I see these fish and I go from the heart
I see these forests and I go from the heart to nature
Colorful talking fabrics of colorful children
From a TV genius
And in the and or of our new saints
The sign of old times
Death, death, death to love
They don't talk about the sea and the fish
They won't even let the girl see the girl, pure song
Neither see the flower rise, nor see the sun rise
And I'm just one more, one more
Talking about this pain, our pain
Drawing on these stones
I have in me all the colors
When I say real things
And in the silence of this nature
I love my friends
Free, I mean i can say
I have these fish and I give heart
I have these woods and I give heart
I have these fish and I give heart
I have these woods and I give heart
I see these fish and I go from the heart
I see these woods and I go from the heart
I see these fish and I go from the heart
I see these woods and I go from the heart
I see these fish and I go from the heart
I see these woods and I go from the heart
I see these fish and I go from the heart
I see these woods and I give heart
The first note I got through me email today was that legendary saxist & composer Wayne Shorter had just died at 89. One of the first jazz groups that I caught live and bought on record was Art Blakey & the Jazz Messengers. I think that ‘Moanin’ was the first Blakey record that I bought from 1959. Wayne Shorter was from Newark, NJ, where both of my parents grew up. He joined Art Blakey & the Jazz Messengers in 1960 and remained with them until 1964. When John Coltrane left Miles Davis’ band in 1959, Miles wanted to get Wayne Shorter to take his place but Art Blakey allegedly told Miles to hold off, so Miles waited for four years. Wayne Shorter was already a great tenor saxist as well as a fine composer. In 1964, Miles organized his new quintet with Shorter, Herbie Hancock, Ron Carter & Tony Williams. That quintet lasted from 1964 through 1969 and many agree that they were Miles’s best band and perhaps the best modern jazz band of that era. Mr. Shorter recorded around ten albums for Blue Note during that period and each one is essential due to Mr. Shorter’s writing and playing. Shorter soon formed Weather Report with keyboard wiz & composer Joe Zawinul. Weather Report were one of the finest and music influential of all jazz/rock (a/k/a fusion) bands of this era. Their first five albums for me (before Jaco joined) are all incredible. The above song can be found on Wayne Shorter’s first post-Blue Note solo album from 1975 called, ‘Native Dancer’. Shorter collaborated with the great Brazilian singer/songwriter, Milton Nascimento. This recorded wasn’t really a jazz record per se, it is closer to what would be called ‘World Music’. After Weather Report broke up, Mr. Shorter put together another great group, the Wayne Shorter Quartet. I have long loved the tenor and soprano sax playing of Wayne Shorter as well as his great composing. I recall going to tribute gig to Mr. Shorter at Lincoln Center in the 1990’s. They had a larger ensemble playing Shorter’s music and he sat in for several songs. The concert was superb! If you don’t own any of Mr. Shorter’s catalogue, I suggest you check his albums with the Miles Davis Quintet and his Blue Note records (1964-1972). All of them are well worthing listening to. Long live Wayne Shorter’s music in our ears, hearts and souls. - Bruce Lee Gallanter, DMG
DOWNTOWN MUSIC GALLERY NEEDS YOUR HELP!
Last Thursday, we sent out the DMG newsletter around 6pm like we do every week. I also add the newsletter to the homepage of our website and add all the releases mentioned in the newsletter to our database within a few hours of sending it out. Currently there are around 6,500 subscribers who are receiving the weekly newsletter. During the next day (Friday), we usually get several dozen orders in through e-mail or kept.private. Generally we spend all day checking in merchandise, printing orders, answering email questions, processing each order and bringing them to the post office, as well as dealing with whomever shows up at the store, friends and customers alike. Over the past few months the response to the newsletter as far as orders go, has been dwindling each week. Sometimes we get a handful of orders, so we also work on orders from Discogs and putting more items on Discogs (4,300 at present). I work hard on the newsletter each week doing perhaps a dozen reviews and cut & pasting items I hope some of you will want. Since the pandemic hit, I have also been placing lyrics/poems at the beginning of the newsletter, mostly to inspire those who read them, since these lyrics still inspire me and make me think about different things. I occasionally add some political commentary which occasionally ruffles a few feathers but most folks seem to enjoy or relate to things that I say. I really love doing this job, I feel very fortunate to have a job in which I am able to promote the kind of Creative Music that I cherish, interact with customers/friends in the store and online and help musicians/composers get the respect and support they deserve.
This is the first month when I am struggling to pay the store’s and my home rent. It seems that only around 100 of our 6,500 subscribers actually order items from us. Hmmmmm. I know that our database is old and a bit clunky and we’ve never done soundscan so it is not based on our actual inventory so each item must be added (or taken off) by hand, one at a time. Our Discogs store (https://www.discogs.com/seller/DowntownMusicGallery/profile) is much more accurate as to what we have in stock, so please do check out what we have there. Currently the only label that we do well with consistently is John Zorn’s Tzadik label. We have done the fulfillment for the Tzadik website since the mid-nineties and this has kept us going. Our subscription to the newsletter is and has remained free. Since only 10% of the subscribers actually order from us, I want to ask you a favor. If you set the newsletter and enjoy reading it please support us by paying a small subscription fee: $5 or $10 per month, $50 or $100 per year, whatever you can afford and feel is fair. Here is our paypal address: firstname.lastname@example.org.
Another problem we are having is this: some folks are not getting the newsletter or getting just part of it. Perhaps it ends up in a spam or trash folder, my copy goes straight to “promotions”. I have taken out most of the links in the newsletter which seem to cause things to be rerouted into some oblivion. We do hear from a few customers who tell us that they’ve fallen off the list so we check to make sure they are still on the list. If you are having problems receiving it, please let us know. And if you know someone who might enjoy reading it, please let them know. I know the newsletters are often long, opinionated and verbose, but I am just trying to give the credit where it is due so we can survive for a while longer. Thanks to anyone who responded to our request for an LP or CD collection. We did buy a large CD collection last Sunday, some of which is on Discogs and on display in the store. And we will be checking out a large vinyl collection soon as well. Folks often ask me how I am doing. I do feel great and remain inspired no matter what. Peace and Love to you all, Bruce Lee Gallanter, DMG
The DMG 32nd Anniversary FREE Weekly In-Store Performance Series Continues With:
Tuesday, March 7th:
6:30: LOUISE D.E. JENSEN / T.J. BORDEN - Alto Sax / Cello
7:30: DAVE MILLER / RAS MOSHE - Drums / Reeds
8:30: ANDERS GRIFFEN / SANA NAGANO / KEN FILIANO - Drums / Violin / Contrabass
Saturday, March 11th - The GauciMusic Series Continues with:
6pm: Rich Rosenthal - guitar / Ken Filiano - bass / Guillermo Gregorio - clarinet / Leonid Galaganov - drums
7pm: Stephen Gauci - sax / Adam Lane - bass / Kevin Shea - drums
8pm: Jeremy Carlstedt - drums / Nick Demopoulos - S.M.O.M.I.D.
Tuesday, March 14th:
6:30: ARON NAMENWIRTH / STEVE SWELL / RODNEY CHAPMAN - Guitar / Trombone / Sax!
7:30: DR. PAUL AUSTERLITZ & THE SPIRIT CLARINET ORCHESTRA featuring: MICHAEL MOSS / FRED ROSENBERG / RANDOLPH MURPHY / STEPHEN GAUCI / IVAN BARENBOIM / and others!
The below CD by John Zorn has been delayed and will hopefully be in soon…
JOHN ZORN // BRIAN MARSELLA / JORGE ROEDER / CHES SMITH - The Fourth Way (Tzadik 8397; USA) "John Zorn's latest book of music for piano trio is inspired by the writings and thought of the elusive mystical figure Georges Gurdjieff. The music is expansive, ranging from heartfelt lyricism to textural madness and is brilliantly performed by a tight trio of musical masters—treasured members of Zorn's innermost circle. Brian Marsella, Jorge Roeder, and Ches Smith form a fiery, soulful unit capable of jumping from a whisper to a scream at the drop of a hat. Following up on their acclaimed debut Suite for Piano, they continue their exploration of Zorn's challenging compositions in this stunning collection of music that transports you to a beautiful new world of spirituality and emotional depth.”
NEW FROM DISCUS MUSIC:
KEITH & JULIE TIPPETT / COUPLE IN SPIRIT - Sound On Stone (Discus 143CD; UK) Featuring Keith Tippett on piano, zither, music boxes, percussion & voice and Julie Tippetts on voice, zither, music boxes & percussion. Keith Tippett has long been my favorite ever and I feel fortunate to having caught him live around a dozen times from late 1975, when I was going school in London, at the Knitting Factory in the early 1990’s, three times at the Victo Fest (solo, Mujician & Tapestry Orchestra) and a brilliant solo concert at Cafe Oto in London in the mid aughts. I bought an original LP copy of his second album, ‘Dedicated to You, But You Weren’t Listening’ when I was in London and that record changed my life. It remains one of my favorite avant-jazz records of all time. Mr. Tippett did the arrangements for and played on world class/jazz/soul singer Julie Driscoll’s first solo album called ’1969’, released in the early 1970’s. Keith & Julie got married and continued to work mostly together through a variety of bands organized by Keith throughout their long journey together. Keith & Julie Tippett recorded a duo album called ‘Couple in Spirit’ which was produced by Robert Fripp and released in the mid-1980’s. Ms. Tippetts sings into the piano while both of them play small utensils & toy boxes with Keith at the keyboard. The first ‘Couple in Spirit’ record is again totally mesmerizing and one of all-time favorites. The duo would go on to record three other duo records as well as a great trio with Paul Dunmall.
The duo were about to work on another ‘Couple in Spirit’ record when Keith started to have health issues. Mr. Tippett passed away in June of 2020. Julie Tippetts and Martin Archer (head of the Discus label) decided to organize another ‘Couple in Spirit’ record by taking several live recordings of Mr. Tippett from 1979, 1991 and 1995/96 and have Julie add her parts, multitracking and adding some sonic seasoning. This disc is the results of those recordings. Ms. Tippetts has been writing her own lyrics ever since she worked with Brian Auger & the Trinity in 1968 & 1969. After her two first solo albums, ’1969’ and ’Sunset Glow’, Ms. Tippetts abandoned using lyrics, concentrating on being a gifted improviser and vocalist in several of Keith’s projects. Mr. Archer asked Ms. Tippetts to collaborate for six albums they’ve done over two decades (2002-2022), with Mr. Tippetts again writing the lyrics. I really enjoy each of these discs and had the good fortunate to catch Ms. Tippetts & Mr. Archer in a sextet a few years back at the Victo fest, their first live set ever and it was excellent. Over time, Ms. Tippetts has become a spirited and resourceful wordsmith. She adds her voice and words to seven of the eight pieces here and each one is a gem. Over the past decade I’ve gone back to re-listen to all of Ms. Tippetts’ early record with Brian & the Trinity and her two solo efforts (both of which were recently reissued). I have even checked her out live with the Trinity on Youtube. Ms. Tippetts has become one of favorite vocalists of all.
The combinations of talents on this disc is just incredible. Keith Tippett’s often startling and occasionally dark, turbulent piano is just one element in this rich cosmic brew. Ms. Tippetts adds layers of voices, often sounding like a cosmic choir of ghosts weaving several golden threads together. The words often remind me of Keith Tippett’s spirit, the one that was at the center of his soul whenever I heard him live or on record. I find this music to be consistently spiritual, uplifting, powerful and transcendent. - Bruce Lee Gallanter, DMG
CD $14 [Copies in stock in a week or so]
SHIVER with ANDY CHAMPION / JOOST HENDRICKX / CHRIS SHARKEY MATTHEW BOURNE - Shiver Meets Matthew Bourne (Discus Music 149CD; UK) Keyboardist Bourne’s become something of a critical darling these last few years and rightly so, traversing both the acoustic and electronic worlds with the greatest of ease. Aligned on this fascinating work with the trio Shiver (guitarist Chris Sharkey, bassist Andy Champion, and drummer Joost Hendrickx) finds him in some stalwart company. Ostensibly an electroacoustic blowing session, there’s simply way too much sonic autopsying going on here to warrant this as some random afternoon hang-out. Bourne’s piano is the more muted of his instrumentation, interestingly-enough: he takes great pleasure in erecting some wonderfully plastic, perplexing architecture out of his trusty Memory-Moog, using the acoustic keyboard more for filigree than shadow. His cohorts reckon with him in the grandest of ways across this single, forty-two minute plus get-together. Hendrickx’s drums do the devil’s dance at first, acceding space to Sharkey’s atmospheric striations while Champion’s bass scuttles about. Weird, oblique sounds hover in the mid-distance; you could swear there’s dogs barking every time Hendrickx thumps a snare or wrangles some twisty metallic motif from his kit. It’s essentially pointless to emblazon this music with anything as pithy an appellation as ‘jazz’ or even ‘EAI’ but moments arise: Bourne’s crystalline, Ahmad Jamal-like licks eventually giving way to his Moog’s mysterioso topographies; Sharkey’s alien cat-calls stretching its sunset horizons to breaking point; Hendrickx tripping the northern lights fantastic. At the midway point, the whole thing enters an almost-groove that could be some long lost Mwandishi composition rescued from the depths of exploratory hell. Excellent. - Darren Bergstein, DMG
MOSS FREED / UNION DIVISION Micromotives (Discus 147CD; UK) Guitarist Freed and his eclectic ensemble Union Division, on this extraordinary record, come in like a lion and, well, go on to roar, flail, charge, and pounce like a whole herd of lions. Short and sweet, the first word that comes to mind when listening to Mircromotives is epic. The second word is ferocious. Just dipping your toes into the first few notes that commence the supreme gallop of “Union of Egoists—For Anthony Braxton” is an act of sheer bravado, certainly not for the timid. Huge, marauding armies of sax, trumpet, and clarinets lead the charge, as Freed gamely shepherds the entire brash enterprise down paths both primrose and perambulatory. Braxton’s gargantuan way with pen and instrument is rendered in high-definition here, Union Division’s multi-limbed members running through oscillating periods of thrashing near-noise tempered by interruptive clots of tentative, discrete (e)motions. Freed’s own electric guitar adds succinct coloration throughout, often in conjunction, as well as contradiction, with cellist Brice Catherin and bassist Otto Wilberg, whose own intertwining playing lend some ballast to a group that frequently feels as if it will tear itself out from the pull of earth’s gravity. Further shining moments abound, playful and enigmatic. Each of these track’s lengthy durations allow Freed and his crew ample time to explore a vivid range of ideas, nuances, and, perhaps most telling, scrappy, febrile textures. Across the fifteen minutes of “Kilter—For John Zorn”, Freed’s guitar sizzles with all the motive power of surging jet engines, eviscerating the brassic landscapes underneath, mimicking and channelling Zorn’s galvanized sax in a truly vibrant display of sheer abandon and convective brio. On “Hidden Hand—For Terry Riley”, you’d think the ensemble would dial things down a bit and make like little cyclic sequencers, but instead they pivot gracefully between ecstatic technique and introspective discourse, a celebratory ritual that embraces Riley’s own zeal for life while creating its own singular artistic identity. Such is the stuff that dreams are made of—the whole thing will leave you spent and gasping for air. - Darren Bergstein, DMG
2 CD Set $16
FAMILY BAND with TOM RIVIERE / STEVE HANLEY / KIM MACARI / RILEY STONE-LONERGAN - Family Band (Discus Music 146CD; UK) A jolly good time comes courtesy of this quartet of engaging blokes, but look out, 'cause there’s some sharp edges adorning this instrumental roundabout. The self-titled 3rd at bat for trumpeter Kim Macari, tenor saxophonist Riley Stone-Lonergan, double bassist Tom Riviere, and drummer Steve Hanley is a dandy. The opening two pieces, “Bastard Gentlemen” and “Monty”, rip away the veneer of the last 60 years of both American and British jazz as they move through a freewheeling array of post-bop and freer genre tropes, the album’s former an ex-pat swinger flaunting its stuff under Henry Threadgill’s Very Very Circus bigtop, the latter a more languid number effecting a buskier tone of Ornette-esque proportions, glimpsed through the lens of Harry Miller or Mike Westbrook’s smaller, lithe ensembles, the lineage more prima facie than Prime Time. There is much to admire across this long-player, virtual founts of energy, alacrity, and surprise that embraces jazz’s legacy while heartily expanding upon it. “Mistake Not” surely grasps this, Stone-Lonergan’s saxes alternating acrid tones and fleet shouts across Hanley’s rippling cymbals and whipcracked snares, a delightful counterpoint of rhythm and brass that conjures memories of Steve Coleman’s early Five Elements’s quirkier salvos. And even during the blustier, melancholic refrains of “The New Music of the Spirits”, where the entire band lock horns in a dense blues-march the likes of which Roland Kirk wouldn’t sneer at, it’s evident these youngsters contemporize an entire book of rich history with enormous gusto and a zeal usually reserved for their more experienced elders. For this particular Family, everything old is surely new again. - Darren Bergstein, DMG
NEW FROM LISTEN! FOUNDATION / FUNDACJA SLUCHAJ!:
BARRY GUY / IZUMI KIMURA / ARTUR MAJEWSKI / RAMON LOPEZ - Kind of Shadow (Listen! Foundation FSR 01/2023; Poland) Featuring Izumi Kimura on piano, Artur Majewski on cornet & electronics, Barry Guy on contrabass and Ramon Lopez on drums & percussion. For the past half century master-bassist, composer, multi-bandleader and improviser par excellence, Barry Guy, has worked with cream of master musicians, whether living in the U.K. or now living in Switzerland. Mr. Guy has led the London Jazz Composers Orchestra since the early 70’s and they continue to regroup from time to time. Their recent 6 CD box set on Not Two (‘Krakow 2020’) is one of the best Creative Music box sets released in recent memory. Since moving to Switzerland, Mr. Guy has cast a wider net and has been working with a number of great European musicians in various small groups as well as his own medium sized unit, the Barry Guy New Orchestra. Over the past decade Mr. Guy has sought out a number of lesser known but no less inspired musicians like the members of this fine quartet. Japanese pianist Izumi Kimura lives in Ireland and has recorded in a trio with Mr. Guy & Gerry Hemingway. Polish cornetist, Artur Majewski, can be heard on some ten discs for the Not Two, Clean Feed and Listen! Foundation labels over the past decade. The ever-in-demand Spanish drummer, Raymon Lopez, can be found on more than two dozen discs with a diverse cast of musicians: Joachim Kuhn, Sylvain Kassap, Satoko Fujii and Mark Feldman.
This is the second disc from this quartet and it was recorded live in October of 2012 at the Polish Radio Concert Hall in Warsaw, Poland. The music starts off slowly, spaciously and is superbly recorded. Mr. Majewski’s cornet is bathed in subtle reverb or perhaps it is just the resonant sound of the room. It is lush, delicate and most enchanting. The instruments are closely mic’d so we can hear every nuance, the carefully plucked strings of the contrabass andthe strings inside the piano, as well as the subtle percussion of dream-like cornet casts a soft spell on those who listen. As the tempo or intensity slowly builds, the inner spirits rise, the foundations rumbling somewhat. On “Part Four”, Ms. Kimura plays with that Bill Evans-like lushness which expands as the quartet escalates into freer terrain. I find this disc to be most exquisite, transcendent at times. The sun is shining today (8/1/23) which feels better after it snowed yesterday. The music is perfect soundtrack for sun and cool breeze coming through my window. - Bruce Lee Gallanter, DMG
IVO PERELMAN / RAY ANDERSON / JOE MORRIS / REGGIE NICHOLSON - Molten Gold (Listen! Foundation FSR 03/2023; Poland) Featuring Ivo Perelman on tenor sax, Ray Anderson on trombone, Joe Morris on bass and Reggie Nicholson on drums. I have friends who complain that saxist Ivo Perelman releases way too many CD’s and yes he does have a ridiculous amount of discs on various labels like Leo, ESP and Mahakala. The thing is this, every time I review one his discs, I am consistently knocked out by the results. He is a gifted improviser and keeps a growing number of local improvisers engaged in recordings. For this release, Mr. Perelman has put together a fine quartet of players he has rarely worked with like Ray Anderson and Reggie Nicholson. Guitarist/bassist Joe Morris has worked with Mr. Perelman previously on around a dozen discs going back to 2007. I am a longtime fan of trombonist Ray Anderson. I know that Mr. Anderson had some health issues in recent times and he doesn’t seem to record very often nowadays so I was glad to hear him on this disc. The same thing with drummer Reggie Nicholson, someone I’ve long admired but doesn’t appear to record so much. Nicholson has recorded a few strong but under-appreciated solo efforts over the past decade.
These discs were recorded at Parkwest Studios in Brooklyn by the great Jim Clouse, who also does many of the sessions for the Mahakala label and is a fine saxist as well. Hence, the sound is superb throughout. Right from the opening roar of Ray Anderson’s trombone, we are off and soaring. Although Mr. Perelman and Mr. Anderson haven’t recorded together previously, they quickly start to exchange a series of tight, invigorating conversations. There are two long pieces (around 20 minuts each) on CD 1, the two frontline horn players taking their time to exchange ideas as the flow continues. The rhythm team also remains focused throughout, rising and falling and providing the rhythmic flow and undertow or current. There are a number of interesting subsections/combinations going on here: a strong, sparse trio section for restrained trombone, bass & drums with strong interaction. When Mr. Perelman re-enters, he starts with a series of high note squeaks, a master of those multi-phonic sounds. There are several episodes on inspired interaction going on here, an exchange of ideas flowing/going back and forth, even some gutbucket bluesy exhortations. As with most improv from the avant-jazz elders, we never know which direction they will take yet this quartet is consistently strong and spirited throughout. - Bruce Lee Gallanter, DMG
2 CD Set $20
SZILARD MEZEI / ZOLTAN CSANYI / VASCO TRILLA - Look Into My Eyes, I’m Watching You (Listen! Foundation FSR 02/2023; Poland) Featuring Szilard Mezei on viola & piano, Zoltan Csanyi on double bass and Vasco Trilla on percussion. I’ve become a big fan of Hungarian violist Szilard Mezei since I first heard his releases around 2003. Mr. Mezei has upwards of forty-plus releases in the past twenty years and leads more than two dozen bands from duos through his large ensemble. Mr. Mezei works with many other Hungarian musicians, many of whom are found on different discs in his vast catalogue. Bassist Zoltan Csanyi can be heard on a few of Mezei’s discs previously. Spanish drummer Vasco Trilla also keeps busy and can be found on some 50 discs for labels like Listen! Foundation, FMR and Multikulti. Check out his amazing solo effort on FMR or duo with Luis Vicente for some thrills.
This 2 disc set was recorded both live and in the studio on four dates May through August of 2021 in Serbia and Hungary. The thing that I’ve long admired in Szilard Mezei’s many releases is that although some or much of the music is improvised it doesn’t sound that way, it sounds much more directed or focused. Considering that CD 1 is mostly a viola led trio, it sounds larger than it is. Mezei is a virtuosic violist with a depth of ideas, techniques and extended sounds at his disposal. The distinctive sound of and the approach to playing the viola is much different from the way most violin soloists play. Mezei is often modest, keeping things calm at the center of the storm which he both helping to create and hold together. While listening I get the feeling that there is a play going on here and each instrument is a character telling a different part of the ongoing story. Each member of the trio get chances to stretch out while no one ever shows off, it is all about the continuing saga of creating music which both engages and inspires us. There are a number of quieter solo sections which are exquisite and balance with the occasional fireworks perfectly. Something to consider: each time I review or re-listen to a disc by Mezei, I want to hear more. Addicting? Demanding? Inspiring? Yes indeedy! - Bruce Lee Gallanter, DMG
2 CD Set $20
NEW FROM FMR:
PAUL DUNMALL / LIAM NOBLE / JOHN EDWARDS / MARK SANDERS - One Moment (FMR Records CD657; UK) Featuring Paul Dunmall on tenor sax, Liam Noble on piano, John Edwards on contrabass and Mark Sanders on drums. Ever since British sax colossus Paul Dunmall stopped releasing discs on his own Duns label in 2010, the number of discs that are released with him as the leader has come down to a more manageable level. Lables like Slam, Rogue Art, FMR and 577 Records have picked up the slack.Mr. Dunmall has been using the same rhythm team of John Edwards and Mark Sanders for many years now and both can be found on dozens of Mr. Dunmall’s discs. UK pianist, Liam Noble, who also works with Ingrid Laubrock, is on quite a few less discs with Mr. Dunmall. This appears to be the fourth disc from this particular quartet. It was recorded live at the Eastside Jazz Club in Birmingham, UK in November of 2022, just three months ago. The sound here is superb, warm and well-balanced. The disc consists of one 44 minute long improv and it is consistently engaging and exciting throughout. Since the turn of the millennium (and even before that), I’ve kept my & ear on bassist John Edwards. His playing no matter who he is working with has been consistently inspired and engaging. Mr. Edwards works well and often with Mark Sanders, another British giant on the drums. Both of these men are in fine form throughout this disc. Mr. Dunmall’s last longtime quartet was Mujician (with Keith Tippett, Paul Rogers and Tony Levin). Since this quartet has been around for a while, they too always rise to the occasion of Cosmic Transcendence. Every Tuesday night at DMG we have our Free Creative Live Music Series. Most of these sets are improvised and are often varied in personnel, instrumentation and the success for Free Spirits. There are often moments of transcendence each Tuesday night which helps to inspire me and those who listen. This disc is an example of Cosmic Transcendence at its very best. If you need some inspiration, this is your medicine. - Bruce Lee Gallanter, DMG
Back in stock from last year:
TRANCE MAP with EVAN PARKER / MATTHEW WRIGHT / ROBERT JARVIS - Grounded Abstraction (FMR CD647; UK) Featuring Evan Parker on soprano sax, Matt Wright on laptop processing and Robert Jarvis on trombone. Recorded live at The Jazz Centre in the UK in January of 2022. Transmap is the duo of Evan Parker and Matt Wright, both were/are members of Evan Parker’s Electro-Acoustic Ensemble. British trombonist Robert Jarvis has worked with Hugh Hopper, Paul Rutherford & Roland Ramanan, as well as being a member of the London Improvisers Orchestra. I was working at the store yesterday with employee John Mori and we listened to several new CD’s from the Mahakala label, which are mostly free jazz/fire music. As soon as we played this disc, we knew something else was going on. Evan Parker’s soprano sax and Robert Jarvis’s trombone sound closely aligned, both are carefully playing and stretching out their notes/lines. At times it is difficult to tell them apart outside of Mr. Parker’s high-end repeating circular lines which soon moves into as Mr. Jarvis also starts repeating certain lines. Mr. Wright seems to be sampling both the sax and trombone, slowly altering their sounds and adding occasional electronic blips, beeps, etc. It sounds as if there are electronic ghosts moving around the duo/trio matching their slowly shifting sounds. Soon Mr. Parker’s spiraling soprano lines speed up with Mr. Jarvis’ trombone also speeds up and both spinning their lines together and/or around one another. Eventually Mr. Parker’s soprano moves into those ricocheting lines, playing a fascinating series of patterns, the electronics adding some sly sounds which are well interwoven with ever-shifting trombone lines. Evan Parker is a master of the circular streams and here he does that but in smaller doses while the trombone and electronics both add their own shifting sonorities. There are a series of sections here, each one somewhat different. Things quiet down to some more eerie restrained parts and then soon fade away before the second long piece begins. The second piece, “Abstraction” begins softly, sparsely and builds slowly. Robert Jarvis is most impressive throughout, he also works his way through a variety of sounds/techniques, repeating phrases, shifting his lines, using a mute to alter his tone, he is a perfect match for Evan Parker since they both focus hard on the way they shape their notes and lines. This entire 68 minute disc is most enchanting throughout. - Bruce Lee Gallanter
KING UBU ORCHESTRA with MARC CHARIG / AXEL DORNER / MATTHIAS MUCHE / PHILIPP WACHSMANN / MELVYN POORE / STEFAN KUENE / ERHARD HIRT / PAUL LYTTON / PHIL MINTON / et al - Roi (FMR Records CD 653; UK) Personnel: Stefan Keune on sopranino sax, Marc Charig on cornet, Axel Dorner on trumpet, Matthias Muche on trombone, Melvyn Poore on tuba, Philipp Wachsmann on violin & electronics, Alfred Zimmerlin on cello, Erhard Hirt on guitar & electronics, Paul Lytton on drums & electronics and Phil Minton on voice. The King Übü Örchestrü has been around since 1985 and I believe that they were once led by British trombonist Radu Malfatti. The King Übü Örchestrü (KUO) has five discs recorded between 1985 and 2003. There is a story that right before the played at the Total Music Meeting concert in 2003, that Radu Malfatti told them that they would be playing more minimal for the show but some (or all?) members of the ensemble did not agree with Malfatti, who has since left the group. You should remember that Mr. Malfatti went from being a free jazz (maximal) improviser to being one of the most minimal of all lower case (minimal) players. I asked Mr. Mafatti if the story was true at an Erstwhile fest at The Stone and he just laughed and gave me a wink. Most of you should remember the names of the members of this version of the KUO since each one has a long resume: Marc Charig (Keith Tippett Group, LJCO & Maartin Altena Octet), Axel Dorner (Schlippenbach’s Monk’s Casino), Matthias much (many German units), Phil Minton (Mike Westbrook Orchestra & Tom Cora’s Roof) and Paul Lytton (LJCO & longtime Evan Parker collaborator).
This disc was recorded live at Dialograum Kreuzung in Bonn, Germany in September of 2021. Like the Globe Unity Orchestra, whose history goes back even further to the late 1960’s, the King Übü Örchestrü are also a European improvising orchestra, a bit smaller with 11 members than Globe Unity. Another tidbit to consider is this: Alfred Jarry’s controversial turn of the century play, ‘Ubu Roi’, was considered to be one of the cornerstone’s the Dada movement as well as inspiring pataphysical philosophy, both of which poked fun at absurdity of humanity. Hence the band name, King Übü Örchestrü and the title of this disc, ‘Roi’. The music does start off minimally and cautiously. Although this music is fully improvised, it often sounds directed. A lower case specialist like Axel Dorner, who often uses extended/experimental sounds like hissing, slurs & tapping on the mouthpiece, fits well with the rest of these musicians, each of whom do a fine job of combining forces without erupting into the more maximal free jazz blowouts of yesteryear. For me, this is Euro Free Music at its best: free yet very focused, organic sounding and somehow fresh. Each of the two discs here contain an entire set and results are extraordinary throughout. - Bruce Lee Gallanter, DMG
PHILIPP WACHSMANN / TREVOR TAYLOR - Two (FMR CD 656; UK) Featuring Philipp Wachsmann on violin & electronics and Trevor Taylor on percussion & electronics. Violinist Philipp Wachsmann is one of the original Free Music improvisers whose career reaches back to the mid-seventies. Mr. Wachsmann has worked with a large number of UK & Euro improvisers like: Howard Riley, Barry Guy, Fred Van Hove and Tony Oxley. Wachsmann is also involved with Bead Records, one of the first independent avant/jazz record labels based in London and recently releasing a handful of historic recordings. Trevor Taylor runs this, the FMR label and used to publish the great Avant magazine. Mr. Taylor is a marvelous percussionist and has also worked with electronics at length, Check out the Circuit Electro-Acoustic Ensemble and/or his work with Evan Parker. Mr. Wachsmann has also been working with electronics for quite a while and both were members of the Circuit Electro-Acoustic Music Ensemble.
One of the things that I admire about Trevor Taylor is his percussion playing and electronics are often subtle and rarely too dense. Things begin with acoustic violin and marimba, organic and exquisite. This piece sounds like modern chamber music, improvised yet focused. Aside from marimba, Mr. Taylor uses cymbals, bells and assorted metal percussives while Mr. Wachsmann weaves his violin in and out of the stream. As Mr. Taylor moves to the lower end percussion (timbales, bass drums. etc.), Wachsmann converses with his restrained yet expressive violin. The electronics enter slowly on the third piece, slightly altering the the violin or adding subtle nuance to the acoustic sound. Much of this music is ultra subtle, hushed, eerie at times, cautiously created, spacious… On “Game for Two”, Mr. Taylor plays his drum kit, creating a spirited dialogue with the drums and violin. There is a quiet, calm center to most of this which I find both soothing and enchanting. - Bruce Lee Gallanter, DMG
INTERSTELLAR NAO with GABRIEL LAUBER / RICK COUNTRYMAN / ITZAM CANO - Live at No Somos Nada (FMR 649; UK) Interstellar Nao features Rick Countryman on alto sax, Itzam Cano on acoustic bass and Gabriel Lauber on drums. This disc was recorded in Mexico City in November of 2022. I’ve had my eye & ear on American-born saxist Rick Countryman for the past few years. Mr. Countryman has been living in the Philippines for several years and recording with legendary Japanese drummer Sabu Toyozumi as well as with a handful of other Philippines-based musicians. Mr. Countryman can be heard on a dozen-plus discs over the past 3 or 4 years. Countryman heard from two Mexican-based musicians: Gabriel Lauber and Itzam Cano during the pandemic. This fine free-spirited rhythm team had recorded with Marco Eneidi, Elliott Levin, Frode Gjerstad and Peter Kuhn, in the recent past. All four are/were strong saxists so Mr. Countryman picks a great team to work with. Right from the gitgo, the trio is soaring high. Drummer Gabriel Lauber takes the first solo here and does an impressive job, spinning a fierce web of rhythmic free spirits which is soon joined by some intense bowed bass, erupting and interacting with the drums as one force. On the second piece, the trio calm down to a more spacious, sparse terrain. Mr. Lauber switches to brushes while the trio slowly evolve together. Considering that this trio had never played together before this date, they do sound focused and inspired. You can tell that these folks are listening closely and responding, having a fascinating conversation, the ideas/sounds flowing freely yet always connected. The trio seems to be evolving as they get to know each better on each piece, speeding up, getting more intense and frenzied and them calming back down, remaining connected as they go. Strong and spirited Free Jazz has become an international language that musicians from around the world create in their own way. I like when musicians from different cultures come together and create their own new world and this is what we have here. - Bruce Lee Gallanter, DMG
FAUST - Momentaufnahme I (Bureau B 404CD; Germany) “Originally part of 2021's Faust Box Set release commemorating the bands 50th anniversary Momentaufnahme I and II are now set for their own standalone release by popular demand. This is for all those that missed out on the limited-edition box set release. They collect together music recorded at the band's studio -- a converted schoolhouse in rural Wümme between 1971 and 1974 in a similar vein to the way in which The Faust Tapes (released in 1973) was assembled. These two albums range from minimal electronic pulses, ambient dreamscapes, vocal collages to heavy drone, ritualistic percussion and psychedelic grooves. Highlights include the hypnotic space jams of "Vorsatz" and "Rückwärts Durch Die Drehtür", the delicate acoustics of "I Am... An Artist" and the radiophonic workshop-esq "Weird Sounds Sound Bizarre".
Let's let founding member Jean-Hervé Peron explain more: "Faust? were originally a group of musicians, each following our own inspirations, desires, illusions: many facets, many directions, different styles, different languages. We often had to struggle with the clash of our egos but there was also a natural tacit understanding of each other's role. We had the privilege to work with a great producer and an extraordinary recording engineer. From spring 1971 to spring 1974 we existed as a group. Then Faust became a Gestalt with various incarnations. Momentaufnahme? Don't panic here, it is only German for 'Snapshot'. Momentaufnahme I and II present a collection of unreleased snapshots which offer a wonderful insight into the world of Faust. Some tracks are extremely raw and experimental, others are fully rounded productions. So far we have MA I and MA II but we plan to do more of these when we come up with more material or new ideas."
FAUST - Momentaufnahme II (Bureau B 405CD; Germany) “Originally part of 2021's Faust Box Set release commemorating the bands 50th anniversary Momentaufnahme I and II are now set for their own standalone release by popular demand. This is for all those that missed out on the limited-edition box set release. They collect together music recorded at the band's studio -- a converted schoolhouse in rural Wümme between 1971 and 1974 in a similar vein to the way in which The Faust Tapes (released in 1973) was assembled. These two albums range from minimal electronic pulses, ambient dreamscapes, vocal collages to heavy drone, ritualistic percussion and psychedelic grooves. Highlights include the hypnotic space jams of "Vorsatz" and "Rückwärts D- urch Die Drehtür", the delicate acoustics of "I Am... An Artist" and the radiophonic workshop-esq "Weird Sounds Sound Bizarre".
HARDY FOX - Wallpaper (Klanggalerie 430CD; Austria) "Hardy Fox was the primary composer of The Residents. He created an incredible body of work, using all kinds of names other than The Residents, amongst them Combo De Mechanio, Sonidas De La Noche, Dead Eye Dick, Charles Bobuck or Black Tar And The Cry Babies. Hardy first stopped touring with The Residents due to health issues. Soon afterwards, he left the group completely to concentrate on his solo work. After several albums as Charles Bobuck (later only Bobuck), the name given to him when still a member of The Residents, he later dropped all pseudonyms to work as Hardy Fox. His first self-titled solo recording was an album full of minimal love songs, a portrait of the young Hardy Fox. The second, Nachtzug was about his last days touring with The Residents. It was followed by Rilla Contemplates Love, a concept album about the thoughts and feelings of a gorilla. Wallpaper was originally released on Hardy Fox's website and is an adaptation of The Yellow Wallpaper by Charlotte Perkins Gilman. The music was created by Hardy, the text was read by Joey R."
AIN SOPH - An Die Freude: Live in Vienna October 13, 2021 (Klanggalerie 431; Austria) "Recording of a live concert of Italian masters of dark ambient and neofolk Ain Soph. Ain Soph arose in Rome in the early 1980s, composing disturbing industrial-ambient soundtracks for their esoteric rituals. The music of their first tape releases is dark, frightening and evocative. In 1988 they released their first LP, the masterpiece Kshatriya, blending neoclassical arrangements, noise and experimental sounds. At the beginning of the 1990's, Ain Soph radically changed direction, first releasing a collection of sacral-hymn songs, then exploring traditional folk music and psychedelic hard rock. The album Finis Gloriæ Mundi from 2018 added electronic beats to the Ain Soph sound. In October 2021, the band played a show with Der Blutharsch and The Infinite Church Of The Leading Hand in Vienna, during the difficult time of the Covid pandemic. Both gigs were recorded, and now Klanggalerie are very happy to present to you the Ain Soph concert in Vienna on CD."
MICHAEL HOENIG & MANUEL GOTTSCHING - Early Water (Mg.Art 503CD; Germany) "In 1976 Michael Hoenig had a brief collaboration with Ash Ra Tempel's Manuel Göttsching in Berlin; A 48-minute recording of one of the sessions, which was released in 1995 under the title Early Water on Bernd Kistenmacher's Musique Intemporelle label. The album was deleted and unavailable for a long time. Now, finally, a re-issue of Early Water will be available again. Michael Hoenig still remembers: 'While I had been working on the Departure From The Northern Wasteland album, Manuel Göttsching had asked me if I would team up with him for some concerts in France, since his group had just gone through one of its hibernation periods. We rehearsed in my place for three or four weeks. One evening we got a call regarding some missing guarantee, which ultimately led to the decision to cancel the tour. Just for fun, we played one of the planned sets for a last time. Even though I do not recall pressing a record button, somebody recently dug up a Revox tape of that very set. After performing some digital sonic archaeology on it, it was just released under the very appropriate title Early Water.' And Manuel Göttsching adds: 'Unfortunately, some of the concert dates were not confirmed in time and we had to cancel the complete tour just on the day before we wanted to leave for France. On that evening, nevertheless, we recorded our last rehearsal 'just in case'. It turned out as a flowing harmonic piece, reflecting much of the optimistic air of 1976. Michael made his 'departure' to Los Angeles in the early 1980ies. When we met again in November 1994, I proposed to release this old track of ours. Michael took the original tape to Los Angeles, lovingly restored it and -- well, here is it again!'"
BOB DRAKE - Legendary Lore of the Holy Wells Of England (ReR Megacorp CTA 027; UK) "Bob Drake takes a professional detour to explore an intriguing byway with this atmospheric, uncharacteristic, stripped down, highly intriguing (and I think highly successful) experiment in minimal exposition. There are thirteen chapters -- for voices, organ, piano and cathedral -- on texts drawn directly from the 1893 edition of The legendary lore of the holy wells of England: including rivers, lakes, fountains and springs, by the English antiquary and inventor of the folding umpire's chair, Robert Charles Hope. Hallucinatory, educational, intriguing, mysterious and almost certainly efficacious to the elevation of the spirit -- not to mention some serious compositional heft. This is a unique musical object and whomsoever likes to take the road less traveled, this was meant for you. Written, performed, and recorded by Bob Drake, between May 2021 and June 2022. Recorded June and July 2022 at La Borde Basse, Caudeval France. Instruments: Hammond model BC organ (c.1940), Challen upright piano. Background ambience recorded in Saint Maurice Cathedral, Mirepoix. Cover art by EM Thomas. Photos by BD except booklet back cover by Emily Jones. All lyrics adapted from The Legendary Lore of the Holy Wells of England by Robert Charles Hope (1893)."
TAKASHI KOKUBO & ANDREA ESPERTI - Music For A Cosmic Garden (Wrwtfww Records 072CD; Switzerland) WRWTFWW Records present a new full-length collaborative project by Japanese ambient/environmental legend Takashi Kokubo (Ion Series) and Italian/Swiss trombonist Andrea Esperti (Esperti Project): Music For A Cosmic Garden. Recorded during the heights of the pandemic and completed in February 2021, Kokubo and Esperti created a majestic eight-track ethereal/botanical soundscape. Takashi Kokubo, environmental music figure, celebrated sound designer, and founder of Studio Ion, has released over 20 albums, including the genre-defining and highly sought-after Ion Series. He's also played a major role in the sonic identity of Japan, creating the country's mobile phone earthquake alert sound, credit card payment validation jingles, and much more. In 2020, Takashi Kokubo received a Grammy nomination for his track "A Dream Sails Out to Sea, Scene 3" off Light in the Attic's Kankyō Ongaku compilation. He is known for recording "sound scenes from nature" around the world using a binaural CyberPhonic microphone of his own invention and for his very unique brand of healing music. Andrea Esperti is a Swiss trombonist and composer originally from Puglia (Italy). He plays in multiple genres (classical, pop, world, electro, jazz) with a globe-trotting approach: encounters with peers, rhythmic exchanges, and unplanned music projects; this is where lies the foundation of his work. Music For A Cosmic Garden is an ode to celestial botanics, a contemporary and hallucinogenic take on the soothing ambient genre immortalized by artists such as Midori Takada and Satoshi Ashikawa, a beautiful pairing of synthesizers and the mighty trombone, taking you to a meditative galaxy far, far away, where other-worldly is just another word for cozy. Recommended track for maximum pleasure: "Gaia's Love Theme". For fans of environmental, chill-out, ambient, Satoshi Ashikawa, Midori Takada, Hiroshi Yoshimura, the Ion Series, parallel universes, music for space traveling but also music for gardening, and music for gardening in space.”
JIMMY HEATH with CANNONBALL ADDERLEY / NAT ADDERLEY / JULIUS WATKINS / CLARK TERRY / CURTIS FULLER / TOMMY FLANAGAN / CEDAR WALTON / HAROLD MABERN / WYNTON KELLY / KENNY BURRELL / PERCY HEATH / PAUL CHAMBERS / ALBERT HEATH / CONNIE KAY / et al - The Classic Riverside Albums (Enlightenment 9218; EEC) “James Edward Heath, nicknamed 'Little Bird', was an American jazz saxophonist, composer, arranger, and big band leader. This four CD collection features all Jimmy Heath's Riverside albums, alongside two further records on which he played, ostensibly as sideman, but took top billing because of his significant contribution. An ideal starting point for anyone just getting into the music of this formidable jazz maestro, the collection will additionally serve as an ideal reminder for those already versed. Albums include: ‘The Quota’, ‘ Triple Threat’, ’Swamp Seed’, ‘Really Big!’, ‘On the Trail’ and ‘The Thumper’.
4 CD Set $18
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
Loren Connors: A Coming to Shore
January 28–March 25, 2023
Opening 4–7 PM January 28
468 Grand Ave #1D
Brooklyn, NY 11238
CHRIS PITSIOKOS is back in town and playing some gigs:
Saturday March 4th, Record Shop, Red Hook, 8pm:
1. Aliya Ultan Solo
2. Chris Pitsiokos/Tizia Zimmermann Duo
3. Richard Lenz/Kevin Murray Duo
Tizia is a seriously amazing Zurich based accordionist I work with over here in Europe. She is visiting NYC for 6 months. I am honored to be a part of her first NYC show evaa.
Wednesday March 8th, SHIFT Doors 730, Show 8pm
TRIO with Kevin Murray and Joe Morris
Always great to play with a longtime mentor of mine (Joe) and my esteemed colleague Kevin
Saturday March 11th, Record Shop, Red Hook, 8pm:
1. Quartet with Elias Stemeseder, Sandy Ewen, and Nick Neuburg
2. Sam Lisabeth plays some songs
Can't wait to see ol' sammy boy for the first time since the beginning of the pandemic! And there ain't no songsmith like him. Also very excited to play with this bonkers quartet. Frankly, I have no idea what it will sound like. This is usually a good sign.
March 31st at Statue, in Sunset Park 8pm
1. My new solo 4-channel electroacoustic piece "Irrational Rhythms and Shifting Poles"
2. DoYeon Kim/Trevor Dunn duo
3. Tim Dahl/Dan Peck/Alexis Marcelo
In all seriousness I have been working on this new piece for 13 months. It might be the most exciting musical achievement in my life. I premiered it last month and am now very happy to share it in NYC.
I am also playing two out of town shows.
March 12th with Sandy Ewen and Ben Bennett at Century in Philadelphia
March 13th with Ben Bennett at Rhizome in DC
SHA / TIM BERNE
March 18th - 8-10pm - doors at 7
Live at KI Smith Gallery
170 Forsyth, NY, NY, 10002
ATTENTION TO ALL DMG CUSTOMERS: NEW EMAIL ADDRESS: email@example.com