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DMG Newsletter for the Week of Jun 21st, 2024: Happy Birthday Bubbie!

Through InstaGram, Facebook, email, texts, phone calls and in-person (at the store & at the Vision Fest), I heard from so many old & new friends, relatives and musicians/artists from all over that I was a bit overwhelmed with emotions and wept on the train into NY last night realizing how much I feel loved and appreciated by family, friends, musicians and DMG customers from around the world. Tonight is the third night of the Vision Fest so I am heading back to Roulette soon. It has been a blast so far especially William Parker’s entire tribute night. Special thanks to my many old friends that I’ve heard from recently: John Zorn, Eugene Chadbourne, Thurston Moore, Owen Plotkin, Thomas Helton, Postman Steve, Michael Formanek, Lucian Ban, Cheryl Pyle, Brenna Ray, JP Nadien, Frank Meadows, Marc Edwardsm Theo Bleckmann, Rodrigo Amado, Maciej from Listen! Foundation, Nick Lyons, Sylvie Courvoisier, Joe Hertenstein, Sally Gates, Jair-Rohm Wells, Bob Musso, Jeremy Carlstedt, Caroline Davis and many more. Yesterday, I felt like I was on a cloud, floating above whatever is below that holds us down. Thanks to each and every one who sent me a message, shook my hand or gave me a hug. I can truly feel the Love radiating and this makes me so happy to be alive! Peace and Love Always, Bruce Lee Gallanter at DMG



6:30: IPEK EGINLI - Electronics & Voice / JASON NAZARY - Drums & Electronics
7:30: DAFNA NAPHTALI / CHUCK BETTIS - Electronics and Vocals
8:30: JEREMIAH CYMERMAN - Clarinet & Electronics / ZACHARY PAUL - Violin

Tuesday, July 2nd:
6:30: JUDY DUNAWAY - Solo Balloons
7:30: JON MADOF - Guitar / JESSICA LURIE - Sax
8:30: AMOS A - Solo Tenor Acoustic Guitar
9:30: KYOKO KITAMURA - Voice / KEN FILIANO - Bass / JULIUS BOXER-COOPER - Flute / PAIGE DRAISS - Drums & Percussion

Tuesday, July 9th:
6:30: C N - Sax!
7:30: DYLAN DELGLUDICE - Guitar-Sax / AYUMI ISHITO - Tenor Sax / DAVE MILLER - Drums!
8:30: JONATHAN REISEN - Solo Tenor Sax!

Monday, July 15th:

1st Set: 7:30: Spirit Music for Our Mothers!
DON PATE - Contrabass
Special Guest: DAVE LIEBMAN - Tenor & Soprano Sax

2nd Set: 9pm: More Spirit Music: Tribute to John Coltrane and Pharoah Sanders!
Tisziji Munoz / Don Pate / Bob Ra Kalam Moses plus
Guest Saxist JIM CLOUSE - Tenor & Soprano Saxes

Taking Place at The New School
5th Floor Theatre
55 West 13th St, just east of 6th Ave
5 floors above The Stone



JOHN ZORN // JULIAN LAGE / GYAN RILEY - Her Melodious Lay (Tzadik 9309; USA) Julian Lage and Gyan Riley have a magical rapport, a deep mutual respect, and have recorded some of Zorn’s most melodious and intimate compositions. In addition to the many books of music written for their trio with Bill Frisell, they have also worked together as a duo on The Bagatelles (2015), Midsummer Moons (2017), Book Beri’ah (2019), and Quatrain (2023). For this fifth duo CD Zorn turns again to William Shakespeare for inspiration and has composed a varied collection of ballads, dances, lullabies, and fantasies that will delight, stimulate, and inspire. Her Melodious Lay contains nine poetic, through-composed pieces that blend classical, folk, jazz, film music, and more into a strikingly dramatic musical vision. Modern guitar music at its very best!
CD $16

MARK DRESSER - In the Shadow of a Mad King (Tzadik 4049; USA) Mark Dresser, the world’s most acclaimed experimental bassist, who has literally written the book on extended contrabass techniques, presents a fabulous CD of solo bass music. Featuring his dear friend, the honored poet Jerome Rothenberg (then 91 years old) on one long epic track, this project continues a long tradition that goes back to the 1950s jazz-poetry experiments of Kerouac, Ginsberg, Patchen, and Ferlinghetti. Close friends and colleagues for decades, the telepathy between Mark and Jerome is both palpable and inspiring. A classic!
CD $14


We just got in 5 new discs from the NoBusiness label from Lithuania. Since they just arrived, I don’t have time to review them this week. We got 10 copies each of the Brotz/Kondo/Sabu, Derek Bailey & Sabu and Kalaparusha CD’s. Although they are limited (to 500 copies?), they will not sell out that fast so we will reorder them as soon as they are gone. There is also a great Karen Borca CD with several bands: Rob Brown, William Parker, Reggie Workman… live from two different Vision Fests. We didn’t get the booklets though so they are being sent now. We should have them soon & we will list that disc in next week’s newsletter. There is also a fine Israeli quartet with Hamid Drake on drums which sold out but we will get more soon as well.

PETER BROTZMANN / TOSHINORI KONDO / SABU TOYOZUMI - Complete Link (NoBusiness NBCD 165; Lithuania)
CD $16

DEREK BAILEY / SABU TOYOZUMI - Breath Awareness (NoBusiness NBCD 166; Lithuania)
CD $16

KALAPARUSHA MAURICE McINTYRE with MALACHI THOMPSON / ALVIN FIELDER / MILTON SUGGS - Rivbea Live! Series, Volume 1, Live from Studio Rivbea, July 12, 1975 (NoBusiness NBCD 169; Lithuania) Featuring Kalaparusha Maurice McIntyre on tenor sax & clarinet, Malachi Thompson on trumpet, Milton Suggs on electric bass and Alvin Fielder on drums. Recorded at the Studio Rivbea in July of 1975.
CD $16

MARILYN CRISPELL / JASON STEIN / DAMON SMITH / ADAM SHEAD - Spi-raling Horn (balance point acoustics 20020; USA) Featuring Marilyn Crispell on piano, Jason Stein on bass clarinet, Damon Smith on contrabass and Adam Shead on drums. Pianist Marilyn Crispell certainly needs no intro for most of you who read this newsletter or check out our reviews on-line. Ms. Crispell remains one of the finest Avant-jazz pianists having played in the great Anthony Braxton Quartet for a decade plus collaborating with the London Jazz Composers Orchestra, Evan Parker, Joelle Leandre and many more. The other three musicians here have an ongoing trio with two previous releases out. Chicago bass clarinetist, Jason Stein, leads several of his own bands as well as working with Josh Abrams, Keefe Jackson and Jason Roebke. I hadn’t heard of the drummer, Adam Shead before now.
This disc was recorded a year ago today, June 19th, 2023 which turns out to be my birthday. It sounds to me like the trio with Ms. Crispell has been playing together for while since they sound so connected playing freely yet having that organic connection. There is a fine balance going on here with the bass clarinet and piano swirling tightly around one another as the rhythm team also spins connecting the free, fleeting Cosmic spirits. Ms. Crispell takes a solo which seems to move on several layers simultaneously, several lines or themes coalescing at the same time. “a universe of otherwise” begins with just drums & bass clarinet playing tightly together before they are joined by bass & piano. Mr. Stein steps up and plays the first expressive rambunctious solo with the rest of the quartet providing a restless cushion of support. Towards the end of this piece, the quartet calms down to a more relaxed section, quieting down yet still tightly integrated. This a sparse yet enchanting section on “saturant moon water”, where its sounds like the drummer is plays some scissors. The next piece has the quartet playing a lovely late-night ballad which I found to be quite touching. I often find that any session that Marilyn Crispell is a part of always involves some magic in it, like fairy dust which has a way of taking us all along. This session is especially enchanting and engaging throughout. - Bruce Lee Gallanter, DMG
CD $14

ERIK FRIEDLANDER with URI CAINE / MARK HELIAS / CHES SMITH and SARA SERPA / WENDY EISENBERG / MARK HELIAS - Dirty Boxing / Floating City (Self-produced; USA) This 2 CD set features cello master, Erik Friedlander with two different quartets: Uri Caine on piano, Mark Helias on contrabass & Ches Smith on drums for CD 1 and with Sara Serpa - voice, Wendy Eisenberg on guitar and Mark Helias on contrabass. After a short series of recovery time for an operation, Erik Friedlander returns with a most ambitious double CD. Aside from working with John Zorn and Dave Douglas at length during the 1990’s and early aughts, Mr. Friedlander has led a series of bands at times with ongoing or revolving personnel. For Friedlander’s quartet with Caine, Helias and Smith, this is their third disc in five years. The quartet with Serpa, Eisenberg and Helias is a new one although Ms. Serpa does have trio record out with Ingrid Laubrock & Friedlander (Clean Feed CD from 2018).
The quartet with Caine, Helias & Smith (a/k/a Dirty Boxing) was recorded at The Bunker, a studio in Brooklyn in February of 2024. Right from the first note it sounds like this quartet has been working for a long while as they are tight, robust and immensely inventive. Friedlander’s cello is featured and has a strong, spirited, distinctive sound, ably accompanied by Mr. Caine’s powerful piano and spirited rhythm team. As always, Uri Caine, takes a wonderful solo here, exuberant and pumping hard. “Foot Stomp” has a somewhat funk, infectious groove with one of charming solos by Friedlander and Caine. One of Downtown’s busiest drummers, Ches Smith, is in fine form here, navigating the rhythms, revving up and down as need be. “Shrimping” has a lovely melody with some majestic piano from Mr. Caine (jeez, what an incredible unaccompanied solo midway!). Mr. Friedlander is featured on “Ground and Pound”, and sounds rather like a soprano sax, his tone is most magical here. One of the things I like most about Mr. Friedlander is that as inventive and adventurous as he gets, he knows how play a modest melody so that it rings true and feels good to our hearts. I was actually brought to tears when listening to “Submission”, I guess I am still an old softy at heart. In many ways, this is a perfect session/disc, just right on so many levels.
CD2 is called ‘Floating City’ and it features Erik Friedlander on cello & compositions, Sara Serpa on voice, Wendy Eisenberg on guitar and Mark Helias on contrabass. Sara Serpa has been working with Erik Friedlander for several years and they have a trio disc out on Clean Feed with Ingrid Laubrock. Ms. Serps is also a member of Mycale a great female vocal quartet who have two discs out on Tzadik of John Zorn’s Masada songs. Guitarist/vocalist Wendy Eisenberg if one of the most diverse and talented musicians/composers to move to NY in recent years, check out her varied projects. I just caught her up at the FIMAV Fest in Quebec playing in the Bill Orcutt Guitar Quartet. Mark Helias remains one of Downtown best contrabassists and has also been doing quite a bit of producing in recent years as well. ‘Floating City’ is a five part suite with a couple of preludes between parts II & II, and Parts IV & V. On “Floating City I”, Ms. Serpa’s voice and Friedlander’s cello play a haunting klez-like melody tightly together with Ms. Eisenberg’s guitar adding precise punctuation and Mr. Helias holding down the bottom end with just his rich bass sound. The ever-diverse and super-crafty Eisenberg plays acoustic guitar here and has a lovely touch. Ms. Serpa sings no words on this disc yet her voice is most enchanting with her warm, lyrical, mystical sound. The music here is closer to an older form of classical chamber music yet it not daunting in any way, often pleasingly contrapuntal, more organic, consistently haunting. This disc is consistently enchanting, warm, often touching, thoughtfully composed and superbly played. A pure, righteous delight on several levels. - Bruce Lee Gallanter, DMG
2 CD Set $16

FRANK LONDON THE ELDERS with MARILYN LERNER / HILLIARD GREENE / NEWMAN TAYLOR BAKER / GREG WALL - Spirit Stronger Than Blood (ESP-Disk 5099CD; USA) Featuring Frank London on trumpet, Greg Wall on tenor sax (for 3 pieces), Marilyn Lerner on piano, Hill Greene on contrabass and Newman Taylor Baker on drums. Frank London has been one of Downtown best and most creative trumpeters and composers whether leading the Klezmatics, Hasidic New Wave or with Zion80 or his numerous solo/leader projects, many of which can be found on the Tzadik label. I hadn’t heard much from Mr. London in recent times aside from two fine projects: the EFG Trio with Eyal Maoz and playing the music of composer Guy Barash. World is that Mr. London currently has cancer, so I want to wish him some positive vibes of support. Mr. London has organized an interesting quartet of disparate musicians, all of whom I know from different sessions. I’ve caught Canadian pianist Marilyn Lerner live on several occasions, mostly in her trio with Ken Filiano & Lou Grassi. Bassist Hill Greene seems to work with a wide variety of Downtown’s finest: William Hooker, Patrick Brennan and Daniel Carter. Drum wiz, Newman Taylor Baker, has been the drummer of choice in the current Matt Shipp Trio and I am about to see him play tonight (6/19/24) at the Vision Fest. Tenor saxist and Rabbi, Greg Wall, has been co-leading or working with Mr. London for several projects: Hasidic New Wave and Zion80.
All but one of the songs here are dedicated to trumpeters Lester Bowie & Ron Miles (both now deceased) as well as women: Jewlia Eisenberg (radical Jewish composer & singer), Isabelle DeKonnink and Anna & Louis London. Most of these folks have passed away due to blood cancer which Mr. London has been diagnosed as having. Right from the opening piece, “Let There Be Peace”, there is something transcendent going on here, stripped down, stark yet somehow majestic, inspiring and prayer-like. “Resilience” is dedicated to Lester Bowie, longtime trumpeter master for the Art Ensemble of Chicago and Brass Fantasy. Mr. London’s trumpet (and music) here captures an ancient solemn, sad vibe with some exquisite piano from Ms. Lerner. The song keeps building with London sounding he is entering a ring at a bull fight to announce what is about to happen. The title track, “Spirit Stronger Than Blood” is dedicated to several friends of Mr. London who have died of blood cancer. The main melody reminds me of one of those groove-infected Pharoah Sanders songs from the early 1970’s, kinda funky Spirit Jazz with a rambunctious piano solo from Ms. Lerner. Frank London and tenorman Greg Wall, who have worked together for many years, front the band here and sound great with inspired solos from both. London says this song is a celebration of his life and it does have a most celebratory sound. “Poem for a Blue Voice’ is dedicated to Isabelle DeKonnink (based on a poem by Davida Singer) and it is a haunting ballad with a touching solos from Mr. Wall (on tenor) and Mr. London (on trumpet). The final piece is called “Resistance/Healing” and it is dedicated to trumpeter Ron Miles, who also died of a form of blood cancer a couple of years ago. Nate Wooley also dedicated his set at the recent FIMAV Fest (May of 2024) to Ron Miles, a mentor of Mr. Wooley’s. This piece has a fine, heartwarming vibe with a fine tenor solo from Mr. Wall and a most expressive solo by Mr. London. I haven’t heard anything recently about Mr. London’s ongoing fight with cancer so I can’t tell you anything about that. If this is his last release, he would be leaving us on a strong achievement. I like the central vibe here, it is one of a certain calm before the storm that is awaiting us all. - Bruce Lee Gallanter, DMG
CD $13

THE J. & F. BAND with JAIMOE / JOE FONDA / TIZIANO TONONI / JON IRABAGON / EMANUELE PARRINI / et al - Star Motel - An American Music Experience (Long Song Records LSRCD 162; Italy) This is the fourth release by the J. & F. Band, a unique conglomeration of avant-jazz and rock musicians led by Jaimoe (original Allman Brothers drummer) and bassist Joe Fonda. The personnel for this disc is Jon Irabagon on tenor sax & flute, Emanuele Parrini on violin, David Grissom, Bobby Lee Rodgers & Craig Green on guitars & vocals, Paolo Durante on keyboards, Joe Fonda on electric & acoustic basses and Jaimoe & Tiziano Tononi on drums. I caught the Allman Brothers twice at the Fillmore in 1970, not realizing how much their jamming was influenced by modern jazz. I caught the Allman’s around a half dozen times by 1974 and was always blown away by their sets. I also caught a few of their reunion sets in later years and was still knocked out by what I heard, although their were just a few original members left. As of now, the Allmans are no longer as their only original member is drummer Jaimoe. It turns out that Jaimoe lives in Connecticut and is close friends with avant-jazz bass great Joe Fonda. Joe and Jaimoe founded this band around five years ago, which includes some heavy hitters like Downtown sax ace Jon Irabagon and Italian avant/jazz drum wizard, Tiziano Tononi. CD1 is called ‘Songs’ and does feature vocals on each song. The band draws from a variety of genres, blues/rock covers and originals as well. The first disc begins with Bobby Troupe’s “Route 66”, once covered by the Stones in their early days. The song is slowed down to sly, bluesy pace and stripped down with some true-blue singing by Joe Fonda. There is a fabulous stinging blues/rock guitar solo here by David Grissom I believe, as well as some ornery tenor sax by Mr. Irabagon. Guitarist/vocalist Bobby Lee Rodgers contributed three songs to CD1, each one is a gem. “Star Motel” has some strong organ, synth, a great violin solo (by Emanuele Parrini), oddly charming Zappa-like vocals and more smoking tenor from Irabagon. Jimmy Reed’s “You Got Me Running” is also covered and sung faithfully by Mr. Fonda and it has that swell, slow boogie groove. Saxist Jon Irabagon gets to stretch out here and take a fine feisty solo plus guitarist Grissom also pulls off a long, burning solo as well. Each of Bobby Lee Rodgers’ songs are catchy and always feature several vocalists harmonizing just right. They often remind me of the great earthy brilliance of my favorite Little Feat songs. Rodgers’ “Lighthouse” closes out CD1 and it is another fine somewhat funky groove song.
CD2 is called ‘Instrumentals’ and it includes an usual Charles Mingus medley/tribute. The medley has eight parts, with three Mingus covers as well as songs with either fragments of Mingus melodies or Mingus influenced. “Noddin’ Ya Head Blues” is an infectious blues-like groove song with more of Irabagon blowing the blues as if he really has them. Mingus’ “So Long, Eric” has a righteous, ancient melody that still sounds infectious today plus a great guitar solo by Craig Green. This leads right into “The Outer Space Guitar Symphony”, which has several layers of echoed guitar parts used most effectively. Mingus’ “Meditation on Integration” was first recorded in the mid-sixties around 60 years ago. The version here features an impressive free bass solo by Mr. Fonda as well as Irabagon’s free tenor streams. “Generate Musical Chaos” features some superfine greasy organ and inspired guitar, violin & tenor sax trading. “Sometimes We Swing!” has an ancient Mingus melody and still rocks pretty hard. The last two pieces are long jams and both are fantastic! “The Rez: Active Resistence!” was written by Tiziano Tononi and it is spirited occasionally free excursion with some strong written parts which show off the rich ensemble work by the entire band. Guitarist Craig Green takes a fine jazz guitar solo here as does violinist Emanuel Parrini. The final piece is called “The Jaimoe Jam” and it is another fine Allman’s like blues/rock jam song. Paolo “Pee Wee” Durante plays organ on several of these songs and sound great on each one with his 70’s/60’s greasy soul/jazz/rock sound. This 2 CD set if my favorite release of this week since it reminds me of what I loved about the Allman Brothers and the other bands that were influenced by them. A superb out and directly from the heart and soul. - Bruce Lee Gallanter, DMG 
2 CD Set $16

DIRTY THREE - Love Changes Everything (Drag City 918CD; USA) "Emerging once again from the unending waves crashing upon fragile timecraft (adrift on the eternal ocean, and taking on water), Dirty Three are a) back, b) tangled in seaweed, rank with saltwater and possessed of three rather ominous thousand-mile stares, and c) not wasting another minute -- as nothing is guaranteed. For their first album in over a decade -- yep, it's been since 2012's Toward the Low Sun -- they flew in, got together and started playing. End of story. What else is there to say or do but that? Music's their language, their true love; they never stop listening to that. And like the label says, Love Changes Everything. The Dirty Three -- Warren Ellis, Mick Turner, and Jim White -- formed up in Melbourne in 1992, to play with guitar drums and violin or viola, and within a couple years, they'd broken out -- out of Australia, out of anything else they might have been inside of, to boot -- and got worldwide. Over the next ten years, they toured over and over the planet, ceaseless like, and cut seven albums out along the way. After this, their unique style of play, fitted together like puzzle pieces, was decoupled, more often than not, and pieced together in many other, fruitful collaborations with many other esteemed talents. Over the past 20 years, they've gotten together a few times, renewed the vow, revved the engines and played some shows, or made an album. These lot were born to be as weathered as they are today. Time doesn't matter. They make their gathered wisdom of the ages sing like something new every time. It renews. And Love Changes Everything."
CD $15


JULIE DRISCOLL with KEITH TIPPETT / ELTON DEAN / MARC CHARIG / NICK EVANS / KARL JENKINS / BOB DOWNES / STAN SULZMANN / CHRIS SPEDDING / BRIAN GODDING / JEFF CLYNE / TREVOR TOMKINS / et al - 1969: Remastered Edition (Esoteric Recordings Eclec 2815; UK) "Julie Driscoll's (now Tippetts) first move away from the blues-oriented pop of the Brian Auger band turned out to be this prophetic slab of wax that revealed her penchant to transcend the trappings of rock and pop for something more adventurous. To this end, Driscoll employed the help of many of the Canterbury scene's best-known musicians, including Karl Jenkins, Elton Dean, future husband Keith Tippett and guitarist Chris Spedding. The set opens with what would become an anthem for Driscoll, the horn-laden rocker "A New Awakening," in which she details the benefits of the search for new ground emotionally and mentally. In addition, with its knotty, arpeggio-laden horn lines and angular arrangement by Tippett that puts the track on the left side of the standard rock and pop fence. "Those That We Love," a simple acoustic tune with Driscoll on acoustic guitar and Tippett on piano and celeste with Jeff Clyne on bass is a striking treatise on how much we hurt the ones we love the most, and how those who love us forget us most. Beautifully textured vocal lines open up all over the body of the tune, soaring into darkened corners and illuminating them. One of the most striking things about this slab is how the listener can hear Driscoll's voice begin to open up to the possibilities of life after pop, that there was an entire universe waiting to be explored in song, nuance, and technique. The band provides not only sympathetic, but inspired support in her stead. Other notables here include the guitar freakout orgy of "Break-Out," the chamber/salon song of "The Choice," and the jazzed out balladry (in Canterbury style) of "Leaving It All Behind." Despite its age, 1969 holds up shockingly well, and is still very forward thinking in its musical approaches. Driscoll's rugged, open-heart emotionalism is truly transcendent here, and this aspect of her wonderful voice has aged not one bit in over 30 years."
CD $20

ELTON DEAN'S UNLIMITED SAXOPHONE COMPANY With PAUL DUNMALL / SIMON PICARD / TREVOR WATTS / PAUL ROGERS / TONY LEVIN - Elton Dean's Unlimited Saxophone Company (Ogun 002CD; UK) Featuring: Elton Dean, alto saxophone, saxello; Paul Dunmall, tenor and baritone saxophones; Simon Picard, tenor saxophone; Trevor Watts, alto saxophone; Paul Rogers, double bass; Tony Levin, drums. Recorded 1989 at the Covent Garden Jazz Saxophone Festival.
CD $16

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THE NECKS with CHRIS ABRAHAMS / LLOYD SWANTON / TONY BUCK - Travel (Northern Spy Records 158; USA) “Dissecting The Necks invites an unavoidable discussion regarding genre. After sampling the various albums from the Australian trio's prolific career, one may wonder how exactly to categorize their style of music; instead of applying labels from the outset, it may be best to determine what The Necks are not. A self-described "cult band", the threesome qualifies that their creative output isn't "entirely avant-garde, nor minimalist, nor ambient, nor jazz." They specialize in engagingly repetitive and textured longform pieces, but tags of krautrock, jam, and drone also don't stick. Quite simply, The Necks play improvised music, creating a wholly unique and freeform musical universe while pulling inspiration from aforementioned genres in their orbit. In an effort to capture a recent studio practice of playing extended improvisations, The Necks recorded Travel, their nineteenth album. Kicking off with "Signal", a shy piano treads lightly over a steadfast bass line and light percussion, composing mystery in the air for twenty minutes; muscular runtimes are a hallmark of the band's aesthetic, although Travel offers four medium-sized pieces instead of one or two goliath tracks. Eventually, the meek piano is replaced by a percolating keyboard that sounds vaguely like a smartphone alert; all the while, the bassline stays strong, followed closely by the drums. Even later when they introduce an organ and combine the two other key instrument variations, the rhythm remains steady, the tempo stays calm. Constructing a room of pseudo-spiritual ambience, the mood turns serene on the follow-up "Forming", where a softly-clamoring bass supports beautifully-organic percussion and inquisitive keys. The piano seeks jazz, but the drums simply attempt to keep peace, and the hazy scene yawns with the satisfaction of a lazy Sunday afternoon. As Travel ages, two very specific album comparisons spring to mind: the Chilly Gonzales piano redux of Plastikmann's acid techno classic Consumed In Key, and Jeff Parker's excellent improvisational Mondays at The Enfield Tennis Academy. The former features sly piano fingers that ask questions with each press, while Mondays at The ETA composes grooves that ponder at the fork of spiritual jazz and jam. The back half of Travel fits suitably between these two LPs, which isn't to make a derivative accusation of the Australian trio; it's just interesting to note new comparisons to the group's very active discography. After an adventurous third excursion, the album closer "Bloodstream" wraps up with flowering keys that bloom amidst rumbling drum rolls and bowed melancholy. A courageous bass drum beat inspires the organ to speak up, droning in and out of consciousness like a self-medicating Sandman before sending the rest of the band to bed. If you're a fan of The Necks, you'll be glad to know that the band hasn't altered their tried-and-true formula. Of course, it'd be difficult to mistake Travel for the recent Three or my personal favorite Unfold, but the foundation on which the trio's success is built remains reliable. Those patient listeners who get down with double-digit minute song lengths will certainly find a welcome home in The Neck's nineteenth record; and if you're wondering what an unclassifiable band sounds like, Travel is a fine way to indulge your curiosity.” - Ian Lovdhal,
CD $16


CHRIS CORSANO - The Key (Became the Important Thing [and Then Just Faded Away](Drag City DC 902LP; USA) "Drummer Chris Corsano is a tireless collaborator. Among the 150 or so albums that he's contributed to over the past 25 years, only six have been credited to Chris alone, which makes the existence of The Key (Became The Important Thing [& Then Just Faded Away]) a rare instance of Chris going deep on his own vision. Indeed, this album finds him involved in every aspect of the process, from making the string-drums that the music is based upon, to playing all parts of the music, mixing them, and doing the cover art, too! This is a special album, bringing his encompassing focus on free improvisation and noise into a granular fusion with acoustic experiments and ideations of hard rock riffing and the post-punk sound. In Chris Corsano's collaborations over time with Paul Flaherty, Joe McPhee, Dredd Foole, Michael Flower, Paul Dunmall, Bill Orcutt, Nate Wooley, Mette Rasmussen, C. Spencer Yeh, Ben Chasny, and Sir Richard Bishop (as individuals, and together as Rangda), Bill Nace, Wally Shoup, Evan Parker, and dozens of other players, it's clear the vibe may get intense/heavy/OUT. Accessing this place, in itself, is an incredible calling -- but on The Key (Became The Important Thing [& Then Just Faded Away]), the intensity radiates entirely from inside Chris's process, in conversation with himself. And that's something that hit a bit different once he was done making it. The pieces here were largely built out of Chris's string drum playing, utilizing a setup he's created involving a silicone string, stretched across a snare drum with a bridge. When the string is hit, it resonates the drum -- a conception similar to that of the banjo, but with more of a bass tone. Several songs focus on Chris playing a bass string drum with a full kit, while the basic parts of two other pieces ('I Don't Have Missions,' 'The Full-Measure Wash Down') implied possibilities for full band arrangements which Chris was compelled to respond to himself. All the results on the tape, when listened back, found a higher order, transcending sequences of experimentation and technique, becoming much more than the sum of an internal conversation, standing together as a set of insistently compelling pieces of a whole. And so they became The Key (Became the Important Thing [& Then Just Faded Away]). They unlocked something in Chris Corsano."
LP $26

THIRD EAR BAND - Druid One: Live At Essen Pop & Blues Festival 1970 (Made in Germany MIG 3121; Germany) "Third Ear Band hail from Canterbury and started out as a psychedelic band called The Giant Sun Trolley, playing long, impromptu sets in South London clubs. After one gig, almost all of the band's equipment was stolen. So, by sheer coincidence and obvious necessity, they became an acoustic band and adopted the name Third Ear Band. From 1969 to 1972, the band released three albums on the progressive Harvest label, of which Music From Macbeth (1972) was the best known and most commercially successful. On April 24, 1970, the Third Ear Band performed at the second Essen Pop and Blues Festival. For some reason, they did not appear on the official poster for the event or in the festival program. The line-up was packed with acts like The Flock, Ekseption, Rhinocerous, The Groundhogs, It's A Beautiful Day, and the still unknown Black Sabbath, who had just released their first album. The Essen concert in the quartet line-up with Sweeney on drums, Minns on oboe, Coff on violin and Smith on cello took place just a few weeks before the release of the second album, which fans know as Elements, although it is simply called Third Ear Band and was released in June 1970. Of the four elements, the band played 'Earth' and 'Water' that night, but in a shorter version compared to the album versions. The professional sound recordings of the Third Ear Band's festival performance have only recently resurfaced and have now been restored, edited and mastered."
LP $32

LEE UNDERWOOD with CHAS SMITH / KEVIN BRAHENY FORTUNE / et al - California Sigh (Drag City 892LP; USA) "Drag City presents the first ever vinyl pressing of guitarist Lee Underwood's under-sung 1988 acoustic guitar opus, California Sigh. Lee Underwood had been Tim Buckley's stalwart, inspiring, accompanying and being inspired by Buckley as they both navigated a heady set of changes in the late '60s and early '70s. Then, he abruptly stopped working as a professional musician, leaving behind a body of work, that, as noted by Eugene Chadbourne, was the work of 'a loner, who didn't quite march under any one flag, whose improvisations involved the level of sophisticated harmonic development one finds in jazz, floating as freely as Ornette Coleman.' 35 years later, yet still in time, train your ears on the meditations of California Sigh! As Byron Coley's liner notes observe: 'The music is guitar-based acoustic instrumental melodicism with a lovely tone and alternately ruminative and jazzy structuring. The playing is generally in the vein of William Ackerman and Alex de Grassi rather than progenitors like Basho and Fahey, although 'Lady of the Streams' does display a bit of a Fahey lilt at times. Throughout these pieces there are also flashes of single string runs straight out of the Django Reinhardt playbook. But the overall mood is tranquil -- reflecting the musical joys Underwood found when surrounded by nature.' The tenor of the production is transcendent to be sure. The playing of Chas Smith and Kevin Braheny Fortune, on pedal steel and soprano sax respectively, lend additional colors to Lee's music on several songs, but it is largely the soulful depth of Lee's guitar figures, limned by Steve Roach's synthesizers and the Roach/Underwood co-production, that give dynamic shape and elevation to Lee's lovely cycle of songs. And now, with this remastered vinyl edition, the air around the instruments -- both real and implied -- and the full sonic impact of California Sigh -- alternately gentle and mighty, like the natural world that inspired it -- is magnified incomparably. In the years following the release of California Sigh, Lee wrote and recorded two solo piano CDs, Phantom Light and Gathering Light. He continues to live in Northern California. California Sigh is 'dedicated with love and respect' by Lee to his late wife, Sonia Crespi, for the friendship and inspiration she brought."
2 LP Set $33



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



6/19 Wednesday
8:30 pm - Steve Coleman and Five Elements - Steve Coleman (sax) Jonathan Finlayson (trumpet) Matt Mitchell (piano) Anthony Tidd (bass) Sean Rickman (drums)

6/20 Thursday
8:30 pm - Steve Coleman and Five Elements - Steve Coleman (sax) Jonathan Finlayson (trumpet) Matt Mitchell (piano) Anthony Tidd (bass) Sean Rickman (drums)

6/21 Friday
8:30 pm - Steve Coleman and Five Elements - Steve Coleman (sax) Jonathan Finlayson (trumpet) Matt Mitchell (piano) Anthony Tidd (bass) Sean Rickman (drums)

6/22 Saturday
8:30 pm - Steve Coleman and Five Elements - Steve Coleman (sax) Jonathan Finlayson (trumpet) Matt Mitchell (piano) Anthony Tidd (bass) Sean Rickman (drums)


6/26 Wednesday
8:30 pm: DUO 1: Eliza Bagg and Catherine Brookman (two amplified voices with electronics)

6/27 Thursday
8:30 pm: DUO 2—Mycelial Echo: Eliza Bagg (amplified voice, electronics) Booker Stardrum (electronics, percussion)

6/28 Friday
8:30 pm; DUO 3: Eliza Bagg (amplified voice, electronics) Chris Pattishall (amplified and processed piano)

6/29 Saturday
8:30 pm: DUO 4: Eliza Bagg (amplified voice, electronics) Rohan Chander aka Bakudi Scream (synths, electronics)

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



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

Friday, June 21, 2024
Iseul Kim's Culture Night
The Bucking Broncos - 8 pm
Keisel Jimenez -Percussion
Sunjay Jayaram- Violin
Ethan Cohn - Bass
Iseul & Sebastian - 8:45 pm
Iseul Kim-Piano
Sebastian De Urquiza -Bass
Sunjay Jayaram, Ryan Ghassemi, Tim Watson — 9:15 pm
Sunjay Jayaram- Violin
Ryan Ghassemi - Bassoon
Tim Watson -Guitar

Saturday, June 22, 2024



Monday, June 24, 2024
An Evening of Improvisation w/
Chris Cochrane / Yoona Kim/ Hans Tammen / Shelley Hirsch
8 pm
Chris Cochrane - Guitar
Yoona Kim - ajaeng
Hans Tammen - electronnic and guitar
Shelley Hirsch - voice

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



Wednesday, June 26th at 8:00 pm
Mari Okubo - East West Harmolodic Opera Groove
Alexis Marcelo — keyboard, synthesizer 
Richie Harrison - drums
Kenny Wessel — electric guitar
Al MacDowell— electric bass
Performing songs (music and lyrics) were written especially for Mari by ORNETTE COLEMAN 

Admission is $20. 
Tickets can be purchased at the door. CASH ONLY.
All proceeds go to the artists.

Saturday, June 29th at 8:00 pm
Terry Jenoure Trio with Terry Jenoure, Joe Fonda, Reggie Nicholson
Andrew Drury Tentet: Jason Kao Hwang (violin), Stephanie Griffin (viola), Christopher Hoffman (cello), Thomas Heberet (corner), Frank Lacy (trombone), Briggan Krauss (alto sax), JD Parran (bass flute), Alexis Marcelo (keyboard), Ken Filiano (bass), Andrew Drury (drums)
Admission is $20. 
Tickets can be purchased at the door. CASH ONLY.
All proceeds go to the artists.
At Zürcher Gallery
33 Bleecker st,
New York, NY 10012



The first meeting of two LEGENDARY improvisers
two amazing duo sets
Scholes Street Studio
375 Lorimer St
Brooklyn, NY, $20


This comes from a friend and STEVE LACY enthusiast, Mauro Stocco: is a recent tribute portal dedicated to Steve Lacy, the great soprano sax genius who passed away twenty years ago, on June 4th, 2004. The website features contributions by Alvin Curran, Roberto Ottaviano, Gianni Mimmo, Zlatko Kaučič, Vincent Lainè and Jason Weiss, which will be followed by many others over time.

The project originates from an idea of ​​an Italian enthusiast and organizer, Mauro Stocco, who dedicated many years to collecting records, books and magazines about the great Saxophonist, whom he had the opportunity to meet several times, also organizing concerts for him in solo, trio, sextet and with Musica Elettronica Viva.

Steve Lacy was a genius of our time, a sort of Leonardo Da Vinci, capable of interacting with Dixieland, Monk, Ellington, free, Indian music, MEV, Giuseppe Chiari, dance, painting, cinema, poetry, Living Theatre, philosophy, Tao, codifying the role of the modern soprano saxophone.

Many little tributes are coming up, including the concert with Josh Sinton and Bart Maris which will take place on June 22nd at the Afkikker in Gent, Belgium (, organized by Rita De Vuyst, a tireless promoter for many years of initiatives dedicated to the memory of Steve Lacy.





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: