THE FIMAV blues by BLG!
I drove up by myself, a long ten hour drive and attended the fest in Victoriaville, which was then in October (beginning of the winter) for around 25 concerts over five days. It was mostly progressive bands, avant jazz and European musicians who rarely come to New York. I had a blast and made friends with a few of the locals as well as attendees from Vancouver, Florida, South Carolina, California and elsewhere. After attending, I told a number of my friends about it and have gone back every year that I could ever since. Starting year two, I brought along friends like Len S, Jason R, Manny Lunch, Andrey & Lawrence, Jon D, Andrew S and many more through the many years. Thanks to FIMAV, I've been introduced to Canadian musicians (Rene Lussier, Jean Derome, Joan Hetu...) as well as musicians and bands from around the world that might not have had the opportunity to ever check out. I've attended around 35 FIMAV Fests over nearly 40 years which means around 700 concerts!?! Imagine that!?! The festival switched to May sometime in the nineties and took a year off and has slimmed down to four days instead of five over the past few years. Michel Levasseur is the longtime founder and curator for the fest and we've become good friends over time. FIMAV took a year off during the pandemic and then had a fest for only Canadian bands and attendees in 2021. Myself and my good friends Bob K, Bill F, Paul K and Darren B, were so glad to attend the fest after the pandemic. Although much of the music is often challenging and rewarding to listen to, it is not just the music that we enjoy. It is a social occasion since we meet with other serious listeners from around the world, have meals together and enjoy each other's company. For many years we stayed at the Colibri which is now called the Victorin, which is also where the bands stay so we get to hang out with many of our music heroes. A couple of years ago, founder Michel Levasseur stepped down as the program director and his place was taken by Scott Thomson, a fine trombone player, originally from Toronto. I've been friendly with Scott over the years and believe he will do a great job of programming future Victo Fests, like he did for last year's fest. This year, however, the fest has had a number of problems like losing much of their staff. This year's fest is just two concerts this Saturday, Sleepytime Gorilla Museum and the Fire! Orchestra, 2 bands I really dig and have caught several times in the past. My usual crew of 4 or 5 of us has decided not to attend plus I didn't want to make the long trip by myself so I am deeply saddened by not attending. Oye! Victo was/is the one vacation I take every year no matter what is going on in my life or on this troubled planet. There are still various installations around the town as well as films to view which always makes FIMAV a most rewarding experience. I am missing attending quite a bit and this has been a difficult week for me due to health issues (a week-long virus with lots of aches & pains), concerns for the political situation in the US and elsewhere. Rob Thomson assured me that Victo/FIMAV will be back next year with a full & exciting schedule. I will count the days until then. Perhaps I will return to the Guelph Jazz fest in Ontario this September since I have friends there as well and have always enjoyed that fest in the past. I want to send my Love, support and positive energy to Michel, Rob, Joanne, all of the musicians and attendees who are there this year. I am there in spirit and will return to the fair town of Victoriaville next year. - Bruce Lee Gallanter, DMG
PS. I will be sending out a Victo sale CD list on Sunday or Monday, 50 fabulous titles for $10 each so get ready!
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WANTED: Room, Roommate, or Sublet.
Our steadfast employee John Mori is urgently looking for a new living space within NYC and its surrounding boroughs. He has worked here for a number of years and is a true "mensch"..super reliable. Any and all inquiries, insights and help are greatly appreciated. Feel free to contact John directly at johnjmori33@gmail.com. Thank you.
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THE DMG 34th ANNIVERSARY IN-STORE CONCERT CELEBRATION CONTINUES with:
Tuesday, May 20th:
6:30: PATRICK GOLDEN - Drums / JIM CLOUSE - Tenor & Soprano Saxes / ADAM LANE - Contrabass
7:30: MICHAEL EATON TRIO: MAX KUTNER - Guitar / MICHAEL EATON - Soprano Sax / NICK NEUBERG - Drums
8:30: JP CARLETTI BIGGISH: YONI KRETZMER - Tenor Sax / KENNY WARREN - Trumpet / RICK PARKER - Trombone / CHRISTOF KNOCHE - Bass Clarinet / PETER BITENC - Bass / JUAN PABLO CARLETTI - Percussion
Tuesday, May 27th: RELATIVE PITCH RECORDS: 6:30 - three 30 minute sets
1st Set: CHUCK ROTH - Guitar / ROBBIE LEE - Reeds & Assorted Oddities
2nd Set: MAGGIE COX - Bass / ROBBIE LEE
3rd Set: CHUCK ROTH / MAGGIE COX / ROBBIE LEE
Sunday, June 1st:
6:30: SCRT: ANDY HAAS - Sax & Effects / DAVID GROLLMAN - Percussion, Balloon, Vocal / SABRINA SALAMONE - Violin
7:30: RYAN SIEGEL - Solo Alto Sax
8:30: RICHARD BONNET - Guitar
VISION FEST - June 2nd - June 7th - no in-store sets that week
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THIS WEEK'S SONIC GEMS BEGIN WITH:
HENRY KAISER & TUNGU with MIA ZABELKA - Night Lamp (Shrike Records SRL023; UK) Featuring Henry Kaiser on guitar, Tungu (a/k/a Sergiy Senchuk) on voice, field recordings & samples and Mia Zabelka on electric violin & electronics (on one track). Former Bay area-based guitarist Henry Kaiser often keeps busy making records with a wide variety of musicians from around the planet, releasing a new record every month or two. Mr. Kaiser keeps even busier making long themed videos for YouTube and Cuneiform records, reaching out to musicians from different places, collaborating and connecting through the internet. I especially like when Mr. Kaiser explores a certain theme about a musician, composer, music style, artist, author, filmmaker.. who has inspired him. I hadn't heard of Ukrainian experimental musician/composer Tungu before we received two discs of his from earlier this year (2025), a trio with Mia Zabelka and a series of duos with a dozen plus other musicians like Sainko, Susan Alcorn & Jaap Blonk. I imagine that Mr. Kaiser and Tungu met and collaborated through the internet.
This disc begins with the title track, "Night Lamp". It sounds like Mr. Kaiser is playing acoustic guitar in his own distinctive way when the piece begins with Tungu adding odd, electronic-sounding samples and subtle drones. The samples slowly change from piano sounds to muffled electronics, wind sounds, slowly evolving the textures change. Derek Bailey was an early influence and later a longtime collaborator with Mr. Kaiser, hence this is who Kaiser sounds like at times when he mutes certain notes. Kaiser also draws from a wide variety of styles or genres and is a master of manipulation, altering his tone from piece to piece. Although Tungu does seem to have a few of his own distinctive sounds/samples, he often slowly manipulates certain sounds to enhance the sound of what Kaiser is playing on his guitar. There is an ongoing sense of calm going on throughout this disc. It sounds like no one is a hurray to go anywhere, so this disc unfolds slowly. My favorite piece is called "The Optimistic Fingle", which has a theme or repeating line which throbs softly throughout with some lovely melodic fragments floating through. On "Of Bodies and Cities", Kaiser adds a few layers of psych sustain, something that us old psych fans still feel is a part of our collective sixties web. The vibe which flows throughout this entire disc has a way of calming down my nerves which are a bit frayed due to feeling achy, the seasons changing and the daily news/blues. I often find that when I spend time listening closely to creative music, it does inspire me, feeling better about things that occasionally dwell upon. - Bruce Lee Gallanter, DMG`
CD $16 [We’ve only got 10 copies & we might not get any more so…?!?]
* FIRE! ORCHESTRA with JOE McPHEE / MATS GUSTAFSSON / JOHAN BERTHLING / ANDREAS WERLIIN / et al - Echoes (Rune Grammofon RCD 2231CD; Norway) Now in its 14th year, the unique and constantly evolving Fire! Orchestra is back with their largest line-up so far, counting an international cast of no less than 43 members that includes mainstay singer Mariam Wallentin as well as newcomers David Sandström and Joe McPhee, both on vocals, McPhee also on tenor sax. The popular and widely praised Arrival (RCD 2205CD/RLP 3205LP, 2019) is a highlight in both our and the band's catalog, but this epic triple album ups the ante. While following in the great tradition of ensembles led by the likes of Carla Bley, George Russell, and Keith Tippett, Echoes is firmly placed in 2022 and takes in elements of rock, jazz, folk, electronic, classical, and contemporary music. Starting out with the working title Big Bang, the near two-hour piece had its concert premiere at Stockholm Jazz Festival in October 2022 to rapturous applause from a full house, with major national newspaper Dagens Nyheter calling it a feast for eyes and ears in their ecstatic review. The core elements of Echoes are the seven self-titled parts, each mostly over ten minutes in duration, interspersed with shorter pieces where you find a string quartet, an "African" stretch and generally music of an exploratory and experimental nature. Considering the size of the orchestra and the somewhat intimidating working title, this is a very open, breathing, organic, detailed and dynamic recording with a lot of space. As previously, a defining base element in the music is the repetitive and hypnotic grooves from the main rhythm section of bassist Johan Berthling and drummer Andreas Werliin. Needless to say, the hand-picked musicians are all on a very high level and on top of their game, conducted by Mats Gustafsson but given free reign when it's called for. And Jim O'Rourke was given free reign when it came to the selections and the mix and is a big part in how the final album turned out. The album closes with a vigorous tribute from Joe McPhee to one of the late, great masters, McPhee being a pretty decent finger wiggler himself, to say the least. Echoes was mostly written by Fire! founders Mats Gustafsson, Johan Berthling, and Andreas Werliin and recorded at the legendary Atlantis studio in Stockholm in March of 2022. It was mixed by Jim O'Rourke in Japan in the course of two autumn months. The mastering and vinyl cut was done by loop-o mastering in Berlin, making for a fantastic sounding album, especially the vinyl edition is a real treat.
2 CD Set $18
* The Fire! Orchestra is playing at the FIMAV/Victo Fest this coming Saturday and I wish I was there!
COSMIC EAR with MATS GUSTAFSSON / CHRISTER BOTHEN / GORAN KAJFE / KANSAN ZETTERBERG / JUAN ROMERO - Traces (We Jazz WJ 076CD; Finland) Cosmic Ear is a new group bringing together Christer Bothén, Mats Gustafsson, Goran Kajfe, Kansan Zetterberg and Juan Romero. Their debut album Traces is presented by We Jazz Records, including six deep cuts. Traces is an album that sees Cosmic Ear tracking down the "traces" of the legendary Don Cherry's legacy while paving their own way in contemporary creative music expression. Christer Bothén, a collaborator with Don Cherry during his Swedish period in the 1970s, brings depth to the history of the band, while his bandmates each belong at the top of the game in Scandinavian jazz. Their music is meditative and deep, much recommended for fans of the likes of Don Cherry, Alice Coltrane, and Pharoah. That being said, listeners should approach Cosmic Ear only with openness and curiosity, without set stylistic boundaries, as it's the group's natural flow and togetherness that brings their music into a fresh territory of their own. As John Corbett writes in his liner notes: "The Cosmic Ear. Five souls, sometimes six, on the same road. The pied piper path of Mr. Cherry. Christer Bothén, one of Cherry's main collaborators in his Swedish period and one of the most beautiful bass clarinetists on planet earth, together with next-gen saxophonist Mats Gustafsson, who has carried so many torches in Cherry's procession, and younger Swedish stars trumpeter Goran Kajfes, bassist Kansan Zetterberg, and percussionist Juan Romero. Together a tempo is set, a path is charted. There are global grooves. A berimbau, a karignan (metal scraper from Guinea), donso n'goni. There are ET grooves. Synth, live-electronics, slide flute. The globe is a glove, a hand warmer that radiates with extraterrestrial power, returning the fingers to their place at the center of the galaxy; the Cherry path is a balm that restores essential moisture to the lips that blow life back into the megacosm. Let us all praise warm fingers and moist mouths." Featuring an insert with liner notes by John Corbett.
CD $17 / LP $30 [In stock next week]
SOPHIE AGNEL / JOHN EDWARDS / STEVE NOBLE - Three on a Match (Otoroku 038; UK) Sophie Agnel plays the whole piano. Its body matters as much as its strings. The keyboard's lid is just as good closed as it is open -- in fact it's best slammed open and closed rapidly. Joined by bassist John Edwards and drummer Steve Noble, Three on a Match explodes the piano trio -- each player sparking off the other so quickly that it's impossible to figure out who lit the flame. Recorded at OTO in 2023, this was the second two-night residency for a trio that has fast become one of the label's favorite improvising groups. Each individually brilliant, Agnel, Edwards and Noble's enduring connection is in their seriously playful approach to their instrument -- in their way of looking at it as a whole and then tearing it apart, breaking it down into its raw materials -- wood, brass, steel. Born in Paris in the '60s, Agnel is classically trained and had a turn in modern jazz. What frustrated her was the strange disconnect between the frame of the piano and its keyboard -- a weird boundary that seemed to form some hushed code of etiquette. If you see Agnel play now, the body of her piano is littered with fish tins, ping pong balls, wooden blocks -- not that you'd recognize their sounds. Steve Noble surrounds his drum kit with whistles, tubes and towels alongside gleaming brass cymbals and gongs. Their stage is a heady mix of high and low -- the grand piano and the gong alongside rubber balls and tiny bells; players half stood up, reaching in, bending toward -- relentlessly working their instrument to unburden its sound from genre. Free improvisation is always a leap of faith, a test of commitment, and these three players are completely unafraid. The music switches deftly from super taut string manipulation to extremely loud percussive collisions. The trio can play microscopic mutations on a bass note and then scale up on the turn of a pin to plunge into huge, black chords and ricocheting sonority -- dissolving the boundary between body and sound. The crescendo of Part Two is shaped by such cumulative repetition that it feels like a confrontation -- a controlled test for breaking point. It's a totally exhilarating, skittering reprise -- short and energetic -- delivered with the kind of grounded abandon you hope to see improvisers play with but rarely do.
CD $17 [In stock next week]
GIOVANNI MAIER / ALEXANDER HAWKINS - Two for Keith (Long Song Records 164/2025) Featuring Giovanni Maier on contrabass and Alexander Hawkins on piano. Considering that there are some two to three dozen different jazz/creative music labels in Italy, I am especially drawn to the Long Song label which is run by Fabrizio Perissinotto, someone I most admire since he seems to put a good deal of thought into each of his releases. Fabrizio was recently in town to attend a concert by the (Allman) Brothers tribute band (with many ex-members) at MSG, since the only remaining original member is Jaimoe Johanson, who has his band he co-leads with local bass great Joe Fonda. The band is called the J. & F. Band and they have four disc out on Long Song, each one most impressive. Fabrizio records, believes in and promotes this band and they are indeed a great one!
This disc features a formidable duo with Italian contrabassist Giovanni Maier and British pianist Alexander Hawkins. Both of these players are gifted musicians with long resumes and dozens of fine sessions. I know bassist Giovanni Maier from dozens of diss he's done with the Italian Instabile Orchestra, Nexus, Daniele D'Agaro and a rare duo CD with Keith Tippett from 2015. Although a bit younger than Mr. Maier, Alexander Hawkins also can be heard on dozens of discs with a variety of musicians: Decoy, Louis Moholo, Evan Parker and several ensembles of his own. This disc is dedicated to the late, legendary British pianist Keith Tippett, myself & Manny Lunch's all-time favorite pianist.
Consider this: Giovanni Maier recorded a duo disc with Keith Tippett in 2013 which I recall to be pretty amazing. Alexander Hawkins has worked with South African drummer Louis Moholo in a duo as well as several groups. Mr. Moholo was Keith Tippett's drummer of choice, both working with each other over many years and both members of the Dedication Orchestra. Hence, there is a deep connection here. The thing about Mr. Tippett that I've always dug is that his playing has a deeply spiritual quality, it is as if he is reaching deep inside to explore certain spirits we all feel. The playing and balance here is something else, a righteous combination of collective spirits. Things begin quietly, tentatively on "Basilikerks". Mr. Tippett also had a certain throttling intensity in the way he struck certain notes, certain chords. On "The Dialogue of Megaphoggs", we can hear those lightning-like eruptive fractures when the piece begins. On "The Very Water", Hawkins plays light waves at the high end of the piano with the pedal held down for sustain and suspense. This gives the piece a rather dream-like quality which is another of Tippett's unique approaches. By the time we get to "Oystrygod's Walk", Hawkins increases the tempo to a furious level, an astonishing quality that often blew audiences away when they were lucky to catch Keith Tippett in concert. Mr. Maier's probing contrabass is at the center of "Whatiff", tapping on the strings at times, providing strong counterpoint to Hawkins' own embellishments. Each piece here casts its own spell, from explosive to stark and in between. Both musicians are equal partners here as they work together as one united force, sending ideas back and forth effortlessly. "Saturnights' Dance" has a theme which reminds me of something that Sun Ra might compose, a spaced out blues of sorts. Maier's stunning bowed bass is featured on "Oboboes", bowing up a powerful storm. Each piece here is strong, focused, deeply heartfelt and endlessly inventive. A testimony to the courageous spirit of Keith Tippett and these two fine musicians: Giovanni Maier and Alexander Hawkins. - Bruce Lee Gallanter, DMG
CD $14
FUNG CHERN HWEI'S FUNGAL BLOOM with SHAWN LOVATO / COLIN HINTON - "Free Fall" (Bonefort Records; USA) Featuring Fung Chern Hwei on violin, viola & baby violin, Shawn Lovato on contrabass and Colin Hinton on drums & percussion. I've gotten to know Malaysian violinist Fung Chern Hwei over the past few years, after hearing him at the store as well as on record with the Sirius String Quartet, Michael Bates' Acrobat and Seven)Suns. I reviewed a recent disc by the Sirius String Quartet in last week's newsletter (5/9/25) and was knocked out by it. I do know of bassist Shawn Lovato from his work on the Skirl label and drummer Colin Hinton I know from working with Elijah Shiffer and Anna Webber. Drummer Colin Hinton has played here at DMG on several occasions so I know I dig his playing. His sly mallet-work opens this disc, which is quite sparse and suspense-filled when it begins. Mr. Hwei's playing has a slightly bent, a bit forlorn sound on this piece and the rhythm team backs him just right matching whatever he does with zest and inventiveness. This is a powerful, intense, sprawling trio that keeps moving in big waves. "Does It Matter?" is more laid back, somewhat bittersweet in sound. One of the things I like most about this disc is that the violinist and drummer are completely hooked up and consistently move together as one focused force. Bassist Lovato is featured on "Yellow Cow", tapping on and slowly plucking notes on his bass while Hwei plays a sad, haunting melody, while the piece builds in tempo, power and to a freely exciting crescendo. The title track, "Free Fall" has a free, intense fractured line which keeps escalating higher and higher as Hwei takes an explosive solo. Lovato also takes an inspired bass solo right after Hwei reaches his heights. Fung plays on a baby violin for "Headless Chicken" which has an odd, more compressed sound. "Almost a Ballad" is rather ballad-like, laid back, bluesy, a bit sad, not unlike the way I feel now after several days of aches and pains and rather cold, overcast weather. I need some sunshine and warmth. I dig this trio since they sound like they are reaching deep inside and exploring some sounds/music that many of can relate to as sensitive beings. The last piece is called "We Raise Our Cups" and I will drink to that, probably just some pure bottled water. This piece is free and focused and exciting at the same timer! More than a most modest gem by all means. - Bruce Lee Gallanter, DMG
CD $14
HYPERCUBE with ERIN ROGERS / JAY SORCE / ANDREA LODGE / CHRIS GRAHAM // LOUIS ANDRIESSEN / MICHAEL FIDAY - the force for good (Neuma Records; USA) Hypercube features Erin Rogers on tenor sax, Jay Sorce on electric guitar, Andrea Lodge on piano and Chris Graham on percussion. This is the second disc from Hypercube, a New Music quartet from New York with a fine earlier disc out on New Focus from 2020. Hypercube performs two pieces here, one by Louis Andriessen and one by Michael Fiday. I am a longtime fan of Dutch composer Louis Andriessen, having collected more than a dozen of his 50plus releases. I once heard him play in a duo with experimental vocalist Greetje Bijma at Carnegie Recital Hall. Mr. Andrissen's piece here is called "Hout" and it was composed in 1991. The instrumentation for this work, tenor sax, electric guitar, piano and percussion, is what brought this quarter together for a performance in 2014. It was performed a dozen times while on tour and it sounds like it is a perfect vehicle for this quartet. Although the main melody or theme is played in unison lines, there is quite a bit more going on as it unfolds. Some of the repeating patterns sound like digital delay but that is not what is being deployed here. There is a nervous sort of energy going on here that is unsettling and fascinating. Although certain lines or phrases are repeated, the patterns keep changing direction. I only know of American composer Michael Fiday from one release of his on the Innova label from 2009. He composed "The Force For Good" for Hypercube in 2020, during the pandemic. The title of the piece is taken from a quote by jazz sax legend John Coltrane who said that he wanted his music to be a force for good. The piece itself is based on variations from one of Trane's most famous and influential songs, "Giant Steps". It begins with a "series of expanding rhythmic patterns played inside the piano, a modified version of Coltrane's chord progressions. Composer Michael Fiday actually studied with Louis Andriessen and informs us that there are references to "Hout" found at several points throughout this piece. The piece begins with ritualistic low-end percussion, utilizing marimba or vibes and also played inside the piano. This piece is played more slowly than the first piece and it is calm at the center. This piece is in several sections which are divided by short silences. The second section has a more restrained and dream-like sound. The third section sounds like a thoughtful prog band playing alternating minimalist pieces. I will have to listen to this piece a few times to hear how these sections connect. Overall, I remained impressed by Hypercube and the composers that they've chosen to perform. - Bruce Lee Gallanter, DMGß
CD $14
PAUL FLAHERTY - a willing passenger (Relative Pitch RPR 1196; USA) Featuring Paul Flaherty on solo alto and tenor saxes. Recorded in a studio in October and November of 2021. There are a number of legendary/notorious Free/Jazz saxists from around the world who rarely get the recognition they well deserve outside of a handful of local friends and free/jazz freaks, most of whom I've encountered over the years. For myself and handful of other sax freaks, we worship at the Church of Tamio, Wally Shoup, Jack Wright, Jim Sauter & Don Dietrich (of Borbetomagus), Paul Flaherty and others who are not afraid to push beyond the boundaries of free exploration to the other side of... Is this Music?!?! I've been a big fan of Conn-born Paul Flaherty for many years, having heard him live more than a half-dozen times. I still collect his more than 60 discs no matter who he is playing with and try not to miss him when he comes to town on rare occasions. Flaherty has recorded quite a bit of duos, trios, quartets and sextets, but his solo efforts are rather rare, this is the fifth one as far as I can tell. From reading the liner notes here by Flaherty himself, it turns out that he played quite a number of solo sets in his early days when he was still drinking liquor and smoking weed. He just had to find the right people to play with. Right from the gitgo, it sounds like Flaherty is playing for himself, taking his time, concentrating on certain notes and even playing mellow at times, slowly building in intensity and abandon. If I didn't know better, I would've thought Flaherty has mellowed a bit but this is just the way he begins his pieces, ascending higher as he goes. What I like about this is how well Flaherty balances the lyric parts with the more bent-note exhortations, rarely blasting out too freely to scare or bother any light hearted listeners out there. One thing I do notice is that Mr. Flaherty does have his own unique sound which he takes time to develop. There are moments when Flaherty does push things further out yet not too far, always keeping a central expressive core that I/we can relate to. Flaherty's playing is concentrated, it is as if he is holding onto and aiming for an ancient ritualistic practice which reveals what is at the center of each of our souls, an essence which has been boiled down from years of seasoned explorations. - Bruce Lee Gallanter, DMG
CD $13
THE RESIDENTS - Doctor Dark (Cryptic Corporation CDbred 915CD; USA) "Over two years in the making, the brand-new studio album from The Residents featuring the story of Maggot and Mark -- two young heavy metal fans -- and the mysterious Doctor Anastasia Dark, a disgraced visionary who offers those who need it THE GIFT. Veering from blissed out electronica to thrash metal as only The Residents can, and produced with the San Francisco Conservatory Of Music alongside several familiar guests and collaborators, Doctor Dark is the latest masterpiece of storytelling from San Francisco's weirdest beat combo."
CD $18
ROBERT FORSTER - Strawberries (Tapete Records TR 584CD; Germany) Picture one of the greatest living singer-songwriters in a kitchen. He is on holidays, he's just had a swim. His wife is out on the beach, and he finds himself faced with a bowl of irresistible strawberries. They're meant to be shared, of course, but their taste is "out of the ordinary," so he just can't help himself. Minutes later all of the delicious fruit are gone, but there's the germ of a song as the phrase "Someone ate all the strawberries" has just popped into Robert Forster's mind, sounding "so weird, but normal". Thankfully, he has taken his guitar with him. As the story goes, his wife Karin Bäumler not only forgave her husband, she actually joined him on a duet of what was to become the title song to his ninth solo album. Robert Forster has perfected the art of being outré in a least ostentatious way, from his time in the Go-Betweens to his solo career, now spanning almost three decades, interrupted only by the old band's reformation in 2000 which ended with his songwriting partner Grant McLennan's untimely death in 2006. Strawberries follows a recent spate of deluxe reissues of four of his older solo albums as well as the third and final volume of the career-spanning series of G Stands For Go-Betweens boxsets with a much awaited helping of new material. Next to admittedly bigger names such as Bob Dylan or Nick Cave, Robert Forster is the rare case of an artist with a celebrated past whose current work evokes genuine interest among a faithful fan base. As a straight-up personal song, "Strawberries" is a bit of a red herring in the context of this new album that, unusually for Forster, deals almost exclusively in observational character studies or, as the author would have it, "story songs". Louis Forster, by the way, also makes an impressive appearance on lyrical lead guitar in "Such a Shame." As his slapback echo vocals tuck into a rockabilly vibe, you can hear Forster enjoying the company of his Swedish backing band: producer Peter Morén (of Peter, Björn and John fame) on guitar, Jonas Thorell on bass, and Magnus Olsson on drums, crucially augmented by Lina Langendorf on various woodwind instruments and Anna Åhman on keys. The album's monumental closing track "Diamonds" starts off as a cross between Lou Reed and Buffalo Springfield, then takes off via Astral Weeks into an (almost) Albert Ayler direction, with Lina Langendorf given free rein on the tenor sax and Forster himself relinquishing his trademark understatement for some unexpected outbursts of falsetto.
CD $18
TSAPIKY! - Modern Music From Southwest Madagascar (Sublime Frequencies 126CD; USA) Tsapiky music from Southwest Madagascar features wild ecstatic vocals, distorted electric guitars, rocket bass, and the amphetamine beat! Unlike anything else, this is THE high life music you've always wanted -- ceremonial music played with abandon and extreme intent, honoring the living and dead alike. In Toliara and its surrounding region, funerals, weddings, circumcisions and other rites of passage have been celebrated for decades in ceremonies called mandriampototse. During these celebrations -- which last between three and seven days -- cigarettes, beer and toaky gasy (artisanal rum) are passed around while electric orchestras play on the same dirt floor as the dancing crowds and zebus. The music, tsapiky, defies any classification. This compilation showcases the diversity of contemporary tsapiky music. Locally and even nationally renowned bands played their own songs on makeshift instruments, blaring through patched-up amps and horn speakers hung in tamarind trees, projecting the music kilometers away. Lead guitarists and female lead singers are the central figures of tsapiky. Driven as much by their creative impulses as by the need to stand out in a competitive market, the artists distinguish themselves stylistically through their lyrics, rhythms or guitar riffs. They must also master a wide repertoire of current tsapiky hits, which the families that attend inevitably request before parading in front of the orchestra with their offerings. This work, a constant push and pull between distinction and imitation, is nourished by fertile exchanges between various groups: acoustic and electric, rural and urban, coastal or inland. What results during these ceremonies is a music of astonishing intensity and creativity, played by artists carving out their own path, indifferent to the standards of any other music industry: Malagasy, African or global. Recorded live on location by Maxime Bobo, this CD edition includes three bonus tracks not on the LP plus an eight-page full-color insert with detailed liner notes and photos of the musicians and surroundings.
CD $16
LP SECTION:
EVAN PARKER / BILL NACE - Branches (Live at Cafe OTO)(Open Mouth OM086LP; UK) "They had never played together before. They had never even met each other before this springtime 2024 concert at London's Café Oto. Evan Parker, circular breathing maestro of the saxophone, a legend in the universe that is free improvisation since the late 1960s and Bill Nace, one of the most intriguing experimental 'noise' guitarists of the 1990s/2000s underground scene. For those of us who have been enamored by the live and documented work of both these gents, this Café Oto duo was a must-hear event. It could have gone anywhere musically and that would have been totally fine. Particularly with Evan having a history of being thrown into a variety of challenging collaborations throughout his career, employing the learned elegance of trust in his own sensitivity to listening, responding, leading, following, sparring, intertwining, dialoguing, creating in the instant and, essentially, dignifying the non-hierarchical grace of chance? By the time Bill reached Café Oto in early 2024 he had relocated to Philadelphia all the while releasing a succession of collaborative LPs on his Open Mouth label to present his developing progression of solo and collaborative work. He also would find himself considerably engaged with playing the electric taishōgoto, a keyboard-activated string instrument from Japan which can exist as a one, two, four, five, or six string oblong sound object. Bill's approach to the taishōgoto would not be too unlike his approach to the traditional electric guitar, though no outboard implements such as files, sticks, and rocks are utilized. The similarity would lie wholly with Bill's full immersion of high velocity action-playing where, with the taishōgoto, an electric drone beauty occurs. The flurry of sonics and resultant harmonics emanating from the amplifier (which Bill opts to dial into with borderline loud-as fuck volume settings) furthers the meta-mantra properties of the instrument in an astounding display of drone dynamism. This sound world of Bill's two-stringed taishōgoto on this Café Oto night worked beautifully with Evan Parker's improvisatory saxophone conceptions. The duology achieved instant lift off at ground zero only to find its eventual finale as if it were organically ordained. Time seemingly morphed from its ancient human construct of control, rendered inconsequential to the torrential transcendence of the room wildly activated by the magic resonance of the multi-directional pan-spatial sonance of the music as if it were some beatific blessing. It was one of those nights where art as a liberating force of spirit gifted the listeners with an offering of exaltation and joy. It was entirely mystical and mind blowing. A night of Total Music." - Thurston Moore, London, 2025
LP $35
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ATTENTION ALL CREATIVE MUSICIANS OUT THERE, Around the world.
If you have a link for some music that you are working on and want to share it with the folks who read the DMG Newsletter, please send the link to DMG at DMG@Downtownmusicgallery.com
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THE STONE RESIDENCIES - NED ROTHENBERG - MAY 14–17
5/14 Wednesday
8:30 pm - TRIO: Ikue Mori (electronics) Ned Rothenberg (alto sax, clarinet, bass clarinet, shakuhachi) Billy Martin (percussion)
5/15 Thursday
8:30 pm - TRIO: Sylvie Courvoisier (piano) Nasheet Waits (drums) Ned Rothenberg (alto sax, clarinet, bass clarinet, shakuhachi)
5/16 Friday
8:30 pm - DUO: Craig Taborn (piano) Ned Rothenberg (alto sax, clarinet, bass clarinet, shakuhachi)
5/17 Saturday
8:30 pm - DUO - Ned Rothenberg (alto sax, clarinet, bass clarinet, shakuhachi) DoYeon Kim (gayageum, voice)
THE STONE RESIDENCIES - FRED FRITH - MAY 21–23
LEGENDARY COMPOSER/GUITARIST FRED FRITH RETURNS TO THE STONE WITH FOUR DUO CONCERTS WITH DRUMMER/PERCUSSIONISTS ACROSS THREE NIGHTS—COME TO THEM ALL!!
PLEASE NOTE—TWENTY FIVE DOLLARS PER SET!
5/21 Wednesday
8:30 pm - DUO - Fred Frith (guitar) and a special guest drummer - TWENTY FIVE DOLLARS
5/22 Thursday
8:30 pm - DUO - Fred Frith (guitar) Nava Dunkelman (percussion) - TWENTY FIVE DOLLARS
PLEASE NOTE—TWO SETS ON FRIDAY MAY 23
FRED FRITH PRESENTS TWO CONCERTS OF DUETS WITH DRUMMERS!
SHOWS AT 7PM AND 830PM—TWENTY FIVE DOLLARS PER SET
THE NEW SCHOOL WILL BE CLOSED ON SATURDAY MAY 24 FOR MEMORIAL DAY SO THE STONE IS PRESENTING TWO SETS OF MUSIC ON FRIDAY MAY 23!
5/23 Friday
7 pm - DUO - Fred Frith (guitar) and a special guest drummer - TWENTY FIVE DOLLARS
8:30 pm - DUO - Fred Frith (guitar) Billy Martin (drums) - TWENTY FIVE DOLLARS
THE STONE is located in
The New School at the Glass Box Theatre
55 West 13th Street - near 6th ave
LIVE MUSIC
wed-sat - music at 8:30pm
ADMISSION - $20 per set
unless otherwise noted
cash only payment
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THE SHAKUHACHI 5
Featuring:
Akihisa Kominato, Akihito Obama, Ken-Ichi Tajima,
Kizan Kawamura, and Reison Kuroda
Shakuhachi Vogue – A Visual Concert
Friday, May 16 at 7:30PM
Followed by a Private Gathering for Artists and Members
A Leading Japanese Instrumental Quintet's North American Debut Concert
At The Japan Society
Located at 333 East 47 Street, between First and Second Avenue, accessible via the 4/5/6 train at Grand Central Station or the E train at Lexington and 53 Street. our box office at 212-715-1258. The box office is open Monday through Friday, 11:00am to 6:00pm
Visit japansociety.org/performing-arts for more information
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ESP-Disk’ Concert Series:
May 23 (Friday) at 8pm:
Thollem McDonas: Set 1: solo piano; Set 2: trio with bassist Hilliard Greene and drummer Marc Edwards
Thollem released a brilliant solo piano album last year on ESP, Infinite-Sum Game.
At Loove Labs, 58 North 6th Street in Williamsburg, Brooklyn
June 13 (Friday) at 8 p.m.
Joe Morris & Elliott Sharp -
Release concert for their mind-boggling guitar duo album Realism, due in late May on ESP.
At Loove Annex, 238 North 12th Street in Greenpoint, Brooklyn
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THIS NOTE COMES FROM MY GOOD BUDDY JOEL HARRISON, Gifted Guitarist and Organizer. His yearly concerts at LPR have been a highlight for myself and other Guitar Freaks…
Dear Guitar Enthusiasts … There's a lot going:
—MIDWESTERNERS: please take note of the below dates. I'm lucky to be playing with two of the greatest B-3 organ players alive, and fantastic drummers as well. https://joelharrison.com/shows/
—On March 14 AGS (Alternative Guitar Summit) recordings releases ANUPAM SHOBHAKAR'S LIQUID REALITY, a tour de force on double neck guitar that fuses Indian music, jazz, and rock. If you like John McLaughlin this is for you. Preorder here: https://agsrecordings.bandcamp.com/
—We have uploaded some GREAT NEW PODCASTS to the AGS youtube channel with Ben Monder, Redd Volkaert, and more to come. Please check it out.
https://www.youtube.com/@alternativeguitarsummit
—For a couple of years I have been working on a major piece entitled "Burn Pit." The orchestration is jazz big band and a 16 person chorus. The subject matter is the deadly toxic burnpits from the wars in Iraq and Afghanistan that killed or sickened hundreds of thousands of military personnel. To fulfill my obligation to the NY State Council on the Arts and the Governors Office of NY, from whom I received a generous composition grant, I have posted a video discussing and playing excerpts from this work here: https://www.youtube.com/watch?v=ulyk1Pgrym8
Don't forget to sign up for our summer camp! Kevin Eubanks, Vernon Reid, Kurt Rosenwinkel, John Scofield...come on! https://www.alternativeguitarsummitcamp.com/ - Joel Harrison
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NEW VIDEOS from GUITAR MASTER HENRY KAISER:
https://www.youtube.com/watch?v=rgcxTkoIgQI
https://www.youtube.com/watch?v=xAWxt3EJSPw
https://www.youtube.com/watch?v=VcvoYygehqE
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From CHRIS CUTLER:
Formerly of HENRY COW, THE ART BEARS, NEWS FOR BABEL & RECOMMENDED RECORDS (ReR) has been creating an ongoing series of podcasts called the Probes series. I am often fascinated at listening to each of these as Mr. Cutler does an incredible job of showing a deep history of Creative Music in the 20th century & beyond. I usually listen to these on the train to NYC that I take to get to work each day. The most recent Probes (#37) was released earlier this year, here are the links:
https://rwm.macba.cat/en/research/probes-37
https://rwm.macba.cat/en/research/probes-36