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DMG Newsletter for November 24th, 2017

Happy Thanksgiving to All!
Let’s Give Thanks to All of the Musicians, Composers and Bandleaders
Who Compose, Perform and Play Music which Inspires us and is the Soundtrack to Our Lives
Each Performance, Each Musical Offering is a Letter from Another World
A Piece of a Giant Jigsaw Puzzle, Which is a Cosmic Map to Help Guide Us…
A Toast to New and Old Music from the Spirit World…

Rare Tom Cora Solo Cello! Near Dozen from Clean Feed: Imaginary Numbers: Joe McPhee/Pascal Niggenkemper/Stale Solberg! Nick Fraser/Tony Malaby Qt! Jeff Parker/Kjetil Moster/Josh Abrams/John Herndon! Eve Risser / Kaja Draksler Piano Duo! Aalberg/Kullhammar/Zetterberg/Silva! João Lencastre /Jacob Sacks / Eivind Opsvik!

Gard Nilssen’s Acoustic Unity: Fredrik Ljungvist! Francisco Cusa Trio Carlos Atti! Tree Ear: Gerry Hemingway/Sebastian Strinning/Manuel Troller! Ada Rave/Nicola L Hein/Wilbert DeJoode! Mars Williams’ Witches & Devils: An Ayler Xmas! Sylvain Kassap/Julian Touery/Fabien Duscombs! Stephen Flinn/Michael Lytle/Denman Maroney!

Trio S: Doug Weisleman/Jane Scarpantoni/Kenny Wollesen! Historic Discs from Roscoe Mitchell & Anthony Braxton! Michael Cosmic & Phil Musra Group! Hypnotic Brass Band! Henry Flynt! Lady June’s Linguistic Leprosy! Suicide Early Tapes! Etc, Etc…!



Sunday, November 26th:

Sunday, December 3rd:
6pm: ANDERS NILSSON / HAMPUS OHMAN-FROLUND / SAM KULIK Scandinavian Guitar & Drums Trombone
7pm: AARON NOVIK / PATRICK HOLMES / THOMAS HEBERER - Clarinet / B-flat Clarinet / Trumpet

Rare Monday, December 4th Event:
7pm: CHRIS PITSIOKOS - Solo Alto Sax

Sunday, December 10th:

Sunday, December 17th:

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


Starting Things off with this Rarity:

TOM CORA - Live At The Western Front (Klanggalerie GG 63; EEC) Innovative Downtown cellist, Tom Cora, moved to New York in 1979, after studying with Karl Berger at the Creative Music Studio/School near Woodstock. Around 1980, the was a convergence of musicians who had moved to the Lower East Side, within a few years a couple dozen musicians would collaborate and around a dozen seminal Downtown bands all formed between 1980 & 1985. I began going to performances at a funky basement space known as Studio Henry (corner of Morton & Bleecker) at the end of 1979. Within a year I was checking musicians like Fred Frith, John Zorn, Eugene Chadbourne, Wayne Horvitz, Elliott Sharp, Robin Holcomb, David Moss, Charles K Noyes, Bill Laswell, Toshinori Kondo and Tom Cora. Tenor saxist George Cartwright and Mr. Cora formed a band called Curlew during this period, one of the moved beloved of all Downtown ensembles. Mr. Cora recorded five albums with Curlew, all great and all well worth checking out. In 1982, Fred Frith and Tom Cora founded a duo/trio called Skeleton Crew, a charming, art-rock, political unit that recorded two great records, adding harpist Zeena Parkins for their second album. Mr. Cora and drummer/sampler player, Samm Bennett, put together a trio known as Third Person, since at every gig, there would be a different third person. There are a couple of Third Person CD’s which are long out-of-print but worth searching for. In the early 1990’s, Cora joined the great Dutch punk band The Ex, touring widely and recording two strong recordings. Around this time, Cora married Swiss vocalist Catherine Jauniaux, moved to south France. Cora organized a quartet called The Roof with European-based musicians (Phil Minton, Luc Ex & Michael Vatcher), touring and recording a couple of great CD’s. When Cora came back to the US to play at the Knitting Factory in the mid-90’s, he put together a New York version of The Roof to play the same material. Sadly, Tom Cora passed away too young in April of 1998, diagnosed with melanoma.
Although Mr. Cora can be found on more than 100 recordings, most are long out-of-print. I had the good fortune to hear and see Mr. Cora play in solos, duos, trios and with Curlew, Skeleton Crew, The Ex and both versions of The Roof. Watching Mr. Cora play solo was something else since he was always experimenting with ways to play the cello: using rubber bands, thin strips of metal and assorted objects on the strings. You can check out some of his solo work on YouTube. As far as I know, there were only two solo recordings by Tom Cora, both long out-of-print until now. I urge you to grab this disc and check out Mr. Cora, one of the greatest solo cellists of all. - Bruce Lee Gallanter, DMG
CD $18

Recommended Recordings featuring Tom Cora, all currently in print:


2.SKELETON CREW [FRED FRITH/TOM CORA/ZEENA PARKINS/DAVE NEWHOUSE] — Learn To Talk/The Country Of Blinds...Plus (Fred FRO 08-09/ReR; UK) - 2 CD Set

3.CURLEW [GEORGE CARTWRIGHT/TOM CORA/DAVEY WILLIAMS/ANN RUPEL/J PIPPIN BARNETT] With AMY DENIO//PAUL HAINES - A Beautiful Western Saddle The Hardwood: Live At The Knitting Factory NYC 1991 Live In Washington 1991 [CD DVD] (Cuneiform 303/304; USA) - CD DVD Set



Both CD’s by The Ex & Tom Cora and both discs from The Roof are also highly recommended, but I am not sure if they are currently available. Will find out

While most labels have been releasing fewer CD’s every year, the CLEAN FEED label has increased their new releases to a new level! Last year they hit the mark of 60 discs but this year the count is going to surpass 70! Incredible! How do they do it, everyone seems to ask? The final batch for this year is an even dozen and as I am almost finished listening to them all, this batch is their best one yet! For domestic orders, if you pick 5 or more of the new Clean Feed’s, we will ship for free! If you add anything else, you will still get your shipping reduced!

Final Swarm of 11 New Titles from the CLEAN FEED Conglomerate - Label of the Year Again!

IMAGINARY NUMBERS [JOE McPHEE / PASCAL NIGGENKEMPER / STALE LIAVIK SOLBERG] - Imaginary Numbers (Clean Feed 455; Portugal) Personnel: Joe McPhee - pocket trumpet & tenor sax, Pascal Niggenkemper - double bass and Ståle Liavik Solberg drums and percussion. A living legend of the open-form kind of jazz he plays since the Sixties, Joe McPhee is one of the most requested players of several musical fronts besides jazz, from Pauline Oliveros’ “deep listening” approach to new music to the free rock coalition formed by The Thing and Cato Salsa Experience (he played the music of Led Zeppelin with them), going through a collaboration with the noise makers of Nihilist Spasm Band. In recent years, he’s being invited frequently to work with European musicians of the improvised music field, and this trio is one of those cases: we find him with the German-French double bassist Pascal Niggenkemper (mostly associated with people like Harris Eisenstadt, Frantz Loriot and Joachim Badenhorst) and the Norwegian drummer who initiated this trio Ståle Solberg, usual companion of the likes of John Russell, Steve Beresford and John Edwards. And free improvisation is what you have in “Imaginary Numbers”, even though the one with its inner essence derived from the tradition of free jazz – in this case, searching for a stronger connection with the source, as the piece “A Supreme Love”, dedicated to John Coltrane, testifies. Indeed, the music here seems a coming back to its original home, with the improvisatory ideas of the rhythm section making peace with all the American cultural bag we listen in the way McPhee uses the pocket trumpet and the tenor saxophone. But this isn’t the peace of the swamps: there’s tension all along the narratives, showing that a group improvisation isn’t the search of a lowest common denominator. There’s no bad record with Joe McPhee on it, but this one may be one of his best.
CD $15

NICK FRASER With TONY MALABY / ANDREW DOWNING / ROB CLUTTON - Is Life Long? (Clean Feed 452; Portugal) What do Anthony Braxton, Wynton Marsalis, William Parker and Dave Liebman have in common? The fact that they have played with a drummer from the Toronto jazz scene, Nick Fraser, one of those few cases of a musician so flexible that he can practice all the tendencies of this music. Or, when he is the band leader and composer, chooses to cross those different styles, as that combination enables his capacities to swing and to color, to control time and to design textures. Generally, you either shine in one domain or the other, but not Fraser, preferring small gestures instead of technically exhibitionist actions and always committing to the kind of improvisation that has a sense of natural, moment to moment form. He has found a soul mate in Tony Malaby and if their previous partnerships were already gems of contemporary jazz, the new “Is Life Long?” has all the ingredients to convince you to take this record to your hidden island. One of them is the way Andrew Downing's cello combines either with Malaby’s saxes, amplifying the melodic effect, or with the double bass of Rob Clutton, for a richer harmony. The others are on the CD for you to find...
CD $15

JEFF PARKER / KJETIL MØSTER / JOSHUA ABRAMS / JOHN HERNDON - Ran Do (Clean Feed 457; Portugal) “Personnel: Kjetil Møster - tenor sax, Jeff Parker - guitar, Joshua Abrams - double bass and John Herndon - drums. “Ran Do” comes after the 2014 re-encounter of the quartet with Kjetil Møster, Jeff Parker, John Herndon and Joshua Abrams. Their first coincidental meeting happened at the bar Rodan in Chicago in 2008, where Parker, Herndon and Abrams played every tuesday night for years. Bass player Ingebrigt Håker Flaten brought Kjetil Møster who was touring with electro-rockers DATAROCK at the moment, along to Rodan, and Parker recognizing Møster and his sax on his back invited him to join them on stage. This was a very direct, intuitive, pure and spontaneous meeting creating the most excitement amongst the performers and the listening part of the audience. Since then, the three Americans and Møster were longing for a second meeting. This merge of the with the Chicagoean and the Norwegian music community represented by Parker, Herndon and Abrams, were continued on the opportunity to meet again at Nattjazz festival in Bergen, Norway in May 2015. Parker and Herndon are members of Tortoise, Abrams is the mentor of Natural Information Society. The music inside is somehow extensive of the one proposed by Kjetil Møster’s quartet «Møster!», a pollination of progressive and psychedelic rock elements (with members of the Norwegian bands Motorpsycho, Elephant9, BigBang and Monolithic) with a strong Coltrane influence, but now entering more decisively into post-rock domains and acquiring a more “Americanized” sound. The CD follows a William S. Burroughs notion – «When you cut into the present the future leaks out» – and yes, from those old materials coming from the Sixties and the Seventies something new arises. Of course, you’ll still find in Møster’s saxophone playing the Scandinavian trademarks pioneered by Jan Garbarek, and also all his commitment to European free improvised music, but very alive is his other interest for the alternative and indie developments of rock and roll, the same that made him to join the bands Datarock and King Midas. Parker and Herndon swim in their natural element, equating abstract textures and groove, and Abrams – here switching his guimbri for the usual double bass – has ample space to conjure his love for the kind of repetitive motifs imagined by Terry Riley and Can. In one word: unmissable.
CD $15

EVE RISSER | KAJA DRAKSLER - To Pianos (Clean Feed 448; Portugal) Personnel: Eve Risser piano and Kaja Draksler piano. ‘To Pianos’ can read as a dedication: an act of celebration of the instrument. But being a pianist, I also read the phrase as something of a supplication. We’ve each hopefully made some kind of peace with our own instruments at home – and if we’re lucky, we may even love them. But whenever we travel to perform, we’re at the mercy of the particular piano we find at the other end. Whatever cosmic force controls this particular lottery, sometimes you just have to pray to it.
All of which makes it remarkable that musicians such as Eve and Kaja sound so utterly distinctive each time they sit at the instrument. But there’s another thing: as pianists, we’re almost always the only one of us on stage; so that on those rare occasions where we do get to play with other pianists, there’s something thrilling about the particular type of selflessness which the situation requires. This, then, is perhaps even more remarkable: that the pianists you hear on these two pianos remain so individual and distinctive, and the same time as they are able to come together to forge something so completely new, shared and selfless. And a true rarity: that they can project such personality in part simply (...but if only it were simple...) by remembering to let the instruments speak for themselves.
We might almost be observing surgery, as they stand working deftly over the innards of their instruments. But at the same time, there’s a kind of glee in the experimentation itself, and this is where the music is assuredly different from surgery: an often-mischievous, always curious ‘what happens if I do this?’ attitude pervades this collaboration, and I for one am happy if doctors don’t think in this way.
If it balances playfulness and rigor in this disarming way, the music similarly exhibits humanity at the same time as celebrating its mechanical aspects. The pianists are brave in wresting out the strange and ugly sounds from their instruments; but in the context of experimental music, are perhaps even more fearless in being free enough also to deal with possibilities such as melody and romanticism. But listen harder, and you may also notice the machines here giving themselves away as living, breathing things: compare the pianos’ changing beauty as their overtone-laden brilliance early on in the album drifts almost imperceptibly towards a more ethereal wooziness later in their working day.
CD $15

ESPEN AALBERG | JONAS KULLHAMMAR | TORBJORN ZETTERBER | SUSANA SANTOS SILVA - Basement Sessions Vol. 4: [The Bali Tapes] (Clean Feed 451; Portugal) Personnel: Espen Aalberg drums, percussion, Jonas Kullhammar - sax, flute, Torbjörn Zetterberg bass plus Susana Santos Silva - trumpet. All musicians also play gamelan. The fourth volume of the series “Basement Sessions” have again (like the previous “Vol. 3”, with Jørgen Mathisen as special guest) an addition to the trio formed by Jonas Kullhammar, Torbjorn Zetterberg and Espen Aalberg, the name of the drummer showing this time upfront because the compositions have his authorship – the extra element now is the Portuguese trumpeter Susana Santos Silva, presently living in Stockholm, as the other musicians here. Once again, the “mutated hard bop” concept followed by the band is in full application, but there’s a substantial difference confirming the subtitle “The Bali Tapes”, and not only to confirm that the recording was done in Indonesia: all the musicians play gamelan instruments besides their own, and among Aalberg’s pieces one is a Javanese traditional tune. There’s no contradiction of the new proceedings with the post-Coltrane identity of the project – faithful to the spiritual explorations put in music by the late saxophonist, what we find here is a group ritual diving deep into the inner soul of jazz and the souls of everybody involved, with a mercurial drive and a lyricism that, in the middle of all the fire going on, keeps astonishingly elegant. The Swedish scene keeps surprising us with unexpected ideas put into old formats with aspects yet to discover, and Santos Silva shows, once again, that there’s no boundaries for creativity. A must listen, must have record of the present day European jazz.
CD $15

JOÃO LENCASTRE'S COMMUNION 3 With JACOB SACKS / EIVIND OPSVIK - Movements in Freedom (Clean Feed 453; Portugal) Personnel: João Lencastre drums, Jacob Sacks - piano and Eivind Opsvik - bass. Portuguese drummer and composer João Lencastre is back for a new opus of his project Communion, the one with which he used to dialogue with key musicians of the American and international jazz scenes like David Binney, Bill Carrothers, Thomas Morgan, Leo Genovese, Phil Grenadier, Benny Lackner and Jeremy Udden, among others. This time, he chose the piano trio format, bringing back one of his more usual partners, pianist Jacob Sack, and a newcomer to his music, the Norwegian, but living in New York, double bassist Oivind Opsvik. The essence of the Communion concept keeps alive, but now only three of the pieces are compositions of the leader. The rest are improvisations of the trio, some played freely and others minimally structured by the three musicians, from that choice coming the title “Movements in Freedom”. And because the purpose was to open the music, the CD starts with a song (“Street Woman”) written by one of the inventors of what we call free jazz, Ornette Coleman. A new attitude is inscribed in this music, one of indifference regarding the boundaries once placed between the tradition of jazz and the avant-garde approach of this musical idiom, and this means that there’s no forbidden procedures all along the 10 reunited tracks. Melodies and grooving rhythms coexist with more abstract and exploratory incursions, without apologies of any kind, stating that jazz, now, is really and finally, free.
CD $15

GARD NILSSEN ́S ACOUSTIC UNITY With ANDRE ROLIGHETEN FREDRIK LJUNGKVIST - Live in Europe (Clean Feed 440; Portugal) Personnel: Gard Nilssen drums, Petter Eldh double bass, André Roligheten tenor & soprano saxes plus guests: Fredrik Ljungkvist tenor saxophone & clarinet, Kristoffer Berre Alberts alto,tenor & barytone saxes and Jørgen Mathisen tenor saxophone & clarinet. Recorded live in concert.
If we were in the seventies and a release like this – a triple LP – crossed our way, we would think that progressive rock was receiving its most ambitious conceptual album ever, but no. The year is 2017 and “Live in Europe” is something else entirely: a celebration of improvised music in its purest form, recorded in concert – as it should. Gard Nilssen’s trio Acoustic Unity played in the North Sea Jazz Festival, the Ljubljana Jazz Festival and the Oslo Jazz Festival in 2016 and the entirety of those performances were documented. Only in the first vinyl we find the triangle formed by the drummer with André Roligheten and Petter Eldh. The second has the contributions of Fredrik Ljungkvist and the third of Kristoffer Alberts and Jørgen Mathisen. The effect, anyhow, is very similar: this is a very special edition, and it has the same impact in the present creative jazz scene that it would have 40 years ago if it was something coming from King Crimson or Frank Zappa. The importance of this group in instantaneous composition with jazz as its foundation is equivalent. Nilssen’s enthusiasm on the liner notes is very clear: this is «one of the best bands I’ve ever been a part of by far». Why? Because these musicians are re-inventing melody and rhythm while improvising, and that’s not a common task.”
3 CD Set $24

FRANCESCO CUSA TRIO With SIMONE GRAZIANO / GABRIELE EVANGELISTA meets CARLO ATTI - From Sun Ra to Donald Trump (Clean Feed 449; Portugal) Personnel: Carlo Atti - tenor sax, Simone Graziano - piano, Gabriele Evangelista bass and Francesco Cusa - drums. With the kind of humorous approach characteristic of all things Italian, drummer Francesco Cusa turned the band he founded to play jazz standards into a project dealing, through his original compositions and orchestrations, with the search of the existing possibilities to «re- evoke an epoch and transpose it into the contemporary». And here are the first consequences, maintaining the «identity process» of the «fervid creative moment in black culture» which was defined 50 years ago by Sun Ra. For this endeavor, he invited Carlo Atti, a tenor saxophonist with an acclaimed career in the mainstream of Italian jazz. The music is less funny, or crazy, than the titles of the pieces suggest (for instance: “Fiscal Regime in the Life of a New York Taxidriver-Jazzman” or “Keynes and the Macro-Theory of the Structural Implosion of the Standard”), but the FCT Trio and their guest manage to surprise us, subverting the most obvious aspects of the standard jazz format (or the fake of it, because there’s no “real book” on sight). There’s an overall idea that music can change what nowadays is politically, socially and economically wrong, backing off to more happy days, but if the concept is debatable, because of the nostalgic element and because it gives to much responsibility to the art of sounds, the result is a marvelous record. In this case only, the means amply justify the purposes.
CD $15

TREE EAR [SEBASTIAN STRINNING / MANUEL TROLLER / GERRY HEMINGWAY] - Witches Butter (Clean Feed 438; Portugal) “Personnel: Sebastian Strinning tenor sax, bass clarinet, Manuel Troller guitar and Gerry Hemingway drums. In 2009 American percussionist and composer Gerry Hemingway relocated in Luzern, Switzerland, and found himself in a thriving community of musicians and artists with whom he has forged new relationships. Chief among those relationships are the guitarist Manuel Troller and saxophonist and bass clarinetist Sebastian Strinning. As a group they began exploring their collective invention in 2013 in Luzern. Now Tree Ear offers the international community an inspired crystallization and synthesis of their musical thinking in the powerful debut CD/LP "Witches Butter”. As the cover and the titles reveal the stakes and the willingness to take risks are high and consequently the results for us to hear are compelling and breathtaking. Hemingway, Troller and Strinning recognize the value and importance of being fluent in non-idiomatic as well as idiomatic musical vocabularies, all of which play a role in the content of what you hear presented in this exciting new release.
Mr. Hemingway is familiar to many Clean Feed listeners from his prolific manifestations as a composer, percussionist and improvisor. He is restless in his desire to explore new territories of artistic creation and with that continually forging new relations in his expanding artistic community. He as well believes in and maintains long and rich musical relationships over many years such as BassDrumBone which celebrates it’s 40th anniversary in 2017 and the great Anthony Braxton Quartet of the 1980’s.” Guitarist Manuel Troller is also am member of SchnellerTollerMeier, a jazz/rock/prog power trio with a couple of great discs out on Cuneiform. Tree Ear work extremely well together since they are mature, well-seasoned musicians. Although this sounds mostly improvised, there is creative bond that holds this together. On the title track, Troller plays those quick, Crimson-like, ricocheting licks while the drums and sax also link with him, in an interplanetary race to the stars. - BLG/DMG
CD $15

ADA RAVE TRIO With NICOLA L. HEIN / WILBERT DE JOODE - The Sea, The Storm and The Full Moon (Clean Feed 450; Portugal) Personnel: Ada Rave - tenor sax, clarinet & flutes, Nicola L. Hein - prepared guitar and Wilbert De Joode - contrabass. The Argentinian contribution to the universality of jazz is measured by everything Leandro “Gato” Barbieri gave to the music, and the gauge was put very high by the late saxophonist. Every sax player who emerged, after him, from the Buenos Aires scene had that extra challenge, and that’s the case of Ada Rave, who choose Europe – she’s based in Amsterdam – instead of the United States (Barbieri’s case), to start a successful international career. Along with partnerships with musicians like Ab Baars, Onno Govaert, Kaja Draksler, Felicity Provan and Michael Vatcher, who by now are familiar names to the label Clean Feed followers, she formed this trio with the eminent improvisers Wilbert De Joode and Nicola Hein. Together, they create a very impressionistic reading of the poem “The Sea, the Storm and the Full Moon”, written by Rave, with the music developing on the edge of a thunderous storm, until it suddenly dissolves and a full moon is discovered up in the sky, «immense in my dream / so real in me», as the words describe it. Generally interested in finding new paths among the possible combinations of written composition and spontaneous improvisation, here Ada Rave gives full space to her fascination for the free improvised group interactions, benefiting from the very special skills of her experimented partners. What comes from that approach is very different from everything given to us by “Gato” Barbieri, but her origins couldn’t be more honored.
CD $15

SIRIUS [YAW TEMBE / MONSIEUR TRINITE] - Acoustic Main Suite Plus the Inner One (Clean Feed 454; Portugal) Personnel: Yaw Tembe - trumpet & voice and Monsieur Trinité - percussion. This disc was recorded at Panteao Nacional in Lisbon, Portugal in July of 2015. Sirius is an odd duo with two members from different backgrounds: Swaziland, South African trumpeter Yaw Tembe and Paris emigrant, Monsieur Trinite (Francisco Trindade) on percussion. This disc was co-produced by Sei Miguel, also a trumpet player who is known for his inventive recording techniques. The duo here stripped down and spacious, everything is bathed in careful, subtle, haunting resonance. At times Yaw Tembe’s trumpet recall’s another South African, the late, legendary, Mongezi Feza. The music has a ritualistic, dream-like vibe. Each sound is cautiously manipulated and placed over a cushion of suspense. The percussion is often stripped down to skeletal fragments yet fills the spacious canvas with sublime elegance. - Bruce Lee Gallanter, DMG

MARS WILLIAMS / WITCHES & DEVILS With JOSH BERMAN / FRED LONBERG-HOLM / JIM BAKER / KENT KESSLER / BRIAN SANDSTROM / STEVE HUNT - An Ayler Xmas (Soul What Records SWR 003; USA) Featuring Mars Williams on saxes & toys, Josh Berman on cornet, Fred Lonberg-Holm on cello, Jim Baker on piano, synth & viola, Kent Kessler & Brian Sandstrom on basses and Steve Hunt on drums. Although Mars Williams has been living in Chicago for many years, I did catch him live several times when he was living in NY many years ago. Since moving to the Windy City, I’ve caught him on occasion, once in a duo with Ken Vandermark and later blowing up a storm with Hal Russell’s NRG Ensemble at Victo dressed as a pirate!?! Since the turn of the millennium, I’ve caught Mr. Williams with Peter Brotzmann, Ken Vandermark and members of The Thing, each time playing immensely well, no matter who with.
Mr. Williams discs as a leader are few and far between, although there is an earlier disc from his Witches and Devils project with some of the same members, a couple of which were also members of the NRG Ensemble. For this disc, Williams organized a slightly larger version if Witches and Devils with some of Chicago’s finest: Josh Berman on cornet, Fred Lonberg-Holm on cello and Jim Baker on keyboards. This disc was recorded live at the Hungry Brain in December of 2016. The music is an odd blend of holiday (Christmas & Hanukah) songs with melodies written by free/jazz legend Albert Ayler. Starting with a frenzied version of Ayler’s “The Truth is Marching In”, that festive holiday spirit erupts joyously. The irrepressible Fred Lonberg-Holm takes the first solo on cello and sounds wonderful. Later it sounds as if all three strings (cello & 2 basses) erupt and weave them selves into a righteous web of activity. Each of the three long pieces here are medleys of sorts which have free sections which then turn work their way through fragments of “Jingle Bells” and “O Tannembaum”. Mars himself is a strong saxist himself and captures the fire-breathing finesse of Albert Ayler throughout, taking the occasional mind-blowing solo whenever he gets the chance. The vibe here is most exuberant and it made me feel like sipping on some tasty liquid spirits or herbal remedies. - Bruce Lee Gallanter, DMG
CD $15

SYLVAIN KASSAP / JULIAN TOUERY / FABIEN DUSCOMBS - 8 Detours (Mr. Morezon 001; France) Featuring Sylvain Kassap on clarinets, Julien Touery on piano and Fabien Duscombs on percussion. Earlier this week (11/19 & 20/17), I had the good fortune to hear French clarinetist, Sylvain Kassap, play live: first in a clarinet quartet here at DMG and then at the Zurcher Gallery in a trio with Steve Dalachinsky and Todd Capp. Both were excellent and quite different performances. I did check out another fine set with Mr. Kassap by the East-West Collective (w/ Larry Ochs & Miya Masaoka) at the Vision Fest a few years ago. I have had my eye (and ear) on Mr. Kassap over the last few years since he has collaborated with a number of fine players: duos with Hamid Drake & Helene Breschand, plus work with Nicole Mitchell and Gunter ‘Baby’ Sommer. I hadn’t heard of the other tow members of this trio before Sylvain left these with us.
This disc sounds like a studio recording and the sound is superb. The balance and interplay between all three members is excellent with no one player on top. The music is rambunctious, filled with free spirits, tight, explosive at times and often intense. One of the things that Mr. Kassap likes to do is play two clarinets (or halves) at the same time, creating odd harmonies. I like when he does this as the harmonies of both clarinets are somewhat skewered. The trio work extremely well together, always shifting gears as one organic force. The drummer here, Mr. Duscombs, reminds me of Hamid Drake at times, switching between brushes, mallets and sticks, balancing the rhythmic flow effortlessly, the interplay between the clarinet and drums often just incredible. Mr. Kassap is one of the best clarinetists I’ve heard and often unstoppable. No matter which clarinet he is playing, he keeps things exciting, diverse and filled with surprising twists ands turns. Considering that I hadn’t heard of the pianist or drummer before now, this is disc is as great as it gets, free/improv at its best! - Bruce Lee Gallanter, DMG
CD $13

STEPHEN FLINN / MICHAEL LYTLE / DENMAN MARONEY TRIO - Itinerant (Creative Sources 472; Portugal) Featuring Michael Lytle on bass & contrabass clarinets, Denman Maroney on piano and Stephen Flinn on percussion. This past Sunday (11/19/17), we had a rare set from a clarinet quartet plus drums here at DMG. The eldest member of this clarinet choir is none other than Michael Lytle. You should recognize his name from numerous bands/sessions going back to the early 80’s: Meltable Snaps It and Doctor Nerve. Hyper-piano player, Denman Maroney, also has been a longtime time member of the Downtown Scene working with Mark Dresser, Ned Rothenberg and more recently Angelika Niescer (great CD on Clear Feed). Percussionist Stephen Flinn has recorded for Nine Winds and Creative Sources and we recently got in a trio disc with Viv Corringham and Miguel Frasconi.
This disc begins with a slowly expanding drone: rubbed piano strings, bowed cymbals and soft, grumbling bass or contrabass clarinet. The vibe is mysterious, filled with suspense. Mr. Maroney is a master of working inside the piano and here he takes his time to manipulate the strings, muting them at times while he plays minimal lines on the keyboard. The combined sound expands and contracts and sounds like the troubled breathing of a sea monster. Midway through this disc, the tempo increases and the excitement builds. The overall effect of this disc is most hypnotic and it feels as if we are balancing on a boat at sea, slowly shifting on the waves as they move organically underneath. Although there are few dark moments, it felt good to be transported to another more buoyant world. - Bruce Lee Gallanter, DMG
CD $13

TRIO S [DOUG WIESELMAN / JANE SCARPANTONI / KENNY WOLLESEN] - Somewhere Glimmer (Zitherine ZN 002; USA) Trio S features Doug Wiesleman on clarinets, loops, banjo & compositions, Jane Scarpantoni on cello and Kenny Wollesen drums, percussion & homemades. Doug Weiselman is a quintessential Downtown musician (switching between clarinet, tenor sax, guitar & more) who has worked with several seminal Downtown bands/projects: Lounge Lizards, for Wayne Horvitz and Robin Holcomb. Downtown cellist Jane Scarpantoni, has also worked for many different musicians: Lounge Lizards, Lou Reed and Bob Mould. In-demand drummer, Kenny Wollesen, is a longtime collaborator for John Zorn and Bill Frisell,as well as Ben Goldberg, Eivind Opsvik and many others. This is the second offering by Trio S, their first was in 2014.
Mr. Wieselman, does a fine job of looping his clarinets, weaving their lines sublimely around one another while Ms. Scarpantoni and Mr. Wollesen create a cushion of warm, enticing tapestry underneath. Wieselman switches to banjo on “That Way”, which is a haunting bit of Americana featuring some superb, forlorn cello. The melody sounds so familiar, like an enchanting old folk song heard once and never forgotten. “Dreambox” sounds like an Eastern European Klez-like song, which speeds up as it goes in a frenzied conclusion. What I dig most about this is that Wieselman knows when repeat or loop certain lines, picking the ones that provide a magical lifelike pulse running through the center of these most enchanting pieces. You don’t want these songs to end since those ancient melodies continue to dance in your memory long after the disc comes to a righteous conclusion. As soon as this disc did end, I had to put in on again since it felt so good. I think that the “glimmer” in the title of this disc refers to the glimmer of hope that seems to resonate throughout this disc. - Bruce Lee Gallanter, DMG
LP $18 (LP only release)

ROSCOE MITCHELL - Duets with Anthony Braxton (Sackville 3016) “Duets is just that, a series of duos with the two reed masters and old buddies from the AACM, withMitchell composing the pieces on the first side of the vinyl issue and Braxton penning those on side B. Mitchell's run the gamut, beginning with the darkly gorgeous opener that features Braxton's contrabass clarinet nestling evocatively beneath the composer's earthy flute. On "Line Fine Lyon Seven," a composition Mitchell would return to often in the next couple of decades, Braxton chugs delightfully along the funky road on his totally unwieldy contrabass saxophone, sounding like a large, old truck. Mitchell's other pieces investigate the sparer, more abstract realm, as the duo's wide variety of reeds populate the sonic environment with scattered moans, squeaks, and pops. The Braxton pieces (titled in diagrammatic form on the album, listed below as indicated in Francesco Martinelli's Braxton discography) begin with one of his patented loony marches; one can imagine a high-school band careening into the stands while attempting to negotiate this number. This is followed by a lovely, lyrical duet for flutes, a work that belies Braxton's reputation as calculating and methodical; this is closer to birdsong. The final track is a knottier affair; much of the piece is structured as a single line in two parts, with Mitchell's soprano abutting and continuing Braxton's contrabass clarinet phrases in increasingly frenetic fashion, eventually reaching a truce at the end. Overall, this is a fine meeting between two of the most forward-looking thinkers and players in the music. Recommended.” - Brian Olewnick, AllMusicGuide
CD $15

MICHAEL COSMIC / PHILL MUSRA GROUP - Peace In The World / Creator Spaces (Now-Again 5155; USA) "The latest release in Now-Again's Reserve series is Michael Cosmic's Peace In The World and Phill Musra Group's Creator Spaces, packaged as a triple CD featuring unreleased music by The Phill Musra Group and World's Experience Orchestra. Also includes extensive liner notes featuring rare photos and much more. Free improvisation, first touched on by messengers like John Coltrane, Sun Ra and Albert Ayler, gives us an exuberant maelstrom that rejoices in life while it shoves back at complex, unforgiving social-political environments. The '70s Boston underground brought twin brothers Phill Musra and Michael Cosmic together with Turkish-born drummer Hüseyin Ertunç; as a trio, and with other Boston jazzers (John Jamyll Jones of Worlds Experience Orchestra, the 2nd Now-Again Reserve Edition entry), the twins each privately issued an album. Potent mixes of spirituality, expressionist fire and electrified newness."
3 CD Set $24
2 LP Set $50

HYPNOTIC BRASS ENSEMBLE - Book Of Sound (Honest Jon’s Records 074; UK) With its cathedral-like, richly resonant acoustics, the new Hypnotic Brass Ensemble album Book Of Sound is a brilliant expression of this interplanetary principle. The album is by turns urgent and contemplative, funky and reflective, varied in its textures; but entirely of one piece. Underpinned by concepts of earth's place in the cosmos, held in place by meditation, swirling with notions of history, science, theology, ancestry, there is a rich conceptual brew here. The album rings with what back in the 1950s the jazz critic Whitney Balliet called "the sound of surprise". Book Of Sound makes you believe again in the validity of "spiritual jazz". Talking to Cid, one of the Ensemble's two trombonists, one phrase recurs: "back to the beginning". "We wanted to go back to the beginning, when we were kids, real young, and our father would wake us up at 5AM to practice for two hours before breakfast." One outcome -- initially unplanned but subsequently embraced -- is that unlike their two previous albums on Honest Jon's, this is an album without a drummer. "When we started, as Wolf Pack, just brothers on the street with our horns, there wasn't a kit in sight." Book Of Sound retains plenty of rhythmic heft, but the absence of a drummer opens up space for a notably varied instrumental palette. Acoustic guitar, piccolo, synthesizer, alto sax -- all have their place on the album. Most striking perhaps are the vocal lines that thread through the album and give it a palpable warmth. Sessions were recorded in Brooklyn and Chicago, and brilliantly mixed at Abel Garibaldi's studio in the Loop, and it's the Hypnotic's hometown that permeates. For Cid this is a deeply Chicago record: "It's got the vibe of the lake, the vibe of the prairies opening up to the west." It also has the vibe of those Sun Ra Arkestra albums recorded in Chicago in the 1950s, and -- of course -- the Phil Cohran albums from the 1960s. It's Phil Cohran (the father of all seven members of the Ensemble and their first teacher, and not just in music) who is the album's guiding spirit. For Cid it's a major regret that, in the months before their father's death early in 2017, Phil was not well enough to play on the album. But Book Of Sound is a magnificent testament to their Cohran legacy.
CD $15

HENRY FLYNT - You Are My Everlovin' (Superior Viaduct 144; USA) "Philosopher, musician and anti-art activist, Henry Flynt has long foregone the academicism often associated with 'serious music' in favor of a uniquely intuitive, emotional approach to composition. In the 1960s and 1970s he was a part of NYC's vibrant avant-garde scene, studying with Hindustani singer Pandit Pran Nath and developing his own proprietary technique on violin. You Are My Everlovin', Flynt's first published musical work, finds the composer in peak form at a lower Manhattan loft in late spring 1981. Featuring solo electric violin and pre-recorded tambura, this sinuous performance elegantly brings together disparate vernaculars -- Southern blues, modal jazz, Appalachian fiddle, North Indian raga -- into a new and bracing whole. As Flynt writes in the liner notes, 'The electric violin timbre is crucial; it allows me to crush the diverse styles into a unity. I imagined the genre as open, radiant improvisation . . . an open plain that could absorb anything.' Incorporating themes and melodic phrases from his earlier work, Everlovin' becomes Flynt's own Gesamtkunstwerk -- a work that is at once rooted in and liberated by the drone, revealing the profound mutability and utter singularity of this American iconoclast."
CD $17

SYLVAIN CHAUVEAU - Echoes of Harmony - Early Music Reworked (Sub Rosa 447; Belgium) All pieces of the Renaissance Repertoire come from Cancionero de Colombina (around 1470) or Cancionero de Palacio (around 1510). Both sources are well known for their typical Spanish repertoire of this period. Electronic music artist Sylvain Chauveau did new versions of several tracks and added also some drones to the program. Daniel Manhart did the compilation and the additional sound design and mixing. All pieces on this CD are hardly ever performed or recorded -- a fine, sensitive, interesting crossover between early music and contemporary electronic music with a repertoire mostly unknown. Sylvain Chauveau has made solo records on labels such as FatCat, Type, Les Disques du Soleil et de l'Acier, and Brocoli: very minimal compositions for acoustic instruments, electronics, and vocals. His music has been played in John Peel's show on the BBC and reviewed in The Wire, Pitchfork, Mojo, Les Inrockuptibles, Libération, The Washington Post, and many others. One of his tracks was published on the compilation XVI Reflections on Classical Music (2009) alongside pieces by Philip Glass, Gavin Bryars, and Ryuichi Sakamoto. He has played live around the world (Europe, America, Asia), performed in museums and art galleries, and was artist in residence at the Villa Kujoyama (Kyoto, 2011), Fundacao Serralves (Porto, 2011), and Lieu Unique (Nantes, 2004 and 2014). Chant 1450 Renaissance Ensemble sings and plays the sacred and secular repertoire of the 15th and 16th century. Including musicians trained at the widely renowned college for early music Schola cantorum in Basel, Switzerland, chant 1450 appeared live in January 2005 and then sang for a highly acclaimed first tour in Switzerland with La contenance angloise -- sacred music of the 15th century, followed by more than 150 live performances in Germany, Italy, Czech Republic, and Switzerland until today. Chant 1450 was invited to major festivals like the Rheingau Festival (Germany), the Montalbâne Festival (Germany), Festival for Early Music Zurich, and many more. Artistic Director and responsible for all programs and recordings, including sound design, is Daniel Manhart, a tenor born in Switzerland. CD comes in a digipack and includes a 12-page booklet.
CD $15

APICHATPONG WEERASETHAKU - Metaphors: Selected Soundworks from the Cinema of Apichatpong Weerasethakul (Sub Rosa 448; Belgium) Apichatpong Weerasethakul is recognized as one of the most original voices in contemporary cinema today. His seven feature films, short films, and installations have won him widespread international recognition and numerous awards, including the Cannes Palme d'Or in 2010 with Uncle Boonmee Who Can Recall His Past Lives. The compilation album Metaphors contains 14 sound works carefully selected from his past cinema and other visual works since 2003, which includes Uncle Boonmee Who Can Recall His Past Lives, Syndromes and a Century (2006), Fever Room (2016), and more. Weerasethakul has regularly worked with the same sound designers since 2003 and has always given importance to the personality of on-location sounds that give his films a sense of continuity. In post-production, he's fascinated by the manipulation of these "live" sounds in order to express "reality". This reality doesn't necessary represent the actual sound of the places, it's more of a representation of the world in layered memories. Similar to the way he treats images, Apichatpong sometimes calls attention to the physicality and the fragility of the audio (and its apparatus) and to the process of audio manipulation itself. In his cinema, Apichatpong prefers natural sound sources over music. Nevertheless, he often boldly incorporates popular songs that were persistent during the shooting. He doesn't shy away from using tunes that relate to his own personal memories. In this sense, Apichatpong values the spirit of authenticity much more than rigid manipulation of audio and weaves a complex and dreamlike soundscape in his cinematic repertoire. Born in Bangkok, Apichatpong grew up in Khon Kaen in north-eastern Thailand. He began making films and video shorts in 1994 and completed his first feature in 2000. He has also mounted exhibitions and installations in many countries since 1998 and is now recognized as a major international visual artist. His art prizes include the Sharjah Biennial Prize (2013) and the prestigious Prince Claus Award (2016). Lyrical and often fascinatingly mysterious, his film works are non-linear, dealing with memory and in subtle ways invoking personal politics and social issues. Metaphors is compiled by sound designers Akritchalerm Kalayanamitr and Koichi Shimizu. CD version comes in a digipak and includes a 16-page color booklet.
CD $15

Back in Stock:

2-CD Set $22

2 CD Set $24

CD $17

DEREK BAILEY With JOHN STEVENS / KENT CARTER / & With ANTHONY BRAXTON - Fairly Early with Postscripts (1971-98) (Emanem 4027; UK)
CD $17

FRANK LOWE & EUGENE CHADBOURNE - Don’t Punk Out (Emanem 4043) (1977 1979 & 2000) A unique set of tenor saxophone and guitar duets mainly based on original compositions, with a couple of free improvisations and some pieces by other musicians. Considered by some to be among the best work of both musicians. Solo additions feature three Lowe pieces performed on a collapsing guitar in 1979, and some saxophone recorded in 2000. Reissue of QED LP 995 with extra later material. 65 minute
CD $18

EVAN PARKER / DEREK BAILEY/HAN BENNINK - Topography of the Lungs (PSI 06.05)(1970) EVAN PARKER (soprano & tenor saxophones), DEREK BAILEY (guitar) and HAN BENNINK (percussion, etc). The Topography of the Lungs is considered a landmark recording in the history of improvised music. Back in print as a CD for the first time and for the first time in many years. Two previously unissued pieces from the same 1970 session have been found and added. 53 minutes. "Back in early 70's Boston, during my college years, I picked up this LP in a shop and went back to my dorm room and listened to it. The experience totally transformed my life. I had grown up listening to music with lots of improvisation in it. From Hindustani Classical Music, to the psychedelic sounds of my Bay Area's music scene in the late 60's, to blues, free jazz, and everything else that was flying about in the airwaves at that time. The music on topography really surprised me for 3 reasons: 1) there was more improvisation here than in any recorded music that I had ever heard. I knew what improvisation smelled like and this was the richest, curiously complex, informationally dense, and most fragrant improvisation ever. 2) Parker, Bailey, and Bennink played like themselves, with completely original personal vocabularies, and they sounded like nobody else. 3) The guitar! Guitar was my favorite instrument to listen to and for some reason I could instantly grok what Derek was saying through his guitar, he was speaking my language and this was the first time I had ever had someone speak to me in this language. (Eugene Chadbourne has mentioned having a similar experience in the notes to his first solo guitar LP on Parachute, where he wrote of his initial exposure to Bailey). So I had no choice, I had to get a guitar and find my own personal expression through it. So the next day I went to Tavian Music, picked up a black Fender Telecaster and started to figure out how to produce and control the guitar vocabulary that Derek was working with. The rest was history. I had not listened to Topography for perhaps 10 years until this new CD reissue finally appeared last week. Popping it in the CD player, pressing play, I was surprised to discover that I had all the music memorized; that I knew every note and and sound that was coming next. Despite that familiarity, everything that I heard still sounded fresh and surprising. I cannot imagine anything more satisfying to listen to than this recording. It's both timeless and nostalgic of the era when the sort of music that has been my life's work was first being played. And this is THE ensemble recording that best exemplifies that." - Henry Kaiser
CD $17

EVAN PARKER - Monoceros (PSI 15.01)Soprano saxophone solos originally recorded direct-to-disc in 1978 at Nimbus Studios, Wyastone Leys, Monmouth by Michael & Gerald Reynolds. Originally issued as Incus LP 19 and previously reissued as Chronoscope CPE 2002-2. 40 minutes. This is one of the finest solo soprano sax efforts that the great Evan Parker has done and it has been long out-of-print! A must for all Evan Parker fan-addicts worldwide! - BLG
CD $16

EVAN PARKER / GEORGE LEWIS / BARRY GUY / PAUL LYTTON - Hook, Drift & Shuffle (PSI 07.07; UK) EVAN PARKER (soprano & tenor saxophones), GEORGE LEWIS (trombone, electronics), BARRY GUY (double bass, electronics), PAUL LYTTON (percussion, electronics). A 1983 Brussels concert featuring three improvisations by this electro-acoustic quartet. Reissue of Incus LP 45
CD $16 

JOHN RUSSELL With EVAN PARKER / PHIL MINTON / HENRY LOWTHER/ et al - With (Emanem 5037) All of the music from guitarist JOHN RUSSELL's 60th Birthday Gig - a packed out event at the Cafe Oto in London. Aside from the large shadow that Derek Bailey casts over the longtime British Improv scene, there are a few other elders of free guitar in the UK: Ray Russell, Roger Smith and John Russell. John Russell has only a dozen discs out as a soloist, in duos or trios. This disc shows several different sides to this great and often under-recognized guitarist. If you little or nothing by John Russell, this is the perfect place to start. - BLG
CD $18

LP Only Section:

LADY JUNE With KEVIN AYERS / DAVID VORHAUS / BRIAN ENO / LOL COXHILL / PIP PYLE - Lady June's Linguistic Leprosy (Mental Experience 017; Spain) Mental Experience present the first vinyl reissue of Lady June's Linguistic Leprosy, originally released in 1974. The legendary debut album by Canterbury scene pivotal figure, performance poet, painter, and experimental musician June Campbell Cramer, better known as Lady June. Produced by Kevin Ayers, who also plays on the album along with Brian Eno, Pip Pyle (Gong, Hatfield And The North), and David Vorhaus (White Noise). Originally released by Virgin's budget imprint Caroline (home also of artist like Faust With Tony Conrad, Gong, Lol Coxhill, etc.), Lady June's Linguistic Leprosy is a surreal, eccentric, psychedelic oddity of interest to fans of the Soft Machine-Gong-Canterbury family as well experimental/sound poetry/art-rock explorers. This cult album was included on the legendary Nurse With Wound list. Remastered sound; Insert with photos and liner notes by Ayers archivist Martin Wakeling. RIYL: Gong, Catherine Ribeiro, Laurie Anderson, Boards Of Canada, Mopsie Beans.
LP $26

SUICIDE - First Rehearsal Tapes (Superior Viaduct 128; USA) "'On Suicide's First Rehearsal Tapes, recorded in 1975, Alan Vega and Martin Rev create minimalist aural structures, traces of which would surface on their eponymous debut album, released on the Red Star label in late 1977. These songs are not a sketchpad of semi-formed ideas. The First Rehearsal Tapes comprise an audio diary of two men out in the ether, measuring themselves as evolving individual artists and as a unit who would rely on inseparability to realize their unique and often confrontational mass in the decades to come. What the tapes also reveal is that Vega and Rev were compositionally ambitious, capable of melody and form, while resisting definition as they headed further into uncharted territory. The First Rehearsal Tapes afford the listener a glimpse into the creative process of two groundbreaking, true art warriors with their swords and shields leaning against the practice room wall. To understand the absolute brilliance of Suicide's first album as well as their sonic adventures that followed, you have to start here with their earliest recordings.' --Henry Rollins (excerpt from the liner notes)"
LP $19

ROBERTO CACCIAPAGLIA - Sei Note in Logica (Mirumir 100703; Russia) An impossible to find album, reissued for the first time ever on vinyl. 1979's Sei Note in Logica is Italian experimental composer Roberto Cacciapaglia's second LP, a minimalist album that features one continual composition "for four voices, computer, and orchestral ensemble," in the same vein as Fred Rzewski, Steve Reich, and Terry Riley. Unlike anything else coming out of Italy at the time, Cacciapaglia (who worked for Italy's national Department of Phonology) was also quite advanced in his use of computer-based technology. A major influence on the likes of Jim O'Rourke and others of his ilk. Presented on 180-gram vinyl with a bonus CD containing an acoustic version of the entire album.”
LP CD $24

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Bruce Lee Gallanter’s Recommended Gig List for November & December of 2017:


11/24 Friday
8:30 pm - The Chutneys - Chris Cochrane (guitar) Fast Forward (percussion) Gelsey Bell (vocals)

11/25 Saturday
8:30 pm - Collapsible Shoulder: Chris Cochrane (guitar, vocals) Kato Hideki (bass) Kevin Bud Jones (electronics) Brian Chase (drums) Special Guest Stuart Popejoy (bass, effects)

11/26 Sunday
8:30 pm - Chris Cochrane (guitar) Kevin Shea (drums) Gordon Beeferman (keyboards) Zeena Parkins (harp)


11/28 Tuesday
8:30 pm - House of Wisdom - Jon Madof (guitar) Jessica Lurie (baritone sax, alto sax) Yoshie Fruchter (bass) Yuval Lion (drums)

In collaboration with National Sawdust The Stone presents a series of World Premieres the last Wednesday of every month through 2017.
7pm at National Sawdust in Williamsburg. For details check - $25

11/29 Wednesday
8:30 pm - Jon Madof (guitar) Yoshie Fruchter (bass) Mick Rossi (drums, piano)

ONE SET AT 8PM—ADMISSION FREE! - The Stone is proud to present music at Russ and Daughters Cafe at 127 Orchard Street the last Thursday of every month! Drop by for smoked fish, pickles and great music!

11/30 Thursday
8:30 pm - Ruthless Cosmopolitans - Jon Madof (guitar) Eden Pearlstein (emcee) Jessica Lurie (baritone sax, alto sax) Yoshie Fruchter (bass) Manny Laine (drums)

John Zorn (sax) and many special guests

12/2 Saturday
8:30 pm - Zion80 - Jon Madof, Yoshie Fruchter (guitars) Greg Wall (tenor sax) Frank London (trumpet) Jessica Lurie (bari sax, flute) Zach Mayer (bari sax) Shanir Ezra Blumenkranz (bass) Brian Marsella (keyboard) Marlon Sobol (percussion) Yuval Lion (drums)

12/3 Sunday
8:30 pm - Too Many Guitars
Jon Madof (guitar) Yoshie Fruchter (guitar) Ty Citerman (guitar)

The Ayler Christmas Show
Mars Williams (tenor sax) Joe McPee (tenor sax) Steve Swell (trombone) Nels Cline (guitar) Hilliard Greene (bass) Chris Corsano (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 Nov 24
6:00PM ANDRÉ CARVALHO GROUP - Jeremy Powell, saxophone; Eitan Gofman, saxophone, bass clarinet and flute; André Matos, guitar; André Carvalho, 8:35PM HUSH POINT - Jeremy Udden, alto, c melody saxes; John McNeil, trumpet; Aryeh Kobrinsky, bass; Jay Sawyer, drums, percussion

Saturday Nov 25
8:35PM HUSH POINT - Jeremy Udden, alto, c melody saxes; John McNeil, trumpet; Aryeh Kobrinsky, bass; Jay Sawyer, drums, percussion

Sunday Nov 26
8:00PM OSKAR STENMARK NYC QUARTET - Oskar Stenmark, flugelhorn; Billy Test, piano; Vincente Archer, bass; Kush Abadey, drums
9:30PM NICK SANDERS, LOGAN STROSHAL DUO - Nick Sanders, piano; Logan Strosahl, sax

Tues Nov 28:
8:00PM COMPASS: 'MARITIME COWBOY' RELEASE - Christine de Michele, voice, piano, songwriting; Christian Nourijanian, keyboards; Jeff Koch, bass; Dustin Kaufman, drums
9:30PM HISKE OOSTERWIJK QUARTET - Hiske Oosterwijk, voice; Misha Tsyganov, keys; Tamir Shmerling, bass; Donald Edwards, drums; special guest Ivan Baryshnikov, tenor sax

Wednesday Nov 29
6:00PM MARIUS DUBOULE TRIO - Marius Duboule, guitar; Tony Malaby, tenor saxophone; Billy Mintz, drums
8:00PM NOAM WIESENBERG QUINTET - Philip Dizack, trumpet; Immanuel Wilkins, alto sax; Shai Maestro, piano; Noam Wiesenberg, bass; Kush Abadey, drums Noam Wiesenberg Quintet image
9:30PM PETER SLAVOV QUARTET - Troy Roberts, saxophone; Dan Kaufman, piano; Peter Slavov, bass; Colin Stranahan, drums

Thursday Nov 30
6:00PM DAVE JUAREZ STORIES - Dave Juarez, guitar, compositions; Lluc Casares, tenor saxophone; Marty Isenberg, bass; Eric Reeves, drums
8:01PM CHRIS DINGMAN TRIO - Chris Dingman, vibes; Linda Oh, bass; Tim Kelper, drums

Friday Dec 01
8:35PM JULIEN LABRO & OLLI SOIKKELI QUARTET - Julien Labro, accordion; Olli Soikkeli, guitar; Edward Perez, bass; Nick Anderson, drums

Saturday Dec 02
8:35PM GILAD HEKSELMAN ZUPEROCTAVE - Gilad Hekselman, guitar; Kendrick Scott, drums

Sunday Dec 03
8:35PM DJANGO AT CORNELIA STREET, LUKE HENDON - Luke Hendon, guitar; Josh Kaye, guitar; Scott Tixier, violin; Tony Jarvis, bass clarinet; Ben Rubens, bass


November at Shapeshifter:

Nov 25
8pm: Johnny Mercier
Johnny Mercier- piano, keyboards and organ
Rogerst Charles- Saxophone
Eli Menezes- Guitar
Patrick Andy- Bass
Ben Nicolas- Drums

Nov 28
7pm Mostly Other People Do the Killing: Ron Stabinsky- piano, Moppa Elliott - bass, Kevin Shea - drums
8:15pm Charles Evans Quartet: Charles Evans - baritone sax, Dan Blake - soprano sax, Ron Stabinsky - piano, Tony Marino - bass
9:30p - Bixler, Cowherd, Sturm, Boccato
David Bixler alto sax / Jon Cowherd piano / Ike Sturm bass / Rogerio Boccato

Dec 1
9:30p - "Addicted to Love" and musicians are Sophie Dunér (voice) & Jeremy Harman (cello).

Dec 5 - 8p, 2 sets
Brooklyn College Conservatory Big Band
Arturo O'Farrill, Director
Alon Vavnai, guest composer and conductor
Sobina Chi, coordinator

Shapeshifter is located at
18 Whitwell Place in Brooklyn, NY
R train to Union stop


I-Beam Presents:

Saturday, December 2nd 8:30 PM
Lena Bloch (tenor saxophone)
Russ Lossing (piano)
Cameron Brown (bass)
Billy Mintz (drums)

Saturday, December 9th 8:30 PM
Sperrazza / Drye / Roberts / Doxas
Brian Drye – Trombone
Vinnie Sperrazza – Drums
Hank Roberts – Cello
Chet Doxas – Sax

Thursday, December 14th 8:30 PM
Thomas Morgan solo Emi Makabe Quartet
8:30pm Thomas Morgan solo
Thomas Morgan (double bass, computer, compositions)
9:30pm Emi Makabe Quartet
Ches Smith (drums)
Thomas Morgan (double bass)
Vitor Gonçalves( Piano/Accordion)
Emi Makabe (voice/shamisen/compositions)
Thomas Morgan solo Emi Makabe Quartet

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.



31 winds, strings, percussion

Composed and Improvisationally conducted by Adam Rudolph

Monday November 27 8pm $15
At Roulette - 509 Atlantic Ave Brooklyn, NY 11217

Michel Gentile – c and alto flute, bamboo flutes
Sylvain Leroux - tambin, flute, bamboo flutes
Ze Luis – c and alto flute, bamboo flutes
Mariano Gil - bass flute, piccolo, bamboo flutes
Graham Haynes – cornet, flugelhorn, kudu horn
Stephen Haynes – trumpet, flugelhorn, kudu horn
Peter Zummo - trombone, didjiridoo
Libby Schwartz - french horn, kudu
Ned Rothernberg - clarinet, shakuhachi
Sean Sonderegger – soprano sax, contrabass clarinet, ney
Ivan Barenboim - clarinet
Avram Fefer – tenor sax
Sara Shoenbeck - bassoon, sona
Sana Nagano – violin
Mark Chung – violin
Elektra Kurtis – violin
Julianne Carney-Chung – violin
Gwen Laster – viola
Melanie Dyer – viola
Alva Anderson - viola and vocal
Leco Reis - contrabas
Marco Cappelli - acoustic guitar
Kenny Wessel - electric guitar
Alexis Marcelo – piano and electric keyboards
Mia Theodoratus - harp
Damon Banks - electric bass
John Hadfield- frame drums, percussion
Dan Kurfirst - cajon, frame drums, percussion
Rogerio Boccato - pandero, zabumba, percussion
Keita Ogawa - frame drums, percussion

December 16th, 2017 at 8pm
Bushwick United Methodist Church
1139 Bushwick Ave., Brooklyn - 718-574-6610 - $25 - discounts for members