Grassi. This set was recorded live at Black Box in Munster Germany in February of 2016. The Nu Band has been around for nearly two decades and has more than a half dozen superb live discs under their belt. They still exist, after the passing of Roy Campbell with Thomas Heberer as Roy’s replacement.
This quartet is also a marvel of focused, collective improv. This disc consists of two long pieces and takes off right from the beginning, the quartet soaring intensely together: free yet very focused. The sax and guitar both lead the way, switching off and weaving their way around one another with the great rhythm team organically supporting and providing a strong cushion of support. Mr. Hirt uses a laptop to add selective eerie seasoning but only soloing on guitar. By midway through the first piece, the quartet erupt into a powerful storm of intense activity. When the second piece begins, Mr. Fonda switches to flute, while Mr. Hirt plays somber Frippish sustained guitar in the background, while Mr. Whitecage starts to build things up once again with his trusty clarinet in tow. The quartet get into a unexpected somewhat funky, infectious groove for a segment before morphing back to freer terrain. While Joe Fonda later bows eerie sounds at the center, the guitar and sax swirl around him to create an intoxicating, shapeshifting vibe. Once again building with strong interaction between all four members of this quartet and escalating into an exciting frenzy. This is another fine improv session for a strong one-time (?) quartet. - Bruce Lee Gallanter, DMG
ED GAUDEN’S CRUX 1 - Control (FMR 504; UK) Featuring Mark Hanslip on tenor sax, Steve Tromans on piano, Colin Somervell on bass and Ed Gauden on drums. Saxist Mark Hanslip and drummer Ed Gauden have worked together in the Crux Trio Plus 1 for three discs as well as in a duo and a trio with discs on FMR and Slam. Saxist Mark Hanslip has also worked with Paul Dunmall, Tony Bianco & UK keyboardist Hans Koller. This is the fourth disc by this quartet and it is a studio date from June of 2018. “Pay Day” erupts with quick, spiraling piano and less frenzied tenor which takes its time to take off. The quartet organically calms down to a stark section midway throughout the first piece. Mr. Hanslip has a warm, slightly bittersweet tone on tenor, recalling Chris Speed at times. I like the way the sax and piano do the slow burn, simmering together, occasionally boiling without too much steam, the restraint seems quite dream-like. Mr. Tromans eventually plays an unaccompanied piano solo, thoughtful, balanced and laid-back at times. As saxist Hanslip slows down the pianist casts in more somber, dream chords underneath. When things slow down so much, the players are able to concentrate on subtle changes and nuances, hushed, thoughtful, graceful, simmering softly… There is a duo section (tenor & drums) that recalls Warne Marsh playing Paul Motian until the piano finally re-enters and plays some rather elegant Keith Jarrett-esque flourishes with those harp-like waves. There is a more relaxed, much less frenetic quality gong on here which is rare for the more rambunctious sessions for FMR. Certainly a nice change of pace. - Bruce Lee Gallanter, DMG
YVES THEILER TRIO with LUCA SISERA / LUKAS MANTEL - WE (Intakt 324; Switzerland) 31 -year-old pianist Yves Theiler is one of the most significant voices in international contemporary jazz in Europe. Deeply rooted in the tradition of jazz and equipped with a daring desire to experiment, he distinguishes himself as a composer as well as a free improviser with a sovereign creative will. At the centre of his musical work is the Yves Theiler Trio, which reveres an urgent ensemble music in which improvisational furor and compositional rigour, calculation and freedom intertwine.
"Yves Theiler is part of this long lineage of musicians able to move between comfort zone and danger area. We, his third album as the leader of a trio featuring drummer Lukas Mantel and double bassist Luca Sisera, is a collection of adventurously mapped pieces that are as liable to attract the listener through the jaunty, lively character of the themes as they are the cohesion of the group and strong solo statements by each member," writes Kevin Le Gendre in the liner notes.
JOHN ESCREET with DAVE BINNEY / CHRIS POTTER / JOSH ROSEMAN / ADAM ROGERS / MATT BREWER / JIM BLACK - Sabotage and Celebration (Whirlwind; USA) Released 2013, this is our first time getting copies to sell. “The music of composer and pianist John Escreet is a profound discovery. Each of his releases has been a revelation and an opportunity to scrutinize a major talent in the midst of his creative process. Not satisfied to work within 'the jazz tradition,' he assimilates multiple styles and musical models into his compositions. Drawing from 20th century classical, electronica, free jazz, and funk sensibilities, he sculpts a highly organized sound, often out of chaos.
That said, Sabotage and Celebration, his fifth solo outing, is a solid jazz recording. Escreet recruits the talents of saxophonist Chris Potter, bassist Matt Brewer and drummer Jim Black as his core quartet, but adds a string section, additional horns, David Binney, Shane Endsley, and Josh Roseman, plus vocalists, and guitarist Adam Rogers.
The music on Sabotage and Celebration refutes the scientific theory that all systems decline into disorder or entropy. With Escreet, the opposite is true. From the seeming disorder of the title track's beginnings comes organization. Escreet moves through a crescendo of strings and introverted piano into a Sun Ra Arkestra-like free-for-all passage that resolves itself into an up-tempo jazz adaptation of club beats into a Coltrane-esque solo by Potter. Each transition seamless, and each musical style developed without being diluted. Same M.O. For "The Decapitator," his volatile trio composition that begins as an introverted dream machine that morphs into a muscle-bound percussive attack, Black matching Escreet's hammering Cecil Taylor notes. The joy here is the order and efficiency Escreet brings to his musical maelstrom. He can shift easily from mayhem to beauty. That exquisiteness is displayed on "Laura Angela" in which he switches to Fender Rhodes to match the refined guitar work of Adam Rogers and "Beyond Your Wildest Dreams," which veers from a pacific opening into a choral passage, then some chamber harpsichord and some modern momentum. Each piece is a gift of surprise and a curious examination into the organizing skills of a modern talented jazz composer.”
CD $15 (In stock Monday)
DAVE LIEBMAN & RICHIE BEIRACH - Eternal Voices (Jazzline/PÖ 77067; Germany) The release of Eternal Voices celebrates the 50th year anniversary of Dave Liebman and Richie Beirach meeting, playing, and recording music together. It has been an amazing run, and happily, it is still ongoing, stronger than ever. This Eternal Voices recording is very special even for both musicians. They chose to use short but very powerful masterpieces of classical music from Bach to Schoenberg as a format for improvisations. Both have played these kinds of music before but this is the first time that Dave Liebman and Richie Beirach concentrated on a complete repertoire of these great compositions by the masters. Personnel: Dave Liebman - soprano sax, tenor sax, C-flute; Richie Beirach - piano. Also features compositions by W. A. Mozart, L. v. Beethoven, G. Faure, F. Mompou, A. Khatchaturian, A. Scriabin, and B. Bartok. Comes in a six-panel digipak; includes additional booklet.
David Liebman is considered a renaissance man in contemporary music with a career stretching nearly fifty years. He has played with masters including Miles Davis, Elvin Jones, Chick Corea, John McLaughlin, McCoy Tyner, and others; authored books and instructional DVDs which are acknowledged as classics in the jazz field; recorded as a leader in styles ranging from classical to rock to free jazz. He has performed on over 500 recordings with over 200 as a leader/co-leader featuring several hundred original compositions.
Richard Beirach is the US American jazz pianist and composer. In 1972, Beirach began working with Stan Getz. He also worked with Chet Baker. Beirach has maintained an ongoing musical partnership with David Liebman from the late-1960s to the present in the groups Lookout Farm and Quest. In addition, Liebman and Beirach have frequently performed and recorded as a duo. Several of Beirach's compositions -- "Leaving" and "Elm", for instance -- have found their way into the jazz standard repertoire. Wikipedia including discography (in six languages).
2 CD Set $21
GYORGI LIGETI - Masterworks (Sony Music 19075877922; USA) Sony Classical proudly announces an uncommonly attractive new batch of reissues from the CBS/Sony and RCA Victor/BMG back catalogues. This latest installment of the popular series showcases the reissue of a path-breaking composer edition as well as recordings by some of the labels’ greatest artists of the last half century. Included in this batch are nine albums dedicated to one of the indisputable geniuses of modern music. Sony Classical’s landmark “Ligeti Edition”, recorded under the great Hungarian composer’s supervision and first released on single albums in 1996, will now be available internationally in a complete set. This famous project needs little additional commentary. Fanfare called it “a must for any collector or interested listener”. Enough to say that it features such authoritative interpreters of the composer’s endlessly fascinating works as Pierre-Laurent Aimard playing the staggeringly difficult and beautiful Études and other piano works, the Arditti Quartet giving benchmark readings of the String Quartets and Esa-Pekka Salonen conducting the orchestral works and the definitive recording of Ligeti’s operatic masterpiece Le Grand Macabre, which Gramophone called “the key opera of the end of the twentieth century”. Salonen’s ideally cast recording of the final revised version, sung in English, “is the one to have – Ligeti’s revisions are all improvements, and the performance is a fine one” (Gramophone).
9 CD Set $30
TERRY RILEY & AMELIA CUNI - The Lion's Throne (Sri Moonshine Music 008; USA) "The Lion's Throne bears witness to the performances that the legendary composer Terry Riley and Italian singer Amelia Cuni did together in the United Kingdom and Italy between 1999 and 2006. Riley, whose remarkable body of work seamlessly integrates a lifetime of devotion to Indian classical music into the western classical tradition, collaborates with Cuni, a singer trained in Dhrupad who, like Riley, experiments with Indian singing in a variety of ways. In these recordings, Riley plays piano or keyboards and sings with Cuni. Together, they improvise in Hindi, English, and Italian, drawing from their Indian music background as well as from western traditions. They sing on ancient and modern texts, creating a new blend which mirrors their own musical paths."
JAN BANG, ERIK HONORE, EIVIND AARSET AND SAMUEL ROHRER - Dark Star Safari (Arjunamusic Amel 718; Germany) Dark Star Safari, a newly formed group featuring Samuel Rohrer, Jan Bang, Erik Honoré, and Eivind Aarset presents Dark Star Safari, an evocative song-driven album. These songs conjure shadows of memory, clouds of dreaming and silhouettes of foreboding through the album's layered, many-textured fabrics and Bang's silken delivery of Honoré's lyrics. Dark Star Safari is the work of four kindred spirits, an open modus operandi, and a remarkably interconnected creative nerve system. Key to their collaboration is an organic freedom that enables the music "to fill itself in", to be self-actualizing via the musicians as medium. The music of the ten songs resulted from a two-stage process: an initial phase of free-flowing open improvisation, and a subsequent exploratory phase where hidden potentials were discovered and nurtured. The groundwork of the album originates in a session initiated by Rohrer, who invited Bang and Aarset to the Candy Bomber studio in Berlin. The session was run under the imaginative craftsmanship of sound engineer Ingo Krauss, who worked in the famous Conny Plank studio, its recording and mixing employing sophisticated use of vintage analog equipment alongside cutting-edge digital processes. This meeting opened the door for something larger to emerge; the group did not settle for just the initial open improvisation. They were driven to dig deeper, to examine and manipulate the material, in order to discover what it had to offer. During this second phase Bang, while meditating upon the possibilities and reach of the improvised material, felt a strong urge to give additional shape and color to it by singing. Thus, he organically stepped into the role of vocalist, a role he had not pursued since the early days of his musical career. He sent the results to Honoré, who immediately was inspired by its potential, penning lyrics and providing the project with its name. Honoré composed two additional songs, "Mordechai" and "Fault Line", and thus rounded the project out towards a fully realized opus. The group continued this back and forth process, with Rohrer and Aarset bringing in fine-tuning and enrichment to the song structures and textures. Born out of the spirit of open improvisation and the improvisational practice of the immediate live-remix, Dark Star Safari transcends both of these creative processes in a pursuit of fresh approaches to songwriting. Their music is now ready to meet the hearts, minds and bodies of live audiences, to evolve through that interaction. Art by Ian Anderson, The Designers Republic.
MARTIN BARTLETT - Ankle On: Electronic and Orchestral Works (Arc Light Editions 01 ALE 010; UK) Martin Bartlett was an inspiring and original thinker, composer, writer, performer, and organizer. His preoccupation with building aleatoric elements into electronic music distinguishes his work. He devised elegant and open interactions for instrumental performers and computer-controlled synthesizers which included building his own electronic devices and extensive work on the Buchla 400. He worked with or studied under Pauline Oliveros, John Cage, and David Tudor, and collaborated extensively with Don Buchla, and some of their live performances are included on the LP Anecdotal Electronics (ALE 009LP). He also studied Carnatic vocal music with V. Lakshminarayana Iyer in Madras, South Asian music with Pandit Pran Nath, and gamelan with K.R.T. Wasitidipuro. He founded the Vancouver Community Gamelan in 1986. His performances were often collaborative -- for the Western Front's second anniversary in 1975, he devised the four-channel piece "One Piece for Everyone", where he prepared and cooked a cauliflower curry on a table connected to a self-built synthesizer, while reading from texts on food. When the curry was cooked, the piece ended, and everyone was fed. Bartlett was a prolific writer, and he expresses himself in fresh, lucid, and wonderfully descriptive prose, offering clear thinking on social aspects of electronic music performance; on the barriers between the performer and the "black box" and on possibilities for organic systems in electronic music. He also wrote the incandescent manifesto-like piece "Electronic Recalcitrant" (which forms the cover artwork for Anecdotal Electronics), in which he hoped that electronic music would be imbued with "organic codes of growth and metamorphosis" so that he could "pluck elegant and fleshy electronic sound fish from the frothy algorithmic sea of possibilities". It is unclear why Bartlett's work remains unknown. Perhaps it is because it remained largely inside the academy. Perhaps his commitment to live performance and community activity means it was more transient than the work of others. Perhaps his openness about his sexuality played a part in his music not receiving much recognition -- one can only speculate. But correspondence in his archive shows that rejection from labels was a source of great personal discontent, leading to Bartlett working with the Western Front to release his final opus "Pythagoras' Ghost" shortly before his death. Bartlett died young, of AIDS-related causes, in 1993, but his music is characterized by an irresistible and unselfconscious charm that renders his sound unique.
GEBRUDER TEICHMANN, ENSEMBLE EXTRAKTE & SANDEEP BHAGWATI - Iterationen - Resonant Responses To A Live Concert (Noland 005; Germany) Iterationen ("Iterations") is a musical experiment that juggled artistic processes. How does music resonate through other music? What happens when the game of Chinese Whispers meets a dynamic feedback loop? In a live concert in Berlin, Ensemble Extrakte -- a trans-traditional ensemble led by Sandeep Bhagwati that unites musical folk, jazz, and art music traditions from India, Korea, Syria, China, Bulgaria, Armenia, the US, and Europe -- plays to music in their headphones: they interpret pioneering techno and electronic tracks put on by Berlin-based Brothers Teichmann (or Gebrüder Teichmann). But definitely not in the sense of "Beatles go Classic": they do not simply echo the melodies and harmonies, rather, inspired by the energy and playfulness of the tracks, they improvise a resonant response, transforming and filtering the electronic sound they hear through their traditional instruments and musical expressions. The DJ and electronic music duo Gebrüder Teichmann then feed this concert recording into their electronic laboratory, using their electronic ears, their instruments machines, and computers to discover a new layer of resonant responses. They reverse, enhance, re-compose the improvisations of the Extrakte musicians, finding new connections in their sounds. Iterationen is an ongoing project, a creative love affair between traditional and electronic music making -- this album is the second step. All compositions and improvisations: Ensemble Extrakte; Working scores: Sandeep Bhagwati; Remixes, edits and reinterpretations: Gebrüder Teichmann.
In 2014, Ensemble Extrakte and Gebrüder Teichmann met for intense listening of a personal selection of early electronic club music in preparation for their concert "Iterations". The idea was to carefully discover the mechanisms how this music works and translate them into playing techniques for the ensemble. During the performance at Radialsystem V on November 14, 2014 in Berlin, the ensemble played a live-interpretation of a "Silent DJ-Mix" by Gebrüder Teichmann, that only the musicians could hear in their headphones. The concert also included a section with flexible multiple metronomes by Sandeep Bhagwati and a section with samples from the Klangarchiv of the Ethnologische Museum Berlin, processed by Gebrüder Teichmann. The two-track recording of this concert was then edited, reinterpreted and remixed by Gebrüder Teichmann at their studio and put back into a new format: the CD Iterationen - Resonant Responses To A Live-Concert, carefully muffled with a beautiful designed cover by Brenda Alamilia and containing a 24-page booklet which includes a conversation by Sandeep Bhagwati, along with Andi and Hannes Teichmann.
BLACK FLOWER - Future Flora (Sdban Ultra 009; Belgium) With a hybrid jazz based on African grooves, Ethio-oriental melodies and psychedelic dub this Belgian five-piece creates an atmosphere where ancient and modern sounds fuse into a powerful, hypnotic, and groovy sensation. Receiving critical acclaim for their second album Artifacts (SDBANU 002CD/LP, 2017), the Belgian quintet are pleased to announce the release of their much-anticipated third album entitled Future Flora. Piloted by saxophonist/flutist/composer Nathan Daems (Ragini Trio, Dijf Sanders, Echoes of Zoo), the input of notorious musicians, drummer Simon Segers (MDC III, De Beren Gieren, Stadt), cornet player Jon Birdsong (dEUS, Beck, Calexico), keyboardist Wouter Haest (Voodoo Boogie), and bassist Filip Vandebril (Lady Linn, The Valerie Solanas) leads to the specific universe that only Black Flower is able to create. Where debut album Abyssinia Afterlife (2014) and Artifacts bathed in an atmosphere of psychedelics, mythical figures, ancient sounds, and modern cultures, Future Flora refers to the power of plants and their importance for the future. Future Flora is a metaphor for the importance of feeding and watering powerful and revolutionary ideas and initiatives that can save our world. Black Flower's musical cross-pollination of sounds and rhythms remain on Future Flora, but there is still room for a more Western touch with Romanian and Maloya (Réunion) influences. Daems developed his own arrangements where Western, Oriental, and Ethiopian scales and chords are fused together to create a real mix of traditional instrumentation and modern electrical vibrations. The strong underlying groove is omnipresent, but the room for psychedelics, folklore, and experimentation grows. Songs like "Hora de Aksum" combine modern western rhythms with doses of Balkan eccentricities while "Future Flora" takes you on a psych-delicious, 21th century, Ethio-dub-jazz trip with echoes of Mulatu Astatke and Fela Kuti.
LULS GALVAO - Alegria De Viver (Jazzline/PÖ 77058; Germany) “From the master of Brazilian guitar! -- Alegria De Viver is the new solo-album by Lula Galvao. He is Brazil's most authentic, varied and inspired guitarist. His musical style as well as his range are unmatched. Lula Galvao deals with music in a very particular way. No matter which genre or rhythm, he enriches the music with his inspired arrangements and performance, thereby adding that certain something which makes all the difference. Performed by him, even the compositions of well-known musicians appear fresh, almost as if they had just been composed. The repertoire of Alegria De Viver is a true treat for the ears. It combines technical perfection with an excellent taste of music. His interpretations of classic and Brazilian music are elegant and creative, in a sophisticated way they are simple but still unique. On Alegria De Viver, the music of the dark-skinned Brazil finds an expression, with an added touch of cheerfulness paired with a whiff of yearning. Without losing its Brazilian roots, the recording also incorporates inspirations from the world of international jazz.”
CUMBIA BEAT VOLUME 3 - 21 Peruvian Tropical Gems (Vampisoul 187: Spain) "Fifty years after the release of one of the founding records of the genre known as Peruvian cumbia (by guitar players Enrique Delgado Montes and Berardo Hernández 'Manzanita'), Vampisoul presents this third volume in the series Cumbia Beat, which brings together 45 rpm rarities from acclaimed groups, short-lived bands and outstanding huaycumbias. Like the previous volumes in this series, listening to this record takes you on a journey across the geography of Peru, as the majority of the groups on this collection were from different regions of the country, or had close links to them, although all of the artists recorded in Lima. Most of the bands emerged during the period 1968-1980, a time of deep political and social change implemented by the nationalist military dictatorship. Los Demonios Del Mantaro, Los Demonios De Corocochay, and Los 5 Palomillas are the exceptions to this, as they recorded between 1965 and 1967 and produced a hybrid of cumbia and huayno called huaycumbia, a genre which achieved high sales figures during those years. Despite the characteristics of huaycumbia, the early composers of Peruvian cumbia didn't consider it a direct source of inspiration. They admit to being more influenced by Colombian cumbia, Cuban guaracha, beat, and psychedelic music from the UK and US that they had played since the end of the '60s, in their 'own style', as a part of a musical appropriation process that quickly led them to forge a singular sound. Peruvian cumbia developed, spurred by the music school erudition of the guitarist Enrique Delgado Montes on the one hand and, on the other, by the self-taught creativity of Berardo Hernández 'Manzanita'. Largely ignored by the elites, it steadily won over audiences and created its own market, establishing its own broadcast channels and distribution channels. As Enrique Delgado stated in 1973: 'We've defined a typically Peruvian cumbia which, strange as it might appear, people also like in Colombia and several other countries.' Finally, setting up their own labels, competing hard against one another and enriching their music with sounds they brought from their specific regions, these bands that gradually sprung up all over the country managed to consolidate a tradition that is still alive today." - Hugo Lévano
TWINK AND THE TECHNICOLOUR DREAM - Sympathy for the Beast: Songs from the Poems of Aleister Crowley (Sunbeam 1092; UK) Sympathy for the Beast, the new album by Twink and the Technicolour Dream, is based on the wonderfully imaginative poetical works of Aleister Crowley, whose natural and intrinsic musical quality Twink and the Technicolour Dream have tried to intensify with their psychedelic musical drive, using sections of the original poems as lyrics for their songs or narrations for their musical backgrounds. Jon Povey has given a significant contribution to this album as vocalist, composer and keyboard player. In addition, William Breeze, head of the Ordo Templi Orientis, the lodge presided by Crowley through most of his life, has provided the recently discovered manuscript scores of two unpublished songs by Crowley that Twink and the Technicolour Dream are presenting for the firsttime in their original form (piano and soprano) and a rock version. Includes two unpublished tracks, "Your Grave Grey Eyes" and "Cinnamon Curls" written by Aleister Crowley and Bernard F. Page, presented in their original score and in a rock arrangement. First ever released on CD. Pressed with the full involvement of John "Twink" Alder and the Techicolour Dream. Recorded and Mastered at Pioneer Studio (Colchester) and Gulliver Master Studio (Rome) between May 2016 and July 2018. Produced by Marco Conti and Fabio Porretti. Digipack; includes 12-page booklet.
PEOPLE! LET’S FREAK OUT - The Irish Rock Rebellion 1963-1970 (Particles 008; UK) “Particles presents the first ever box set anthology of Ireland's 1960s rock music scene. Only two long-out-of-print compilations have ever emerged to profile Ireland's rock roots, making this anthology doubly inviting. From the R&B/blues scene in Belfast to the late 1960s psychedelia of Dublin, People! Let's Freak Out reveals a wider account of the beat scene, and its transition into psychedelia and blues rock. While Ireland has never been given equal acclaim to that of its neighboring England, it nevertheless produced some of the most iconic and influential bands of the period. As Van Morrison and Them were leaving Belfast for London, a slew of new hopefuls arrived to establish their own niche under the nose of the dominant showband scene. Compiled here, are 125 original recordings featuring various groups from Eire and Northern Ireland, some of whom went on to huge success in the 1970s. From Ian Whitcomb to Eire Apparent, The Bye-Laws to the Belfast Gypsies and Gentry to Sugar Shack, People! Let's Freak Out is a fascinating account of Ireland's more obscure and vibrant music scene of the 1960s. Spanning five discs with rare and previously unreleased recordings, a plethora of memorabilia and expansive liners housed in an 88-page, full-color booklet, People! Let's Freak Out offers an excellent companion to similar anthologies such as Nuggets, Rubble, and Buried Alive.”
5 CD Set $48
SPECTRES - Composing Listening (Shelter Press 001; France) Published with the support of INA GRM. Composing Listening features texts by: Félicia Atkinson, François Bayle, François J. Bonnet, Drew Daniel, Brunhild Ferrari, Beatriz Ferreyra, Stephen O'Malley, Jim O'Rourke, Eliane Radigue, Régis Renouard Larivière, Espen Sommer Eide, Daniel Teruggi, Chris Watson. This book has been conceived as both a prism and a manual. Following the "traditional" arc of electroacoustic composition (listen-record-compose-deploy-feel), each of the contributions collected together here focuses in on a personal aspect, a fragment of that thrilling territory that is sonic and musical experimentation. Although the term "experimental music" may now have be understood as referring to a genre, or even a particular style, we ought to hold on to the original use of this term, which was based more on an approach than on any particular aesthetic line to be followed. The experimental is first and foremost a spirit, the spirit of the exploration of unknown territories, a spirit of invention which sees musical composition more as a voyage into uncertain territories than as a self-assured approach working safe within the bosom of fully mapped out and recognized lands. 228 pp; thread-sewn softcover; one color offset; Size: 135x200cm; Language(s): French, English.
SONNY SHARROCK with PHAROAH SANDERS / ELVIN JONES / CHARNETT MOFFETT - Ask The Ages (Hive Mind Records Hmrlp 005; UK) “Hive Mind Records present the first vinyl issue of Sonny Sharrock's seminal final album, Ask The Ages, originally released on CD in 1991. Sonny's classic final album swings between deep, lyrical melodicism and passages of pure fire music and features jazz legends Pharoah Sanders on tenor saxophone and Elvin Jones, member of the John Coltrane Quartet, on drums. The album was produced by Bill Laswell and originally released in 1991 on his Axiom label. The crystal-clear production sounds amazing on 45rpm and this release is a must for fans of John Coltrane, Albert Ayler, Ornette Coleman, and Sun Ra. 45rpm, double 12" edition.”
2 LP Set $32
HORACE TAPSCOTT WITH THE PAN-AFRIKAN PEOPLES ARKESTRA - Flight 17 (OuterNational Sounds 010; UK) Outernational Sounds presents a cornerstone document from the Los Angeles jazz underground, Flight 17 -- the first appearance on record of the legendary Pan-Afrikan Peoples Arkestra, led by their founder and mastermind, Horace Tapscott. Available on vinyl for the first time in 40 years. The Arkestra would allow the creativity in the community to come together, would allow people to recognize each other as one people. Horace Tapscott's Pan-Afrikan Peoples Arkestra (P.A.P.A.) was one of the most transformative, forward-thinking and straight-up heavy big bands to have played jazz in the 1960s and 1970s. If P.A.P.A. doesn't have the interstellar rep of that other famous Arkestra, and if the name Tapscott doesn't ring bells like Monk or Tyner, there's a reason why: in an industry dominated by record labels, a band that doesn't record doesn't count. And the Pan-Afrikan Peoples Arkestra didn't record for nearly twenty years. But recording success was never their concern -- they weren't about that. First formed as the Underground Musicians Association in the early 1960s, Tapscott always wanted his group to be a community project. From their base in Watts, UGMA got down at the grassroots. The group was renamed the Pan-Afrikan Peoples Arkestra in 1971, and soon after they established a monthly residency at the Immanuel United Church of Christ which ran for over a decade, while still playing all over LA and beyond. But they never released a note of music. It was the intervention of fan Tom Albach that finally got them on wax. Determined that their work should be documented, Albach founded Nimbus Records specifically to release the music of Tapscott, the Arkestra, and the individuals that comprised it. The first recording sessions in early 1978 yielded enough material for two albums, and the first release was Flight 17. From the surging avant-gardism of Herbie Baker's title track to the laidback summertime groove of Kamonta Lawrence Polk's "Maui", or Roberto Miranda's up-tempo Latin jam "Horacio", Flight 17 showcased the radical voices of the Arkestra's members. Led out by Tapscott's hard-swinging piano, this is the first flight on wax of the West Coasts' foundational community big band -- energized, hip, and together. Contains two tracks previously only available on the 1997 CD edition: "Coltrane Medley" and "Village Dance", recorded live at the Immanuel United Church of Christ. 180 gram vinyl pressing by Pallas. Fully licensed from Nimbus West founder Tom Albach.
2 LP Set $30
ACID MOTHERS TEMPLE & THE MELTING PARAISO U.F.O. - Acid Mothers Temple & The Melting Paraiso U.F.O. (Black Editions 009; USA) Black Editions presents the deluxe, first-ever vinyl edition of Acid Mothers Temple's classic self-titled first album. Over the last 25 years no group has been more prolific or dedicated to pushing psychedelic rock to its limits than Japan's Acid Mothers Temple. Their maximalist technicolor vision was first revealed on this, their now legendary self-titled 1997 debut released by P.S.F. Records. Led by Makoto Kawabata, the album contains some of the group's most cosmic, hypnotic and over-the-top material; it kick-started and set the tone for a journey that has included countless releases and performances around the world -- a freaked-out trip that continues to this day. Acid Mothers Temple & The Melting Paraiso U.F.O. is one of the essential albums of the world's psychedelic underground. Deluxe Edition housed in ten-color heavy tip-on gatefold jackets, featuring soft touch and spot gloss finishes and full color interior pockets. Includes full-color, spot glossed inner sleeves and a 24"x24", full-color poster. Remastered and pressed to high quality vinyl at RTI; Digital download included.”
2 LP Set $32
SEA MOSS - Bidet Dreaming (Feeding Tube Records 435; USA) "First LP by this rather berserk Portland Oregon duo, made up of vocalist/electronics-scrambler Noa Ver and drummer/electronics-scamperer Zach D'Agostino. Our experience with Portland music had led us to believe it often has a mellow and/or gentle edge, but Sea Moss offer none of that. Their raucous, face-to-face approach to duo dynamism is as weirdly aggressive as anything that's ever come out the dag end of Brooklyn or Providence, and that's saying something. Using homemade electronic devices that generate vast heaps of splutter and careenage, employing a percussive technique that would make Fred Flintstone proud, and singing into a microphone that makes everything sound like someone howling curses through an elevator's intercom, Sea Moss have arrived at a modus operandi that will makes weaklings poop eggs. The wildness of their approach is most evident in live concert, where they spend all their energy hurling figurative rolling p[ins, frying pans and glottal pronouncements directly into each other's faces. But on vinyl, it's possible to ponder the structural and lyrical gambits they use to attack each other. The lyrics, at least what I think I can make out of them, explode like strings of haiku written during a particularly hectic game of Exquisite Corpse. And the instrumental portions of the tunes often sound as though they were written for a Chrome tribute concert to be performed by lighthouse foghorns. The other day, while I was playing this in the store, someone commented that the vocals reminded them of very early Guerilla Toss. I pointed out that while there might be some small surface similarities, the utter weirdness of the underlying music pretty much negated comparison. Then I threw them out. Sea Moss is doing some crazy shit. Don't beggar them with comparisons. Listen with all your holes open and pass the goddamn drool cup." - Byron Coley, 2019 Edition of 250.
PHURNNE - To Love Lightly... (Feeding Tube Records 401; USA) "First album -- maybe even first physical release? -- by this exquisitely odd Massachusetts-based trio of sound-collagers. Violinist, Jen Gelineau, is well known to FTR lovers via her work with Eggs Eggs and Donkey No No. Laptop cruncher Andrea Pensado has likewise released a solo album with us -- Without Knowing Why (FTR 203LP, 2015) -- as well as one with her old combo, Los Condenados -- Yeppers! (FTR 126LP, 2013). New to us is electronics-and-tapes-shuffler Stephanie Germaine, but she proves to be a dab hand at making sonic events wiggle in the air like some many Chinese ash-snakes. Phurnne is around five years old at this point, but they have kept a low profile until now, thinking (perhaps) that the long-form pieces they create are better suited to live performance than passive homebound listening. From my own personal viewpoint that's a crock of whale shit. The music Phurnne invents is so texturally subtle in spots you really need to be able to examine it inside a dark and quiet safe space. Their sound really only achieves its true stature when you actively listen to it (something that's not always possible in a live setting). The music is so tactile and original in the way it's layered, it kept reminding me of the one Nurse With Wound live show I caught. As with that concert, the difference between 'ordinary' (read: identifiable) sounds, and shards of pure imagination is destroyed here. Standard perceptual delineations are erased. And new terra incognito is being continuously uncovered. This is an album full of wonders. And as cool as the trio is in concert, it's very nice to have their music captured to examine at one's own leisure." - Byron Coley, 2019 Edition of 250.
Bruce Lee Gallanter’s Recommended Gig List for May of 2019:
THE NEW STONE
Is Located at the New School’s Glass Box Theatre
55 West 13th street - just east of 6th ave
THE STONE RESIDENCIES - MATT SHIPP - MAY 7–11
8:30 pm - Matthew Shipp-Darius Jones Duo
Matthew Shipp (piano) Darius Jones (alto sax)
8:30 pm - Matthew Shipp Trio
Matthew Shipp (piano) Michael Bisio (bass) Newman Taylor Baker (drums)
THE STONE RESIDENCIES - NICOLE MITCHELL - MAY 14–18
8:30 pm - Val Jeanty, Chad Taylor and Nicole Mitchell
Val Jeanty (electronics) Chad Taylor (drums) Nicole Mitchell (flute)
8:30 pm - Matthew Shipp Trio with Nicole Mitchell - Matthew Shipp (piano) Michael Bisio (bass) Newman Taylor Baker (drums) Nicole Mitchell (flute)
8:30 pm - Jean Cook, Marika Hughes and Nicole Mitchell
Jean Cook (violin) Marika Hughes (cello) Nicole Mitchell (flute)
8:30 pm - Tomas Fujiwara (drums) Patricia Franceschy (vibes) Nicole Mitchell (flute)
8:30 pm - Funkish - André 'Dré Gló Lassalle (guitar) Jared Nickerson (bass) Calvin Gantt (spoken word) Nicole Mitchell (flute)
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
JOHN ZORN Presents The STONE SERIES at Happy Lucky No. 1:
May 10-11 - BRIAN MARSELLA in Banquet of the Spirits (Cyro Baptista, Shanir Blumenkranz, Tim Keiper & Brian Marsella) with special guest Nels Cline
Happy Lucky No. 1: 734 Nostrand Avenue, Brooklyn, NY 11216
646 623 0414 / www.happyluckyno1.com
by subway: Take 2, 4, or 5 trains to Franklin ; Take 3 train to Nostrand Ave.
Take A or C to Nostrand Ave.
Bushwick Improvised Music Series Continues:
Monday May 13th
7pm Kenneth Jimenez - bass
Simon Jermyn - guitar
Santiago Leibson - piano
Raf Vertessen - drums
8pm Stephen Gauci - tenor saxophone
Sandy Ewen - guitar/electronics
Adam Lane - bass
Kevin Shea - drums
9pm Tom Chess - oud, ney, morsing
Zach Swanson - bass
Noel Brennan -drums
9:45pm Welf Dorr - alto saxophone
Keisuke Matsuno - guitar/electronics
Dmitry Ishenko - bass
Lukas Akintaya - drums
10:45pm Briggan Krauss - saxophone/guitar
Keisuke Matsuno - guitar/electronics
Eli Rojas - drums
11:30pm Lauren Lee - vocals
Jochem Van Dijk - bass
Ken Kobayashi - drums
Monday May 20th
7pm Aron Namenwirth - guitar
Zach Swanson - bass
Michael Larocca - drums
Rodney Chapman - saxophone
8pm Stephen Gauci- tenor saxophone
Adam Lane- bass
William Hooker - drums
9pm Noa Fort - vocals
Vinnie Sperrazza - drums
Michaël Attias - alto saxophone
Kenneth Jimenez - bass
9:45pm David Leon - alto saxophone
Sam Weinberg - tenor saxophone
Henry Fraser - bass
10:45pm Michael Larocca - drums
David Tamura - tenor saxophone
Matt Gannon - guitar
11:30pm Eli Wallacee - keyboard/electronics
Andrew Smiley - guitar
Carlo Costa - drums
Downstairs @ Bushwick Public House
1288 Myrtle Avenue , Bushwick
(Across the street from M train Central Ave stop)
$10 suggested donation
Shapeshifter May, 2019:
Take Off Collective
7pm - Matthew Garrison: elec bass electronics
Ole Mathisen: Sax electronics
Marko Djordjevic: Drums
7p - Classical Trance - Nancy Jones, Piano
8:00 - Triple Bill - Flux Moongel Orange
Flux 8:15 / Moongel 9:05 / Orange 9:55
7pm - Bruce Mack w/ The Nubian Messengers,
8pm - Turning Jewels Into Water
7pm - Earl McIntyre -Composer, Bass trombone, Tuba,sampler
Renee Manning - Vocals
Jim Seeley- Trumpet, Flugelhorn
Ivan Renta- Reeds
Patience Higgins- Reeds
Ron Jackson- Guitar
Jerome Harris- Bass, Banjo
Carlos "Carly" Maldonado -Vibraphone & Percussion
Buddy Williams- Drums
FRIDAY, MAY 10, 2019 - 8:00 PM 10:00 PM
CAROL LIEBOWITZ ADAM CAINE / ROBERT DICK DUO
8:00 PM - Carol Liebowitz - solo piano
9:00 PM - Adam Caine - guitar / Robert Dick - flute
SATURDAY, MAY 11, 2019 - 8:30 PM 11:00 PM
2 Sets - 8:30 and 9:45
SAM OSPOVAT - RIDE ANGLES (SKIRL RECORDS) ALBUM RELEASE SHOW
Sam Ospovat - drums/compositions
Kim Cass - bass
Matt Mitchell - piano
Brandon Seabrook - guitar
Nick Lyons - alto
Lorin Benedict - scat vocals
IBEAM in BROOKLYN, NYC
168 7TH STREET
BROOKLYN, NY, 11215
Friday, May 10th, 2019:
RAS MOSHE MUSIC NOW AT SCHOLES STREET STUDIO
7pm - Elsa Nilsson's South by North East with:
8pm - Music Now! with
Bill Cole-Didjeridu, Sona, Hojok
Ras Moshe Burnett-Tenor & Soprano Sax
Lee Odom-Alto & Soprano Sax
9pm - Lindsey Wilson & Human Hearts with
Lindsey Wilson-Guitar and Voice
Michael Eaton-Tenor Sax
10pm - Music Now:Cousins with
Ras Moshe Burnett-Tenor Sax
Light snacks and refreshments available
Scholes Street Studio / www.scholesstreetstudio.com
375 Lorimer St. (corner of Scholes st.), Brooklyn, NY
The M or L trains to Lorimer St.
Jazz Habitat (at El Barrio Artspace, 215 E 99th St)
A bimonthly music series presenting Improvised Music and more,
(every 1st and 3rd Sunday of the month)
5/19: Stephen Gauci, Cooper-Moore
Thomas Heberer, Terrence McManus, Michael Bates, Jeff Davis
6/2 Cora Wonderland // Ourida Songs
BLANK FORMS Presents:
KEVIN DRUMM / HOFFMAN ESTATES with
LOREN CONNORS / ALAN LICHT / KEN VANDERMARK /JOSHUA ABRAMS / CHAD TAYLOR
Thursday, May 23rd, 2019 at 8:00 PM
Blank Forms at Brooklyn Music School Theater
126 St Felix St, Brooklyn, NY 11217