When Life Becomes Surreal
We are Not Sure How We Feel
So We look to Artists for Inspiration
Keep Going to Gigs, Keep Listening to Discs
Searching for the Answers that We know Exist
The Keys to the Treasure Chest of Sonic Delights is Within:
Lisa Mezzacappa Large Ensemble: Myra Melford/Nicole Mitchell/Vinny Golia/Darren Johnston..! Adam Rudolph//Momenta String Quartet / Marco Cappelli / Sana Nagano / Kaoru Watanabe! Denny Zeitlin & George Marsh! Dave Liebman & Martial Solal! Dave King & Vector Families! Alan Ferber Big Band! Antonio Sanchez Solo! Louise Dam Eckhardt Jensen!
Logan Strosahl! 2 from Gebhard Ullmann: Clarinet Trio Alexey Kruglov & Oliver Potratz/Eric Schaefer! New from Pere Ubu! The Residents 4 CD set! Marginal Consort! Woodie Guthrie Tribute Box Set! Harold Land & Buddy Terry Reissues from Mainstream! Mother Earth! Ash Ra Tempel Experience! Klaus Schulze..!
THE DMG 26TH ANNIVERSARY SERIES OF SONIC CELEBRATIONS Continue with:
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: XPANDED RÅNIN PHASING: PATRICK BRENNAN - Alto Sax & Comps. / JASON KAO HWANG - Violin / PATRICK HOLMES - Clarinet / BRIAN GRODER - Trumpet
7pm: LUIS CONDE from Buenos Aires & JOSH SINTON from NYC - International Multi-Reeds Duo!
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
* LISA MEZZACAPPA With NICOLE MITCHELL / VINNY GOLIA / MYRA MELFORD / DARREN JOHNSTON / KYLE BRUCKMANN / et al - Glorious Ravage (New World Records 80793; USA) â€œI am doing what a woman can hardly ever do . . . , â€ wrote British world traveler Isabella Bird in an 1872 letter from Hawaii. â€œAnd I can fall, I can fall into anything.â€ San Francisco Bay Area composer, acoustic bassist, and bandleader, Lisa Mezzacappa used those linesâ€”and more from the writings of Bird and other women adventurers of the 19th and early 20th centuriesâ€”to fashion lyrics for her ten-part â€œpanoramic song cycle for improvisers.â€ Sung by the extraordinary vocalist Fay Victor, those two lines might also be taken to reflect Mezzacappaâ€™s place in the world of progressive and avant-garde jazz.
With Victorâ€™s voice at the core, and musical ideas percolating up from the texts, Mezzacappa tailored the open-ended structure of Glorious Ravage to the gifts, sensibilities, and personalities of the individual musicians. That required her to develop a bigger compositional framework than she had ever built before, and one that could both reflect and refract the multifaceted stories and personas of the women she met in her research and meet the challenge of keeping the composition, in her words, â€œopen to the kind of collective wisdom that emerges from any given musical community.
Mezzacappa has written that initial inspiration for her work â€œcomes from a messy, unfocused, overwhelming, brilliant, seductive, and terrifying pool of sensations, ideas, gut reactions, intellectual concerns, moral ambiguities.â€ From that pool has bubbled up something that retains many of those qualities, but that also manifests focus, chemistry, communication, and an emergent sense of both order and transcendence.
â€˜Glorious Ravageâ€™ is a musical exploration of what is possible. Soaring with it can trigger an experience of the sublime, similar to the altitude sickness that Isabella Bird, Ida Pfeiffer, and Annie Smith Peck fell into during their lofty adventures, an ecstatic mind state South Americans called veta or soroche. When Bird wrote in her letter from Hawaii, â€œThis is the height of the last and most glorious ravage,â€ she could not have foreseen that Lisa Mezzacappa would bring us another of equal magnificence.â€
* CD Release concert for Lisa Mezzacappaâ€™s â€˜Glorious Ravageâ€™ will take place at Roulette on Thursday, October 12th at 8pm! Check out: roulette.org/event/lisa-mezzacappa-glorious-ravage/
ADAM RUDOLPH // MOMENTA STRING QUARTET/MARCO CAPPELLI/KAORU WATANABE/SANA NAGANO - Morphic Resonances (Meta 021 / MODT; USA) Featuring Adam Rudolph as the composer and director of three ensembles: Momenta String Quartet, Odense Percussion Group and Kammeratorkestret Ensemble plus soloists: Marco Cappelli on guitar, Kaoru Watanabe on flute and Sana Nagano on violin. Multiple percussionist, composer and conductor, Adam Rudolph, is nearly impossible to pin down since he works so well on several different levels. Besides running two very different ensembles: Moving Pictures and the Go Organic Orchestra, Mr. Rudolph has had longtime collaborations with the late Yusef Lateef, Wadada Leo Smith, Fred Anderson and Jon Hassell. Since running his own Meta label, Mr. Rudolph has been evolving as a composer, as well as a multi-bandleader, always trying out new ideas.
Mr. Rudolphâ€™s new disc,â€™Morphic Resonancesâ€™, features seven compositions going back to 2013, utilizing the talents of three ensembles, solo violin and a flute & guitar duo. The title track is first and â€œMorphic Resonancesâ€ refers to the idea that memory is inherent in nature and the life-force of music reaches across time and space. The piece works on several levels, from calm, lush sections which occasionally erupt into elegant dancing dervishes. â€œSyntactic Adventuresâ€ id dedicated to Yusef Lateef, Mr. Rudolphâ€™s mentor and longtime musical collaborator. After working with the Momenta String Quartet previously, he was able to write for the special talents. In the liner notes, Mr. Rudolph refers to music as â€œthe ancestor of spoken languages,the language of feelingâ€. Again, there seems to be several layers of ideas, threads taking place. It sounds as if memories or melodies rise to the surface, some familiar, some not, but all thoughtfully constructed and well-woven into the whole. â€œGarden, Ashesâ€ is played by the duo of Marco Cappelli on acoustic guitar and Kaoru Watanabe on flute, both members of Rudolphâ€™s Go Organic Orchestra. This piece was recorded on what wouldâ€™ve been the 91st birthday of Mr. Rudolphâ€™s father and deal with ancient memories. It starts off most sublime, like the soft spirit of Mother or perhaps Father) Nature, working its way through various contours. â€œOrbitsâ€ is performed by the Odense Percussion Group from Denmark and Rudolph spent years working out the complex rhythmic schemes involved. We can hear various layers going on from both both historic and different cultural perspectives. â€œCoincidentia Oppositoriumâ€ is performed by a combined chamber octet and deals with the interaction of opposites. The last piece, â€œLamentoâ€ is for noh flute and acoustic guitar and each note seems to resonant deeply. It sounds as if ancient spirits are being evoked, carefully pulled apart and reassembled. There is a certain peaceful spirit at the center of this music, restless yet perfectly aligned. Feels so good to me. - Bruce Lee Gallanter, DMG
A Half Dozen Gems from the Sunnyside Label:
DENNY ZEITLIN & GEORGE MARSH - Expedition - Duo Electro-Acoustic Improvisations (Sunnyside 1487; USA) music demonstrates the very feeling of delight that the musicians take in the freedom they have in conjuring their music. The music presented is inspired and stylistically varied. There are atmospheric pieces, like â€œGeysersâ€ and the quietly surging â€œThe Hunt,â€ and ballad-like ruminations, like the ambient â€œThorns of Lifeâ€ and â€œSpiral Nebula.â€ The pulsating uptempo tracks are rhythmically fascinating, like the skittery percussion highlight â€œShooting The Rapidsâ€ and the driving â€œSentinel.â€ The triumphant â€œExpeditionâ€ is a perfect example of the duoâ€™s goal of creating a succinct composition with direction and arc, all spontaneously in the moment.
Zeitlin and Marsh's forward-thinking collaboration spans 50 years. Their connection has only gotten stronger as they have invested themselves in expanding their vocabularies in electric-acoustic and improvised music. Expedition brilliantly displays what two highly attuned and flexible musicians can create on the fly.
DAVE LIEBMAN & MARTIAL SOLAL - Masters In Bordeaux (Sunnyside ; USA) This should have happened a long time ago. Veteran jazz icons Martial Solal and Dave Liebman had never played together before the the Paris jazz club dates that served as a warm-up of sorts for this set, Masters In Bordeaux, recorded at the Jazz And Wine Festival in Bordeaux, France.
Paris-based pianist Solal, ninety years old now, began his career in the 1950s, in small groups, big bands, and as a crafter of soundtracks. His style is a freewheeling brew of form and freedom, often stretching the familiar close to the borders of unfamiliarity, with a wit, grace and humor almost unmatched in jazz. Saxophonist Liebman, twenty years younger than his new partner here, nudged his foot into the doorway of a higher profile with Miles Davis, during one of the trumpeter's most avant and controversial periods, 'round about the time of the making of On The Corner (Columbia Records, 1972). Both artists can be called unconventional, both have had long and successful careers pushing their music to new places. And, judging from their recent output, the artists from different generations couldn't have more different musical personalitiesâ€”Solal the crafty fox with a perpetual smile, laying down sunny sounds that contain surprising depths; Liebman bursting with intensity, gruff and robust. This makes for a riveting contrast.
Liebman, better known perhaps for his soprano sax sound, alternates the straight horn here with his tenor sax. His soprano, on the "All The Things You Are," is sharp and searing, a bit rough around the edges; on tenor, on "What Is This Thing Called Love," he barks and blusters like a hungry Rottweiler. And Solal, as always, lays down a light-hearted, light-stepping backdrop as an accompanist, and sparkles the sounds out to the loveliest edge on his solos. The set is all standards, but not a predictable note can be heard. These two masters are as spontaneous as can be, freewheeling and in the moment, the unique blending of the genius of their disparate artistries on full display. - Dan McClenaghan, AllAboutJazz
DAVE KING & VECTOR FAMILIES With DEAN GANROS / BRANDON WOZNIAK / ANTHONY COX - For Those About to Jazz/Rock We Salute You (Sunnyside 1488; USA) The diverse Minneapolis/St. Paul music scene has spawned an incredible array of brilliant musicians. Like many smaller markets, the Twin Cities seem to breed multi-dimensional musicians who are versed in many styles and are willing to try anything. Vector Families is a perfect example of this ethos, as three generations of forward thinking musicians have converged to deliver For Those About to Jazz/Rock, We Salute You. Drummer/composer Dave King is no stranger to the world of collaboration and eclecticism. While attending a performance in a local club, King was happily surprised to see bassist Anthony Cox on the bandstand. Cox had recently returned to the Midwest from a fruitful stretch in New York where he played with such luminaries as Geri Allen, Marty Ehrlich and John Scofield. This began a musical bond between Cox and King that has lasted 20 years. Cox was an obvious choice for any project and a chance to record with him would be special and long overdue. But so would working with the polymath and guitar genius Dean Granros, a Minneapolis creative music legend who has experimented in jazz, psychedelic rock and new music. The Vector Families lineup is completed by the fantastic saxophonist Brandon Wozniak.
ALAN FERBER BIG BAND - Jigsaw (Sunnyside 1494; USA) This is trombonist & composer Alan Ferberâ€™s fourth disc for the Sunnyside label and with each disc his ensemble has expanded in size. I recognize many of the musicians here: Jason Rigby, Chris Cheek and Jacob Garchik, since many of these players lead their own bands. Commencing with â€œImpulsoâ€, this 18-piece large ensemble is off and sailing with a most infectious groove. The great John Oâ€™Gallagher takes the first alto sax solo, a post-bopping delight. Besides a series of spirited solos, it is the sound of the entire band, their infectious groove, the way horns move in tight waves that makes the band sound so fine. Under-rated jazz guitar great, Anthony Wilson, sets the scene with those hypnotic, sly chords on â€œShe Wonâ€™t Look Backâ€, his bluesy solo midway is stunning. The piece itself has a wonderful dreamy vibe which feels just right. The title track, â€œJigsawâ€, starts off with an amazing drums and synth duo before it burst into a high-flying, hard-swinging delight. The rich harmonies for reeds and brass keep shifting in tight waves with Mr. Oâ€™Gallagherâ€™s burning alto sax sailing on top. One of the highlights of this disc is the way Mr. Ferber provides several layers of lines for the different horn players, even when one person is soloing, the rest of the band plays these awesome connected lines around them. â€œGet Sassyâ€ has a most heart-tugging sly, funky groove with soulful, blues-drenched guitar from Anthony Wilson. As a big fan of modern jazz big band music, this disc ranks amongst the best of that genre. I hope to get a chance to hear this band live since this disc captures them at their best! - Bruce Lee Gallanter, DMG
ANTONIO SANCHEZ - Bad Hombre (Sunnyside; USA) â€œA drum solo by Antonio Sanchez, one of the most sought after drummers of his generation. The four-time Grammy award winning artist describes the experience an "...experimental project in the sense that it is a complete departure from anything I've ever done in the past as a drummer, composer, producer and engineer. Art is a reflection of life so I took a look at what had been happening in the world, realized that a surprising level of anger, frustration and awareness had been growing in me due to the political situation in the United States. I also wanted to have something that represented my Mexican heritage in a very emphatic way at some point in the album. Taking all these feelings and putting them into the creative process is always very cathartic and playing drums has always been a very meditative and healing ritual for me, so I wanted to develop this project starting with the instrument that has been with me since I can remember. The drum set. I found this project to be one of the most liberating endeavors I've ever set myself to do. Almost like having an alter ego. The Bad Hombre." Recorded in New York at Meridian Studios in October 2016, Bad Hombre contains approximately 55 minutes of music; all tracks written, arranged, produced and performed by Antonio Sanchez.â€
LOGAN STROSAHL With MICHAEL SACHS / NICK SANDERS / HENRY FRASER /et al - Book I of Arthur (Sunnyside 1493; USA) Featuring Logan Strosahl on alto sax & narration, Michael Sachs on clarinets, Sam Decker on tenor sax, Aquiles Navarro on trumpet, Nick Sanders on piano, Henry Fraser on bass and Connor Baker on drums. This is the third disc from Logan Strosahl, a saxist & composer who went to New England Conservatory, where he started working with pianist Nick Sanders. The earlier disc from Mr. Strosahl on Sunnyside featured the same rhythm team, both of whom played at DMG with Michael Foster, as well as playing in the Nick Sanders Trio.
Here is the theme or story that is being illustrated on this discs: â€œIn â€˜Book I of Arthurâ€™, Mr. Strosahl sets the scene of 5th century England as a chaotic, semi-mythical place by utilizing 20st century musical technique to express an eerie, at times aleatoric soundworld that becomes more and more structured as Arthur grows, discovers his roots and, finally, claims the throne. The artifice of the later pieces, with their precise tonal part-writing, isâ€”to some extentâ€”the artifice of the moral code that Arthur tried to apply to the world around him.â€
The music on the opening piece, â€œPrologue: In Nomineâ€, has an austere, rather medieval sounding theme. Although the group sound like ancient chamber consort (instrumentation-wise), the music is more modern with all types of unexpected twists and turns. There is short bits of narration by Stroshal and Julia Easterlin, describing parts of the pre-story of King Arthur, basically setting the scene for things to come. I love the way Strosahl blends the horns (clarinets, alto & tenor sax and trumpet) with the rest of the music. The vibe remains calm while the horns occasional criss cross in quirky ways. Stroshalâ€™s music and arrangements donâ€™t quite sound like anyone else since he mixes ancient and modern themes in completely unique ways. The narration is kept to a minimum and does a fine job of giving us short parts of the Arthur story just to illustrate that there is a story unfolding. The skeletal story can only be completed by our own imaginations. Logan Strohsal has done a monumental job of bridging two distant worlds, one ancient and the other modern. This disc also appears to be a part of an ongoing series so I look forward to future installments. - Bruce Lee Gallanter, DMG
LOUISE DAM ECKARDT JENSEN - Ondskabens Lethed (Marsken Records MR 02; Denmark) Featuring Louise D.E. Jensen on alto sax, vocals & electronics. Whether playing solo, in duo (with bassist Tom Blancarte) or in quartets (one with Brandon Seabrook and the other a sax quartet with Tamio & Chris Pitsiokos), Louise Jensen has developed her own sound or path. The title for this disc, â€˜Ondskabens Lethedâ€™ is in Danish and means, â€œThe Ease of Evilâ€. Ms. Jensen is referring to the global refugee and migrant crisis, which is most often due to ignorant politicians. The music is a strange yet captivating blend of electronic sounds, warped vocals and layers of saxes. Ms. Jensen often uses here voice to blend in with and add harmonies or seasoning to her sax or saxes. Although Ms. Jensen has worked with other note-bending, multiphonic saxists like Tamio or Pitsiokos, she prefers to play without bending her own notes too far out. There is something immensely charming about her approach/sound. Extreme metal producer/engineer, Colin Marsten, does a fine job making her various threads sound like one seamless blend. What makes this disc special or unique is that Ms. Jensen doesnâ€™t sound like anyone else but herself. Ms. Jensen became a mother a couple of years back and I get the feeling that her daughter has inspired her to play in a way that is meant to help us better deal with the world in which we live. This disc is a modest gem which should be heard by those who need some inspiration for better days to come. We certainly need something to help us along the way. - Bruce Lee Gallanter, DMG
CLARINET TRIO [GEBHARD ULMANN / MICHAEL THIEKE / JURGEN KUPKE] plus ALEXEY KRUGLOV - Live in Moscow (Leo 781; UK) Featuring Jurgen Kupke & Michael Thieke on clarinets, Gebhard Ullmann on bass clarinet and Alexey Kruglov on alto sax. One of the best sets of past years Vision Fest (2017) featured a quartet fronted by Steve Swell on trombone and Gebhard Ullman on alto sax & bass clarinet. Mr. Ullmann is quite prolific and has led several bands like Conference Call, Basement Research and this, the Clarinet Trio, who have at four other discs on the Leo label. You should recall the name Michael Thieke from his work with the Magic I.D. and The International Nothing. The guest here is Russian saxist Alexey Kruglov, who has some ten discs out on the Leo label.
Mr. Ullmann composed 6 of the eight pieces here with one by an outside composer and one collective group improv. The Clarinet Trio have been together for nearly 20 years and sound like they have developed their own unique approach. Mr. Ullmannâ€™s writing is strong and spirited, the music is often complex and multi-layered. Often two clarinets will play the themes while the third plays a variety of intense solos. When Russian free/jazz saxist joins them, the trio become a powerful quartet. The strangest sounding piece was written by Hermann Keller and when all four reeds shriek together near the end, it sounds as some dark ritual is taking place. The last piece, â€œNews? No Newsâ€, sounds like it draws from the long history of jazz as the quartet work their way through different sections, swinging o=in one section and then going further out as the piece evolves. This piece is extraordinary and a great way to bring this wonderful disc to a fine close. - Bruce Lee Gallanter, DMG
GEBHARD ULLMANN / OLIVER POTRATZ / ERIC SCHAEFER - Das Kondensat (WhyPlayJazz RS 036; Germany) Featuring Gebhard Ullmann on tenor & soprano saxes, loops & samples, Oliver Potratz on electric bass & analog effects and Eric Schaefer on drums & modular synth. Bassist Oliver Potratz. name seemed unfamiliar to me at first, but it turns out that he was involved on some half dozen discs from the Konnex label. The drummer, Eric Schaefer, also appears on several CD from the Konnex and ACT labels. Besides the ongoing groups that Gebhard Ullmann plays in (Conference Call & the Clarinet Trio), Ullmann often challenges himself by working with varied musicians from different scenes. For this disc, Ullmann has chosen an odd rhythm team in which all three members double on electronic effects or synthesizer. Starting with â€œVariations on a Master Plan #3â€, the trio is driven by throbbing, rocking, somewhat funky groove. Ullmann sounds as if he is playing his tenor through some devices to give it strange yet compelling sound: is that two saxes or are this harmonies electronically altered? The rhythm team break into a sly, dub groove with hypnotic echoplex bathing their sound. â€œDubbing with Guyâ€ has a great, sinuous, fat electric bass line at the center with strong, tight tenor sax and drum interaction going on throughout. This disc is obviously a group effort since there is no lead instrument although the bass is often at the center, providing those great, throbbing lines. The other of these pieces are slowed down and spaced out with select effects on the sax, electric and drums. This disc is not like anything else Iâ€™ve heard from Gebhard Ullmann in the past, it is quite an unexpected delight showing yet another side to a saxist we thought we knew well. Not so. - Bruce Lee Gallanter, DMG
PERE UBU - 20 Years In A Montana Missile Silo (Cherry Red 708; UK) "A three-guitar revision sees Keith MolinÃ©, Gary Siperko and Kristof Hahn (Swans) expand the established orchestra of analog and digital synths (Wheeler, Gagarin), clarinet (Boon), drums (Mehlman) and Thomas' unique vocals. 20 Years In A Montana Missile Silo follows their 2015 release Carnival Of Souls, which was widely praised by the media and used by cult series American Horror Story in Season 4. David Thomas: 'The new album is The James Gang teaming up with Tangerine Dream. The Chinese Whispers methodology we worked on the last two albums has been replaced by the Dark Room. Put musicians in a lightless room and by feeling one small section of an unknown object have them figure what it must be.' The album was recorded and mixed at Suma, Painesville Ohio. Engineer Paul Hamann, and his father before him, have been part of almost every Pere Ubu album since 1976."
THE RESIDENTS - 80 Aching Orphans: 45 Years Of The Residents (Cryptic Corporation 001; USA) "Extended, 4CD anthology set chronicling the career of the legendary San Francisco experimentalists and curated with the band themselves, from the debut 1972 single to the band's most recent album, The Ghost Of Hope. Singles, fan favourites, album highlights, live recordings and material never before available on CD. Detailed track-by-track sleeve notes, new imagery produced exclusively for this collection and an introduction from Homer Flynn of The Cryptic Corporation. 80 tracks across 4 CDs, presented in hardback book package. Includes Santa Dog, Satisfaction, Constantinople, Diskomo, It's a Man's, Man's, Man's World, Hit The Road Jack, Don't Be Cruel, Hello Skinny, Smelly Tongues, Jello Jack, Rushing Like A Banshee, plus material from numerous classic albums. An ideal introduction for the curious, and a fresh perspective for the band's dedicated fan-base. Since 1972, The Residents have produced a remarkable run of singles, classic albums and off-the-wall projects defying categorization. Produced with The Cryptic Corporation, this is The Residents as they've never been heard before. Includes rare recordings, live versions and exclusive extracts and edits, and is packed with photographs and insightful commentary."
4 CD Set $30
MARGINAL CONSORT - 08.09.13 (Ftarri/Meena 992; EEC) A live concert recorded at South London Gallery in London in 2013 from the influential Japanese collective improvisation project Marginal Consort of Kei Shii, Kazuo Imai, Masami Tada and Tomonao Koshikawa, formed around 1975 and since 1997 performing yearly concerts of evolving and continuous electroacoustic improvisation lasting for hours, here in 3 CDs.
3 CD Set $30
ELISABETTA SERIO - Sedici (Via Veneto Jazz 116; Italy) Sensitive, discreet, reflective, Elisabetta Serio instills in her music a double aesthetics alchemy: in her pianism melds, with a measured balance, an elegiac lyricism to a light rhythmic ripple. Sedici ("16"), edited by Via Veneto Jazz, includes in its title a lucky and dear numerology to the Neapolitan pianist. In her new work, Elisabetta gives her listeners a new prospective and with the trio piano formula trial, and proposes nine original tracks in a jazz key led by a suspended, poetic, and dream-like atmosphere in which she does not scorn any referee to neither the "masters", nor the world icons of contemporary music. Elisabetta's compositional liveliness and pianistic lexicon are exalted by the empathetic groove of Marco de Tilla's double bass and Leonardo de Lorenzo's percussive drumming. They are both comfortable with a symbiotic team game which mixes simultaneously, an indirect abstraction and a common feeling of visceral tension. Sarah Jane Morris's voice in the world form of "Afrika", Fulvio SigurtÃ 's trumpet playing a delicate melody in "Il Cielo Sotto Di Me", and Jerry Popolo's tenor saxophone playing in a funky mode "Rumors", enhances the trio chromatic palette. This gives an additional value to the record, which has an enchanting Mediterranean essence and synthesis of the multiple and gratifying experience lived by the leader (above all Mr. P) dedicated to her mentor and friend Pino Daniele.
SIROM - I Can Be A Clay Snapper (Glitterbeat 051; Germany) Hailing from Slovenia, Sirom play vividly textured instrumental folk musics in which handmade global instrumentation meets fearless sound exploration. Samo Kutin and Ana Kravanja first met at the improvisational music workshops conducted by leading Slovenian improviser Tomaz Grom and Japanese improvisational percussionist Seijiro Murayama. Other shared influences include classical minimalism and global musics. The couple eventually formed the kalimba-based duo Najoua, before forming Sirom with Iztok Koren. The band's emergent sound oscillates between a wide array of acoustic folk sounds and contemporary post-rock meditations, often drifting from improvisation to structured composition and then back. The trio describes it as "imaginary folk" or "folk from a parallel universe." According to Kutin, the guiding concepts of their music-making are: "To play on acoustic instruments, to work with repetition and a common sound. Each of us can play a simple thing, but the overall result is that a complex thing comes to life. The quality of sound depends on the combination of the instruments and that's why we modify and prepare instruments or create our own." As an avid sound-seeker, Kutin began to develop an interest in building instruments out of everyday objects like drawers, computer boxes and other "junk" (as he lovingly calls his creations), in addition to re-tooling the ones he brought back from his globetrotting adventures (which have included personal encounters with local musicians in India, Morocco, Mali, Greece, and elsewhere). In the little village of Lesno Brdo, tucked in the rolling hills six miles south of Ljubljana, Kravanja and Kutin organize music performances and festivals on a farm they rent, and divide their time between music-making and vegetable farming. With I Can Be A Clay Snapper, the trio have devised a work of fearlessly textured sonic landscapes both linked to and unbound by the past and present, geography and tradition, the real and imagined. Hypnotic, otherworldly, and epic, Sirom's music moves like the restless waters of their homeland. No matter how hushed or slow it may seem, it is never standing still. Iztok Koren: banjo, three-string banjo, bass drum, percussion, chimes, balafon, objects; Ana Kravanja: violin, viola, ribab, cÃ¼nbÃ¼s, balafon, ngoma drum, mizmar, objects, voice; Samo Kutin: lyre, balafon, one-string bass, frame drums, braÄ, gongoma, mizmar, objects, voice.
ABATWA (THE PYGMY) - Why Did We Stop Growing Tall? (Glitterbeat 049; Germany) The Abatwa ("pygmy") are one of Africa's most endangered peoples. This album, produced by Ian Brennan (Hanoi Masters (GB 021CD/LP), Zomba Prison Project, Tinariwen) -- is a stunning, spirited document of their deep and varied musical culture. The fourth volume in Glitterbeat's Hidden Musics series, it collects rough-hewn, tribal sonics from the Rwandan borderlands, where haunted solo and group singing meets hand-fashioned string instruments and battery-operated loop machines. The textures are strange and abstract but at the same time intimate and joyful.
Notes by producer Ian Brennan: "In a land where men lead each other hand-in-hand, but homophobia runs rampant, we drove off the main road and miles up the ridge to one of the pockets hardest hit by the genocide -- a place where the residents stopped waving back. An area so very isolated, it was as if the genocide had never ended. Topping that, we were traveling this dirt trail with two Tutsis in an area where they had recently been 'hunting Rwandans,' and a sense of discomfort was tangible, as if an invisible line had been crossed and we'd entered ibiwa ('problems'). . . . The Abatwa ("pygmy") tribe is identified as one of the most marginalized, voiceless and endangered populations in Africa. In fact, their name is frequently taken in vain as a generalized slur towards others unrelated to them. Still, many among their group prefer the term to the official, PC mouthful/post-genocidal replacement moniker that they have been straddled with out of clear overcompensation: 'The people who were left behind because of the facts of Rwandan history.' . . . We were lucky enough to experience a 19-year-old female freestyle rapper, Rosine Nyiranshimiyimana, who is grittier than most any gangsta'. And right by her side, stood, Emmanuel Hatungimana, the mohawk-cut traditional music master, along with the husband/wife team that traded in eerie harmonies that nearly make Black Sabbath sound a bit trite. And keeping it in the family, mother and son, Ruth Nyiramfumukoye and Patrick Manishimine struck dueling Umudulis. A featured instrument is the 11-string Icyembe, one that has a resemblance not unlike a surfboard and when turned upright, stands taller than some of its Abatwa players."
MDOU MOCTAR - Sousoume Tamachek (SahelSounds 043; USA) Music for desert picnics. Tuareg guitarist Mdou Moctar delves into his more sensitive side with a minimal studio recording of dreamy ballads. Emotive and introspective, exploring themes of religion, spirituality, and matters of the heart. Songs that are difficult to place, lifted out of half remembered memory for one last time. Mdou Moctar (nÃ© Mahamadou Souleymane) hails from the town of Tchintabaraden, Niger, a tiny village on the edge of the Sahara. Playing in the style of Tuareg guitar made popular in the West by Tinariwen and Bombino, Mdou is one of the few original singer/songwriters willing to experiment and push the boundaries of the genre at home and abroad. In 2012, Mdou relocated from his village to Agadez, the center of Niger's guitar scene, and formed his band. Over the past years, he has become well-known on the international circuit, playing high energy electrified music in festivals and clubs across Europe and North America. In 2013, he released his first international album, Afelan, rocking and raw sessions recorded live in Niger. In 2015, he starred in the first ever Tuareg language film, Akounak Tedalat Taha Tazoughai (SAHEL 028DVD), a Nigerien remake of Purple Rain (1984). In the past years, Tuareg rock music, particularly that of Niger, has gotten faster, with wavering guitar solos, rapid fire drums, and heavy distortion. For Mdou, this was not always the case. Self-taught in a religious region that eschewed the guitar, Mdou was forced to learn music in secret. And when he did begin to play, there were no weddings or festivities. His early oeuvre was developed to play at informal private sessions with his friends. In these "takits" or picnics, Mdou and his friends would pass the lazy days together sitting under a tree, drinking tea, laughing, and singing songs. For Sousoume Tamachek, Mdou revisits this "music for desert picnics", taking his compositions from his youth, and bringing them to the studio. From love ballads ("Nikali Talit"), religious praise ("Ilmouloud"), to life counsel ("Amidini"), the songs are intensely personal, both in content and in structure. Constructed around the guitar, Mdou plays everything on the album in lush layered overdubs, singing both call and response vocals, playing rhythm guitar, and drumming on the calabash. Produced in collaboration with Christopher Kirkley (Sahel Sounds) and long-time associate Jesse Johnson (Boomarm Nation), the light touch pays respect to the origin of these ballads.
Historic and Archival Recordings, Reissues and Restocked Items:
WOODY GUTHRIE - Woody Guthrie: The Tribute Concerts (Bear Family 17329; Germany) "Appearing in Los Angeles were Joan Baez, Jack Elliott, Arlo Guthrie, Odetta, Country Joe McDonald, Richie Havens, Earl Robinson and Pete Seeger. The house band included members of Swampwater and Ry Cooder. Originally released on two LPs In addition, the fabulous 2017 set on Bear Family contains: Twenty never before released tracks! Bonus tracks include interviews with Judy Collins, Jack Elliott, Arlo Guthrie, Country Joe McDonald, Phil Ochs, Tom Paxton, and Pete Seeger. Rare photos and never before seen stills from the Hollywood Bowl show film masters. Essays by Will Kaufman, Wenzel, and Sean Wilentz. Reproduction of the original 1972 TRO Concert Book includes historic and concert photos with music notations and lyrics. When Woody Guthrie died on October 3, 1967, after a stubborn fifteen year bout with Huntington's Disease, a lot of people who had known him, worked with him, or just sung his songs felt a spontaneous desire to do something. A 'Tribute to Woody Guthrie' was planned for two performances at Carnegie Hall on January 20th, 1968. The list of artists joined Woody's own friends and peers with the next generation of songwriters and musicians just coming into their own. Appearing at the January concert were Judy Collins, Bob Dylan (in the first public appearance after his motorcycle accident in 1966 with members of The Band), Jack Elliott, Arlo Guthrie, Richie Havens, Odetta, Tom Paxton, Pete Seeger. Actors Will Geer and Robert Ryan narrated the program. Both performances were sold out an hour after tickets went on sale. Those fortunate enough to attend participated in one of the most exciting and remarkable musical experiences of all time. Two years later, eighteen thousand people attended the west coast Tribute which took place on September 12, 1970, at the Hollywood Bowl."
3 CD 2 Book Set $125
HAROLD LAND With BILL HENDERSON / BUSTER WILLIAMS / MTUME / BILLY HART - A New Shade Of Blue (WeWantSounds 008; UK) Wewantsounds present a reissue of Harold Land's â€˜A New Shade Of Blue\, originally released in 1971. Following the highly-acclaimed release of Feeling Good (WWSCD 005CD/WWSLP 005LP, 2017) and Inner Peace (WWSCD 007CD/ WWSLP 007LP, 2017) compilations, Wewantsounds present the reissue of two superb classic albums as the first releases in their Mainstream Records Original Classics series: A New Shade Of Blue, presented here, and Buddy Terry's 1971 album Awareness (WWSCD 009CD/WWSLP 009LP). Wewantsounds has gone back to the original negative to reconstruct the original artworks and will add many jaw dropping never-seen photo sessions Recorded in 1971, this beautiful Harold Land record produced by Bob Shad, is nothing but a Harold Land-Bobby Hutcherson quintet album in disguise. The quintet recorded a handful of marvelous albums between 1967 and 1971, mainly under the Bobby Hutcherson name on Blue Note, but they recorded one album on Chess and two for Mainstream Records. A New Shade Of Blue, recorded in Los Angeles where the quintet was based, is one of their best albums and has never been reissued outside of Japan. Featuring a superb line up comprising Buster Williams on bass and Billy Hart on drums -- the rhythm section of Herbie Hancock's Mwandishi (1971) sextet -- the session is augmented by Bill Henderson on piano and Fender Rhodes and Mtume on percussion. Together they create a superb soundscape featuring the quintet's trademark sound, both spiritual and serene, with Land's unmistakable sax playing and Bobby Hutcherson's modal touch. The highlight of the album is the long hypnotic track "Mtume", a deep, slow burner displaying the group's fantastic interplay. Includes unissued session photos taken by LA photographer Dick Sanders and new liner notes by radio DJ and renowned record digger, Sam Barbatano (Sunday Jazz, KTRU Houston). CD version includes a bonus track, a beautiful eight-minute outtake "Dark Mood" briefly issued in 1974 on a Mainstream compilation.
BUDDY TERRY With CECIL BRIDGEWATER / STANLEY COWELL / ROLAND PRINCE / BUSTER WILLIAMS / VICTOR GASKIN / MTUME / MICKEY ROKER - Awareness (WeWantSounds 009; UK) Wewantsounds present a reissue of Buddy Terry's Awareness, originally released in 1971. Following the highly-acclaimed release of Feeling Good (WWSCD 005CD/WWSLP 005LP, 2017) and Inner Peace (WWSCD 007CD/ WWSLP 007LP, 2017) compilations, Wewantsounds present the reissue of two superb classic albums as the first releases in their Mainstream Records Original Classics series: Awareness, presented here, and Harold Land's 1971 album A New Shade Of Blue (WWSCD 008CD/WWSLP 008LP). Awareness was Buddy Terry's first album for Mainstream Records, one of the three he recorded for Bob Shad's label. This is pure, undiluted spiritual jazz that is both deep and funky. Prior to the release of Awareness, Terry had recorded a couple of soul jazz albums for Prestige Record, Electric Soul in 1967 and Natural Soul in 1968. Terry then went under-the-radar until the recording of Awareness, an undisputed buried treasure. 1971 saw him picked up by the ever active Bob Shad who had just decided to produce a new crop of young jazzmen in tune with the sonic revolution of the time, think John Coltrane's Eastern influences and Miles Davis's experiments that took from the music Jimi Hendrix and Sly Stone. Awareness is a pure result of this incredible blend of influences, which saw labels like Black Jazz or Strata East transform jazz into a hip and cool genre adorned by the Woodstock generation. Featuring a glittering line-up composed of Strata East co-founder Stanley Cowell on piano and Rhodes, Cecil Bridgewater on trumpet, Buster Williams and Victor Gaskin on bass, Roland Prince on guitar, Mickey Roker on drums, and a young Mtume on percussion. Together they play a superb mix of deep and funky jazz in the best tradition of the genre. Both hypnotic ("Kamili") and funky (check Cowell's signature tune "Abscretions"), Awareness is a pure delight graced by Shad's tight production values. It will ravish all lovers of early '70s spiritual jazz. Buddy Terry recorded another two great albums for Mainstream Records and played on Art Blakey's superb Child's Dance (1972), gracing the record with his wonderful soprano sax playing. Awareness proves that Buddy Terry is a great player worth (re)discovering. Includes never-before-seen session photos by Raymond Ross and new liner notes by French journalist Jacques Denis (Liberation, Superfly). CD version includes two bonus tracks, single versions of "Babylon" and "Stealin' Gold".
MOTHER EARTH - Live In New York 1971 (Air Cuts 8037; UK) Mother Earth, live at A&R Studios in New York on June 23rd, 1971. By 1971, Mother Earth were based in Nashville, but touring widely. In support of their newly released Bring Me Home album (1971), on June 23, they played a special radio concert at A&R Studios for broadcast on New York's WPLJ-FM. Fronted by Tracy Nelson's impassioned vocals, the set superbly captures the band's blend of R&B, gospel, folk, and rock. The entire WPLJ-FM broadcast is presented here, professionally re-mastered, together with background notes and images.
ASH RA TEMPEL EXPERIENCE With MANUEL GOTTSCHING / OREN AMBARCHI / ARIEL PINK - Live In Melbourne (Mg.Art 502; Germany) 2015 live recording from the Supersense Festival in Melbourne, previously unreleased, featuring a supergroup of Manuel GÃ¶ttsching, Ariel Pink, Oren Ambarchi, and Shags Chamberlain playing material from classic Ash Ra Tempel releases, 1972's Schwingungen (MGART 112CD) and 1973's Seven Up (MGART 113CD). Taken from GÃ¶ttsching on the release: "Out of the blue -- I was invited to perform in Melbourne, Australia. It happened thanks to my dear old friend Mick Glossop, who made the suggestion to Sophia Brous, at the time the curator of a music-festival called 'Supersense' at the Melbourne Arts Centre in summer 2015. In addition to the solo performance I'd planned, Sophia proposed an additional collaboration or session performances with some of the other participating musicians. I had never been very happy in performing 'public sessions'. I've always tried to first look for a conceptual approach, and my wife, Ilona J. Ziok, came up with the idea of performing some Ash Ra Tempel classics. That's when the idea for an 'Experience' was born. I decided that pieces from the second and third Ash Ra Tempel albums Schwingungen and Seven Up would be most appropriate for a group performance with Ariel Pink, Shags Chamberlain, and Oren Ambarchi. We conversed by email, and much to my surprise, they all claimed to be very familiar with this music. . . . We finally met in Melbourne for a relaxed afternoon rehearsal, just two days before the actual concert performance took place. After a technical set-up we went straight into 'Look At Your Sun' and it was as if we had performed it only yesterday. It continued like that with the other tracks. For the first part of Schwingungen I decided for a little variation, so that all four of us were standing around the vibraphone at the beginning, playing it with four/eight hands -- like an imaginary 'Music for Four Musicians' (a bit reminiscent of the early works of Steve Reich). . . . In return, it was only natural to ask Mick Glossop to make a mix of our concert recording, and quite happily he agreed. He has put together a wonderful and subtle mix, perfectly representing the atmosphere of the concert." Includes liner notes by Mick Glossop and Manuel GÃ¶ttsching and photographs of the rehearsal and live performance. CD version comes with an eight-page booklet.
KLAUS SCHULZE - Eternal (Made in Germany 1972; Germany) "CD 1 contains a complete previously unreleased album, recorded by Klaus around year 2006/2007. On CD 2 we find with the 3 tracks 'Schrittmacher', 'Ion/Andromeda' and 'Andromeda-The Grand Trance' titles written by Klaus for keyboard manufacturers and shared in very small amounts (300 pcs.) on music fairs. The theme 'Andromeda' was released in a different, tight reduced version (Constellation Andromeda 23:52) as bonus track on the album Dreams. Here you find it in its whole magnificence and hypnotic creed in full length ('Ion/Andromeda' and 'Andromeda-The Grand Trance'). The liner notes were written by no one else but Ecki Stieg (Grenzwellen) and you can read it in the extensive booklet."
2 CD Set $25
HORACE ANDY - Pure Ranking (Abraham 112; Canada) Reissue of this 1979 album, mixed at King Tubby's Studio. Personnel: Robbie Shakespeare - bass; Carlton Davis - drums; Touter - organ; Tony Chin - guitar; Horace Andy - guitar. Tracks: "Pure Ranking," "I've Been Around," "What Eyes Don't See," "African Liberation," "Jah Gift To Man," "Modern Babylon," "Totally Free," "Change Your Ways," "No Love In The City," "Jah Is The One," "Natural Mystic" and "Strictly Ranking (Ghetto Style)."
KEZIAH JONES - Rhythm Is Love (Because Music BEC 5543058; France) Because Music present a reissue of Keziah Jones's Rhythm Is Love, a "best of" compilation released in 2004. Keziah Jones (born Olufemi Sanyaolu on January 10th, 1968) is a Nigerian singer-songwriter and guitarist. He describes his musical style as "Blufunk" which is a fusion between raw blues elements and hard, edgy funk rhythms. Also, his Nigerian roots in Yoruba music and soul music can be considered a major influence on his sound. He is known for his distinctive style of guitar playing, including his percussive right-hand technique which is similar to a bass guitarist's slapping technique. His music blends sounds and influences from many sources, including Fela Kuti, Miles Davis, and Jimi Hendrix. Includes three bonus tracks. Includes 12-page booklet.
Bruce Lee Gallanterâ€™s Recommended Gig List for October of 2017
JOHN ZORN: Bagatelles Marathon
October 6 & 7 at 7:30 pm
EACH ENSEMBLE WILL PLAY APPROXIMATELY 15 MINUTES
MUSIC WILL START AT 7:30 SHARP AND WILL LAST UNTIL ABOUT 10PM
THERE WILL BE NO INTERMISSION
Friday October 6th, 2017
john zorn sax
dave douglas trumpet
greg cohen bass
calvin weston drums
dave lombardo Â drums
PETER EVANS SOLO
peter evans trumpetÂ
MARY HALVORSON QUARTET (This QT will have a Book of Angels CD out later this month)
mary halvorson guitar Â Â
miles okazaki guitar Â Â
drew gress Â bass Â
tomas fujiwara drums
SYLVIE COURVOISIER AND MARK FELDMAN
mark feldman violin
sylvie courvoisier piano
will greene guitar
simon hanes bass
aaron edgcomb drums
MATT MITCHELL TRIO Â Â
matt mitchell piano Â Â
kim cass bass Â Â
dan weiss drums Â
ERIK FRIEDLANDER-JAY CAMPBELL DUO
erik friedlander cello
jay campbell cello
CHRIS SPEED TRIO
chris speed sax Â Â
chris tordini bass Â Â
dave king drums Â
VADIM NESELOFSKYI SOLOÂ
vadim neselovskyi piano Â
JIM BLACK GUITAR QUARTET Â
keisuke matsuno guitar
jonathan goldberger guitarÂ
simon jermyn electric bassÂ
jim black drums
Saturday October 7th, 2017
john zorn sax
dave douglas trumpet
greg cohen bass
calvin weston drums
dave lombardo Â drums
BRIAN MARSELLA TRIO
brian marsella piano
trevor dunn bass
tyshawn sorey drums
CHRIS OTTOâ€”MARK FELDMAN
mark feldman violin
chris otto violin
MATT HOLLENBERG -NICK MILLEVOI
matt hollenberg Â guitarÂ
nick millevoi guitar
johnny deblase bass
kenny grohowski Â drums
ikue mori electronics
kris davis piano
mary halvorson guitar
drew gress Â bass
tyshawn sorey drums
GYAN RILEY AND JULIAN LAGE
gyan riley guitar
julian lage guitar
HARRIS EISENSTADT TRIO Â Â
chris dingman vibes Â Â
trevor dunn bass Â Â
harris eisenstadt drums Â
CRAIG TABORN SOLOÂ
craig taborn piano
marc ribot guitar
trevor dunn Â bass
tyshawn sorey drums
Discount Tickets for both nights: $20 per night
This is the discount code: FB20
THE STONE RESIDENCIES - PETER EVANS - OCT 3â€“8
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!
THE STONE RESIDENCIES - BEN GOLDBERG - OCT 10â€“15
8:30 pm - Orphic Machine - Ben Goldberg (clarinet) Carla Kihlstedt (violin) Ches Smith, Kenny Wollesen (vibes) Myra Melford (piano) Ron Miles (trumpet) Nate Radley (guitar), Trevor Dunn (bass)
8:30 pm - The Out Louds Eskelin / Crump - Tomas Fujiwara (drums) Ben Goldberg (clarinet) Mary Halvorson (guitar) Ellery Eskelin (sax) Stephan Crump (bass)
8:30 pm - Ben Goldberg (clarinet) Tim Berne (sax) Mike Formanek (bass) & Kenny Wollesen (drums)
THE STONE AT THE NEW SCHOOLâ€”55 WEST 13TH STREET
STEVEN BERNSTEIN - FRIDAY AND SATURDAY NIGHTS OCTOBER 13â€“14 AT 8:30PM
FRIDAY OCT 13â€” Sexmob: Briggan Krauss (sax) Tony Scherr (bass) Kenny Wollesen (drums) Steven Bernstein (trumpet)
SATRUDAY OCT 14â€”Oct 14 Steven Bernsteinâ€™s Millennial Territory Orchestra: Doug Wieselman (reeds) Peter Apfelbaum (reeds) Erik Lawrence (reeds) Charlie Burnham (violin) Curtis Fowlkes (trombone) Ben Allison (bass) Kenny Wollesen (drums) Steve Bernstein (trumpet)
8:30 pm - MATMOS Nels Cline & Ben Goldberg - Ben Goldberg (clarinet) Nels Cline (guitar) Drew Daniel, Martin Schmidt (electronics)
8:30 pm - Invisible Guy with Eli Crews - Ben Goldberg (clarinet) Michael Coleman (keyboards) Hamir Atwal (drums) Eli Crews (live electronics)
Ben Goldberg Trio
Ben Goldberg (clarinet) Kris Davis (piano) Billy Mintz (drums)
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 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
Tues Oct 10
8:00PM MARKO CHURNCHETZ "RUTHENIA" QUARTET - Marko Churnchetz, piano; Tom Guarna, guitar; Myles Sloniker, bass; Rudy Royston, drums
9:30PM IGOR LUMPERT HANZAPLAST TRIO - Igor Lumpert, tenor sax, accordion; Masa Kamaguchi, bass; Tom Rainey, drums
Wednesday Oct 11
8:01PM MEINHART/ALTURA/LADIN/TATE/ARRUDA - Tobias Meinhart, tenor sax; Charles Altura, guitar; Eden Ladin, piano; John Tate, bass; Adam Arruda, drums
Thurs Oct 12th
8:01PM JAZZ SAMARITAN ALLIANCE - Nadje Noordhuis, trumpet; Kris Allen, alto sax; Chris Dingman, vibraphone; Noah Baerman, piano; Ike Sturm, bass
Jazz Samaritan Alliance image
Friday Oct 13
6:00PM 4 HORSEMEN OPEN MIC POETRY - Robert Gibbons; Mindy Matijasevic; George Wallace; Ron Kolm, Eve Packer; Evie Ivy, Hillary Keel; Ronnie Norpel; Demetrius Daniel; Francine Witte, Linda Lerner; Bob Heman; David Elsasser
8:35PM PAUL JONES SEXTET, CD RELEASE: CLEAN - Paul Jones, tenor sax, comp.; Alex LoRe, alto sax; Matt Davis, guitar; Sullivan Fortner, piano; Desmond White, bass; Jake Robinson, drums
Saturday Oct 14
8:35PM GILAD HEKSELMAN & PETER BERNSTEIN DUO - Gilad Hekselman, guitar; Peter Bernstein, guitar; Colin Stranahan, drums
Sunday Oct 15
6:00PM FLUTE & GUITAR MUSIC - Kenji Haba, guitar; Melanie Chirignan, flute
8:01PM NEW BRAZILIAN PERSPECTIVES: FLAVIO SILVA QUARTET FEATURING SEAMUS BLAKE - Flavio Silva, guitar, comp.; Seamus Blake, tenor sax; Alex Apolo Ayala, bass; Kush Abadey, drums
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:
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
7pm: LUDOVIC - Steven Frieder - Tenor Saxophone, EWI
Chris Talio - Electric Bass, Effects
Coleman Bartels - Drums
9:30p - JMR Quartet Plays ShapeShifter Lab
John Maurice Restrepo Quartet featuring:
John Maurice Restrepo on Tenor Saxophone
Vincent Loccisano on Piano
James Robbins on Bass
Chris Covais on Drums
8:15p - Beholder - electro-acoustic improvisation
Dan DeChellis - piano
JP Tomasic - guitar, loops
Zack Martin - drums, electronics
7 PM: Marko Djordjevic & Sveti
8:15 PM: Justin Mullens group
9:30p - David Acevedo's eyehear
David Acevedo - Trumpet
Joseph Freund - Guitar
Sean Kim - Keyboard
Conner Duke - Electric Bass
Daniel Mesko - Drums
7pm: BOKCO MASS
New Voices & Interactive Arts
Malcolm J. Merriweather, Choral Director;
David Grubbs and Helen Richardson, PIMA Co-Directors
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
An evening of jazz with
LOUIE BELOGENIS & SHANIR EZRA BLUMENKRANZ
FridayÂ October 13thÂ - 8pm
33 Bleecker St
New York,Â NYÂ 10012