The FIMAV Fest Concluded Earlier this week and Was a Blast!
Vision Fest 22 Begins This Sunday and Looks to be Amazing!
Bruce Lee is Back and Ready to Serve Your Creative Music Needs, so…
Come on down and check out what we Got… A treasure Chest of Sonic Delights from:
The Elton Dean Quintet: Harry Beckett & Paul Rutherford! Han Bennink Trio: Joachim Badenhorst & Simon Toldam! Guus Jansen & Lee Konitz / Michael Moore / Wolter Weirbos! Ab Baars / Ig Henneman / Dave Burrell! Ernst Glerum Omnibus!
Jan Nijdam Kwartet: Tobias Delius / Michiel Scheen! Paul Van Kemenade / Jasper Van’t Hof / Maria Portugal! Gravitones & Strings! Tristan Honsinger / Nicolas Caloia / Joshua Zubot! Christian Lillinger & Tobias Delius! Isabelle Duthoit & Franz Hautzinger! Peter Garland!
LP’s from John & Alice Coltrane! Raymond Scott! Orlando Julius & the West Coast Pop Experimental Band! Plus the Return of Discs from Horace Tapscott & the Nimbus West Label!
The 22nd Annual VISION FESTIVAL will take place this week, from May 28th to June 3rd
At The Judson Memorial Church, 55 Washington Square South, NY, NY 10012
Here are some highlights:
Monday, May 29th: Celebrating Cooper-Moore: In Order to Survive, Digital Primitives & Black Host!
Tuesday, May 30th: Miya Masaoka / Joëlle Leandre / Robert Dick, flutes; Tomas Fujiwara Double Trio & Trio 3!
Wednesday, May 31st: Whit Dickey/Mat Maneri/Matt Shipp; Jason Hwang Burning Bridge & Charles Gayle trio!
Thursday, June 1st: Odean Pope Sax Choir; Darius Jones & Framers by Nature and Artifacts: Tomeka Reid/Nicole Mitchell/Mike Reed!
Friday, June 2nd: Steve Swell/Gebhard Ullmann QT; Joe McPhee Dream Book; Dave Burrell QT & BassDrumBone: Ray Anderson/Mark Helias/Gerry Hemingway!
Saturday, June 3rd: Positive Knowledge; Tony Malaby/Mat Maneri/Daniel Levin; Ivo Perelman Quartet; David murray Trio & Oliver Lake/William Parker Free World!
For the full line up: www.artsforart.org/vf22stringstories.html
Ticket info: vision22.brownpapertickets.com
The FREE DMG Weekly New Music In-Store Series Continues on Sundays with:
RARE Pre-Vision Fest Performance, This Saturday, May 27th:
6pm: ASSIF TSAHAR - Solo Tenor Sax! Assif returns from Israel to play here
Sunday, May 28th - No In-store during the opening night of the Vision Festival
The Legend of Downtown Music Gallery on film! DMG turns 26 years, this month! Check out our history: https://www.youtube.com/watch?v=6MAbS09Cv8M
THE DMG 26TH ANNIVERSARY SERIES OF SONIC CELEBRATIONS Continue with:
Sunday, June 4th at Downtown Music Gallery:
6pm: THOMAS HELTON / JAIMIE BRANCH / MICHAEL EVANS!
7pm: KALABALIK Returns: RAOUL BJORKENHEIM / ANDERS NILSSON / GERALD CLEAVER!
Monday, June 5th at ZURCHER GALLERY (33 Bleecker St, east of Lafayette)
7pm: Debut Gig: RAOUL BJORKENHEIM / JOE FONDA / GERALD CLEAVER New TRIO!
Sunday, June 11th:
6pm: ITALIAN SODA: CODY PUTNAM / MOLLY PEASE / MILLER WREN / JACOB RICHARDS - Bassoon /Voice / Upright Bass / Drums & Electronics!
7pm: ROBBIE LEE / HAMPUS OHMAN-FROLUND - Woodwinds / Drums!
Sunday, June 18th:
6pm: KYLE MOTL & TREVOR DUNN - Bass Duo!
7pm: PAUL GIALLORENZO / JAIMIE BRANCH Trio
Monday, June 19th at THE STONE:
Bruce’s Birthday Celebration & Concert of Spiritual Jazz!
7pm: UNBROKEN: LOUIE BELOGENIS / SHANIR BLUMENKRANZ / KENNY WOLLESON!
8:30: FRANKLIN KIERMYER QUARTET Featuring: JOVAN ALEXANDRE - Tenor Sax /
DAVIS WHITFIELD - Piano / OTTO GARDNER - Bass / FRANKLIN KIERMYER - Drums!
July, 2017 is the 50th Anniversary of the Passing of John Coltrane - We Embrace his Spirit!
Sunday, June 25th:
6pm: THOMAS HEBERER / FRANK GRATKOWSKI - European Trumpet & Sax Duo
Saturday, July 15th at DMG: Super Rare Solo Performance by:
6pm: HENRY KAISER - Solo Electric Guitar!
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 Cosy
This just arrived today:
ELTON DEAN QUINTET With HARRY BECKETT / PAUL RUTHERFORD / MARCIO MATTOS / LIAM GENOCKEY - Welcomet (Live in Brazil, 1986)(Ogun 046; UK) Featuring Elton Dean on alto sax & saxello, Harry Beckett on trumpet & flugelhorn, Paul Rutherford on trombone, Marcio Mattos on bass and Liam Genockey on drums. Essential reissue of this long (77 minutes), astonishingly creative live session featuring former Soft Machine sax legend Elton Dean with an all-star UK cast! OUT-standing!
A Dozen Plus Dynamite Discs from ICP Orchestra and Various Dutch Creative Musicians:
HAN BENNINK TRIO With JOACHIM BADENHORST / SIMON TOLDAM - Adelante (ICP 056; Netherlands) Featuring Han Bennink on drums, Joachim Badenhorst on clarinet, bass clarinet & tenor saxophone and Simon Toldam on piano. This is the third disc from longtime ICP drummer Han Bennink’s evoking trio, the personnel remains the same. Belgian reedsman, Joachim Badenhorst, contributed five songs as well as helping shape the trio improvs. The trio also cover an ancient standard, “My Melancholy Baby”, as well as performing two songs by Misha Mengelberg, the co-leader of the ICP Orchestra with Mr. Bennink, who passed away last year (March of 2017). The ICP Orchestra has been around for a half a century now, starting in the mid-sixties and Mr. Bennink is one the most crafty/diverse of all European jazz drummers. His effervescent energy is always at the center of this marvelous trio. This disc was recorded at the Bimhuis and it has superb sound. Although this is a mere trio, Mr. Bennink and his cohorts often sound larger than life. Each song embraces another sound, style or period in jazz’s long history. Mr. Toldham’s “Supertyphoon” features some buoyant, uplifting drumming (hi hat work) with Badenhorst’s magical clarinet sailing softly on top. Sometimes Mr. Bennink just plays a lone snare drum yet he is able to create all sorts of swinging surprises, changes in direction and skeletal propulsion no matter what is at his disposal. On both songs by Mr. Mengelberg, Badenhorst’s clarinet is featured and sounds like the way Duke Ellington’s clarinetists often savor their rich, stark, elegant tones in perfect balance. Even when Bennink momentarily erupts on Toldam’s “March of the Supermoon”, the trio find a way to navigate through written and freer sections just right, turning the piece into a unified work. Mr. Toldam plays inside the piano at times, rubbing the strings with an object, but never overdoing it. There are too many gems here to describe all so I will say this: the Han Bennink Trio are one of the enchanting, creative units to emerge from the Dutch scene. As soon as this disc ended, I had to put it back on again and savor its immense charms all over. - Bruce Lee Gallanter, DMG
GUUS JANSSEN With LEE KONITZ / MICHAEL MOORE / HAN BENNINK / ERNST GLERUM / PETER VAN BERGEN / WOLTER WEIRBOS / et al - Meeting Points (BIMhuis 010; Netherlands) Featuring: Gus Janssen on piano, Michael Moore on clarinet & alto sax, Ernst Glerum on bass, Han Bennink on drums, Peter van Bergen on tenor sax, Lee Konitz on alto sax and Wolter Wierbos on trombone. “Janssen’s work is too deep and diverse to be painted with a couple of glib strokes, but those are two departure points. He likes twists that play on your expectations, and to step out of the frame, to look at music-making as an activity. This live retrospective — of Guus Janssen the improvising pianist, composer for improvisers, and leader of limber ensembles — was recorded at his neighborhood concert hall. This disc is catnip for us Guus Janssen longtime fans. If it’s your introduction to his brainy witty multifarious music, you’re going to wonder where you’ve been hiding yourself.” - Kevin Whitehead
DUO AB BAARS / IG HENNENMAN & DAVE BURRELL - Trandans (Wig 25; Netherlands) Sometimes it is better not to react, or, to be more precise, to react with silence. Listening to this delightful record by Ab Baars, Dave Burrell and Ig Henneman will help you to remember why. There are many great examples of silence as a suitable answer to be found on Trandans. My favourite episode in this adventure is the part where pianist Dave Burrell lays out for a long time, letting the viola of Ig Henneman and the shakuhachi and tenorsax of Ab Baars do the powerful and sometimes even frantic talking. I remember seeing Burrell sitting at the Bimhuis piano, hands in his lap, just listening, but listening with an almost manifest eagerness. It is only when Henneman and Baars end the wonderful pieces titled Regn segel (Rain sail) and Rassel runt brunnen (Jangle around the well) that Burrell starts to play, at another pulse and adding ideas from a different source like some stride piano, but still as an obvious reaction to what is happening. Henneman and Baars now prove their excellence by keeping their calm and staying collected till their turn comes. No, it is wrong to say it comes, they catch it, or rather, find it, create it, bringing it to life by being loving, attentive and determined. Their quiet re-entrance into the music is perfectly timed, we can hear that, but the brilliance of this trio is proved most powerful when we start to think about all the other moments they could have uttered a note and most certainly would have changed the direction of the music, maybe would even have ruined it. There are no ruins on Trandans, from beginning to end this is marvellous, improvised music. A music so marvellous that we tend to forget that it did not exist before Ab Baars, Dave Burrell and Ig Henneman stepped on the stage of the Bimhuis that one night in September. And which after that intriguing concert did exist only as a memory. Until now. - Mischa Andriessen
MARCO BLAAUW / YANNIS KYRIAKIDES - Play Robot Dream (Unsounds 18; Netherlands) Trumpet virtuoso Marco Blaauw, known for his pioneering performances of contemporary classical music has been working with composer and sound improviser Yannis Kyriakides in numerous projects including a multi-media perfomance 'co-inc', and several projects for the ensemble musikFabrik in Cologne. 'Play Robot Dream' is a set of improvisations for trumpet(s) and computer. At times playful, at times meditative, they fuse a haunting melodic tendency with a provocative mix of drum machines and analogue electronic sounds. - SoundOhm
GRAVITONES STRINGS With FELICITY PROVAN / PAUL PALLESEN / JOOST BUIS / MARY OLIVER / TRISTAN HONSINGER / WILBERT DeJOODE / MICHAEL VATCHER / HAN BENNINK / et al - Live at the BIMhuis (For T 02; Netherlands) Featuring: Augusto Forti on clarinet & ukelele, Felicity Provan on cornet & tenor ukelele, Paul Pallesen on banjo & el. guitar, Joost Buis on lap steel & trombone, Gregg Moore on banjo & tuba, Mary Oliver on violin, Tristan Honsinger & Alex Waterman on cellos, Wilbert DeJoode & Meinrad Kneer on double basses and Michael Vatcher & Han Bennink on drums.
“On his second album, Italian clarinetist Augusto Forti is joined by a host of strong Amsterdam based musicians including the legendary Han Bennink. The music is absolutely fascinating, fusing Americana instrumentation (ukuleles, banjos, lapsteel guitars) with Dutch free jazz/improv aesthetics. Though freely improvised, the players move within fully composed songs with constant tonal centers throughout resulting in a very intellectual but listenable record. It is records like this that show just how actively innovative experimental jazz/free improv circles are today. Unexpected, unusual, and unheard: sounds like WNUR. - WNUR Chicago, March 2006
GLERUM OMNIBUS - Handful (Favorite 10; Netherlands) Featuring Timothy Banchet - piano, Ernst Glerum - bass and Jamie Peet - drums. This appears to be the fifth release from IPC bassist Ernst Glerum’s Omnibus ensemble. Although Omnibus is most often a piano trio, the personnel has changed several times throughout their existence. Mr Glerum keeps busy with several bands/ musicians: Available Jelly, Amsterdam String Trio, for Sean Bergin and Paul van Kemenade. The other two members of this trio, I am not quite familiar with although Jamie Peet has been a member of Omnibus previously. Mr. Glerum wrote half of the ten songs here with a couple of covers and two by pianist Timothy Banchet. Like other discs by Glerum’s Omnibus, this is a piano trio, yet filled with surprising twists and turns. “Radio Brtak” has an exuberant, hard-swinging interlude, yet switches direction a few times. “Omnibus Fifth” has a most memorable R&B sort of groove, recalling the days of Ramsey Lewis (late sixties) and just as infectious as one could hope for. “Sriwanah” is a Malaysian wedding song and might seem like an odd song to cover yet it fits as a short, sublime interlude. It is hard to tell that this trio is Dutch since none of the melodies or playing is in any way ethnic sounding or outside. This disc concludes with a rendition of a rare Mingus song called, “Caroline Kekki Mingus”, which gets an elegant treThe atment. From funky to laid back to effervescent, this disc quite an unexpected delight. - Bruce Lee Gallanter, Downtown Music Gallery
BLUE LINES SEXTET - Live at the BIMhuis (Casco 005; Netherlands) Personnel: Ada Rave - soprano & tenor sax, clarinet preparations; Bart Maris - trumpet, pocket trumpet, cornet, bugle, piccolo trumpet; Wolter Wierbos - trombone; Michiel Scheen - piano ; Raoul van der Weide - bass, crackle box, sound objects and George Hadow - drums. The Blue Lines Sextet is led by pianist Michiel Scheen, who composed half of the songs here, while most of the other pieces are group improvs. I know of Mr. Scheen from the work he has done with Maarten Altena and Butch Morris. Longtime ICP trombonist, Wolter Wierbos, is another busy player who has worked with many: Available Jelly, Sean Bergin and Frank Gratkowski. Trumpeter Bart Maris has worked with 1000 (3 CDs) and prog bands: Univers Zero and Blast. Even the two rhythm team members are relatively familiar having both worked by American-born, Amsterdam-based saxist John Dikeman.
Michiel Scheen wrote half of the fifteen pieces here, the rest of which are improvs plus a couple of striking covers by Charles Mingus and Charlie Haden. It is often hard to tell the written pieces from the group improvs since both seem to move in unexpected ways. Each time we get a grip on a certain fixed point or charted section, the sextet erupt. Mr. Scheen has written some interesting music here which often starts one way then suddenly switches direction. There is a haunting, simmering version of Charlie Haden’s “Silence”, which features some hypnotic horn work from all three frontline brass and reed players. Whether playing charts or not, you can tell that this sextet’s members are listening closely and engaging in tight, spirited dialogue. The version of Mingus’ classic “Goodbye Pork Pie Hat”, is stretched out with selective free sections added, adding some mystery to what we think will happen with this familiar song. What I like most about this disc is the seamless way that most of the pieces unfold, impossible to tell the written from the unwritten segments. - Bruce Lee Gallanter, DMG
THE MULLIGAN-BAKER PROJECT - Mixing Memory and Desire (WLJWC 16; Netherlands) Featuring: Felicity Provan - cornet, Jan Willem van der Ham - baritone sax, Raoul van der Weide - bass and George Hadow - drums. It is relatively rare to hear a current quartet covering the music of the Gerry Mulligan/Chet Baker Quartet, whose first records came from 1952, sixty-five years ago. Over the past couple of months, an old DMG customer has donated a few boxes of CDs to the store. Each box usually features one or two musicians so we received around 30-50 discs from Chet Baker and Gerry Mulligan. Hence, I’ve gotten an opportunity to explore many discs from each, apart and together. I have been a longtime fan of Gerry Mulligan but hadn’t heard that much Chet Baker until now. The quartet they had together in the mid-fifties was especially great! So I can certainly hear why someone would want to cover this material.
We know Ms, Felicity Provan from a handful of discs with Joost Buis, Curtis Clark and a recent CD by Naked Wolf. Mr. Van Der Ham also played with Provan in the same band with Dutch trombonist Joost Buis. The rhythm section here are also members of the recently reviewed disc by the Blue Lines Sextet. This project plays songs by Mr. Mulligan and Baker, as well as a couple of standards and originals by Mr. Van Der Ham. Starting with a sublime standard called, “Lullaby of the Leaves”, this quartet plays with the same dry, warm, laid back sound. What they do differently is slowly increase and decrease the tempo throughout, keeping the pulse moving yet unpredictably. The lush tones of the cornet and bari sax sound especially enchanting together. Occasionally the quartet will deconstruct songs and twist them into odd shapes. Van Der Ham’s “Into the Rose Garden” is a delicate, sublime ballad for exquisite muted cornet and haunting bari sax. It is not so easy to do this music with the same restraint and subtle craft. This quartet do a consistently splendid job at capturing the magic of that ancient yet still phenomenal group. - Bruce Lee Gallanter, DMG
JAN NIJDAM KWARTET w/ TOBIAS DELIUS / MICHIEL SCHEEN / ALAN PURVES - Bij de Dieren (Sollasiututut 001) Featuring Jan Nijdam: contrabass & compositions, Michiel Scheen: piano, Tobias Delius: tenor sax and clarinet and Alan Purves: drums. Considering that bassist, composer & bandleader, Jan Nijdam, is the least well-known musician here, the other three members are relatively well known. Besides being a member of ICP Orchestra, tenor saxist, Tobias Delius, has worked with Available Jelly, Sean Bergin, Aki Takase and many others. Pianist Michiel Scheen has also worked with Maarten Altena and Butch Morris. Alan “Gunga” Purves has also been around for a long while working with Ernst Reijseger, Paul Dunmall and Tristan Honsinger.
The first time I played this disc, earlier this week, I could tell that this quartet was Dutch. They have that quirky, sly, sense of humor and bent approach to swing. The first piece, “Ad Nasum”, has the piano and clarinet, swerving together, rising and falling, kind of like Han Bennink (on just brushes) sitting in with the Jimmy Giuffre Trio. The quartet has unique way of speeding up and slowing down together, tightly playing circular lines as one swell force. On the aptly titled, “Whimsical Elf”, the quartet strips things down to a skeletal level, rustling like leaves one minute and then spinning tight lines together a moment later. Some of this music is ultra subtle and takes its time to pay off. I am not sure how long this quartet has been playing together but they sound marvelous nonetheless. - Bruce Lee Gallanter, DMG
PAUL VAN KEMENADE / MARIA PORTUGAL / JASPER VAN’T HOF - Daytime Sketches (Kemo 17; Netherlands) Featuring Paul Van Kemenade on alto sax, Jasper Van’t Hof on piano. electric keyboards & sampling and Maria Portugal on drums. A few years back, Dutch saxist, Paul Van Kemenade, sent us a dozen discs, mostly on his own Kemo label, all of which were strong and spirited. I had not heard of Van Kemenade before this, which is odd considering that he has worked with Ray Anderson, Jamaaladeen Tacuma and Han Bennink. Van Kemenade has continued too send us new discs since then, perhaps once or twice at year and all well worth pursuing. Mr. Van Kemenade’s new trio CD just arrived and it features Jasper Van’t Hof on keyboards and Maria Portugal on drums. I had never heard of Brazilian drummer, Ms. Portugal before now, although I’ve known of Dutch keyboardist Jasper Van’t Hof for many years: playing with a diverse cast: Manfred Schoof, Archie Shepp and Charlie Mariano, plus several discs as a leader, including the great bands electric jazz Association P.C. and Pork Pie.
‘Daytime Sketches’ was recorded in a studio in the Netherlands and features a series of duos and trios. Mr. Van Kemenade has a touching, bittersweet tone on his alto, which works well with Ms. Portugal’s haunting drumming on “Gato”. Mr. Van’t Hof plays some sort of synth on the title track, getting a mesmerizing electronic sequencer-like sound, rather 70’s like but still enchanting so many years later. The trio sounds especially jubilant on “Count Us In”, certain to make us all feel better due to its joyous vibe. There is a nice, laid back, vibe to much of this, as if no one has anything to prove and take their time to get to where they want to go. The trio seem to dip into a diverse array of genres or influences, from gospel-like melodies to short free eruptions to tight duo tangles. Will the world of wonders ever cease to exist?!? Certainly not here!- Bruce Lee Gallanter, DMG
HONSINGER / BORGHINI / DELIUS / DORNER - Hook, Line and Sinker (De Platenbakkerij 007; Netherlands) Featuring: Tristan Honsinger - cello, voice, Antonio Borghini - double bass, voice, Tobias Delius - tenor sax, clarinet, voice and Axel Dörner - trumpet, voice. This DVD contains one entire improvised concert performance. Unedited sound.
Three Gems from the Ever Amazing Relative Pitch Label:
TRISTAN HONSINGER / NICOLAS CALOIA / JOSHUA ZUBOT - In the Sea (Relative Pitch 1053; USA) Featuring Tristan Honsinger on cello & vocals, Nicolas Calioa on contrabass and Joshua Zubot on violin. I am most fortunate to have heard this trio play twice, once at DMG last year and recently at FIMAV (Victo New Music Fest in Quebec), just last week (5/19/17). Considering that this unlikely string trio come from different places (Honsinger from ICP, Caloia from Ratchet Orchestra in Quebec and Zubot from Toronto) they sound like they have been playing together for many years. Like most things that Mr. Honsinger does, this trio also has a twisted sense of humor and draws from musically diverse areas. Parts of the first piece sound like complex chamber music, with unexpected changes in direction and then turning into an almost dixieland-like gleeful episode. While Mr. Caloia often provides a central bass figure to hold things down, both the cello and violin are consistently weaving layers of lines, like bees buzzing around a hive. When we least expect it, Mr. Honsinger will add his odd yet charming vocals, which turns “Black Hills in the Dakota” into a galloping bit of silliness that should make us all smile. On “Night Bright Light”, the trio calms down to a more somber simmer with waves of seesawing strings which eventually turn eerie with some more bizarre vocals… “fresh fish” exclaims Tristan in a baby-like voice. The final piece, “Alaska Rapids”, begins quietly and then is turned inside-out as the intensity increases and erupts, the conclusion
CHRISTIAN LILLINGER / TOBIAS DELIUS - Dicht (Relative Pitch 1057; USA) Featuring Christian Lillinger on drums and Tobias Delius on tenor sax & clarinet. Berlin-based drummer, Christian Lillinger, really gets around as we can see from the more than two dozen discs he appears on listed in the DMG database with: Axel Dorner, Peter Evans, Achim Kaufmann & Rolf Kuhn. Although Dutch reeds wiz, Tobias Delius, joined the ICP Orchestra late in his career, he has kept busy recording as a leader as well as playing with Michael Moore, Sean Bergin, Jaap Blonk and Cor Fuhler. The title piece is first and right from the opening the duo take off soaring together. This is a most marvelous duo that sounds perfect together, no matter if they are erupting or calming down into more peaceful currents. Even when things quiet down, like on “Ethical Privet”, there is still a close connection, a fascinating dialogue unfolds slowly… and then ascends through layers of cosmic connections. Mr. Delius has a striking, odd tone on clarinet, which sounds nothing like any of the more famous, old school players. There is some intense, focused listening & responding going on here, as both musicians are so well-matched. This is most modest yet completely enchanting duo, perfect listening for a rainy, overcast day like today (5/25/17). - Bruce Lee Gallanter, DMG
ISABELLE DUTHOIT & FRANTZ HAUTZINGER - Lily (Relative Pitch 1060; USA) Featuring Isabelle Duthoit on clarinet & vocal and Franz Hautzinger on trumpet. This duo has been active for a few years and has played in New York on several occasions. They were here a few weeks ago (early May of 2017) and have been garnering accolades from those of us who savor the more extreme sounds of extended experimentation. Although Ms. Duthoit can be found on a few recordings with Georg Graewe, Johannes Bauer and Luc Ex, there is quite a buzz about her unique vocal abilities. Microtonal trumpeter, Franz Hautzinger, has been around longer and has recorded with: Derek Bailey, Keith Rowe, Otomo Yoshihide and is a member of the Zeitkratzer ensemble. ‘Lily’ is a studio date, all the sounds closely mic’d with extreme attention to detail. Since both of these musicians work in extended techniques, it is often hard to tell who is doing what. Breathy vocal sounds or radiator-like hissing from the trumpet? What is the difference? If you are a fan of the Erstwhile or Another Timbre labels, this disc is for you. Ms. Duthoit also plays clarinet although it is also hard to tell what is being played or manipulated. Ms. Duthoit is a master of altering her voice and twisting ti into an array of odd shapes and weird sounds. Ghost-like, disembodied vocals, whispers, sometimes scary and often mesmerizing is what she specializes in. I have listened to much lower case (quieter, focused) improvisations in a while so it was indeed wonderful to sit back and listen closely to this outstanding excursion. The Relative Pitch label remains on the cutting edge of sonic explorations. You best check this gem out as it is one of this month’s most eagerly awaited items. - Bruce Lee Gallanter, Downtown Music Gallery
PETER GARLAND - The Birthday Party (New World Records 80788; USA) "On first hearing, the piano music of Peter Garland (b. 1952) creates a feeling of dislocation, then astonishment: It is so very different from the contemporary concert music we are familiar with. The composer's intent, his emotional directness is immediate -- despite the unusual sound world and different sense of time that these pieces exhibit. The three pieces on this CD, 'The Birthday Party' (2014), 'Blessingway' (2011-12) and 'Amulet' (After Roberto Bolaño) for 4 pianos (2010), are quite different in nature from much of Garland's previous writing for piano, more lyrical than dramatic in feeling. The Birthday Party in particular is the work of an artist looking back -- pensive, even nostalgic, open to musical associations. The Birthday Party is explicitly a study in both memory and loss; in Garland's own words it is not just a 'toast' to Aki Takahashi, the dedicatee, on her birthday, but also to '. . . those who are still with us [and to] our friends and loved ones who are no longer alive.' Blessingway takes its title from a Navajo ceremony, but its use here must be seen as reflecting a purely personal association of some kind for Garland rather than any literary or musical connection to the ceremony in the piece. . . . 'Amulet' was written for Aki Takahashi. She herself consecutively recorded all four parts before they were mixed down. Garland's original concept, explained in his introduction to the piece, was '. . . that these are not four separate pianos; but rather they form one big piano, the sum of their parts.' "
SEVEK ALDYN-OOL/OPEI ANDREY/DOSTAI OTKUN - Kargyraa In Taiga (Eki Attal 1104; Japan) This trio brings the party jams with harmonious khoomei vocal duets and the occasional discordant string, vocal, percussion combination. At times sounding if the recording device was haphazardly on as they candidly played together at a party. Yes, they play with traditional forms, in solo/duo/trio form (all 3 playing Igil & on vocal duties), stretching out the confines of the old to make room for the new. Covering alot of ground doing their own rendition of the standards but to my knowledge also doing their own tunes. This recording may not blow your mind but it will warm you heart. - Chuck Bettis/DMG
ADOLF AHANOTU - Sensation (PMG 064; Germany) PMG present a reissue of Adolf Ahanotu's Sensation, originally released in 1986. "At a time when bandleaders in Nigeria used titles as an affectation, Dr. Adolf Ahanotu was the real deal. He had a PhD in music compilation and Master's degrees in education and communication. He also played a mean tenor sax, an instrument he mastered touring Owerri with the Mirabels. Ahanotu's scholarly background is apparent in the impeccable arrangements and the way each track is labelled with its musical type. The banging opening track, 'Sensation' is disco, notes the helpful doctor. The legendary 'Ijere' is to be considered Remire or Afro Jazz. 'Litany Of Freedom' is reggae, 'Cupid' is rock and 'Tropical Moonlight' classified as the blues. The mandatory ode to the nation, 'Happy Nigeria', is labelled as calypso. But these are not dry, scholarly pieces. 'Sensation' reeks of dance floor freakiness not the hallowed halls of academia. And listen to the pitch bend craziness on 'Injere'. Sure, Dr. Ahanotu had studied the rules. But he wasn't afraid to break them. From the freaked-out opening seconds of the title track you are left in no doubt: The doctor is in the house. Mastered and produced by Goddy Oku." - Peter Moore
OFO THE ROCK COMPANY - Live In Europe - Fonk Afrika (PMG 065; Germany) PMG present a reissue of OFO The Rock Company's Live In Europe - Fonk Afrika, originally released in 1978. "OFO The Rock Company (originally known as OFO The Back Company) were Nigeria's first acid-rock band. Blending Hendrix and Deep Purple with shamanism and a pro-black philosophy, they cut their teeth at Fela Kuti's Afrika Shrine, developing a fearsome live reputation that intimidated every other band in Lagos. No one wanted to follow the guys from OFO, not even Fela himself. Led by the charismatic Larry Ifedioranma, OFO The Rock Company considered themselves a musical cult. Their live shows were a heady mix of mind-melting musicianship, mysticism and theatre. In 1973 the band tour Europe and Fonk Afrika gathers together the best of those performances. The moments captured range from small intimate gigs in London, where you can hear the conversation amongst the crowd, to an astonishing gig in East Germany where they played before 900,000 people. The undoubted highlight is the extended prog-rock wig out of 'Ayaya,' recorded at the Berlin gig, before an obviously delighted crowd. See if you can pick out the moment where the band were joined on stage by a long-haired hippy who insisted on playing guitar. They didn't realize it at the time but it was Carlos Santana. It was in Europe that the band fell apart, riven in two by Ifedioranma's increasingly autocratic rule. Fonk Africa remains as a precious testament to what the band did best - playing loud and proud and putting on a show you would never forget." - Peter Moore
STUFF - Old Dreams New Planets (Sdban Ultra 003; Belgium) STUFF. is a five-headed instrumental cyclops that takes you through a journey of mashed up grooves and eclectic sounds. The band's highly anticipated new album Old Dreams New Planets is a cross genre groove, spanning broken hip-hop, electronica, and jazz-influenced future funk, bringing forth a completely different and exciting sound. With fans that include Plaid, Kev Beadle, Kutmah, Lefto, and Gilles Peterson, STUFF. began life in 2012 when drummer Lander Gyselinck was asked to play live music in-between DJ sets. Collecting together like-minded musician friends, they would keep the vibe of the room bubbling, with spaced-out jams and improvisation, taking elements of funk, RNB, electronica, jazz and hip-hop, forming their own compositions as a result. Hotly tipped in Belgium as one of the country's brightest new hopes, they released their first EP the same year, which included the track "D.O.G.G." and it caught the attention of bloggers, 22tracks, and DJs across Paris and Brussels. Supports slots with D'Angelo and Robert Glasper soon followed and the band would go on to share the stage at the Dour Festival with Hiatus Koyote, Flying Lotus, and Lefto. In 2014, STUFF. were invited to perform a Boiler Room session for the prestigious global, online music broadcasting platform, the first European live band to do so. The band's self-titled debut album, released in 2015 (BUTBUT 030CD/LP), received critical acclaim, with the Belgian press citing the release as the "record of the year" and "the best thing that happened musically in Belgium since the last 25 years." Mastered by Daddy Kev (Flying Lotus, Thundercat, Jon Wayne), several tracks from the album received airplay on leading dance and electronica radio stations across Europe. STUFF. have performed sold out shows across Europe and have gained a growing reputation for their explosive eclectic live sets, playing over 150 shows on diverse stages. The band were also personally invited by Gilles Peterson to perform at On Blackheath, London. Accolades in Belgium include two MIA's (Belgian Music Industry Awards) for "Best Musician" (Lander Gyselinck) and "Best Artwork" (Rinus Van de Velde). STUFF. are: Andrew Claes - ewi, sax; Lander Gyselinck - drums; Joris Caluwaerts - keyboards; Dries Laheye - bass; Mixmonster Menno - turntables. "These guys are brilliant - wide open ideas ..." --BBC Radio 6 Music (Gilles Peterson) "This is what I imagine Flying Lotus' band to be like." - BBC Radio 1 (Phil Taggart)
JOHN COLTRANE / ALICE COLTRANE With PHAROAH SANDERS / JIMMY GARRISON / RASHIED ALI or BEN RILEY / RAY APPLETON - Cosmic Music (Superior Viaduct 120; USA) "John Coltrane transformed the inner architecture of jazz, throughout the mid-1950s and 1960s and long after his premature death at age 40 in 1967. No other American musician could be said to be at the spiritual center of the '60s musical universe as Trane influenced Albert Ayler, La Monte Young, Jimi Hendrix and everybody in between. Cosmic Music, originally self-released by Alice Coltrane in 1968 and later issued by Impulse!, features two tracks ('Manifestation' and 'Rev. King') by John Coltrane's legendary final quintet that were recorded in San Francisco on February 2nd, 1966 and two more ('Lord Help Me To Be' and 'The Sun') from Alice Coltrane's very first session as a bandleader, recorded six months after her husband's passing. 'Manifestation' opens with the group already in mid-flight: Trane's fierce tenor leads the way with Pharoah Sanders' blistering sax and Alice's powerful chords hearing his call. On 'Rev. King,' Trane introduces a lyrical theme and then the composition erupts into fiery incantations, while Jimmy Garrison's bass throbs alongside the propulsive, gravity-defying drumming of Rashied Ali. Foreshadowing her majestic debut, A Monastic Trio, 'Lord Help Me To Be' brings Alice's celestial piano playing and inspired improvisations to the foreground with Sanders, Garrison and drummer Ben Riley rumbling in tow. 'The Sun,' a meditative ballad with subtle urgency, perfectly closes the album's contemplative circle. As John Coltrane recites on the final track, 'May there be peace and love and perfection throughout all creation.' "
ORLANDO JULIUS & ASHIKO - Love, Peace & Happiness (Hot Casa 049; France) Hot Casa present an official reissue of Orlando Julius & Ashiko's Love, Peace & Happiness, originally released in 1978. A hard to find, pure Afro funk spiritual grail by the Afro soul maestro. Born in 1943 in Ikole-Ekiti in Ondo State, Nigeria, Orlando Julius Ekemode (Orlando was really a nickname, taken from the Nigerian actor, Orlando Martins) started in music at an early age, becoming the school drummer and learning flute, bugle, and other instruments at St Peters Anglican School in Ikole-Ekiti. A Nigerian musician, singer-songwriter and multi-instrumentalist, he is credited as one of the first musicians to fuse US R&B into traditional highlife music, creating his own influential Afrobeat sound during the mid-60s. From his time playing in the USA during the 1970s onwards, he is credited with bringing African music to a broader audience and famously co-composed the song "Going Back To My Roots" with Lamont Dozier. In 1978, Orlando Julius Ekemode decided to produce this amazing session, originally recorded between Maryland and West Virginia, and released in limited quantity in Nigeria by the obscure label Jungle Records. Six stunning monster Afro funk tracks, recorded by eight musicians based in Oakland. Fully licensed with the artist and remastered by Carvery. Essential!
THE WEST COAST POP ART EXPERIMENTAL BAND - Vol. 3: A Child's Guide To Good & Evil (Jackpot Records 040; USA) "Released in July 1968 on Reprise Records, Vol. 3: A Child's Guide To Good & Evil is considered to be the band's most accomplished work and a masterpiece of the psychedelic genre. Released just nine months after Vol. 2, the band explores their incredibly creative psychedelic pop song writing with an accomplished mastery of studio techniques. Featuring iconic original artwork by John Van Hamersveld (Beatles, Rolling Stones). A long awaited reissue from the master tapes."
RAYMOND SCOTT - The Portofino Variations (Music on Vinyl MOV 1861; Netherlands) "1962 was the year Raymond Scott composed and recorded 'Portofino' in many different arrangements. However, no recordings were released until Basta did include two versions on Manhattan Research, Inc.. The track became one of Scott's most popular electronic compositions. 180 gram audiophile vinyl; Gatefold sleeve; Free Download; Jim Flora artwork; Contains unreleased versions by Raymond Scott; Raymond Scott's 'Portofino' as performed by Fay Lovsky, Jacco Gardner, JB Meijers (Common Linnets), Aim, Metropole Orchestra, Davide Rossi (Goldfrapp, Coldplay, The Verve) and many more; Limited Edition of 1,000 individually numbered copies on gold vinyl."
2 LP Set $32
Finally Back in Stock - 10 Essential CDs from Legendary Pianist/Composer/Bandleader/Educator Horace Tapscott on the NimbusWest Label:
HORACE TAPSCOTT - Vol. 8: The Tapscott Sessions (NimbusWest 2258)Superb solo modern jazz piano master performs Randy Weston's "Little Niles", Mal Waldron's "Fire Waltz", Thelonius Monk's "Crepuscule with Nellie" and his own "As A Child"
HORACE TAPSCOTT - Vol. 9: The Tapscott Sessions (NimbusWest 2369) Exquisite solo piano versions of Duke Ellington’s "Fleurette Africaine", Mongo Santamaria's "Afro-Blue", Horace Silver's "Strollin' " & Benny Golson's "Whisper Not" plus...
HORACE TAPSCOTT - Vol. 10: The Tapscott Sessions (NimbusWest 2370)This is the last of master pianist, composer and multi-bandleader - Horace Tapscott's ten volumes of solo piano offerings. The first seven sessions are album-only releases, while Volumes 8 - 10 are CD only releases. This one features eight originals and John Lewis' "April in Paris".
HORACE TAPSCOTT - Vol. 11: The Tapscott Sessions (NimbusWest 2581) Solo piano
HORACE TAPSCOTT TRIO With FRED HOPKINS / BEN RILEY - Dissent or Descent (NimbusWest 509) “This 1984 trio date offers a rare early chance to hear the Los Angeles-based pianist playing with New York City peers. Dissent or Descent offers food for thought on where Tapscott falls in the jazz style spectrum by teaming him with Ben Riley, a drummer linked to Thelonious Monk, and AACM-associated bassist Fred Hopkins. "As a Child" opens with nice melodic touches -- the piano may be mixed a little low but it's not a crucial drawback since Tapscott is forceful enough and the rhythm section sensitive enough to overcome it. The prominent role Tapscott's left hand plays in his melodic conception makes Randy Weston comparisons come to life both here and on "Sandy and Niles." "To the Great House" is a high spot, insistently pushing and jabbing, with Hopkins switching from anchor to doubling the melody to playing countermelodies during the theme. Tapscott doesn't strew notes around, his solo is built off melodic impulses over gorgeous chordal ripples, unfolding organically with sensitive cymbal support from Riley, who reserves drums for his solos. Clifford Jordan's "Spell Bound" finds Tapscott romping around the buoyant tempo and Hopkins at his best ranging through the middle. "Ballad for Samuel" pays homage to Tapscott's mentor Samuel L. Browne, the famous music teacher at Los Angeles' Jefferson High in the '30s and '40s. Two extra solo pieces boast a much crisper piano sound and a more expansive Tapscott. "Ruby, My Dear" starts gorgeously with rolling chords smoothing out the Monk quirks before Tapscott elaborates to show why he may rank as one of the most intrinsically fascinating solo pianists ever. The original "Chico's Back in Town" is another prime example because you never know where he's going -- the music unfolds as it happens (exactly as it should), with a fragmented start leading to pounding flourishes, forceful pedal work and a racehorse finale. Actually, Tapscott's playing with the trio is fairly muted, with more emphasis put on his formidable melodic gifts than any virtuoso turns. Dissent or Descent may not be the best music any of these musicians created but it's a good example of solid, tasteful professionalism.” - Don Snowden, AMG
HORACE TAPSCOTT With ROBERTO MIRANDA / WOODY 'SONSHIP' THEUS - Live at Lobero Vol. I: Expanded Edition (NimbusWest 2370)Featuring Horace Tapscott on piano & all compositions, Roberto Miranda on bass and Sonship on drums. This is a reissue of a now out-of-print album from live trio date by the legendary LA-based pianist, composer and multi-bandleader, Horace Tapscott. It begins with an awesome nearly half-hour piece called "Inception", which was not on the original album. This piece is a marvelous, ritualistic work that starts with a long introduction of thumb-piano and percussion, most mysterious and full of free spirits wandering. When Horace finally comes in on piano, the trio kicks into a colossal McCoy-like force. Horace's massive piano solo is followed by a long, great bowed bass sole and finally a most impressive drum solo to bring this incredible opening piece to a grand close. "Sketches of Drunken Mary" features some sparkling piano revolving around a most lyrical bass part that is absolutely touching. The piece ends with a long, monstrous drum solo has to be heard to be believed. I recall hearing/seeing the mighty Sonship with John McLaughlin's One Truth band live at Central Park way back in 1979 and being knocked out by his drumming. "Raisha's New Hip Dance" is a lovely piece that starts with some amazingly powerful and somewhat dark solo piano, with some strong two handed playing going in different directions and then winding down to somber conclusion, then building back up once again. The final piece is called "Dark Tree", which is also the title track from a sadly out-of-print double disc on Hatology. It is a great work that features a colossal, McCoy-like repeating line that is most hypnotic. The trio explodes in waves together, an immensely propulsive circular current at the center of the storm. Roberto Miranda takes an astonishing, fleet-fingered contrabass solo and then Sonship again provides a cosmic gong, cymbals and drum solo. This entire disc is over 70-minutes long and is a momentous offering from start to finish. It doesn't get any better than this. - BLG
HORACE TAPSCOTT SEXTET With SABIR MATEEN / ROBERTO MIRANDA / EVERETT BROWN Jr - Dial "B" for Barbra (NimbusWest 1147)Featuring Horace Tapscott on piano, Reggie Bullen on trumpet, Gary Bias on alto & soprano saxes, Sabir Mateen on tenor sax, Roberto Miranda on acoustic bass and Everett Brown, Jr. on drums & percussion. This reissue was recorded in Los Angeles in 1983. As each of Horace Tapscott's dozen vinyl releases go out of print, Nimbus slowly reissues them on CD. Horace Tapscott was a legendary bandleader, pianist, composer and organizer of a Society for the Preservation of Black Music or UGMAA. Tapscott's great records on Nimbus include ten volumes of solo piano, a couple of trio discs, his sextet and a couple of big band discs. 'Dial 'B' for Barbra' consists of three long pieces. Starting with "Lately's Solo", which swings hard from the very first note, the sextet plays Tapscott's charts with power and authority. Gary Bias takes the first smokin' solo on alto sax with Sabir on tenor and Reggie on trumpet soon joining him for impressive solos underneath. The great Everett Brown takes a fine unaccompanied drum solo with Horace's powerful McCoy-like piano soon to follow. This piece sounds a great deal a Miles Davis piece from the early sixties. The title track is a fine buoyant song with sparkling piano that moves in unexpected directions as Horace solos. Reggie Bullen takes a fine muted trumpet solo on this piece. Linda Hill wrote an epic piece here called "Dem' Folks", which repeats a certain twisted line yet has rich layers of horn harmonies. This piece reminds me of one of those dynamic McCoy-like pieces from the seventies that we hold so dear. The sextet often sounds more like a small big band and all three horn players take excellent solos. The rhythm team of Roberto Miranda and Everett Brown are also consistently powerful and creative throughout, with Tapscott's piano keeping things focused a and helping everyone else to navigate the strong currents. This nearly 20-minute work is a true tour-de-force and is a colossal and provocative journey. - BLG
HORACE TAPSCOTT & PAN-AFRIKAN PEOPLES ARKESTRA - Flight 17 (Remastered) (NimbusWest 135) Newly remixed and remastered for 2012. “Horace Tapscott's classic large ensemble album from 1978! The collective personnel includes Mr. Tapscott on piano & conduction, Jesse Sharps, James Andrews & Herb Callies on reeds, Red Callender on tuba, plus two trombones, two basses, cello and two drummers. Horace Tapscott was the West Coast equivalent of Sun Ra. He was a great pianist & composer, multi-bandleader, community activist and philosopher. 'Flight 17' was a studio session first released in 1978 but the sound was never balanced right. Nimbus West founder & producer, Tom Albach, got back the master tapes and cleaned them up considerably. For fans of the Sun Ra Arkestra and/or any other adventurous big band ensembles, this is an essential reissue. - Bruce Lee Gallanter, DMG
HORACE TAPSCOTT & PAN-AFRIKAN PEOPLES ARKESTRA - The Call (NimbusWest 246) 2012 marked the 50th anniversary of the founding of the Union of God's Musicians and Artists Ascension in Los Angeles by the late pianist and composer, Horace Tapscott. Like Chicago's AACM, the Watts-based collective was created to promote local musicians; but UGMAA's mandate also included dancers, actors and visual artists. Through UGMAA, Tapscott also taught music to hundreds of young musicians outside of a commercial context. Many of these musicians matriculated into Tapscott's Pan-Afrikan Peoples Arkestra, which he also initiated in '61. Even though Tapscott could have easily followed the lead of friends like Don Cherry and Eric Dolphy, and built a high-profile career for himself through touring or moving to New York, Tapscott remained in Los Angeles and worked with the Arkestra and UGMAA's education program. His efforts gained little recognition until the 1965 Watts riots, when he put the Arkestra onto flatbed trucks and, like a fire brigade, played throughout the community to help extinguish the violence. Subsequently, UGMAA received enough state and Federal funding to present regular Arkestra concerts at churches and schools, and stabilize its education program. Concurrently, Tapscott's own stock as a pianist, composer and arranger rose, resulting in two important late-'60s recording dates. The first was Sonny Criss' Sonny's Dream (Birth Of The New Cool), recorded for Prestige in '68, which featured Tapscott's compositions and arrangements (Tommy Flanagan, however, was the tentet's pianist). The second was his 1969 debut as a leader, The Giant Is Awakened, a two-bass quintet date for Flying Dutchman which also introduced alto saxophonist Arthur Blythe. These recordings revealed Tapscott to be a distinctive pianist, whose affection for waltzes leavened the angularity in his playing that is always linked to Monk. The albums also proved that Tapscott's compositional style was not as strident as the avant-garde label affixed to him suggests. Despite the merits of these albums, the Arkestra went unrecorded until 1978. Enter Tom Albach, a hard core jazz fan disgusted with what the major labels were serving up. A professional gambler, Albach approached Tapscott about releasing his music on a label Albach would create specifically for this purpose. Tapscott agreed, and the Nimbus label was soon inaugurated with the Arkestra's The Call
HORACE TAPSCOTT & PAN-AFRIKAN PEOPLES ARKESTRA - Live at I.U.C.C. (NimbusWest 357)
2 CD Set $24
Bruce Lee Gallanter’s Recommended Gig List for May & Early June of 2017
This Monday, May 29th at 7pm:
JOELLE LEANDRE & MAT MANERI!
Zurcher Gallery - 33 Bleecker Street, just east of Lafayette
THE STONE RESIDENCIES - ANTHONY COLEMAN - MAY 23-28
8:30pm: SEXTET Anthony Coleman (piano, organ) Simon Hanes (electric bass) Connor Baker (drums) Ron Anderson (guitar) Alexandria Smith (trumpet) Sarah Hughes (alto sax)
8:30pm: SOLO Anthony Coleman (piano)
8:30pm: IMPROV NIGHT—A STONE BENEFIT! Anthony Coleman (piano) John Zorn (sax) Okkyung Lee (cello) & many special guests; Come on down & support The Stone!
THE STONE RESIDENCIES - JOE MORRIS - MAY 30-JUNE 4
8:30pm: - Joe Morris (guitar) Jaimie Branch (trumpet) & Brandon Lopez (bass)
THE STONE COMMISSIONS - WEDNESDAY MAY 31: IKUE MORI - In collaboration with National Sawdust The Stone presents a series of World Premieres the last Wednesday of every month through 2017. 7pm at National Sawdust in Williamsburg. For details check https://nationalsawdust.org/event/jazz-stone-commissioning-series - TWENTY FIVE DOLLARS
8:30pm: - Ben Hall (drums, tympani, percussion) Andria Nicodemou (vibraphone) Joe Morris (guitar)
8:30pm - Yasmine Aziaez (violin) & Joe Morris (guitar)
THE STONE AT THE NEW SCHOOL—55 WEST 13TH STREET - JOHN ZORN IMPROV NIGHTS
FRIDAY AND SATURDAY JUNE 2-3 AT 830PM For the inaugural weekend at our new home The STONE presents two of our legendary improv nights. Expect the unexpected and many special guests! A STONE BENEFIT!
JUNE 2—John Zorn (sax) Ikue Mori (electronics) Peter Evans (trumpet) Wadada Leo Smith (trumpet) Craig Taborn (piano) Sylvie Courvoisier (piano) Kenny Wollesen (drums); JUNE 3—John Zorn (sax) Dave Douglas (trumpet) Uri Caine (piano) Ches Smith (drums) Chris Tordini (bass) Jonathan Finlayson (trumpet) Jim Staley (trombone)
8:30pm: Brad Barrett (bass) Eric Stillwell (trombone) Joe Morris (guitar)
8:30pm: Shock Axis - Joe Morris (guitar) Chris Cretella (electric bass) Dave Parmelee
830 pm- Joe Morris (guitar) Dre Hocevar (drums) Chris Pitsiokos (alto) Henry Fraser (bass) Lester St. Louis (cello) Charmaine Lee (voice)
8:30pm: BRIAN MARSELLA TRIO—BUER - Brian Marsella (piano) Trevor Dunn (bass) Kenny Wollesen (drums); CD release concert! 16 Masada compositions performed by a dynamic piano trio featuring Brian Marsella, the astonishing and passionate pianist from Banquet of the Spirits, Zion80 and The Flail. Joined here by the classic Masada rhythm section of Trevor Dunn and Kenny Wollesen, the performances are powerful, focused and incredibly varied. Each piece presents a different musical world, referencing McCoy Tyner, Erik Satie, Conlon Nancarrow, Horace Silver, Lennie Tristano, Bill Evans, Bud Powell, Richard Twardzik, Debussy and many others.
All Sets 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. There is no phone.
There is no food or beverage served or allowed
just a serious listening environment.
The Stone is booked purely on a curatorial basis
The CORNELIA STREET CAFE - 212-989-9319
29 Cornelia St in the heart of the West Greenwich Village, NYC
Friday May 26
9:00PM & 10:30PM NOAH PREMINGER TRIO - Noah Preminger, tenor sax; Kim Cass, bass; Dan Weiss, drums
Saturday May 27
6:00PM AN EVENING OF SONG,POETRY AND MUSIC - Barry Wallenstein, poems, vocals; Luigi Archetti, guitars, electronics; Mario Marchisella, drums, typewriter, stylophone; Poppy Perez, guest poet; Neal Haiduck, clarinet
9:00PM & 10:30PM GUILLERMO KLEIN SEXTET - Guillermo Klein, piano, voice; Miguel Zenon, alto sax; Seamus Blake, tenor sax; Tirman Deus, bandoneon; Matt Pavolka , bass; Rodrigo Recabarren, drums
Sunday May 28
8:35PM MOSTLY OTHER PEOPLE DO THE KILLING, CD RELEASE: LOAFER'S HOLLOW
Ron Stabinsky, piano; Moppa Elliott, bass; Kevin Shea, drums
Monday, May 29th:
8:30PM MUSIC FROM BAROQUE SPAIN, ITALY AND ENGLAND for Voices and Plucked Strings - Veronica Gonzalez, soprano; Rachel Elezi, soprano; Jorge Prego, tenor; Chris Baum, baroque guitar; Annalisa Ewald, lute and vihuela Music from Baroque Spain, Italy and England image
Tuesday May 30
8:00PM ANTHONY SMITH QUARTET - Anthony Smith, vibes, piano; Laura Angyal, voice; Carlos Cuevas, bass; Marcos Varela, bass; Dan Monaghan, drums
9:30PM GENE SEGAL SPIRAL - Gene Segal, guitar; Ron Oswanski, organ; Bruce Cox, drums
Wednesday May 31
8:00PM CNQ - Curtis Nowosad, piano, comp.; Duane Eubanks, trumpet; Andrew Renfroe, guitar; Michael King, piano; Barry Stephenson, bass
9:30PM TEST SUBJECTS - Billy Test, piano, comp.; Marc Mommaas, tenor sax; Ron Horton, trumpet, flugelhorn; Marty Kenney, bass; Curtis Nowosad, drums
Thurs, June 1st:
8:01PM MICHAEL BLANCO QUARTET - John Ellis, tenor sax; Kevin Hays, piano; Clarence Penn, drums; Michael Blanco, bass
Friday Jun 02
9:00PM & 10:30PM DAYNA STEPHENS QUARTET - Dayna Stephens, tenor sax; Philip Dizack, trumpet; Gilad Hekselman, guitar; Jaimeo Brown, drums
Saturday Jun 03
9:00PM & 10:30PM SCOTT DUBOIS QUARTET - Scott DuBois, guitar; Michael Bates, bass; Gerald Cleaver, drums; special guest tba, tenor sax, bass clarinet
Sunday Jun 04
8:35PM DJANGO AT CORNELIA STREET, KORAN AGAN - Koran Agan, guitar; Josh Kaye, guitar; Eduardo Belo, bass
Shapeshifter May, 2017:
7pm: Renma music
9:30p- Harry Smith Quartet
Daniel Berkey (tenor sax)
Alex Karakis (piano)
Nick Dunston (bass)
Harry Smith (drums)
7p - Gary Thomas - Tenor/ Flute
Mark Whitfield - Guitar
Davis Whitfield - Piano
Lonnie Plaxico - Bass
Ralph Peterson Drums
7p - NIKOLAS LIST - “NIGHTSHADES”
8:15p - Prometheus Duo - From Bach to Brooklyn
7p - Gas Station Mentality/Nidhogg - Gas Station Mentality launches SYSTEMATICALLY MANUFACTURED w/NIDHOGG
8:15 - Gas Station Mentality
Shapeshifter is located at
18 Whitwell Place in Brooklyn, NY
R train to Union stop
Friday, May 26th 8:00 PM
8pm: Deric Dickens and Friends
9pm: Aaron Quinn, Guitar / Deric Dickens Drums Duo
Ben Cohen Tenor Saxophone
Dustin Carlson , Guitar
Tim Cohen, Drums
Tuesday, May 30th 8:00 PM
Jermyn/Drye/Wolleson Anna Webber’s “Rectangles”
8pm – Simon Jermyn/Brian Drye/Kenny Wolleson
Simon Jermyn – Bass
Brian Drye – Trombone
Kenny Wolleson – Drums
9pm – Anna Webber’s “Rectangles”
Anna Webber – Saxophone
Marc Hannaford – Piano
Adam Hopkins – Bass
Mark Ferber – Bass
Friday, June 2nd 8:30 PM
Innocent When You Dream: The Music of Tom Waits CD Launch
8pm - Brian Drye – Solo Trombone
8:45pm - Innocent When You Dream
Aaron Shragge – trumpet/shakuhachi
Ryan Anselmi – tenor sax
Myk Freedman – lap steel guitar
Mike Gam – bass
Deric Dickens – Drums
Friday, June 9th 9:00 PM
Eva Novoa Trio
Novoa / Gress / Gray
Eva Novoa, piano & compositions
Drew Gress, bass
Devin Gray, drums
Novoa / Kamaguchi / Takeishi
Saturday, June 10th 8:00 PM
Eva Novoa, piano & gongs
Masatoshi Kamaguchi, bass
Satoshi Takeishi, drums
8pm & 9pm (2sets)
Friday, June 23rd 8:30 PM
Satoko Fujii KAZE
Kappa Maki – trumpet
Christian Bezos - trumpet
Satoko Fujii – piano
Peter Ménard – drums
I-Beam is located at 168 7th Street in Brooklyn, NY 11215 - Directions: SUBWAY: Take the F or R trains to 4th Ave & 9th Street. Walk down 4th ave to 7th street. Make a left on 7th and walk past 3rd ave. We are located on the ground floor, the grey doors to the right of the stairs of #168.
GARY LUCAS & FEIFEI YANG
Solo Acoustic Guitar with Guest Vocalist
At Joe’s Pub - Thursday, June 8th at 7:30pm
Gary Lucas’ special guest will be vocalist Feifei Yang, with whom he is currently working on Vol. Two of the ongoing 30’s Chinese pop tribute, “The Edge of Heaven”. Feifei will perform selections from our forthcoming album, as well as “Grace”, which I co-wrote with my friend the late Jeff Buckley.