I won't cry out for justice
Admit that I was wrong
I'll stay in hibernation
'Til the talk subsides to gone
My social life's a dud
My name is really mud
I'm up to here in lies
Guess I'm down to size
Can't seem to talk about
The things that bother me
Seems to be
What everybody has
Oh, oh, all right
Here's the situation
And how it really stands
I'm out of circulation
I've all but washed my hands
My social life's a dud
My name is really mud
I'm up to here in lies
Guess I'm down to size
Talk talk Talk talk Talk talk Talk talk
I bought the above song as a single probably in 1966 when it came out or not much later. The band was called Music Machine and they hailed from L.A.. They sound somewhat like The Doors who were also from L.A. and started out around the same time but Music Machine had an album out before the Doors’ debut in 1967. I found this song to be both dark musically and rather funny lyrically. Starting with the Rolling Stones’ hit “Satisfaction” (summer of 1965), bands started to write more complaint oriented songs rather than silly pop/love songs. Social commentary (like “Well Respected Man” by the Kinks) and protest songs (“Eve of Destruction” and much of Dylan’s songbook from 1963 to 1966) became the essence of what bands would sing about during that period. I really dig that dark, pounding, garage beat at the center of the song as well as the lyrics about being an outcast, something I find to be common for most teenagers both then and now. The repeating line: “Talk talk Talk talk Talk talk Talk talk” is still with us as gossip or useless info/opinions and still pervades the airwaves/internet. And still we all love to complain about what we see, hear or believe to be true. Is it all just “talk talk”? Check this song out on YouTube and remember that it came out in 1966. It is a timely hoot. - MC BruceLee
A BIG THANKS!
Thanks once more to all of you who made donations and/or ordered more than usual from us over the past few weeks. We asked if any of you knew of LP or CD collections that we could purchase and heard from a handful of folks. We’ve bought large collections in the past couple of weeks and it will take some time to clean, price and put this items on Discogs and in the bins at the store. Please come to visit if you can since we are putting things out almost every day as well as on our Discogs site. We continue see some new folks coming to visit as well as getting new customers through the Tzadik website, Discogs and Ebay. We sold nearly 40 copies of the Milford Graves book last weekend alone so they are almost gone for now. I really appreciate the nice response from our friends around the world. We wouldn’t be here today without your ongoing support. - Peace & Love from Bruce Lee Gallanter, John Mori & James P Nadien at DMG
The DMG 32nd Anniversary FREE Weekly In-Store Performance Series Continues With:
Tuesday, March 21st:
6:30: YVONNE LeBIEN - Solo vocals
7pm: COMPUTER with ELLIOTT SHARP
Tuesday, March 28th:
6:30: T.J. BORDEN / A H - Cello / Voice
7:30: THOMAS HELTON / KENNY WARREN / MIKE PRIDE - ContraBass / Trumpet / Drums
8:30: PATRICK GOLDEN / JIM CLOUSE / DAVE SEWELSON / MATT HOLLENBERG / ADAM LANE
Rare Monday, April 3rd:
6:30: LEONID GALAGANOV / KENNY WARREN / AQUILES NAVARRO / DAVID CROWELL - Drums / Two Trumpets / Tenor sax
Tuesday, April 4th:
6:30: THOMAS HEBERER / JOE FONDA / JOE HERTENSTEIN - Trumpet / Contrabass / Drums
7:30: GIACOMO MEREGA / ANDREW SMILEY / RAF VERTESSEN - El Bass / Guitar / Drums
THIS WEEK’S BOUQUET OF GREAT DISCS STARTS OFF WITH A RARE GEM OF FREE JAZZ LEGENDS:
ARTHUR DOYLE TRIO with CHARLES STEPHENS / RASHIED SINAN - Nature Boy (Homeboy Music; Ireland) Featuring Arthur Doyle on tenor sax, bass clarinet & flute, Charles Stephens on trombone and Rashied Sinan on drums, recorded live at Studio Rivbea, NYC in August of 1972. Cosmic reeds wizard, Arthur Doyle (1944-2014), remains a near mythic figure amongst the gods of Free Music. One of the most intense, over-the-top and often considered crazed of all the Free Jazz Giants, Mr. Doyle recorded around two dozen discs as a leader or collaborator, practically none of which are in print. Mr. Doyle did work with other legends like Sunny Murray, Milford Graves, Noah Howard and Rudolph Grey (in the Blue Humans). The only thing currently in print is Milford Graves’ ‘Bäbi’ CD on CorbettvsDempsey. I was fortunate enough to have heard Mr. Doyle twice, once with the Blue Humans and once at Tonic with the Q-Bico Allstars. The music on this disc is one 30 minute version of the standard, “Nature Boy”, which is twisted into all sorts of strange yet compelling ways. The trio features Mr. Doyle on tenor sax, bass clarinet & flute, Charles Stephens (from Sam Rivers, Sun Ra & Archie Shepp bands) on trombone and Rashied Sinan (from Ahmed Abdullah & Frank Lowe sessions) on drums. I have played this disc over and over and over again. This is fire-breathing, Free Jazz, Spirit Music at its very best! - Bruce Lee Gallanter, DMG
CD-R $22 [Limited Edition of 100]
DAVE DOUGLAS and ELAN MEHLER with DOMINIQUE EADE / JOHN GUNTHER / SIMON WILSON / DAYEON SEOK - If There Are Mountains (Greenleaf Music CD-1099; USA) Featuring Dave Douglas on trumpet & compositions, Elan Mehler on piano & compositions, Dominique Eade on vocals, John Gunther on sax, clarinet & bass clarinet, Simon Willson on bass and Dayeon Seak on drums. Dave Douglas always keeps busy whether composing or bandleading or teaching, searching for inspiration and new musicians to collaborate with. Although pianist Elan Mehler composed half of the songs here, I hadn’t heard of him before now. Vocalist Dominique Eade I do know through her work with Ran Blake plus she teaches at New England Conservatory. I was thinking how rare it is for Dave Douglas to work with a vocalist although he did record once with Aoife O’Donavon. Reeds player John Gunther has five disc out on the CIMP label, often working with Ron Miles. I hadn’t heard of the bassist before now, but I recognize the name of their drummer, Dayeon Seok, from her work with Kyoko Kitamura and Juanma Trujillo.
The title track is a lovely, laid back piece featuring the exquisite, smoky voice of Ms. Eade. The words to the songs here were taken from several haikus. The words and the songs in which they are used are most succinct, short thoughtful verses. Ms. Eade’s voice is most enchanting, often keeping the trumpet and reeds in a more lyrical role with strong yet modest solos from the trumpet and reeds. Ms. Eade does no scatting or other jazz-like vocal effects, her voice is enchanting enough on its own. Much of this music is lovely, haunting and ripe for late-night listening per with a glass of wine in hand to be sipped slowly. The relaxed, calm vibration also feels nice, creating a quiet, thoughtful, most enchanting mood/vibe. This entire disc has a mostly elegant vibe and it is inventive in a low key way. Later on on this disc, there is a song called, “A Thicket of Summer Grass” which is more progressive and has some tricky horn parts in between Ms. Eade’s inspired vocal parts. I found this entire disc to be consistently charming. - Bruce Lee Gallanter, DMG
PAUL DUNMALL ENSEMBLE with JULIE TIPPETTS / CHARLOTTE KEEFFE / MARTIN ARCHER / et al - It’s a Matter of Fact (Discus Music 148CD; UK) Featuring Paul Dunmall on tenor & soprano saxes, compositions & wood engravings for the cover, Julie Tippetts on voice, Martin Archer on alto & bari saxes & harmonica, Charlotte Keeffe on trumpet & flugelhorn, Richard Foote on trombone, Steven Saunders on electric guitar, James Owston on contrabass and Jim Bashford on drums. British sax colossus, Paul Dunmall, turns 70 this year and has slowed down a bit as far as new releases go. Since his label Duns folded up in 2010, Mr. Dunmall has had discs coming out on the FMR, Discus, 577 and Slam labels, just a few per year. Instead of the usual free-jazz releases, the Discus label gives their artists some breathing space to prepare for, compose in advance and spend more time in the studio to flesh out different ideas. Mr. Dunmall’s large group releases are pretty rare so it is a great thing to see & hear him have a fine octet for this release. Some of these musicians have worked with Dunmall in the past: Julie Tippetts, Richard Foote, James Owston, Steven Saunders & Jim Bashford, while the others have recorded for the Discus label: Martin Archer and Charlotte Keeffe.
“Calling the Spirits” opens this disc with a strong Spiritual Jazz vibe. Over the past two decades, British jazz vocalist, Julie Tippetts, has been collaborating with Martin Archer on some six great discs. Instead of doing the ‘Free Improv’ that she has done since the early 1970’s, Ms. Tippetts is backing to doing some more song or lyric oriented material, her voice strong, spirited and singular in sound. Although she is just a member of this octet and her voice no louder than the other instruments, her sound/presence adds something special to the group. There is a middle section to the first long piece which features some slow-burn Trane-like tenor, understated yet haunting el guitar, strong trombone solo and an infectious groove to boot. Later on in the same piece, the octet play a fine freer section which is both low-key and cerebral, before they go back to the song/theme. “Golden Boat” sounds like one of those sensuous jazz/pop songs that were popular in the sixties, with Ms. Tippetts actually scatting (superbly) along with the horns & guitar, something she rarely ever does. Her vocals when she does freely improvise fit just right with the rest of the octet, trading lines the ways great improvisers often do. On “Latu/Return” Dunmall’s soprano, the guitar, voice & other horns work together effortlessly and include some strong, spirited, well-written ensemble writing and playing. The last piece, “It’a a Matter of Fact/Ahimsa/Dreaming Again” is the longest and goes through different sections. Guitarist Steven Saunders solos slowly throughout the first section with the rest of the ensemble moving in tight waves around him. One section features some feisty tenor sax from Dunmall duetting with the drummer. The music here and throughout this disc has a joyous, uplifting vibe that feels particularly refreshing. So glad that Paul Dunmall has been working hard to bring us music that inspires us all. This is music for the heart, mind and souls of us all. - Bruce Lee Gallanter, DMG
TREVOR WATTS MOIRE MUSIC DRUM ORCHESTRA - With The Flow - Live at the Karlsruhe Jazz Festival 1994 (Hi4Head Records 032; UK) Featuring Trevor Watts on alto & soprano saxes, Nana Tsiboe, Nana Appiah, Jojo Yates & Nee Daku Patato on African percussion, mbira, flute & vocals, Colin McKenzie on bass guitar and Paapa J Mensah on drum kit, bongos & voice. Starting with the Spontaneous Music Ensemble in the mid-sixties and Amalgam in the 1970’s, British sax great Trevor Watts has gotten more rhythmic over time. Mr. Watts organized the Moire Music Drum Orchestra around 1985, Mr. Watts organized the Moire Music Drum Orchestra which has recorded around a dozen discs mostly live with one studio effort on ECM. The original band had four conga players with Mr. Watts upfront, with an electric bassist and drums underneath. I had the pleasure of checking this band out in concert at the Victo Fest in the early 1990’s and was knocked out by their performance. This disc features their performance at Karlsruhe Festival in 1994 in Germany.
The Moire Music Ensemble was a cooperative unit in which several members composed songs as well as Mr. Watts plus they covered some African traditional songs. The opening piece, “Opening Gambit” features Mr. Watts on soprano sax soaring high soloing over a bristling, infectious somewhat funky groove. The five percussionists all chant together over the groove which makes me want to get up and dance. Electric bassist Colin Mckenzie, who was also a member of Amalgam and drummer Paapa Mensah, are in fine form keeping that groove slamming throughout. There is a long suite up next with four flowing parts. It begins with an mbira (thumb piano) led groove, layered vocal lines and a talking drum. Watts uses all five percussionist like an African gamelan orchestra, each one playing congas, mbiras and assorted hand percussion, each one part of the overall interlocking groove/lines. The call & response vocal chants are also most infectious, adding an earthy, community-like vibe to the proceedings. There are long sections of just layers percussion, el bass and occasional chanting which are consistently joyous. You can hear the audience in the background letting the ensemble know how much they dig what is happening on stage. When Mr. Watts finally enters on soprano, his solo pushes the vibe even higher, taking a superb spiraling solo, the rhythm slowly shifting as the waves rise and fall like an ocean tide. What stands out throughout this disc is the feeling of joy and fun, as if these folks are having a great time and uplifting our spirit at the same time. Percussionist Nana Tsiboe wrote the final long piece, “Bomsu / Baiaway”, another joyous groove piece with some superb enchanting soprano sax from Watts. Bassist Colin McKenzie takes a fine, long bass solo, another highlight. This entire piece is laid back and quietly enchanting. It reminds me of the feeling one would get if they were laying out in a field in the Spring with a nice breeze blowing the sun warming us as well. Mother Nature’s blessing. This entire disc is more than 72 minutes long and it is consistently endearing. - Bruce Lee Gallanter, DMG
JOE RIGBY and CHRIS CAPERS - ‘Revelations’ - The Chris Capers Cassettes (Homeboy Music D; UK) Featuring Joe Rigby on soprano, alto, tenor & baritone saxes, Chris Capers on trumpet plus an unknown rhythm section. Joe Rigby played mainly avant-sax for Milford Graves (check out Milford’s ‘Babi’ CD), Andrew Cyrille, Charles Tyler, Beaver Harris and Steve Reid. Trumpeter Chris Capers is somewhat more obscure, although he has worked with Sun Ra (at several points in the 60’s & 70’s), Dewey Redman and Pharoah Sanders. The music for this disc was recorded in January of 1979 for WKCR-FM radio. It was recorded on a cassette which later found its way to Roy Morris who runs the Homeboy Music label. No one seems to know who was in the rhythm team, but the names of Jerome Hunter and Rashied Sinan have been suggested as the drummers. There are two long pieces here, each around a half-hour. The opening theme is not included so that what we first hear is the quartet blasting freely with strong bari sax and a free fast rhythm team pumping underneath. The drummer at times lays out while the bass continues walking quickly, eventually taking an inventive unaccompanied bass solo. The drummer also takes an inspired drum solo as well. This is mainly a fire-breathing free/jazz with a number of strong, powerful solos from the saxes and trumpet. This disc unfolds organically flowing from section to section, building, erupting and then soaring back down for some great bass and drums solos. Extraordinary and powerful throughout! - Bruce Lee Gallanter, DMG
CHRIS CAPERS / JOE RIGBY - ‘Impressions’ - The Chris Capers Cassettes (Homeboy Music; UK) Featuring Chris Capers on trumpet & sax and Joe Rigby on tenor sax, the rhythm section is unknown. This session was most likely recorded in the late 1960’s on cassette. Chris Capers played trumpet with Sun Ra in several different eras (60’s & 70’s), as well as with Dewey Redman and Pharoah Sanders. Saxist Joe Rigby recorded with Milford Graves (on the ‘Babi’ album), as well as for Steve Reid, Andrew Cyrille & Ted Daniel. Chris Capers and Joe Rigby were both part of the loft jazz scene which emerged in the NYC in the 1970’s. Only parts of that scene were recorded for posterity and released on records like the ‘Wildflowers’ sessions which were recorded at Sam Rivers’ loft, Studio Rivbea. For this long lost session a quartet fronted by Chris Capers and Joe Rigby play a 41 minute version of John Coltrane’s classic “Impressions” piece. Mr. Capers starts off on sax and takes the first long solo, he then takes a long, expressive, on-fire, Freddie Hubbard-like trumpet solo with the rhythm team pumping underneath. Considering how few folks know about Chris Capers, his solo ranks among the best of Free Jazz solos ever. Joe Rigby takes the next solo on tenor and soars for a long while, digging deep as he plays, his solo is powerful, inventive and just keeps going for a long while, stretching out the way John Coltrane also did for the last few years of his life. I attended several dozen loft jazz gigs during the mid-to-late 1970’s like Studio Rivbea, Ladies Fort, Environ, Studio Wis… This disc reminds me of that era when my friends and myself would be checking out music like this every weekend. This was, for us, Free Jazz at its very best, mindblowing, intense and often transcendent. This disc is an outstanding session that still sounds great today some fifty years later. - Bruce Lee Gallanter, DMG
ORCHESTRA OF THE UPPER ATMOSPHERE - 06 (Discus Music 150CD;UK) Featuring Martin Archer on woodwinds, organ & software, Yvonna Magda on violin & electronics, Jan Todd on vocals, Celtic harp, laptop, samples, etc., Andy Peake on piano & keyboards, Lorin Halsall & Terry Todd acoustic & electric basses and Steve Dinsdale on drums & keyboards. Discus mainman, Martin Archer, is constantly juggling between several different bands or projects. Orchestra of the Upper Atmosphere is just one of a handful of different projects that Mr. Archer has organized and this is their 6th release. The personnel for this octet has remained mostly intact, some of these musicians are also found in other Archer projects like Das Rad, Deep Tide or Frostlake. Mr. Archer also often draws from members of old prog bands (Like East of Eden) or punk/new wave bands (Comsat Angels). Two members of the Comsat Angels, Andy Peake & Terry Todd, are both part of the crew here.
Starting with “Forced Orbit”, things slowly soar like space-rock, early Pink Floyd or Gong. The bassist plays a sly, hypnotic ostinato figure while the drummer uses mallets, the saxes and violin interweaving into a cosmic flow. The overall sound is like early 70’s prog, similar somewhat to mid-period Soft Machine, the saxes have that slightly sustained (through a PA) sound which I still find enchanting. There are subtle layers of electronics and/or samples pulsating throughout which give this piece a haunting, hypnotic vibe. “Monochrome” is just two minutes of minimalist/space music, similar to Terry Riley’s classic “Rainbow in Curved Air” with those distinctive saxes adding to the magic/mystery. Bands like Tangerine Dream used to use sequencers to get that pulsating/repeating sound but it can also be utilized by just repeating a pattern which I believe is what’s being done here, especially since the patterns don’t go on for too long. The pieces here are all linked together and continuous, something that Soft Machine did live. I am not sure who is playing fretless bass here but their sound is consistently hypnotic, quietly riveting throughout this entire disc. For those who care, Jan Todd’s voice is used minimally and adds a layer of sensuous spaciousness as if coming from a dreamscape. On “Dagger Boys”, drummer Steve Dinsdale is featured playing some mesmerizing space/rock percussion with eerie electronics selectively added. On “African Lady Pilot”, the band get into a great ancient (early 70’s) prog/space-rock groove with lovely, haunting wordless vocals sailing on top. Since I hear very little contemporary progressive rock, I often go back to find some of those more obscure bands that I missed or re-listen to prog bands that I used to dig but have forgotten about. This disc reminds me of the early-to-mid 1970’s when bands were still blending prog, folk-rock, modern classical and electronics into something new. Forty years later, I still enjoy those sounds. - Bruce Lee Gallanter, DMG
DENMAN MARONEY / STEVEN FRIEDER / RATZO HARRIS / BOB MEYER - Martingale (Self-produced; France) Featuring Denman Maroney on hyperpiano & compositions (all but one), Steven Frieder on reeds, Ratzo Harris on 6-string bass and Bob Meyer on drums. This session was recorded in February of 2020 at Oktaven Audio in Mt. Vernon, NY. Since moving to France a few years back, former Downtown pianist Denman Maroney has released a series of discs for his own CD-R label as well as on Rogue Art. This quartet features reeds player Steven Frieder, whose name I don’t recognize; bassist Ratzo Harris who I know from his work with Connie Crothers, Omar Tanez and Gallery; drummer Bob Meyer has worked with an odd cast of greats: Bert Wilson, Andy Statman and Loren Stillman. Aside from playing the self-invented hyperpiano techniques, Maroney tells us that all the tracks involve “temporal harmony”, which involve several layers of time. I am not sure what that term means but I found this entire disc to be consistently fascinating. The title track, “Martingale” is first and the term martingale refers to a betting strategy which was popular in 18th century France. What I notice about this piece is this: the central rhythm is slightly skewed in a Monk-like fashion, the repeating phrase at the center while the sax and piano create overlapping lines. Although certain notes or phrases are repeated, they change slowly over time as the overlaps widen or come close together. “Blind Love” has a challenging uptempo line which all of the members of the quartet must play tightly together as it goes. The bass & drums lock into the left hand lines by Maroney while his right hand plays another line at a furious pace which is no easy feat. This music sounds challenging to play as the varied lines come together and meet only at certain rhythmic cues. The only cover song here is “Centerpiece” which was written by Harry Edison and covered by Lambert, Hendricks & Ross in the late 1950’s. Although it is a blues of sorts, it has also been deconstructed somewhat, interesting in the way it keeps shifting rhythmically. If Monk had been writing for a contemporary band that had some more progressive or outside influences, it might just sound like this: a gem which is completely unique in the way it works. - Bruce Lee Gallanter, DMG
TRIO DEROME GUILBEAULT TANGUAY - Si tu partais (Ambiances Magnetiques AM 272 CD; Canada) Featuring Jean Derome on alto & baritone sax, flute & voice, Normand Guilbeault on contrabass and Pierre Tanguay on drums. This trio has been together for a long while (more than two decades) and this is their 6th disc for the AM label. Each member has also been a leader of their own although Mr. Derome is the one member who has kept consistently busy since the mid 1980’s and can be found on upwards of a hundred discs as a leader or collaborator. This trio shows a different side to what these folks often do since they cover so many older jazz songs or standards. For this disc they cover: Ornette Coleman, Duke Ellington, Lennie Tristano, Warne Marsh, Eric Dolphy and the Original Dixieland Jass Band, songs that cover the entire history of jazz. “The Disguise” is an early Ornette song from 1958 which the trio do with infectious glee, swinging hard with Mr. Derome’s tart alto sax swinging hard on top. All three of these cats are old timers like yours truly and sound like they are having fun. “Lullaby of the Leaves” (from 1932) has Mr. Derome playing flute, another instrument he excels at playing. Derome also sings here (something he rarely does) and he does sound great, soulful and right from the heart with a superb flute solo as well. I’ve been listening to quite a bit of Duke Ellington in recent times, from his entire reign (late 1920’s to the early 1970’s). The trio cover “The Mooche” (from 1928) and Mr. Derome bends those notes the way John Hodges used to do, with that heartfelt swagger. something rarely heard at this point. Jean Derome has long been one of my favorite saxists, his sound and playing stretching all the way back in jazz history, his humor at the heart of whatever he does along with his partner Joan Hetu, his more progressive playing with Fred Frith and his free playing, all done with taste and craft. Considering that this is just a mere trio, they still do a great job of filling out their sound with spirit and resourcefulness. Mr. Jerome sings on several songs which might seem like a problem for some of you avant-jazz snobs but I find it consistently charming. “T’ain’t What You Do”? Yup and it is a splendid rendition. Here’s what I find most interesting here, by covering songs from jazz’s long history (1917-1958), we can hear the connection between all of these songs. The trio go from Eric Dolphy’s effervescent “Iron Man” into “Tiger Rag” (1917), one of the earliest jazz songs ever. I found this entire disc to be a delight no matter how far the trio stretches the boundaries of jazz. It don’t mean a thing unless it's got that spirit and there is quite a bit of Spirit found here! - Bruce Lee Gallanter, DMG
ZSOLT SORES - Memo Point Soundmap for Terrestrial Melanoheliophobics (Fourth Dimension FD 136CD; UK) “Representing Ahad's Flux Worlds 1, the lengthily titled Memo Point Soundmap for Terrestrial Melanoheliophobics album is the very latest solo offering from this Hungarian sonic traveler now based in Berlin, Zsolt Sőrés. Spread over the two discs are seven pieces that take a combination of viola, bass, piano strings, voice, mellotron, dictaphone, percussion, and all manner of other instrumentation and objects into a realm where inner space folds in on itself and unwittingly assumes the guise of multitudinous journeys to those far-reaching points many a shaman (sonic or otherwise) has attempted to draw from. Despite his background in academic music, Zsolt has always broken beyond this with the help of a deep-seated interest in kosmische music, psychedelia, and the kind of improvisational approach responsible for having produced artists as wide-ranging as AMM, This Heat, and Organum. Also, these days, a regular collaborator with Zappi of Faust, past credits include collaborative work with Jean-Herve Peron of Faust, Faust themselves, Franz Hautzinger, Christian Kobi, Adam Bohman, Theme, and many more. He also works with Hilary Jeffery in the fully immersive wall of stream-of-consciousness sound that is Inconsolable Ghost. If anybody could be heralded as a true practitioner of what could be best described as transitional music in its purest form, then Zsolt must be that artist.”
2 CD Set $18
DERYA YILDIRIM & GRUP SIMSEK - Dost 1 & 2 (Bonjo Joe Records 079CD; Switzerland) Outernational pop group Derya Yıldırım & Grup Şimşek unveil the second and final part of their double-album and collect both parts here on CD. Once again, their subtle and groovy Anatolian psych folk sound matches the powerful quality of the songs often led by Yıldırım's sublime vocals and bağlama (Turkish lute). With Dost 2, the band have broadened their songwriting horizons and refined their idiosyncratic arrangement skills. Most of Dost 2's material was composed by the band, with two notable tracks composed by guitarist flautist Antonin Voyant whose melodic work brings the music to a non-nostalgic, yet deep and meaningful place. The lyrics were penned by Derya Yıldırım in collaboration with Berlin based writer Duygu Ağal, adding another string to Grup Şimşek's bow. Here they captured a lively, unique piece of interpretation which connects to the meaning of "Dost" as the text inserted inside explains: "Dost is a friend, a comrade, a brother, a sister and even more than that. Dost is the connection to keep this life and world meaningful". Derya Yıldırım & Grup Şimşek bring sounds, people, and emotions together.
TUJIKO NORIKO - Crepuscule I & II (Editions Mego 307CD; Austria) “In the early days of MEGO prior to its transformation into Editions MEGO, a most unexpected release appeared amongst the radical roster. Out of all the twisted hard drive activity from PITA, General Magic, Farmers Manual, etc. appeared a very different kind of release. One made from a computer, but one with a softer atmosphere, cloud-like in sonic shape and even containing discernible melodies. This was the debut release from Japanese artist Tujiko Noriko which not only launched her career to a larger audience but opened the doors of Editions Mego to a broader range of experimental musical forms. Noriko's particular synthesis of electronic abstraction, melody, voice, and atmosphere has few peers as sound gently circles her mystical words morphing into a succession of emotive aural experiments framed as songs. Noriko's evolution since her debut Mego release has seen further solo works alongside collaborations as well as a shift into cinema, both acting and as director. On Crépuscule, one can hear the influence the film medium has had on her music as visual insignia are invoked in the evocative audio at hand. Instrumental interludes further conjure a film landscape alongside the titles which also reiterate the cinematic form. This is synthetic music with a deep human presence. The mind of a human captured wandering the fantastic realms of the internal sphere is exquisitely rendered through machines which usually prompt one to disfigure such humanistic tendencies. The warmth, serenity, and dream-like environment that Noriko conjures from her tools is what makes her such a unique and outstanding artist and Crépuscule is an epic testament to these powers. The title Crépuscule perfectly encapsulates the somnambulant nature of the music where the nocturnal shifts evoke a broad sense of calm. Crépuscule I features a selection of shorter "songs" whilst Crépuscule II allows more room for these songs/moods to breathe with only three songs running at broader longer duration. Crépuscule allows the listener to view the world through Noriko's eyes. With her cunning ability to humanize machines a world of calm wonder is allowed to take focus in the frame. Double-CD version comes in heavy cardboard mini-gatefold; edition of 300.”
2 CD Set $22
RAZEN - Postcards From Hereafter (Important Records 506CD; USA) “Razen's Postcards From Hereafter was recorded using a 17th century organ tuned at 398 Hz (meantone) in a Belgian cathedral erected in 1305. The ensemble explored, with rich results, the organ's strict and limiting tuning with an arrangement that included hurdy gurdy, recorders, chalumeau, violone and nyckelharpa. The pieces on Postcards From Hereafter explore the crossover between this world and the next with improvised spiritual, religious music. Brussels-based ensemble Razen use the unique timbral and drone characteristics of their chosen string and wind instruments in improvised, instinctive music that mixes pre-industrial, spectral and ethnic dreamtones with trance and medieval mysticism. The group includes Brecht Ameel and Kim Delcour as well as Pieter Lenaerts on five-string double bass and sarangi, Paul Garriau on hurdy-gurdy, David Poltrock on Ondes Martenot, Berlinde Deman on serpent, and Jean-Philippe Poncin on chalumeau and bass clarinet. RIYL: Olivier Messiaen, Sun Ra, Popol Vuh.
Over the past twelve years, the Brussels-based ensemble Razen has been forging a singular path that rethinks the idiom of minimalism and pushes it toward a higher plane; tapping the primal root, while pushing toward the future. Founded in 2010 as duo of Brecht Ameel (organ and string instruments) and Kim Delcour (wind instruments), growing and contracting as an ensemble over the years, the band deploys improvisation and the unique timbral and drone characteristics of string and wind instruments to sculpt landscapes of intuitive long tones, combining the trance-inducing roots of music with a progressive vanguardism that seeks the intangible and the unknown. The band's releases are emblematic of the hybrid between psychedelic music, Early Music and contemporary spectral approaches. Razen has performed all over Europe on numerous occasions, on international festivals and well-known venues, from Fylkingen in Stockholm to Berghain in Berlin to the small church of Dranouter (Belgium).”
DON CHERRY & GEORGE GRUNTZ GROUP with SAHIB SARBIB / EBERHARD WEBER / HENRI TEXIER / et al - Maghreb Cantata, Live 1969 (WHP 1461LP; Italy) “A marvelous double album as document of the historical collaboration between Don Cherry and Swiss pianist, composer George Gruntz, a central figure in European jazz who always showed a special interest in extending his solid post bop skills through other languages such as ethnic or even baroque music. This is North-African, deep-flavored jazz recorded live in Tunisia and Germany in May and September 1969, with Cherry (cornet, flute) and Gruntz (piano, celeste) leading a highly mixed line-up featuring multi reeds player Sahib Shihab, bassists Henry Texier and Eberhard Weber, and Swiss drummer extraordinaire Daniel Humair, plus four North African musicians on traditional instruments like bendir, ney, bagpipes, tabla and darbouka. A trance-inducing jazz ritual. Line-up: George Gruntz - piano, celeste; Don Cherry - cornet, flute; Sahib Shihab - flute, alto flute, soprano saxophone; Henri Texier - bass; Daniel Humair - drums; Salah El Mehdi - ney, flute; Moktar Slama - bendire, bagpipe, mezuette, soukra; Jelloud Osman - ney, bendire, mezzuette, bagpipe; Hattab Jouini - tabla, darbouka, bendire; Eberhard Weber - bass (tracks 7-9). Tracks 1-6 Recorded in Tunisia, May 1969; tracks 7-9 Recorded in Stuttgart, Germany at Beethovensaal der Linderhalle, September 5, 1969.”
2 LP Set $36
JACK DeJOHNETTE'S SPECIAL EDITION with ARTHUR BLYTHE / CHICO FREEMAN / PETER WARREN - Famous Ballroom, Baltimore 80 (WHP 1458LP; Italy) “The so-called Special Edition was one of the most creative and successful coalitions created by Jack DeJohnette at the exact turn between the '70s and the '80s. A great combination of young talents such as alto sax genius Arthur Blythe, the hyper energetic tenor sax of Chico Freeman, and the super-solid bass lines of Peter Warren, last but not least the hard swinging drumming of DeJohnette, one of the greatest drummers in jazz history. Recorded live at The Famous Ballroom in Baltimore on May 4th 1980 for an NPR broadcast, this awesome performance is based on expanded renditions of two beautiful DeJohnette's compositions, "Zoot Suite" and "One For Eric" both from the group's first ECM release.”
CANNONBALL ADDERLEY with NAT ADDERLEY / GEORGE DUKE / WALTER BOOKER / ROY McCURDY - The Black Messiah - Live in Vienna (WHP 1457LP; Italy) “The Adderley brothers, Cannonball and Nat, respectively on alto sax and cornet, and both at the head of a top-flight quintet featuring Mr. George Duke on piano (acoustic and electric), Walter Booker (bass), and Roy McCurdy (drums). Recorded live in Vienna on November 4, 1972, this is a fine example of pure electric jazz-funk of the era. The album opens with an ecstatic twenty-minute long version of George Duke's "Black Messiah" and it goes on with equal intensity throughout five other tracks including three Joe Zawinul classic gems, "Directions", "Mercy, Mercy, Mercy", and "The Scene”.”
AMANCIO D’SILVA with DON RENDELL / ALAN BRANSCOMBE / STAN TRACEY / CLEM ALFORD / KESHAV SATHE - Konkan Dance (The Roundtable SIR 021; Australia) 2021 release. Following in the footsteps of the landmark 1966 double-quartet recording by Joe Harriott and John Mayer, Indian born musician Amancio D'Silva produced some of the most adventurous and sophisticated recordings within the canon of "Indo-jazz", a term used to define a pioneering east meets west synthesis that reflected the shifting musical and cultural landscape of post-war Britain. An experiment which reached a pinnacle in 1972 with D'Silva's seminal recording Dream Sequence by Cosmic Eye, an adventurous fusion of modal jazz and Indian classical music viewed through the psychedelic lens of swinging London. Exotic third-stream jazz conceived by a visionary composer whose virtuosic technique and deeply emotive guitar playing defined his two earlier and now legendary 1969 UK jazz albums Integration and Hum Dono with Joe Harriott, both recorded for the much-celebrated Lansdowne label. Also recorded in 1972, although not released at the time, was Konkan Dance, an unofficial sequel to Dream Sequence that further explored the unchartered possibilities of an Indian music-jazz fusion. Featuring many of the same personnel, this session also included support from Don Rendell and Alan Branscombe, two giants of the UK jazz scene who add serious credentials to D'Silva's singular and intimate compositions. For reasons unknown the album was cancelled by Lansdowne at the time and never saw the light of day until being resurrected again in the 2000s. The Roundtable showcase this important artist and present a new addition of this incredible and almost forgotten piece of the Amancio D'Silva story. Includes liner notes and rare photos. Custom 1960s-style flip-back sleeve; 180 gram vinyl.
AMANCIO D’SILVA with CLEM ALFORD / LYN DOBSON / JAHLIB MILLAR - Sapanan (The Roundtable SIR 023LP; Australia) 2022 release. It is widely accepted that the recorded musical output of Indian-born British guitarist Amancio D'Silva came to a premature closure with the landmark 1972 albums, Cosmic Eye and the unreleased masterpiece Konkan Dance. The Roundtable are here to prove otherwise, announcing the discovery of an extraordinary lost recording. Forty years after it was recorded, the label present Sapana, the forgotten piece of a remarkable musical legacy, the final recording from one the most singular artists to emerge from the British Jazz scene of the 1960s/'70s. Recorded in 1983 and released here for the first time, Sapana is thematically akin to Cosmic Eye, a further musical exploration into the subconscious (Dream Sequences) imagined with traditional Hindustani and western improvisation. A spellbinding fusion of Indian raga and new-age jazz. Celebrated as a pioneer of the "Indo-jazz" movement of the 1960s, D'Silva's adventurous synthesis of modal jazz and Indian classical music defined the seminal 1969 Lansdowne jazz recordings Hum Dono and Integration. Here you find D'Silva fifteen years later, removed from the jazz scene, and musically in place of deep introspection and meditative tranquility. The recording features sitarist Clem Alford, a collaborator from the Konkan Dance sessions, plus renowned tabla player, Jahlib Millar, and saxophonist/flautist Lyn Dobson, a musician who had previously worked with Soft Machine, Third Ear Band, and Henry Lowther. Together the quartet produce deeply evocative music which transcends the realms of both jazz and Indian music. Includes liner notes by renowned jazz writer Francis Gooding. Custom flip-back sleeve; 180 gram vinyl.
MASAHIKO SATO - Belladonna (Finders Keepers 079; UK) "There was a time when the strength of a musician's vision transcended all labels; here is a chance to dip into that pool again, and emerge not just refreshed, but alive again with the sense that we all can live in that world again, but most importantly raise the flag for excellence. Fantastic." - Jim O'Rourke
An unholy grail of near-mythical status is finally now available in the form of this first-ever reissue. Masahiko Sato composed this elusive, sensual, psychedelic free jazz score for the stunning 1973 Japanese witchcraft animation Belladonna of Sadness (Kanashimi no Belladonna) directed by Eiichi Yamamoto. Since the mid-2000s, Belladonna of Sadness has risen from the ashes and now shines brighter than ever. Now, on the eve of its third or fourth global DVD release in 2015, fans no longer have to settle for third-generation VHS telecine dubs or stuff their wish-lists into the hands of lucky friends visiting Tokyo. Belladonna has been used as nightclub projections by clued-up VJs and been restored by discerning feminist folk singers and improv bands while influencing illustrators, fashion designers, and other creative types along the way. Original copies of the soundtrack, however, are much less likely to rear their heads, with prices literally doubling each time the original stock copies swap hands among the same Italian dealers at central European record fairs. Italian soundtracks are expensive anyway, but this one, originally released by the Italian Cinevox label in 1975, has extra credentials. Finders Keepers Records and Sato himself agreed that this record should finally be liberated among those who know the magic words. With the decision to keep this album "strictly Sato," a track from the original release has been removed -- the main orchestral love theme by Asei Kobayashi and Mayumi Tachibana -- which in all honesty is very much detached from Sato's psychedelic soundtrack. Kept intact, however, are the songs sung and penned by Sato's wife at the time, Chinatsu Nakayama, including the track titled "TBFS," which only appears on the master tapes and never actually made it onto the theatrical cut of the film (though the theme is briefly alluded to, with different instrumentation, in a cut-scene available on the German DVD release). This reissue project also marks the beginning of a longer intended relationship between Finders Keepers and Masahiko Sato, exploring his recorded work in film music, jazz, and avant-garde composition.”
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
“The Williamsburg Avant-Garde: Experimental Music and Sound on the Brooklyn Waterfront” Book Launch and Concert will take place on March 16th, 2023
Mr. Bradley writes: I am excited to announce that the launch for my new book, The Williamsburg Avant-Garde: Experimental Music and Sound on the Brooklyn Waterfront, will be held at the Shift (411 Kent Avenue) in Brooklyn on March 16. This book was a ten-year project involving interviews with 180 musicians active in Williamsburg in the period 1988-2014. I will be in discussion with journalist and NPR contributor John Morrison and do a book signing 6-8 pm.
The book signing/discussion is free and tickets for the music may be purchased at the door for $15. I will be holding other events with different musicians through the Spring, Summer, and Fall. Thanks to everyone who contributed to this project. It would be great to see you all, especially many of you who I haven't seen since before the pandemic!
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:
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: firstname.lastname@example.org