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DMG Newsletter for Friday, November 15th, 2019

“The Great American Eagle Tragedy”
by Earth Opera, released 1968

And call out the border guard.
The kingdom is crumbling.
The king is in the counting house,
Laughing and stumbling.
His armies are extended,
Way beyond the shore.
As he sends our lovely boys to die
In a foreign jungle war.

The queen is in the garden,
Moaning and weeping.
She spied the execution of Spades.
While he lay sleeping.
The Kingdom judge and jester
leaped together from the tower.
Lie still as fallen statues.
In the cultivated bower, bower.

And call out the border guard.
The kingdom is crumbling.
The king is in the counting house,
Laughing and stumbling.
His armies are extended,
Way beyond the shore.
As he sends our lovely boys to die
In a foreign jungle war.

The orchestra assembles,
and tries in vain to tune.
While outside in the stableyard,
the hounds are howling at the moon.
A blind man in the far off jungle,
his bamble hurt in flames.
Sits and whispers to his flute.
all the unremembered names.

And call out the border guard.
The kingdom is crumbling.
The king is in the counting house,
Laughing and stumbling.
His armies are extended,
Way beyond the shore.
As he sends our lovely boys to die
In a foreign jungle war.

The scarlet cloaked and white horsed huntsman
Rides upon the meadow green.
His silver arrow scars the sky,
and I can hear the eagle scream.
The peasants watch in dumb struck wonder!
The gay procession passed them by.
The victory silence is consuming me!
And we've killed at last the eagle's cry!

And call out the border guard.
The kingdom is crumbling.
The king is in the pouting house,
Laughing and stumbling.
His armies are extended,
Way beyond the shore.
As he sends our lovely boys to die,
As we send our lovely boys to die,
As you send our lovely boys to die
In a foreign jungle war.

Why people, I can't stand it any more!
I, I, I can't stand it any more!

Oh God! Oh God! Oh God! Oh God!
Where is that place!

Bye, bye, bye, bye!
Die, die, die, die!
Bye, bye, bye, bye!
Die, die, die, die!
Oh no! oh no! OH NO!


“The Great American Eagle Tragedy” was the title track from the second album by Earth Opera, released in 1968, 51 years ago. Earth Opera were a Boston-based band which featured Peter Rowan on guitar & vocals, as well as the main songwriter. Other members included David Grisman (future mandolin master), Richard Grando (session sax player) and Billy Mundi (drums for the Mothers & Rhinoceros). Earlier, Mr. Rowan sang lead with Bill Monroe along with David Grisman. After Earth Opera broke up in 1969, Mr. Rowan joined Seatrain, which was an offshoot of the Blues Project. I caught Seatrain live several times in the early 70’s and thought they were really great! Check out their superb self-titled album on Capitol. After Seatrain, Rowan & Mr. Grisman got back together and formed Old & In the Way with Jerry Garcia on banjo, making a great album or two. Mr. Rowan soon got together with his two younger brothers and formed the Rowan Brothers. He also wrote the stoner classic, “Panama Red” a hit for New Riders of the Purple Stage. Mr. Rowan went on to record more than a dozen solo albums which blended his bluegrass, folk, ethnic and rock influences. I caught him several times at a bluegrass fest in upstate New York. He still records and tours today and I’ve dug everything he has done.
The above song was an FM radio hit and I remember hearing it several times and thinking that the lyrics and intensely song vocals sounded most appropriate due to the turbulent times of 1968: inner city unrest, civil rights protests and the unwanted escalation of the war in Viet Nam. For me, both albums by Earth Opera were/are wonderful, a product of their times and timeless as well. I still listen to the CD with both albums on it at the store and it still touches me. - BLG/DMG


The Downtown Music Gallery 28th Anniversary Celebrations began on May 1st & Continues!
Every In-store This Summer Helps Celebrate the Spirit of Creative Music Performed Live.

Sunday, November 17th:
7pm: MAX KUTNER - Solo Guitar!

Sunday, November 24th:
6pm: THOMAS HELTON - Solo ContraBass
7pm: REGGIE NICHOLSON - Solo Drums

Sunday, December 8th:
6pm: SAM HARNET - Mandolin / SANA NAGANO - Violin / ZACH SWANSON - Acoustic Bass!

Sunday, December 15th:
8pm: M - violin/electronics / N - guitar/electronics / HANS TAMMEN - Buchla!

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


DMG Recommended Gig of the Week:


This Tuesday, November 19th, from 6-11 pm
At The Clemente, 107 Suffolk St, NYC - Delancey stop on the F train

An evening of Music, dance, Poetry, Art, Fine Wine and Food!

Highlights: William Parker, Rob Brown, Dave Burrell, Daniel Carter, Ellen Christi, Cooper-Moore, Whit Dickey, Melanie Dyer, William Hooker, Jason Kao Hwang, Val Jeanty, Darius Jones, Ingrid Laubrock, James Brandon Lewis, Tony Malaby, Ava Mendoza, Mixashawn, Isaiah Parker, Matthew Shipp, Warren Smith, Lisa Sokolov, Fay Victor, John Zorn. Visual Artists: William Mazza, Jo Wood Brown, Jeff Schlanger; Dancers: K.J. Holmes, Yoshiko Chuma, Douglas Dunn; and poets Bob Holman, Patricia Spears Jones, NoLand.  

At the heart of the evening will be performances by honoree Patricia Nicholson with a grand finale featuring a multi-disciplinary performance by members of the AFA community.


This Week’s Dynamite Discs Begin with this Treasure:

ANDREA CENTAZZO & HENRY KAISER - Above & Beyond Protocol (Metalanguage 9103/4; USA) Featuring Andrea Centazzo on percussion, malletkat & sampler and Henry Kaiser on electric & acoustic guitars. In November of 1978, Italian percussionist Andrea Centazzo came to New York and recorded with early members of the (soon-to-be-reckoned with) Downtown Scene: John Zorn, Eugene Chadbourne, Tom Cora, Polly Bradfield… Mr. Centazzo soon rented a van and drove across the US, working with a number up & coming musicians: Davey Williams & LaDonna Smith, Jack Wright, John Carter, Vinny Golia, members of Rova Sax Qt and guitarist Henry Kaiser. Mr. Centazzo soon started his own label (Ictus) to document his sessions in the US, as well as his evolving participation with many Italian and other European creative musicians. Mr. Centazzo eventually moved to L.A., where he still lives and renewed his collaborations with Dr. Chadbourne, John Zorn and Mr. Kaiser.
This fabulous 2 CD set features unreleased recordings from that initial trip in 1978, as well as two more recent sessions from 2017 and 2019. Both musicians have come a long way, their playing has evolved quite a bit over the 40 years. Originally, Mr. Centazzo played mostly a drum kit (working with many other Italian avant-jazz grearts, but for more than a decade, Centazzo plays a large collection of gongs, timbales, assorted cymbals, electronic vibes (malletkat) and sampled percussion/sounds. Mr. Kaiser also has worked his way through a variety of devices for his electric guitar, eventually ending up with a rack of effects to choose from. The opening track, “Nostalgic Protocol”, seems to combine the old with the new, that early Downtown/insect-music improv sound with a more current free/improv exchange. There is a fascinating balance/exchange of ideas going on here, an ongoing dialogue which each partner creates their own story or scenery, the other player moving within the flow. Mr. Kaiser alters the sound of his guitar on each piece, evoking a variety of vibes, genres or styles. Even when Mr. Kaiser switches to acoustic guitar, his playing is constantly evolving, reaching backwards and forwards as he goes. Mr. Kaiser sounds as if he is using an e-bow on his acoustic guitar to coax some mysterious drones in the second half of the first disc. I found that although both discs are pretty long (75 minutes each), the music was/is consistently engaging. While listening, I kept thinking that I was entering a new space on each piece, the scenery in my mind’s eye unfolding and changing as we move along.
Then first disc comes from two session in 2107 & 2019. The second disc also features some 23 minutes of improvised duets from 1978, some 40 plus years ago and early in the music careers of both musicians. One of the things that stands out here is the way Mr. Kaiser keeps altering the sound of his guitar on each piece, consisting evoking a variety of sonic scenery which is often in flux as it shifts into another place. Mr. Kaiser is a master of effects which works well since Mr. Centazzo also keeps altering his sounds between acoustic percussion, cymbals, gongs and sampler. Hard to tell who is doing what at times. Back in 1978, both Mr. Kaiser and Mr. Centazzo, had less devices to utilize. Still, the overall sound and approach to free improv is intact. Perhaps less dense at times yet still superb. What it does remind me of is that early/Old School Downtown free sound which players like John Zorn, Eugene Chadbourne & Tom Cora, were developing when I first heard in in late 1979 and afterwards. This entire two disc set clocks in at 2 & 1/2 hours of music! Mr. Kaiser still knows how to give us more bang for our dollar(s). Dig in! - Bruce Lee Gallanter, DMG
2 CD Set $12

CRAIG TABORN and VADIM NESELOVSKYI - The Book Beri'ah Vol 11 — Da'at (Tzadik 5111; USA) “Craig Taborn and Vadim Neselovskyi are two of the most acclaimed and brilliant pianists working today and here they perform a select set of Masada compositions in solo, duo and trio permutations. Created as a bonus disc for the Book Beri’ah, it is a beautiful program and highlights the incredible versatility of the Masada compositions themselves as well as and the stunning virtuosity and imaginative creativity of these two keyboard masters. Featuring pieces for solo piano, two amazing piano duets and three pieces for piano, bass and drums, ‘Da’at’ is a beautiful bonus CD to the Book Beri’ah series.”
CD $16

DAVID S. WARE QUARTET with JOE MORRIS / WILLIAM PARKER / WARREN SMITH - Theatre Garonne, 2008 (Aum Fidelity 113; USA) Featuring David S. Ware on tenor sax, Joe Morris on guitar, William Parker on contrabass and Warren Smith on drums. "The David S. Ware Archive Series was launched in November 2015, and AUM Fidelity has marked the anniversary of his birth -- November 7, 1949 -- with a vital new edition therein every year since. David S. Ware was a master saxophonist of the highest order, and an unparalleled sonic alchemist of the modern jazz era. As his distinctly potent sound & vision was an integral inspiration toward the creation/devotion of AUM Fidelity, that mission continues strong with the DSW-ARC series. Théâtre Garonne, 2008 presents a luminous concert from a transitional period in David S. Ware's ever-creative life. His 17-year-longstanding Quartet with Matthew Shipp & William Parker, which had achieved a naturally ascendant worldwide acclaim, performed their final concerts on a triumphal European tour in March 2007. Knowing that this end was coming, David had already begun writing new compositions and conceptualizing what would become his new quartet. The first iteration of this group -- foundationally with guitarist Joe Morris -- debuted at New York's Iridium jazz club in mid-July. The group was made whole with Ware's stalwart musical companion William Parker back on bass and fellow master musician Warren Smith on drums."
CD $14

INGRID LAUBROCK AKI TAKASE - Kasumi (Intakt 337; Switzerland) Jazz as the art of dialogue: two of the great musicians of today's jazz from different continents and generations make music sparkle. Born in Osaka in 1948, Aki Takase moved to Berlin where her musical partners included Han Bennink, evan Parker, Rudi Mahall, David Murray, Louis Sclavis and Fred Frith as well as her husband and pianist Alexander von Schlippenbach.
   Ingrid Laubrock, born in 1970 in Stadlohn in North Rhine-Westphalia, moved to London at the age of 19 where she studied with the saxophonists Jean Toussaint and Dave Liebman. She has lived in Brooklyn since 2008. In her publications she shows a wide musical spectrum ranging from the quintet AntiHouse to the orchestral recordings of "Contemporary Chaos Practices" from 2018.
   "Ingrid is one of my favorite saxophonists," says Aki Takase. "She is a talented player with a lot of technique, very creative, smart and above all I love her dedicated approach to making music". And Ingrid Laubrock says about Aki Takase: "It feels great to play with Aki. She's so unique and the feeling of serious playfulness and communication I'm looking for musically is there immediately". The album kasumi presents wonderful dialogues, which radiate joy, wit and warmth or hold the breath in silent intensity, so as not to break the spell.”
CD $18

ELLERY ESKELIN / CHRISTIAN WEBER / MICHAEL GRIENER - The Pearls (Intakt 331; Switzerland) “At any given time in the past few decades, saxophonist Ellery Eskelin, bassist Christian Weber and drummer Michael Griener have been members of genre-defining trios across Europe and the US, proving just how vital jazz is today in its historical form as well as in free playing styles. In the trio Ellery Eskelin, Christian Weber and Michael Griener play free music and traditional jazz. They do not melt down the playing styles, but alternate, contrast and deepen them.
   With the new CD The Pearls they present the second studio record after their critically acclaimed CD "Sensations of Tone". Ellery Eskelin writes in the liner notes: "In jazz we talk about playing time and playing free. Playing time usually means expressing a steady pulse and playing free usually means not adhering to a steady pulse. Either way there is still the sensation of movement, time. In making this recording I was struck by the ways in which time can simultaneously be so exacting, so malleable and so multi-dimensional. In these performances you'll hear free improvisations (with no preconceived forms or steady time pulse) as well as renditions of classic compositions from an earlier musical form directly addressing time, Ragtime."
CD $18

FRANCES-MARIE UITTI / ELLIOTT SHARP - Peregrinations (ZoaR 053; USA) “‘Peregrination’ is the latest installation in the ongoing collaboration between two unique virtuosi: cellist Frances-Marie Uitti and composer/multi-instrumentalist Elliott Sharp, a duo whose work together covers two decades. IN this album, Uitti and Sharp perform a series of pieces seamlessly mixing improvisations and compositions, music that is radical yet visceral, and that balances spontaneous energy and structural integrity.
Frances-Marie Uitti, composer/performer, pioneered a revolutionary dimension to the cello by transforming it for the first time into a polyphonic instrument capable of sustained chordal (two, three, and four-part) and intricate multivoiced writing. Using two bows in one hand, this invention permits contemporaneous cross accents, multiple timbres, contrasting 4-voiced dynamics, simultaneous legato vs articulated playing. György Kurtág, Luigi Nono, Giacinto Scelsi, Jonathan Harvey, Richard Barrett, Horatio Radulescu, Lisa Bielawa are among many who have used this technique in their works dedicated to her Her collaborators have included Dick Raaijmakers, John Cage, Giacinto Scelsi, as well as also working closely with Iannis Xenakis, Elliott Carter, and Brian Ferneyhough.
‘Peregrinations’ features Frances-Marie Uitti on cello and Elliott Sharp on DeeArte Anouman acoustic guitar & soprano sax. This is only the second record that Ms. Uitti and Mr. Sharp have done together, which is interesting since they went to college together in upper New York state, some 40 years ago. Right from the opening salvo, we can tell that something extraordinary going on here. The intensity and focus is palpable, the sound of the strings similar in their attack. The sound of the bowed cello and distinctive strumming & plucking of strings, This disc is an all acoustic affair, the sound of both instruments works superbly together. - Bruce Lee Gallanter, DMG
CD $15

TOMAS FUJIWARA With PATRICIA BRENNAN / TOMEKA REID - 7 Poets Trio (Rogue Art 095; France) Featuring Tomas Fujiwara on drums & compositions, Patricia Brennan on vibes and Tomeka Reid on cello. This disc has been delayed twice already and word is that our copies are finally on their way. I still haven’t gotten the promo yet so I can’t review it until it arrives. I did see this trio at the Vision Fest and thought they were great. I remain a big fan of anything release that Mr. Fujiwara is in charge of plus cellist Tomeka Reid is consistently engaging no matter what project she is involved with. Most likely great! - BLG
CD $16 [After 2 delays, this disc is about to arrive very shortly!)

ENTR’ACTE with KEN VANDERMARK / NATE WOOLEY / METTE RASMUSSEN / JASPER STADHOUDERS / DIEB 13 / ELISABETH HARNIK / STEVE HEATHER / TERRIE HESSELS / DIDI KERN / JOE WILLIAMSON - Soigne Ta Droite (Audiographic 017; USA) Featuring Ken Vandermark on reeds, Nate Wooley on trumpet, Mette Rasmussen on alto sax, Jasper Stadhouders (from Cactus Truck) on electric bass & guitar, Terrie Hessels (from The Ex) on guitar, Joe Williamson on basses, Elisabeth Harnik (w/ Joelle Leandre & Fay Victor) on piano, Dieb13 (Efzeg & Erstwhile) on turntables & electronics and Steve Heather & Didi Kern (for Linda Sharrock) on drums. This disc was recorded live at the Artacts Festival for Jazz & Improvised Music in Austria in March of 2018. Chicago-based saxist/composer/bandleader, Ken Vandermark, keeps pretty busy leading several ensembles, touring here and in Europe and working with a wide variety of musicians from different scenes. For this disc, Vandermark assembled a 10 piece ensemble from bands or scenes, that he had played with previously. You should recognize most of these names, as many of the members work with projects that we all know of.
Like most discs by Ken Vandermark, each of the three long tracks are dedicated to different inspirations: Ikue Mori (fellow musician), Richard Serra (sculpture) and Francis Picabia (French painter & poet). “Perpetual Desk”, starts with a short written opening, mainly for two saxes and electronics. There seems to be some subgroups (mainly trios) going on simultaneously, free in part yet with tightly woven connections. While one saxist solos, the other two horns will play a series of drones underneath. Vandermark takes the first explosive solo on tenor sax, while the rest of the ensemble rises and falls in waves around him. What I dig most about this is when one of the musicians take a solo, the rest go the cast play these tight, repeating groove lines along with them. This reminds me of the infectious spirit that is at the center of many pieces by the Brotherhood of Breath. The second piece, “Foundry”, features layers of guitar noise with quick bursts of punk/rock energy centered around an agitated rhythm team. The guitars & bass sound similar to The Ex, with some sharp fractured sounds, which makes sense since Terrie was/is a longtime member of this band great Dutch punk band. There is a section midway where the horns play together in a kind of drunken, off-kilter way, reminding me of that loose/tight exuberance found in the Keith Tippett Group, circe 1970. “Telegram” again, has that lumbering groove at the center of storm a kind of avant-funk thang, with some seventies style free/jazz horns spinning furiously on top, one great solo after the other, with slinky interlocking guitars holding things together underneath. ‘Entr’Acte’ is yet another gem in Ken vandermark’s vast treasure chest of sonic wonders! - Bruce Lee Gallanter, DMG
CD $16 [LTD Edition of 500/numbered]

JOE McPHEE / PAAL NILSSEN-LOVE - Song for the Big Chief (PNL 046; Earth) Featuring Joe McPhee on tenor sax & pocket trumpet and Paal Nilssen-Love on drums & percussion. NY state-based saxist, Joe McPhee and Scandinavian drummer, Paal Nilssen-Love have been collaborating for more than a decade. Their first duo disc was released in 2009 plus both musicians played with Peter Brotzmann and The The Thing. Aside from a couple of tother duo discs, there is a 7 CD set out on PNL from 2015. This disc was recorded live at Cafe Oto in December of 2017. The title of this CD, ‘Song for the Big Chief’ was inspired by the passing of Sunny Murray, one of the originators of free/jazz drumming from the early 1960/s with Cecil Taylor. The long opening track features the melody of the ancient standard, “Old Man River”, which Mr. McPhee with the utmost poignancy and conviction. When Mr. Nilssen-Love enters on mallets, the vibe goes from simmer to boiling point as the steam in the kettle starts to whistle. This is a powerful, intense and throttling duo, the tenor sax & drums whipping up a storm together. Both of these musicians work well together since both are inventive, play from the heart, soul and minds. There is strong sympathetic, organic flow going on here, everything is connected. There is a long drum or rather cymbals solo which is most inventive, a truly transcendent segment within the flow. The blend of solemn sections with more explosive moments is righteously balanced. I found this disc to be more like sonic medicine which helps us, inspires us to feel better and tastes wonderful for our ears and minds. - Bruce Lee Gallanter, DMG
CD $15

PER-AKE HOLMLANDER / MATS ALEKLINT / PAAL NILSSEN-LOVE - Fish & Steel (PNL 044; Earth) Featuring Mats Aleklint on trombone, Per-Ake Holmlander on tuba and Paal Nilssen-Love on drums & percussion. Swedish trombonist, Mats Aleklint, turned 40 this year and has worked with several bands: Angles (they rule!), All Included and Paal Nilssen-Love Large Unit. Swedish tuba hero, Per Ake Holmlander, is in his early 60’s and has worked with many greats: Peter Brotzmann, Ken Vandermark and Mikolaj Trzaska. Check out Mr. Holmlander’s recent 3 CD set on Not Two, it is a winner! Of the three members of the (now defunked) The Thing, drummer Paal Nilssen-Love seems to be the busiest, touring and recording around the clock with several different projects, way too many to mention here, although his Large Unit is one of the best current large ensembles that we’ve seen.
This disc was recorded live at the Blow Out Concert Series in Oslo, Norway in September of 2018. The Scandinavian all-star band, Angles, is one of the best avant/jazz units to emerge over the past decade, each of their half dozen discs are superb. Their frontline of Martin Kuchen on alto sax, Magnus Broo on trumpet & Mats Aleklint on trombone, is what makes them so special: on fire, on target and often in-your-face! Both Mr. Aleklint and Mr, Holmlander, work well together, exchanging lines, twisting and stretching out notes while the other links with the drums. Although Mr. Holmlander often takes the bass role, he also takes the occasional rip-roaring solo. Although this music is mainly improvised, I can still hear those spiritual jazz melodies that make Angles so special bubbling from the brass men. The first piece is nearly 30 minutes long and it is called, “Blow Out”. Yet, there are moments when the trio lays back and plays these somber, bluesy interludes. There are a number of great trombonists who have been blowing up a storm over the past decade plus: Steve Swell, Jeb Bishop, Joe Fiedler and Ray Anderson all come to mind. You can place Mats Aleklint amongst the currents trombone contenders, he is featured here and does a splendid job. Both Per-Ake Holmlander and Paal Nilssen-Love are also in great form here.! - Bruce Lee Gallanter, DMG
CD $15

SYLVAIN KASSAP / BENJAMIN DUBOC - Le Funambule (DarkTree 12; France) Featuring Sylvain Kassap on clarinet & bass clarinet and Benjamin Duboc on double bass & voice. I’ve long admired the work of French clarinetist, Sylvain Kassap, who has worked with Hamid Drake, Larry Ochs, Nicole Mitchell and Gunter ‘Baby’ Sommer. I recall a great set at the Vision Fest with the East-West Collective (w/ Ochs, Miya Masaoka & Xu Fengxia), as well as with a clarinet quartet at DMG from last year. French bassist Benjamin Duboc, I know less well although he has worked with Itaru Oki, Jean-Luc Guionnet and for Eliane Radigue. Things begins with soft spoken word vocal sounds and hushed clarinet fragments. Soon mysterious bowed bass & bass clarinet intertwine, moving carefully around one another. There two instruments work immensely well together, sounding similar in those low, dark, warm, wooden timbres. At one point, the duo move into what sounds like a blues segment, which fits just right with what came before and after, as far as the ongoing vibe/flow. Both of these musicians are well-matched and cover similar sounds or tones. I like the way they seem to complete each other’s lines, often coming together and spinning in connected orbits. Although they are many moments of low key resolve, the sympathetic vibrations make this pretty enchanting. - Bruce Lee Gallanter, DMG
CD $15

ERI YAMAMOTO TRIO & CHORAL CHAMELEON - Goshu Ondo Suite (Aum Fidelity 112; USA) Featuring Eri Yamamoto on piano & compositions, David Ambrosio on bass, Ikuo Takeuchi on drums with Choral Chameleon. I have long admired the work of New York-based pianist Eri Yamamoto, over more than a dozen discs, she can be found with her own trio, as well as collaborating with William Parker, Daniel Carter and Federico Ughi. Although most of Ms. Yamamoto’s disc feature this, her ongoing trio, she was inspired to write this piece which is based on “Goshu Ondo”, a traditional circle dance song from Shiga in Japan, where Ms. Yamamoto’s grandparents lived. This song has special meaning for Eri, as she and her family would sing, drink and dance all night to it’s intoxicating melody. Ms. Yamamoto collaborated with a large chorus called Choral Chameleon, with fifty vocalists including four soloists. The vocalists were given no written dynamic indicators hence, the piece developed organically. The results…
Choral Chameleon consists of four vocal sub-sections, soprano, alto, tenor and baritone. Ms. Yamamoto’s longtime trio is at the center with a large chorus surrounding them. The words are simple, stark and joyous, a fairy tale-like call to get everyone to join in and dance. I have listened to very little large-ensemble choral music in recent times so it is refreshing for me to hear these layered vocal sections. The trio is at the center and gets some occasional chances to stretch out. The music often sparkles and has a clear, uplifting, enchanting, slightly gospel-like vibe. Organic, righteous, touching, heart-felt, warm, consistently charming! We can tell that Ms. Yamamoto’s heart and soul are at the center of this music. Want to feel better? This disc is just what the good doctor ordered. - Bruce Lee Gallanter, DMG
CD $14

BRAD LINDE / PATRICK BOOTH / AARON QUINN / JONATHAN TAYLOR - Winter Tales (Bleebop Records #170; USA) Featuring Brad Linde on tenor sax, PVC mini-sax & melodica, Patrick Booth on soprano sax, Aaron Quinn on guitar & effects and Jonathan Taylor on drums & percussion. DC-based saxist & bandleader, Brad Linde, played here at DMG last year and left us with three discs, each one with different personnel. Recently, Mr. Linde sent us another four discs and again, the personnel is varied on each one. All or most of the folks on Mr. Linde’s different releases come from the DC area. The other saxist here, Patrick Booth, recently appeared on a sax quartet plus rhythm disc led by Jonathon Crompton. Aside from appearing on five discs from Mr. Linde, guitarist, Aaron Quinn, can be found on a disc by Eli Wallace (NY-based keyboard wiz). Drummer, Jonathan taylor, is all a member of another recent disc from Brad Linde. One of the things I like most about Brad Linde is that each of his seven discs have different themes, few are mainly just improvised. This disc is mostly improvised with a couple of odd Christmas songs included. On the first could of pieces, the quartet is laid back and kinda like those Lee Konitz/Warne Marsh sessions from way back when. The pieces here are long and take time to develop. It sounds like there is more going on than one might think, some of the interaction is submerged below the surface. There is quite a bit of quaint, laid back improv going on here which I like but it does take tome time & patience in order to listen to this extra long disc.
CD $10


ExclusiveOr / ARCHITEUTHIS WALKS ON LAND / INTERNATIONAL CONTEMPORARY ENSEMBLE with PETER EVANS / NATE WOOLEY / KATHERINE YOUNG / SAM PLUTA / et al - Modules (Carrier Records 044; USA) ExclusiveOr follows up their 2013 duo album, ‘Archaea’, with ‘Modules’, a 40-minute tour-de-force ensemble work, bringing together three formidable powerhouses in experimental music: new-music stars International Contemporary Ensemble (ICE), bassoon-viola duo Architeuthis Walks on Land (AWOL – Katherine Young & Amy Cimini), and Pluta and Snyder, known for their extensive work as the electronic duo exclusiveOr. The result is an intense album-length work featuring virtuosic performances that seamlessly combine composed forms, electro-acoustic improvisation, noise, and lush harmonies. There is an ever increasing amount of musicians who play electronics nowadays, I must admit that the person I find to be the most consistently fascinating is Sam Pluta. I’ve heard Mr. Pluta as a member of Evan Parker’s NY Electro-Acoustic Ensemble, in duo with Peter Evans and with different versions of ICE (International Creative Ensemble). It is Mr. Pluta who organized, recorded and mixed this extraordinary new disc.
What is most interesting here is that features different members of each unit in different combinations, including five duo improvs and ten other directed (?) pieces. “Module 1” is filled with suspense and sounds like tympani & other percussion and electronics. The sounds are most carefully utilized: distant muted trumpets, subtle orchestral percussion, some sort of floating horns, all unfolding slowly, their sounds cautiously stretched out. The combined horns have that Canterbury sound (Soft Machine ’Third’/Keith Tippett Group ‘Dedicated’/Hugh Hopper ’1984’), slightly twisted with a (buried) sense of humor. The overall piece is continuous, hence everything flows together just right. Although there are a series of duo improvs, the music is seamlessly woven. There are some unexpected delights like “Pavan”, which does have that slow, stately vibe. It is pretty rare to hear electronics that sounds as if it being conducted or directed, but this is what this sounds like. The percussion & electronics on “9 Lines” is again a seamless flow, a perfect blend of acoustic and electronic sounds. “Estampie” featuring the great, subtle percussion of Ross Karre with Jeff Snyder’s tight, spinning electronics, extraordinary. The electronics here often have an older, more analogue sound which works well with other more acoustic instruments. The final piece, “Alman’, sounds like an elegy for our troubled world, with prayer like horns floating and a distant (siren-like) drone. I would hope that this disc win some awards and gets some of the recognition it rightly deserves. Superb, on all levels. - Bruce Lee Gallanter, DMG
CD $10

BINARY CANARY - Iterative Systems (Carrier Records 042; USA) The duo that comprises the enigmatically coined Binary Canary—knob twiddler/circuit bender Ted Moore and saxophonist Kyle Hutchins—are indeed birds of a feather, at turns making like some maddeningly digital flock of seagulls ripping at the innards of their instruments, indulging in all manners of deconstructionist vulture culture, flapping their wings to the unbridled aural heavens, only to come crashing down, Icarus-like, to earth. OK, I’ll stop. In all seriousness, Moore and Hutchins are part of electroacoustic improv’s well-hewn dynasty, the latest in a long line of dogged experimentalists who ignore anything as trite as melody, harmony, and rhythm, and exult in the sheer heavenly miasma of dissonance and imagistic abandon. Iterative Systems does indeed suggest the idea of algorithms gone haywire, of sounds and noise barely held in check. Thankfully, both Moore and Hutchins demonstrate great facility in wrenching some semblance of “order” out of chaos, but such order comes at a cost. The listener must be willing to fully submit to the duo’s stark mechanistic realities; in so doing, much aural pleasure can be had. Hutchins’s splurt, splatter, spunk, and spittle congeals throughout the spaghetti network of Moore’s tubes, feedback devices, no-input mixer, and Eurorack modules, yielding an ever-morphing nest of alien topographies that rattle the speaker cones in abject fury. This is a restless, dynamic, caustic recording whose ideas achieve critical mass the moment the disc is engaged, even during the quieter climes of “Alloy”, but that metallic sensation never resides too far off, as the duo maintain a rigorous tension and plangent atmosphere that's just barely out of reach. This Canary’s done blasted that coalmine, that’s for sure. - Darren Bergstein, DMG
CD $10

MATT BARBIER - Platonic Solids (Carrier Records 040; USA) Matt Barbier is ostensibly a trombone player, but if you were expecting Curtis Fuller or Grachan Moncur III (or, hell, even Julian Priester), you’d be way, way off. Platonic Solids is irrevocably, undeniably, passionately about the drone, or, to be more specific, the drone’s capacity to exhibit a virtually infinite array of harmonics. With guests providing violin, violincello, and modular synthesizer as ‘sample food’, Barbier lets his inner Niblock fly. Each track is modeled after, according to the inner sleeve, “abrasion holograms of the same name and series by Tristan Duke.” Duke is an artist with a focused interest in optics and the visual perceptions of such thereof, and has initiated a discipline he dubs ‘infinity light science’. Barbier has in turn applied those characteristics to his own brand of systems music in an attempt to forge a similar analog in sound. He’s surely not the first to truck in these methodologies; from the aforementioned Niblock, to Jliat, Eliane Radigue, and even the minimalist poetics of Riley and Reich, each represent similarly informed doctrines. Barbier’s tweaked the formula in a particularly arresting way, as his trilling, high-pitched sonorities plateau in a manner that speaks simultaneously of transcendence and terror. Track two (all the pieces are untitled) encapsulates this phenomenon to a ’T’, as Barbier’s signal processing truly bores a pathway deep into your skull. Played at high volume, this music might well have significantly deleterious effects on even the hardiest of ears, but then again, so can Merzbow. Unlike Akita’s punishing frequencies however, Barbier’s singleminded achievement manages to subvert the stuffy academia of classical constructs; in the end, an almost liturgical new form of post-modern chamber music is birthed. Stick with this one, as repeat exposures only serve to highlight the many-colored striations pulsing beneath the obvious, acrid surface. - Darren Bergstein, DMG
CD $10


ARTHUR RUSSELL - Iowa Dream (Audika Records 1017; USA) "Over the past decade, the visionary musician Arthur Russell has entered something close to the mainstream. Sampled and referenced by contemporary musicians, his papers now open to visitors at the Performing Arts Library at Lincoln Center in New York, and his name synonymous with a certain strain of tenderness, Russell is as widely known as he's ever been. Thanks to Russell's partner Tom Lee and to Steve Knutson of Audika Records, who have forged several records from Russell's vast archive of unreleased material, the world now hears many versions of Arthur Russell. There's the Iowa boy, the disco mystic, the singer-songwriter and composer, and the fierce perfectionist deep in a world of echo. While all of these elements of Russell are individually true, none alone define him. Now, after ten years of work inside the Russell library, Lee and Knutson bring us Iowa Dream, yet another bright star in Russell's dazzling constellation. Blazing with trademark feeling, these nineteen songs are a staggering collection of Russell's utterly distinct songwriting. And although Russell could be inscrutably single-minded, he was never totally solitary. Collaborating here is a stacked roster of downtown New York musicians, including Ernie Brooks, Rhys Chatham, Henry Flynt, Jon Gibson, Peter Gordon, Steven Hall, Jackson Mac Low, Larry Saltzman, and David Van Tieghem. Musician Peter Broderick makes a contemporary addition to this list: more than forty years after Russell recorded several nearly finished songs, Broderick worked diligently with Audika to complete them, and performed audio restoration and additional mixing. Several tracks on Iowa Dream Russell originally recorded as demos, in two early examples of his repeated brushes with potential popular success -- first in 1974, with Paul Nelson of Mercury Records, and then in 1975, with the legendary John Hammond of Columbia Records. For different reasons, neither session amounted to a record deal. Russell kept working nearly up until his death in 1992 from complications of HIV-AIDS. At once kaleidoscopic and intimate, Iowa Dream bears some of Russell's most personal work, including several recently discovered folk songs he wrote during his time in Northern California in the early 1970s. For Russell, Iowa was never very far away. 'I see, I see it all,' sings Russell on the title track: red houses, fields, the town mayor (his father) streaming by as he dream-bicycles through his hometown. Russell's childhood home and family echo, too, through 'Just Regular People,' 'I Wish I Had a Brother,' 'Wonder Boy,' 'The Dogs Outside are Barking,' 'Sharper Eyes,' and 'I Felt.' Meanwhile, songs like 'I Kissed the Girl From Outer Space,' 'I Still Love You,' 'List of Boys,' and 'Barefoot in New York' fizz with pop and dance grooves, gesturing at Russell's devotion to New York's avant-garde and disco scenes. Finally, the long-awaited 'You Did it Yourself,' until now heard only in a brief heart-stopping black-and-white clip in Matt Wolf's documentary Wild Combination, awards us a new take with a driving funk rhythm and Russell's extraordinary voice soaring at the height of its powers. On Iowa Dream, you can hear a country kid meeting the rest of the world -- and with this record, the world continues to meet a totally singular artist."
CD $17

MIGHTY BABY - At A Point Between Fate And Destiny: The Complete Recordings (Grapefruit CRSEG-BOX 062; UK) "The band-authorized 6-CD set At A Point Between Fate And Destiny features all surviving recordings, with much-loved studio albums Mighty Baby and A Jug Of Love joined by rehearsal sessions, a complete and previously unissued alternative version of the first album, audio from the band's only TV appearance and other studio outtakes."
“Sunbeam Records present a reissue of Mighty Baby's A Jug Of Love, originally released in 1971. This beautifully uplifting collection barely reached the shops in 1971, but has gone on to become one of the best-loved cult albums of all time. Produced by Mike Vernon (David Bowie, Fleetwood Mac, Ten Years After), A Jug Of Love showcases Mighty Baby's fluid, expressive musicianship and the astonishing guitar playing of Martin Stone to glorious effect. This long-awaited reissue has been assembled with their full involvement and includes comprehensive liner notes with notes by the band and rare photographs. Includes four ultra-rare bonus tracks. An essential purchase for all lovers of acid folk, country rock, and psychedelia.” - review of Mighty Baby’s ‘A Jug of Love’ album.
6 CD Set $42

BUDDY GUY - House of Blues 1995 (Keyhole 9091; UK) “Buddy Guy, live from the House of Blues, West Hollywood, CA March 23rd, 1995. Buddy Guy finally achieved the recognition he deserved in the early '90s, winning Grammys for Damn Right, I've Got the Blues (1991) and Feels Like Rain (1992). This blistering set at the House of Blues, West Hollywood was performed and broadcast by National Public Radio, soon after the release of his classic Slippin' In album (1994), and finds him on superb form on a variety of his trademark numbers, as well as some sly impersonations of other players. Backed by Scott Holt (guitar), Greg Rzab (bass) and Ray "Killer" Allison (drums) and featuring introductions from superfans Dan Aykroyd and John Goodman, it's an absolute blast for all fans of true Chicago blues. The entire National Public Radio broadcast is presented here together with background notes and images.”
2 CD Set $24

BOBBY BEAUSOLEIL - Lucifer Rising (RustBlade 072; Italy) "The original soundtrack for the cult film, Lucifer Rising, by Underground filmmaker Kenneth Anger. Composed by Bobby BeauSoleil who is joined in the performances by his prison band, The Freedom Orchestra, recorded 1975-1979 at Tracy Prison. The music of Lucifer Rising is closely linked with the occult elements with dark psychedelic mystical sounds. Bobby composed electronic sounds interspersed with interesting slow trumpet fanfares, keyboard wizardry and fine guitar solos. For sure one of influential soundtracks ever and one of the most important psychedelic ambient album of music history. Magical & essential. Artwork by Malleus. Limited edition digipack."
CD $22


COMPANY with URSULA OPPENS / JULIE TIPPETTS / FRED FRITH / KEITH TIPPETT / GEORGE LEWIS / ANNE LeBARON / MOTOHARU YOSHIZAWA / PHILIPP WACHSMANN - Epiphanies I-VI (Honest Jon’s Records 212; UK) “Ever played that game where you imagine you can invite a few people from any period in human history to a dinner party guaranteed to produce rich, stimulating, and provocative conversation? Derek Bailey did it for real, musically, in his Company Weeks. In July 1982, his guests at London's I.C.A. were contemporary classical pianist Ursula Oppens, folk/jazz singer-turned-improviser Julie Tippetts and her partner pianist Keith Tippett, violinist/electronics wizard Philipp Wachsmann, guitarist Fred Frith, trombonist George Lewis, harpist Anne LeBaron, and, from Japan, free jazz bassist Motoharu Yoshizawa and sound artist Akio Suzuki. In addition to the stellar group improvisation Epiphany (HJR 211LP), they also recorded enough material for two more full-length albums, of which this is the first. That line above about conversation presupposes that music is some sort of language -- a thorny proposition indeed on which whole books have been written. Suffice it to say that if it is a language -- music certainly communicates, that's for sure -- it's not an Indo-European model: the only way music can express the notion of past tense is by repeating something, so that listeners can identify it as something they've heard before. Improvised music, however, is forever "in the moment", as improvisers like to put it, i.e. the present tense -- and the present tense has never been more wonderfully communicative than it is in these six epiphanic improvisations. Yoshizawa and Oppens (both on the keyboard and inside her piano) bounce ideas off each other like ping-pong balls ("First"); Tippetts, Wachsmann, and Bailey do extraterrestrial cubist flamenco ("Second"); Lewis and Frith rumble at everyone magnificently ("Third"); Tippett and Oppens kaleidoscope the entire history of the piano into just over 15 minutes ("Fourth" and "Fifth") with added seasoning from LeBaron and Wachsmann, and on the closing "Sixth", Akio Suzuki, despite describing himself elsewhere as "pursuing listening as a practice", makes one hell of a racket with his self-made instruments: a flute, a spring gong and his analapos (two single-lidded cylinders attached by a long steel coil, which he can manipulate and strike, as well as vocalize into the tube). Yoshizawa and Bailey give him a real run for his money though, and it all builds to an ecstatic swirling, grinding climax, with Suzuki whooping and hollering wildly. Is it language? You decide. Is it rich, stimulating and provocative? You bet. What a dinner party! Bon appetit!”
2 LP Set $32

COMPANY with DEREK BAILEY / FRED FRITH / GEORGE LEWIS / KEITH TIPPETT / URSULA OPPENS / JULIE TIPPETTS / MOTOHARU YOSHIZAWA / et al - Epiphanies VII-XIII (Honest Jon’s Records 213; UK) “More buried treasure from the 1982 Company Week at London's I.C.A., seven more epiphanies (previously unreleased!) to add to the six on Epiphanies I-VI (HJR 212LP) and the 48-minute ensemble Epiphany (HJR 211LP). Fred Frith's diverse activities as composer and educator in recent years shouldn't let us forget he's a stellar improviser -- 1974's Guitar Solos is still a seminal album of free improv -- and he has three opportunities here to showcase his considerable talents. "Eleventh" is an extended techniques tour de force, with George Lewis working slowly but surely through a variety of trombone mouthpieces while Frith's guitar, strummed, bowed or prepared, could be a Theremin, a koto, a mouse trapped inside a grandfather clock, or a lion cub inside a shoebox. Bookending the album, on "Seventh" he swaps Webernian shards with Lewis and harpist Anne LeBaron and on "Thirteenth", with pianist Keith Tippett, condenses a whole lifetime of musical exploration into a mere twelve minutes. Elsewhere, on "Eighth", violinist Philipp Wachsmann reveals his understated mastery of both his violin and the electronics he's devised to extend its range, and pianist Ursula Oppens proves she's as adept as conjuring forth magic from inside her instrument as she is caressing it out from the keyboard. Those that moan that improvised music is more about finding extraordinary new sounds and less concerned with exploring nuances of pitch, both horizontally (melody, yes) and vertically (harmony), should listen up. "Ninth" is a spikier affair, with Lewis giving a whole new meaning to the word embouchure, quacking, spitting and wheezing like a flock of geese let loose in a fairground, while Derek Bailey and Motoharu Yoshisawa patiently explore the outer limits of acoustic guitar and double bass. Bailey and Lewis team up again on "Twelfth" to take on Oppens -- and everybody wins. Voice is more to the fore on "Tenth", with Julie Tippetts's coloratura and flute and Akio Suzuki's analapos and spring gong flying high while LeBaron, Wachsmann, and Yoshizawa weave intricate webs of pizzicati, spiccati, and glissandi beneath. The word that comes to mind here most often is virtuosity, not just in terms of simple ability on one's chosen instrument(s) but also in knowing just how and just when to display it -- not surprisingly it was Fred Frith who coined the term "virtuoso listening". That's what these folks do, and ever so well: be a virtuoso listener yourself and check it out.
3LP Set $38


Throughout the 1970’s, there was a Loft Jazz Scene, going on in Lower Manhattan where where upwards of a couple of dozen loft avant jazz or small clubs sprang up. I started frequenting these places starting in the Fall of 1972. Here’s list of spaces: Artist House, Studio Rivbea, Ladies Fort, the Tin Palace, Ali’s Alley, Environ, the Brook, Public Theatre, Loeb Student Center, the Kitchen, the Five Spot… This is where I first heard dozens of avant/jazz musicians when they first moved to town. This is where I first heard KESHAVAN MASLAK as well as dozens of other musicians with whom I became more familiar with as the scene evolved.

KESHAVAN MASLAK With CHARLES MOFFETT - Blaster Master (Black Saint 120079; Italy) Featuring Keshavan Maslak on alto & tenor saxes and Charles Moffett on drums. This music was recorded at the Nickelsdorf Fest in Austria in August of 1981. When Ornette Coleman’s original quartet broke up in the early sixties due to lack of work, Mr. Coleman soon organized a new trio with David Izenzon on bass and Charles Moffett on drums. That trio lasted a few years, recorded a couple of LP’s and toured Europe. Although previously little known, both of those rhythm team mates were colossal musicians. Both of those musicians went to work with other creative musicians but recorded infrequently. Ukrainian saxist, Keshavan Maslak, was raised in Detroit and lived in NY in the late 70’s and 80’s. Although, he has always had a twisted sense of humor, he has long been a strong, spirited sax player who has worked with many other avant/jazz greats: Paul Bley, Sunny Murray, Han Bennink and Philip Wilson.
Some of titles on this album are a bit crude, but the music is consistently inspired. Starting with “Blast Yo Mama”, Mr. Moffett swings hard while Mr. Maslak spins out joyous lines on his alto sax. There is an earthy, celebratory vibe going on here, free, swinging and funky at the same time. Mr. Maslak is a master blaster, a wonderful free/jazz saxist who kees things interesting throughout by engaging whomever he choses to work with. Mr. Moffett’s mallet work is especially well utilized here, always giving Maslak a strong percussion cushion to soar on top of. A masterful date from the beginning to the end! - Bruce Lee Gallanter, DMG
LP $25 (this is the original import vinyl version, which is long out-of-print)d

KESHAVAN MASLAK with GARRETT LIST / PETER WARREN / MARK ANTHONY MILLER / SADIQ ABDU SHAHID - Keshavan Maslak (Atman Records; USA) Featuring Keshavan Maslak on soprano, alto & tenor saxes, flutes, bass clarinet, French horn, etc., Garrett List on trombone, Peter warren on bass & cello, Mark Anthony Miller on bass & Sadiq Abdu Shahid on percussion. Released 1977. Maslak’s frontline partner here is trombonist, Garrett List, a unique musician who has worked with quite a divers cast of musicians/composers: Anthony Braxton, Willem Breuker, LaMonte Young, MEV and Arthur Russell. An equally eclectic musician would be bassit/cellist Peter Warren, who has worked with Mal Wladron, Jack DeJohnette, Albert Mangelsdorff and Buell Neidlinger. Hmmmm.
The opening song, “The Poetry & B.B.B.N.”, mixes some acoustic bass led avant/funk with twisted Braxton-like soprano sax and cool Roswell Rudd like inside/outside trombone. Both take strong solos, as does Peter Warren on acoustic bass. MultuplexMulti" has some strange Mothers/insane asylum like spoken-word vocal insanity along with equally wacky bass clarinet or synth with trombone, hard to tell what's what at times. "Brown Rice & Vegetables" sounds like an out-take from Braxton's seminal debut album, 'New York, 1974' (Arista/Freedom), which is no small feat. The quintet burns here: alto sax, trombone, bass & drums. Superb stuff! " - BLG/DMG
LP $25

KESHAVAN MASLAK With JOHN LINDBERG / SUNNY MURRAY - Loved by Millions (Leo Records LR 105; UK) Recorded way back in 1980, before the trickster saxophonist Keshavan Maslak took on the moniker Kenny Millions and went completely crazy as a free jazz blower, he was a relatively sane jazz musician with a penchant for all things Beat - as in Generation. On this date with avant drum god Sunny Murray and New York bassist John Lindberg, Millions plays us his considerable rooting in bebop, modal, and post- and hard bop bluesology. The opener is "Compulsive Lust," a blues in which Murray merely keeps a lush swing-based time in 4/4 and Lindberg vamps as Millions sings his ass off on the middle register of the horn. He's pulling out lounge and noir jazz clichés and turning them into soulful expressions of sax savvy. His tone is rich and full on the alto; his scalar knowledge is such that he could play "Cherokee" in all 12 keys; and the cat's arpeggios are in the pocket, tight and soaring. Besides the title, the first sense we get of Maslak's sense of humor is on the hard bopping "Bukowski in Love," in which he and Murray trade eights and then Lindberg counters by changing the tempo and the key. No matter, Maslak isn't caught off guard for a moment, as he digs deeper into the blues books and starts riffing on G with skeins of notes turning into dark blue ribbons, all the while quoting Sonny Rollins, Lester Young, and Eric Dolphy in perfect time. This is a gorgeous record, made when no one was paying attention to what Leo Fegin was attempting to do (do they now?) by bringing modern creative jazz into the public eye. Few people have heard this record, but if they had, they'd want to own it. All it would take is a listen to the penultimate track, a sensitive, bleating love ballad played on bass clarinet called "When You Look at Me, I Want to Vomit." 'Nuff said.” - Thom Jurek,
LP $35

Three Essential Rare Records from Legendary Drummer & Composer DOUG HAMMOND:

DOUG HAMMOND with STEVE COLEMAN / BYARD LANCASTER / MUNEER ABDUL FATAAH KIRK LIGHTSEY / et al - Spaces (MFG 067; USA)“"Released in 1982, Spaces features alto saxophonist Steve Coleman and cellist Muneer Abdul Fataah writing with Hammond as the Doug Hammond Trio, with guests Byard Lancaster (Alto Saxophone, Flute) and Kirk Lightsey (piano). It's an album is full of strong, succinct statements that, according to Musician Magazine (Cliff Tinder, 1982), belie an abstract, soulful approach to free jazz. The exhilarating cello and angular horns show each player's experience and artistry while the heady, asymmetrical rhythmic concepts of Hammond and Steve Coleman add a playfulness to the dissonance. Creative, dynamic, modern, Tinder notes that Spaces gives any jazz master a run for their money."
LP $22

DOUG HAMMOND with BYARD LANCASTER / ALEX FOSTER / MARVIN BLACKMAN / CECIL McBEE / MUNEER ABDUL-FATAAH / et al - Folks (MFG 066; USA)“"Released in 1980, Hammond's third album is described by jazz critic Francis Davis (Village Voice, Atlantic Monthly) in Downbeat Magazine as 'something of an omnibus -- there's a little bit of everything here, the best of it excellent.' Expect bright original compositions filled with dancing rhythm duets, sonorous cello, modal vocalese & more. Recorded with bassist Cecil McBee, vocalists Angela Bofil and Bessie Carter, saxophonists Steve Coleman and Byard Lancaster and cellist Muneer Abdul Fataah, Hammond is an unassuming leader, acting as an imaginative drummer who allows the soloists to shine time and time again. Now considered a rare, classic spiritual jazz session of the era."
LP $22

DOUG HAMMOND - Ellipse (MFG 065; USA) "A composer, writer, percussionist, singer and coordinator, Doug Hammond was born in Tampa, Florida in 1942, the city where he cut his teeth in percussive studies with Don Templeton's Tampa Metropolitan Symphony, preparing for a career in classical music that he would never enter into. Instead, Hammond began a career that would eschew typification and stylistic categories, excelling at everything from blues to bop and free jazz. Though he may be most remembered as the composer and one of the vocalists of Mingus Moves, Hammond is much more than that. His journey began as a musician. Before his high school graduation, he was playing blues music with Barney Lowis and B.B. King, who went onto get him his first gigs sitting in with Earl Hooker. By the grace of pianist and vocalist Kitty Daniels, Hammond was inducted into jazz, at first playing with Andy 'Gump' Martin and then, upon graduation, The Five Royals, Little Willie John and Sam and Dave. Splitting his time between New York City and Detroit in the 60s and 70s, Hammond lent his percussive and vocal talents to Donald Byrd, Sonny Rollins, Kenny Dorham, Charles Mingus, Sam Rivers, Etta James, Nina Simone, the Dorothy Ashby Trio and more. In 1967, he became a founding member and vice president of the Detroit Creative Musicians Association, an artist-led cooperative that presaged Tribe, Strata and Strata-East. Released in 1977, Ellipse features Hammond on percussion, drums, piano and voice along with Karen Joseph on flute and alto flute. Moving fluidly from the uptempo 'Warm Up' to the deep, dreamy 'Concentric Dream', this session runs the gamut with Hammond drawing inspiration from an 'inner-voice that has roots in Africa, which manifests itself through impressions perceived by the composer in America from his African ancestors'. A rare and underrated spiritual jazz excursion."
LP $22

DOING IT IN LAGOS - Boogie, Pop & Disco In 1980s Nigeria / Various Artists (Soundway SNDW 087; UK) Triple LP version. Includes bonus 7". Comes in gatefold sleeve. 2016 release. Soundway present a compilation of twenty rare and mostly unavailable tracks from the slick and sassy world of Nigerian pop music and club culture of the early 1980s. Buoyed by an explosive oil boom and a return to democracy after a series of military dictatorships, Nigeria's economy in the years of the early '80s was mirrored by its recording industry as countless young artists and groups hit the airwaves and dancefloors of the capital and beyond. Features: Hotline, Peter Abdul, Steve Monite, Oby Onyioha, Kio Amachree, Livy Ekemezie, Willy Roy, Danny Offia & The Friks, Rick Asikpo & Afro Fusion, Terry Mackson, Ofege, Odion Iruoje, Mike Umoh, Burnis Moleme, Sony Enang, Veno, Godfrey Odili, Toby Foyeh, Gboyega Adelaja, Lexy Mella, and Nkono Teles.
3 LP 7” = $32


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

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


11/15 Friday
8:30 pm - Random Dances and (A)Tonalities
Aruan Ortiz (piano) Don Byron (clarinet, saxophone)

11/16 Saturday
8:30 pm - TRIO/RIOT - Aruan Ortiz (piano) Brad Jones (bass) Francisco Mela (drums)


11/19 Tuesday
8:30 pm - The Clarinets
Anthony Burr (clarinet) Oscar Noriega (clarinet) Chris Speed (clarinet)

11/20 Wednesday
8:30 pm - Skirl 042 trio with special guests
Chris Speed (tenor sax) Julian Shore (piano) and special guests

11/21 Thursday
8:30 pm - QUARTET - Chris Speed (tenor sax) Leah Paul (flute) Sara Schoenbeck (bassoon) Chris Tordini (bass)

11/22 Friday
8:30 pm Chris Speed Solo Tenor Sax

11/23 Saturday
8:30 pm - Chris Speed Ensemble - Aurora Nealand (vocals, soprano saxophone) Shane Endsley (trumpet) Angelica Sanchez (piano) Chris Tordini (acoustic bass) John Hollenbeck (drums) Chris Speed (sax, clarinet)

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

The Stone Series at HappyLucky No. 1 is Curated by John Zorn

Friday, November 15, 2019 - 8:00 PM 9:00 PM

Saturday, November 16, 2019 - 8pm - 9pm

HappyLucky No. 1 is located at
734 Nostrand Ave, near Sterling
easy access from the A/C/2/3/4 trains


I-BEAM Presents:

FRIDAY, NOVEMBER 15, 2019 - 8:30 PM / 10:30 PM
8 pm - Wilson Novitzki, solo guitar
8:30pm - Nick Lyons, alto sax
Virg Dzurinko, piano
Vijay Anderson, drums
9pm - Adam Caine Quartet
Adam Caine, Bob Lanzetti, guitar
Adam Lane, bass
Billy Mintz, drums

SATURDAY, NOVEMBER 16, 2019 - 8:30 PM 10:30 PM
Neal Kirkwood - Piano
Lindsey Horner - Bass
Michael Sarin - Drums

SATURDAY, NOVEMBER 30, 2019 - 8:00 PM 10:00 PM
Kalia Vandever Quartet (8:00 pm)
Kalia Vandever - trombone
Lee Meadvin - guitar
Nick Dunston - bass
Connor Parks - drums
Joe Fiedler Trio (9:00 pm)
Joe Fielder - Trombone
Pete McCann - Guitar
Jeff Davis - Drums


Bushwick Improvised Music Series Continues:

Monday November 18th

7pm Sean Conly - bass
, Tony Malaby - saxophones
 & Billy Mintz - drums

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

9pm Colin Avery Hinton - drums
, Tony Malaby - saxophones
, Todd Neufeld - guitar
 & Eivind Opsvik - bass

9:45pm Michael Eaton - tenor sax, Judi Silvano - vocals
, Joe Hertenstein - drums
, Cheryl Pyle - flute
 & Roberta Piket - keyboard

10:45pm Chet Doxas - tenor saxophone
, Caleb Wheeler Curtis - alto saxophone
 & Billy Mintz - drums

11:30pm Nick Panoutsos - bass
, David Aaron - saxophone
 & David Gould - drums

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


Eric’s House of Improv Presents:
November 23, 2019 at 8:00  
Trio XL: Joe McPhee, Dominic Duval, Jr., Jay Rosen & Rosi Hertlein 
At 244 Rehearsal Studios (244 West 54th Street, 10th Floor)


Saturday, November 23rd, 2019, 7pm

Blank Forms presents:

NATE WOOLEY - Seven Storey Mountain

Seven Storey Mountain VI features Nate Wooley (trumpet), C Spencer Yeh (violin), Samara Lubelski (violin), Ben Hall (drums), Chris Corsano (drums), Ryan Sawyer (drums), Emily Manzo (keyboard), Isabelle O’Connell (keyboard), Ava Mendoza (guitar), Julien Desperez (guitar), Susan Alcorn (pedal steel guitar), and the voices of Mellissa Hughes, Kamala Sankaram, Anne Rhodes, Charlotte Mundy, Bridget Hogan, Daisy Press, Anaïs Maveiel, Christina Kay, Shannyn Rinker, Aubrey Johnson, Gelsey Bell, Yoon Sun Choi, Lisa Karrer, Dafna Naphtali, Amirtha Kidambi, Jasmine Wilson, Samita Sinha, Ariadne Greif, Nina Mutlu, and Erica Koehring directed by Megan Schubert.

Blank Forms at St. Peter’s Episcopal Church
346 W 20th St, New York, NY 10011