Although I am disturbed by the political situation in the US, I still believe in Positive Energy of most of humankind. Thanks to everyone out there for your longtime support of DMG, I still do appreciate this and I must admit that I have truly a dream job! Peace and Love Always, Bruce Lee Gallanter at DMG
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The Music of HENRY THREADGILL: Be Ever Out:
Two Great Nights at Roulette: Friday, June 20th and Saturday, June 21st
Friday, June 20, 2025 at 8:00 pm, doors at 7pm
Night 1: Very Very Circus and The Air Legacy Trio
Features the recently formed “legacy” bands:
VERY VERY CIRCUS with Marcus Rojas, Chris Bates, Brandon Ross, Jose Davila, Miles Okazaki, Gene Lake and Noah Becker
THE AIR LEGACY TRIO featuring Marty Ehrlich, Pheeroan akLaff and Hilliard Greene
Saturday, June 21st at 8pm / doors at 7pm
Night 2: Features recently formed “legacy” bands:
MAKE A MOVE features Brandon Ross, Darius Jones, David Virelles, Stomu Takeishi and JT Lewis
THE SEXTETT features Frank Lacy – trombone, Jonathan Finlayson – trumpet, Mike Lee – flute/alto flute/clarinet/alto sax, Christopher Hoffman – cello, Ken Filiano – bass, Newman Taylor Baker – drums, Reggie Nicholson – drums
Tickets: https://ci.ovationtix.com/36368/production/1230747?performanceId=11600172
DISCOUNT CODE: EVEROUT10 for $10 off each night's tickets. NOTE: it only works on presale tickets online until 6pm on the night of the show, not at the door.
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THE DMG 34th ANNIVERSARY IN-STORE CONCERT CELEBRATION CONTINUES with:
Saturday, June 21st - GAUCI-MUSIC SERIES Continues with:
6:30: TOR SNYDER - Guitar / VANCE PROVEY - Trumpet / ALBEY BALGOCHIAN - Bass
7:30: CALEB CURTIS WHEELER - Stritch-Trumpet-Sopranino Sax / CHET DOXAS - Tenor Sax-Clarinet / YUMA UESAKA - Tenor Sax-Clarinet-Soprano Sax-Reed Trumpet
8:30: STEPHEN GAUCI - Tenor sax-Clarinet-Flute / JONATHAN GOLDBERGER - Guitar / JEFF DAVIS - Drums
Tuesday, June 24th: Relative Pitch Records Presents:
6:30: CHUCK ROTH - Guitar / FRANCESCA H - Sax
7:30: CHUCK ROTH - Guitar / SABRINA SALAMONE - Violin
8:30: CHUCK ROTH / FRANCESCA H / SABRINA SALAMONE Trio
Tuesday, July 1st:
6:30: AMANDA MONACO - Guitar / RAS MOSHE - Tenor Sax-Flute
7:30: HAMIR ATWAL - Drums / CHRIS VAN HOORST - Bass / KYLE NASSER - Tenor Sax
8:30: FLIP CITY: DAVID AARON - Sax / NICK PANOUTSOS - Contrabass / DAVID GOULD - Drums & Toys
9:30: BEN GOLDBERG - Clarinet / MICHAEL COLEMAN - Synth / LUKE BERGMAN - Pedal Steel / MAIR ATWAL - Drums
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NEW FROM ZORNLAND - TWO NEW DISCS and THE LAST COPIES OF THE 'Hermetic Cartography' Art Book!
JOHN ZORN // BRIAN MARSELLA / JORGE ROEDER / CHES SMITH - Impromptus (Tzadik 9322; USA) With Suite for Piano in 2022, Zorn began exploring classical forms in the context of the jazz piano trio. The second CD in the series was a beautiful collection of 'Ballades', released in July 2024. This third project presents nine Impromptus—freewheeling forms that unfold like brilliantly imaginative short stories. Brian Marsella, Jorge Roeder and Ches Smith outdo themselves here with telepathic interplay, endless creativity, and a courageous ability to go places that have never been discovered before. With each new recording, this trio gets both tighter and more explorative. Essential! After a two month delay, this disc is finally here!
CD $16
JOHN ZORN // STEVE GOSLING / SAE HASHIMOTO / JORGE ROEDER / CHES SMITH plus IKUI MORI - Fantasma - Illusions from a Surrealist Mirror (Tzadik 9323; USA) Zorn’s compositions for classical soloists with rhythm section are among the most successful and powerful meetings of classical and jazz ever conceived—completely notated virtuosic scores for classical players augmented by improvisers who illuminate the music with surprise, support, and an imaginative unpredictability. Mining this magical world since 2010, the project reached its apotheosis in the acclaimed 2021 release “Heaven and Earth Magick.” Here that same quartet divides into different groupings to present a varied and dramatic program of new music at its complex, mischievous best. Joined by electronic wizard Ikue Mori on one track, “Fantasma—Illusions from a Surrealist Mirror” is an endlessly imaginative and compelling new project of dynamic cross-genre music from Downtown magus John Zorn.
CD $16
JOHN ZORN // RICHARD FOREMAN / ELLA TROYIANO / JAY SANDERS / ARNOLD I. DAVIDSON / LAURA HOPTMAN / OLIVIA SHAO - Hermetic Cartography (The Drawing Center 158; USA) When John Zorn texted me about his 3 month exhibition at The Drawing Center earlier this year (2025), I was most surprised since I had no clue that Mr. Zorn has been creating his own visual artwork since the early days as young composer, in the mid-1970's. I met Mr. Zorn in December of 1979 at Studio Henry in the west Village playing in a duo with my hero Fred Frith. I wasn't so sure what to make of Zorn then since he just played just sax mouthpieces, bird calls and a cup of water. It took me about a year to figure out what Zorn was doing and that he was an incredible, completely unique saxist, a singular composer, creating his own unique world, perspective or vision. Little did I (or anyone else) know that Mr. Zorn was also creating his own visual art-world to accompany or illustrate his own unique creative spirit. I've been to the Zorn exhibition at The Drawing Center twice and I am astonished at what Zorn has accomplished. The exhibition and this book capture the more than 100 drawings, writings, flyers, album cover artwork and many notes about Zorn's irrepressible ability to illustrate his many ideas about art and life and the way they are connected. Besides the 100 plus drawings, there are quite a bit of fascinating texts about Zorn and his work from friends and collaborators: Richard Foreman (film director), Ella Troyiano (dancer), Arnold I. Davidson, Laura Hoptman, Olivia Shao and Jay Sanders (curator at Artist Space Gallery). I found the text to be particularly fascinating and a great way to understand some of Mr. Zorn's unique perspective and treasure chest of fascinating artwork. Once a month during the exhibition, Mr. Zorn performed his music in the same room that his artwork is/was on display. This was a perfect match of artistic sensibilities in different forms, the right occasion to hear his varied music in an environment created to show his other view of his and our shared worlds. The March concert featured the New Masada Quartet, the April concert featured a performance of Zorn's most popular game piece, 'Cobra' and the May performance featured the JACK Quartet performing a couple of Zorn's string quartets. This essential Zorn book is limited and will not be reprinted. - Bruce Lee Gallanter, DMG
Book $45 [LTD Edition, last 10 copies]
MARY HALVORSON AMARYLLIS SEXTET with ADAM O’FARRILL / PATRICIA BRENNAN / NICK DUNSTON / TOMAS FUJIWARA - About Ghosts (Nonesuch 075597896565; USA) Featuring Mary Halvorson on guitar & compositions, Adam O'Farrill on trumpet, Jacob Garchik on trombone, Patricia Brennan on vibes, Nick Dunston on bass and Tomas Fujiwara on drums plus guests Brian Settles on tenor sax & Immanuel Wilkins on alto sax. A couple of weeks ago (6/5/25), I caught the Mary Halvorson Canis Major Quartet at the 2025 Vision Fest and they were extraordinary! It was one the best of the 26 sets I saw and heard that week. As long as I've known Ms. Halvorson, she has kept busy running different bands, touring, composing and collaborating with a number of other Downtown greats. The Amaryllis Sextet has been around for the past few years and this is their third release. Considering that this band has been around for a while and has toured a bit, each release shows the band and compositions evolving and getting better in certain ways.
"Full of Neon" opens with a most hypnotic ostinato groove. While Ms. Halvorson play the repeating line, the horns play warm, thoughtful harmonies. Both Ms. Halvorson on guitar and Ms. Brennan on vibes use some electronic effects at times, making it difficult to tell who is who and adding a sense of mystery to the proceedings. There are inspired solos from the trombone and the tenor sax, one after the other. What makes this special is the impressive/expressive ensemble writing and playing. On "Carved From" Ms. Halvorson takes one of her gripping guitar solos with some feisty, tight rhythm team support. For "Eventidal", the sextet sounds more like an orchestra (Maria Schneider-like) with slow, rich, harmonious waves and a calm center. While the guitar and vibes interweave with their dreamy effects, Mr. Fujiwara's superb mallet work holds the bottom together while the horns float on top. On "Absinthian" the guitar and vibes are locked together playing some tight yet difficult quick moving lines. Upcoming saxist Immanuel Wilkins takes an exciting alto solo while the rest of the sextet speeds up to a furious pace. The great trumpeter Adam O'Farrill takes the next solo as the group doubles the time. Keep your eye on Mr. O'Farrill, whose recent disc ('For These Streets') is one of the best releases of the month. The sextet plays at a more solemn pace on the title track, with Ms. Halvorson taking a most mesmerizing solo. This piece sounds like a ballad and has a most dream-like, ethereal sound. "Polyhedral" sounds like Third Stream music sped up a bit and has the horns playing some difficult parts. The ever-incredible vibist Patricia Brennan takes a great solo here, while the horns answer with their own challenging ensemble work. Bassist Nick Dunston opens "Endmost" with a most impressive bass solo before the rest of the ensemble comes in. I've listened to this disc a few times so far and I hear more intricate and unexpected things going on with each listen. Yet another outstanding treasure from Mary Halvorson and her wonderful team! - Bruce Lee Gallanter, DMG
CD $16
LP $26
IVO PERELMAN / MATTHEW SHIPP STRING TRIO - Armageddon Flower (Tao Forms Tao 18; USA) "The seminal Matthew Shipp String Trio (Shipp: piano; Mat Maneri: viola; William Parker: bass) reconvened in late 2024 in order to commune with tenor saxophonist Ivo Perelman in the studio, and Armageddon Flower is the epic result. This album is a peak gem of improvised communication in each of their extensive and astonishing bodies of work, revealing new ways of exemplifying tradition, language, physics, material, and energy. A profound work presenting such communication at a very high level indeed. Since 1996 Perelman and Shipp have recorded 46 albums together in duo and small group settings. But as Shipp is careful to point out, 'there's only one Matthew Shipp String Trio.' At the turn of the century, this Trio struck out on a path to redefine 'Third Stream' chamber jazz via two very well-received Hat Hut CDs. A quarter century later, this new work clearly builds on extensive, musically interwoven personal history. For Shipp, 'William and Mat are as close to my natural soul brothers as you can get -- and by soul I mean the soul. Ivo is another layer of that same soul.' Perelman's copious studio dates -- beginning with his self-titled Ivo (1989) -- are a continual refinement and study in process whether or not they share personnel, and countless gems reside in his vast body of work. Armageddon Flower is a singular gem in the entire body of improvised music. This work is fundamentally a group music; while there are sections of duo and trio interaction, the onus is on a four-way conversation in which parallel streams become oceans of sound, only to be distilled into isolated rivulets once again. Without a drummer but with forward motion and bounce, the music on Armageddon Flower is sublimely striking and operates in a continuous flow of both impulsion and idea. As these four musicians have spent decades together in various capacities, their language is on one level honed. What's surprising is that entirely new pathways are exploding into view. It's unquestionable that this is music of necessity, of striving, and of possibility."
CD $14
MATTHEW SHIPP - The Cosmic Piano (Cantaloupe CA 21208: USA) Featuring Matt Shipp on solo piano. Most of his/our listeners will admit that Matt Shipp releases too many discs. Well over 100, starting in 1988 with a duo with Rob Brown. I've reviewed quite a few of these releases: solos, duos, trios and quartets mostly and often have an idea of what to expect. From time to time, Mr. Shipp does surprise me when he moves into an unexpected area. This disc is truly a nice surprise, which makes perfect sense since it is on the Cantaloupe label, founded by the three main Bang on a Can New Music (modern classical) composers. Although Mr. Shipp does play a few of those recognizable phrases, he seems to be moving away from a more predictable sound. The opening piece is also the title track, "The Cosmic Piano" and Mr. Shipp slows down, playing solemn chords bathed in some resonant (pedal down) reverb. The oddly titled "Cosmic Junk Jazz DNA" sounds Monk-like yet keeps changing, with two themes being explored by each hand at either end of the piano. For some of these pieces, Shipp seems to be picking some melodic or dissonant fragments and then exploring them in different ways. On "The Other Dimensional Tone", it sounds like Shipp is drawing from a baroque theme when it starts and then slowing it down to a more suspense-filled section. What I like most about this disc is that it often moves into some unexpected twists and turns, unShipp-like areas, often balancing between some lines that I do recognize and some which sound fresh and interesting. This is a strong departure from what you or I might expect. - Bruce Lee Gallanter, DMG
CD $15
WILLIAM PARKER - Observations: Selected Works, 1967-2023 (Centering; USA) Aside from being a great bassist, multi-bandleader, multi-ethnic-instrumentalist, composer, poet, family-man and visionary community organizer, William Parker has become an important author whose many books contain important interviews of Creative Musicians from around the world and his own views on the Creative Spirit. This book is thick and filled with William's poetry, observations, inspirations, essays, liner notes, deep thoughts on Art and the Creative Life and much more. If you haven't read Mr. Parker's four books/volumes called 'Conversations', you really should since his interviews with many musicians, arts, poets and photographers are some of the best interviews that I've read. This book collects many of the different forms that William Parker has worked with and nurtured over his long music/career journey. Essential reading for William Parker fans, Vision Fest attendees and serious listeners of all persuasions. - BLG at DMG
Book $38 [380 pages, soft cover]
CARLA KIHLSTEDT / PRESENT MUSIC - 26 Little Deaths (Cantaloupe Music CA21209; USA) Featuring Carla Kihlstedt on violin voice, e-string violin & composition with Present Music plus guests Matthias Bossi, Jeff Hamman & Gabriel Kahane. I've long admired Carla Kihlstedt as an incredible violinist, composer, collaborator and multi-bandleader. Check out her work with Tin Hat, Fred Frith's Cosa Brava, Sleepytime Gorilla Museum or her many collaborations. Present Music is/are a 14-piece new music ensemble from Milwaukee, WI, with five discs out on the Innova, Albany and Kairos labels. '26 Little Deaths' was commissioned for Present Music's 40th anniversary. This disc celebrates the macabre wit of iconic writer and illustrator, Edward Gorey, who would've turnedf 100 in February of 2025. This hour-long work consists of a set of 26 miniatures for Ms. Carlstedt and a chamber orchestra. Ms. Kihlstedt has taken the words of Mr. Gorey and put them to music with herself (and a chorus) singing the words and a small chorus backing her. Not sure if you recall but both composer/musician Michael Mantler (on 'Hapless Child') and Max Nagl have also put Mr. Gorey's music to music.
Considering that Ms. Carlstedt has composed for and worked with a variety of bands or ensembles: modern classical, prog rock, klez, jazz and metal, her music can be in between categories. Mr. Gorey's words and illustrations are presented throughout the enclosed booklet. Each of the 26 pieces are rather short, with most under four minutes. Although there are instrumental pieces, the other twenty feature Ms. Carlstedt'a distinctive voice and violin. The music is often eerie, haunting, somewhat creepy or mysterious. Many of the pieces are stripped down but always fascinating with unexpected twists. I find most of the words to be humorous, with a sly twist like some fractured fairy tales, perhaps more for adults than children. Ms. Carlstedt's voice, both child-like and often spooky is/are what makes this disc so enchanting. The music is also consistently fascinating, like a soundtrack to a great science fiction film. Each of the vocal pieces tells a short story or sets another scene, evoking a variety of haunting vibes. This disc is more like an inner film for your mind as you listen. If you dug the Mike Mantler or Max Nagl Gorey tributes, then you will love this one. Either way, I was blown away for the entire 60 plus minute endeavor. I could also see this working on stage to the delight of (creepy) children everywhere. - Bruce Lee Gallanter, DMG
CD $15
JIMMY BENNINGTON / PAUL BLANEY / JULIAN PRIESTER - Blue Veils and Bright Stars (ThatSwan! Records #1013; USA) Featuring Julian Priester on trombone, Paul Blaney on bass and Jimmy Bennington on drums. No doubt you know about legendary trombone player Julian Priester who was an early member of the Sun Ra Arkestra, Herbie Hancock's Mwandishi Band, for Max Roach and many others. Bassist Paul Blaney comes from Vancouver and has worked with the Now Orchestra and Tony Wilson Sextet. I recently met drummer Jimmy Bennington at a gig with David Haney at I-Beam. I recall Mr. Bennington from his work with Perry Robinson, Daniel Carter and Michael Bisio. The pieces here were mostly improvised by the trio with two by Mr. Bennington, one by Mr. Priester and a Duke Ellington cover. This disc is dedicated to the Sun Ra Arkestra, the longest surviving big band together since 1956. "Another Realm" opens and has a lovely, laid back, loose yet connected sound. Bennington'a piece, "Churchbells" starts with somber bowed bass by itself and unfolds slowly with the rest of the trio moving freely around one another in slow motion. Priester's "Blues Pulsar" is an uptempo blues with an uplifting trombone solo and infectious swinging drums. Bennington composed "Blount" which is Sun Ra's birth last name. The piece has a solemn, laid-back vibe yet still sounds like a late night Sun Ra record, simmering like satellites at the center. Julian Priester, who did play with the Sun Ra Arkestra in the early days, is featured taking a long, dreamy solo on trombone. I hadn't heard a cover of Duke Ellington's "Mood Indigo" in recent memory but the version here is warm, austere and stretched out to a peaceful sort of calm. The trio accelerates the tempo on "Across the Sky", swinging faster and harder than the earlier pieces. the energy is bristling with bass pumping at the center and Bennington's drums also swirling in a circular fashion. There is a second version of "Across the Night Sky" which closes this disc. Mr. Bennington takes a long, dreamy, slow motion story-like drum solo here. Although Mr. Bennington rarely plays at a quick pace, his playing here often holds things together and frames these pieces with some form or direction. This might be considered a low-key affair yet it feels so good to me. - Bruce Lee Gallanter, DMG
CD $14
MICROPLASTIQUE with BEN ZUCKER / MOLLY JONES / JOSH HARLOW / ADAM SHEAD - Blare Blow Bloom! (Irritable Mystic Records 004; Chicago, USA) Microplastique hails from Chicago and features Ben Zucker on pocket trumpet, toy piano, melodica, harmonica & J horn, Molly Jones on soprano sax, flutes, megaphone & SFX, Josh Harlow on toy piano, melodica, flutes & SFX and Adam Shead on snare drum, assorted percussion, bells, gongs, bird calls, flutes & compositions. Since leaving DMG a couple of years ago, drum wiz James Paul Nadien (JPN) has been on the road with the Flying Luttenbachers, spending time in Chicago and staying in touch with yours truly. JPN often meets and befriends many creative musicians in his ongoing touring travels. He often texts me to let me know about a certain musician that I should know and to give them a chance to play at DMG. He never steers me wrong. JPN is friends with the percussionist in this band and had him write to me to get a gig for his band, Microplastique, for the current east coast tour. They played here earlier this week (6/17/25) and their set was wonderful (unlike anything we've had here before) and pretty well-attended by friends & family members of the quartet, including a members' grandmother!
The band left us with this disc, which was recorded live on tour in July of 2024. When the band played here at DMG earlier this week, they sat on a rug on the floor in a circle facing each other, making the set feel rather ritualistic. Starting with "Blare", the quartet take off playing in a tight through frenzied way on assorted hand percussion, pocket trumpet and soprano sax. Although the music sounds somewhat free, there are an obvious written parts played tightly, holding things together. Although the music sounds somewhat progressive, there is a child-like wonder going on as well. While either horn (trumpet, sax or flute) solos, there are a couple of layers of percussion going on which sound both organic and focused. The melodies that the horns play are often most festive and fun sounding. "Turn" deals with several layers of drones buzzing, humming and simmering together. For "Yearning" the quartet turns down the volume and plays quietly and quaintly, with somber flute(s) and skeletal percussion over a soft simmer or drone. At times, there are several layers of swirling percussion while one of the horns or reeds solos, creating a buzzing-like drone. Considering that the quartet use a toy piano and other miniature percussion instruments, this gives the band a more playful, sunny vibe. For "Native Ants", there are several layers of soft, shifting drones going on: a sax, flute, trumpet, harmonium-like, bells, rubbed, bowed of the softly hit gongs are all part of the somber, pulsating throb. "Bells for Four" was a lovely "Tubular Bells" like quality with a quaint, hypnotic repeating line. The final piece is called "March for MRA", which has another calm center and keeps building slowly in intensity throughout with some spirited soprano sax and flutes playing some unison lines. I loved the set in the store by Microplastique earlier this week and love this disc as well. It seems to glow with positive, playful vibes. - Bruce Lee Gallanter, DMG
CD $14
MORPHOSE with JOZEF DUMOULIN / DAMON LOCKS / MACIE STEWART / MORGANE CARNET / FANNY LASFARGUES - Before You Have Understood (The Bridge Sessions TBS 19; France) Featuring Morgane Carnet on tenor & bari saxes, Jozef Dumoulin on keyboards & effects, Fanny Lasfargues on bass & effects, Damon Locks on electronics and Macie Stewart on violin & vocals. The Bridge Sessions label features a collective of musicians from France and Chicago, who tour & record together and do workshops when they tour. This is their 19th release since 2015. I only recognize three of the five musicians here: Jozef Dumoulin (from Bureau of Atomic Tourism, work with Haino Keiji & Nate Wooley), Damon Locks (for Rob Mazurek's Exploding Star Orchestra) and Macie Stewart (a member of Marker with Ken Vandermark & Joe McPhee).
The music was recorded at three studios in Chicago in April of 2022. The first piece begins with a sampled voice of a man spoken in English with dub-like effects adding some echoes to the sound. Soon a bari sax enters as the several layers of effects swirl around the mix. Due to the layered effects (keyboards or otherwise), it is hard to tell who is doing what except for the occasional sax and/or violin. On "Running, Leaving, Walking', the piano and violin erupt together freely and then settle into a more calm section with strong interplay between the sax, piano and violin and a minimum of effects. On "Reverberation", there are layers of sliding sounds, sax and keyboards with effects, the violin swirling in the mix, the effect is most mesmerizing. Although there are quite a bit of effects on many of these pieces, those sounds are mostly selective and rarely get too dense or difficult. On the last piece, the violin is featured at the center with a swirl of effects around it. I like the way this music has a somber yet spacey quality. There are no solos to speak of but there are some deep, atmospheric vibes which wash over us like cool, fresh water after a storm. - Bruce Lee Gallanter, DMG
CD $15
HISTORIC RARE LIVE JAZZ & RECORD STORE DAY LIMITED EDITION CD's:
CHARLES MINGUS with RICKY FORD / JACK WALRATH / ROBERT NELOMS / DANNIE RICHMOND - Mingus in Argentina - The Buenos Aires Concerts (Resonance HCD-2077; USA) "The Charles Mingus ensemble that arrived in Argentina in 1977 for the Buenos Aires concerts remains one of the lesser-known yet musically potent groups in the bassist-composer's storied history. These concerts are now presented in this first authorized release as a 2-CD set under the title Mingus In Argentina: The Buenos Aires Concerts, offered in a deluxe package that includes detailed notes from Mingus biographer Brian Priestley, recollections from the concerts by Argentinian writer Claudio Parisi, and new interviews with band members trumpeter Jack Walrath and saxophonist Ricky Ford.
While the band was less celebrated than some of his earlier line-ups, it was nevertheless a ferocious unit comprised of Walrath, Ford, pianist Robert Neloms and the ever-dependable Danny Richmond. Under Mingus' watchful and often vocal direction, the quintet tackled a program that spanned the bassist's career from foundational works to more recent exploratory compositions.
Disc 1 opens with the ever-familiar "Goodbye Pork Pie Hat," written by Mingus as a tribute to legendary tenor saxophonist Lester Young. Walrath takes the opening solo, with his trumpet lines adding a poignancy that deepens the piece's emotional resonance. Neloms' two-handed excursion follows, adding noteworthy originality. Ford's rich and full-bodied tenor glides over the number's familiar contours. One of Mingus's later-period compositions is the ballad "Duke Ellington's Sound of Love," inspired by Ellington's death in 1974. Backed by Richmond's active drumming, the piece showcases a lyrical economy that allows each note to breathe, with Ford offering a particularly moving solo. Walrath and Neloms deliver their solos with aching sincerity.
The most dynamic turn on this disc is Mingus's 1977 composition "Cumbia & Jazz Fusion."The number acknowledges the Latin American surroundings while remaining unmistakably Mingus. The rhythm section -Richmond's crisp, buoyant drumming alongside Mingus's muscular bass lines—locks into a hypnotic groove, allowing the horns to soar over the polyrhythmic foundation. The blend of Afro-Cuban motifs with the deep swing of jazz feels organic and celebratory, a testament to Mingus' omnivorous approach to composition.
CD 2 contains two extended compositions: the incomplete "Sue's Changes" and the provocative " Fables of Faubus." On the former number, the liner notes do not offer any assistance on the reason for the incomplete take but suggest that the listener revert to Atlantic Records' 1975 recording entitled Changes One for the complete version of the number. As for the performance, it is one of Mingus' most complex and emotionally layered compositions. Filled with abrupt mood shifts, thematic transformations, and rich ensemble interplay, the band navigates the labyrinthine structure with conviction and flair. Ford's lengthy solo, filled with blistering lines and introspective passages, charts its emotional arc.
"Fables of Faubus," retains all its acerbic wit and politically charged fire with Mingus punctuating the performance with his verbal interjections. Neloms is an intriguing presence with his angular comping and percussive attack, and the number contains the only drum solo by the ever-expressive Richmond. Throughout these concerts, the band exhibited a cohesion that embodied the restless spirit of Mingus's music." - Pierre Giroux, AllAboutJazz
2 CD Set $28 [Limited Edition]
FREDDIE HUBBARD with BENNIE MAUPIN / KENNY BARRON / HERBIE LEWIS / FREDDIE WAITS - On Fire - Live from Blue Morocco (Resonance HCD-2073; USA) "If Resonance Records did not exist, it would have to be invented, for it fills the hearts of jazz lovers with such joy that they eagerly anticipate each new release, especially one as extraordinary as this. On Fire: Live from the Blue Morocco is a previously unreleased recording of the legendary jazz trumpeter Freddie Hubbard, captured in 1967 at the Blue Morocco jazz club in the Bronx, New York.
Featuring an all-star lineup; Bennie Maupin, Kenny Barron, Herbie Lewis and Freddie Waits; the album has been meticulously transferred from the original tapes, recorded by renowned sound engineer Bernard Drayton. Available as a digital download and a deluxe 2-CD set, it comes with an extensive 32-page booklet, including liner notes by producer John Koenig and interviews with Barron and Maupin, along with testimonials from fellow musicians who knew or were influenced by Hubbard, such as Eddie Henderson, Charles Tolliver, Jeremy Pelt, Steven Bernstein and many others.
The year was 1967, a time of cultural and sexual liberation. In 1968, the poet Léo Ferré, sang Paris-Marseille, a revolutionary anthem that, among other things, recounted how paving stones flew through the streets of Paris. By the end of 1967, money had all but disappeared, replaced by ration vouchers. A year without school, both amusing and interminable; punctuated by the turmoil of 1968, when France witnessed policemen chasing demonstrators, bludgeoning them with savage brutality, leaving them to bleed out in the streets. Such sights change the way one sees the world. And at night, on the radio, there was jazz, Mingus, Miles, Hubbard. This music, from the other side of the world, was the soundtrack of a society in flux, searching for itself. Hubbard's jazz embodied that search, a quest for renewal that came after the joyous, almost carefree energy of early jazz, now tinged with a deeper, more contemplative gravity. This album takes us back to those days.
We sometimes forget that, as a young musician, Hubbard worked and recorded with the Montgomery brothers, Wes, Monk and Buddy. His very first session was for The Montgomery Brothers and Five Others (Pacific Jazz, 1958). Around the same time, he formed his first band, the Jazz Contemporaries, alongside bassist and manager Larry Ridley, saxophonist and flutist James Spaulding, pianist Walter Miller and drummer Paul Parker. The quintet became a fixture at George's Bar, a legendary club on Indiana Avenue in Indianapolis. Hubbard passed away in 2008, making this album all the more timely, especially as it represents one of the most compelling periods of his career. A few minutes of his improvisations here reveal just how far he could go, just as far as Miles Davis, though in a style all his own.
In the early 1990s, he formed a new group with young rising stars Christian McBride, Javon Jackson, Carl Allen and Benny Green. Throughout the decade, he continued scouting for new talent, collaborating with the New Jazz Composers Octet, led by trumpeter David Weiss. He recorded with them for the last ten years of his career, culminating in his final album, On The Real Side, released in 2008 (Times Square).
A testament to his visionary genius, almost all of these musicians have since gone on to dazzling careers. This album is not just a jazz gem or a showcase for Hubbard's extraordinary artistry, it is a cultural artifact, a chapter in the history of our world." - Thierry De Clemensat, AllAboutJazz
2 CD Set $28
MUSIC INC with CHARLES TOLLIVER / STANLY COWELL / CECIL McBEE / JIMMY HOPPS - Live at Slug's Volume I & II (Strata-East; Mack Avenue SES-1972-25; USA) Led by Charles Tolliver, the trumpeter said at the time that “Music Inc was created out of the desire to assemble men able to see the necessity for survival of a heritage and an art in the hopes that the sacrifices and high level of communication between them will eventually reach every soul.” Judging by the audience reaction at Slugs’ and the communicative power of the music presented here, there were a far few souls reached, and the opportunity to reach more with this excellent release.
Bringing together the two original single releases on Strata-East released in 1972 we are presented with a double album that that is packed with exciting and innovative music. From the first number ‘Drought’ on the originally released Volume I, Tolliver’s opening trumpet phrases ring out magnificently. Full and lyrical they communicate and connect instantly. The rhythm section kick in hard and Stanley Cowell’s piano unfurls at this brisk tempo in a most satisfactory manner. This is immediately followed by the trumpeter with his big brassy sound eating up the changes in a dynamic and lucid solo.
And this sets the tone for the entire set, smoulderingly hot on the fast numbers and deliciously tender on the ballad’s on McBee’s ‘Felicite’ in which the composer takes his own excellent solo in addition from some excellent work from Tolliver and Cowell.
Volume II delivers up some fine compositions from the trumpeter, with’ Spanning’ being a lively tune that hints at several directions that could be taken before settling into groove, and the closing ‘Our Second Father’ which is dedicated to the memory of John Coltrane. Following on from Cowell, on this up tempo number, Tolliver plays a scorching solo ably supported by the rhythm section who are pushing hard.
At a time when acoustic jazz may have been losing ground to electric instruments and fusion, Music Inc remained steadfast with one foot in the tradition and the other firmly in the present yet looking ahead. They were not a hard bop band, neither did they play free jazz, but what they did was (like Miles’s quintet with Wayne Shorter) work with some excellent compositions and push them to their limits." - Nick Lea, Jazz Views
CD $17
IVO PERELMAN / NATE WOOLEY - Polarity 3 (Burning Ambulance BAM101; USA) The stimulating Polarity 3 is the third installment in a series of spontaneous duets between innovative saxophonist Ivo Perelman and equally creative trumpeter Nate Wooley. On these 10 tracks, the two improvisers use silent pauses to craft haunting atmospheres and contemplative melodies. The performances are akin to two complimentary yet independent introspective musings.
Languid, wistful tones from both men start off the opener "One." The soft howls and undulating refrains are interspersed in the hypnotic quietude and thus set the ambiance for the entire recording. Short, crisp exchanges maintain a pensive melancholy despite the increase in the urgency of the dialogue. Perelman's muscular agile tenor twitters oscillate around Wooley's clear and gently billowing horn. The almost funebre "Two" functions like a coda to the previous track continuing and concluding the ideas started on "One."
Neither Perelman nor Wooley have shied away from embracing provocative dissonance in their past extemporizations. They also flirt with it here, but the focus is more toward lyrical melodicism. For instance, on "Eight" Wooley's muted trumpet has distinctly bluesy hints. Perelman, who follows Wooley, expresses himself in mellifluous and brassy phrases. The pair seamlessly builds a soulful conversation with an elegance that has echoes of past musical styles.
This level of emotive poignancy is a salient feature of the album as a whole including on the "freer" pieces like "Five." The overlapping exploration of scales alternating with plaintive wails and abstract, tuneful ruminations coalesce into a sublimely alluring soundscape. Hypnotic in its muted colors yet dynamic in its restlessness the tune is an apt centerpiece for the entire set.
Similarly the finale, "Ten," plays a large role in the disc's thematic cohesiveness as its mood flows from the forlorn to the passionate and back. The synergistic dialogue of long notes and meandering lines transforms into a fiery repartee and then back to meditative serenity with natural grace. It, therefore, makes for a logical conclusion to this superb, collaborative, session.
As is expected from both Perelman and Wooley, Polarity 3 is another superlative and brilliant work. It reflects the ingenuity of both artists but, as with all successful collaborations, is more than the sum of its parts. It is electrifying and thoughtful music that satisfies the mind long after it has stopped playing.
CD $14
IVO PERELMAN / NATE WOOLEY - Polarity 2 (Burning Ambulance BAM90; USA) The second installment of duets by tenor saxman Ivo Perelman and trumpeter Nate Wooley, aptly named Polarity 2 (the first being the 2021 Polarity), shows both masters in excellent form on seven spontaneous compositions. Perelman, long a workhorse on the free jazz scene, demonstrates his expressive control of the reed, with biting cat-like meows and full-throated tenor notes. Wooley too creates bubbles and chortles with his trumpet – muted or unmuted, and the precision he brings is remarkable. The result – an adventure within an adventure where each piece covers new ground, a journey of inventive squeals, rumbles, floating lines, and flowering drawls.
Take the second piece, “Two,” where Perelman throttles his reed and pinches squeaks out of his woodwind while Wooley adds his best Lester Bowie-like whines and cries. The third piece, “Three,” is the longest on the album, and displays plenty of virtuosity. Listen to how Perelman controls his breathing in the lower register to earthy effect. And the way the two musicians blend odd harmonic voicings together in a low orbit dialog. About midway through the number, Wooley, followed by Perelman, generate runs like a mad dash toward some distant finish line. Perelman then transitions to a long-pinched note that creates a totally different yet highly creative tangent.
“Four” has Perelman voicing (scat) while Wooley slides and glides all around him. Wooley’s rapid flutter-tonguing is a true highlight of this number and Perelman squeezes the reed hard in response. Later, there’s a drunk call and response that suggests a late-night departure from one’s local dive.
On “Six,” one can hear the purity of Wooley’s tone, how there’s a glow and hue to it, like a gemstone on display. At the end, the piece evolves into a whirling dance. Both musicians never miss – their notes, intonation, and skill blend perfectly.
As Perelman writes on his Facebook: “The seven untitled duets (on Polarity 2) highlight the immediate, intimate, and deeply communicative rapport…” between the two musicians, and the “duets blur the distinction between spontaneous improvisations and instant compositions.”
One wonders just how this is accomplished with such a high degree of skill and synchronicity? Is it hours and hours of practice, pure dedication, or some kind of innate talent that drives them to achieve what to any common person might seem like an impossible climb of some towering mountain? Let’s hope Perelman and Wooley continue these climbs forever! - Don Phipps, FreeJazz Collective
CD $14
IVO PERELMAN / NATE WOOLEY - Polarity (Burning Ambulance BAM71; USA) Featuring Ivo Perelman on tenor sax and Nate Wooley on trumpet. This is the first of three duo CD's that master musician Ivo Perelman and Nate Wooley have done. Tight interaction in an incredible weaving of creative ideas and technical prowess from the duo of tenor saxophonist Ivo Perelman and trumpeter Nate Wooley, the two New York-based improvisers recording in the studio in Brooklyn in 2020 for ten dialogs, a perfect distillation of their work together after four CDs in larger group efforts; captivating.
CD $14
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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 / TRIGGER / JUNE 18-20-21
6/18 Wednesday
8;30 pm - Trigger plays Zorn's Bagatelles/Apparitions
Will Greene (guitar) Simon Hanes (bass) Aaron Edgcomb (drums)
CLOSED FOR JUNETEENTH
THE NEW SCHOOL AND THE STONE WILL BE CLOSED FOR JUNETEENTH
6/20 Friday
8:30 pm - Trigger Quintet - Will Greene (guitar) Simon Hanes (bass) Aaron Edgcomb (drums) Ryan Easter (trpt) Elias Stemseder (keys)
6/21 Saturday
8:30 pm - Trigger Sextet - Will Greene (guitar) Simon Hanes (bass) Aaron Edgcomb (drums) Kevin Murray (drums) Trevor Dunn (bass) Brandon Seabrook (guitar)
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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ESP-Disk’ Concert Series:
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