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DMG Newsletter for Friday June 24th, 2022

(Second verse)
We bow our heads and we pray
Every day's Father's Day
Let's review
All that he means to you
Our mother's love is real nice
But old Dad sacrificed
For us too
Let us give him his due
We're very proud to be
In his biography
We sing this song for him
And you

Last Sunday was Father’s Day. I made mention of it in last week’s newsletter but didn’t include any appropriate lyrics since I couldn’t find any at the time. I’ve been in touch with Eugene Chadbourne who has suggested the words to Horace Silver’s “Song for My Father”, printed above. I know that Leon Thomas sings on a version of this song but I know so sure who wrote the above lyrics, Mr. Silver or Mr. Thomas. I really like these words as they put into relatively simple words what is important about our fathers. I read these words at the beginning of my Birthday/Gemini Celebration last Sunday, which I felt was a good way to start things off. Let’s give another toast to all of our fathers, especially those who have been good role models and helped us to become the persons we are. - Bruce Lee Gallanter, DMG, Prodigal Son




Tuesday, June 28th:
6:30: T.J. BORDEN / BRANDON LOPEZ / JAMES McKAIN / JOEY SULLIVAN - Cello / Bass / Sax / Drums

Tuesday, July 5, 2022:



Last night, June 21st of 2022, was the live music opening of the Vision Festival at Roulette in Brooklyn. The first night was a celebration of Wadada Leo Smith, master trumpeter, composer, multi-bandleader and former professor/life long teacher of Creative Music. Each set featured the music, playing and inspiring presence Wadada and it was a glorious night! There were two duos with drummer & longtime collaborator Pheeroan AkLaff, as well as the RedKoral String Quartet playing on three pieces. Both Mr. Smith, Mr. AkLaff and the RedKoral Quartet played well on each piece.

WADADA LEO SMITH with JACK DeJOHNETTE / PHEEROAN AkLAFF / ANDREW CYRILLE / HAN BENNINK - The Emerald Duets (TUM Box 006; Finland) Featuring Wadada Leo Smith on trumpet in duos with drummers: Jack DeJohnette, Pheeroan AkLaff, Andrew Cyrille and Han Bennink on drums. Last night (6/22/22) at the opening night of the live music portion of the Vision Fest and it was a celebration for visionary composer and master-musician Wadada Leo Smith. The night began and ended with a duo of Wadada on trumpet and Pheeroan AkLaff on drums, both sets were extraordinary. Mr. Smith has a long history of working with some of the best/most creative drummers in the New Music Scene: Gunter ‘Baby’ Sommer, Adam Rudolph, Ronald Shannon Jackson, Milford Graves and Louis Moholo. For this impressive 5 CD set, Wadada plays with four amazing drummers of his choice: Jack Dejohnette (2 discs), Pheeroan AkLaff, Andrew Cyrille and Han Bennink. This box set just arrived yesterday at the store and I’ve just heard one CD so far, a duo with Mr. AkLaff, longtime collaborator with Wadada. I can tell that these two musicians have been playing together for a long time since they seem to have some telepathy or inner connection that guides them together. Wadada would wink or signal Pheeroan to play throughout their two short sets and the magical/spirit music would flow. The first disc with AkLaff is long (nearly 75 minutes), yet I found it consistently fascinating throughout. Plus, Wadada Leo Smith, who is a most respected elder amongst many musicians, remains on the top of his game, his playing is marvelous on many different levels. There is quite a bit of Magiv Music to be found amongst the five discs in this box set so do check it out. - Bruce Lee Gallanter, DMG
5 CD Set $80

WADADA LEO SMITH // REDKORAL QUARTET / ANTHONY DAVIS / STUART FOX / ALISON BJORKEDAL / LYNN VARTAN / THOMAS BUCKNER - The String Quartets Nos. 1 - 12 (TUM Box 005; Finland) This massive 7 CD box set features the RedKoral (String) Quartet plus guests: Wadada Leo Smith on trumpet, Anthony Davis on piano, Alison Bjorkedal on harp, Stuart Fox on guitar, Lynn Vartan on percussion and Thomas Buckner on voice. Considering how much music Wadada Leo Smith has released over the past decade (several box sets, 2 CD sets and various single discs), it seems surprising has not released much string quartet music until now. This impressive 7 CD set contains the first 12 string quartets that Mr. Smith has written. Aside from the RedKoral String Quartet, there are a half dozen other music guests on four of the twelve string quartets. I am a big Wadada Leo Smith fan and completist. I am fascinated by all of what he does as a composer, musician, multi-bandleader and painter. The first night of the Vision Fest at Roulette earlier this week began with a celebration of Wadada and there were 6 sets of his music performed, from two duos with Pheeroan AkLaff to quartet with two pianos & Aklaff to this very same string quartet with and without vocalist/poet Thulani Davis. Since this box set showed up on Tuesday night right before I left the store, I have listened to only the first two string quartets from this box so far. I like what I’ve heard so far but I hope to listen to all 12 of these strong quartets sometime soon when I can find the time. - BLG/DMG
7 CD Set $115

Back in stock (after six months):

WADADA LEO SMITH With HENRY THREADGILL / JOHN LINDBERG / JACK DEJOHNETTE - The Great Lakes Suite (TUM CD 041-2; Finland) The Great Lakes Suites introduces us to composer and trumpeter Wadada Leo Smith's latest small ensemble: the Great Lakes Quartet. A true super group in creative music, it includes two legends in their own right, saxophonist/flutist Henry Threadgill and drummer Jack DeJohnette, with both of whom Smith first played in Chicago in the late 1960s during the early days of the Association for the Advancement of Creative Musicians (AACM). The quartet is completed by another master on his own instrument, bassist John Lindberg, who was born in Detroit, another city on the Great Lakes. For the Great Lakes Suites, Smith composed an extended new work for each of the five lakes that traditionally are considered to comprise the Great Lakes, and also added a sixth composition, "Lake St. Clair," which is dedicated not only to that smaller lake in the same region wishing to be considered a Great Lake, but also to saxophonist Oliver Lake, undoubtedly another Great Lake. Featuring Wadada Leo Smith on trumpet & compositions, Henry Threadgill alto sax & flutes, John Lindberg on double bass and Jack DeJohnette on drums. The Great Lakes Suites introduces us to composer and trumpeter Wadada Leo Smith's latest small ensemble: the Great Lakes Quartet. A true super group in creative music, it includes two legends in their own right, saxophonist/flutist Henry Threadgill and drummer Jack DeJohnette, with both of whom Smith first played in Chicago in the late 1960s during the early days of the Association for the Advancement of Creative Musicians (AACM). The quartet is completed by another master on his own instrument, bassist John Lindberg, who was born in Detroit, another city on the Great Lakes. For the Great Lakes Suites, Smith composed an extended new work for each of the five lakes that traditionally are considered to comprise the Great Lakes, and also added a sixth composition, "Lake St. Clair," which is dedicated not only to that smaller lake in the same region wishing to be considered a Great Lake, but also to saxophonist Oliver Lake, undoubtedly another Great Lake. For this phenomenal two CD set, Wadada Leo Smith wrote quite a bit of music for a new all-star quartet. Both the great bassist John Lindberg and master drummer Jack DeJohnette have worked with Mr. Smith in his amazing Golden Quartet, which has changed personnel throughout the years except for Lindberg who continues to work with Wadada in several units. Henry Threadgill has remained an important bandleader and composer throughout his long career as well as a formidable instrumentalist. He rarely does projects as a sideman (on occasion for Bill Laswell) or collaborator so this disc is a welcome surprise. As I listen to this disc for the second time, I realize what an incredible quartet Wadada has organized. Each of the six lakes get long pieces which range from 10 to 22 minutes. What consistently knocks me out about Mr. Smith is that no matter what, Wadada always sounds inspired and at the top of his game on his trusty trumpet! From those fragile and blues licks to those intense blasts, he never ceases to amaze us with his playing. All four members of this colossal quartet are in fine form here. There are a number of duo sections here that are particularly strong: a great drums & trumpet workout on "Lake Ontario" which then morphs into a fine quartet with strong flute and bass interplay. Although Mr. Smith and Mr. Threadgill have rarely (ever?) played together, they sound like a perfect match, whether playing Wadada's theme are playing tightly around one another. There is way too much great music here to describe (more than 90 minutes) so I will leave you with this: the TUM label also does a wonderful job with packaging, liner notes and presentation. Superb throughout! CD of the year?!?! So far, without a doubt! - Bruce Lee Gallanter, DMG
2 CD Set $24

IKUE MORI with SYLVIE COURVOISIER / ERIK FRIEDLANDER / MAKIGAMI KOICHI / SATOKO FUJII / NATSUKI TAMURA / ZEENA PARKINS / NED ROTHENBERG / DAVID WATSON / CHARMAINE LEE / SAE HASIMOTO - Tracing The Magic (Tzadik 4040; USA) “Tracing The Magic is Ikue Mori’s most varied and fabulous CD to date and it is an absolute masterpiece! Seven pieces, each inspired by (and dedicated to) women artists whose powerful vision and creativity drove them to continue creating well into their ’80s and ’90s: Joan Jonas, Louise Bourgeois, Agnes Martin, Judit Reigl, Leonora Carrington, Jakuchu Sekuchi, and Toko Shinoda. The ensemble lineups feature some of the most exciting musicians working today and include friends new (Charmaine Lee, Sae Hashimoto) and old (Sylvie Courvoisier, Makigami Koichi, Erik Friedlander, Satoko Fujii, Natsuki Tamura, Zeena Parkins, Ned Rothenberg, David Watson). Moody, lyrical, textural, and evocative, the music is driven by Ikue’s unique electronics and showcases her brilliant ear for orchestration, melody, and texture.
CD $14

EUGENE CHADBOURNE - Messiaen’s Catalogue of Birds for Banjos (Chadula; USA) Featuring Eugene Chadbourne on solo banjos & a Takamine acoustic guitar, performing Olivier Messiaen’s score, “Les Bouscarles”. I know that Messiaen was fascinated with birdsongs and that he wrote pieces called “Le réveil des oiseaux” and “Chronochromie” which were inspired by birdsongs. Perhaps these are the works that Dr. Chadbourne is playing here, although they have a different title. All of these pieces were recorded in Doc Chad’s home studio with one piece recorded outside with other birds & other human voices heard in the distance. The first piece seems to be played in slow motion with Chad playing each line, note or phrase one at a time so that we noticed each burst of sound. I like hearing the sound of birds in the distance since the music that Doc Chad is playing works well with those distant birds. When the rooster lets it out (louder than the other birds heard here), it sounds like an organic alarm clock used to wake us up. Doc Chad eventually switches to a banjo, playing this music slowing, carefully and with his unique way of holding onto and bending certain notes. What I find most interesting is that Mr. Chadbourne is often known for his somewhat unpredictable detours through humorous side, yet when he works on something more serious like performing a Messiaen piece(s), he is focused, concentrating on getting the music correctly, yet still adding his own flourishes. This disc is pretty long and seems to unfold slowly with Doc Chad working his way through several different layers or pieces, all connected somehow. A modest yet impressive endeavor. - Bruce Lee Gallanter, DMG
CD-R $12

NEW FROM FMR (three this week and three nect week)

PAUL DUNMALL / JAMES OWSTON / TYMOTEUSZ ‘TYMEK’ JOZWIAK - This Time in Beautiful Space (FMR 628; UK) Featuring Paul Dunmall on tenor, alto & C melody saxes & alto flute, James Owston on bass and Tymek Jozwiak on drums. It seems that UK sax colossus, Paul Dunmall, has been slowing down somewhat, as far as new releases are concerned. After many years on releases for his own label Duns, Slam, Cuneiform, Discus and FMR, only FMR & Discus have released new discs from Dunmall over the past two years aside from a couple of Duns reissues that were released by 577 Records. Bassist James Owston (his name is misspelled on the cover) and drummer Tymek Jozwiak, have been working with Mr. Dunmall for the past few years. The three players have recorded as a quaretet several times but this is their first as a trio. I hadn’t heard of either player before they started recording with Dunmall.
Over the past few years Mr. Dunmall started to write some thematic material for several quartets or quintets, rather than his usual all improv affairs. For this disc is back to just improvising freely and this is indeed a formidable trio. The trio starts off quietly with Dunmall on tenor, the rhythm team building slowly, always connected by pulse and/or stream. Mr. Dunmall uses that lush, warm, tender old school tone for the opening, title piece, which slowly builds into some freer flurries before it calms down to a more relaxed conclusion. Drummer Jozwiak starts off “Hearing the Message” with just spacious percussion, the trio taking their time to escalate together. The rhythm team work well together, moving in waves, providing rhythmic currents through all three musicians flow together as one force. Mr. Dunmall has a knack for choosing musicians who can thoughtfully work together. Dunmall switches to C melody sax, a relatively rarely used sax, for “Let’s Go You Know”, his tone more bittersweet and somewhere between a soprano and an alto sax. Bassist Owston takes a fine, expressive solo midway through this piece. Even on C melody sax, Mr. Dunmall is still spirited, his playing jagged at times and recalling certain lines that Eric Dolphy used to do more than 50 years ago. This entire disc seems unhurried and organic as it unfolds, even ending up with Dunmall on flute for the last great piece. Superbly recorded and inspired playing throughout. - Bruce Lee Gallanter, DMG
CD $14

CHRISTIAN BUCHER / RICK COUNTRYMAN - Once (FMR 629; UK) Featuring Christian Bucher on drums and Rick Countryman on alto sax. Recorded live in the Philippines on July 13 of 2017. Over the past few years Swiss drummer, Christian Bucher, and American drummer, Rick Countryman, have been playing live and recording together mostly in the Philippines where I believe that both are currently living. They’ve recorded two duo CD’s and four trio CD’s (with Simon Tan) so far. I can tell that these two have been working together for a while since they sound quite connected, shadowing each other and completing each other’s lines. This is intense, focused, free jazz at its best. I caught alto saxist, Rob Brown, playing twice live recently and he was great both times! Rick Countryman reminds me of Rob Brown at times. His tone is sharp, bittersweet, intense, oft jagged and most distinctive. Drummer Christian Bucher is also consistently inspired and inventive here. He reminds me of catching Hamid Drake last night (6/22/22) at the Vision Fest, balanced between propulsion and the cosmic groove. Yowsah! There is a constant rhythm throb going on here which comes in builds and then calms back down. There is also a clarity of sound here, production-wise, nothing overdone or distorted in any way. The flame is burning through so let’s dance freely around the hypnotic organic flames. - Bruce Lee Gallanter, DMG
CD $14

IMAGINARY STRING QUINTET with PHILIPP WACHSMANN / TREVOR TAYLOR / CATHERINE HOPE-JONES / DAVID LEAGHY / BRUNO GUASTALLA - Wood Paper, Paint Sound (FMR 0627; UK) Featuring Philipp Wachsman on violin, Bruno Guastala on cello, David Leaghy on contrabass, Trevor Taylor on percussion and Catherine Hope-Jones on sounds. The two musicians I do recognize here are Philipp Wachsmann (who plays with Evan Parker, Company and the London Jazz Composers Orchestra and percussionist Trevor Taylor, who runs this the FMR label and works with Paul Dunmall, Circuit Electro-Acoustic Ensemble and his own unique projects. The other members have worked with the London Improvisers Orchestra and/or the Freedom of the City compilations. Although I am not so sure what “sounds”, Ms. Hope-Jones is providing, she has done artwork for some five releases of UK or Euro free/imrov. The music here is subtle, spacey, most free string improv with small bit of reverb used for the strings to be altered by. This focused yet subtle yet freely improvised with only occasional percussion sounds floating in. When Trevor Taylor enters on marimba on “Sycamore”, his playing adds something special to this music, making it less dreamy by adding some punctuation. There is quite a bit of subtle interaction going on although it does take some patience to listen through some of the less dense sections. Still trying to figure what sort of sounds that Catherine Hope-Jones is adding. The mystery continues… - Bruce Lee Gallanter, DMG
CD $14

MICHAEL FORMANEK DROME TRIO with CHET DOXAS / VINNIE SPERRAZZA - Were We Where We Were (CFCD 120220022021; USA) The Drome Trio features Chet Doxas on tenor & soprano sax & clarinet, Michael Formanek on contrabass and Vinnie Sperrazza on drums. During the 1990’s, Downtown bassist Michael Formanek kept busy with Tim Berne, Marty Ehrlich, James Emery as well as having a few of his own discs out on Enja. Formanek seemed to gone below the radar in the early aughts when he was teaching more and playing less. Over the past decade Mr. Formanek has again been keeping busy with several bands: with Mary Halvorson (Thumbscrew & Code Girl), Angelica Sanchez, Susan Alcorn and Tim Berne, once again. Mr. Formanek also has had a few recent discs on ECM and Intakt. For this disc Formanek has organized a fine trio with tenor saxist Chet Doxas and drummer Vinnie Sperrazza. Chet Doxas played a marvelous solo sax set here at DMG earlier this week (6/20/22) and has been working with Dave Douglas in a quartet in recent times. Ace Downtown drummer Vinnie Sperrazza has played here at DMG and has worked with the Hank Roberts Sextet, Jacob Sacks and Charlotte Greve.
This disc starts off with some shrewd, slightly bent-note solo soprano sax with the bass & drums soon entering softly, carefully. I haven’t heard Mr. Doxas play much soprano sax before, he sound splendid here, playful, short circular lines with delicacy and refined taste, the rest of the trio matching him whenever he goes. Although the playing is skeletal at times, the tightly played, thoughtfully composed lines are especially well done. Eventually this piece escalates with Mr. Doxas’ sprawling soprano reaching for those riveting Trane-like spirals. The opening piece, “Tattarrattat” is quite long (27 minutes) and moves through different sections, each one like a different part of an ongoing story. Each member of the trio works hard to change tactics on each section of this suite-like work. “Never Odd or Even” is shorter, more concise and again written with some shrewd, difficult (Braxtonian) twists and turns. Mr. Doxas switches to tenor sax and has a strong tone. Mr. Doxas again switches to clarinet for “Is It what It Is” and again the writing and playing is especially tricky and well done. This entire discs is splendid throughout. Available on CD and LP, so take your pick. - Bruce Lee Gallanter, DMG
CD $15
LP $24

CHET DOXAS with ETHAN IVERSON / THOMAS MORGAN - You Can’t Take It With You (Whirlwind Recordings 4778; USA) Featuring Chet Doxas on tenor sax, Ethan Iverson on piano and Thomas Morgan on contrabass. Montreal-born saxist, Chet Doxas, has been living in Brooklyn for nearly a decade and has four discs out as a leader or collaborator. Each of his previous records have varying personnel and hence the sound is different depending on who he is playing with and writing for. The first time I heard Chet play was in a quartet with Dave Douglas, Steve Swallow and Chet’s brother Jim on drums. Mr. Doxas has played here at DMG on several occasions and with different personnel or sound-wise. Doxas played a solo tenor sax set here earlier this week (6/21/22), and he did a tribute to Hildegard Von Bingham, a visionary/mystic/composer from the 1,100’s. Mr. Doxas left us with a new trio CD after his performance here. Mr. Doxas’ new trio features former Bad Plus pianist, Ethan Iverson, and ECM-associated bassist Thomas Morgan. Mr. Doxas wrote all ten pieces and explains who or what inspired each song. The title track is first and it is also the name of a famous play which premiered on Broadway in the late 1930’s. The title was not taken from the play but does poke fun at the way many folks hold on to so much material things that they can’t take with them when they die. Although the piece is stripped down with a moderate walking bass line, the piano and tenor play those quirky parts just right. Mr. Doxas has a gracious, warm, slightly testy tone that seems to fall between an old-school more mainstream sound with a darker more Trane-like twist. “Lodestar” is dedicated to tenor sax great Lester Young, another of Mr. Doxas’ main inspirations. While Mr. Iverson plays a slow morse code like vamp, Doxas adds his own solemn repeating riff on top. Mr. Iverson also quietly plucks or rubs the strings inside the piano for a bit and then plays some dark, haunting chords on top. On “Cheryl and George”, Mr. Doxas plays a spirited unaccompanied tenor solo at the beginning of the piece. Doxas has a knack for writing pieces which seem to move into unexpected directions with a swaggering sax solo one moment and Satie-esque skeletal piano to match the piano in the next section. There are quite a bit of quirky surprises going on as far as the structure and unexpected subtle twists within an expected form or pattern. The more I listen, the more I hear inside the music. A true delight in more ways than one. - Bruce Lee Gallanter, DMG
CD $14


LASSE MARHAUG / JEROME NOETINGER - Top (Erstwhile 093; USA) Dedicated to the late experimental electronic musician and Mego/Editions Mego label founder Peter Rehberg (who passed away in 2021), Top not only finds longtime sonic alchemists Marhaug and Noetinger in, well, top form, it’s a stunning aural achievement that does their much-missed colleague's legacy proud. Rehberg was one of the early pioneers of what came to be known as ‘glitch’, a nebulous style of electronica often characterized by prickly digital soundscaping and computer/laptop mangling. Both progenitors and experts in such hybridized aural deconstruction, Marhaug and Noetinger raise what can sometimes be randy, random, ramshackle noisemaking to next level sound design, often imbued with a canny sense of humor and indefinable texture to match. Sputtering, spastic works of pixellated art like the short but buzzing sweet cackles of “004 Fade” anthropomorphize the disorienting effect of a hard-drive in cardiovascular distress while the following “005” finds said drive’s soft(ware) underbelly howling for mercy as surgeons perform a post-mortem autopsy on its gaping innards. The spry digital ‘funk’ of “Acid Tape” could be a prize Hecker track in disguise, all weaving faux-bass pulses and skipping CD detritus, made flesh by some deranged cybernetic organism. Marhaug’s long known for his particular skewed take on noise within his solo confines of Jazzkammer (in addition to a whole family of like-minded outfits), and while Noetinger’s no slouch in such abrasive climes either, he tends to couch his own peculiar skein of digital corrosives in more hospitable environments, although here the two merge their sensibilities so cleanly nary a seam shows. The mindmeld reaches its apex on “Croissant With Ham”, its festoon of aberrant squiggles, audiomulch crunch, mercurial IV drip, and brazen swagger raising the specter of early 00s Powerbook musos like Mimeo and Fenn O’Berg (Rehberg’s much-lauded trio with Jim O’Rourke and Fennesz), bringing their universe-rendering machismo kicking and screaming into the new millennium. Uncompromising stuff, a silicon embossed fuzzy freakout engulfed in digital tension dementia. - Darren Bergstein, DMG
CD $15

QUENTIN TOLIMIERI - "Monochromes" (elsewhere 022-3; USA) Folded within the beautifully crisp and minimal Triple CD packaging that is the hallmark of Elsewhere label, lies an insert that outlines the descriptions (which for all intents and purpose also serve as the notation), for each of the 15 movements that comprise Quentin Tolimieri’s microscopic solo piano epic “Monochromes”. A revealing aside embedded in the description of Monochrome 8 reads “There was a lesson the composers in the Wandelweiser collective learned in the early 1990’s in a way that seemed almost axiomatic; the longer you want the piece to last, the less material you should use. Likewise, many of the shorter Monochromes use more pitch material than the longer ones.” Both within the pieces and across the 3 hour run time of the collection, this clear-headed focus and restraint allows for earned duration that avoids punishing severity by framing within a clear love for the mechanisms of the piano and an urge to caringly mine below the surface of its capabilities. Each piece is performed without written notation, but carefully plotted with goals of how to proceed into the depths of connection with the piano at both its most literal and familiar, and most abstract. A clear sense of reverence for and bottomless fascination with the piano is evident, and the pace is regulated by the feeling that simply hearing the instruments construction more fully should be enough. “Each time Monochrome 10 begins I’m reminded of the mbira” / “In Monochrome 14 very high, muted keys are struck so that the rattling of the mechanism is most of what is heard” / “Monochrome 3 consists entirely of a repeated low B.” As a lifelong pianist, rarely have I found solo piano music that is so inspiring and motivating towards returning to a constant point of discovery and newness with the piano, harnessing both a severity and rigor, and childlike exploration to produce a generous and fulfilling collection. - Frank Meadows for DMG
3 CD Set $30

REINER VAN HOUDT - drift nowhere past / the adventure of sleep (Elsewhere 021-1, 02-2; USA) At one point during the pandemic, I decided to record 30 minutes of birds, insects and trains from the train platform one block from where I live. I did this as the sun went down and many of the birds and insects all seems to make (an organic symphony of) sounds.
I listened to the tape almost every night for a couple of months and began to become familiar with the sounds and patterns that usually go unnoticed. I still go back to that tape since it has become familiar to me and it reminds me of quiet times at home in a familiar environment. Reiner van Houdt did something similar for the first of two discs here. He recorded snips of things he listened to, read, watched and heard during one day each month during the Pandemic quarantine of 2020. This disc is called ‘drift nowhere past’ and it sounds like a sonic diary. It starts with somber guitar picking and a soft, dreamy female voice. Slowly other instruments, voices or sounds creep in. A hushed Satie-like repeating piano line is hypnotic and lulls us in a sleep-like state. Some sort of drone enters next, a bowed object of some sort? The overall effect is drifting on a raft on a slow motion body of water, the vibe casting a dream-like spell on all who are listening. Track 2 is called, “friction sleep maze” and it starts with a rather disorienting dark sample or sound with speckles of static-like sounds unwinding. Another section of exquisite Satie-like piano, soft spoken words and eerie bowed or sampled sounds. Each of the six pieces here evoke a different vibe or scene for our mind’s eye. When Mr. Van Houdt adds another layer of sounds, the effect gets more dense, the sounds both somewhat recognizable and mysterious simultaneously. Snippets of pre-20th century classical music float in and take us somewhere else for a spell. Like most discs on the elsewhere and erstwhile labels, this music does a good job of taking us somewhere else as long as we are patient and still listening closely.
The second disc is called, ‘the adventure of sleep’ and again Mr. Van Houdt recorded different sounds over a period of six months. He then worked with whatever sounds were at hand and manipulated or assembled these sounds into something new. The title of this disc refers to the way we enter another state when we sleep. There is a soft haze surrounding the music or sounds here. Van Houdt does a good job of stretching certain sound out and then altering them, some sounds familiar, some not so familiar. It sounds like Van Houdt has spent more time contemplating each sound so that things flow together in a more focused or directed way. Since things move or occur more slowly, it take time to adapt to what is going on here. It feels as if we are checking out the scenery which surrounds us and noticing things we haven’t noticed in the past. Time has slowed down so we see more of what is in front or around us. If you take your time and listen closely, some of the mysteries of life will be revealed. - Bruce Lee Gallanter, DMG
2 CD Set $24

PERTURBATIONS - Agitation (Evil Clown 9296; USA) Well, Dave PEK’s done it again, his Evil Clown headquarters spewing forth another fearsome magnum opus from its Waltham, MA homebase. Disguised under the aegis of yet another PEK alias, this particular one-hour-plus beast recorded as the duo Perturbations (PEK plus soundboard maven Joel Sinches, who is credited as utilizing the beforementioned perturbations in addition to spearheading the live to 2-track mix) tears your ears and soul apart in equal measure. PEK mounts his usual bandwidth of tradecraft, blowing his lungs out through a whole host of clarinets, saxophones, oboes, trombones, flutes, ocarinas, and what-have-you. All the while, strange, undulating electronics coarse through a deep reverb bed, augmented by thunderous gongs, thwacked springs and coils, strange beings cooing away in the distance, and other named and nameless instruments making many an abstruse sound/noise/cry across a decidedly Dali-esque wilderness. That PEK and Sinches manage to corral this sordid tableau into one magnificently cohesive and epic statement is a true derangement of the senses, chocolate for the cochlea. The opening minutes vacillate between segments based on percussives and brass, with a good amount of silence sprinkled between ‘movements’ (or, better still, segues) to add further tension and anticipation. Roughly thirteen minutes in, intergalactic electronic paradoodles peek their bulbous heads out, surveying the airspace, speaking in tongues, rattling their cages with insistent whooshes, PEK and Sinches coating their comely sprites in thick-as-thieves log drum messthetics and atmospheric shakers. By the time the listener has moved past this recording’s halfway mark, they’re microdotted with a symphony of alien morse codes, ever-spiraling tendrils of cyclonic synth and a more malevolent confluence of events, big ’n’ bad reams of electronics painting pictures of silver machines hovering amid quark, strangeness, and charm. Yeah, it’s improvisational experimental music at its finest, chock-a-block with so many dense layers of sound, performance, and production you’d be a lifetime getting into the depths of it all. But it sure as hell would be worth the effort. - Darren Bergstein, DMG
CD $10

FRANCOIS HOULE / MARCO VON ORELLI - Make That Flight (Hat ezz-thetics 1032; Switzerland) “Canadian improvising clarinetist François Houle and Swiss trumpeter Marco von Orelli are heard live at the Bird's Eye Jazz Club, in Basel, Switzerland, 2020 for eleven dialogs reminiscent of the work of John Carter and Bobby Bradford, though uniquely in their own modern language of chamber-oriented jazz through original compositions from both artists.”
CD $17

SHIMIZU KAZUTO & TATSUYA YOSHIDA - whatchammacallits (Magabutsu MGIS 04; Japan) “A live recording at Koenji Jirokichi in 2022 between Magaibtusu leader Tatsuya Yoshida (Ruins, Korekyojinn, Koenji Hyakkei, PYN) and pianist Kazuto Shimizu (Arepos, Chakra, Hikashu, Killing Time, Lars Hollmer's Global Home Project), both on vocals as they unfold a playful and technically incredible set of "Doodads", "Watchamacallits" and other wonderful curiosities.”
CD $17

SILBERLAND VOL. 1 with MOEBIUS / ROEDELIUS / CONRAD SCHNITZLER / ASMUS TIETCHENS / CONNY PLANK / FAUST / et al - The Psychedelic Side Of Kosmische Musik (Bureau B 413CD; Germany) Bureau B invite you on an expedition to Silberland, a singular span of spacetime created by Germany's sonic futurists of the seventies and eighties. Embracing the early electronics and tape experiments of the sixties' avant-garde, these artists aimed to boldly go, eschewing small steps for giant leaps into a nebulous and novel sound. The kosmische generation emerged from the revolutionary student movement of '67 and '68, opposing any lingering political ties to Nazism and occupying the cultural vacuum which endured long after the post-war era. Encompassing both better known and more obscure artists, this collection is a trip into the psychedelic and cerebral strain of this amorphous genre, pairing the pulsating and propulsive with moments of cosmic calm.
Opener "Strahlsund" by Die Partei serves as the national anthem for this no-place, its utopian melodies and stately rhythm evoking an optimism which is swiftly skewed by the chrome tones and snapping percussion of Ralf Trostel's "Two Face". The delirious drive of Michael Bundt's "Full Steam Ahead" embraces the uncanny as jarring bursts of laughter drown out a serpentine topline before the fever breaks into the cold sweat of Moebius' "Etwas", a sweet synth sonata decorated with detuned keys. "Scharfer Schnitt (No1)" is the first suggestion of Silberland's full scope, the Populäre Mechanik A-side fusing postpunk and dubby funk and perfectly paving the way for the ritualistic stomp of Roedelius' trance-dancing "Regenmacher". Splitting the difference between Berlin and Düsseldorf schools, Tyndall offers the typically glittering "Großstadtgefühl", which smoothly segues into the synth scree of Conrad Schnitzler's beatless and balletic "Bis Die Blaue Blume Blüht". The zero-gravity drift continues with a contribution from Cologne's Phantom Band, who achieve an effortless groove while Bernd Kistenmacher takes you to the midpoint with the deep space repetition and Teutonic tessellations of "Quitting Time". The return journey begins with the beauty and sadness of Heiko Maile's "Nachtspaziergang" then sidesteps into a punkish pair from Moebius & Plank and Faust. If this bristling brace toyed with the terrestrial, Riechmann takes an aerial view of Earth via "Weltweit" and Asmus Tietchens strays way too close to the sun with a playful take on Venusian exotica. Things take a turn for the psychedelic via the Arabesque piano of Cluster's transformative "Avanti" and Günter Schickert's strung-out and smoldering "Wanderer", before the roving sequences of You's "Live Line" fire up the hyperdrive for a foray into warp speed. Cutting the thrusters almost entirely, the synthesist himself Harald Grosskopf takes the controls for re-entry, gliding through the upper atmosphere on the heartfelt waveforms of "Emphasis", cushioning the craft into Eno, Moebius and Roedelius' hypnagogic "Base & Apex".
CD $18

SHADI FATHI & BIJAN CHEMIRANI - Awat (Buda Musique 860373; France) "Shadi Fathi, a setar soloist trained by the great master Dariush Talaï, and Bijan Chemirani, a virtuoso of the zarb, the daf and other percussion instruments, conceived the idea of combining bowed and plucked string instruments as well as percussion and wind instruments. Shadi recites poetries by Khayyam, Mowlana Rûmi and contemporary Persian authors."
CD $16


JOHN COLTRANE - Favorites Live (Naima / My Favorite Things 1963 / A Love Supreme 1965) Revisited (Hat ezz-thetics 1134; Switzerland) Well-recorded performances of Coltrane's most noted works--"Naima", "My Favorite Things" and "A Love Supreme"--in superb concerts from Berlin in 1963 and Antibes in 1965 with his classic quartet of pianist McCoy Tyner, bassist Jimmy Garrison and drummer Elvin Jones, revealing the expansion and freedom these compositions receive through the flexibility of live performance.”
CD $17


LAURA ANDEL ELECTRIC PERCUSSIVE ORCHESTRA - In::tension (Rossbin 022; EEC) Recorded live at the Roulette Series at Location One in December of 2004. This is Argentina-born and New York-based, Laura Andel's second disc, with her evolving orchestra. The current personnel features Kenta Nagai, Joel Harrison & Khabu Young on guitars, Carl Maguire & Ursel Schlicht on pianos & accordion, Kyoko Kitamura on vocals & electronics, Taylor Ho Bynum on trumpet, David Simons on theremin, and Andrew Drury & Harvey Wirht on drums & percussion, with Laura Andel as the composer, director and conductor. 'In::tension' is an intriguing and rather foreboding work. Eerie morse-code like percussion, mysterious processed vocals, layers of odd electric guitar sounds and two pianos submerged in the waves of turbulent waters. Laura's composing/conducting reminds me of the way Butch Morris extracts fascinating textures and combinations of sounds from his players. Each part of this seven -section work, deals with different densities and combinations of sounds and players. On, "Resonancias", we hear a somber, minimal piece for voice, accordion, guitar and percussion, slowly building in intensity and quietly enchanting. Laura does a fine job and controlling the subtleties and balance, as different instruments float amongst the ghost-like spirits that wander through the entire work. Even the more dark and dense sections, seem to retain a balance that never allows things to go too far into the more troubled waters. A somewhat disturbing work that remains gripping throughout, nonetheless. - BLG
CD $6 [free if you purchase another disc from this newsletter]

LAURA ANDEL ORCHESTRA With TAYLOR HO BYNUM/MATT BAUDER/CARL MAGUIRE / URSEL SCHLICHT / KEN FILIANO / DANNY TUNICK / et al - Doble Mano (Rossbin 029; EEC) One of the focal points in my search as a composer is the concept of identity linked to the search of ambiguity. I feel very strong the question of my own identity, perhaps in part because I am an immigrant myself. Born in Buenos Aires, I lived there for many years. After several travels, I now live in New York. Part wanderer, I may still be under the illusion of being in search of my next den. Recorded live The Kitchen Concert Series in New York City on May 11, 2007. Recording mixed by Kevin James, mastered by Elliott Sharp at studio zOaR in New York City. With Taylor Ho Bynum - cornet, Stephanie Griffin - viola, Matt Bauder - clarinets, Raul Jaurena - bandoneon, Carl Maguire - Fender Rhodes, Ursel Schlicht - piano, Ken Filiano - double bass, Danny Tunick - vibes & gamelan, David Simons - gamelan percussion and Laura Andel - composer & conductor. This is the third disc from the Laura Andel Orchestra and I have been looking forward to listening closely to this one since each of her previous discs has revealed distinctive layers of mystery. I attended one of Ms. Andel's sets at the Kitchen where this was recorded and remember how mesmerized I was by the performance. I love the way Laura blends different cultures into a seamless stream. Starting with ritualistic gamelan-like gongs, cautious tango-ish bandoneon, simmering horns, eerie strings and minimal piano, adding one layer at a time like a different spice. On "Part 2", the music has a playful, slightly skewered rhythmic groove that rises and falls as it evolves. A doble mano is a two way street and that is a fitting title since the streams run in different directions yet the inner flow continues like fluid traffic moving together. This music is in between established categories like modern jazz or contemporary classical, yet it does draw from both. I love the way the bass clarinet, bowed bass and bandoneon weave their way around those haunting ghost-like spirits on "Part 3". What makes this mysterious is that we never know what will emerge from different parts. Towards the end of "Part 5", an odd, fractured melody appears and is played by the bandoneon, sort of like a sublime serpent peaking its head through the somber yet dark waters. There is a section in "Part 7" where I am reminded of the dancing elephant animation in 'Fantasia'. The last part is perhaps the scariest with clanging metals, staccato rhythms and other suspense-filled melodies. Nearly an hour long, yet the wonderful surpises at every turn never stopped - I found myself wishing there was a 2nd disc! - Bruce Lee Gallanter, Downtown Music Gallery
CD $6 [free if you purchase any two items from this newsletter]


THELONIOUS MONK - The Prophet (Destination Moon 011LP; Italy) “Destination Moon presents a reissue of Thelonious Monk's The Prophet, originally released in 1961. In 1954, during his first trip to Paris, the adventurous pianist and be-bop pioneer Thelonious Monk recorded a handful of songs for French radio, later issued as The Prophet. Unencumbered by bass, drums, or most other accompaniment, Monk gives you all we need in left-hand rhythms and right-hand melodies; "Round About Midnight" and "Reflections" show Monk's masterful command and there's a one-off take of "Smoke Gets In Your Eyes". Highlighting his capabilities in full, this is required listening for Monk fans and lovers of solo jazz piano.”
LP $22

THELONIOUS MONK with OSCAR PETTIFORD / ART BLAKEY - The Unique (Destination Moon 014LP: Italy) “Destination Moon present a reissue of Thelonious Monk's The Unique, originally released in 1956. Pioneering be-bopper and unorthodox pianist Thelonious Monk was largely underacknowledged for the role he played in changing jazz forever. The Unique Thelonious Monk, the second of his LPs for Riverside, was recorded in 1956 with bassist/cellist Oscar Pettiford, who Monk had bonded with in Coleman Hawkins' band, and the wildcard drummer, Art Blakey, pushing things farther into the realm of experimentation, despite the set being comprised of jazz standards. Thus, "Tea For Two" becomes a hard-bop romp and "Honeysuckle Rose" has lashings of outré diversions -- plenty of fun for all Monk devotees.”
LP $22

MACIUNAS ENSEMBLE - YoplaBoum Permanent Wave (Edition Telemark 923-08LP; Germany) Third release by the Maciunas Ensemble on Edition Telemark after 1976 (ET 314-07LP, 2015) and the self-titled 50th anniversary LP from 2018 (ET 785-08LP). The group had been founded in Eindhoven, The Netherlands, in 1968 with the aim of realizing the score Music for Everyman by Fluxus initiator George Maciunas, which they interpreted as allowing total freedom in the sounds being produced. The group met regularly, usually once a week during their heyday, and improvised on instruments that were at hand. Every session was recorded to be played back and discussed before the next session. This method meant that small changes and subtle new ideas could be integrated from one session to the next, eventually leading into completely new directions over a longer course. Paul Panhuysen linked this approach to the oral traditions of folk music. One of their most productive periods were the early 1980s where, after settling on a stable line-up of Paul Panhuysen, Jan van Riet, Leon van Noorden and Mario van Horrik, the group developed their own brand of minimalist rhythmic music, inspired in equal parts by rock, post-punk, drone and minimal music of the time. A selection of named pieces had crystallized from the improvised sessions that were worked on and refined, many of them having long durations and featuring wordless vocals by Paul Panhuysen that added another unique rhythmic layer to the music. Phill Niblock, while visiting the ensemble's home base Het Apollohuis in Eindhoven, called some of these pieces "rhythmic drones", drones produced by repetitive rhythmic strokes, simultaneously on various instruments. Some recordings from this period can be heard on the LP Music for Everyman 861 (1986, Apollo Records) and the self-titled LP. Virtually unknown until now have been five more pieces that were released by the band in 1983 and 1984 on two cassettes named YoplaBoum and Permanent Wave. They are re-released here for the first time, with a double LP featuring the whole YoplaBoum cassette -- the 43-minute title piece split across the first two sides, the two others on sides C and D -- and a CD including the two tracks from Permanent Wave. Single sleeve with two printed inner sleeves featuring liner notes by Leon van Noorden and Mario van Horrik, and a selection of photos and artwork from the period; includes CD in cardboard sleeve; edition of 300.
2 LP CD $45

CONRAD SCHNITZLER & WOLFGANG SEIDEL - Music is not language. Neither is it painting. Just music. (Edition Telemark 923-06LP: Germany) “A posthumous duo LP featuring text and music by Conrad Schnitzler, music by Wolfgang Seidel. Conrad Schnitzler and Wolfgang Seidel have been musical collaborators since the early 1970s when Seidel performed in Schnitzler's free-form group Eruption that had been founded as a successor to Kluster and featured a revolving cast of members. In the 1980s, they produced the duo albums Consequenz, Consequenz II and Con 3 where Seidel performed under his alias Wolf Sequenza. Shortly before Schnitzler's death in 2011, he handed Seidel a hard disk of his archive including a huge collection of music originally recorded to CD-R, subdivided into "solos" and "mixes", where solos are building blocks to be blended with other solos in a performance, and mixes are recordings of such performances. One of those solos turned out to be a spoken-word CD-R, aptly titled "CONtext", where Schnitzler gives an account of his musical philosophy -- in a performative lecture with a lot of humor. It is not known what he intended this recording for, but its unique character made it a natural choice for a building block of a new piece. Instead of making a collage with other solos from Schnitzler's archive, Seidel decided to record his own music to accompany the text, inspired by the early-1970s Eruption recordings. The resulting eight-channel piece was mixed down to stereo for side A of this LP and features Schnitzler's voice and English text-to-speech subtitles for his non-German-speaking fans. Side B contains an instrumental posthumous duo for which Seidel used excerpts from Schnitzler's EMS synthesizer performance at the Gallery House in London in 1972. The cover artwork was created by US comic artist Matt Howarth and features Con, a character from his Savage Henry comic book series who is a "German synthethist" and member of the premiere insect-rock group, the Bulldaggers. Printed inner sleeve with insert of transcript of side A and liner notes; edition of 300.
LP $28

TERRY JENNINGS - Piece for Cello and Saxophone (1960)(Saltern 007LP; USA) “Saltern's latest offering marks the first-ever release of "lost minimalist" Terry Jennings' visionary 1960 composition, Piece for Cello and Saxophone, as arranged in just intonation by legendary composer La Monte Young for renowned cellist Charles Curtis. Born in Los Angeles in 1940, Jennings was a close associate of Young, Terry Riley, and Dennis Johnson, and an early adopter of minimalist tendencies, creating slow, sustained music, influenced by jazz, modalism, and late romantic classical music. Jennings died tragically in his early forties, most of his work lost to a chaotic life; however, his forward-looking music quietly exerted a lasting influence on composers including Young and Harold Budd. Composed over sixty years ago, Piece for Cello and Saxophone, foreshadows a number of movements in postwar avant-garde music. Despite the title, there is no saxophone on this album. At over eighty minutes, La Monte Young's justly tuned realization of Piece for Cello and Saxophone for cello alone unifies and extrapolates Terry Jennings' dense harmonies, creating an extended field of complex sonorities in motion, all brought to life by the immaculate playing of Charles Curtis. The recording captures Curtis in a performance from 2016 reflecting more than twenty-five years of dedication to the piece. Piece for Cello and Saxophone is released physically on double-LP. Mixed by Anthony Burr, mastered by Stephan Mathieu, and cut to vinyl via direct metal mastering by Hans Jörg Maucksch at Pauler Acoustics. Pressed at RTI and printed at Stoughton. Includes a four-page insert with liner notes by Young, Curtis, Burr, and Tashi Wada, and a download of the full recording.”
2 LP Set $36

CLEVELAND FRANCIS - Beyond The Willow Tree (Forager Records 005LP: USA) "Beyond The Willow Tree is a hauntingly beautiful anthology of folk songs chronicling the experience of a young black man growing up in the segregated south. A balanced mix of covers and originals, Cleveland Francis' body of work seamlessly blends deep, soulful vocals with the stripped-down acoustic instrumentation of folk. In the late '60s Francis coined the term 'soulfolk', playing his genre bending music across college campuses and coffee shops while earning a medical degree at William & Mary. These songs serve as a missing link between soul and folk music, suppressed by the harsh political landscape of a music industry heavily influenced by racial stereotypes. 'If you were black, you played blues or soul music ... I wanted to play folk music,' Cleveland professed. Included in this double LP set is Cleveland Francis' entire 1970 self-released album Follow Me, featuring the original artwork and liner notes printed inside the gatefold. The second LP takes you Beyond The Willow Tree with unreleased demos recorded in 1968 along with one 45 only single recorded in 1970." "These recordings are a look into my soul through a long and lonely journey to understand feelings of my childhood, poverty, racial segregation, bigotry, war, love and hope. It represents my attempt to express and come to terms with all that I have seen and felt as a Black man growing up in America." --Cleveland Francis
2 LP Set $36

KOOL MUSIC - Dagobah (Feeding Tube Records 612LP: USA) "Dagobah is the first LP (following a couple of cassettes and a CD) by Kool Music, the solo guitar project helmed by Glasgow-based polymath, Jasper Baydala. Jasper has previously had some exposure on the label, when his image appeared on the cover of Joanne Robertson's Black Moon Days LP (FTR 179LP, 2015). At that point we knew of Jasper as a video artist and writer, but Joanne assured us he was an excellent musician as well. And so began the road to Dagobah. The soubriquet Kool Music has a bit of a hip-hop heft to it, but the 14 tracks here present a very different picture. Jasper has said that when he first hoisted the Kool Music flag, in Canada back in 2010, its sound was something of a cross between country music and Asian string traditions. Easy aural evidence of those roots has vanished over the past dozen years. The music on Dagobah has certain tonal similarities to the UK free music tradition, but the pieces display a humanity and sense of humor that (rightly or wrongly) we don't always associate with that scene. Each of the tracks is a solo electric guitar instrumental, usually taken at a slow pace with carefully built layers of sound that often overlap and decay before Kool Music moves on to the next trope. This gives the music a meditative quality, but the mildly casual dissonances make it tough for listeners to just float along on the sound. In that sense, Kool Music demands your attention. Although generally in the politest way imaginable. Every time I spin Dagobah I hear a bunch of new details. And they're really engaging. As is this whole damn album. And if you let yourself sink into its web, I do believe you will feel just the same. Now that's Kool Music." --Byron Coley, 2022
LP $36



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THERE IS A RECENT INTERVIEW with FRED FRITH by Rick Rees that is found here: . Rick Rees has been working on a website/blog/book/whatever about the great producer/manager/instigator/raconteur Georgio Gomelsky. Gomelsky is someone I’ve long admired and Rees is doing a good job of documenting/interviewing numerous Gomelsky associates. The Fred Frith interview is great and if you are a Frith fan, you should want to know about a number of upcoming projects, tours, etc. This interview showed up in my email during the last hour of my birthday last Sunday and it made me smile. Fred Frith are old friends and he is someone whose music and attitude I really admire. - BLG


This one is from CHRIS CUTLER, original member of Henry Cow, Art Bears, News from Babel, respected author and founder of Recommended Records. This is Chris’ wonderful podcast and I urge you all to give it a listen…


Guitarist and DMG-pal HENRY KAISER has a monthly Video Solo Series on Cuneiform’s Youtube page:


My good friend & guitar master GARY LUCAS is playing half hour sets at his apartment in the West village every Tuesday, Thursday & Saturday at 10:30pm Tues, Thurs and Sat on Facebook. Different songs & improvisations on each episode. Here is the link:


This comes from local keyboard wiz ELI WALLACE:
June 25th:
The Inflatable Leviathan album release show presented by Tripticks Tapes, Anchor House of Artists, Northampton, MA 7pm with Cecilia Lopez, Michael Foster, & Sean Ali