It Canâ€™t Happen Here!
It Canâ€™t Happen Here!
Iâ€™m Telling you My Dear
That It Canâ€™t Happen Here! - Sinclair Lewis (novel) / Mothers of Invention - â€˜Freak-Out!â€™
Summer turns to Fall
The Cool Breeze Chills us All
Forget about The Wall
And Seize the Sounds That Unite Us Allâ€¦ from:
Wadada Leo Smith: Monk Solo & All-Stars: Henry Kaiser/Brandon Ross/Michael Gregory Jackson/Bill Laswell/Adam Rudolph/Pheeraon AkLaff..! James Blood Ulmer & The Thing! Matt Mitchell 12 Piece: Jon Irabagon/Anna Webber/Scott Robinson/Ches Smith/Dan Weiss..!
Iannis Xenakis Orchestral Works Volume 15! Another Deluge from Clean Feed & Shppuma: MetaGuitar Volume 4: Rhys Chatham/Bern Nix/Robert Poss/Ron Anderson..! Cortex! Dre Hocevar! Frantz Loriot Der Verboten! Humcrush Five! Christian Wolff & Eddie Prevost! Plus Vinyl from: Oren Ambarchi! Two from Talibam! Pharaoh Sanders 1st! Paul Bley Trio! Laaraji! More and More!
THE DMG 26TH ANNIVERSARY SERIES OF SONIC CELEBRATIONS Continue with:
Sunday, October 1st:
6pm: JEREMY CARLSTEDT & RICK PARKER - Drums & Trombone/Electronics
7pm: WILL GREENE / ZOE CHRISTIANSEN / DANIEL PENCER WOODWIND TRIO
Sunday, October 8th:
6pm: LEONOR FALCON & SANA NAGANO - All New String Duo
Sunday, October 15th:
6pm: ROBERTO OTTAVIANO - Rare Solo Sax Set
7pm: JUDI SILVANO & BRUCE ARNOLD ELECTRO-ACOUSTIC DUO - CD Release Set
Sunday, October 22nd:
6pm: PATRICK BRENNAN / JASON KAO HWANG / PATRICK HOLMES / BRIAN GRODER
7pm: LUIS CONDE & JOSH SINTON
Sunday, October 29th:
6pm: FLIP CITY: DAVID AARON / WILL McEVOY / DAVE GOULD!
7pm: DISSIPATED FACE: DANIEL CARTER / KURT RALSKE / STEPHEN POPKIN /
MICHAEL LUBLIN / WILL DAHL / BILL MILKOWSKI!
DMG is located at 13 Monroe St. (between Catherine & Market Sts) in a basement below a small gallery. Take the F train to East Broadway or the 6 train to Canal or the B or D to Grand, or the M-15 bus to Madison & Catherine. Come on Down, the Sunday Music Series is Always Free & the Vibes are Always Cosy
WADADA LEO SMITH With HENRY KAISER / MICHAEL GREGORY JACKSON / BRANDON ROSS / LAMAR SMITH / BILL LASWELL / ADAM RUDOLPH / PHEEROAN AKLAFF / et al - Najwa (TUM 49; Finland) â€œFour new compositions by Wadada Leo Smith in tribute to past masters of creative music, Ornette Coleman, John Coltrane, Ronald Shannon Jackson and Billie Holiday, as well as the title composition "Najwa" in remembrance of a love lost. Wadada Leo Smith performs with a highly-charged electric ensemble, including Michael Gregory Jackson, Henry Kaiser, Brandon Ross and Lamar Smith on guitars, Bill Laswell on electric bass, Adam Rudolph on percussion and Pheeroan akLaff on drums.
The first two extended compositions that open the album are dedications to two great masters of creative music, Ornette Coleman and John Coltrane, and each takes the form of a mini-suite. "Each has a second movement within the context of the overall shape," says Smith. "TheyÂ´re shaped like miniature suites within the context of a single album. And then the whole album has the shape of a tribute. ItÂ´s all about people and, therefore, itÂ´s also organically unified, based around these people who I respect."
Next is the brief but touching "Najwa," followed by a dedication to the sometime drummer of SmithÂ´s Golden Quartet, Ronald Shannon Jackson. The CD closes with the achingly beautiful "The Empress, Lady Day," one of SmithÂ´s several compositions dedicated to Billie Holiday. "IÂ´ve written more compositions for Billie Holiday than maybe any other person," Smith says. "She was a great performer/composer."
Although Wadada Leo Smith has worked with electric guitars in the past, including in his Organic ensemble and in Yo Miles! which he co-led with Henry Kaiser, Najwa puts the guitar in an even more central role. All four guitarists have worked with Smith before; Michael Gregory Jackson since SmithÂ´s early years in New Haven in the 1970s, Henry Kaiser in Yo Miles!, and Brandon Ross and Lamar Smith (SmithÂ´s grandson) in Organic.
In addition to the guitars, Bill LaswellÂ´s electric bass takes a central role in the sonic world of Najwa and Laswell also played an important part in the post-production and mixing of the music on the album. Smith says that he enjoyed "the idea of making this session and then going back and re-recording some of the areas and then sitting down with Bill and allowing him to tweak it in certain ways and re-reference it in a whole different way. I very much like that notion, that idea or that philosophy." This was the first time Smith and Laswell recorded together but their collaborations have continued both live and in the recording studio.â€
WADADA LEO SMITH - Solo - Reflections And Meditations On Monk (TUM 53; Finland) Wadada Leo Smith's solo trumpet on four classic Thelonious Monk compositions and on four new compositions by Wadada Leo Smith inspired by the life and music of composer/pianist Thelonious Monk, the artist that Wadada Leo Smith feels closest to in the historic continuum of creative music.
"Most people would never realize that I am closer to Thelonious Monk than to any other artist," says Smith. "What connects us is a vision of composition and its forms, music psychology, and our articulation of the ensemble as a trashing field for new information." From the time he listened to the early masters of modern jazz as a teenager, Smith felt that "It was Monk, his ideas of a band and composition, that were the closest to what I dreamed of being as an artist. His history of composition and his knowledge of how to use sound were a prime motivator, really, for me wanting to be a composer. I would go back and forth between him and Duke Ellington on this, but Monk had the upper hand in the end.â€ - Wadada Leo Smith
THE THING & JAMES BLOOD ULMER - Baby Talk (The Thing Records 006; Norway) Live at Molde International Jazz Festival 2015. All music by James Blood Ulmer. Viking jazz band The Thing team up with one of the legendary men of jazz, blues and rock. Guitarist and singer Ulmer combines (free) jazz, blues, funk, and rock -- always on the edge, melting it to some kind of free funk... In 1980, Ulmer recorded the genre milestone No Wave with John Zorn and Pharoah Sanders. Personnel: James Blood Ulmer - guitar; Mats Gustafsson - tenor and baritone saxophones; Ingebrigt HÃ¥ker Flaten - electric and double bass; Paal Nilssen-Love - drums, percussion.
MATT MITCHELL With ANNA WEBBER / JON IRABAGON / SARA SCHOENBECK / SCOTT ROBINSON / CHES SMITH / KATE GENTILE / et al - A Pouting Grimace (Pi Recordings 71; USA) Featuring: Matt Mitchell on piano, Prophet 6 synth, electronics & compositions, Anna Webber on flutes, Jon Irabagon on sopranino & soprano saxes, Ben Kono on double reeds, Sara Schoenbeck on bassoon, Scott Robinson on bass sax & contrabass clarinet, Katie Andrews on harp, Kim Cass on bass, Patricia Brennan on vibes & marimba and Kate Gentile, Ches Smithand Dan Weiss on drums & percussion. Pianist, keyboard wiz and composer, Matt Mitchell, has really made strides in the past decade since becoming an integral part of the Downtown Scene. His collaborations with Tim Berne in Snakeoil, Claudia Quintet, Dave Douglas and Mario Pavone show several sides to his playing palette. This is Mr. Mitchellâ€™s fourth disc as a leader which includes a solo, duo and quartet CDâ€™s.
â€˜A Pouting Grimaceâ€™ is Mattâ€™s most ambitious project yet, utilizing the talents of a 12 piece ensemble which is conducted by fellow composer Tyshawn Sorey. This piece was premiered at National Sawdust a few months ago (February, 2017) during a John Zorn monthly curation series, which is still going on until the end of this year (2017), at least. Each of the ten pieces here involve a different number of musicians with four pieces for solo electronics by Mr. Mitchell. Commencing with â€œBulb Terminusâ€, the solo electronics do a fine job of creating an eerie mood before an intense sextet piece erupts with several layers of intersecting lines: Irabgonâ€™s marvelous sopranino sax and Ms. Schoenbeckâ€™s superb bassoon are at the center, spiraling around one another while three percussionists (vibes, marimba & drums) create an intricate bed of rhythmic interaction. The quirky music seem to draw from the cyclical side of Anthony Braxton or Tim Berne. â€œMini Alternateâ€ features a spirited yet twisted solo from Scott Robinsonâ€™s bass sax. Towards the end of this piece, there is a section with some sublime oboe (Ben Kono) and tablas which reminds me of Henry Cowâ€™s â€˜Unrestâ€™ album!?! â€œBrimâ€ seems to have several interlocking lines going on simultaneously and is the most progressive sounding of anything that the Downtown Scene has produced in many years. If you recall, Matt Mitchell, once toured with Thinking Plague, longtime Colorado progressive outfit influenced by Art Bears/Henry Cow, so the connection is not that surprising. Even when Mitchell strips things down to just piano, flute, bassoon harp & percussion on â€œGlutsâ€, his music has a rather majestic chamber-like quality. Besides the fact that this is one of this years best offerings, the cover art by drummer Kate Gentile is also an extraordinary collage of organic images. Completely outstanding! - Bruce Lee Gallanter, DMG
IANNIS XENAKIS - Orchestral Works: Volume 15: â€œMetastaseis Aâ€ / â€œTerretektorhâ€ / â€œNomos Gammaâ€ (Mode 299; USA) The first piece, â€œMetastaseis Aâ€, is the original version of an early work by Xenakis, the revised version of which was first performed in 1955. This, the original version was not performed (in 2008) until several years after Mr. Xenakis passed away. This version is performed by the Orchestra Sinfonica RAI, with some 65 musicians involved and this is the first recording. The piece sounds like we are floating on an ocean of strings, brass, reeds and percussion, which starts out with a restless somewhat disorienting vibe and slowly gets more dark or dense. â€œTerretektorhâ€ (1965-66) is for an even larger orchestra of 88 musicians dispersed amongst the audience. This piece is even more intense since we are string amongst the members of this large orchestra. There is so much going on that it is hard to concentrate on any one idea or theme since our attention is constantly shifting. The music is often turbulent and the waves of sounds are constantly shifting. The rubbed strings, howling horns, near violent percussion give this work a most harrowing sensation as if we are on the verge of an apocalyptic event like a hurricane. â€œNomos Gammaâ€ (1967-68) is for an even larger (98 musicians) orchestra and although more stripped down, just are disorienting or effective. Once again, the many musicians are placed amongst the audience. The piece seems to erupt in sections, violent percussion (timpaniâ€™s) in one part and demonic strings or horns in other sections, some close to us, some further away. There are a number of smaller eruptions of different sections occurring all around us. This piece is more animated and works well with several sections moving around one another. I just listened to some of this disc in my (serious) listening room and the recording dynamics were just astonishing. Brian Brandt, who runs the Mode label, suggested that I get a Blu-Ray player since the sound is even better on this format. I hope to get a Blu-ray player sometime soon. This disc is meant to be heard on a good system so why waste your time listening on earbuds. - Bruce Lee Gallanter, DMG
So far this year, the Clean Feed and Shppuma labels have released more than 45 CDâ€™s and LPâ€™s, most of which are pretty great and worth seeking out. We just got into yet another 11 discs from our favorite Portuguese label(s). What is even more amazing than the fact that practically every other label has slowed down with new releases while Clean Feed continues to drop another treasure chest of sonic delights. Iâ€™ve listened to around half of these so far in the past few days and I am astonished by consistency, diversity and creativity. I propose a toast to Pedro Costa and the folks at Clean Feed and Shppuma for blowing our minds and wallets once again! - BLG/DMG
New from Clean Feed and Shppuma Empire:
RHYS CHATHAM / KNOX CHANDLER / BERN NIX / ROBERT POSS / RON ANDERSON / HAHN ROWE / ROBERTO ZORZI / MARKUS REUKER / et al - I Never Metaguitar Four (Clean Feed CFG 009; Portugal) ...and here is the fourth volume of this ongoing compilation organized by Elliott Sharp and covering Â«the parallel realities of contemporary guitarismÂ». As Sharp himself wrote on previous liner-notes, each new collection of guitar pieces reflects Â«the never-ending joy of hearing fabulous sonic visionsÂ» with the guitar or its derivatives, as the main subject. You may not already know every chosen guitarist, but you will soon thanks to this series of recordings. Some of the artists need no presentations, like Rhys Chatham, Kalle Kalima, Bern Nix, Hahn Rowe, Robert Poss, Ron Anderson or Roberto Zorzi, string manipulators of different generations and locales. All are Â«players with one foot in the future and one in the past, a formula that puts oneâ€™s ass directly in THE NOWÂ». Such is the importance of this continuing enterprise carried out by one of the most exhilarating guitar stylists of the present day. Every approach imaginable is covered, from Pythagorean alternative tunings by Chatham to the use of a resophonic acoustic guitar by Pete Matthiessen as well as original and surprising uses of delays, looping, and analog or digital sound processors. Is any other instrument capable of such a multitude of creative musical expressions? Volume 4 is dedicated to the memory of Bern Nix, a sudden loss and a great sorrow.
CORTEX [THOMAS JOHANSSON / KRISTOFFER ALBERTS / OLA HOYER / GARD NILSSEN] - Avant-Garde Party Music (Clean Feed 441; Portugal) Cortex? No, this isnâ€™t jazz of the cerebral kind â€“ even considering that the approach in â€œAvant-Garde Party Musicâ€ is very much the intellectual one coming from the bebop / hard bop era (when the music seated its users, inviting them to listen and not primarily to dance) and approaching our times through the free jazz evolutive line. Avant-garde the music certainly is, but you can still party with it, because this record grooves and swings like hell. Not in the conventional way, of course, but giving a chance to your temptation to shake the body. Having the transitional years going from bop to free as reference, itâ€™s natural that you find on these tracks the influence of what Ornette Coleman did with Don Cherry. But this isnâ€™t as simple as that: Cortex is a Scandinavian band and as such the music has a twist, the same youâ€™ve found before in groups like The Thing, Atomic and The Core: a sort of hyper-realism, turning this jazz born in Europe even more â€œauthenticâ€ than the American original. IFF are a duo with Pedro Bioavida on laptop, Alberto Arruda turntable and Trvassos on tapes & cracklebox.
DRE HOCEVAR With ELIAS STEMESEDER / MICHAEL FOSTER / CHARMAINE LEE / BERNARDO BARROS / WESTON OLENCKI - Surface of Inscription (Clean Feed 442; Portugal) There is a particular, stately calmness about this album as if itâ€™s out-worldly sonics have been chiseled off some strange marble. From the abrasive brass opener onward, up to that final anguished scream, a sense of meticulously sculpted logic envelops it's razor-sharp, elegantly reserved pieces. Wholly born of spontaneous improvisation, it is equally their subjection to the subtle sets of constraints and restrictions that make up for their final beauty. The master craftsman behind this elevating enterprise is DrÃ© HoÄevar, a drummer of considerable conceptual forcefulness and vision. Following his three previous outings on Clean Feed, with Surface of Inscription he may just have delivered his most accomplished work yet, and with his very distinct artistic creed of invoking new musical spaces - claiming a singular, yet untapped character - this is rather telling. In this particular endeavor he is joined by the vocalist Charmaine Lee, the pianist Elias Stemeseder, the brass player Weston Olencki and the reeds operator Michael Foster, with Bernardo Barros seamlessly weaving in his highly articulate electronica. The performers utilized a number of distinct compositional procedures in order for them to redesign their habitually used frames of interaction, with each of them playing the final take against the backdrop of a previously documented construction. What came out of such a methodical set-up is a kind of a forma viva, an open-air park of solidified sound. The music within is inscribed in a code you may not immediately recognize, yet it is certainly one you canâ€™t help but marvel.
ANDRE ROLIGHETEN With ADRIAN LOSETH WAADE / JON RUNE STROM / ERIK NYLANDER - Homegrown (Clean Feed 444; Portugal) The title â€œHomegrownâ€ gives justice to the music assembled in this CD: it testifies exemplarily the way jazz is played in the North of Europe. Scandinavian musicians may not do it better, but certainly they do what they brilliantly do with a personality you canâ€™t find elsewhere. Itâ€™s strong, seductive and full of arguments in what regards musicality, expression, technical control, imagination and that kind of vision only achieved when thereâ€™s an analytical and critical distance towards the tradition â€“ if any doubt happens to appear, itâ€™s enough to hear what saxophonist AndrÃ© Roligheten does with an Ornette Colemanâ€™s composition, â€œKathleen Grayâ€, the last of the album. Roligheten is one of the most distinctive horn players in Norway, and a mere consultation of his curriculum gives a good idea of how elastic his playing can be, never loosing focus: either as a member of the prestigious Trondheim Jazz Orchestra or contributing to the music written by Stale Storlokken for the psychedelic rock band Motorpsycho, and either collaborating with musicians like Paul Lovens, HÃ¥vard Wiik, Fredrik Ljunkvist, and Per Zanussi or being an active voice in the projects Albatrosh, Friends & Neighbors and Team Hegdal, this dynamic player is capable of covering a wide ground. Just confirm it.
Roligheten states that he has written all the compositions inspired by, and especially tailored for the musicians on this record. Â«My idea for this recording is based on the warm sound of tenor sax and violin in octaves, the open harmonic flexibility of no chord instruments, the spirit and feeling from some strong live experiences of music from Greece, Marokko, Madagascar, Norwegian folklore in Telemark, all tied together in the attitude and approach of legends like Ornette Coleman and Archie Shepp. I found my dream-team of musicians to execute these ideas in three of Norway Ìs most distinctive, creative and unique players: Adrian LÃ¸seth Waade on violin (Trondheim Jazz Orchestra), Jon Rune StrÃ¸m on double bass (Paal Nilssen-Love Large Unit) and Erik Nylander on drums.
DER VERBOTEN With FRANTZ LORIOT / CHRISTIAN WOLFARTH / ANTIONE CHESSEX / CEDRIC PIROMALLI - Der Voboten (Clean Feed 445; Portugal) Der Verboten is a new version of the partnership between violist Frantz Loriot and pianist CÃ©dric Piromalli originally called Treffpunkt, the German word for â€œmeeting pointâ€. Originally they had the contributions of Mikko Innanen and Christian Weber. When the guests became Sam Kulik and Brad Henkel, the name changed to Kaijo, which is, simply, the term â€œtreffpunktâ€ in Japanese. Now, with Antoine Chessex and Christian Wolfarth on board, hereâ€™s a new name for different music following the same principles: a common sound resulting from distinct perspectives and backgrounds. Improvisation, as a method and a language, is the unifying factor, and the result seems like Â«the course of a riverÂ», as the liner notes written by music curator Fabien Simon state. The content of this album has indeed an aquatic quality â€“ it flows very naturally, always mutating but also always maintaining focus and direction. The music is transparent but compact, moving with a uniformity that seems still, as a living organism formed by collaborative little beings. Like water also, itâ€™s fresh, recomforting and energetic, a special example of the creativity we can find these days in the field we call â€œimprovised musicâ€.
HUMCRUSH [STALE STORLOKKEN / THOMAS STRONEN - â€œENTER HUMCRUSH" (Shppuma 030; Portugal) So, thereâ€™s five now. The latest one is Humcrush with Sidsel Endresen â€“ a partnership with one of Norway's most legendary singers and improvisers, showing specific coordinates because of that circumstance. And if â€œHa!â€ was different from the previous albums, here is the new â€œHumcrushâ€ introducing some profound changes in relation to â€œHumcrushâ€, â€œHornswoggleâ€ and â€œRest at Worldâ€™s Endâ€. Between the last referred one and the record now in distribution are six years of interval: thatâ€™s too much time, time enough for a transformation of the musical concepts applied by Stale StorlÃ¸kken and Thomas StrÃ¸nen to their common project, thanks to the experiences they had with all the other bands with which theyâ€™re involved: Supersilent with or without John Paul Jones, Food, Elephant9, Time is a blind guide, Meadow or Motorpsycho.
It happens that â€œHumcrushâ€ has less of the electro-acoustic experimentalism, of the ambient and of the space music factor we used to find in the earliest Humcrush, and more of its rock side, a kind of rock with roots in prog and psychedelic streams, yes, but electrocuted by a punk attitude. The influences from both jazz, electronica and rock continues to this day, and probably more than before, but there was a weight loss of the resources and, in consequence, of the music itself. This one was subtracted to find its essence: the keyboard and percussion panoplies of the past, and all of the virtual orchestrations, arenâ€™t present anymore. This edition was recorded with just a Fender Rhodes connected to a guitarist pedalboard (sounding more as a guitar than an electric piano), a synthesizer (with few appearances) and a drumkit, nothing more. The old and dominant electronic processing gave place to a focus on distortion and fuzz, in line with a futuristic (and futurist, considering the importance, here, of noise) vision of the most improbable encounter imaginable: the one between the Herbie Hancock of â€œCrossingâ€ and those genius junkies named Hawkwind. In the form of an improvised music proudly idiomatic, a sort of free jazz / free rock with the groove of funk. At the fifth record, Humcrush are better than ever.
BIG BOLD BLACK BONE With MARCO VON ORELLI / LUIS LOPES / SHELDON SUTER / TRAVASSOS - In Search of the Emerging Species (Shppuma 32; Portugal) Depuration. This may be the best term to describe the type of approach conducted by the Swiss musicians Marco Von Orelli and Sheldon Suter and by their Portuguese partners, Lu?s Lopes and Travassos in the new opus of the project Big Bold Back Bone. If this one was previously characterized by the folding of multiple directions, from a chamber improvisation with a vague jazz flavor to rock distillations, or at least distillations of the electric parasites of that music genre, now what we find is the fruit of a decisive focus on the materials, of a depuration, in consequence, and that because there was a process of formal and stylistic resolution. We recognize the premises of a certain EAI (electro-acoustic improvisation) heiress of the pioneering band AMM and taken in the direction of the reductionist, near-silence tendency, meaning that the melodic phrasing and the rhythmic plane (already broken and not linear) are substituted by a minimal textural and timbral work. No conventional uses of acoustic instruments, the trumpet and the drums, remain in â€œIn Search of the Emerging Speciesâ€, and if the music follows some of the formulas chosen for the guitar and the electronic devices in experimental domains, theyâ€™re both at the service of a collective, with the produced sounds mixing with all the others and, in that way, almost disappearing. Itâ€™s just one, and very long, the piece here played (â€œImmergeâ€), with an extremely slow development, suspensive even, sometimes with a cliff opening in the flow of events, not to solve what is behind, not to give it conclusion, but allowing the choice of another heading in the forest of little and exotic sounds being build. A beautiful record to listen to microscopically, dropping all the tasks of everyday life.
SLOW IS POSSIBLE - Moonwatchers (Clean Feed 447; Portugal) Featuring AndrÃ© PontÃfice - cello, Bruno Figueira - alto sax, JoÃ£o Clemente electric guitar, electronics, Nuno Santos Dias piano, Ricardo Sousa double bass and Duarte Fonseca - drums. Thanks to the Clean Feed, Shppuma and Creative Sources labels, the Portuguese new music/avant-jazz scene has been documented over the past few years. Although Slow is Possible are an impressive sextet, none of the names were familiar to me previously. This disc opens with, â€œThe Lion Danceâ€ which has that somewhat sinister vibe which launched, â€œThe Endâ€ by the Doors, a classic gem from a half century ago. The music has a late night, simmering, laid back vibe, perfect for creating somber moods. Instead of any of amount of soling, the music keeps building up to a crescendo and then slowing down into a somber hypnotic groove. The frontline here of electric guitar, cello and alto sax remind me of a great yet overlooked band called Metamorphosis (Dip) on Leo who had two great discs. The overall sound is closer to roots rock then any sort of avant-jazz that we might associate with Clean Feed. If this disc were on an indie-rock label and promoted just right or compared to an instrumental version of Wilco, Slow is Possible would probably get the recognition they well deserve. If you dig the soundtracks to those spaghetti westerns from the seventies or the recent discs from the Italian Surf Academy (on Mode), then Iâ€™d suggest you give this den a spin. Completely mahvelous! - Bruce Lee Gallanter, DMG
JONAS CAMBIEN / ADRIAN MYHR - Simiskina (Clean Feed 446; Portugal) Featuring: Jonas Cambien piano and Adrian Myhr double bass. The elegance and complex delicacy of contemporary classical music and the drive and energy of jazz-rooted improvisation cross characteristics in the very special duo formed by Belgian-born, but residing in Oslo, pianist Jonas Cambien and the Norwegian double bassist Adrian Myhr. A member of the chamber music ensemble Aksiom, Cambien can develop tachycardic and jumping lines like the ones we heard from Thelonious Monk and Cecil Taylor with the same naturally he takes us to the intricate universes of Ligeti and Messiaen. And if his hands seem to melt over the keyboard, the moving preparations he proceeds when dealing directly with the guts of the piano are no less intriguing than the ones proposed by BenoÃ®t Delbecq or Denman Maroney. Myhr has a similar relationship with his instrument, using it as a laboratory of investigation, without forgetting its history outside the orchestral format. Listening to their respective performances with the bands Platform and Karokh (Cambien) and with music explorers like Tobias Delius, Axel Dorner and Tony Buck (Myhr) makes us understand â€“ even before clicking in the Play bottom which drops us inside â€œSimiskinaâ€ â€“ the motives for this encounter. Free improvised music few times seemed so focused, so clean of superfluous elements and so exquisite than in these selection of pieces. A must have, must listen.
MATTHIEU DONARIER / SANTIAGO QUINTANS - Sun Dome (Clean Feed 443; Portugal) The association between Spanish (living in France and being a part of its jazz scene) guitarist Santiago Quintans and French saxophonist Matthieu Donarier is the consequence of a â€œcarte blancheâ€ given to the first one in order to form a couple of duos. First, Quintans had double bassist Paul Rogers as partner and the results were more than positive. Then, came Donarier and something particularly special happened. Quintans found a musical soulmate. Like him, Donarier has as a principle not to exclude anything from music, be it abstract textures or ear-tintilating melodies, microtonal explorations or the good old counterpoint, linear phrasings or polyrhythmic constructions. For them, the invitation to â€œfree the jazzâ€ is literal: they use everything at their disposal, with no preconceptions regarding any convention and the usual divisions between whatâ€™s considered â€œmainstreamâ€ or â€œavant-gardeâ€. â€œSun Domeâ€ is true open jazz played with a sculptor approach, and this means that in every moment we hear the sounds being modeled, as if they were clay, wood or stone. This has some welcomed implications: the act of listening to the other comes like a gesture, and both these musicians not only play their instruments as they play the space around them. The result is pure magic.
TRAVASSOS - Life is a Simple Mess (Shhpuma 035; Portugal) Life is a Simple Mess presents us with an imaginary journey divided into three stages: "Life is Simple", "Life is a Mess" and "Mish-Mash" where simple and complex forms co-exist in a natural and complementary way. Along the way the texts of Nate Wooley are giving clues and Revelations for a possible interpretation of this symbiotic scenario of the real-unreal.
Can illustrations or graphics survive to the context for which they were created for? Yes, they can, as it is a wonderful example the book â€œLife is a Simple Messâ€, by Travassos. What we can see in these pages was originally destined by its author for record covers released by the labels Clean Feed, Shhpuma, Sunnyside and Why Play Jazz or for the promotion of the music festival Rescaldo, of which he is the programmer, but here it all gains a second existence. Without the name of a musician or a group, without a title and without the logo of a discographic company on a specific album, each piece shows itself without the rationalizing caution of an imagistic translation of the impressions provoked by music. Itâ€™s like if the images free themselves not only from its purpose but also its cause, eventually finding in its inner force their justification and their significance, even considering the inherent non definition in the effort not to determine our individual interpretations. Artwork by Travassos and text by Nate Wooley
The Clean Feed and Shhpuma labels continues to expand and evolve, allowing us to look beyond the music and deal with other the visual aspects provided inside this impressive 64 page book. Yes, there is a CD of music/sounds which is found inside this 64 page book of assorted drawings, collages and minimal texts by Nate Wooley. Sonic specialist Travassos appeared on a few recent CDs from Clean Feed stable: Pao and Big Bold Black Bone. The disc here features Travassos playing with both of these projects as well as other assorted musicians. Travssos plays tapes, amplified objects, analogue electronics and crackle box. I donâ€™t recognize the names of most of the other musicians except for Marco Von Orelli (who has a disc on Hatology), Luis Lopes (several discs on Clean Feed) and Gabriel Ferrandini (who works with the Red Trio, Rodrigo Amado and Thurston Moore). Pao is a trio with Pedro Sousa on tenor sax, Tiago Sousa on harmonium & keyboards and Travassos on tapes & objects. Pedroâ€™s tenor sax sounds like a foghorn howling in the distance with eerie keyboard and electronic drones hovering underneath. Big Bold Black Bone feature Marco von Orelli on trumpet, Luis Lopes on guitar,Sheldon Suter on drums and Travassos on electronics. The sound is cautious and sparse with sad yet lovely muted trumpet floating on top. The often mesmerizing sound of Travassosâ€™ electronics permeates this entire disc without him ever soloing but creating a variety of haunting scenes. The book also evokes similar mysterious images which work perfectly with the music on the disc. Another triumph for the fine folks at Shhpuma and Clean Feed! - Bruce Lee Gallanter, DMG
CD 64 Page 10â€ x 10â€ Book $19
Four Interesting CDâ€™s on Assorted European Labels - In Stock Next Week:
CHRISTIAN WOLFF / EDDIE PREVOST - Uncertain Outcomes (Matchless 96; UK) Two concerts of experimental improvisation from two giants of conceptual improvisation and composition, recorded at IKLECTIK in London in 2015 and at Dartmouth College, in Hanover, New Hampshire in 2016; with superb pacing and brilliant execution, these dialogs between keyboard and percussive instruments explore unique sound worlds with depth, inquisitiveness, and a sense of wonder.
2 CD Set $24
NATE WOOLEY / DANIELE MARTINI /JOAO LOBO - Legacy of Ashes (Creative Sources 364; Portugal) A free jazz session recorded in Brussels between trumpeter Nate Wooley and half of the Daniele Martini Quartet--saxophonist Martini himself and drummer Joao Lobo--stepping in and out of modal jazz with a contemplative approach, using extended techniques to great effect, Lobo handling the foundation and rhythm in absolutely impressive ways.
THE ELKS [KAI FAGASCHINSKI / LIZ ALBEE / BILLY ROISZ / MARTA ZAPPAROLI] - This is Not The Ant (Mikroton 59; Russia) An extremely balanced group of electroacoustic improvisers, Kai Fagaschinski on clarinet and Liz Allbee on trumpet make up the acoustic side, though sounding as electronic and other-worldly as Billy Roisz on e-bass and electronics and Marta Zapparoli on reel-to-reel tapes and tape machines, creating incredibly wide-ranging and psychedelic sonic environments.
SIMON RUMMEL ENSEMBLE With MATTHIAS MUCHE / CARL LUDWIG HUSCH / MICHAEL GRIENER / et al - Im Meer (Umlaut 22; EEC) German composer and improviser Simon Rummel presents the 2nd release from his 11-piece Simon Rummel Ensemble, blending his interest in acoustic phenomena and improvisational harmonics in an extended work that shifts from beautiful tonal work to disruptive cacophony and back to melodic music, blending jazz and 20th century approaches; a great achievement.
GEORGE CREMASCHI / IRENE KEPL / PETR VRBA - Resonators (Another Timbre 104; UK) Featuring George Cremaschi on double bass, Irene Kepl on violin and Petr Vrba on trumpet & clarinet with everyone on electronics. Vienna-based violinist, Irene Kepl, made her debut here at DMG last Sunday (9/24/17), playing a short solo and duo with Downtown percussionist David Grollman on snare drums. It was their first public performance together and it was truly inspired. I didnâ€™t know much about Ms. Kepl when she contacted us a few months back but it turns out that she has both a solo offering on Fou and a duo effort with Mark Holub (from Led Bib) on Slam. I do know of former Bay Area bassist George Cremaschi from his dozen discs with folks like Rova, Gred Goodman and Biggi Vinkeloe. I had not heard of Petr Vrba before this disc. This project was organized to compose and play music in highly resonant spaces with amplified acoustic instruments. This disc was recorded in two places, a monastery and large hall, both in the Czech Republic. Each member of the trio contributed one or two pieces each. For the opening work, Cremaschiâ€™s â€œAffective Laborâ€, the strings and eventually clarinet are bathed in a resonating, ghost-like haze, the sounds drifting mysteriously in space. The music are often stark and remind me of minimalist player painting. Time seems slowed down as the sounds slowly expand, drones carefully moving around one another. The overall effect is dreamlike and often hypnotic. Later on the various layers or drones get thicker and even more ominous or disorienting at times. As the sounds resonate even further, it is hard to tell exactly what we are listening to since it becomes a multi-leveled haze. The overall vibe is one of three ghosts or spirits, slowly dancing together in a rather ritualistic fashion. The Another Timbre has long specialized in the way in which the music is transformed by the space it was created within. I havenâ€™t heard much new from Another Timbre in a while but this disc seems to illustrate their fascinating approach quite well. - Bruce Lee Gallanter, DMG
Last of the Raymond MacDonald/George Burt Lol Coxhill Ensemble CDâ€™s from our Sale:
GEORGE BURT / RAYMOND MacDONALD SEPTET LOL COXHILL - The Great Shark Hunt (FMR 165; UK) Featuring: George Burt (guitar), Raymond MacDonald (alto/soprano saxes), George Lyle (double bass), Nicola MacDonald (voice/melodica), Bill Wells (piano), Daniel Padden (clarinet/voice/percussion) with Lol Coxhill (soprano sax). Recorded in East Kilbride Arts Centre, this is the fifth chapter in the celebrated saxophonist Lol Coxhillâ€™s adventures with Burt and MacDonald. This new recording features the hugely successful pianist Bill Wells along with the presiding genius of The One Ensemble - Daniel Padden, a stalwart of the Glasgow Improvisers Orchestra. Lol plays his bent soprano on this session (like a tiny alto) and features the first ever recorded duet between bandleaders George Burt and Raymond MacDonald.
IFRIQIYYA ELECTRIQUE - Ruwahine (Glitterbeat 046; Germany) Sufi trance musicians and rituals -- from the depths of the Tunisian desert -- in conversation with post-industrial sonics. Ifriqiyya Electrique's FranÃ§ois Cambuzat -- a guitarist and field recordist (Turkey, China, Central Asia) -- is a veteran of the Mediterranean punk and avant-rock scene, which has always been more politically charged than its counterparts to the north and (far) west. With bassist Gianna Greco, he is half of Putan Club (and one third when these two fierce and uncompromising players are joined by legend of the NY underground, Lydia Lunch). Ifriqiyya Electrique was formed in the Djerid desert in southern Tunisia. The Banga is a key annual event in the lives of the black communities of the oasis towns of southern Tunisia, descendants of the Hausa slaves transported from sub-Saharan Africa. It is a ritual of adorcism, not of exorcism; of accommodating the possessing spirit rather than expelling it. The invitation has been issued by the rÃ»wÃ¢hÃ®ne themselves, the spirits from whom the record borrows its title, and is taken up primarily in the streets and in private houses. The Banga is a musical tradition, with stark, metallic, cavernous percussion, and voices of cool urgency, but should not be felt as such, for it is most defiantly a ritual and remains so on this recording. Cambuzat and Greco are joined in live performance by the voices, krakebs, and Tunisian tablas of three members of the Banga community, Tarek Sultan, Yahia Chouchen, and Youssef Ghazala, with a fourth, Ali Chouchen, providing vocals and nagharat on the recording itself. The voices and rhythms are unaltered, of course. What is new here is the conversation the group initiates between guitar, bass, and electronics and the rhythms and chants of the Banga -- what Cambuzat refers to a post-industrial ceremony. It won't be an easy listen for purists and propagandists; but if post-industrial ceremony doesn't describe a large portion of the most challenging music of the last 40 years, what does? In short, the music can only be fully understood in the context of the events that gave rise to it. Happily, Ifriqiyya Electrique is a film and documentary project as much as a band. The footage is astonishing: of wild, ecstatic gatherings that seem, to the un-initiates, by turns other-worldly and utterly familiar. It is familiar because of the need for "new ways of forgetting," in Cambuzat's words. But surely there is a need to remember too. For here is another deep tradition, another precarious music, on the brink: a vital part of a Sufi culture being pressed on all sides by the forces of reaction. Ifriqiyya Electrique will not be lamenting its passing -- because they will refuse to let it pass.
CD $15 / LP $24
OREN AMBARCHI - Stacte Karaoke II (Black Truffle 032EP; Australia) What happens when Oren Ambarchi is backed up by the world's greatest monster riff legends from his beloved homeland? Find out in the second volume of this infamous series where endless riffing and ecstatic shredding is the order of the day. Bonus intro track features some band from New York. Yah Boobay! Deluxe sleeve with photography by Crys Cole and Theresia Pfaender. Design by Stephen O'Malley. Mastered and cut by Rashad Becker at Dubplates & Mastering, Berlin.
12â€ EP $19
TALIBAM!/MATT NELSON/RON STABINSKY - Hard Vibe (ESP-Disk 5015; USA) Talibam! delights in creating music that cannot be pinned down within the safe-spaces of existing genres. With each new album, Talibam! reinvent their methodological palette in order to bolster a fresh clarity of joyous auditory surprise, something their fans have come to depend on. Talibam! focus on compositional clarity, with reverence for their diverse interest in genre. On Hard Vibe, they push the pulse of motorik rhythm through a psychedelic jazz filter. This time out, they have created a sonic edifice so radical, so intricate in its density that additional hands were required to bring it to life; thus was born the Talibam! Hard Vibe Band with Matt Nelson (Battle Trance, tUnE-yArDs) and Ron Stabinsky (Mostly Other People Do the Killing, Peter Evans Quintet, RelÃ¢che) joining Matthew Mottel (CSC Funk Band, Alien Whale, Nymph, Platinum Vision) and Village Voice "Best Drummer in New York" Kevin Shea (Mostly Other People Do the Killing, Rhys Chatham, People featuring Mary Halvorson). The scientists in the Talibam! laboratory describe the results thusly: The Hard Vibe composition transforms aspects of rhythm changes into a disciplined sequence of minor key modulations to create a rigorous Hard Vibe obstacle course for the soloists over a tight melodic/rhythmic grid. Inspired by Herbie Hancock's '70s cosmic music, long-form repetitive works such as Miles Davis's On The Corner (1972), Charlie Parker's "Salt Peanuts," tenor sax endurance soloists, Albert Ayler's New Grass (1699), the legendary organ brutality of Larry Young, and the NYC avant-garde rock minimalism of Rhys Chatham and Glenn Branca, Hard Vibe maintains an infectious pulse with virtuosic structural jazz improvisation. The Jan Hammer/'80s soundtrack-inspired keytar payoff (second half of side B) brings festival audiences to its feet in epic dance and ripping solo proportions. But those are inspirations more than ingredients. As ESP-Disk would say, "You never heard such sounds in your life."
TALIBAM! - Endgame Of The Anthropocene (ESP-Disk 5016; USA) Endgame Of The Anthropocene marks Talibam!'s return to ESP-Disk, a partnership that started in 2009 with the highly acclaimed Boogie In The Breeze Blocks album (ESP-DISK 4055). Talibam! is a 14-year working unit based in New York City that can be described in various ways -- as a classic keyboards/drums expanded-jazz duo, as Dadaist provocateurs with an innate love for the history of music, as a Fluxus-informed theater troupe, as an electronic ensemble inspired by Stockhausen, or as a rhythm section at the cross hair of agility, speed, punctuation, and intention. Since their inception in 2003, Talibam!'s ultimate goal has been to wed disparate ideologies through proficiency, controversy, inquiry, and compassion. Every Talibam! album attacks from a different angle; Endgame continues this tradition of each new release sounding completely different from everything they've done before, as does Hard Vibe (ESP-DISK 5015-LP). Talibam! has made a geo-psychic prediction: after it expires in 2048, the Antarctic Treaty System will be rejected. As the rest of the planet will have been rendered uninhabitable due to wars rooted in overpopulation, global warming, and the relentless exploitation of diminishing resources, human interference and the failure to ratify will lead to international war over the sovereignty and control of Antarctica's vast resources. Endgame Of The Anthropocene is Talibam!'s first cinematic album of through-composed eco-gothic geo-sonics. It is the soundtrack to 2048's despotic nationalism and crumbling international infrastructure, underscoring an eco-mercantilistic tragedy and the desperate plundering of the last pristine landscape on Earth. This inevitable destruction of Antarctica's purity marks the global-environmental endgame of the Anthropocene. Endgame Of The Anthropocene is a dystopian sonic pronouncement of failed socio-environmental memes, and features Talibam!'s emergence into hyperkinetic rhythm-based instrumental/electronic music. Syncopation via polyrhythmic electronic drum and synth pads create corporeal dance floor beats that would make a super computer perturbed. Kevin Shea is a master of cyber swing and eco-war rhythm -- on this record, he keeps it android yet anthropoid, like Aphex Twin meeting a hologram Phil Collins. Keyboardist Matt Mottel anchors wide sweeps of analog synthesis -- his sonic palette oscillating between the Silver Apples, Sun Ra, and Arca via an Arduino beta bass drop. This music is hallucinatory composition -- electronic muzik via an ethnographic sonic landscape influenced by Parmegiani, Don Cherry, Front 242, Vangelis, Suicide, Islam Chipsy, Stockhausen and DJ Shadow.
PHAROAH SANDERS With STAN FOSTER / JANE GETZ / WILLIAM BENNETT / MARVIN PATTILLO - Pharaoh Sanders Quintet (ESP-Disk 1003; USA) ESP-Disk present a reissue of Pharoah Sanders Quintet, originally released in 1965. Recorded on September 10, 1964, prior to his well-known association with John Coltrane, this eponymous album (later renamed Pharoah's First) is the debut release of the iconic tenor saxophonist, Pharoah Sanders. (Yes, there are some spelling oddities here: the artist -- birth name Ferrell -- only later changed the spelling from the standard Pharaoh to the more personalized Pharoah). With one foot in mainstream jazz -- pianist Jane Getz had played with Charles Mingus -- and the other, tentatively at times, in the avant-garde, this is a fascinating glimpse of Sanders's style before he wielded the unremitting fierceness of his playing with Coltrane and the modal mysticism of his later solo albums on Impulse. Interestingly, in recent years he has deployed a more polished version of this sort of avant-flavored bop, bringing his career full circle and strongly suggesting that the hybrid heard here was not due to any failure of nerve on his debut but rather was the cornerstone of his conception. ESP-Disk has issued this album under three different covers; for its 21st-century reissue on vinyl, they have chosen to use the second and most beautiful. It is augmented with liner notes by a current ESP-Disk artist, tenor saxophonist Ras Moshe Burnett of The Red Microphone, who can be heard accompanying Amina Baraka on their eponymous release (ESP DISK 5021, 2017). Personnel: Pharoah Sanders - tenor saxophone; Stan Foster - trumpet; Jane Getz - piano; William Bennett - bass; Marvin Pattillo - percussion.
PAUL BLEY TRIO With STEVE SWALLO / BARRY ALTSCHUL - Closer (ESP-Disk 1021; USA) When Oscar Peterson moved from MontrÃ©al to New York in 1949, then-17-year-old Paul Bley took over Peterson's residency at the Alberta Lounge on Peterson's recommendation; in his 20s, Bley played with Charlie Parker. Bley incorporated maverick pianist Lennie Tristano's approach to improvisation and collaborated with Charles Mingus, and in 1958 in Los Angeles famously put together a band with Ornette Coleman, Don Cherry, Charlie Haden, and Billy Higgins. His move into free improvisation in the groundbreaking Jimmy Giuffre 3 brought him acclaim. After moving to New York, he was one of the performers at the Cellar CafÃ© in Bill Dixon's 1965 four-day "October Revolution in Jazz" festival, which led to Bley being one of the co-founders shortly thereafter of the Jazz Composers Guild. It was in the midst of that fabled month that Bley recorded his first LP for ESP-Disk' (sixth overall to that point), Barrage. Bley returned to the studio for his second ESP-Disk' LP a bit less than two months later. Closer finds Bley again heavily featuring then-wife Carla's compositions; she's credited on seven of the ten tracks, including two also heard on Barrage, "Batterie" and "And Now the Queen." They sound quite different on this quieter trio date, and the performances are more concise (no track tops the 3:30 mark). Paul Bley included one of his own tunes, "Figfoot," as well as Ornette Coleman's "Crossroads" and future-wife Annette Peacock's "Cartoon." Closer features Bley's distinctive pianism in one of its earliest recorded manifestations. The other players are fellow Jimmy Giuffre 3 member Steve Swallow (bass) and, in his recording debut, Barry Altschul (percussion).
LARAAJI - Ambient 3: Day of Radiance (Glitterbeat 027; Germany) LP version. 180-gram vinyl. Gatefold sleeve. Includes CD. 2015 remastered reissue. Includes lengthy interview with Laraaji. Laraaji's glistening 1980 debut Ambient 3: Day of Radiance has from the beginning been considered an outlier. Though widely celebrated at that the time of its original release (as the third installment in Brian Eno's emerging ambient music series), the album also brought with it an aura of mystification. Where did it fit in? An uncharted synthesis of resonating zither textures, interlocking hammered rhythms, and 3-D sound treatments (courtesy of Eno), Day of Radiance seemed to push open many doors at once, ambient music being only one of them. Though there are certainly aspects of the album that find sonic common ground with other Eno-related "ambient" projects (on the tracks "Meditation #1" and "Meditation #2" in particular), the album is not easily boxed into a singular genre. Day of Radiance also mines the ethereal spiritualism of late-'70s new age music (of which Laraaji is considered a pioneer), the harmonic and rhythmic repetitions of American minimalists Terry Riley and Steve Reich, and traditional global sounds from India and Java (particularly gamelan music). And while Laraaji never explicitly embraced the "Fourth World" theories of fellow visionary and Eno collaborator Jon Hassell, Day of Radiance echoes a kindred exploratory exoticism. In the late '70s Brian Eno had relocated to New York City from London and had begun a period of fertile intersections with musicians in his adopted home. Laraaji recounts how he and Eno first crossed paths: "I was playing [zither] in Washington Square Park and I usually play with my eyes closed because I get into meditative trance states that way, and opening my eyes and collecting my little financial reward from that evening, there was a note, on notebook paper -- it looked like it had been ripped from somebody's expensive notebook -- there was a note that says 'Dear sir, kindly excuse this impromptu piece of message, I was wondering if you would be interested in talking about participating in a recording project I am doing, signed: Brian Eno.'" The album was completed in two sessions; the first one produced the faster, pulsing "Dance" compositions (on the A-side) and the second session yielded something closer to Eno's own ambient constructs -- slow zither washes and waves with more pronounced sound enhancements (on the B-side). While the album is deceptively simple in its construction, closer listening reveals its extraordinary depth of field and its polymath influences.
EGYPT & LEBANON - Cosmic Arab Disco & Searing Dance Floor Bangers 1974-1985 (Cedarphon 002; Lebanon) Egypt & Lebanon: Cosmic Arab Disco & Searing Dance Floor Bangers 1974-1985 is a monumental introduction to some of the hippest proto-electronic music from the Middle East in the 1970s and 1980s. These are some of the prime cuts that electrified dance clubs throughout the Middle East, from Cairo to Beirut, featuring psychedelic synths and organs, break-neck percussion, and mind-bending beats. The music is a flowering of experimentation with synthesizers, complex electronic flourishes, hard-disco funk, and swirling innovative melodies based on traditional forms. This LP compilation proves some of the most forward-thinking music being made in Arab world was conjured by absorbing everything that radiated from European and American discos and then furthering the dialogue, with sublime results. Features twelve, secret weapon tracks to set ablaze any dance-floor. Features Joseph Nemnom, Iman El Bahr Darwish, Isahn Al Munzer, Mohammed Jamal, Assa'd Khoury With His Oriental Electronic Organ & Band, Ammar El Shariyi, and Farid Atrache.
Bruce Lee Gallanterâ€™s Recommended Gig List for September & October of 2017
JOHN ZORN: Bagatelles Marathon
October 6 & 7 at 7:30 pm
NYU Skirball is proud to present a two-day marathon concert of 20 different ensembles performing over 100 of Zorn's Bagatelles. Hot from performing in Hamburg and Paris earlier in the year, these groups are performing better than ever and include core members of Zornâ€™s inner circle as well as exciting young players from the worlds of rock, jazz and classical musicâ€”many new to the Zorn universe.
The only presentation of Zornâ€™s bagatelles in New York City in 2017, these two marathon concerts feature 45 of the most creative musicians working in NYC today, including Dave Douglas, Craig Taborn, Mary Halvorson, Marc Ribot, Dave Lombardo, Kris Davis, Tyshawn Sorey, Ikue Mori, Matt Mitchell, Julian Lage, Calvin Weston, Peter Evans, Erik Friedlander, Mark Feldman, Chris Otto, Sylvie Courvoisier, Jay Campbell, Dave King, Jim Black, Dan Weiss, Chris Speed and many, many more.
Two-for-one offer for Zorn fans. Use code: DMGJZ
THE STONE RESIDENCIES - PETER EVANS - OCT 3â€“8
8:30 pm - WITH STRINGS - Mazz Swift (violin) Tomeka Reid (cello) Brandon Lopez (bass) Dan Lippel (guitar) Craig Taborn (piano) Miya Masaoka (koto) Peter Evans (trumpets)
8:30 pm - Peter Evans and Levy Lorenzo duo - Levy Lorenzo (percussion, electronics) Peter Evans (trumpets)
8:30 pm - Peter Evans Septet- Peter Evans (trumpets, compositions) Mazz Swift (violin) Sam Pluta (live electronics) Ron Stabinsky (piano, synthesizers) Tom Blancarte (bass) Levy Lorenzo (percussion, electronics) Jim Black (drums, electronics)
THE STONE AT THE NEW SCHOOLâ€”55 WEST 13TH STREET
FRIDAY AND SATURDAY NIGHTS OCTOBER 6â€“7 AT 8:30PM
FRIDAY OCT 6â€”BANQUET OF THE SPIRITS: Cyro Baptista (percussion) Tim Keiper (drums) Brian Marsella (keyboards) Shanir Blumenkranz (bass)
SATURDAY OCT 7â€”CYRO BAPTISTA SOLO: Cyro Baptista (percussion)
8:30 pm - duos, trios, quartets = Peter Evans (trumpets) Rajna Swaminathan (mrindangam) Sam Pluta (live electronics) Shayna Dunkelman (percussion)
8:30 pm - Peter Evans and David Byrd-Marrow Duo
Peter Evans (trumpets) David Byrd-Marrow (french horn)
8:30 pm - Peter Evans Solo trumpet
830 pm - -ON KA'A DAVIS - On Ka'a Davis (instruments and voice)
A RARE PERFORMANCE BY EAST VILLAGE LEGEND ON KA'A DAVIS! DONT MISS IT!
All Sets start at 8:30pm Tickets: $20
There are no refreshments or merchandise at The Stone.
Only music. All ages are welcome.
Cash Only at the door. There is no phone.
There is no food or beverage served or allowed
just a serious listening environment.
The Stone is booked purely on a curatorial basis
The CORNELIA STREET CAFE - 212-989-9319
29 Cornelia St in the heart of the West Greenwich Village, NYC
Friday Sep 29
8:30PM AUBREY JOHNSON GROUP - Aubrey Johnson, voice, comp.; Matt Sheens, piano, comp.; Michael Sachs, alto sax, bass clarinet; Alex Goodman, guitar; Matt Aronoff, bass; Jeremy Noller, drums
10:00PM LISANNE TREMBLAY â€œECDYSESâ€ - Lisanne Tremblay, violin, comp.; Liberty Ellman, guitar; Carlo De Rosa, bass; Vinnie Sperrazza, drums
Saturday Sep 30
8:35PM MARIO PAVONE, VERTICAL SEXTET - Mario Pavone, bass, comp.; Dave Ballou, trumpet; Tony Malaby, tenor, soprano sax; Oscar Noriega, clarinet, bass clarinet; Peter McEachern, trombone; Michael Sarin , drums
Sunday Oct 01
8:35PM DJANGO AT CORNELIA STREET, DAN LEVINSON
Mon October 2nd:
8:30PM AMRAM & CO - David Amram, piano, french horn, flutes, composition & surprises; Kevin Twigg, drums, glockenspiel; Rene Hart, bass; Elliot Peper, bongos
Tues Oct 3rd
8:00PM VOXECSTATIC: ROSE ELLIS - LIKE SONGS LIKE MOONS - Rose Ellis, voice, compositions; Glenn Zaleski, piano; Pablo Menares, bass; Ross Pederson, drums
9:30PM VOXECSTATIC: COMPASS 'MARITIME COWBOY' RELEASE - Christine de Michele, voice, piano, songwriting; Christian Nourijanian, keyboards; Jeff Koch, bass; Dustin Kaufman, drums
Wednesday Oct 04
6:00PM DESERT FOXX 1 - Louis Cohen, guitar; Mike DeiCont, bass; Alex Kirkpatrick, drums; Levon Henry, multi-instrumentalist
8:00PM NOAM WIESENBERG QUINTET - Philip Dizack, trumpet; Immanuel Wilkins, alto sax; Shai Maestro, piano; Noam Wiesenberg, bass; Kush Abadey, drums
9:30PM - NITZAN GAVRIELI TRIO
Thursday Oct 05
8:01PM SAM BARDFELD TRIO, CD RELEASE: THE GREAT ENTHUSIASMS - Sam Bardfeld, violin; Kris Davis, piano; Michael Sarin, drums
Friday Oct 06
8:30PM BRANDON SEABROOK TRIO - Brandon Seabrook, guitar, comp.; Daniel Levin, cello; Henry Fraser, bass
10PM OLLI HIRVONEN ESCAPE = Olli Hirvonen, guitar; Brian Krock, sax; Marty Kenney, bass
Saturday Oct 07
8:30PM PRIVATE EVENT
10:30PM YUHAN SU QUINTET - Yuhan Su, vibraphone; Matt Holman, trumpet; Alex LoRe, alto sax; Matt Aronoff, bass; Jimmy Macbride, drums
Sunday Oct 08
8:00PM ISRAELI JAZZ SPOTLIGHT: KADAWA - Or Bareket, host ; Tal Yahalom, guitar; Almog Sharvi, bass; Ben Silashi, drums
9:30PM ISRAELI JAZZ SPOTLIGHT: DOR, ALBAGLI, MENARES TRIO
Alon Albagli, guitar; Pablo Menares, bass; Daniel Dor, drums
Monday - Oct 09
8:30PM SIMON MULLIGAN DUO - Simon Mulligan, piano; Gene Perla, bass
Friday, October 6th 12:00 AM
8:00pm: Fish Dreams
Jochem van Dijk, solo bass guitar
8:45pm and 9:45pm (2 sets): Darren Johnstonâ€™s Wind Over Walls
Darren Johnston â€“ trumpet
Carmen Staaf â€“ piano
Alison Miller â€“ drums
Noah Garabedian â€“ upright bass.
Saturday, October 7th 8:30 PM
Stein / Sacks / Fujiwara
Jason Stein â€“ Bass Clarinet
Jacob Sacks â€“ Piano
Tomas Fujiwara â€“ Drums
Friday, October 20th 8:30 PM
Chris Cochrane â€“ guitar
Stuart Popejoy â€“ bass
Scott R. Looney â€“ piano
Sarah Bernstein â€“ violin
Reuben Radding â€“ bass
I-Beam is located at 168 7th Street in Brooklyn, NY 11215 - Directions: SUBWAY: Take the F or R trains to 4th Ave & 9th Street. Walk down 4th ave to 7th street. Make a left on 7th and walk past 3rd ave. We are located on the ground floor, the grey doors to the right of the stairs of #168.
October 2017 at Shapeshifter:
7pm: Nathan DeCusatis and Mob Rule - Nathan DeCusatis - piano ; AJ VanSuetendael - bass ; Justin Henry - drums
7pm: Symphony of Chimes by Skip Laplante- Laurie Bennett, David Demnitz, Skip La Plante, Andrea Skurr, Omar Zubair.
9pm: Keyboards II - composers/performers: Lucie VÃtkovÃ¡, Assaf Gidron, Coleman Alexander Zurkowski, Douglas Farrand, Teodora StepanÄiÄ‡
7pm: How music mirrors our innermost states: Brahms and Beethoven
Maya Ramchandran, Violin and Audrey Vardanega, Piano
8:15p - Uncle Cyclops and Aunt Natalie
7p - Brett Parnell, Geremy Schulick, Joanie LG Parnell, Jennifer Stock, Kenji Shinagawa, Evan Mitchell, Eleonore Oppenheim & Andie Springer. CrossCurrent
8:15p Secret Mall
9:00p ShoutHouse: featuring Quilan Arnold, Akinyemi, Zach Gonder, Taylor Labruzzo, and George Meyer
Shapeshifter is located at
18 Whitwell Place in Brooklyn, NY
R train to Union stop
Sound It Out series @ Greenwich House â€“Â Concerts, October 2017 2017
October 6: Stephan Crump's Rhombal w/ Adam O'Farrill, Ellery Eskelin & Kassa Overall
October 9: Ethan Iverson & Orrin Evans play Monk!
November 10: Ricardo Grilli
November 11: Double-billÂ â€“Â Marc Hannaford Trio Satoshi Takeishi, etc
December 14: Mike Baggetta & Anders Nilsson with Jerome Harris & Satoshi Takeishi
Greenwich House Music School:
46 Barrow Street, just west of 7thÂ Avenue South in New York Cityâ€™s West Village
www.greenwichhouse.org / 212-242-4770.Â