So people get ready
For the train to Jordan
Picking up passengers coast to coast
Faith is the key
Open the doors and board them
There's hope for all
Among the loved the most
There ain't no room for the hopeless sinner
Who would hurt all mankind just
To save his own
Have pity on those
Whose chances grow thinner
Cause there's no hiding place
Against the Kingdom's Throne
So people get ready
There's a train a-comin'
You don't need no baggage
You just get on board!
All you need is faith
To hear the diesels humming
Don't need no ticket
You just thank the Lord
I recall hearing this song on the first Chambers Brothers album for Columbia (released in 1967). Something about its gospel-like words and music immediately grabbed me and it still touches me more than a half century later. Although I grew up in a not-very-religious Jewish household and rarely went to church outside of a few weddings and concerts, I have long been fascinated by gospel and other religious music(s). I am always searching for transcendence and some religious or spiritual music often does it for me. Even though I’ve questioned the existence of God ever since my father passed away (at only 54) in 1980, I still believe in “Faith” that there is a common good in most people. The Chambers Brothers version of “People Get Ready” has layers of vocal harmonies which really resonate with me. “I believe” is about all I can say to myself when I listen and sing along.
I am currently reading “I Am the Blues” by Willie Dixon, an autobiography about Mr. Dixon’s lifelong work with the blues. I find it fascinating to read about Mr. Dixon’s trials and tribulations, playing in blues & gospel bands in the 1950’s-1970’s. His early years down south are filled all sorts of racial strife and injustice mostly caused by ignorant & opportunistic white folks. I understand all too well why Frank Zappa put this line in at the end of “Trouble Every Day” from the ‘Freak-Out’ album (rel in 1966): “Hey you know something people, I ain’t black but there’s a whole lots of times I wished I could say that I ain’t white”. Its time for me to take out some blues and gospel records, sit, listen and think about the state of the world and wonder if things will ever change for the better. I am certain they will but who knows how long it will take. - MC BruceLee, DMG
THE DOWNTOWN MUSIC GALLERY 31st ANNIVERSARY IN-STORE PERFORMANCE SERIES Continues with:
Tuesday, November 1st:
6:30: MAX KUTNER / KEVIN SHEA - Guitar / Drums-electronic pads
7:30: ASTRO TURF: SAM DAY HARNET - mandolin/electronics / SANA NAGANO - violin/effects / ZACHARY SWANSON - bass!
8:30: SAKINA ABDOU - Sax!
Tuesday, November 8th:
NO GIG - ELECTION NIGHT! Please get out to vote!
Saturday November 12th - GauciMusic Series Presents:
6pm: Ken Kobayashi - drums / Ayumi Ishito - sax / Eric Plaks - keyboard
7pm: Stephen Gauci - tenor sax / Gasper Piano - guitar / Adam Lane - bass / Kevin Shea - drums
8pm: Rotem Eylam - guitar / Mark Abramovski - bass / Isaac Dubow - trumpet / Ben Eidson - electronics
THIS WEEK'S NEW DISCS BEGIN WITH AN AMAZING THREE CD SET From:
TYSHAWN SOREY TRIO 1 with GREG OSBY / AARON DIEHL / RUSSELL HALL - The Off-Off Broadway Guide to Synergism (Pi Records 96; USA) “‘The Off-Off Broadway Guide to Synergism’ is a blazing three-volume set recorded live at The Jazz Gallery in New York, featuring drummer Tyshawn Sorey’s trio with special guest alto saxophonist Greg Osby. Increasingly celebrated for his notated works in the contemporary classical realm – Sorey was recently called “composer of the year” by The New York Times – and generally associated with the avant-garde, Off-Off Broadway is a return to his musical roots: a celebration of collective improvisation over well-known jazz standards. The album features his trio of pianist Aaron Diehl, well-known for his work as a leader and association with singer Cécile McLorin Salvant; bassist Russell Hall, who has played with Wynton Marsalis and Joey Alexander; and Osby, whose illustrious four-decade long career includes 14 highly-acclaimed releases on the Blue Note record label. One of those, Banned in New York, which captured the rough and tumble of his quartet in a live setting and is considered by many to be among his finest – is an inspiration for this release. Mesmerism, Sorey’s trio foray that was released earlier in 2022, with its curated selection of jazz standards that also features Diehl, is something of a sister release. But whereas that album is elegant, pristine, and jewel-like, The Off-Off Broadway Guide is raw, fiery, and intense. The band plays with wild abandon, careering seamlessly from one song to the next, a true spontaneous combustion of master musicians uniting through the common language of improvisation.
So much has occurred for Sorey since his last Pi release in 2019: The Adornment of Time, his improvising duo with pianist Marilyn Crispell. He has had world premieres of his compositions with the Detroit Symphony Orchestra, the Seattle Symphony, commissions and performances of his works by Roomful of Teeth, The Crossing, Sandbox Percussion, Alarm Will Sound, Yarn/Wire, violinist Johnny Gandelsman, along with recording and touring with pianist Vijay Iyer’s trio with bassist Linda Oh, performing with his trio featuring guitarist Bill Frisell and saxophonist Joe Lovano, and in duo with DJ King Britt, and was Artist Etoile at this past year’s Lucerne Festival where he premiered his work “For Grachan Moncur III” with the JACK Quartet. On top of all that, Sorey was appointed Presidential Assistant Professor of Music at the University of Pennsylvania.
In the midst of that whirlwind of activity, Sorey found time for a five-night stand in March of 2022 at New York’s The Jazz Gallery that is captured on The Off-Off Broadway Guide to Synergism. It’s a stage that is known for presentation of new works and musical experimentation, but in this case, Sorey and his mates dove unabashedly into a program of mostly standards from the jazz canon. With all of his other professional obligations, he has found that there are fewer opportunities for him to just play drums, and even rarer are the occasions to play jazz standards, a practice that he deeply misses. He planned this gig to scratch that itch, and asked Greg Osby – someone whom he considers to be a major influence both as a musician and conceptualist and with whom he’s only played a few times before – to join him. Of course, what transpired was anything but a by-the-books standards gig. According to Sorey, there was hardly any discussion of what was to be played: “All I suggested was a starting point and an ending point, and wherever we went, we went.” Osby quickly proves himself to be the masterful improvisor that he is, with his quicksilver phrasing and surging tone, every solo feels full of chances being taken and crevices being explored. It is clear that he is the boss of these proceedings. The real surprise, though, is Diehl, whose playing typically leans towards the elegant and graceful. Here he dives right into the rough and tumble, playing with an unexpected muscularity and harmonic daring. Sorey plays with his usual tumult, skittering one minute and blasting the group to attention the next, all the while, with bassist Hall, swinging the music forward. The sets are mostly played without breaks, and the musicians stretch these tunes this way and that until all possibilities have seemingly been wrung out of them before they collectively – and seemingly telepathically – move on to the next, all the more astonishing because this particular unit has never played together before. In addition to the sheer audacity of the performance, it is fascinating to listen for the subtle cues and the resulting tension during the transitions as each musician individually figures out that a move is afoot. The title of the release is a play on the fact that many of these songs originated on Broadway or Tin Pan Alley, which was right around the corner from where The Jazz Gallery is located on Broadway, yet, the treatment of these songs takes them so far away from their origins as to be almost unrecognizable. The performance is a magical conjuring of something monumental through the vernacular of jazz improvisation.”
3 CD Set $35 [In stock Monday!]
TREVOR DUNN’S TRIO-CONVULSANT with AVEC OLIE A’ QUATRE: MARY HALVORSON / CHES SMITH plus CARLA KILHSTEDT / OSCAR NORIEGA / MARIEL ROBERTS / ANNA WEBBER - Seances (Pyroclastic Records 21; USA) Trio-Convulsent is Trevor Dunn on bass, Mary Halvorson on guitar and Ches Smith on drums & percussion; the guests here include Carla Kihlstedt on viola & violin, Oscar Noriega on bass & B-flat clarinets, Mariel Roberts on cello and Anna Webber on flutes. Although bass great Trevor Dunn was originally based in the Bay area, Dunn has become a quintessential Downtown bassist playing in a wide variety of bands: Electric Masada, Nels Cline Singers, Jamie Saft projects, Dan Weiss, Wendy Eisenberg, the Fantomas and Mr. Bungle. As a bandleader & composer, Mr. Dunn takes his time with each project and has led Trio-Convulsant since 1998 when their debut CD was released. Award winning guitarist Mary Halvorson became a member of the trio in time for their second release from 2004. Considering that all three members of Trio-Convulsant keep quite busy with their own careers, it has taken Mr. Dunn nearly two decades to get them back together for this, a special project. Over the past year or two, Mr. Dunn started his own limited edition Riverworm label. His first release by SpermChurch (a duo w/ Dunn & electronics) was reviewed here a last week and copies are nearly sold out (hint, hint).
There are four pages of liner notes here, written by Trevor Dunn which discuss knowledge, religion and faith, inspired by a sect of Christians in 18th century France known as the “Convulsionnaires”. Dunn discusses the spiritual practices or seances that this sect was involved in which included stabbings, beatings, vomiting and levitation. Dunn describes quite a bit more of what inspired certain sections of this work and some of the genres/styles or references that he had in mind. Mr. Dunn has obviously spent a good deal of time thinking about, composing, recording and editing this music, hence there is much to listen to here. “Secours Meurtriers” combines a variety of styles/ideas: metalish/jazz/rock guitar, consistently shifting rhythmics from young master Ches Smith, swirling strings and flutes with Mr. Dunn’s powerful bass holding things down from the center of the storm. Most impressive! Towards the last section of “Saint-Medard”, Ms. Halvorson takes an extraordinary double-tracked guitar solo, adding several parts or layers or sounds in a great blend. It is difficult to write for a (punk/metal) rock guitar trio with strings well integrated but Mr. Dunn has done a fine job here. Mr. Dunn, who John Zorn refers to as “The Rock” due to his strong, centered bass throb/sound, is the central figure on most of these pieces. Mr. Dunn’s awesome bass throb is at the center of “Restore All Things” with wheezing strings, flutes and clarinet swirling around him in a powerful haze. “1733” (equalling the Number of the Beast) starts with churning strings, voodoo-esque hand drums, clanging guitar(s) and pumping bass, the overall effect is most hypnotic. Mr. Dunn states in the notes how much he admires the playing of drummer Ches Smith. I must agree that Mr. Smith is phenomenal throughout, shifting his way through challenging twists and turns again and again. All seven pieces here are extraordinary and require several listenings to hear the many different layers of ideas being well executed. - Bruce Lee Gallanter, DMG
THE NU BAND with THOMAS HEBERER / KENNY WESSEL / JOE FONDA / LOU GRASSI - Renual (Not Two MW-1028; Poland) The current version of the Nu Band features Thomas heberer on trumpet, Kenny Wessel on guitar, Joe Fonda on bass and Lou Grassi on drums & percussion. The Nu Band have been around since the turn of the century and continue as one of the greatest of all Downtown bands. The personnel remained the same for many years: Roy Campbell, Mark Whitecage, Joe Fonda & Lou Grassi. Sadly, the great trumpeter Roy Campbell passed away in January of 2014 and was eventually replaced by ICP trumpeter Thomas Heberer. Sadder still was the loss of their saxist Mark Whitecage in March of 2021. This is the second disc from the current version of the Nu Band and it was recorded at Tedesco Studios in NJ in May of this year (2022). All four members contribute songs to this disc. This disc begins with Lou Grassi’s “A Cat’s Game” which balances between charted and freer terrain, the melodic theme recalls some of the more playful older jazz forms, yet still sounds fresh. Gifted jazz guitarist Kenny Wessel contributed “Notewise” which has an ebullient groove, dream-like guitar and trumpet solos. Throughout this entire disc, one of the main things that stands out is the way Joe Fonda centers and pushes the band with his ever probing bass. Perhaps we should just call it the constant throb. Another highlight here is Mr. Fonda’s “Brown Bagging It”, which keeps shifting through more and less dense passages with Heberer’s trumpet playing a long, flowing solo while Mr. Wessel weaves in his own lines selectively, sparsely. The consistently inventive interplay between the trumpet & guitar and between the bass & drums is what makes this so interesting, as they seem to work in orbits with and around each other. On “The Unnecessary Correction”, it sounds as if the trumpet and guitar are completely each other’s lines with swirl of insistent flourishes while the bass keeps shifting in the currents that are flowing throughout. Heberer’s “Snowclone” slows things down to a eerie, hypnotic dreamscape with Mr. Fonda sculpting the space with interconnected fragments. Both frontline players here work extremely well together whether they are playing those quirky themes are just adding their own inter-connected lines together or around one another. The legendary Nu Band continues to wow us all with their multiple treasures. - Bruce Lee Gallanter, DMG
THOMAS HEBERER’S GARDEN with MAX JOHNSON / LOU GRASSI - Push Play (CIMP #423; USA) Featuring Thomas Heberer on trumpet & cornet, Max Johnson on contrabass and Lou Grassi on drums. Recorded in the Spirit Room in the Cadence building in upstate NY in September of 2013. A few years back North Country Distributors, the largest jazz distributor in the US, closed up shop, which included Cadence Jazz magazine, the CIMP and Cadence Jazz labels. A sad day for us (avant) jazz collectors. It turns out the the CIMP label (a/k/a Creative Improvised Music Projects) has dozens (hundreds?) of sessions on hand and is starting to release them now. Longtime ICP trumpeter Thomas Heberer is currently living in NYC and is involved with a number of bands: the Nu Band and several of his own bands. Mr. Heberer organized this session way back in 2013, almost a decade ago, with two strong players: bassist Max Johnson and drummer Lou Grassi. Mr. Grassi and Mr. Heberer would end up playing together in a future version of the Nu Band several years after this trio effort was recorded.
Mr. Heberer composed 5 out of the 11 songs here, the rest are trio improvs. The opening piece is called, “Woolly Bear Caterpillar’s Big Day” and it is one of those long improvised pieces which unfolds more organically. Mr. Heberer starts on muted cornet, then moves to open cornet, then from muted trumpet to open trumpet. He takes his time on each horn exploring his range, textures and ideas. When switches to muted cornet, the sound is stripped down and more pensive, the trio slowly building. On muted cornet, Heberer sounds as if he has the blues, playing some haunting sounds with Mr. Johnson’s bowed bass humming along side. The overall sound here is warm, clean, splendid with no equalization or effects. Bassist Max Johnson recently left us with 4 different discs, each one with different personnel and each on a gem. His playing here is consistently supportive and engaging without stepping on anyone’s toes. One of the things that stands out here is Mr. Heberer’s playing, he sounds inspired and focused on both his trumpet and his cornet, digging into his big bag of tricks, sounds or types of music. each of his solos is/are a gem to behold. Mr. Heberer’s writing is thoughtful, diverse and unique. For “Noocracy”, he has the bass & drums playing a laid back slightly funky groove while he plays a festive yet modest cornet solo on top. There is an overall flow going on here as the pieces move from one to the next without much delay, giving this disc a suite-like quality. The song “Mongezi” was named after the late, South African expat cornetist Mongezi Feza. It does have one of those charming (South African) folk-like melodies at the center. This entire is long, nearly 70 minutes and it is indeed superb throughout. Great work from a monster trio! - Bruce Lee Gallanter, DMG
CD $14 [while our supply lasts]
ELLIOTT SHARP / WENDY EISENBERG / JESSICA ACKERLEY / DAVID TORN / DOUGIE BOWNE / CHARLES K. NOYES / et al - I Never MetaGuitar 6 (Klanggalerie GG 404; Germany) Klanggalerie are happy to contionue a series of outstanding guitar music that was started by Clean Feed. "In these sick times, there must be a 6th volume of this on-going compilation covering "the parallel realities of contemporary guitarism". Our latest collection runs from A to Z with guitar pieces reflecting the sheer inventiveness and fabulous sonic visions inspired by this instrument of myriad manifestations. The cast of characters ranges from the "legendary" to the "obscure" but all are wonderfully committed players with one foot in the future and one in the past, a formula that puts one's ass directly in THE NOW." E# - NYC.
CD $16 [reduced price until we run out]
KENNY WARREN TRIO with MATTHIAS PICHLER / NATHAN ELLMAN-BELL - Whirlwind Recordings 4757; USA) Featuring Kenny Warren on trumpet & compositions, Matthias Pichler on bass and Nathan Ellman-Bell on drums. Last night (10/25/22), we had a quartet set at the store with Kenny Warren & Jacob Wick on trumpets, Sean Ali on bass and Carlo Costa on drums. It was one of the best in-store sets that I’ve heard in a while and it was the first & only time that this these musicians had played together. So nice to hear my old pal Jacob Wick whose been living in Mexico for a long while, haven’t heard him live since we were located on the Bowery, sometime before 2009. Downtown trumpeter Kenny Warren is an impressive trumpet player who I hear from every few years. He is a most modest musician who turns up on certain releases with little known bands like: Nashaz, Nook, Ben Stapp & Zozimos, Myk Freedman, Angelica Sanchez and the Anna Webber Big Band. I am not that familiar with either players from the rhythm team here although both/either can be found on a few discs from obscure players like Sebastien Ammann (Skirl), Yuhan Su (Sunnyside) and Jason Seizer (Pirouet).
“My Moments Subtle” is first and has a strong, central, circular bass line/groove with Mr. Warren’s trumpet playing some subtle, playful lines. The rhythm team here is solid, pumping and in the groove, speeding up and slowing down in an effortless stream/flow. Bassist Pichler is often at the center of the storm here, one of the better bassist I’ve heard in recent times which is odd since I know next to nothing about him. It sounds like Mr. Warren has spent some time writing each piece since each one has a different structural strategy. On “Brain Phone Wired”, the trio slows down a bit at first with Warren playing calmly on top. This piece is pretty long and goes through some challenging twists and turns. I like the way Warren starts off “House Plant Off” with some quaint, odd, partially muted lick before he takes another consistently shifting (through changes) solo. What stands out here is the way Mr. Warren plays solos which never stay in one place, chopping up his solo into quirky parts that still seem to flow just right. Although there are some freer sounding sections, it is Mr. Warren’s intelligent, complex writing that keeps things focused and intriguing here. This is one of the most impressive trio efforts in recent memory. - Bruce Lee Gallanter, DMG
KENNY WARREN QUARTET with JP SCHEGELMILCH / NOAH GARABEDIAN / SATOSHI TAKEISHI - Thanks You for Coming to LIFE (Whirlwind 4702; USA) Featuring Kenny Warren on trumpet & compositions, JP Schlegelmilch on piano, Noah Garabedian on bass and Satoshi Takeishi on drums. The FONT Fest (Festival of New Trumpet) is coming up and will start with a couple of night at the New Stone on September 8th & 9th (2017). Although DMG is not participating this year, we still feature a number of important up & coming trumpeters. Last Sunday (9/3/17), we had Kenny Warren play here at DMG with a trio and I was much impressed by his playing. I have been checking Mr. Warren out of the past few years through his recordings with Nashaz, Myk Freedman, Ben Stapp and Sanda Weiss. A few months ago, Mr. Warren left us with a new CD which has been on the constant playlist at DMG. Warren’s quartet includes keyboardist JP Schegelmilch from Old Time Musketry (great local roots/jazz/rock band), bassist Noah Garabedian and ubiquitous percussionist Satoshi Takeishi (Michael Attias, Erik Friedlander & Ned Rothenberg). Starting off with “Stones Change”, the quartet break into one of those difficult, M-Base-like repeating pattern circular lines, the trumpet and piano locking into those tight swirling lines. For “Huge Knees”, the quartet keeps shifting several parts, the rhythm team balancing between the trumpet led lines and piano led currents underneath. Things start off busy, at a quick pace before they shift down to sparse laid back section. There is a most majestic section midway for the piano which seems to come out of somewhere else like one of those swell discs by Old Time Musketry. What amazes me here is that Mr. Warren mostly solos throughout this long (12 minute) piece, changing his sound throughout, remaining creative without dealing with any extended techniques or unnecessary showboating. Mr. Warren actually sounds most expressive at the more slower paced parts of this disc, making each note count, taking his time and telling modest stories. Another highlight here is the consistently strong, diverse playing by drummer Satoshi Takeishi. Mr. Takeishi is often at the center of the storm, spinning several lines simultaneously, connecting with all members of this quartet as the currents shift around him. The best thing about this disc is the composing of Mr. Warren, which is most unpredictable. Many of the pieces start one way only to suddenly shift in tempo or swing hard for one section and then end up somewhere else completely. What makes this disc so great is that ever time I listen to it, some other marvelous idea shows up if you listen closely enough and are not distracted by whatever erupts in front of us. - Bruce Lee Gallanter, DMG
SANA NAGANO with KARL BERGER / BILLY MARTIN - Anime Mundi (577 Records 5919; USA) Featuring Sana Nagano on violin & FX, Karl Berger on piano & vibes and Billy Martin on drums & percussion. Over the past few years, I’ve watched & heard violinist Sana Nagano evolve through different bands & projects that she’s led or been a member of: working with/for: Adam Rudolph, Peach & Tomato (duo with Leonor Falcon), Astroturf Noise, the Veer Quartet as well as her own band Smashing Humans. Ms. Nagano’s first recording (that we know about) was a trio with Karl Berger & John Ehlis from 2014. Ms. Nagano has continued to work with Creative Music Studio founder & well-respected music elder,Karl Berger ever since. The third part of this trio is master-drummer Billy Martin (from MMW), who is also currently co-running the Creative Music Studio/School with Mr. Berger. Ms. Nagano has played at DMG on several occasions and never ceases to surprise me with her varied directions and multiple electronic effects that she uses.
This is an all improvised studio session and it well-recorded. Ms. Nagano uses a bit of sustain or distortion on the opener, “Timeless Eyes”, playing tightly with Mr. Martin’s flowing grooves and Mr. Berger’s relaxed piano. Billy Martin is well known for his wonderful, enticing grooves that were are the center of much of the music with Medeski, Martin & Wood. Martin also works his rhythmic magic here as well, expanding from one groove to another throughout. Ms. Nagano takes a long, inspired, sweeping violin solo here riding the waves created by Mr. Berger and Mr. Martin. Karl Berger does a fine job of framing these pieces by playing a variety of majestic chords on both piano and later on vibes. There is quite a bit of inspired interplay going on between Ms. Nagano and Mr. Martin, in many ways this is a most dynamic, focused trio that sounds like they’ve been working together for a long while. Even the freer sounding sections here are nicely focused similar to a compelling heated dialogue. I like that Ms. Nagano uses effects selective which makes sense since she is working with two acoustic, dynamic instruments. Overall this is a strong, inspired, thoughtful date that doesn’t sound completely improvised yet retains the magic of taking chances that do work out throughout. - Bruce Lee Gallanter, DMG
MORE CHALLENGING TREASURES FROM OUR GOOD FRIENDS AT CLEAN FEED:
BERNARDO TINOCO & TOM MACIEL - Nomad Nenufar (Clean Feed 695CD; Portugal) “This duo was idealized by Bernardo Tinoco (saxes, flute and duduk) and Tom Maciel (piano, synths & drum machine) focusing on the collective composition of original repertoire for their instruments. Not wanting to restrict the music to an exclusively acoustic context, the duo's proposal also includes the exploration of electronic sonorities through the use of synthesizers and audio processing as the basis of the creative process. The will to explore an aesthetic that could balance composition, improvisation and electronics emerged during their joint academic path. Having met in Lisbon, the two musicians developed since 2016 a strong academic and professional relationship, discovering affinities through various musical projects.
Faced with the need to adapt to smaller formations, as a result of the various constrains caused by the pandemic COVID-19, the duo found their way through the creation of this project. Influenced by numerous music artists of thenew generation and being aware of a vast discography for saxophone and piano released over the past decades, Tinoco and Maciel explore their skills as multi-instrumentalists in search for their own voice. The debut album "NoMad Nenúfar”, released by Clean Feed, also features the Portuguese jazz drummer João Pereira, performing on three tracks.”
MAREK POSPIESZALSKI QUARTET - Durer’s Mother (Clean Feed 599CD; Portugal) Personnel: Marek Pospieszalski - tenor sax, Elias Stemeseder - piano, Max Mucha - double bass and Max Andrzejewski - drums. Marek Pospieszalski presents the next album of his quartet. The music on "Dürer’s Mother" is inspired by the work of 19th and 20th century composers, from Schubert to Britten to Lachenmann. Pospieszalski's compositions, full of references to the works of masters, are immersed in contemporary times and go into unexplored areas of free improvisation. They are a starting point for an open and multifaceted interpretation, in which the other members of Pospieszalski's ensemble find themselves masterfully. A lot has already been expressed within the classical quartet formula, however, this encourages the musicians to search for new forms of expression, placing the main emphasis on tone color, using non-standard consonance, or provoking cross-genre meetings.
The Marek Pospieszalski Quartet is at the forefront of the European improvised scene. Each of the musicians has an individual sound resulting from their diverse musical experiences. Apart from one of the most sought-after double bass players, Max Mucha, we can also hear Elias Stemeseder on piano and Max Andrzejewski on drums. The material was recorded at Berlin's Emil Berliner Studios, with the Jeremy Loucas responsible for mixing and mastering.
Marek Pospieszalski was selected as one of the 25 most promising musicians in Europe by German magazine JazzThing. Both his musical family and environment focused around Tie Break band, had a huge impact on his development. His musical foundation consists of improvised and experimental music, contemporary jazz, nevertheless, he is open and draws from any musical genre. He recorded albums with artists such as Dennis Gonzalez and Marco Eneidi. He is the leader of his own quartet, octet, and plays in a duo with Qba Janicki called Malediwy. He is a member of Wojtek Mazolewski Quintet."(...) In terms of saxophone technique, I place Pospieszalski at the absolute peak of mastering this instrument”.
MARGAUX OSWALD - Dysphotic Zone (Clean Feed 603CD; Portugal) Dysphotic Zone is a freely improvised solo piano album and it's Margaux Oswaldsdebut recording for Clean Feed. The unedited performance was recorded live at the Monopiano Festival in Stockholm. The album title refers to the ocean layer between 200 and 1,000 meters in the ocean. In this zone, the intensity of light rapidly dissipates as depth increases. Such a minuscule amount of light penetrates beyond a depth of 200 meters that photosynthesis is no longer possible.
Margaux Oswald is a pianist of French-Filipina origin, born in Geneva, and currently based in Copenhagen. She has played the piano since the age of 5, and is now committed to the art of free improvisation. She has performed internationally with her freely improvised solo concerts, and can also currently be seen in duos with Jesper Zeuthen or Kasper Tranberg, in a trio with Sture Ericsson and Håkon Berre, as well as in her own septet Collateral Damage.
Jan Hocek from Jazzport has written the following about Oswald ́s solo performance: “She literally fused with the instrument, forming a single living organism full of emotions with the piano. The variably thickening minimalist areas alternated with meditative dives and free jazz storms. Shards of melodies stroked and injured, tones in lower positions rumbled and gurgled, high ones then cut steel into the ears. Impressions of liberated, crystal-clear tones plunged into the dense lower drone, then dissected, disturbed, and then the wild-minded ones crushed with relentlessly tense expression...” - Jan Hocek, Jazzport.cz
SUNDAY SEXTET - Lih Kadim (FMR CD 645; UK) Personnel: Marko Jenic - violin, Jure Borsic - reeds, Andrej Bost Jancic Ruda - electric guitar, Jaka Berger - live sampling & modular synth, Jost Drasler - double bass and Vid Drasler - drums. Recorded in February of 2021 in the Hall of Cultural Centre in Slovenia. This is a Slovenian sextet whose only member I know of previously is Jaka Berger. I know of Mr. Berger from his work with guitarist Samo Salamon, as well as a recently release on FMR by Bootleg Unit (which includes a member of this sextet). I can’t say that I know very many Slovenia musicians outside of Bratko Bibic, Kaja Draksler and Vasko Atanasovski (on Moonjune). The music sounds improvised yet it also sounds directed at times. There is a swirling dreamlike quality provided by the violin, reeds & el. guitar with bits of electronics or samples also spinning while the rhythm team provides a cushion which expands and contracts. Things soon speed up to intense tornado-like swirl which makes me a bit dizzy and is most exciting. The sextet often sound like they on the verge of flying apart but don’t. When the intense swirl calms down, things quiet down with just violin and bass hovering below. For the second piece, “Friday”, things start out softly and soon escalate with the sextet spinning freely around one another. There seems to be something inside which is holding this or directing things here. Although there are several layers of inaction going on, things never become to dense or difficult to listen to. The music sounds very carefully crafted, there are no solos per say but we can tell that these folks are listening attentively and creating their own unique world/soundscape. A most impressive debut from a fine sextet that is definitively have their own sound. - Bruce Lee Gallanter, DMG
MAGGIE NICOLS - Are You Ready? (Otoroku 032; UK) “First physical solo release from legendary British vocal improvisor, dancer and performer Maggie Nicols and the follow-up to her brilliant Creative Contradiction (Takuroku, 2020). While she might be best known as an improviser (Spontaneous Music Ensemble, Feminist Improvising Group, Les Diaboliques), Maggie Nicols's talents stretch into song, dance, poetry, performance, and composition. When Cafe OTO was shut over lockdown, they invited her to follow-up the brilliant solo Creative Contradiction. "Songs" -- seemingly contradictory to the practices of free improvisation -- have been a vital part in Nicols's relationship to music. It was singing bebop with pianist Dennis Rose which nurtured and challenged Nicols, allowing her to develop her own skills and sound amongst a repertoire of standards swung in clubs and pubs. Singing alongside Julie Tippetts in Centipede showed her how heady experimentation could be woven into composition, and a more recent recording with pianist Steve Lodder is simply titled The Maggie Nicols Songbook. Are You Ready? recalls Nicols's own compositions from memory, working out tunes and turning them over. New routes down old paths form in moments of improvisation and all wrong turns are played out with joyous discovery. What John Stevens dubbed Maggie's "ability to find the 'rhythmelodic'" meets a willingness to be understood and to understand. Solo at the piano, Nicols is still firmly rooted in the collective however -- "Are You Ready / Sans Papiers" sets the words of poet Vicky Scrivener to tune; a tale of migration and struggle which is as important to Nicols as the songs her mother wrote. "Whatever Arises" - a companion disk to the 'Songs', is a meditation of sorts, a process of 'following the energy' which has its roots in John Stevens' work. "Improvisation gives the confidence to compose," Nicols told us in an interview about some of her archival tapes, and here the two are as important as each other. Beginning with breath and repetition, "Whatever Arises" allows Nicols to find new voices, accompanied by the piano and over dubbings of her tap shoes on the concrete floor. Brilliantly she is able to share her moments of discovery with the listener, finding comfort in vulnerability. Whilst rooted in Stevens' work, Nicols' improvisational techniques is also reminiscent of Pauline Oliveros's Sonic Meditations. Recorded at Cafe OTO July 15-17 2021 by Shaun Crook. Mixed by Shaun Crook. Mastered by Sean McCann. Artwork by Annalisa Colombara. Lettering by Rosella Garavaglia. Layout by Maja Larrson. Double-CD version includes a companion disc of freely improvised meditations entitled, "Whatever Arises".
2 CD Set $20
MARGARIDA GARCIA - Good Night (Feeding Tube Records 716CD; USA) "Portuguese bassist Margarida Garcia has collaborated with some of our favorite artists -- Marcia Bassett, Loren Connors, and Chris Corsano, among them. Loren even wrote the liner notes for Good Night, which is about as a solid an endorsement as anyone is ever likely to get. So, we are proud and excited to present the first solo album she's released through a US label. The three tracks on Good Night are all lovely slides into pools of quivering dream gel. Performed on an amplified upright bass, the arco flow of her playing (with what I assume to be light electronic effects in certain passages) moves like a field of lava sheets overlapping as they move away from their source. The effect is a bit dizzying, since as a listener you feel attached to these sheets in one place or another, and they are constantly shifting. The sound of Garcia's bass is hard to place in one genre. There are bits that remind of Bertran Turetsky's modern classical work, but other parts have drone content with distinctly psychedelic undercurrents (a truly subjective opinion), and others that put me in mind of Randall McClellan's droned-based electronics pieces like 'Distant Voices.' All over the map? You might say that. But only if you had a very fine damn map. Margarida Garcia's Good Night will take your brain to a lot of new places. For just pennies a mile. Dig it." --Byron Coley, 2022
STEFANIE ABDERHALDEN / KYLE FLENS - Ilta (Neuma 162; USA) Finding its origins from a 2016 concert performance, combined with creations fomented in the studio, Ilta (Finnish for "evening”) showcases the sublime work of flautist Abderhalden and percussionist Flens, simpatico interpretations of works by David Maki, Robert Fleisher, Robert Hornstein, and in one particularly sterling example, Iannis Xenakis. This is really one of the more beautifully recorded releases to be encountered in recent memory; regardless of one’s interest in either acoustic, electric, or electroacoustic musics, anyone not immediately enchanted or left spellbound by the diaphanous resonances of these performances must surely have a heart of steel. Abderhalden and Flens make their source material positively glow. Flens’s chiming, full-bodied vibes, marimbas, triangles, and assorted metallophones push the characteristics of reverb to its very limits, particularly on the title track and Maki’s “Inertia”, on which the burnished, pan-Caribbean tones of the luminescent steel pans he plays burst outward and upward in heavenly reach. On the Xenakis piece, “Rebonds A”, clunky percussives mimic a phalanx of wood blocks being tossed down the stairs (or summoning the spirits of ancient gods, whatever your fancy), but either way, Flens’ manages to channel Xenakis’s raw power and ability to marshal together seemingly disparate ideas, the resulting intertwining faux-rhythms galvanized with abject force. The Fleisher pieces are an altogether different animal. Abderhalden’s array of flutes are the stars here, underpinned by Flens’s subtle tintinnabulations, working in a post-classical vein that is indebted equally to the spatial creations of Robert Dick and Steve Reich, but take their cues from an acoustic-minded form of ambient music as well, one that, frankly, has yet to be invented. Until now. Bravo! - Darren Bergstein, DMG
ALEX LUBET - Songs in Time of Plague (Neuma 164; US) That Minnesota composer and multi-instrumentalist Lubet created and performed this work during the pandemic wilderness years, hampered by a temporary disability post-surgery that denied him the use of one hand, is not only impressive, it’s nothing short of miraculous. This remarkable album is essentially two halves of one whole, the eighteen-minute tour de force that is “On the Seventh Hour”, and the pieces that comprise the seventeen-part titular work. Both are essentially performed with the use of just two instruments, the dobro (or resonator guitar) on “Seventh Hour”, and the mountain dulcimer on the “Plague” tracks, but your ears deceive you, for there is much, much more on display here. With determination and no small amount of sheer will, Lubet manages to create an emotionally charged atmosphere out of but a tiny array of sounds and textures during the lengthy duration of “Seventh Hour”, utilizing a full complement of sticks, beaters, mallets, etc., and his own fingers to pluck, pull, strike, and grasp at the dobro’s surface and innards, the net effect yielding a minimalist yet powerful palette of territorialized tone that grabs hold of your imagination and doesn’t let go. From these ‘bits’ and ‘fragile’ moves Lubet manages to wring out the impossible, a work of forethought and bracing intensity. The seventeen following tracks flip the model, so to speak. While the dulcimer’s plaintive cries aren’t any less prepossessing, Lubet’s handling of the instrument strikes a more contemplative feel throughout, alternately searching and yearning, lamenting lost time, abbreviated memories, the selfless paradox of isolation. Somehow this music is of its era and beyond it, but then again, all the best recordings strive for the same things, touching qualities deep within the soul that are lying dormant, awaiting the trigger. Lubet provides it, in beautifully distressed spades. - Darren Bergstein, DMG
FIVE KRIS DAVIS DISCS ON CLEAN FEED FINALLY RESTOCKED:
KRIS DAVIS With INGRID LAUBROCK / MAT MANERI / TREVOR DUNN / TOM RAINEY - Capricorn Climbing (Clean Feed 268; Portugal) Kris Davis - a pianist-composer who offers "uncommon creative adventure," says JazzTimes - releases her first quintet album, the characteristically kaleidoscopic Capricorn Climber, via Clean Feed Records on February 1, 2013. Long favored by her peers and jazz fans in the know, Davis has earned high praise from no less than star pianist and MacArthur 'Genius' Grant honoree Jason Moran, who included her in his Best of 2012 piece in Art Forum, writing: "A freethinking, gifted pianist on the scene, Davis lives in each note that she plays. Her range is impeccable; she tackles prepared piano, minimalism and jazz standards, all under one umbrella. I consider her an honorary descendant of Cecil Taylor and a welcome addition to the fold." This sixth album as a leader from the Vancouver-born, Brooklyn-based Davis sees her joined by kindred spirits Ingrid Laubrock (tenor saxophone), Mat Maneri (viola), Trevor Dunn (double-bass) and Tom Rainey (drums). The seeds of Capricorn Climber were sown with an all-improvised show at the intimate club Barbes in Brooklyn, with the quintet lineup meshing so well together that Davis was inspired to compose an album's worth of music for the group - while aiming to retain the fresh, spontaneous feel of that initial performance.
KRIS DAVIS - Save Your Breath (Clean Feed 322; Portugal) This masterpiece is a major work for Kris Davis and her definititive breakthrough as a major composer in XXI century American music. Great line up and total dedication from all musicians involved. Soundwise this is also a top recording. If you're following Kris recordings you know that she never repeats herself rather looking for new ways of expression.
PARADOXICAL FROG with KRIS DAVIS / INGRID LAUBROCK / TYSHAWN SOREY - Union (Clean Feed 262; Portugal) The trio "Paradoxical Frog", made up of pianist Kris Davis, saxophonist Ingrid Laubrock and drummer Tyshawn Sorey made a significant mark with its self-titled debut album in 2010. The three musicians, who all contribute compositions to the group, have a shared ability to create dramatic musical peaks and valleys while moving in and out of a composition in a seamless motion. This is why listeners in NY and all over the world continually seek out this unique and ever changing group. "Union" is the second take of the project, confirming that the music from their first release didn't simply result from a happy gathering of circumstances. Redefining lyricism in a sometimes angular context, this is jazz with extreme space and dynamics, yet an unapologetic love for conventional tone and a solid sense of tension and release.
KRIS DAVIS - Aeriol Piano (Clean Feed 233; Portugal) Pianist Kris Davis is rapidly becoming one of the most sought out pianists in New York. Every recording we get our hands on, we find her. The trio Paradoxical Frog with Tyshawn Sorey and Ingrid Laubrock, her trio Good Citizen with John Hebert and Tom Rainey, Ingrid Laubrock's band Anti-House, with Tony Malaby and her arrangements of his music for Novela, on Kermit Driscolls CD Reville, with Stephen Gauci and Jon Irabagon, and with the Portuguese singer Sara Serpa, the list going on and on. Now, it's time for her first solo record. In Aeriol Piano we can focus our attention entirely on her exquisite piano playing, the music displaying her refreshing style and spirit of adventure. From a version on Jerome Kerns 'All the Things You Are', to a prepared piano composition, to completely improvised pieces, we hear Davis exploring and developing all the innovations of her instrument. She performs inside and outside of the box, in every Moment surprising us with her ability to avoid cliches, forging a new path in jazz piano. If you haven't listened to the music of Kris Davis yet, 'Aeriol Piano' will introduce you to a new and innovative voice in jazz today.
SKM with STEPHEN GAUCI / KRIS DAVIS / MICHAEL BISIO - Three (Clean Feed 189; Portugal) Paul Bley once said that, if you want to change the music, you have to change the conventional jazz instrumentation. Jimmy Giuffre did it excluding the drum-kit from his trios, one of them precisely with Bley, and now Stephen Gauci, Kris Davis and Michael Bisio adopt the formula for a new welcomed deviation from the norm. As expected, the absence of a rhythmic driving instrumentalist mutates drastically the parameters of the music played: everything gets much freer, and at the same time it takes a chamber, clean, almost classical, flavour - even when the focus is on "groovin' for the hell of it", one of the CD subtitles. If there's a tenor saxophone, a piano and a double bass, like with the Giuffre's trio in 1961, stylistically what we find in "Three" have other premisses and objectives. First of all, and except for a Bisio's composition, all tracks are entirely improvised. So, this is something else, formally and organizationally. Only the musical language used, jazz, connects the proceedings with history, and if Gauci, Davis and Bisio are true innovators, they deal with the tradition. After all, Stephen Gauci had Joe Lovano, George Garzone and Frank Wess as masters, all of them guardians of the tenor lineage, Kris Davis is a remarcable heir of the third stream ambition to combine contemporary music and jazz elements, and Michael Bisio is the present day contrabassist more akin to Charlie Haden's lyricism.
ARCHIVAL & HISTORIC DISCS, REISSUES & RESTOCKS:
KATE & ANNA McGARRIGLE - Tant Le Monde (Made in Germany 02772; Germany) “Singers/songwriters Kate and Anna McGarrigle (born in Montreal of mixed English- and French-Canadian background, and grew up in the Laurentian Mountains village of Saint-Sauveur-des-Monts, Québec) have performed to critical and popular acclaim throughout North America, Europe, and the Far East for three decades. Their albums have earned record of the year awards from Melody Maker, Stereo Review, and The New York Times, among others. Their songs have been widely recorded by other artists, including Linda Ronstadt, Judy Collins, Emmylou Harris, Pet Shop Boys and Nana Mouskouri. Among their many collaborations, the McGarrigles have performed and recorded with the Irish group The Chieftains, with Emmylou Harris on her "Wrecking Ball" album (with Anna's "Goin' Back to Harlan" among the album's tracks) and joined Joan Baez on her live recording "Ring Them Bells". Kate and Anna have composed and performed music for several movie and television productions, including a number by the National Film Board (NFB) of Canada, appeared on Saturday Night Live and Late Night with David Letterman, sung in the Public Broadcasting System fundraiser Songs of the Civil War, and starred in their own PBS special, with Linda Ronstadt and Maria Muldaur as guests. In 1994, Kate and Anna were awarded the Order of Canada. In 2010, aged 63, Kate McGarrigle sadly died of sarcoma, a rare form of cancer.On Monday, April 22, 2005, Kate and Anna McGarrigle performed at Radio Bremen's broadcast hall. Anna remembers:"Our second French record "La vache qui pleure" had just been released in Europe and we were touring in support of it. At that time, the core group consisted of Kate and I, with Joel Zifkin on violin and Michel Pépin on guitar and bass, drummer Thom Gossage and my sweet-voiced daughter Lily Lanken. I hope you enjoy the music. Thank you for listening!"
AGITATION FREE - Last Fragments, Live '74 Plus Bonus Dvd (Live At Kesselhaus, Berlin 2013)(Made in Germany MIG 01660; Germany) When the band Agitation Free came together in 1967 as a result of the merging of two Berlin rock groups, one of the most interesting groups in a dawning independent German music scene was created. With their improvisations between rock, jazz and new music, Agitation Free - soon relegated to the not so flattering category of "Krautrock" - made musical forays into areas that few of their fellow German musicians had ever penetrated. At a time when most in Germany were still orienting themselves as closely as possible to Anglo-American musical formats, Agitation Free found a completely new and very original form of musical expression. Starting with their debut album "Malesch" and the album "2nd", Agitation Free delivered a fascinating sound, influenced not least by the manifold impressions from a Near East tour. The band moved toward a form of meta-music, a weaving of exotic-sounding compositions. The album "Last" was originally released in 1976. Looking back, it's evident that the Agitation Free was one of the most important bands of the experimental circle known as the "Berlin School", and a career springboard for a whole slew of musicians. At the same time, this policy of changing personnel also meant risking that the band couldn't keep itself together over the long run. Agitation Free consciously took this risk in order to remain as close as possible to their own concept - free from commercial pressure or concessions to the latest trends and modes.”
4 CD Set $30
SANDY EWEN - You Win (Gilgongo Records GGGR-099; Earth) Featuring Sandy Ewen on solo electric guitar (on lap) recorded (Side A) at Project Q in October of 2018 and (Side B) at Seizure Palace in July of 2018. Last week (10/18/22) we had a rare 4 set night of performances here at DMG. The fourth set was a guitar duo with Tom Carter (of the Charalambides) and Sandy Ewen. Both are originally from Texas, have played together on rare occasion and the set was a marvel of guitar manipulation and weirdness. Check out the sliver on our InstaGram feed. Ms. Ewen moved to Brooklyn several years ago and has played at the store around a half dozen times. The sounds she coaxes from her guitar (often on her lap) with assorted utensils is completely unique so seeing/hearing her live helps those attendance to watch how she plays.
Sandy Ewen left us with 5 copies of a rare, recent solo effort with both sides recorded in the Summer of 2018 at two different locations. Side A is the title track, “You Win” and it was recorded in October of 2018, four years ago as of yesterday. Ms. Ewen uses a handful of utensils, rubbing or banging lightly on her strings. Soft, eerie feedback drifts in and out, the vibe is somewhat disorienting yet most effective. Ms. Ewen is a master of strange, unique sounds which some folks would not associate with an electric guitar unless you were familiar with Fred Frith or Davey Williams or Doc Chadbourne. There are some sounds here which evoke strange vibes, the slightly twisted clanging of bells (strings?), subtle static or electronic sounds carefully manipulated. It all works and it cast a spell on me for the entire length of this album. It will also cast a spell on you if you give it a chance. - Bruce Lee Gallanter, DMG
ROSS HAMMOND - Our Time (Ramble Records RAM 0036; Australia) Featuring Ross Hammond playing solo 12 string acoustic guitar recorded at home in Sacramento, CA. I’ve known of Sacramento-based guitarist Ross Hammond for more than a decade and always enjoy when he plays here at DMG on several occasions. Hammond once organized a great quartet with Oliver Lake, Vinny Golia and Adam Lane for a set at DMG which he released on CD in a limited run. I haven’t seen Mr. Hammond in several years although he has released (and sent us) a handful of albums or CD’s: solo guitar, a duo with Jay Nair on tablas and a trio with Oliver Lake and Mike Pride. One of the things that I like most about Mr. Hammond is that his playing never seems bound by jazz or rock licks. He seems to tap into another source unbound by regular genres/styles. I must admit that I love the sound of a 12-string acoustic guitar, an instrument not often used by other 6-string guitar heroes. “A Strength In Silence” is first and it has a dreamy, magical quality, folky, pure, quietly dazzling with certain notes ringing, the way that those sympathetic string do. The way Mr. Hammond plays evokes some 60’s folk-rock strumming, warm and sunny (like today - 10/27/22). For some reason each piece evokes a certain feeling or vibe, bringing me or us to a nice place in our collective past. I can hear a chorus of angels or sweet women singing or chanting in the background here. The way Mr. Hammond strums, the strings seem to buzz or hum together and bring me/us back to an ancient place. I must admit that this album is one of the most heart-warming and enchanting records I’ve heard in recent memory. Break out those dusty turntables and rejoice! - Bruce Lee Gallanter, DMG
LOUIS MOHOLO OCTET with EVAN PARKER / KEITH TIPPETT / KENNY WHEELER / NICK EVANS / RADU MALFATTI / HARRY MILLER / JOHN DYANI - Spirits Rejoice! (Otoroku 004; UK) “Otoroku present the first vinyl reissue of Louis Moholo Octet's Spirits Rejoice!, originally released in 1978 on Ogun Recordings. One of the most legendary free jazz records ever produced, Spirits Rejoice! is a high achievement in the movement of the era as it soars beyond oppression with a raucous and spiritually uplifting surge of movement and melody. Featuring Harry Miller, Johnny Dyani, Keith Tippett, Evan Parker, Nick Evans, Radu Malfatti, and Kenny Wheeler, this is former Blue Note artist Louis Moholo's first album under his own name and is a classic example of the cross-pollination between South African and British players. Mongezi Feza's 'You Ain't Gonna Know Me 'Cos You Think You Know Me" alone is enough to make your life a better place. Made with permission and in association with Ogun Recordings. Features an exact reproduction of the original artwork and liner notes, along with new liner notes from Matthew Wright. Remastered by Giuseppe IIelasi. High gloss sleeve.
EVAN PARKER - Saxophone Solos (Otoroku 010LP; UK) “OTOROKU reissue Evan Parker's first solo LP Saxophone Solos. Recorded by Martin Davidson in 1975 at the Unity Theatre in London, at that time the preferred concert venue of the Musicians' Co-operative, Parker's densely woven and often cyclical style has yet to form; instead throaty murmurs appear under rough-hewn whistles and calls -- the wildly energetic beginnings of an extraordinary career. Reissued with liner notes from Seymour Wright in an edition of 500.
"The four pieces across the two sides of Saxophone Solos -- 'Aerobatics 1' to '4' -- are testing, pressured, bronchial spectaculars of innovation and invention and determination. Evan tells four stories of exploration and imagination without much obvious precedent. Abstract Beckettian cliff-hanging detection/logic/magic/mystery. The conic vessel of the soprano saxophone here recorded contains the ur-protagonists: seeds, characters, settings, forces, conflicts, motions, for new ideas, to delve, to tap and to draw from it story after story as he has on solo record after record for 45 years. 'Aerobatics 1-3' were recorded on June 17th 1975, by Martin Davidson at Parker's first solo performance. This took place at London's Unity Theatre in Camden. 'Aerobatics 4' was recorded on September 9th the same year, by Jost Gebers in the then FMP studio in Charlottenburg, Berlin. Music of balance and gravity, fulcra, effort, poise, and enquiry. Sounds thrown and shaken into and out of air, metal and wood. It is -- as the titles suggest -- spectacular." --Seymour Wright, 2020
EVAN PARKER - Six of One (Otoroku 009LP; UK) “Originally recorded and released in 1980, Six of One beautifully captures the detail in Evan Parker's high frequency split tones for which he is now perhaps better known. Five years on from Saxophone Solos and with circular breathing and polyphonics well-worn into his live performances, Parker's experiments here produce sustained passages of brilliant flight. Set into the echoes and resonances of a St Judes On The Hill church, the results are stunning. Transferred from the original master tapes by Thomas Hall at Abbey Road Studios and released in an edition of 500.
"The recital commences with a split tone line of twining sine waves that expand and contract in telepathic collusion. Pitch dynamics narrow and redefine themselves more emphatically on the second piece where sliding legato rivulets born of Parker's compartmentalized tonguing create the sonic semblance of up to three separate voices emanating from the single reed speech center. It's a feat he's accomplished innumerable times since, but every fresh hearing never fails to open an aperture into a style of improvisatory expression that is at once wholly alien and intensely mesmerizing. There's also something strangely subterranean about the flood of sounds, like the rush percolating water through an underground aquifer system enroute to unknown tributaries. The third piece trades tightly braided tones for leaner and more linear phrases, but a vaporous trail of phantom notes still clings to the central line. And so it goes, with the illusion of repetition guiding the momentum, though Parker never explicitly repeats himself." --Derek Taylor, All About Jazz, 2002
HIROSHI SUZUKI / MASAHIKO TOGASHI QUINTET - Variation (Future Shock 4473LP; Italy) “Future Shock present a reissue of Hiroshi Suzuki/Masahiko Togashi Quintet's Variation, originally released in 1969. Essential jazz album among the influences of the future-jazz quartet Sleep Walker by trombonist Hiroshi Suzuki. Variation is a joint project including the legendary jazz drummer Masahiko Togashi featuring pianist Yuji Ohno, saxophonist Jun Suzuki and trumpeter Tetsuo Fushimi. Masahiko Togashi was a major figure alongside Masahiko Sato, Masayuki Takayanagi, and Yosuke Yamashita in the blooming of free jazz in Japan in the late sixties whose Variation is one of the iconic masterpieces.”
GRAHAM BOND PETE BROWN - Two Heads Are Better Than One (Vinilissimo 541LP; Spain) Reduced price, last copies. Vinilisssimo present the first vinyl reissue of Graham Bond and Pete Brown's Two Heads Are Better Than One, originally released in 1972. Graham Bond and Pete Brown need little introduction. Bond was a key figure of the early British jazz and R&B scenes. His Graham Bond Organisation recorded several albums and the band's members (Jack Bruce, Ginger Baker, John McLaughlin and Dick Heckstall-Smith) achieved massive fame in their later careers. Pete Brown was a Cream/Jack Bruce collaborator. After being thrown out of his own band, Pete Brown & His Battered Ornaments, he formed another group: Piblokto! Dangerous habits, mental health issues and little commercial success seriously affected their careers on the verge of the '70s and a series of unfortunate events saw Graham Bond and Pete Brown finding themselves in limbo. They decided to team up for a new band project, resulting in the recording of Two Heads Are Better Than One in 1972. The album includes songs like "Lost Tribe" and "Looking For Time", both an attempt to express the fact that Pete and Graham were now on the outside of the rock scene in the early '70s, and "Ig The Pig", a dedication to a dubious record label head after the band found out their fee was not going to end in their bank account. Two Heads Are Better Than One is a brilliant multi-genre crossover celebration: bluesy rock with a funky twist and jazzy prog passages. It was Graham Bond's last album and probably his best work. Presented in facsimile artwork and pressed on 180 gram vinyl.
ATTENTION ALL CREATIVE MUSICIANS OUT THERE, Around the world.
If you have a link for some music that you are working on and want to share it with the folks who read the DMG Newsletter, please send the link to DMG at DMG@Downtownmusicgallery.com.
Friday, October 28, 2022
Plays Éliane Radigue, Yasunao Tone,
Ellen Arkbro, Ben Patterson and Phill Niblock
doors 7 pm, shows 7:30 pm
At Blank Forms
468 Grand Ave, 1D,
Brooklyn NY 11238
This Saturday, October 29
Drácula with Live Guitar Score with GARY LUCAS!
Drama, Fantasy, Horror | 1931 | 104 MIN
Unknown to most film-goers—even die-hard horror and fantasy cinema buffs—a second, alternate, and many would hold, superior version of “Dracula”(1931, d. George Melford and Enrique Tovar) was being filmed at night on the same sets and sound stages as the famous Tod Browning/Bela Lugosi “Dracula”, with virtually the same script—but with a Spanish-speaking cast, in a Spanish-language production aimed at the burgeoning Latin market.
The resulting film contains markedly more fluid camera-work and editing and more atmospheric use of lighting than the original “Dracula”—and boasts over-the-top, sexier—and dare we say, more full-blooded—performances from a cast including the great Mexican actress Lupita Tovar and Spanish born actor Carlos Villarias.
In the fall of 2009, legendary guitarist GARY LUCAS (Captain Beefheart, Jeff Buckley) turned his creative energies towards composing a new solo guitar score for the infamous Spanish-language “Dracula”. The film, like the original “Dracula”, contains virtually no music beyond the opening and closing titles—Gary’s original guitar music flows throughout continuously, underscoring the spoken Spanish dialogue sequences as well as the long expressive shots that contain only sound effects in the film. He debuted his new live score accompanying the film at the Havana Film Festival, and went on to accompany the film at the New York Film Festival, the Sevilla Film Festival, the Jerusalem Film Festival, the Transylvania Film Festival, and many other venues and theaters around the world.
As a special Halloween treat, on Sat. Oct. 29th the Roxy Cinema is excited to present Gary Lucas performing his original solo guitar score live accompanying Spanish “Dracula” at 7:30pm.
This event will take place at THE ROXY CINEMA which is located at
2 Avenue of the Americas, Cellar Level
New York, NY 10013 / 212-519-6820 / firstname.lastname@example.org
November 22nd, 2022
Live at Scholes Street Studio
Tuesday November 22nd
Live recording/Live audience!
7:30pm Mara Rosenbloom - piano
gabby fluke-mogul - violin
Tcheser Holmes - drums
8:30pm Stephen Gauci - tenor saxophone
Santiago Leibson - piano
Adam Lane - bass
Colin Hinton - drums
9:30pm Kevin Shea - drums
Jonathan Goldberger - guitar
Live recording/Live audience!
$20 at the door (entire evening), cash/venmo
@ Scholes Street Studio
375 Lorimer Street, Brooklyn / 718-964-8763
gaucimusic.com / https://www.facebook.com/events/3307967336145215
SUNDAY, NOVEMBER 27 8:00 PM
John Zorn’s NEW MASADA QUARTET
509 Atlantic Ave, Brooklyn, NY 11217
John Zorn - sax
Julian Lage - guitar
Jorge Roeder - bass
Kenny Wollesen - drums
THEIR ONLY PERFORMANCE UNTIL SPRING 2023 - DON’T MISS THIS ONE!
A surprise and rare appearance of John Zorn’s newest and most exciting ensemble, the New Masada Quartet. Performing classic compositions from the Masada songbooks, NMQ is a tight unit of like-minded virtuosi and one of the best groups Zorn has ever had. Bristling hot guitar master Julian Lage, bass wizard Jorge Roeder and 30-year Zorn veteran Kenny Wollesen perform with a crackling live energy that brings the Masada music to life like never before! Led by Zorn’s versatile sax and stop and start conducting, the music is filled with burning solos, telepathic group interaction, heartfelt lyricism and hypnotic grooves.
A CONCERT FOR THE UKRAINE
Friday, December 9th at 7:30pm, doors at 6:30
The Auditorium at The New School
66 W. 12th Street, NY, NY, 10011
Presented by John Zorn & The College of Performing Arts at The New School
LAURIE ANDERSON-JOHN ZORN DUO
MARC RIBOT-MARY HALVORSON DUO
SARA SERPA & MARTA SANCHEZ
RAVI COLTRANE QUARTET
with ADAM ROGERS / DEZRON DOUGLAS & KUSH ABADEY
Suggested Donation $50 & above to RAZOM
Please show a receipt of your donation at the door for admission
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… the new one just popped up today, 7/27/22:
THERE IS A RECENT INTERVIEW with FRED FRITH by Rick Rees that is found here: https://rickrees.substack.com/p/fred-frith-interview . 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 & myself are old friends and he is someone whose music and attitude I really admire. - BLG
AMAZING SERIES OF PODCASTS PUT TOGETHER BY THE GREAT GUITARIST SAMO SALAMON:
The wonderful Slovenian guitarist/composer Samo Salamon has an incredible podcast on Youtube entitled "DR. JAZZ". He has interviewed many of the leading lights of contemporary improvisation including Bill Frisell, Hal Galper, Herb Robertson, Ben Monder, Bob Moses etc. and his conversations are deep and enlightening. Highly recommended for all curious listeners across the worlds of creative music. Here is the link below..
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: https://www.facebook.com/gary.lucas.5836/
ATTENTION TO ALL DMG CUSTOMERS: NEW EMAIL ADDRESS: email@example.com