Backs broke bending digging holes to plant the seeds
The owners ate the cane and the workers ate the weeds
Put the wood in the stove, the water in the cup
You worked so hard that you died standing up
When I was a little thing
Papa tried to make me sing
Home Sweet Home and Aura Lee
These were songs that my daddy taught me
Camptown Races and Susannah Don't You Cry
Gentle Annie still brings a tear to my eye
Label it garbage, label it art
You couldn't call it soul, you had to call it heart
Backs broke bending digging holes to plant the seeds
The owners ate the cane and the workers ate the weeds
Put the wood in the stove, the water in the cup
You worked so hard that you died standing up
Sing me songs of days gone by
Make me laugh, make me cry
Break my female heart in two
Sing me songs that say "I love you"
Lower your eyes, raise your hand to your breast
Sing me one about the sun setting in the west
Backs broke bending digging holes to plant the seeds
The owners ate the cane and the workers ate the weeds
Put the wood in the stove, the water in the cup
You worked so hard that you died standing up
Wood's in the stove, water's in the cup
You worked so hard that you died standing up
After graduating Glassboro State College in 1976, I moved back home and made an effort to write for music magazines as a job. I did get a couple of my interviews published in Trouser Press and later wrote for Jersey Beat fanzine for nearly a decade (thanks to Jim Testa). It seemed nearly impossible to write for the magazines that I admired. I worked for my father selling machinery tools and then in real estate, trying to sell buildings & renting apartments. I ended up working in record stores and for a JEM distribution before it folded. I also worked for Rainbow Distributors for a year promoting four labels that they worked with; Rounder, Flying Fish, Inner City & Muse. The owner of Rainbow said I could take as many promo LP’s as I wanted to help promote those labels so I ended with hundreds of titles of bluegrass, folk, old time music and modern jazz. Although I had become a avant/jazz & progressive snob when I was at college, I also realized that I was still drawn to great songs with interesting lyrics no matter what genre these songs were part of. I have long been a big folky at heart and still listen to many singer/songwriters, often discovering new ones and re-listening to older ones as well.
I bought the first album by Maria Muldaur at Sounds (on St. Marks Place) in the late 1970’s for one dollar. All or most of her records were then cut out and could be found for $1.99 each. There was a hit on this album called, “Midnight at the Oasis”, which I have always dug, especially the guitar solo by Amos Garrett. There was one song that really touched me called “The Work Song”, which was written by Kate McGarrigle. This was before the McGarrigle sisters had released any of their own records and when I heard their own albums, I was also smitten with their songs and vocal harmonies. Still am today. Check out the words to this song and listen to Ms. Muldaur’s version on You-Tube if you don’t own it yourself. I love this line: “Some said garbage, others cried art, You couldn't call it soul, you had to call it heart”.
I recently got two McGarrigle’s compilation/archival CD’s, both of which I love. Kate McGarrigle, who wrote this gem, died in January of 2010. Her sister Anna is still with us, as is her great sons, daughters, nieces & nephews: Rufus, Martha & Sloan Wainwright, all fine singers on their own turf. The McGarrigle sisters were raised in Quebec, a place where I’ve often felt at home, especially when attending the FIMAV Music Fest and hanging out with my Quebecois friends up there. A special toast for Kate and Anna McGarrigle, long may you touch all who listen to your songs! - Bruce Lee Gallanter, DMG
THE DOWNTOWN MUSIC GALLERY 31st ANNIVERSARY IN-STORE PERFORMANCE SERIES Continues with:
Saturday November 12th - GauciMusic 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
Tuesday, November 15th:
6:30: ELLIOTT SHARP
7:30: BOB MUSSO / MARK DATERMAN - Guitar Duo
8:30: BEN STAPP / OLIVIA DEL PRATO
Rare Monday Night Gig, November 21st:
6:30: CAMERON CAMPBELL - Synth!
7:30: AYUMI ISHITO / ARON NAMENWIRTH / KEVIN SHEA - Sax / Guitar / Drums!
THE FOLLOWING JOHN ZORN HERMETIC ORGAN CD HAS FINALLY ARRIVED, after a 2 month delay:
JOHN ZORN - The Hermetic Organ Volume 9 - Liber VII (Tzadik 8391; USA) Filled with wild sounds, bizarre juxtapositions, soulful melodies, an pulsating drones, this outrageous recital is one of Zorn’s very best. Inspired by Aleister Crowley’s Liber Liberi vel Lapidis Lazuli, and performed in a kind of trance state, this is music beyond thought, beyond beauty, beyond rationality. Recorded at St. John’s Cathedral in Knoxville, Tennessee during the 2022 Big Ears Festival, this is Zorn at his metaphysical zenith. Organ improvisations with Mystery at its very heart—you have never heard such sounds!
The FOLLOWING JOHN ZORN HERMETIC ORGAN CD Has Been delayed for several weeks:
JOHN ZORN - The Hermetic Organ Volume 10 - Bozar, Brussels (Tzadik 8394; USA) “Recorded at the powerful organ at Henry LeBoeuf Hall, Bozar in Brussels, this is one of Zorn’s most beautiful and personal solo performances—a dramatic musical reading of the epic Faust legend. Featuring a guest appearance by the sensational vocalist Barbara Hannigan, who is improvising with Zorn for the very first time—this exciting concert is presented here in a special limited edition 2-disc set that includes both a CD and a bonus DVD hi-quality film document of the event. No one plays the organ quite like Zorn and many of his unusual techniques, usually hidden in performance, are presented in close focus. Beautifully filmed by state of the art equipment, this is a wild and colorful concert by two mavericks of new music. Essential!”
2 CD/DVD Set $26 [Currently delayed possibly until December]
FOUR FABULOUS DISCS FROM THE ERSTWHILE & ELSEWHERE FOUNDATION:
JURG FREY / REINIER VAN HOUDT - lieues d’ombreas (elsewhere 020-3; USA) Jürg Frey is one of the most prolific of all of the Wandelweiser composers with some 50 discs under his name starting in 1996. Aside from his composing, Jurg Frey also plays clarinet in a variety of ensembles and situations. This 3 CD set features Mr. Frey’s music for piano which is performed by Reiner van Houdt. The music on these discs was carefully composed and it is superbly played throughout by Mr. van Houdt. As a pianist with a profound affinity with Frey's music, van Houdt masterfully brings out the nuances hidden in Frey’s scores with a delicate, careful touch as light as air, rendering the transparent yet compelling beauty of each piece with an exquisite balance of warmth and clarity. Every note played and heard has a singular importance or purpose. The space between the notes is also of the utmost importance since we are often given a chance to let certain notes or lines linger for our consideration. I wouldn’t call this music consistently “minimal” since there is more going on than that a simple pigeonhole. It sounds to me like Mr. Frey takes a fragment of a song or melody and then slowly expands upon it, repeating certain notes, giving more or less space to let us savor each note or phrase. I’ve to all three discs a couple of times by now and found there is quite a bit to hear, absorb and consider going on. Another modest masterpiece from our good friends at Elsewhere and Erstwhile Records. - Bruce Lee Gallanter, DMG
3 CD Set $30
VANESSA ROSSETTO - The Actress (ErstSolo 008-2; USA) Ms. Rossetto has had recordings since the early aughts when she was working in bands like Pulga, The Mighty Acts of God & Wondrous Horse. She has also a long list (70 ) of solo and duo efforts, including duos with Kevin Parks, Matthew Revert and Lionel Marchetti, all for the Erstwhile label. Ms. Rossetto is also a painter and her music is drawn from primarily chamber instrumentation, field recordings, electronics and an array of different objects. This is her first solo effort for Erstwhile and it is a two CD set.
Things begin with chopped up sampled voices, a woman’s voice with shimmering electronic sounds bubbling in the mix. This piece is called, “The Actress Theme”, which seems like a good way to start things off so I will have to listen for anything which could be a theme. Slowly several layers of voices and other noisy elements start to swirl together, all of the sounds are carefully placed and selectively manipulated. Ms. Rossetto does a fine job of recording different sounds and then combining a select layers, with certain sounds/samples on top or featureds someone in the evolving blend. Although I do recognize some of the sounds like mumbled voices or a church organ or pulsating electronics, it is the way she selects certain sounds, adding or subtracting different layers, repeating some sounds that gives this disc a marked coherence. There seems to be a story or set of scenes or themes going on, folks coughing, the sounds of people talking, shouting or just calling out or extraneous sounds at an airport or other meeting places, all part of a long story or set of short tales. After a while I realized how much the sounds themselves have a way of communicating certain messages or ideas. It is not as simple as listening to music which often has more recognizable patterns which lulls us into a more acceptable state which seems to be held together by old formulas. One has to use their own imagination to create the big picture here as it unfolds over time. Although most of us are bound to or addicted to singing and dancing along to music that we know, there is more of a sense of adventure going on that takes time to adjust to, hence the rewards are equally important. - Bruce Lee Gallanter, DMG
2 CD Set $22
CLARA de ASIS / RYOKO AKAMA - sisbiosis (erstwhile 094; USA) This disc is a collaboration between Clara de Asís and Ryoko Akama. The material includes field recordings that the two artists made together near the border of France and Switzerland in March 2022. Clara de Asis ins a sonic sorceress from France with ten discs under her name including duos with Noël Akchoté, Bruno Duplant & Erik Carlson. Ryoko Akama is a Japanese sonic explorer with some 20 discs. She also works with Bruno Duplant & Taku Sugimoto plus she runs her own Melange Edition label.
Clara de Asis plays electronics, percussion & field recordings while Ryoko Akama plays amplified objects & field recordings. The first sounds we hear are like static or rainfall which soon becomes less dense, more sparse. The static or electronic sounds are slowly being manipulated with other assorted sonic spice softly erupting as well. As this work evolves, the duo add an assortment of sounds: tapping on surfaces, subtle feedback, geiger-counter-like radiation resonations, humming, drone-like tones, all carefully manipulated. On “Visitation”, we hear the whirring of metals being rubbed or bowed with other eerie, ghostlike sounds. Test-pattern tones or subtle feedback drones, which buzz in our ears and sooth the brain as they quietly pulsate. I am currently listening to this on headphones, I hear a muffled voice in the distance, is it from this disc or from my neighbor(s)? My hearing is heightened as I listen more closely. The sounds are even more sparse so I listen to the silence as well, both sounds & non-sounds are well balanced. “Without Territory” seems to have the tapping of metals like cymbals or something similar, each percussive strike seems to be coming from a different place within the stereo panning spectrum. Is that thunder? Perhaps. One of the main things that I notice about most discs on the erstwhile & elsewhere labels is this: there are certain sounds are not actually musical but they have a way of effecting our perceptions or feelings. The sound of thunder (whether this is what it is or not) has a soft yet disorienting vibe kinda like when those eerie strings telegraph to us that something not quite right is about to occur in films or even in our lives. All of the sounds/music here have a way of putting us somewhere else, creating a sonic scene which we feel and perhaps see if we close our eyes and check out the scenery inside our our eyelid imagination. Most impressive overall. - Bruce Lee Gallanter, DMG
GERMAINE SIJSTERMANS - Betula (elswhere 023-2; USA) Dutch clarinetist & composer Germaine Sijstermans has a piece on an Edition Wandelweiser compilation from earlier this year (2022) so we can gather where her loyalties lie. The Wandelweiser Collective is based in Austria and it features a number of influential composers (Jürg Frey, Antoine Beuger & Radu Malfatti) who were influenced by the New York School (John Cage, Morton Feldman & Christian Wolff). Ms. Sijstermans has organized an impressive sextet whose ranks include Wandelweiser composer Antoine Beuger on concert flute. The rest of the personnel is: Germaine Sijstermans (clarinet), Rishin Singh (trombone), Johnny Chang (viola), Fredrik Rasten (guitar, ebow) and Leo Svirsky (accordion).
“Contemplative yet vibrant, the six musicians’ sounds overlap with each other while slowly moving forward in parallel. The subtle interactions of six instruments create enthralling rich overtones, and allow the music to evolve organically over a long course of time, as if new branches and leaves were stealthily sprouting out of a tree. The album title ‘Betula’ means ‘birch tree’.” - elsewhere. The music here unfolds slowly with each note or sound carefully crafted and placed on the blank surface. It takes some time to adjust to the pace but once I calm down, I can hear the way each note is cautiously stretched out. I start to notice the way these notes turn into drones, the subtle texture of each note/drone is what is on display and what we focus on. What I am reminded of the most is the way Morton Feldman’s music creates a shimmering vibration which effects the way we feel without results on obvious linear expansion, although this music is not as stark as much of what Morton Feldman composes. My kitchen window (where I review discs & listen to most of my music) is open and there is a cool breeze blowing in. It is late fall (11/10/22) and the weather is lovely, perfect to sit here and contemplate life while I listen to a series of haunting drones which make me feel better as the tide of life washed over my stressed out soul. - Bruce Lee Gallanter, DMG
2 CD Set $22
* JOANNA MATTREY / gabby fluke-mogul - Oracle (Relative Pitch Records 1143; USA) Featuring Joanna Mattrey on viola & stroh (violin with metal resonator attached) and gabby fluke-mogul on violin. String duos are still relatively rare although we did have a duo called TreeSearch (with violin & contrabass) play here on DMG on a couple of occasions. Both of these women have solo efforts out on the Relative Pitch label and have worked with other Downtown musicians like Jessica Pavone and Bob Bellerue. The string duo here play with their own experimental, improvised sound. Since both musicians are adapt at bending their strings and bowing in odd ways, their sounds are constantly shifting from one approach to another. I find this music to be both challenging and enchanting. Both string players are keep pushing each other assorted extended techniques, coaxing all sorts of strange yet effective sounds. This is without a doubt some of the strangest string music that I’ve heard and at times it is hard to tell which instruments they are actually playing. Is that a daxophone or a hidden voice? Hard to tell without actually knowing what is going on. “You’ve never heard such sounds in your life” is what it says on ESP albums, that line works here as well. - Bruce Lee Gallanter, DMG
* JOANNA MATTREY will be performing a piece called ‘Chanting’ in a duo with Billy Martin at Roulette this Friday, November 11th at 8pm
GUITAR SECTION FEATURES RELEASES OF THE WEEK:
ELEKTROFARMER with MARTIN PHILADELPHY / DIDIER HAMPL / LUKAS KOENIG - I Doesn’t Exist (Delphy DER 037; EEC) ElektroFarmer features Martin Philadelphy and Didier Hampel on guitars and/or bass and Lukas Koenig on drums. Austrian guitarist Martin Philadelphy has some 20 plus releases out and runs several bands, each one very different. Philadelphy has worked with other adventurous musicians who include: Jamie Saft, Kresten Osgood & Wolfgang Mitterer. Fellow Austrian guitarist Didier Hampl has worked with Mr. Philadelphy on (at least) two previous discs from 20 years ago. Austrian electronics/hip hop music maker, (Lukas) Koenig is a new name for me. All three musicians also double on synth or sampler and programming.
One of the main things I have always dug about Mr. Philadelphy is that his not bound by any genres or barriers. The first piece has two electric guitars playing some spacey, haunting chords, their tones come from a post-surf sound, slow, sumptuous and assured. There is a great, greasy, somewhat funky drum break sampled on the second track with one guitar playing some bass lines while the other plays an eerie, reverbed guitar solo. Mr. Koenig provides a variety of rhythmic grooves. The way most of these pieces work is this: while one guitar solos or adds tasty licks, the other guitar sets the pace with different ongoing grooves or rhythmic undertows while Koenig keeps the groove going. Philadelphy is a shrewd, tasty guitarist who keeps his solos short mostly to coax a variety of sonic scenery, different from one piece to the next. Somewhere between Bill Frisell and Ry Cooder, Philadelphy never overplays or shows off his chops. It is more about coaxing different vibes in each piece. I have always had a soft spot for instrumental rock music, especially surf or post-surf bands (like the Mermen). This disc is filled with lots of swell beats, grooves, sly guitar and quirky samples. Mr. Philadelphy does take a few extraordinary guitar solos here and there, choosing when to insert some inventive angst when it is most needed. Like everything I’ve heard from Martin Philadelphy, this is a real gem: instrumental rock sort of its own kind. The artwork in the enclosed booklet is also quite special, collages, drawings and even a tribute to the old Knitting Factory. - Bruce Lee Gallanter, DMG
ANDREAS WILLERS with BORIS BELL - search & rescue (JazzHausMusik 294; Germany) Featuring Andreas Willers on guitars, devices, el bass, banjo, drums & percussion and Boris Bell on drums for one piece. This is mostly a solo effort by German guitarist Andreas Willers, someone I’ve long admired who has some two dozen discs starting around 1981, playing in a wide variety of situations from solos to his great octet, whose most recent disc from 2021 was an under-recognized treasure. Mr. Willers seems to favor playing solo as his first disc from 1981 was just that and he has produced a half dozen solo efforts throughout his 40-plus year music career. Mr. Willers wrote all of the pieces here except for one cover by John Coltrane and one short duo improv with Boris Bell on drums. Hence, there is quite a bit of overdubbing going on here with Mr. Willers adding bass, banjo, percussion and effects after his initial solo electric guitar first takes. “triMob” opens and sounds like there are two or three different songs/parts all being played together or reshuffled, all tightly connected. Willers adds some sly drum parts to certain lines anchoring them rhythmically while his effects laden lead part moves in spurts on top. He also adds bits on banjo and perhaps horn samples to make this piece more unpredictable and somewhat proggy. I really dig the different drum samples and interlocking bass parts that Willers uses giving many of these pieces a focused foundation while Willers adds some oft smokin’ lead guitar inserts to make things more exciting. Willers plays a great Beefheart-esque quirky guitar solo on “ohntid”, adding a few subtle acoustic guitar, percussion and sound effects punctuation. On “blue shoe hypocricy”, Willers plays this slow, hypnotic repeating guitar line underneath while he adds a stunning bent-note jazz guitar solo on top. This piece reminds me of Jimi Hendrix (in its structure), someone I know that Mr. Willers also admire since he once did a Hendrix tribute disc. What makes this disc so great is the way that Mr. Willers took his time to add all sorts of different parts to each piece, making these pieces more complete and filled with odd surprises and/or juxtapositions. Although certain pieces are chopped up at times, Willers has thought of ways to connect all of the parts into more focused, fleshed out conclusions. An extraordinary attempt to do much more than just a solo electric guitar offering. - Bruce Lee Gallanter, DMG
HEDVIG MOLLESTAD & TRONDHEIM JAZZ ORCHESTRA - Maternity Beat (Rune Grammofon 2228CD; Norway) “Hedvig Mollestad says her new album, Maternity Beat, is her most ambitious work to date, and that's not a proclamation to be taken lightly. Mollestad, after all, has been one of Norway's most adventurous and hardest-working musicians (a great guitarist!) since the Molde International Jazz Festival named her the "Young Jazz Talent of the Year" in 2009. Recorded with the 12-piece Trondheim Jazz Orchestra (who have previously worked with legends like Chick Corea and Joshua Redman), Maternity Beat is a sprawling double album and true career milestone. In addition to encompassing the full evolution of her sound to date, it offers deeply personal meditations on the nature of family and pressing social justice issues. While listeners will no doubt encounter the Mahavishnu Orchestra-inspired fire music that has made the Hedvig Mollestad Trio (HM3) heavyweights in 21st-century fusion and jazz-metal, Maternity Beat also expands on the contemplative experimentation showcased on two of Mollestad's recent solo works: 2020's Ekhidna (RCD 2215CD/RLP 3215LP, 2020), and the Arne Nordheim-inspired Tempest Revisited (RCD 2223CD/RLP 3223LP, 2021), both of which netted her a Spellemannpris (the Norwegian equivalent of a Grammy). The sheer sonic and emotional scope of Maternity Beat required Mollestad wears multiple hats: guitar explorer, composer, arranger, improviser, collaborator, and, as the striking title implies, mother. That latter role serves as the album's thematic focus. This represents a novel direction for her. Back around 2019 -- when the Molde International Jazz Festival and Midtnorsk Jazzsenter originally commissioned the creation of Maternity Beat -- Mollestad felt compelled to compose a new and far more personal work that weighed her own privileged experiences with parenting and nurturing against the harsh political realities unfolding before her. Let's not forget: This was a time when graphic images of migrant families drowning at sea were flooding international news. Then came the COVID-19 pandemic, which further drove home how the economic systems in which we are all complicit tear apart humanity's far less fortunate. The harsh contrast of humanity and systemic failure fuels the tense shifts in mood coursing throughout Maternity Beat. Featuring the vocals of Mai Elise Solberg and Ingebjørg Loe Bjørnstad, the opening "On the Horizon Part 1" directly references the migrant crisis, while "On the Horizon Part 2" unleashes the full power of the Trondheim Jazz Orchestra. Harrowing moments are counterbalanced by some of the most unabashedly touching music in Mollestad's catalog. "Her Own Shape," for example, expresses the profound desire of parents to give their children the tools they need to thrive. Jazz has witnessed an explosion of boundary-breaking creativity in the last several years. The boom of musicians interested in cutting-edge forms of fusion, spiritual jazz, and electronic-based improvisation has infused the genre with an urgency relevant to our tumultuous times. Mollestad -- who likens the making of Maternity Beat to the jittery thrill of "jumping off a cliff" -- embodies precisely the kind of daring that not only makes her a vital leader on the Norwegian jazz scene, but also a key voice in jazz's global vanguard.
TRISH CLOWES with CHRIS MONTAGUE / ROSS STANLEY / JAMES MADDEN - A View with a Room (Greenleaf 1094; USA) “Over the past decade, the prolific and versatile British saxophonist/composer Trish Clowes has written for ensembles as substantial as the London Sinfonietta and the BBC Concert Orchestra. But since 2016, probably her favourite setting has been her eloquent and reflexive small jazz band, the My Iris quartet. Guitarist Chris Montague, keyboardist Ross Stanley and drummer James Maddren join Clowes on her seventh album, A View with a Room: a rich mix of cinematic landscape evocation, funky guitar grooves, dreamy reveries spun off minimalist patterns and fluently uncliched improv.
Clowes wrote all but one of these eight instrumentals for her live-streamed lockdown shows, and the isolation, loss, and sporadic creative consolations of that period inevitably influence their themes. The clock-like snare smack under the title track suggest lockdown’s monotony, while the asymmetrical suppleness of Clowes’s full-toned tenor solo, and fluent breaks from Stanley and Montague, celebrate a free creativity within it. The Ness, a heartfelt tribute to film-maker Rose Hendry’s impressions of the Fife coastline, also evocatively juxtaposes moods, in the stuttery minimalism of Montague’s five-note guitar pattern under Clowes’s smoky murmurs on tenor, and her dreamy, misty-landscape sounds on soprano.
Montague’s chords get a hauntingly Bill Frisellian country chime on the seductively waltzing Time, while Clowes’s expressive power at low volumes drives twisting tenor variations on the same track. A View with a Room vividly confirms that Clowes’s ever-adroit balancing of structure and eclectic postbop improv with My Iris seems to be improving with every album.” - John Fordham, The Guardian
STEFANIA DE KENESSEY - In Her Words (Neuma 155; USA) Liner notes and intentions aside, De Kenessey herewith, a composer whose influences, among others, count both Hungarian and Bulgarian folk music within them, states that these creations for dance were entirely created via electronic means. Tough to discern, certainly. Though well-done, performed, and produced (by electronic musician Erdem Helvacioglu), it’s apparent that these works are better suited for the likes of someone like Twyla Tharp or another modern dance company than anything traditional. Music antecedents point towards Wendy Carlos and perhaps Tod Machover in de Kenessey’s obvious love for classical/balletic composition. “Unorthodox” does in fact reflect her folkloric heritage, its Eastern European lilting, waltz-like refrains coming across like a bombastic Turkish dance offset by almost Rick Wakeman-esque (!) organ backing. The four-part title suite alternates between subtle shadings of rustic piano, chamber-like affectations, and in “On Our Own (Caitlyn), a sprightly synth/sequencer motif that, with eyes closed, calls back to some of Tangerine Dream's 90s mainstream explorations. A beguiling collection of music that reveals its buried treasures under lighter manners, somewhat delicate yet strongly made. - Darren Bergstein, DMG
THOMAS DELIO - Transparent Waves: Selected Compositions IV (Neuma 153; USA) Composer and theorist DeLio holds the maxims of Cage, Feldman, Tudor, et al, dear to his heart, as evidenced by this twenty-nine track work of glorious electroacoustic collage. Though I profess being unfamiliar with the prose of experimental poet P. Inman, DeLio has ‘collaborated’, via Inman’s words and compositional structure, to realize his phrases in sound. The results are all over the proverbial map. The opening ten-minute “And Of “Of”” (which should tell you something right there) trades as much in pregnant pauses and hushed silences than in ‘music’, the definition of which is surely stretched to the breaking point throughout. Cascading amongst the odd trills, occasional buffeting of mutated voices, cut-up shimmerings, and patchy gyrations, Inman’s syntax is sliced, diced, remade, and remodeled, DeLio using a craftsman’s touch to bring some real tactility to Inman's truncated phraseology. It’s perplexing, absorbing, distancing, and downright strange simultaneously; perhaps an acquired taste for many, but those with wide-open ears will get the impact. Most of the remaining pieces are notable for their minimalist patina of sounds, though the four-part “Tangier” echoes the namesake of its exotic locale by keeping its meaning close to its chest; it’s left to the imagination whether or not DeLio fully intends to situate you in the city’s place or nonplace. This sense of mystery, the unknown, and the intangible gives this record its colorful heft—as it reveals its subtler nature to you, you’ll find your patience duly rewarded. - Darren Bergstein, DMG
TERRY RILEY - Les Yeux Fermés & Lifespan (Elison Fields 101CD; USA) Reissue. “After changing the world in the late '60s with In C and A Rainbow in Curved Air, legendary American composer and father of minimalism Terry Riley abandoned tape manipulation and written composition to concentrate on longform keyboard cycles and improvisations. In the early '70s, while in Europe, he was invited to create scores for two films. The first, in 1972, was Joel Santoni's Les Yeux Fermés, a feature-length art film that instantly became a cult classic by virtue of its never having screened in the USA. The second, Lifespan, directed by Alexander Whitelaw in 1974, featured Klaus Kinski. Both soundtracks were released in limited editions on LP and have long been out-of-print. This first-ever CD release of these two classic Terry Riley soundtracks -- both on one disc -- was remastered from the original tapes, the hypnotic songs sounding far superior to the below-average vinyl pressings. Having brought the '60s Corti archive back into print, Elision Fields now turns its attention to the under-examined crucial period of Riley's work -- the '60s."
DAMO SUZUKI AND SPIRITCZUALIC ENHANCEMENT CENTER - Arkaoda (Akuphone AKU 1034CD; France) “As a traveler-without-age, Damo Suzuki has been touring all over space-time. Presenting the light of "instant composing" to new generations, he refers to his makeshift collaborators as sound-carriers. Exactly fifty years after the release of the profoundly iconic Ege Bamyasi (1972), you can hear his voice on yet another fantastic album, as in "derived from fantasy." Manifested from the meeting with Spiritczualic Enhancement Center -- an eight-piece group of self-proclaimed disciples from the CAN University have gathered at Arkaoda (Turkish for "backroom"). Named after the place in Berlin where it was recorded, this release freewheels down the "Autobahn of Consciousness" as it swerves along that ancestral road. A witness of this session was quoted calling it "unfiltered, freeform, de-programming music." The album's three volatile tracks -- "U," "Ra," and "Beya" -- are unity-enhancing, non-boolean excerpts from this serendipitous symposium at the beginning of 2020 (just before the new measures). Let your children hear this! Deluxe limited CD in a 350grm vinyl replica sleeve; printed on reverse cardboard; edition of 400.
"Damo was so natural, like a zen master, a spiritual elder. He spoke to us in kind, authentic, deep mannerisms -- and yet, was so approachable, not the least apparent in the fact that he immediately said 'yes, sure' to my offer to partake in some Hashish smoking -- and we sat and laughed and spoke for hours ... rather philosophically and intellectually, you could say, but in a way that seemed so easygoing nonetheless. I was moved by this, as I didn't know what to expect -- there was this anticipation that he'd be 'too big' and kinda feel above us, but this feeling was not there in the slightest. We were merged, from the start. And this felt like his secret, the way by which he's able to tour and play with completely new musicians every time, for decades. And it isn't a method or a tactic." - words from Spiritczualic Enhancement Center.”
MASONNA / PRURIENT - Annihilationism (Hospital Productions 797; USA) Longbox CD. Years in the making, Annihilationism is a split full-length of brand new material of "harshtronics and exclamation" from Japan's Masonna and "doom electronics" by America's Prurient. Arranged in alternating sequence with one track from each artist until burning annihilation. Mastered by Kris Lapke.”
RICHARD SCOTT - Delirious Cartographies (Arbitrary 013CD; Denmark) Arbitrary presents Delirious Cartographies by composer, improviser, and synthesist Richard Scott. "These compositions capture aspects of my personal sonic experience of specific times and places. Extending beyond my usual work with analog synthesizer, these pieces open the doors and windows to the outside world, incorporating field and live recordings made in various locations and situations. Rather than intending any clear sense of narrative, these are molecular dialogues between elements and geographies which do not necessarily share organic points of connection, other than my own incomplete experience and memory of them." The final piece "6 Graphic Etudes" (included as digital prints) is intended as a set of visual/sonic sketches, each of which describes a discrete kind of movement or texture. These may have a variety of uses; as musical exercises, as scores, combined as parts of scores, or simply as stand-alone visual propositions/artworks. The pieces were composed between 2017 and 2021 at Sound Anatomy, Berlin, Spektrum Berlin, EMS Stockholm, NOVARS, University of Manchester University, Boliqueime, Portugal and the Electronic Music Studios University of Huddersfield. As well as various microphones, hydrophones and recorders, the instruments used on this recording are mostly analog and modular synthesizers: Hordijk Modular, Serge Modular, EMS Synthi A, various Eurorack modules, Buchla Thunder midi controller, Oberheim Xpander, Clavia Nord Micro Modular, CataRT and maxMSP, Rob Hordijk Blippoo box. On "Thunder, actually bicycles..." Axel Dörner plays a Holton Firebird trumpet with additional live-sampling via maxMSP and a controller interface developed by Sukandar Kartadinata. Written and produced by Richard Scott. Drawings by Richard Scott. Graphic design by Mads Emil Nielsen. Mastered and cut by Kassian Troyer at Dubplates & Mastering, Berlin. Part of the Danish imprint's Framework editions. Includes six printed drawings as well as a text by Scott. The CD version comes in a digipak.”
KADEF ABGI with DEVIN BRAHJA WALDMAN / SAM SHALABI / et al - Diva Of Deva Loka (Akuphone AKU 1031CD; France) “Kadef Abgi came together in a serendipitous way. Devin Brahja Waldman was walking up St. Laurent borough in Montreal when he heard an otherworldly voice emanating from the venue Divan Orange. He walked in and listened to the singer on stage. When he was done, Devin walked over to him. After a short exchange about playing a house show in a couple of days, Ziad Qoulaii told Devin that he was available for all his projects. Shortly thereafter, Devin and Ziad met up at Mathieu Pelletier-Gagnon's studio with Anas Jellouf and Hamza Lahmadi. Later on, Anas Hejam, Vicky Mettler, and guitarist Sam Shalabi (Shalabi Effect, The Dwarfs Of East Agouza, Karkhana, Land Of Kush) joined. The music materialized in a natural, collectively improvised way, without any compositions or ideas discussed beforehand -- and without second takes. From there, Waldman began editing and mixing. Ala Dehghan painted the album's great artwork. A single composer's imagination would not have produced Diva Of Deva Loka as it is music created from a collective consciousness unfolding in real time. The album has its roots in each musician's sonic experience: this includes Arabic music including most notably Moroccan Gnawa -- as well as rock n' roll, jazz, and the avant-garde. Devin Brahja Waldman is a New York saxophonist, drummer, synthesizer player and composer. He has performed with Patti Smith, Thurston Moore, Lydia Lunch, along many other artists. He has also accompanied his aunt, the poet Anne Waldman, since the age of ten. He leads a NYC/Montreal-based band, B R A H J A, performs in Heroes Are Gang Leaders and is a member of Artists For A Free World Marching Band. Along with Anne Waldman and his cousin Ambrose Bye, Waldman co-directs Fast Speaking Music -- a still-active music and poetry label which has released the works of Amiri Baraka, Meredith Monk, CA Conrad, and many others. Vinyl replica style CD.”
YUNIS - Mulid El-Magnoun (Akuphone AKU 1033CD; France) “Mulid El-Magnoun addresses the term "moulid" and its various manifestations it takes on in Egyptian folk music. Here, the word "moulid" does not exclusively refer to Sufi moulids: rather also the intertwined artistic spaces that lie between the moulid in its Sufi sense and what it carries in distinctive rhythmic patterns, musical instruments, and artistic forms, and the moulid as a musical genre originating from folk weddings that enjoy special aesthetics and unique styles. Through this project, YUNIS tries to explore the spaces where those two concepts collide through producing an original musical composition which reflects his own vision and understanding of "moulids" as well as the manifestations the word carries within him. Deluxe limited CD in a 350grm vinyl replica gatefold sleeve; printed on reverse cardboard; edition of 300.
YUNIS (b. 1994 - Kafr El-Dauwar) is an Egyptian musician and music producer. He has produced two albums until now; The Blue Djinn Dance which was his first solo album, and Ya Khal which was a collaborative work with Ibrahim X. He is also a co-founder of Kafr El-Dauwar Records, an independent digital record label interested in contemporary and experimental music, founded by a group of young artists with the aim of creating a musical movement in the city, by supporting a group of artists to start their music from Kafr El-Dauwar with the potential of going with the music to the farthest point it could arrive. In his music, YUNIS seeks inspiration from the popular Egyptian folkloric heritage, which boasts many instruments, tools, and musical styles. He then reads and analyzes the musical legacy and presents it with the forms of his contemporary time.”
CD $19 [Limited Edition of 300]
ADEDEJI - Yoruba Odyssey (One World Record 2022; Denmark) “The Nigerian singer and guitarist's third album, Yoruba Odyssey, is a project that goes back to the very core of Adédèji's roots. The result is a progressive jazz-funk record, influenced with vintage Afrobeat and Yoruba eclectic sounds, that greatly reflects Adédèji's up-bringing in the metropolitan city of Lagos. A ten-track educating, entertaining, feel good, funky album, that chronicles his interpretation of the music and artists that influenced him. From soul, to jazz, to blues, to funk, to the traditional Yoruba music he grew up with. Yoruba Odyssey was recorded during three days in Lagos, Nigeria, at the legendary Afrodisia/Decca Studio, that has housed giants like Fela Kuti, King Sunny Ade, and Ebenezer Obey, to name a few. The album presents authentic and personal ideas with tremendous harmonies and tight arrangements. The line-up includes some of Nigeria's most skilled musicians; the grooviest rhythm section and a splendid horn section, adds to the Afrobeat-influenced sound together with powerful female and male backing vocals, that clearly reference Adédèji's gospel upbringing. The lyrics are song in Yoruba, English, and Pidgin English. In the texts, Adédèji's reignites the traditional identity of Yoruba culture using riddles and proverbs, as well as talking about the society. "Every aspect of the human life, depicts a form of sojourn or the other. From the previous albums Ajò through the double dose of Afreekanism to this point of the Lagos experience, let your mind transverse the cosmos," Adédèji says. Adédèji started singing in a Church Choir in Lagos, and by the age of ten, he became the leader of the choir. His first album, Ajo, featuring Lionel Loueke, got great international reviews and won the VNO NCW Noord Talent Award, The Netherlands, in 2012. His second album, Afreekanism, won him the LBM Awards for "Best Afro Fusion Artist" in Nigeria in 2017. Adédèji shared stages with Tony Allen, Lionel Loueke, Gene Jackson, Ayo Bankole, Paco Sery, FraFra Sound, and many more.”
TAU & THE DRONES OF PRAISE - Misneach (Glitterbeat 129CD; Germany) “The kaleidoscopic third album from Seán Mulrooney and his Ireland meets Berlin ensemble. Ecstatic folk-psych that fully embraces the natural world and living ancestry, through joyful experimentation and deeply rooted sonics. An inspired soundscape that echoes eclectic and eccentric atmospheres: traditional Irish folk, outsider pop, global sacred music and drone rock. Features guests from Tindersticks, Clannad, as well as Irish troubadour Damien Dempsey. Titled after this concept of bright bravery, Misneach, is the third full-length from Ireland's Tau & the Drones of Praise. Following on 2016's Tau Tau Tau and 2019's self-titled album, as well as 2020's widely acclaimed Seanóirí Naofa EP, it is a next-stage realization of the traveler-folk vision of principal songwriter, multi-instrumentalist and vocalist Seán Mulrooney, whose travels invariably inform the songs being written. That's nothing new for Tau, now officially Tau & the Drones of Praise, who have in the past engaged with folk traditions stemming from Mulrooney's Irish homeland as well as weaving in the teachings of the indigenous first nations people from Turtle Island, the continent of America. Recorded like its predecessors mostly in Berlin at Impression Studios by Robbie Moore, who also plays in the main four-piece studio lineup with Mulrooney, Earl Harvin (Tindersticks) and Iain Faulkner (who helmed additional recording in Dublin at Sonic Studios), Misneach is nonetheless the boldest and farthest-reaching work Tau & the Drones of Praise have done, stepping beyond expectation born of their past and into a reimagined future of interaction with the natural world both within and outside ourselves. Misneach is a homecoming for Mulrooney, who, even as the arrangement of opener "It's Right to Give Drones and Praise" seems to reference Screamadelica-era Primal Scream, establishes Ireland as the backdrop on which the songs are built. Heralded Irish folk troubadour Damien Dempsey and Pól Brennan from the legendary County Donegal band Clannad are just two of the more than 16 guests featured on the album. Engineer Robbie Moore calls it "adding to the party," a process where an organic interwovenness is joyfully unleashed. But in the hands of Mulrooney -- and the significant company he keeps -- Misneach is also the clearest and most live-sounding that Tau & the Drones of Praise have been yet. The songs are brimming with energy but are never overblown or melodramatic, even as grand ideas coincide with arrangements that, despite their depth, remain wholly unpretentious and earthed. Cultures, languages and gods tie together.”
THE LEGENDARY PINK DOTS - The Maria Dimension - The Complete Recordings (Soleilmoon Recordings 187CD; Earth) "The Legendary Pink Dots classic psychedelic masterwork from 1991 is released now with all the bonus tracks previously available on the extremely limited (and expensive) 5LP box set from 2015. In addition to the original album, remastered by Edward Ka-Spel, two additional CDs of material from the same recording sessions are presented here. It's all packed into an eight-panel digipak with a 12-page booklet with lyrics and notes about the recordings. It's three hours of music in one package!"
3 CD Set $38
JAC BERROCAL / DAVID FENECH / VINCENT EPPLAY - Transcodex (Akuphone 1037LP; France) “Jac Berrocal, David Fenech, and Vincent Epplay are back with a true gem of an album: Transcodex. Turning more towards pop than in their beginnings, this fourth record follows the footsteps of their previous album, Exterior Lux (AKU 1026LP, 2021). The trio seems limitless: they experiment with a large variety of styles (pop, dub, electronica, dark jazz), always colored by their very own touch. Jac Berrocal's trumpet, richer than ever, plays over an ever-changing sonic landscape engineered by the duet of musicians/producers Vincent Epplay and David Fenech. For this album, they invited two amazing musicians: Jah Wobble (founding member of Public Image Ltd and collaborator of African Head Charge, Brian Eno, Holger Czukay, Jaki Liebezeit, Evan Parker, Sinéad O'Connor) plays deep bass lines on two tracks and Jean-Hervé Peron (founding member of the German band Faust, and who recorded with Tony Conrad, Nurse With Wound, Pascal Comelade) brings his prowess to two tracks as well. Peron writes lyrics in French, German, and Russian -- and plays the French horn like no one else/ The closing track of the A side is a tribute to Christophe Bevilacqua (1945-2020), friend to Jac Berrocal. The song summons the place Bevilacqua used to live in: an Art Deco flat on Boulevard du Montparnasse, Paris. Even if its intentions are clear, Transcodex does not reveal all its secrets right away. It's up to you to find the solution, the key, the Transcodex yourself. It must be revisited over and over again for its beauty to be fully revealed.”
HALLELUJAHS - Eat Meat, Swear an Oath (Black Editions 017LP; Earth) “Reissue, originally released in 1986. A dreamlike dispatch from mid-80s Japan, the first and only Hallelujahs album is an entrancing and gentle work of psychedelic pop brilliance. In a series of informal studio sessions between 1985 and 1986, Shinji Shibayama (Nagisa Ni Te) gathered a group of friends, emerging luminaries from the burgeoning Kansai underground rock scene including Naoki Zushi (Hijokaidan, Spiral Stairs / 螺旋階段), Ken Ichi "Idiot" Takayama (Idiot O'Clock), and Chie Mukai (Ché-SHIZU) to form what would become known as Hallelujahs. The result was a music of deep feeling and wonderment created through simple song craft and imbued with a sort of guileless magic. Their sole album presented a set of unvarnished songs, filled with vulnerable, intimate moments, caught on reel to reel, most often in single takes never to be repeated. The album was self-released in 1986 in a micro-edition of 300 copies. It was the first record by Shibayama's now revered ORG Records which would go on to introduce the world to the likes of Maher Shalal Hash Baz, Reiko Kudo as well as his own group, Nagisa Ni Te. With affinities to the sounds of the Rough Trade and Flying Nun labels, the Paisley Underground and Galaxie 500, the Hallelujahs' Eat Meat, Swear an Oath is an utterly unique masterpiece that remains a touchstone for generations of like spirited artists in Japan and around the world. Black Editions is proud to present this all-time classic in a deluxe vinyl edition, remastered from the original tapes and presented in a heavy tip-on jacket with textured paper, mounted high quality print, foil stamped finishes and spot colors. Pressed to high quality vinyl at RTI.”
BILL NACE - Through a Room (Drag City 852LP; USA) "Bill Nace's Through a Room represents a seismic progression from Both, his startling 2020 debut solo LP for Drag City. Nace's career has been defined by a relentless probing of ways to frame the complex menu of human emotions, and that the guitar has been his primary tool for exploring this terrain is of little consequence. On this new release, he also employs tapes, hurdy gurdy, doughnut pipe, quelle est belle, as well as his latest instrument of choice, taishōgoto. This is also, ultimately, insignificant. What matters is the discerning spirit which animates his work. The tracks are carefully built from loops and phrases that talk to each other, subsume one another, overlapping and crashing and diving and expanding and emerging into unimagined vistas. On the whole, the record offers a fascinating and engrossing chronicle -- a sequence of interrelated stories told by a temporally dislodged narrator. You think you're here, then you're there, and then you go through trapdoors and along tunnels, into cellars and secret rooms, and you find that actually you're back where you started. But it's not hard to follow. Trust me. Nothing this enticing can be hard to follow. The record was recorded and edited in Philadelphia during the uncertain summer of 2021 with engineer and co-producer Cooper Crain. Where Both was a chiseling down of spontaneous live performance, Through a Room, while obviously the work of the same artist, treats its sounds as building blocks, combining them to mesmerizing effect. What's striking is the poise, the degree of authorial intensity. The false dichotomy of composition and improvisation is thoroughly and rightfully abolished. Bill's interests range from post-punk to post-industrial to hip-hop to free jazz to avant-garde composition, and every area between such unhelpful labels. From the inscrutable, evocative track titles to the enticingly baffling cover art by his longtime compatriot Daniel Higgs, Nace is guided by an ineffable, internal muse, a persistently personal stormcloud of ideas that, ultimately, comprise that thing we call art. Here's the real deal." - Matt Krefting, Holyoke, 2022
LUIS DAVID AGUILAR - Ayahuasca: Musica Para Cine De Luis David Aguilar (Buh Records 162LP; Peru)(1978-1983) “Ayahuasca: Music for Film, by Luis David Aguilar (1978-1983) compiles works by Luis David Aguilar, one of the most prolific composers of film scores in Peru. It shows the great versatility and avant-garde style that has distinguished his work. Luis David Aguilar (Arequipa, 1950) occupies a fundamental place in the history of film music in Peru, not only because of the prolific nature of his work (which also includes music for television and advertising), but because of the singular, experimental style found in many of his scores. Aguilar's music blends modern academic composition with the use of native instruments, synthesizers, sound collages, and a diversity of resources, which identify him as a key figure to understand a period of Peruvian music marked by the imprint of the avant-garde and the use of native sounds, which developed during the late '70s and the early '80s. Aguilar belongs to the so called "Generation of the '70s", along with Peruvian composers such as Walter Casas, Seiji Asato, and Aurelio Tello, who were then immersed in the languages of contemporary classical music. But he also shares the spirit of renewal of a generation of musicians who came from the world of jazz and electronic experimentation such as Manongo Mujica and Arturo Ruiz del Pozo. Ayahuasca is an album that collects pieces from 1978 to 1983 and offers an overview of the different musical paths that Aguilar followed during his career as a soundtrack composer. The album opens with music from the film El viento del ayahuasca (The Wind of Ayahuasca) (1983), by director Nora de Izcue, performed by the National Symphony Orchestra and Choir of Cuba under the baton of Luis David Aguilar, with Chucho Valdés on piano. It is an ambitious orchestral and vocal composition, in which you can hear the beginning of the famous melody of "Mujer Hilandera" (Female Weaver), popularized by the Amazonian cumbia group Juaneco y su Combo. The next track is the music for the documentary Anónimo cotidiano (Anonymous Everyday) (1979), by director Jorge Rey, a unique experimental piece for synthesizers (played by Aguilar), drums and percussion (played by Manongo Mujica), with the addition of various Andean instruments (panpipes, charango, among others). And finally, Los Constructores (The Builders) (1978), by director José Carlos Huayhuaca, a salsa which incorporates unusual sounds of tubular bells and prepared pianos. Remastered audio from the original reel tapes by Aldo Montalvo. Includes a booklet with notes by Luis David Aguilar; edition of 300.”
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.
This comes from my good pal WILLIAM HOOKER:
Arts for Art presents
Nov. 11 / 12
At The Clemente 107 Suffolk Street, NYC
Showcasing Multicultural FreeJazz & Highlighting the music of the African Diaspora in Latin America
For more Info: https://www.artsforart.org/jazz-libre-2022.html
To buy tickets: https://www.eventbrite.com/o/arts-for-art-32602667245
Friday. November 11
7:00pm: Angelica Sanchez – piano / Chad Taylor – drums
8:30pm: Fred Moten – poetry
9:00pm: Cooper-Moore Quartet: DoYeon Kim – gayageum / Matt Mottel – keyboard
Michael TA Thompson – percussion / Cooper-Moore – piano, diddley-bow
Saturday, November 12
7:00pm: Colors of The Night - Eri Yamamoto – piano / William Parker – bass / Ikuo Takeuchi – drums
8:00pm: Bob Holman – poet / William Parker bass / Matthew Shipp - piano
8:30pm: Whit Dickey – drums / Rob Brown – alto saxophone
9:30pm: Matthew Shipp solo piano
Coming November 19 https://www.artsforart.org/family-2022.html
Pricing: In Person - $35 / Livestreaming - $10
All info: artsforart.org/jazz-libre-2022
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: firstname.lastname@example.org