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DMG Newsletter for the Week of May 31st, 2024

When Herr Goebbels says we own the world and space
We heil heil right in Herr Goebbels' face
When Herr Goring says they'll never bomb this place
We heil heil right in Herr Goring's face
Are we not he supermen Aryan pure supermen
Ja we are the supermen (super duper supermen)
Is this Nazi land so good
Would you leave it if you could
Ja this Nazi land is good
We would leave it if we could
We bring the world to order
Heil Hitler's world to order
Everyone of foreign race
Will love der fuehrer's face
When we bring to the world this order

When der fuehrer says we is de master race
We heil heil right in der fueher's face
Not to love der fuehrer is a great disgrace
So we heil heil right in der fuehrer's face

When der fuehrer says we is de master race
We heil heil right in der fueher's face
Not to love der fuehrer is a great disgrace
So we heil heil right in der fuehrer's face

I’ve always been a big fan of humor in music and still crack up (laugh) whenever I hear certain songs. I never really thought much about the humor aspect until I became a big fan of the Mothers of Invention in 1967. The Mother’s leader was Frank Zappa and many of his songs were humorous both lyrically and musically. It is always great to laugh at ourselves especially since no humans are perfect and we often do silly or irresponsible things which might not seem funny at the time but often do in retrospect. I remember hearing songs like “Poison Ivy”, “Along Came Jones” & “Feel Like I’m Fixing to Die” when I was a child or teen and thinking how silly they sounded. With bands like the Mothers of Invention and the Bonzo Dog Band, the lyrics often poked fun at cultural or political targets, which needed to be skewered. Whenever I listen to early Bob Dylan records (like the song “All I Really Want To Do”), I still laugh out loud. It turns out that the humor found in recorded music goes pretty far back and it is sometimes referred to as a novelty song. Have you ever heard, “They’re Going to Take Me Away”? Check it out for some laughs. The above song was recorded by Spike Jones and His City Slickers and was released in 1942 during World War II. Unless you are a holocaust denier (f*ck them), you should know what happened during WW2 with the extermination of millions of Jews and other victims. This was due to Hitler and his minions. The Nazi’s tried to win the war with propaganda (a/k/a lies or Fake News). There is a similar pattern going on today so please try to stop watching Fox News and the other Fake News outlets. You have to dig through all the BS that is being thrown at us and search for the Truth. It will not be found on your phone but through reading books and talking to scholars, scientists and other wise folks. Time to listen to the first Bonzo album tonight. You know who still loves you all?!? - Me! Bruce Lee Gallanter at DMG



Tuesday, June 4th, 2024:
6:30: SALLY GATES - Guitar / LESLEY MOK - Drums
7:30: KYLE MOTL - Contrabass / ROCIO DIAZ de COSSIO - Cello / FERNANDO SOLARES - Saxes
8:30: LoveTrane - ERIK DUANE PLAKS - Piano / AYUMI ISHITO & ALAN DAVIS - Tenor Saxes / ZACH SWANSON - Bass / JON PANNIKAR - Drums

Tuesday, June 11th:

Rare Monday Event, June 17th:
6:30: PMA - Drums / HERY PAZ - Tenor Sax / ALIYA ULTAN - Cello
7:30: KYLE MOTL - Contrabass / ANQI LIU - Electronics
8:30: PATRICK GOLDEN - Drums / JIM CLOUSE - Tenor & Soprano Sax / MATT HOLLENBERG - Guitar

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. The GauciMusic Series has been canceled here for the Summer. 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



PETER BROTZMAN / TONY MALABY / LOS TOSCOS - La Vigilia de las Flores (Matik-Matik; Festina Lente Discos; Colombia) Los Toscos hail from Colombia and feature Enrique Mendoza on electric guitar, Ricardo Arias on balloons & objects, Urian Sarmiento on percussion & gaita (flute), Santiago Botero on contrabass and Mauricio Ramirez in drums. German sax legend Peter Brotzmann and Downtown sax master Tony Malaby each sit in one of the two discs of this set. The avant/jazz scene in Bogota, Columbia has been evolving over time and this is the third disc by Los Toscos, their first one from 2013 also included Tony Malaby as their guest. The personnel of Los Toscos has changed over time with bassist Santiago Botero being the only original member for this disc which was released in 2019. The only musician here with whom I know is balloonist Ricardo Arias who lived in New York in the early aughts and has played with Gunter Muller, Han Tammen and Kim Myhr. Peter Brotzmann plays tenor sax, clarinet and tarogato with Los Toscos for their one disc. “El Jacinto” begins with Mr. Brotzmann on clarinet with the rest of the quintet playing quietly in a ritualistic way. This soon leads to in intense section with a strong, spastic, Beefheartian guitar solo, the rhythm team pumping fast and hard, Brotzmann on tarogato (large Eastern European clarinet) and Mr. Sarmiento on flute, both soloing profusely together, spinning tight lines around one another. The tempo slows down as the sax, flute and guitar play in tight obits around one another.
The second disc features saxist Tony Malaby, another fine Free Jazz Sax Titan, currently teaching up in Boston. There are also a couple of other guests here: Tim Dahl on electric bass and Johannes Lauer on trombone with Malaby on tenor & soprano saxes. The personnel for this disc includes Enrique Mendoza on electric guitar, Santiago Botero on bass and both Jorge Sepulveda & David Castano on drums. Things begin with Mr. Malaby playing a haunting tenor solo intro before the rest of band joins him. Both drummers seem to be an odd swirling, lumbering groove with some tortured el. guitar entering midway. I am not sure how much if any of this was written but Mr. Malaby often starts off a with the drummers creating a rhythmic web underneath which builds or ascends higher through each piece. Both of these discs are fine examples of inspired international free/improv with all members listening and being integral to a group sound. There are occasional themes which someone in the band or Malaby breaks into later on in certain pieces. Once a year for the past three years a member of this band contacts us and offers us 20 copies of this disc. We often sell out with a month or so have to wait for another year to replenish our supply. So please don’t wait too long if you really want this treaure. - Bruce Lee Gallanter, DMG
2 CD Set $30 [Limited edition & no distribution in the US]

GREGOIRE MARET / ROMAIN COLLIN / BILL FRISSELL - Americana (ACT 9049; Germany) "Americana" represents an exciting collaboration between two prodigious musicians: harmonica great Gregoire Maret, and acclaimed pianist Romain Collin. Grégoire Maret is a phenomenon and a master musician. He is a virtuoso with a vivid imagination and a sublime way of giving shape to a melody. Collin, meanwhile, has been described by NPR as "a visionary composer, an extraordinary jazz pianist". Upon meeting each other in New York, the two musicians bonded over a shared love of jazz, song and pure melody. Together they embarked on a project which would explore the musical depths of the American soul. They turned to the uniquely great Bill Frisell to help forge a connection between American songwriting and the high art of instrumental playing. In this musical world, vast soundscapes co-exist with epic stories. The Americana trio's journey starts with a surprise: the composer of "Brothers In Arms" is not actually American at all. And yet Scottish-born Mark Knopfler proved with Dire Straits that his way of internalizing the myths of American history is not just skillful but also highly persuasive. From his immense body of work, Bill Frisell has contributed two compositions, "Small Town" and "Rain, Rain". This ensemble also pays homage to one of the great songwriters, Jimmy Webb with his "Wichita Lineman" and honors Justin Vernon (alias Bon Iver), an Americana representative of the hipster generation, in "Re: Stacks". Maret and Collin have also brought the essence of Americana in their own compositions. "Wherever Gregoire Maret stands, whenever he lifts his instrument to his lips, the room and all its inhabitants are immediately transformed, we are transported with a sweet yet powerful intensity to a higher plane." These are the words of high praise which Grégoire Maret once received from Cassandra Wilson, with whom he has worked for many years. This is also a particularly apt way to describe the soulful and life-affirming "Americana".
CD $16

MODNEY // SAM PLUTA / MARIEL ROBERTS / CORY SMYTHE / BEN LAMAR GAY / KATE GENTILE / DAN PECK / CHARMAINE LEE / LESTER ST. LOUIS / EDDY KWON / NATE WOOLEY / et al - Ascending Primes (Pyroclastic Records PR 33/34; USA) Featuring (Joshua) Modney on violin & composition, Mariel Roberts on cello, Sam Pluta on electronics, Cory Smythe on piano, Ben LaMar Gay on cornet, Erica Dicker on violin, Kate Gentile on percussion, Dan Peck on tuba, Charmaine Lee on voice & electronics, Eddy Kwon on violin, Nate Wooley on trumpet, Joanna Mattrey on viola and Anna Webber on reeds. Joshua Modney just uses his last name for this disc and has played with ICE, the Arcana Orchestra, Wet Ink and the MIVOS Quartet.
   In the liner notes for this disc, Modney (as he chooses to be called) mentions: “Music, with its vibrational and temporal nature, gives us the possibility of ascending to states of being that would be otherwise inaccessible.” This is something that I’ve been considering at length, ever since I realized that certain music has a way of bringing me (and anyone else) to a different state of consciousness. For me, both Psychedelic Music and Spirit Jazz, had/have a way of bringing me somewhere else. I can certainly feel it inside when it is happening. Modney also talks about “Just Intonation” and “Equal Temperament”, and the way certain intervals can be described in more human, tangible terms. This is more interesting food for thought.
   This two CD set is broken into eleven pieces, each one for a different sized ensemble, from solo through an eleven piece ensemble. The first piece is called “Ascender” and it is performed by Modney on solo violin with a distortion pedal. Modney’s violin sounds larger than live as he pushes its sound higher and harder. He repeats a certain bravura phrase in intense between blasts on distortion. His violin sounds like a scary electric guitar which has been transformed by the use of his pedal/devices.  The following piece< “Lunx” is for violin, cello & electronics and it is an explosive one. Sam Pluta plays electronics with Mariel Roberts on cello and Modney on violin. I’ve heard Sam Pluta with Wt Ink and Evan Parker’s US electro-acoustic ensemble. Mr. Pluta is a master of using electronics in often more acoustic chamber ensembles. This piece bristles with intensity from both strings with some explosive electronics adding a harrowing quality to the trio. The third piece is called “Everything Around it Moves” and it is for string quartet with piano. The brutal intensity continues to ascend here with Modney’s violin pushing the envelope higher and higher. Cory Smythe’s piano is often at the center and adding waves of molten activity. The string(s) are struck hard throughout this piece which feels like a rip in time or space, it feels like an assault on the senses.
   Disc 2 seems to be broken into two long works, “Fragmentation And The Single Form” (in 4 parts) and “Event Horizon” (in 3 parts). “Fragmentation” is for a septet with Charmaine Lee on voice & electronics, Ben Lamar Gay on cornet & synth, Modney on violin with distortion pedal, Erica Dicker on violin, Cory Smythe on piano, Dan Peck on tuba & Kate Gentile on drums. It begins with some harrowing violin(s), abrupt, scary and repeating its riff over & over. As noisy and intense as this piece is, it sounds focused & quite intense, making every sound count. Modney takes an over-the-top distorted violin solo here which ends abruptly and feels good to do so. The second part features a duo of Charmaine Lee on voice & electronics and Ben Lamar Gay on cornet with Dan Peck adding a frenzied tuba solo later on in this part. Each part seems to tell another tale from the ongoing story or sonic film. Although much of this much can be quite intense and even scary at times, the balance between several extremes is well done. This seems to me some of the most riveting chamber music that I’ve heard in a long while. - Bruce Lee Gallanter, DMG  
2 CD Set $16

CHLOE SOBEK / TIM BERNE - Burning Up (Relative Pitch RPR 1183; USA) Featuring Chloë Sobek on violone and Tim Berne on alto sax. Based in Australia, Ms. Sobek plays the violone, the Renaissance precursor to the double bass. The violone that Ms. Sobek plays has six strings and she uses a bow as well as a rubber mallet to coax sounds. Brooklyn-based saxist/composer/multi-bandleader, Tim Berne, has worked with numerous guitarist over his 45 year recording career, as well as with a few great bassists but rarely with string players, aside from Hank Roberts (80’s & 90’s) and Mark Feldman (ditto). Throughout his long career, Tim Berne has recorded a large number of duo efforts with Marc Ducret, Bill Frisell, Michael Formanek, Hank Roberts and Matt Mitchell.
   This disc was recorded in June of 2023, almost one year ago. The first piece is called “Scorpius” and the duo are both playing in a similar range, mid range. Ms. Sobek and Mr. Berne sound like a great match and at times it is hard to tell them apart, especially when they quiet down in some more solemn sections. When Mr. Berne is playing his own music, he often plays looping lines that run over long periods of time. This can be intense and overwhelming at times. This is not the case here, though. Both Ms. Sobek and Mr. Berne take their time and play reflective passages. Ms Sobek bows carefully, her notes matching Berne’s more lyrical side. On “Burnishing”, squeaks softly, bending his notes cautiously while Sobek weaves her way around his warm tones. I found this is entire disc to be most enchanting and unlike anything I’ve heard from Tim Berne ever. - Bruce Lee Gallanter, DMG 
CD $13

JAMES ILGENFRITZ // NEW THREAD QUARTET / GHOST ENSEMBLE / HYPERCUBE with ERIN ROGERS / et al - Stay Logged in on This Trusted Device (Infrequent Seams-1059; USA)“This is a work for solo contrabass in Just Intonation augmented by live interactive electronic sound” says bassist/composer James Ilgenfritz. There are three different groups performing here plus a solo bass piece with live electronics. The opening piece is called “Almostness” and it is almost 20 minutes in length. It features solo bass, live electronics and AMIA (Autonomous Mechanical Instrument Array). Mr. Ilgenfritz bowed bass drones are accompanied by a series of rustling sounds, eerie yet subtle note bending with occasionally odd electronic sounds added like tasty sonic spice. The second piece is called “Trust Fall” and it is performed by the New Thread Quartet, a sax quartet which includes Erin Rogers (with a great solo sax effort on Relative Pitch). This piece was recorded live at The New Stone in June of 2018 at Ilgenfritz’s residency there. The music has a chamber-like quality and it is thoughtfully written and played. There are some sections for those high-end squeaks that a number of current saxists excel at (John Zorn & Erin Rogers for example). I light this piece since it uses extended techniques but still sounds focused or directed. “Apophenia” is an eight part piece and it is played by the Ghost Ensemble, whose members include accordionist/composer Ben Richter. This piece was recorded at REDCAT in L.A. I dig ambitious or complex chamber music which seems to be going in several directions at the same time as well as adding bits of Renaissance music at times. The last piece is called “Subject-Object-Abject” and it is performed by Hypercube which includes Ms. Rogers on saxes. I’ve reviewed an earlier disc by Hypercube a few years back which I remember enjoying immensely. Although this piece sounds complex, there is an uplifting, playful quality in the center. This piece actually makes the most sense to me as it seems to evoke feelings or images within my/our imaginations. The more I listen to this disc the more I realize how much is going on here, which you or I might miss on the first listen. - Bruce Lee Gallanter, DMG  
CD $14

MAGDA MAYAS’ FILAMENTAL with CHRISTINE ABDELNOUR / RHODRI DAVIES / ZEENA PARKINS / MICHAEL THIEKE / et al - Ritual Mechanics (Relative Pitch RPR 1184; USA) Filamental features Magda Mayas on Fender Rhodes, harmonium & composition, Christine Abdelnour on alto sax, Michael Thieke on clarinet, Angharad Davies on violin, Zeena Parkins & Rhodri Davies on harps and Anthea Caddy & Aimee Theriot-Ramos on cellos. It says in the liner notes that all of the musicians (except for Ms. Davies & Ms. Mayas) recorded their parts separately. It certainly doesn’t sound that way as this definitely has a group sound. Over the past decade there appears to be a growing number of European woman pianists, each of whom have been experimenting with the piano in their own unique way. Check out this impressive/diverse list: Eve Risser, Kaja Draksler, Sophie Agnel, Lisa Ullen, Simone Weissenfels, Marta Warelis, Margaux Oswald and Magda Mayas.
This is the second disc from Magda Mayas’ Filamental ensemble, their first disc was in May of 2021. I am unsure of what the concept is here but I find the music fascinating nonetheless. There are two long (around 20-22 minute) pieces here. “Re-Contour” is first and sounds most ethereal yet focused. Since many of these musicians are using extended or experimental techniques, it is often hard to tell who is doing what. Although there is no percussionist present, it does sound there is one as certain musicians are tapping on and/or bending their strings in odd ways. The music sounds like it is being played in slow motion and everyone is making each note or sound count. Except for the Fender Rhodes (electric piano), all of the instruments are acoustic and the balance of players is consistently strong and spirited yet often sparse at times. There are several layers of drones, sizzles, breath-like music whispers, dreamy el. piano and celestial acoustic harps. There is a hypnotic, dreamy quality to this music that makes me feel as if I were drifting on a raft on calm waters on a sunny, somewhat breezy day. There is also a slightly skewed, transcendent vibes flowing through as well. Join in and float upstream or downstream. - Bruce Lee Gallanter, DMG
CD $13

ALEC GOLDFARB with DAVID LEON / XAVIER DEL CASTILLO / ZEKKEREYA EL-MAGHARBEL / CHRID TORDINI / STEVEN CRAMMER - Fire Lapping at the Creek (Infrequent Seams; USA) Featuring Alec Goldfarb on guitar & compositions, David Leon on alto sax, Xavier Del Castillo on tenor sax, Zekkereya El-Magharbel on trombone, Chris Tordini on bass and Steven Crammer on drums. In the liner notes, Mr. Goldfarb states that: “The blues is full of the mystical and the hidden”. In Willie Dixon’s book about the blues he states that the blues is universal and that all humans can relate to it. I agree with both of these explanations. The way that many bluesmen (or women) bend notes on their guitars is also similar to the bent notes found in many ethnic & modern classical musics, which are referred to as microtones. “The Blues” is at the center of the music found on this disc, Mr. Goldfarb also mentions. I don’t know much about guitar Alec Goldfarb except that he appears on 3 discs found on Discogs. The only names here I do know are saxist David Leon (now NY-based & doing distribution for Pyroclastic Records) and bassist Chris Tordini (also local & working with Chris Speed, Tyshawn Sorey & many others). The other 3 musicians here I know little about, although Mr. Del Castillo has recorded with Elijah Shiffer and Mr. Crammer has recorded with Payton McDonald (from Void Patrol).
   “High Water All Around” opens and it does sound like a blues song. Mr. Goldfarb is playing those blues licks at the center with ancient sounding horns answering his licks. Trombonist El-Magharbel is using a mute which gives it a blues harp (harmonica) wah-wah sort of sound when the song begins. Mr. Goldfarb takes a short guitar solo here which is most restrained, the complete opposite of any blues guitar slingers. The trombone solo however is most expressive with Goldfarb adding some odd chords underneath. “And the Red Light Was My Mind” starts with some chambe- like horns and bowed bass. The written horn parts are rather strange yet intriguing, with a high flying (alto?) sax solo on top. “Crow Jane” also begins with some out-to-lunch horn parts before the blues guitar licks start to erupt underneath. It seems like the way the horns are arranged is what makes this disc so unique and often in a world of its own. Mr. Tordini’s uneasy bowed bass is often used here on several pieces to give the music a dark, occasionally troubling undertow. Mr. Goldfarb’s quirky guitar spins freely at the center of “Sound the Visage”, playing a series of twisted chords which take time to get used to as they stretch in different directions at the same time. They sound somewhat harmolodic or beyond regular harmonies. On the title track, as Goldfarb plays a series of bent chords underneath, the horns create a different scene on top with all three horns looping around one another. What I find most interesting about this disc is that although there are a number of blues-like chords, licks and melodies used throughout this music, there is more going on here than that. Mr. Goldfarb takes some of the ideas or structures found in the blues and then twists them in odd shapes and arranging them in unexpected ways for the sextet to play. If I hadn’t read that “the blues” was at the center of some or all of this music, it would never have occurred to me that this was the case. I do find all of the music here to be mostly fascinating and often unpredictable in several ways. If you give this disc some time (more than 1 or 2 listens), there will be some odd magic found within. - Bruce Lee Gallanter, DMG    
CD $14

SAMARA LUBELSKI / MARCIA BASSETT - Indexical/Rhizome (Relative Pitch Records RPR 1190; USA) Featuring Samara Lubelski on violin and Marcia Bassett on guitar. I’ve had my eye on violinist Samara Lubelski for many years after checking her out with Thurston Moore as well as working with God is My Co-Pilot,  Tower Recordings, MV & EE and many more. Guitarist Marcia Bassett I know less well although she has worked with the Double Leopards, The Hototogisu and Zaimph. Ms. Lubelski and Ms. Bassett have been collaborating for over a decade with six full length duo discs recorded. I’ve heard Ms. Lubelski live on several occasions but never the duo to my knowledge. This disc was recorded in California in August of 2020 and at the Catalytic Sound Fest at Rhizome in DC in December of 2022. When this disc begins, both the violin and guitar are playing together with similar sustained notes which move in and out of harmony with each other, not unlike a series of separate sirens  wailing in the distance. Ms. Lubelski is bowing furiously here while Ms. Bassett is creating an intense drone-like foghorn wail. As this piece unfolds, the frenzied violin and guitar tones become more dense and intense, throbbing in waves washing over us and becoming almost too much before finally calming down somewhat and then building back up, the tension expanding over time. The main feeling I get here is like a plane taking off with its loud motor churning intensely inside. The second long piece was recorded 2 years later but sounds somewhat similar when it begins. The intensity and volume soon calm down and stretch out. Both women are still creating swirling drones which are shorter before they mutate into something else. Things still sound like an air-raid siren at times, yet they are throbbing less, waves slowly getting larger and then swirling back down again, over and over. The overall vibe is rather harrowing at times as if we were in a concentration camp with several sirens erupts at the same time. This is some scary sh*t! Hopefully some of us left-wing protestors will not find ourselves in such camps after the election in November. - Bruce Lee Gallanter, DMG 
CD $15

SACHA PERRY / BEN STREET / KRESTEN OSGOOD - Low Tide (Gotta Let It Out 67CD; Denmark) Featuring Sacha Perry on piano, Ben Street on bass and Kresten Osgood on drums. Recorded at Bunker Studio in Brooklyn in May of 2022. I can’t tell you much about pianist Sacha Perry although he is four recordings on the Smalls Record label starting around 2006. I do know bassist Ben Street from his many years working with Paul Motian, Ben Monder, Anthony Coleman & Masabumi Kikuchi. Danish drummer Kresten Osgood is an old friend who embraces the entire history of jazz, making an effort to play with as jazz elders as he can: Sam Rivers, Ran Blake, Luther Thomas, William Parker and Benny Maupin, to name but a few. For this disc the trio plays six standards, including three by Monk & one by Elmo Hope and one original by Mr. Perry. The disc begins with a the popular bebop song, “How High the Moon”. Mr. Perry’s unaccompanied intro is quite lush before the rest of the trio joins him for a more moderate paced bebop swinging groove. The bass and drums trade fours in the large section of this pice and sound mighty fine at doing this. The first Monk song is “Locomotive” a rarely covered piece. The song is played at a slower pace than usual and still sounds exquisite yet laid back. Cole Porter’s “Just One of Those Things” has been covered by Frank Sinatra & Nat King Cole. This version starts off with a strong, rambling drum intro by Mr. Osgood, the song is played a brisk tempo and sounds exciting, closer to a bebop pace than “How High the Moon”. “Low Tide” was written by Elmo Hope, a great yet under-recognized jazz pianist who made his mark mostly in the 1950’s. I dig Mr. Perry’s solo here as he makes each note count. “‘Round Midnight” is perhaps Monk’s most popular song and has been covered hundreds of times. This version is slowed down and it has an elegant sound. “Thelonious” is another rarely covered Monk song. This version has an ebullient vibe, with an inspired piano solo and subtle, swinging drums by Mr. Osgood. The last piece is called “Sacha’s Blues” and it is the only original song here. It is indeed a moderate paced blues with a sweeping solo from Mr. Perry. Since I rare review more mainstream jazz records, I can’t really compare this to anyone else. It is a modest gem on its own. - Bruce Lee Gallanter, DMG
CD $15

GILBERT HOLMSTROM / PETER JANSSON / NIKKE STROM / KRESTEN OSGOOD - Easy to Remember (Gotta Let it Out 63CD; Denmark) Featuring Gilbert Holmstrom on tenor sax, Peter Jansson on contrabass, Nikke Strom on electric bass (1 track) and Kresten Osgood on drums. The irrepressible Danish drummer, Kresten Osgood seems to be consistently juggling numerous opportunities to perform live and record with dozens of jazz musicians from whenever he is based or travels to. He recently showed up at DMG and left us with five newer releases, 2 on LP (with Ran Blake & Jerome Cooper) and two on CD. I don’t recall hearing the names of the other musicians here before now. Swedish saxist Gilbert Holmström (in his 80’s) has around a dozen of his own leader records plus he was once a member of an early Swedish fusion band called Mount Everest. Electric bassist, Nikke Ström (1 track only) is in his 70’s and has played with more than a dozen Swedish rock, blues and jazz bands. Mr. Osgood is always seeking out elder musicians from different scenes and this trio appears to be all Swedish players with a couple of elders included.
This disc was recorded in Goteborg, Sweden in March of 2023 and the trio cover six standards and two originals by the trio and Mr. Holmström. “For All We Know” is first and it is lovely ballad that was once covered by Esther Phillips. “Without a Song” is a standard that I remember Joe Lee Wilson covering way back when. This song has an uplifting melody and the trio swings hard. “Contemplation” is a song that Wayne Shorter wrote when he was still a member of Art Blakey & The Jazz Messengers. It is also a lovely ballad with some tasty sax from Mr. Holmström. “Wish I Knew” is an ancient standard and Mr. Holmström shows off his robust tone and playing. “Hard to Forget” is an improvised piece by the trio with el. bassist Nikke Strom replacing the acoustic bassist. This piece is somewhat freer and has a warm, open ended spirit jazz sort of vibe. Mr/ Osgood’s drumming is a highlight on this piece as he navigates some of the rapid turbulence. The last song was composed by saxist Gilbert Holmstrom and it is called “Gentle Ben”. This song has a bluesy,laid back, slow walking kinda groove/vibe. This is a most modest effort by a fine Swedish/Danish trio. - Bruce Lee Gallanter, DMG
CD $15


VAN DER GRAAF GENERATOR with PETER HAMMILL / DAVID JACKSON / HUGH BANTON / GUY EVANS - Live At Rockpalast: Leverkusen 2005 (Made in Germany MIG 90810; Germany) Almost two years earlier, Van der Graaf Generator had already played with the idea of getting back together again. When Peter Hammill had a heart attack in 2003, he was not the only one feeling the urge to get that planned project to finally happen. "There had been a strong feeling of unfinished business", David Jackson remembers.The gig at the Jazzfestival in Leverkusen - the only one in Germany - was meant to be the climax of the reunion tour in 2005. "We knew that it was going to be filmed and recorded professionally: something that was extremely rare in the history of "Van der Graaf Generator". Up to this point in our career, a film of a whole live concert just didn't exist!", according to Jackson. There had indeed not been a video recording of an entire "Van der Graaf Generator" concert by then. "The Leverkusen concert came near the end of our 2005 reunion touring, by which time we were feeling comfortable on stage again", Hugh Banton recalls. Guy Evans raves about the intimate connection that was built with the audience during the concert and helped making it a very special night; not least because it was Peter Hammill's 57th birthday.The first gentle flute notes of the opener "The Undercover Man" opened a door into the past. Now, Van der Graaf Generator played as energetically, dark and seductive as in their zenith in the mid 70s. Peter Hammill's voice was as powerful as ever which is very much outstanding regarding his eccentric, headstrong but most importantly emotional vocal style. But above all, the gig on hand is a document of honest devotion not only between the band and their fans but between the band members themselves reflecting their deep friendship. All the sadder is the falling-out with David Jackson shortly after the tour. Both parties maintain silence on the reasons. Therefore, Jackson sounds a little bitter when praising the current CD's amenities: "You will not get another chance to see a better show by that line up!"
2 CD 1 DVD $25

THE CANNONBALL ADDERLEY QUINTET with NAT ADDERLEY / MICHAEL WOLFF / WALTER BOOKER / ROY McCURDY - Live In Montreal May 1975 (Liberation Hall 5132; Earth) One of the Cannonball Adderley Quintet's final performances recorded in Montreal on May 3, 1975 three months before his untimely passing. The great Julian "Cannonball" Adderley rose to prominence in the hard-bop era of the 1950's and 60's. After a successful stint with Miles Davis's sextet, including being featured on the seminal Davis records 'Milestones' and 'Kind of Blue', Adderley formed his own quintet with brother Nat on trumpet and cornet, and soon became the driving force behind the soul-jazz movement of the 1960's and 70's. No one would have guessed that the 46-year-old DownBeat Jazz Hall of Famer was in the last few months of his life when he stepped on stage at Montreal's In Concert Club on May 3, 1975. And nothing about the performance suggests that the hard bop sax legend was anything but at the top of his game. The 6-track set includes the Grammy Hall of Fame inductee hit tune "Mercy Mercy Mercy," with Adderley's brother Nat on trumpet. The lineup for the quintet here is Cannonball Adderley (alto and soprano sax); Nat Adderley (trumpet); Michael Wolff (piano); Roy McCurdy (drums, percussion) and Walter Booker (bass). Originally released in 1977 on Dobre Records this LP has been unavailable on vinyl for over 40 years and makes its return pressed on 180-gram vinyl. Features liner notes by music historian Cary Ginell who wrote the book "Walk Tall: The Music and Life of Cannonball Adderley". Notes include interviews with quintet members Michael Wolff and Roy McCurdy.
CD $16

GRAHAM PARKER & THE RUMOUR - Live At Rockpalast 1978 & 1980 (MIG 90490; Germany) At last! The legendary Rockpalast-concerts of Graham Parker remastered in one box with 2CDs and 2DVDs!Graham Parker has hold onto his reputation as one of the most important singer-songwriters for more than 40 years. Together with The Rumour , Graham Parker gave two shows at the Rockpalast.
This CD/DVD set represents both concerts, the first from 1978 at the WDR-Studio where The Rumour was backed up by a horn section. The second appearance at Grugahalle, Esssen was in 1980, where Parker opened the 7th legendary Rockpalast-Night. This time Nicky Hopkins sat in at the piano (famous for his works with The Beatles and Rolling Stones). A historical event!
2 CD Set $16
2 CD 2 DVD Set $25

BUZZCOCKS - Live At The Shepherds Bush Empire (Secret Records 316; UK) This fantastic double album set captures Buzzcocks live at the Shepherds Bush Empire in 2003 as they careen through 32 of their finest two and three-minute punk-love spurts. Featuring founder members Pete Shelley & Steve Diggle on guitar and vocals plus Tony Barber on bass and Philip Barker on drums. Includes a bonus DVD of the full concert, interviews with Pete & Steve, sound check and other extras.
2 CD/DVD Set $27


LUTHER THOMAS With KRESTEN OSGOOD/MIKKEL MARK/ERLING KRONER/OLE LINDGREN/ et al - In Denmark (Ilk Music 234; Denmark) "Luther Thomas was a member of the Black Artists Group in St. Louis in the 60s and 70s, an excellent musician who was recognized by his peers, but as not well known by the general jazz audience. Among the free jazz and improv community, his works from the early 70s, especially "Funky Donkey," (a free jazz funk classic reissued on Atavistic) is well regarded, as are the two albums by the Human Arts Ensemble issued on Arista. He recorded on Cadence in the 90s and 00s, as sideman and leader, and maintained through to the end of his life a wonderfully expressive creativity, mostly on alto sax, that maintained the spirit and energy of the 60's new wave of jazz sound and 70's free jazz mode. The recent release of "Luther Thomas in Denmark," a 2 cd set that compiles many live recordings from Denmark, where he made his home from the late 90's onward. All previously unissued, this is an excellent look at an artist, who to the end, was in top form. Disc one is a collection of standards. But not your typical collection of songbook standards. While he does classics like Body and Soul, Lonely Woman and Round Midnight, they don't feel like slavish faithful interpretations. There's an energy and liveliness that Thomas infuses in each track that combines the standards with free improv sensibilities. With Kresten Osgood (drums), and Nils Bo Davidsen (bass), with appearances by Mikkel Mark (piano), Erling Kroner and Ole Lindgren (trombones), Thomas rips through a wide ranging collection of music. Following a gorgeous version of Round Midnight is Selim Funk, a free funk jazz track referencing Miles Davis' 70's music. Groovin' High, My Little Suede Shoes, Dotty, Crazeology, all are done well and one comes away with a loving survey of post WWII jazz, as told by saxophone. Disc two is all solo. Bursting at the seams at about 79 minutes, the disc contains five long tracks that showcase Thomas' command of his instrument. He is at lyrical, searing, explosive, and whimsical, his tone strong and assured. He squeals, skronks, quotes phrases from classic jazz tunes, elucidates with a clear tonal sound, and alternately riotously blows like Gene Ammons or Albert Ayler. Recorded in 2008, this picture of a jazz artist nearing the end of his life is a powerful document; one final artistic statement of vitality that references many sources but in the end is assuredly Luther Thomas. "Luther Thomas in Denmark" can only get my highest recommendation, a must have for the discerning free jazz and improv listener." - Stefan Wood, FreeJazzBlog
2 CD Set $18


JANET FEDER COLIN BRICKER COWHAUSE - Break It Like This (Mighty Fine Productions 06102 12753; USA) Featuring Janet Feder on acoustic guitar, banjo & sounds and Colin Bricker on electronics, recording & engineering. I’ve known of Guitar Goddess, Janet Feder, for three decades since her first album was released in 1994. She’s only recorded five records in thirty years so she does take her time with each one. All of her records are solo efforts except for her duet with Fred Frith (from 2006). This is her second duo effort and she is playing with Colin Bricker, more known as an engineer & producer, recording nearly 100 albums with the likes of Hamster Theatre, Thinking Plague, (prog bands), Fred Hess (jazz saxist), Ron Miles, Jenny Scheinman and Bill Frisell. Most of these musicians are from Colorado, which is where Mr. Bricker’s studio is located (Denver, actually).
   Starting with “Opening”, the recording is superb, warm, clear and obviously closely mic’d. Ms. Feder is a gifted acoustic guitarist hence she is well captured here with Mr. Bricker adding layers of electronic sonic seasoning and/or samples. Practically every note that Ms. Feder plays is/are accompanied by sympathetic odd sounds. Snippets of drum machine samples, synths, sound effects, all used most selectively, tastefully. Bricker takes someone’s (Janet’s perhaps) voice and adds some fairytale like effects matching the luscious sound of Ms. Feder’s magical guitar just right. When Ms. Feder taps on her guitar with a small object for “Blue State”, Bricker leaves it as it is since it is already ethereal by itself. The sounds that Mr. Bricker uses are often subtle yet a bit strange, never upstaging Ms. Feder’s ever inventive guitar playing. The pace slows down on “I Remember Something”, which sounds like things are running backwards at one point. “Plan to Live” opens Side B, which has a haunting sound with what sounds like distant strings and another effective drum machine sample. The sound of Ms. Feder’s guitar changes a bit from song to song as if it were being placed within a different frame. Feder switches to banjo on a piece called “Banjo”, which again slows things down to a more rural pace. Ms. Feder’s guitar sounds like it was recorded underwater on “Heater” which has some  slightly skewed sound effects added. “Walking the Day” is the most magical piece here with   an effects laden drum machine churning in the distance and the guitar at its most hypnotic. The production here is closer to Krautrock than anything I’ve heard in recent memory. The last piece was written by Junior Burke, who it turns out to be both a writer of fiction and songs. Ms. Feder actually covered this song on an earlier record of hers. She sings on this song although her voice is processed and sounds more like a sexy robot, sort of. There is some deep magic going on throughout this entire record which helps us all to transcend whatever state we are in (geographically & otherwise) and place us somewhere else more welcoming. - Bruce Lee Gallanter, DMG 
LP $30

SALLY GATES / TREVOR DUNN / GREG FOX - deliriant modifier (Riverworm Records RWR 006; Czech Republic) Featuring Sally Gates on guitar & piano, Trevor Dunn on contrabass and Greg Fox on drums & modular synth. Ever since moving here from Down Under a couple of years ago, metal guitar sorceress, Sally Gates, has continued to evolve by playing in a variety of different improv situations with differing personnel. Most folks only know her from her metal trio/quartet Titans To Tachyons (whose CD on Tzadik is a gem). Ms. Gates has played here at DMG a half dozen times, just improvising freely with Jessica Pavone, Daniel Carter, Matt Hollenbeck, Elliott Sharp, Patrick Golden & others, showing how much she goes beyond the metal tag she had earned earlier. Bass giant, Trevor Dunn, plays both acoustic and electric basses in different situations and is great at both. His resume is pretty diverse: Mr. Bungle, Electric Masada, the Ahleuchatistas and the New Klez Trio. Greg Fox has drummed with the Zs, Liturgy and several other metal bands.
   “Macro/Micro” has Ms. Gates tapping quickly on her guitar while the bass and drums also spin furiously along with her. “Dissolve and Surveil” is free form metalish jamming, tight and explosive with Gates playing a number of twisted, bent note guitar lines over a powerful rhythm team. Was there some double pedal drumming going on in there?!? “Shifting Squares” is a slow moving piece with stripped down bass and drums and with Ms. Gates showing off her more jazzy chops while still using some distinctive sustain and/or effects. Instead of playing predictable power chords on “Flatworms”, Ms. Gates plays these strange, bent note clusters while the rhythm team pumps hard underneath. Slowing down even more is “Nobody, and Nothing”, with Gates adding some odd effects with drummer Fox providing some spacious suspense to the proceedings. Some of the effects that Gates is using here remind me of Robin Trower when he was a member of Procol Harum in the early 1970’s. Side B starts with “Limits of a Circle” which opens with modular synth, quick acoustic bass, strong fusion-like drumming and tantalizing guitar riffage slowly bringing things to boiling point. This session sounds particularly warm, clear and powerful on vinyl here, thanks to the ever dependable Colin Marston. Ms. Gates plays some free form piano on “”Retinal States”, her playing similar to the way she plays those note fragments on the guitar. Trevor Dunn’s contrabass is featured on “Angular Isolation”, bowing up a storm at the beginning with Me. Gates playing more of those twisted, sustained guitar fragments. The trio take their time on “Collider”, using eerie guitar and/or synth effects when it begins. This piece is dream-like and other worldly with Ms. Gates playing spacey and somewhat melodically. Mr. Fox is playing with mallets on his drums which give it a more orchestral sound. Finally, “Excise Spurious Time” has Ms. Gates switching back to the piano and the trio playing more freely yet focused here. It is almost as if another (free jazz) trio is taking their place. A strong date from all angles. - Bruce Lee Gallanter, DMG  
LP $27

ZAM with ANTHONY PIROG / ANDREW COLWELL / DAN SHARNOFF - Waves of Seeing (Ramble Records RAM-56; Echdelick 73; Australia) ZAM is Anthony Pirog on guitar, electronics & synth, Andrew Colwell on bass, & electronics and Dan Sharnoff on drums, tapes & samples. I never know who will walk through the front door at DMG each day: serious listeners, creative musicians, friends and tourists all cross our path. Bassist Andrew Colwell recently left us with this record to review. I did recognize his face from previous visits to DMG, but I didn’t recognize his name. It turns our that he has played bass with Josephine Foster & The Supposed. DC guitar great, Anthony Pirog, I know quite well from a number of his previous projects: the Messthetics, Janel & Anthony and his work with Henry Kaiser. I hadn’t heard of their drummer, Dan Sharnoff, until now. This LP was recorded in Bill Laswell’s studio in April & June of 2022 by James Dellatacoma.
   The opening piece, “Sources” sounds like a power trio just starting to rise and rock harder. “Egress” also erupts powerfully, again building more intensely as it goes. On “Dellatacoma Machine”, the sly electronics and howling guitar swirl together while “The Wind” has the guitar wailing closer to a metal tone, striking those power chords slowly, one at a time. The trio is humming intensely from the center of a cyclone with the bass throbbing and drummer simmering on the cymbals. Mr. Sharnoff’s electric is pumping hard on “Echelons 1, 2 & 3”, the opening track on Side B, with Mr. Pirog wailing intensely on top. It sounds as if his guitar is being played through an effects box or that there are some scary synth sounds also throbbing as well. This piece ends with a layer of electronics which becomes quiet as it calms down, the electronics sounding like birds chirping and a distant choir. “Ground Fault Interpreter” sounds like a whirlwind erupts with Pirog adding some furious high energy riffage underneath. On “Ribbons of Ascension”, the bass throbs while there is an eerie sound rising from the synth or guitar, hard to tell which. What I find interesting is that instead of Pirog wailing too many notes on top of their sound, his playing is more submerged in a dense layer of electronics or synth or effects. Hence, this is a group sound with no solos yet the bass and guitar both play their sounds together like a wave processed guitar and bass as one force. There are some distant vocal chanting on “Power Strip” which gives it a sort of ancient, religious vibe. The last piece, “Wanderlust”, has a sort of a Kraut-rock-like drum-machine line running below with spooky guitars added effectively on top. This record seems to be more about different moods than any sort of regular guitar chops narrative. - Bruce Lee Gallanter, DMG  
LP $18

LOSCIL // LAWRENCE ENGLISH - Colours Of Air (Kranky 236LP; USA) "The union of composers Lawrence English and Loscil aka Scott Morgan is seamless, sublime, and long overdue. Born of a conversation centered on the notion of 'rich sources' as a forge for electronic music, Colours Of Air is a collection of recordings of a century old pipe organ housed at the historic Old Museum in Brisbane, Australia, which were then processed, transformed, and elevated into eight majestic electro-acoustic threshold devotionals. The timbre of the instrument and spatial fluctuations of room tone infuse the music with a subdued, sacred feel, like vaulted light in a nave of stained glass. They describe the album as 'an iterative project, a reduction and eventual expansion,' sifting the swells and drones of the organ for every shivering shade of radiance. The tracks are named for the hue each piece suggests -- from the gauzy levitational miasma of 'Yellow' to the pulsing melancholic mirage of 'Violet' to the seething twilit sandstorm of 'Magenta.' Morgan and English are both adept at conjuring moods of muted grandeur, like landscapes veiled in dusk, still looming and luminous. Here their combined powers open pathways to heightened realms of deep listening and bewitching restraint, finding flickering infinities in ancient configurations of wind, brass, stone, and dust."
LP $38



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



5/31 Friday
8:30 pm - DUO - Miles Okazaki (guitar) Craig Taborn (piano)

6/1 Saturday
8:30 pm - TRICKSTER - Miles Okazaki (guitar) Matt Mitchell (piano) Anthony Tidd (bass) Sean Rickman (drums)


6/5 Wednesday
8:30 pm - QUARTET - Nels Cline (electric guitar) Trevor Dunn (bass) Tom Rainey (drums) Ben Goldberg (clarinet)

6/6 Thursday
8:30 pm - BEN GOLDBERG'S GLAMOROUS ESCAPADES - John Ellis (tenor saxophone) Steve Cardenas (electric guitar) Will Bernard (electric guitar) Ben Allison (bass) Allan Mednard (drums) Ben Goldberg (clarinet)

6/7 Friday
8:30 pm - INVISIBLE GUY WITH VISIBLE GUEST - Kenny Wollesen (electric vibraphone) Michael Coleman (synthesizer) Hamir Atwal (drums) Ben Goldberg (clarinet)

6/8 Saturday
8:30 pm - QUARTET - Angelica Sanchez (piano) Carmen Quill (bass) Ches Smith (drums) Ben Goldberg (clarinet)
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


Friday May 31st ,2024
Celebrating Women Composers
Cheryl Pyle Musique Libre Femmes
Amanda Monaco Deathblow
Stephanie Griffin and Friends
curated by Abby London Crawford ♫♪♫•*¨

Doors at 6:30 - music at 7:00pm -$20
Michiko Studios /studio 3
15 W 39th St, 7th Floor New York, NY 10018


Eric Dolphy: Freedom of Sounds Festival

June 1st and 2nd at The New School
John L. Tishman Auditorium

Saturday, June 1st - 6pm to 10:15:


Sunday, June 2nd - 3pm to 8:30
GERI ALLEN’S Celebration Suite for Eric Dolphy - Featuring:

Contact & tickets:



Saturday, June 1, 2024 - 8:00 PM 9:00 PM
Potions Debut CD Release
Yoon Sun Choi - voice
Jeong Lim Yang - bass
Andre Matos - guitar

Wednesday, June 5, 2024 - 7:30 PM 10:00 PM
7:30: Eva Novoa, piano solo
Eva Novoa, piano & Chinese gongs
8 & 9pm: REMEDY: Heberer/ Fonda/ Hertenstein
Thomas Heberer - trumpet, Joe Fonda - bass, Joe Hertenstein - drums

Friday, June 7, 2024 - 7:30 PM 10:00 PM
Yoon Sun Choi - voice/piano - SOLO
Allison Philips - trumpet - SOLO
Charlotte Jacobs - voice - SOLO
Eugenia Choe - piano - SOLO

Saturday, June 8 also at 8pm
8pm: GALAXY TRIO with HILL GREENE - Bass / ROSI HERTLEIN - Violin & Vocals / JAMES KEEPNEWS - 6 & 12 String Acoustic Guitars

Wednesday, June 12, 2024 - 8PM / 10PM
8pm - GPS
Guillermo Gregorio - clarinet
Jeff Pearring - alto sax
Charley Sabatino - bass
9pm: Paul Giallorenzo Trio
Paul Giallorenzo - piano
Ingebrigt Håker Flaten - bass
Mikel Patrick Avery - drums

Thursday, June 20, 2024 - 8:00 PM 10:30 PM
8pm - Adam Lane Quartet
Ray Anderson, Trombone
Kirk Knuffke, cornet
Adam Lane, bass
Billy Mintz, drums
9pm: Anthony Coleman Trio - 9 pm
Anthony Coleman, Piano
Adam Lane, bass
Patrick Golden, drums

I-Beam is located at 168 7th Street, Brooklyn, NY, 11215


Amirtha Kidambi's Elder Ones
June 5, 7pm doors 8pm music
@ Sisters (900 Fulton St, Brooklyn) 

Amirtha Kidambi - vocalist, composer, keyboard
Matt Nelson - saxophone
Alfredo Colon - saxophone
Lester St. Louis - bass
Jason Nazary - drums





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 (#37) was released earlier this year, here are the links: