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I want to thank many of you out there who reached out to send their condolences to me and my family through regular mail ( a number of lovely sympathy cards), email and InstaGram (almost 500 responses!). My Mom was very important to me throughout my life. No matter what path I chose, she was there to support, guide and inspire me in many different ways. During the Pandemic we spoke almost every day and we told each other stories about our lives that we had rarely if ever discussed. We got to know each other a bit better and I am very glad for that. Both before and after the Pandemic, we spoke twice a week for many years and this was when Mom would push me to do a better job of taking care of myself, staying in closer contact with my siblings and working towards having a better, more realistic legacy to consider. I’ve decided to take her advice to heart and am working towards doing what I can to lead a better life, physically, emotionally and financially. I promised her I would do this so this is what I am working on. I really appreciate all of Love and support that I find through those of you who read this weekly newsletter, my many friends and folks who come to visit the store or just read about us online. Peace and Love Always, Bruce Lee Gallanter at DMG



Last Sunday night after attending my Mom’s funeral and sitting shiva at my brother Marc’s home, I got a call from Bob “Ra Kalam” Moses, legendary drummer, teacher & longtime collaborator/member with the Free Spirits, Gary Burton Quartet, Tisziji Munoz and many others. I had heard that Ra Kalam was diagnosed with cancer last year and had moved from Boston to Memphis. Ra Kalam and myself are old friends and someone whose drumming and inner spirit I’ve long admired. I was worried about him when I heard that he had cancer. When he called me, he sounded happy and said that his cancer was in remission, he was feeling better and he had recently fallen in Love for the first time in many years. Moses had reconnected with a Scandinavian woman named Elma that he had gone out with more than 40 years ago and had lost touch. The two had connected again when Moses was touring in Europe last year. The two have since collaborated on some of Moses’ artwork which he sent me copies of via text, extraordinary stuff! Ra Kalam will be traveling back up to Boston in June and then to New York in July. I am hoping to book a night of music with Tisziji Munoz, Don Pate, Ra Kalam Bob Moses and perhaps John Medeski during the first half of July. Guitar Guru Tisziji Munoz was recently on tour playing the music from Pharoah Sanders’ legendary ‘Harvest Time’ album (released in 1977 on India Navigation) in tandem with the recently released 2 CD/2 LP reissue on Luaka Bop. The band played twice at LPR (Le Pousson Rouge & at National Sawdust) over the last few months to rave reviews. If you were there or just want to check Munoz’ current Cosmic Quartet, please contact someone at LPR to do the right thing.

This morning I got a call from Mr. Munoz. Tisziji said that he had just recorded in a quartet with Paul Shaffer on keyboards, Munoz on guitar, Jamaaladeen Tacuma on bass and Will Calhoun on drums. Tisziji said that he was very pleased with the results (more Cosmic Music no doubt!) and Mr. Shaffer is looking for a good label to release this gem. I can’t wait to hear it myself! - Bruce Lee Gallanter, DMG


Tuesday, April 23nd: Passover - no in-store gig!

Tuesday, April 30th:
6:30: SALLY GATES - Guitar / TREVOR DUNN - Bass / ALEX KOI - Vocal
7:30: JAMES PAUL NADIEN / LAO DAN / JOE FONDA - Alto Sax / Suona / Contrabass
8:30: TODD CAPP - Drums / JOHN HAGEN - Tenor Sax
9:30: patrick brennan - Solo Alto Sax

Tuesday, May 2nd:
6:30: EYAL MAOZ - Solo Guitar
8:30: AARON RUBINSTEIN - Solo guitar

Saturday, May 6th: The GauciMusic Series at DMG Continues with:
7pm: STEPHEN GAUCI - Reeds / MIKE McGINNIS - Clarinet / LIM YANG - Bass / JEREMY CARLSTEDT - Drums

DMG stands for Downtown Music Gallery and we are located at 13 Monroe St, between Catherine & Market Sts. You can take the F train to East Broadway or the M15 bus to Madison & Catherine Sts. We are in a basement space below an art gallery & beauty salon. We are on the east side of Chinatown, not far from East Broadway & the end of the Bowery. Admission for all concerts is free and donations are always welcome. We have concerts here every Tuesday starting at 6:30 plus Steve Gauci curates his own series here on the 2nd or 1st Saturday of each month. You can check out the weekly schedule here: I post 1 minute segments from these sets almost every day on our InstaGram feed (if you don’t do InstaGram, you can still view these 1 minute clips on the DMG homepage, (a recently added feature), so please check them out and come down to visit when you can. - BLG/DMG



ANTHONY BRAXTON with SUSANA SANTOS SILVA / ADAM MATLOCK / JAMES FEI / CARL TESTA / ZACH ROWDEN - 10 Comp (Lorraine) 2022 (New Braxton House 911; USA) Documenting six live performances with Anthony Braxton's Lorraine Trio featuring trumpeter Susana Santos Silva, accordionist/vocalist Adam Matlock, and Anthony Braxton, plus four studio recordings featuring Braxton, saxophonist James Fei, and bassists Zach Rowden and Carl Testa, in a solid box set of 10 CDs in five gatefold wallets with a 28 page booklet of notes by Anthony Braxton. I haven’t heard this box yet myself but word from my pal Glenn Kenny is that it is an extraordinary treasure!
10 CD Set $130

JOHN ZORN with JOHN MEDESKI - The Hermetic Organ - Volume 12 - The Bosch Requiem (Tzadik 9307; USA) Recorded at the Grote Kerk in Den Bosch as part of Zorn’s 70th birthday celebration at November Music in Den Bosch, this exciting performance pays tribute to one of Zorn’s seminal influences—the 15th century painter Hieronymus Bosch. Performing on two different organs simultaneously, running from one to the other, this is one of the most bizarre installments in the entire Hermetic Organ series. The CD begins with a rare private performance of Zorn alone in the church exploring and stretching the organ’s capabilities. For the evening performance, A Pilgrimage Through Hell, Zorn’s dear friend and colleague of over thirty years John Medeski joins as his organ assistant, and the two of them literally pull out all the stops!
CD $16 [In stock later this week]

PAUL DUNMALL QUINTET with PERCY PURSGLOVE / GLEN LEACH / DAVE KANE / MILES LEVIN / THE ROYAL BIRMINGHAM CONSERVATOIRE BIG BAND - Soultime Again (Stoney Lane Records SLR 1937; UK) Featuring Paul Dunmall on tenor & alto saxes, Percy Pursglove on trumpet, Glean Leach on piano, Dave Kane on bass and Miles levin on drums plus the RBC Big Band arranged and conducted by Ed Puddick. British tenor sax titan and master improviser, Paul Dunmall, has recorded several hundreds records of pure Free Form improv over his long and winding music career/journey. I still collect and savor them all. Over the past decade or so, Mr. Dunmall has started composing, arranging and/or directing members of his various ensembles, giving each project a different challenge than his usual free-form outing. The current Paul Dunmall Quintet has several previous releases and features on Percy Pursglove on trumpet and Dave Kane on bass, both of whom have worked with Mr. Dunmall on several occasions. The pianist here, Glen Leach, is a new name for me, while drummer Miles Levins (son of Mujician drummer Tony Levin) has also worked with Dunmall on previous sessions. Mr. Dunmall has worked with a few large ensembles in the past, like Keith Tippett’s Tapestry or Mujician Orchestra, the LJCO and his own large ensemble. Dunmall worked on this session with the help of Ed Puddick, the conductor/arranger for the Royal Birmingham Conservatoire Big Band. Mr. Dunmall composed the music for his own quintet with Mr. Ruddick doing the arranging for the large unit. This disc was recorded at the EastSide Jazz Club in Birmingham in May of 2022.
“SoulTime” opens and oddly enough it has a soulful, Stax-like funky groove with a large chorus of horny horns out front. That groove is quite infectious. You might not know this but Mr. Dunmall toured & recorded with Johnny Guitar Watson when Dunmall was living in the USA around 1976. Dreamtime was the name of a band led by Jim Dvorak which included Keith Tippett and Mr. Dunmall. It is also the name of the second song here. This piece swings hard, has a great groove with all of the horns swirling around one another in tight yet free waves. Percy Pursglove is one of the UK’s best trumpeters and is often under-recognized. Pursglove takes a number of strong spirited solos throughout this disc. Another highlight here is the consistently spirited and inventive piano of Glen Leach. On each track, Dunmall has composed a series of jazz riffs, each one is a marvel of good vibes and will keep your fingers snapping and your head nodding. Mr. Leach’s piano is featured on “Call An Elephant”, taking a striking opening solo with the rest of the ensemble moving in waves throughout the rest of this cerebral piece. On “Freestyle” Dunmall’s tenor, Pursglove’s trumpet and Leach piano swirl intensely around one another while the rest of large ensembles moves in free yet focused waves around them. One of the things that makes this disc so great is this: while the main quintet plays passionately and intensely throughout, the rest of the big band provides a cosmic cushion expanding and contracting underneath. Mr. Dunmall takes one of his astonishing Trane-like solos on “Infinite Cry”, reaching for the skies as he soars. On “Silent Spring” while Mr. Dunmall solo al alto sax, the rest of the large ensemble plays some well-written parts around him, the combination is a winning one. The last piece is called “Sacred Hymn” and this seems most appropriate since it does have a strong spiritual vibe. I love the way the large chorus of 14 reeds and brass sound together, the is some powerful awe-inspiring music and it feels just right as a conclusion for the superbly spiritual outing. - Bruce Lee Gallanter, DMG
CD $15

HENRY KAISER - The Lost Chord - Baritone Guitar Solos (MetaLanguage ML-2024-1; USA) Featuring Henry Kaiser on various baritone guitars (made by these luthiers: Versoul, Downes, Ralph Bown, Beardsell, Spalt/Totem, Jerry Jones and Larry Pogreba). This is from Mr. Kaiser: “The baritone guitar is a guitar with a longer scale length, typically a larger body, and is tuned lower than a regular guitar - often pitched halfway between the lowest note of a bass and and the lowest note of a regular guitar.” The baritone guitar is one the rarest of guitars used in popular or creative music. Considering this, an album of only baritone guitar solos seems ever more rare and special. Henry Kaiser often likes to challenge his listeners as well as himself with endeavors like this one. The ten pieces here were inspired by a number of Mr. Kaiser’s music heroes like Derek Bailey, Terry Riley, Cecil Taylor, Iannis Xenakis, Evan Parker, Conlon Nancarrow and Fred Frith.
The opening track is the title track, “The Lost Chord” and Kaiser speaks a quote from an 18th century poem by Adelaide Anne Proctor called “A Lost Chord”. The poem, the words remind my of a mythic fairy tale about the great (lost) chord which when struck sounds like a large chorus chanting “Amen”. A great intro to this nearly 80 minute tour-de-force. “Knee Deep in Ghost” is long and has a most haunting vibe like drifting quietly on a raft in calm waters. There is a soft haze, ripples in the currents with Kaiser’s distinctive dream-like echo effects. As the ripples speed up, the pulse quickens and Kaiser carefully adds another layer of angelic yet eerie, harp-like flourishes. This piece flows right into the next one: “The Land Across” which has a short series of swirling, Beefheartian chords. “The Hot Last Time” features a number of strange, twisted chords, some sped up, fractured, agitated, intense and even explosive. Each piece here has a different overall vibe hence things flow in or through different streams. Kaiser bangs on the body of his acoustic bari guitar on “Who’s There?”, creating an odd anxious vibe. The other long epic-length track here is called, “A Sleep in the Deep”. Mr. Kaiser takes a long, magical, softly psychedelic solo here which is one of the highlights of this disc. Laid back yet still mesmerizing and building from one section to the next. Kaiser plays slide on “Mawsomi”, which gives the piece an ancient, haunting, Old West sort of vibe, kind of like the Cosmic Cowboy thing that the Dead occasionally dip into. I find this piece especially enchanting since it keeps shifting between different scenes or realities, the same way our perspective keeps changing as we move between different types of stimulus or observation. The last piece features a hilarious vocal bit by Kaiser called “I’m the Guy that Found the Lost Chord”, about finding and then losing “The Lost Chord”. The Lost Chord or perhaps the Perfect Solo is perhaps something that all of us are searching for at some point. The truth is that it is nearly impossible to find. Take it from me: after maybe a million concerts I’ve attended or records that I’ve listened to I can recall about 3 or 4 Perfect Solos. The thing is that you will recognize it when you hear it. Hmmmmmmmm. It’s time to do some searching once more. Thanks to Henry Kaiser for his Magical Soul Searching Music! - Bruce Lee Gallanter, DMG
CD $10

GONIMOBLAST with MAJA S.K. RATKJE / ARVE HENRIKSEN / LEAFCUTTER JOHN / CHRIS MAPP / DAN NICHOLLS / MARK SANDERS - Gonimoblast Live (Stoney Lane Records SLR 1966; UK) Featuring Maja S.K. Ratkje on voice, electronics & oscillator, Arve Henriksen on trumpets & electronics, Leafcutter John on electronics, interface & music box, Chris Mapp on bass, Dan Nicholls on keyboard & synths and Mark Sanders on drums & percussion. I am a big fan of Norwegian vocalist & experimental composer/improviser Maja S.K. Ratkje, after hearing her perform with Spunk, Fe-Mail, Phantom Orchard and her own solo sets. It’s been a while since I’ve noticed a new recording from her. I also dig Norwegian trumpeter Arve Henriksen although he does have more than sixty releases, I’ve only noticed the ones on ECM or Rune Grammofon. I know of Chris Mapp and Mark Sanders from their work with Paul Dunmall and Evan Parker.
Considering that everyone here plays electronics or synths, it might be hard to tell who is doing what. Disc 1, “Part I”, starts out with quiet, spacious electronics. Specks of eerie sounds, subtle static-like fragments, hushed low-end rumbles, skeletal percussion, occasional vocal snips, all floating around one another. I know that some folks have a difficult time listening to certain types of electronic music since they find too alien or difficult to listen to. I can relate to that at times as well. The music here is often more restrained, bathed in space, careful and consistently fascinating, never too dense or difficult. I’ve long admired the music of Maja Ratkje whether using her voice or electronics, apart and together. She is very selective with her sonic palette. On “Part III”, the intensity and density erupts after the more restrained first section. The music becomes more visceral and exciting here. The activity increases even more on “Part IV”, a throbbing repeating pattern emerges with some drones pulsating underneath. I dig the way the sounds here are carefully manipulated with certain sounds slowly changing into other sounds. For those of you who complain about vocals, the voice here is used minimally and sounds closer to the other more electronic sounds, all of which are most cautiously altered. Disc 2 begins with what sounds like someone playing quiet, somber sax (some soft brooding electronics underneath) although there is no saxist listed in the notes?!? No matter, spacious, eerie electronic sounds are carefully used here. There are some strange Indian-sounding vocals on “Part II”, are they sampled perhaps? What’s interesting here is that the music is often stripped down and takes its time to evolve with electronic sounds being used selectively, nothing too dense or too weird. There is something quietly, transcendent going on here, often laid back yet still compelling. - Bruce Lee Gallanter, DMG
2 CD Set $18

FAY VICTOR with MICHAEL ATTIAS / ANTHONY COLEMAN / RATZO HARRIS / TOM RAINEY - Herbie Nichols Sung - Life is Funny That Way (Tao Forms 15; USA) Featuring Fay Victor on vocals, lyrics & arrangements, Michael Attias on alto & bari saxes, Anthony Coleman on piano, Ratzo Harris in bass and Tom Rainey on drums. It has a long ride for Downtown jazz vocalist Fay Victor to sing, write lyrics for and do arrangements for the songs of under-recognized jazz composer Herbie Nichols. She felt an affinity for his lyrical music early on, taking her time and adding lyrics to a number of Mr. Nichols best songs. Ms. Victor lived in Amsterdam for a number of years and wound up working with ICP pianist Misha Mengelberg, who was another Nichols-fanatic. Ms. Victor also worked with trombone great Roswell Rudd, who was a friend of Nichol’s and recorded two CD’s of his rarely recorded songs for the CIMP label. There is something immensely charming about these songs, especially the way Ms. Victor has arranged them. Ms. Victor has chosen a perfect crew for this music here. Mr. Nichols music is a bit angular like Monk’s and the quartet plays with a similar slightly skewered humor-filled inventive quirky spirit. Things begin with the title track, “Life is Funny That Way”, it has an infectious, gleeful vibe at the center, the title & chorus discusses the obvious silliness of life. Downtown master drummer Tom Rainey is at the center of this quartet, swinging and swirling in his own distinctive way. The other two soloists here are saxist Michael Attias and pianist Anthony Coleman. Both are well selected and utilized since both know much about a variety of composers and styles, bringing a wise wink to each song. Ms. Victor often uses her voice to inhabit the ghosts who dwell within each song, singing each word as if it were part of a strange dream which explains the mystery of why Herbie Nichols never got the true recognition he well deserved. My favorite piece here is House Party Starting “Tonight”, about a woman getting rid of her bad man so she can celebrate with a house party. You can tell that Ms. Victor worked hard on the lyrics to each of these songs since each one tells a story or sets a scene which we can all relate to . There is something honest about these songs, it is as if some cool woman we met in our distant past is describing the way her life with a man who seemed cool but had his own agenda, much different from our own. I’ve always rooted for the underdog and here the sly underdog is Ms. Victor herself. You go girl! - Bruce Lee Gallanter, DMG
2 CD Set $18

VASCO TRILLA / RA KALAM BOB MOSES - Singing Icons (Astral Spirits AS198; USA) Featuring Ra Kalam Bob Moses on drums, bass, native flute, congas, dumbek, melodica, metallic instruments (designed by Adam Morford) & vocals and Vasco Trilla on drums, timpani, flat bells, clock chimes, vibrators, magnetic tape, assorted instruments made by S.M. percussion. A couple of Sundays ago, I got a call from my old friend & legendary drummer Bob Ra Kalam Moses. I had heard that Ra Kalam had cancer and had moved to Memphis in the past year or so. Hence I was worried about him. When he called, he told me that his cancer was in remission, he was feeling much better and was deeply in Love for the first time in many years. His call made me very happy, especially since I had just gotten back from spending time with my Mother, who was in a hospice in Florida and passed away later that week at 95. Ra Kalam had been in Europe in his recent past touring and playing with a number of his favorite musicians. One of those musicians was Spanish percussionist Vasco Trilla, who Bob had played with on several occasions and had worked with Susana Santos Silva, Szilard Mezei and the New Freequestra. No doubt you all know about the legendary Bob Moses from his work with several seminal bands: Free Spirits, Gary Burton & Steve Kuhn Quartets and ongoing playing with Guitar/Guru Tisziji Muñoz.
CD 1 starts off with what sounds like a siren revving up, soon a variety of percussion-like sounds occur, pieces of metal, cymbals and a variety of drums being carefully struck. Drones, different shimmering and spooky percussive sounds all resonating together. All of the sounds here are superbly recorded and well-balanced. It sounds like a large ship which is powered by an acoustic machine is moving slowly past us in the near distance with an occasional foghorn like ominous blasts. There are some deep low-end sounds emanating from “Atlas” along with eerie atmospheric sounds, solemn wood flute and simmering cymbals. The music here balances between a ritualistic and space-journey sort of vibe. At times, the sounds become rather dense and vibrant as if the world were about to erupt with lava flowing from the top.
CD 2 is filled with shorter pieces. Commencing with “Grace of Inner Space”, we hear the shimmering sounds of various cymbals, gongs or other pieces of metal. The restless density and pulsating spirits slowly ascend with some minimal ghost like vocal bits and other stirring inner spirits floating free. On “Wind Chun Zone”, the quick free-flowing malletwork is most hypnotic, like a series of throbbing ghosts slowly moving together. Ra Kalam plucks a bubbling acoustic bass underneath the shifting waves of swirling percussives on “Harmonic Convergance”. I dig the way the marching snare drum work holds down the bottom on “Universal Bounce” with multiple layers of ghost-like spirit sounds throbbing on top. Most mesmerizing. Each piece seems to evoke a different vibe or Spirit World. Both musicians use effective echo devices to multiply their sounds, something which adds a hypnotic, ethereal vibration. Overall, all of the pieces here are like wandering into the Spirit World where we recognize our ancestors but we still feel like we are in a different, yet wondrous dimension. - Bruce Lee Gallanter, DMG
2 CD Set $16

JOHN BUTCHER - 13: Fluid Fixations (Weight of Wax Wei-Wow 06; UK) Commissioned for the 2021 Huddersfield Contemporary Music Festival, John Butcher's fantastic work for 14 improvisers of unique approach employs what Butcher refers to as "psychological orchestration"--imagining how each performer might respond to particular ideas & their sonic company--the score, which includes photographic imagery, directing specific solos, duos & small groupings.
CD $16

OLIVER SCHWERDT / BARRY GUY / GUNTER BABY SOMMER - F*cking Ballads (Euphorium EUP-EUPH 098; EEC) An enthusiastic and energetically powerful trio meeting between three masters--Oliver Schwerdt on grand piano & percussion, Barry Guy on double bass and Baby Sommer on drums & percussion--performing live in 2021 at naTo, in Leipzig for two extended improvisations of remarkable communication, incredible virtuosity, but most importantly, incredible and compelling creative drive!
CD $16

JOEL FUTTERMAN - Perspicacity (Soul City Sounds 017; USA) Five extended improvised piano solos from Joel Futterman recording in his home base of Virginia Beach, each an incredible journey in free playing that quotes and comments on the history of jazz piano, living up to the album's title through insight, perceptiveness, wit and intuition, Futterman's technique and mastery expressing narratives of amazing confidence and solid direction.
CD $14

GABE BOYARIN / MARIE CARROLL - Bloom Interaction (zOaR ZCD 159; USA) Featuring Gabe Boyarin on 6 & 12 string electric guitar & electronics and Marie Carroll on koto, cello & electronics. Over the past decade or so, I’ve noticed that a number of the elders of the Downtown Scene have ended up teaching due to their wealth of musical experiences and longtime careers in Creative Music: Anthony Braxton, Fred Frith, Zeena Parkins & Joe Morris were all college professors. Longtime Downtown musician & composer Elliott Sharp also teaches and either one or both of these musicians have studied with him plus this disc was recorded at Mr. Sharp’s zOaR Studio on the Lower East Side in October of 2023. Mr. Boyarin painted the cover of this disc and designed it as well.
This disc starts with quiet, carefully skeletal free improv for el guitar and cello or koto, hard to tell. At times it is hard to tell the difference between the electronics and the amplified guitar, koto or cello sounds. Pulsating drones (bowed or otherwise), slow moving fog-like clouds, humming, bent plucked or rubbed strings… all of these sounds used most effectively for a mysterious, sonic sunset. Once one adjusts to the slower pulse, the varied sounds become interesting to watch or listen to as they unfold, bit by bit. I’ve heard a number of kotos utilized over time like Miya Masaoka or Brett Larner or on those traditional Japanese music discs, but here the koto is used differently, perhaps amplified or manipulated in odd ways. I like the way this disc is recorded with all sounds at the same volume, warm yet also weird. Elliott Sharp’s zOaR Music label does a good job of uncovering sonic explorers who might be ignored on other labels. Thoughtful and focused Improv. - Bruce Lee Gallanter, DMG
CD $14

J. P. A. FALZONE // OSTRAVA NEW ORCHESTRA / ELISION ENSEMBLE / ARDITTI QUARTET / SWITCH~ENSEMBLE - A Curving Abacus (New World Records 80842; USA) In 1968, Steve Reich coined the term Process Music to describe compositional designs that resemble “pulling back a swing, releasing it, and observing it gradually come to rest,” explaining that “once the musical process is set up and loaded it runs by itself.” In the mid-1970s, Brian Eno began using the expression Ambient Music to refer to atmospheric compositions that “must be able to accommodate many levels of listening attention without enforcing one in particular,” music that “must be as ignorable as it is interesting.”
A half century later, the music of James Peter Alfonse Falzone (b. 1986) might initially be viewed through a Process/Ambient stereoscopic lens, but the five works collected here certainly do not run by themselves, and they are anything but ignorable as it is interesting.”
A half century later, the music of James Peter Alfonse Falzone (b. 1986) might initially be viewed through a Process/Ambient stereoscopic lens, but the five works collected here certainly do not run by themselves, and they are anything but ignorable. Composed between 2017 and 2023, these compositions—each possessing its own bespoke generative system—provide a listener with immersive sonic environments that are beautiful and engaging upon first hearing, but also offer significant intellectual reward to those who choose to listen closer and dig deeper. Attentive engagement with these works reveals complex worlds filled with beautiful contradictions: the music is discernably mechanized, but never obvious or predictable; the overall aesthetic is highly experimental, but the resulting sounds feel organic and natural; these pieces are distinctly cerebral, but often feel instinctual. One hears little if any of the jazzy diatonic bounce common to many compositions of Reich, and there is only occasional and far-removed resemblance to Eno’s characteristic pandiatonic harmonic clouds. A listener is in fact far more likely to be reminded of the highly-patterned rhythmic and harmonic designs of Olivier Messiaen, or—going back a few centuries—the intricate clockwork constructions of Johannes Ockeghem. It is perhaps not insignificant that both Messiaen and Ockeghem frequently performed in churches, where stone surfaces and cavernous spaces allow sounds to ring and intermingle in a warm glow. Falzone, whose instrumental training includes pipe organ, often favors similarly reverberant sonic environments, where atmospheres of echo and reflection are created through the use of bell-like percussion instruments, resonant timbres and long note-values.
CD $15

FAUST - Momentaufnahme III (Bureau B 450; Germany) Faust is a group of artists who shared intense musical experiences in the years 1971 to 1974. Supported by producer Uwe Nettelbeck and sound engineer Kurt Graupner, they produced an immense array of recordings in a studio in Wumme which had been set up just for them. Two compact album productions followed, recorded at the Manor (March 1973) and Musicland Studios (May 1974). This album presents a selection of recordings from this period, documenting their creative versatility and explosive dynamism. Some tracks are extremely raw and experimental, others are fully rounded productions. A collection of un-released snapshots which offer a wonderful insight into the world of Faust. This volume includes recordings which have been previously released on other compilations such as 71 Minutes and BBC Sessions . When reviewing this material for this compilation, some titles have been changed, e.g. "Ma Trompette (Alternative Version)" has been released as "Party 10" previously, "Zwolf Meter unter der Oberflache" has been "(360)" and "Geister, die wir riefen" was "The Lurcher."
CD $18

FAUST - Momentaufnahme IV (Bureau B 456CD; Germany) “Faust is a group of artists who shared intense musical experiences in the years 1971 to 1974. Supported by producer Uwe Nettelbeck and sound engineer Kurt Graupner, they produced an immense array of recordings in a studio in Wumme which had been set up just for them. Two compact album productions followed, recorded at the Manor (March 1973) and Musicland Studios (May 1974). This album presents a selection of recordings from this period, documenting their creative versatility and explosive dynamism. Some tracks are extremely raw and experimental, others are fully rounded productions. A collection of un-released snapshots which offer a wonderful insight into the world of Faust. This volume includes recordings which have been previously released on other compilations such as 71 Minutes and BBC Sessions . When reviewing this material for this compilation some titles have been changed, e.g. "Can't Fly Away," "Children's Toy Etude", "Begluckte Schlagbohrmaschine," and "Stay Or Leave" have been released as "Party 1," "Party 8," "Party 6," and "Party 9" previously, and "Woke Up Outside The Dust Bin" was released as "Chromatic."
CD $18

ROBERT HOOD and FEMI KUTI - Variations (M-Plant 045CD; USA) Robert Hood's techno and Femi Kuti's Afrobeat intertwine in a new form where jazz-grooves reign supreme. For the fourth season of La Compagnie des Indes and Sourdoreille ("Variations") live series of creations for France TV, the duo were united around the singer and producer James Brown, performing a tribute to the legendary Godfather of Soul who passed away in 2006. This Variations album is the live recording of this unique collaboration and performance, capturing a very special moment in time. The evening witnessed a meeting of two icons in their own genres: one with synths and drum machines, the other on saxophone: Robert Hood and Femi Kuti embody excellence in their respective fields and the pair combined to make something truly unique, soulful, funky and spontaneous. Recorded in one 30 minute take, Variations is embellished by Femi's exquisitely free-flowing yet restrained saxophone, whilst Hood anchors the groove with layers of pads and kicks with the long-time mastery of a true DJ. Alongside Jeff Mills and Mad Mike, Hood is one of the original members of Detroit techno group Underground Resistance. His style is characterized by minimalist and experimental tones with an assertive groove. Throughout the '90s, he helped pave the way for techno to flourish -- giving birth to minimal techno with his seminal album Minimal Nation. Since then, he has been consistently forwarding electronic music culture with ground-breaking productions, sensational performances and his M-Plant label. Alongside him, Femi Kuti takes on every musical style with his saxophone, which he plays with a virtuoso touch: pop, soul, electronic music and Afrobeat, of which he is one of the leading exponents. The son of Afrobeat singer and political activist Fela Kuti, he has inherited his father's zeal for both music and activism, where he continues to highlight the plight of most Nigerians living conditions in the oil rich state. With Variations the duo capture an explosive combination on a special night in Paris in November 2019, filmed at the ADP Group headquarters.
CD $16

PANBERS - Indonesian City Sound: Panbers' Psychedelic Rock And Funk 1971-1974 (Elevation Records ELE 034CD; Indonesia) Long-awaited compilation of hard-rocking, psychedelic songs from Indonesia's premiere rock outfit Panbers (Pandjaitan Bersaudara) culled from their most fertile years with Mesra Dimita Records. For those uninitiated on the glory Panbers, consider this compilation an introduction to some of earliest and heaviest rock sound to come out of Indonesia.
CD $17

BIG|BRAVE - A Chaos of Flowers (Thrill Jockey 607CD; USA) "A Chaos Of Flowers is an album that builds on their ferocious 2023 album Nature Morte. BIG|BRAVE's music has been described as massive minimalism. Their fusillades of textural distortion and feedback emphasize their music's frayed edges as much as its all-encompassing weight. The potency of the trio's work is their singular artistry combining elements of traditional folk techniques and a modern deconstruction of guitar music. Gain, feedback, and amplitude are essential. For A Chaos Of Flowers guitarist/vocalist Robin Wattie drew heavily on the poems of artists whom Wattie found kinship in, their words resonant with experiences of those often sidelined by cultural norms. 'I discovered that most poems from folk traditions or in the public domain seem to be by men -- to which I could not quite relate. In my search, I rediscovered some of my favorite works and poets,' says Wattie. Guitarist Mathieu Ball and drummer Tasy Hudson help Wattie shape poetry into pieces as dense and impenetrable as they are vulnerable. BIG|BRAVE achieve their colossal sound through minimalist approaches, a deft understanding of dynamics and an inventive employment of percussion and distortion. The trio reconceptualize what it is to be heavy or minimal, challenging perceptions with their illumination of painfully overlooked perspectives. Guest guitarist Marisa Anderson lends earthen, blues-inflected atmospheres to the album, where guitarist Tashi Dorji and saxophonist Patrick Shiroishi amplify the squall. Working closely with frequent collaborator and producer/engineer Seth Manchester, the internal tumult of Wattie's voice rings out in warbles, haunting echoes, and unearthly harmonies across bold immense walls of distortion. BIG|BRAVE have collaborated with metal monsters The Body on a previous Thrill Jockey release, Leaving None But Small Birds, and have toured internationally with bands like SUMAC, Godspeed You! Black Emperor, SUNN O))), and Lingua Ignota. As they continue to ascend in their journey as pioneers in the contemporary metal scene, it's safe to say that BIG|BRAVE are here to stay."
CD $16


ADAM RUDOLPH / TYSHAWN SOREY - Archaisims (Defkaz Records FK018; Meta/Yeros7; USA) Featuring Tyshawn Sorey on drumset & percussion and Adam Rudolph on handrumset, kongos, djembe, Tanja, thumb piano, slit dums, temple blocks, overtone flute, shakers and assorted percussion. This album was recorded live at the Zurcher Gallery in NYC on December 16th or 2021. Both of these dudes are master percussionists who come from very different sets of experiences. Both are influenced by and work with a wealth of genres, styles, ethnic and historic ideas. This album is warm, clean and superbly recorded, mixed and mastered. Mr. Rudolph usually plays one or two of his varied percussion instruments at a time, slowly working his way around his large percussion kit. Tyshawn Sorey, who received his doctorate and teaches, has been garnering attention for this modern classical and operatic compositions for the past few years. Mr. Sorey is also one of the best modern jazz drummers to emerge from the Downtown Scene in many years. There is quite a bit of focused attention to each sound whether played on drums, cymbals, gongs, pieces of metal or wood, etc. You can tell these master percussionists are listening closely and reacting sympathetically. Each drum, cymbal, piece of metal or wood has its own sound which changes as it is being played, both rhythmically, melodically and spiritually. The music often sounds ritualistic like a ceremony for dancing, celebrating the joy of being alive. There are a series of grooves going on here and each one takes us somewhere else. The intensity or inner flame keeps growing higher and higher, reaching us through our own inner rhythmic flow. After listening to Frank Zappa’s writing for percussion for albums like ‘Uncle Meat’ and then checking out Edgar Varese’s “Density 21.5”, I realized that there was much more to the wonder of percussion than endless rock drum solos which were quite popular in the 1960’s. I find this disc to be quite extraordinary. - Bruce Lee Gallanter, DMG
LP $32 [Limited Edition of 300]

HU VIBRATIONAL with ADAM RUDOLPH / ALEXIS MARCELO / BRAHIM FRIGANE / EIVIND AARSET / HAMID DRAKE / MARCO CAPPELLI / JAN BANG / HARRIS EISENSTADT / MUNYUNGO JACKSON / et al - Timeless (Meta 028LP; USA) Hu Vibrational was founded by Hamid Drake and Adam Rudolph, who originally met at a drum shop in Chicago many years and have worked together on and off ever since. Hu Vibrational emerged around 2000 and have always embraced Spiritual, Ethnic and Cosmic Groove oriented jazz... 21st Century Dance Music. Mr. Rudolph and Mr. Drake were joined by Carlos Nino and then Hu Vibrational took off to inspire all humans to get off their tushes and dance to the Cosmic Groove. This is the forth album by Hu Vibrational and each one includes different guests: Yusef Lateef, Brahim Fribgane, Bill Laswell, Steve Gorn, Alex Marcelo, Tim Keiper and Eivind Aarset.
The Cosmic Groove continues on their new one, ’Timeless’. There are 13 musicians on this LP, each one integral to the dreamscape, organic flow. Adam Rudolph has collaborated with Jon Hassell on several albums, which Hassell refers to as Fourth World Music, which blends several rhythmic, ethnic, acoustic and electronic streams. So too this music also blends these ritualistic sounding vibrations/sounds. I caught Mr. Rudolph’s new Sunrise Quartet at The Stone last Saturday (4/6/24) which included Kaoro Watanabe, Alexis Marcelo and Stephen Haynes. The music was spacious, Cosmic, dream-like, calm at the center and often mesmerizing. The same can be said of the music here. Each of the 9 songs here has its own hypnotic groove. It is often quite funky but never crass, commercial, overdone or predictable. I love the way this music is often skeletal, no need for too much busyness. It feels just right. I’ve been very stressed out recently due to my Mom being in a hospice, an earthquake which knocked my blues LP collection off the shelf and onto the floor and the slow sales of CD’s at DMG. ’Timeless’ sounds like Sonic Medicine which is most soothing, refreshing, inspiring and engaging. Reasons to Cheerful, part 4. - Bruce Lee Gallanter, DMG
LP $32



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



4/17 Wednesday
8:30 pm - QUINTET - Matt Mottel (hybrid keytar, piano, synthesizer, banjo) Loren Connors (guitar) Suzanne Langille (lyricist, vocals) Yuko Otomo (poetry, vocals) Daniel Carter (reeds)

4/18 Thursday
8:30 pm - LARGE ENSEMBLE - Matt Mottel (hybrid keytar, piano, synthesizer, banjo, composition) Peter Gordon (saxophone, keyboard) Ernie Brooks (bass) Tony Cenicola (drums, metals) Nicole Davis (trumpet) Inju Keum (singing strings) Smoota (trombone) Aquilles Navarro (trumpet, synthesizer) Angel Lau (percussion) Carter Thorton (guitar)

4/19 Friday
8:30 pm - TRIO - Matt Mottel (hybrid keytar, piano, synthesizer, banjo) Cooper-Moore (percussion, diddley bow, self built instruments) Jean Carla Rodea (vocals, electronics)

4/20 Saturday
8:30 pm - Parents in the Avant Garde: The ensemble performs the graphic scores of their children’s scribbles - Matt Mottel (hybrid keytar, piano, synthesizer, banjo, composition), Nicole Lattuca (children's music toys, found sound objects), Genevieve HK (children's music toys, found sound objects), Daniel Fishkin (daxophone), Tcheser Holmes (drums), Matt Nelson (sax), Jessica Cook (children's music toys, found sound objects), Moppa Elliott (bass), Justin Frye (bass, guitar) & Jessica Paps (vocals)


4/24 Wednesday
8:30 pm
Duo - Jon Irabagon (saxophone) Brian Marsella (piano)

4/25 Thursday
8:30 pm - I Don’t Hear Nothin’ but the Blues - Jon Irabagon (saxophone) Ava Mendoza (guitar) Mike Pride (drums)

4/26 Friday
8:30 pm - Jon Irabagon Trio plus Two - Jon Irabagon (saxophone) Ray Anderson (trombone) Uri Caine (piano) Mark Helias (bass) Barry Altschul (drums)

4/27 Saturday
8:30 pm - Quintet - Jon Irabagon (saxophone) Patricia Brennan (vibes) Matt Mitchell (piano) Chris Lightcap (bass) Dan Weiss (drums)

THE STONE is located in
The New School at the Glass Box Theatre
55 West 13th Street - near 6th ave

wed-sat - music at 8:30pm

ADMISSION - $20 per set
unless otherwise noted
cash only payment



This is the new one:



Then you should check out the writing & interviewing by Rick Rees, who has a mailing list/website dedicated to Giorgio Gomelsky. Every month, Mr. Rees (who call himself a non-writer, no so says I), sends out an interview with different musicians that Mr. Gomelsky was involved with throughout his long music career. This month’s installment featuring a long interview with Chris Cutler and Maggie Thomas, who did album cover artwork for Virgin Records. The interview with Chris Cutler is long, fascinating and exhausting! Being a Henry Cow, Soft Machine & other Canterbury bands/musicians fanatic myself, I learned quite from these interviews! You can subscribe here:



Formerly of HENRY COW, THE ART BEARS, NEWS FOR BABEL & RECOMMENDED RECORDS (ReR) has been creating an ongoing series of podcasts called the Probes series. I am often fascinated at listening to each of these as Mr. Cutler does an incredible job of showing a deep history of Creative Music in the 20th century & beyond. I usually listen to these on the train to NYC that I take to get to work each day. The most recent Probes (#36) was released a few weeks ago, here is the links: