Happy New Year to One and All!
I am currently working on my best of lists for 2017
And hope to broadcast them by the end of January
Trying not to be distracted by current events
Or the Brutal Cold of Going Outside
So its time to Savor the Sounds, Zines, books and DVD’s
That We’ve Collected over the Past Year
Rejoice! A New Year is about to Wipe the Slate Clean!
THE DMG 26TH ANNIVERSARY SERIES OF SONIC CELEBRATIONS Continue with:
Sunday, December 31st: New Years Eve - No In-store
Sunday, January 7th, 2018:
6pm: BRANDON LOPEZ & NINA DANTE - ContraBass and Vocals
7pm: STAN ZENKOFF and SEAN ALI - Bb Clarinet and ContraBass
Sunday, January 14th:
6pm: XANDER NAYLOR - Solo Electric Guitar
7pm: VIV CORRINGHAM and N L H - Vocals and Guitar
8pm: BEN GOLDBERG and GERALD CLEAVER - Clarinets and Drums
Sunday, January 21st:
6pm: ZODIAC SAXOPHONE QUARTET: CHARLES WATERS / CLAIRE DALY / LEE ODOM / RAS MOSHE BURNETT - Saxes
7pm: GUILLERMO GREGORIO / NICK JOZWIAK / TODD CAPP - Clarinet / Cello / Drums
Sunday January 28th:
6pm: MICHAEL VATCHER & JACK WRIGHT - Drums and Sax
7pm: MICHAEL FOSTER / BEN GERSTEIN / SEAN ALI / FLIN VAN HEMMEN - While We Still Have Bodies - Sax / Trombone / Acoustic Bass / Percussion
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
GARY LUCAS / NONA HENDRYX JESSE KRAKOW / JORDAN SHAPIRO / RICHARD DWORKIN - The World of Captain Beefheart (Knitting Factory Records 1141; USA) Featuring Gary Lucas on guitars, Nona Hendrix on vocals, Jordan Shairo on keyboards, Jesse Krakow on bass and Richard Dworkin on drums. It seems most befitting that this disc should appear in the last week of 2017 and leave us with something special to smile about after perhaps the worst year that I can recall in my 63 & 1/2 years on this planet. Singer, composer, bandleader, visual artist and visionary, Captain Beefheart, was a hero to many outsiders & freaks around the world, ever since his first records appeared in the mid-sixties. The great Captain had a singular and often startling voice, a unique way creating songs with lyrics way beyond what was found in most rock songs at the time. Downtown guitar slinger, Gary Lucas, both managed and played in the last version of Beefheart’s Magic Band, hence he has paid his dues and knows the intricacies of this music. Mr. Lucas has been on a long mission, ever since Beefheart retired from performing or recording songs around 1982, to spread the word of Beefheart’s distinctive songs. Mr. Lucas was a member of Fast N’ Bulbous, a great Downtown mostly instrumental band which included members of the Microscopics and who covered Beefheart’s songs in their own weird way.
And now, Mr. Lucas has organized a new quintet to cover Captain Beefheart songs from across his entire recording career. Since Captain Beefheart was mainly known as a singer and songwriter, Mr. Lucas choose the great Ms. Nona Hendrix to sing on all of these songs. Ms. Hendrix, whose long career has gone from her work with Labelle (in the seventies) to a collaboration with Material (in the early 80’s) to a handful of fine solo efforts over the past few decades. Listening to her doing these songs, she seems like a perfect choice! There has often been some funk and soulfulness within certain songs that Mr. Beefheart created, especially on the album known as ‘Clear Spot’. Kicking off with “Sun Zoom Spark”, this band is on fire and cooking, avant/funk/rock at its best! “I’m gonna magnetize ya!” so says the words, yes indeed. “My Head is My Own House Unless It Rains” is a lovely ballad in which Ms. Hendrix’s pleading voice shows a sense of poignancy that does one better than the original. The tender chorus behind her adds even more soul to this song. “My arms are just two things in the way, until I can wrap them around you” was always a line that rang true with any romantics amongst us. One of Mr. Beefheart’s main influences was Delta blues riffs, especially the voice of Howlin’ Wolf. “Sure ’Nuff ’N Yes I Do” from the very first Beefheart album in 1967, is blues/rock at its best with dynamic slide guitar, wailing organ & electric piano and Nona’s sly voice nailing down those blues licks just right. “I’m Glad” always sounded out of place on the first Beefheart album, way too corny and rather doowop-like. Mr. Hendrix and her chorus do a much better job and seem to capture what actually makes this song so righteous. Mr. Lucas plays one of his finest jazz guitar solos on “Her Eyes are a Blue Million Miles” and then synthesizes three different complex guitar parts on an instrumental called, “Suction Prints”, no easy feat and a must to hear for the guitar fanatics amongst us. I remember the first time I heard Beefheart’s epic, ‘Trout Mask Replica’ in 1969, it totally confused me! It took a while to fully appreciate. “Sugar ’N Spikes’ and ‘When Big Joan Sets’, create their own bizarre worlds with dada-like lyrics and spastic/elastic rhythmic & musical weirdness. It is no doubt difficult to sing these unique/twisted words with a straight face but Ms. Hendrix seems to be enjoying herself with these tongue twisting oddities, while the band also works hard to show the way these complex/bizarre fragments come together. Another highlight from the ‘Clear Spot’ LP is the soulful “Too Much Time”. Hard to believe but this version is even more soulful than the original and sounds like it was written with Ms. Hendrix in mind. The closing song is most appropriate, “Tropical Hot Dog Night”, the open in track on ’Shiny Beast’. The groove here is most infectious (dig those marimbas) while the lyrics are both brilliant and bizarre, “Meet the Monster Tonight”. Captain Beefheart, who passed away in December of 2010, created his own weird way of looking at the world with his music , words and voice. The World of Captain Beefheart band do a brilliant job of capturing that world in their own way so order this disc today. - Bruce Lee Gallanter, DMG
* The World of Captain Beefheart will play a CD release set at the City Winery on Monday, January 22nd!
HIKASHU With MAKIGAMI KOICHI / MITA FREEMAN / SHIMIZU KAZUTO / SAKAIDE MASAMI / SATO MASAHARU CHRIS PITSIOKOS / IKUE MORI / AFRIRAMPO / FUBUKI YUKIE / INOUE MKOTO - ANOURI: In the Style of Unlanding (Makigami Records MKR 0011; Japan) Veteran Japanese vocal experimenter, Makigami Koichi, has been leading the band Hikashu for nearly forty years. Every year or so, Makigami, comes to town to play often with Hikashu, sometimes without. Makigami runs an annual music festival in Japan with different guests. For this disc, Hikashu recorded in New York last May (of 2017) and invited guests to sit in: Ikue Mori (laptop), Chris Pitsiokos (alto sax), Afrirampo (vocals) and Inoue Makoto (electronics). Starting with the title track, “Anguri”, Hikashu play their own bent yet tight post rock whatsis. Guitarist Mita Freeman plays this sharp twisted fragments, placed carefully between Makigami’s cornet, Shimizu Kazuta’s keyboard backed by an unbalanced lurching rhythm team. Makigami’s voice is often silly or perhaps hard to take seriously, is he making fun of a lounge singer or is this just another role for him to play? The instrumental tracks are perhaps the most compelling since the band likes to you completely out there… Makigami is a great improviser whether playing cornet, shakuhachi, jaw harp, theremin or those strange extended vocal sounds. A few of these songs remind me cheesy spirit of the new wave days in the late seventies *when this band started out), I did smile or even laugh out loud at some of the sillier sections. It sounds like Marc Urselli (Zorn’s main recording engineer & live soundman) had some fun adding bits of echo to Makigami’s voice on occasion. The five musicians who make up Hikashu are well seasoned and come up surprising results as far as changes in direction and some unexpected twist and turns. They don’t quite sound like any other band but themselves. Still trying to figure them out. - Bruce Lee Gallanter, DMG
MADE TO BREAK With KEN VANDERMARK / CHRISTOF KURZMANN / JASPER STADHOUDERS / TIM DAISY - Trebuchet (Trost 164; Austria) The new album combines again the trademarks of Made To Break: the soulful and grooving play of Ken Vandermark (one of the key musicians/composers in the current free jazz scene) on reeds with the filigran electronic distortions and loops of Christof Kurzmann, with a solid rhythm layer by the young Dutch bassist lloopp Jasper Stadhouders and drummer Tim Daisy. An unusual "jazz" record, fascinating so much the more. Personnel: Ken Vandermark - reeds; Christof Kurzmann - electronics; lloopp Jasper Stadhouders - bass and Tim Daisy - drums. Recorded, mixed, and mastered by Bob Weston.
CD $17 / LP $23 (In stock next week)
JESSE DULMAN QUARTET With RAS MOSHE / DAVE SEWELSON / LEONID GALAGANOV - Live at Downtown Music Gallery (RR Gems Records 03; Estonia) Featuring Jesse Dulman on tuba & compositions, Ras Moshe on tenor sax, Dave Sewelson on baritone & sopranino saxes and Leonid Galaganov on drums & percussion. Recorded right here at DMG on Sunday, July 30 of 2017. This is the very first record album recorded at our store and I remember the set very well since it was so fine. Listening to it now, it makes me smile since the free spirit is so well captured. I've known tuba-man Mr. Dulman for many years and recall him playing at DMG several times (mostly playing solo) in the past as well as on the subway platforms around town. A few years ago, Mr. Dulman sold his tuba and quit making music. This saddened me and it took a talk from William Parker to inspire Dulman back into restarting his music career once more. Dulman has chosen a couple of Downtown's best saxists: Dave Sewelson (from the Microscopic Septet & various bands with Robin Holcomb & William Parker) on bari & sopranino saxes and Ras Moshe on tenor (although often under-recognized, Ras is in particularly fine form here, burning up a storm from time to time on his trusty tenor. "Blues for Hetti" sounds like a New Orleans funeral dirge and feels so good at evoking what we are fall eeling about the present ridiculous situation in the US, which is giving many of the blues. Side B is a great side-long piece called, "Homage to Charles McGhee, Kalaparusha Maurice McIntyre and Will Connell". Those in the know will recall that Mr. Dulman played & recorded with Kalaparusha on several occasions and the last time that Will Connell played here at DMG with also with Jesse Dulman. Sadly, Mr. Connell (another influential local hero), passed away just a few weeks after that set. This piece is a strong tour-de-force with Dulman's tuba at the center while both saxes spin around him superbly and Mr. Galaganov's sympathetic percussion, his excellent mallet-work holding it altogether. One of the things that makes this album so great is that it is pressed on high quality vinyl and has that warm, analogue sound. In last Friday's New York Times (12/22/17), there was a full page review about a recent concert that took place at the Kitchen and featured three of Downtown's long-running ensembles: Microscopic Septet, the Jazz Passengers and Kamikaze Ground Crew. The article made a point of mentioning that although these ensembles have been around for some three decades, they are still relevant and capture the Downtown spirit in their own unique way. This article included pictures of Dave Sewelson (the long bearded fellow) and (the ubiquitous drummer) Kenny Wolleson. Nice to see both of those fellows get some well-derserved recognition. This record also captures what makes the Downtown Scene/Sound so special; earthy, inventive, spiritual and in between categories like jazz, whether free or New Orleans-like and drawing from an immense amount of influences. - Bruce Lee Gallanter, DMG
NOVAKS KAPELLE - Fartwind - Complete Discography (1967-1979)(Trost 169; Austria) Novaks Kapelle were one of the most legendary bands of the Austrian underground, famous and feared for their wild live performances and strict anti-establishment/music-business/audience/everything attitude. They went from raw psychedelic rock in the late '60s to proto-punk to some kind of weird glam/hard rock at the end. 1978 saw later jazz-star guitarist and Gipsy Love member Harri Stojka joining. Beside some bootlegs available on the internet, many labels tried over the years to release an official complete compilation of their works. After Trost sublabel Cien Fuegos reissued their only full album Naked on vinyl in 2013 (CFX 007LP), Trost finally got an agreement to release this double CD. All Novaks Kapelle related material from Hypodermic Needle 7" (1968), Not Enough Poison/Smile Please 7" (1969), Novakskapellelive (1977), Naked (1978), Brennmaterial Für Die 80er (1979), the compilation WienmusikK (1981), and an unreleased bonus track. Personnel: Walla Mauritz - vocals, saxophone, harmonica (1967-1979); Peter Travnicek - bass (1967-1979); Erwin Novak - drums (1967-1979); Harri Stojka - guitar (1978-1979); Paul Braunsteiner - guitar (1970-1979); Helge Thor - guitar (1967-1970). Comes with extensive 24-page booklet, including many band photos and newspaper-clippings from the '60s and '70s. Liner notes by Al Bird Sputnik (Trash Rock Archives). Remastering by Martin Siewert.
2 CD Set $18
PEETER UUSKYLA / TELLEF ØGRIM / ANDERS BERG - Laiv (Simlas 012; Norway) Featuring Tellef Øgrim on guitar, Anders Berg on bass and Peeter Uuskyla on drums. Over past year or two, we’ve gotten a few discs in the mail from Norwegian guitarist Tellef Øgrim. A solo effort, a duo effort with basist Anders Berg and now a trio effort with Peeter Uuskyla on drums. I know of drummer Uusklya rather well since he recorded more than a dozen discs with Peter Brotzmann, Biggi Vinkeloe (Swedish saxist living in Bay area) and Mikolaj Trzaska (Polish reeds wiz). This disc features a live set recorded in Gothenburg, Sweden recorded in October of 2017, just a few months ago. Mr, Uuskyla drums kicks things off and he has a power presence, he sounds like he is the leader of the trio (his name is first) and his throttling drumming is definitely the center of the storm. This trio sounds like a rock/jazz power trio from the early seventies, pre-fusion, moving in immense waves without many actual solos, more of a group sound. The set is mostly organic, explosive only in sections, the trio taking their time to explore each other’s playing. This set seems to be more about mood and vibes, kind of dark and mystical at times, like an ancient ritual taking place around us. We can’t help but be enveloped by the cautious, creative spirits. - Bruce Lee Gallanter, DMG
Lost and Found Department: As I continue to clean and reorganize things in the back of DMG, I keep finding more and more abandoned, ignored or forgotten CDs and LP’s. It seems endless. I just found 5 copies of this disc in a box within a box and it was sent by Loose Torque’s Nick Stephens way back when…
CALLING SIGNALS 09 With FRODE GJERSTAD / JON CORBETT / NICK STEPHENS / PAAL NILSSEN-LOVE - A Winter’s Tour (Loose Torque 021; UK) “British bassist Nick Stephens has always been a prominent mainstay within Europe's avant-jazz landscape. His affiliation with legendary British free-jazz pioneer and drummer John Stevens looms as one component of the bassist's overall dynamic and legacy. This rendition of Stephen's Calling Signals band was recorded live in 2009 during a brief tour of the U.K., and unites a prominent Scandinavian contingent of reedman Frode Gjerstad and drummer/percussionist Paal Nilssen-Love.
The extended tracks enable the band to stretch, reinvent, and generate a moveable aural feast. Microtonal, asymmetrical and revolving like a jagged loop with fractured incisions and expansive four-way dialogues, the music also contains an abundance of dips and spikes, restarts, pauses and thematic regenerations.
Performing on clarinet, Gjerstad nips and claws his way through the beginning of "Nine Souls," and slashes a path atop Stephens' booming, pliant lines and Nilssen-Love's cymbal textures and frothy drum grooves. Trumpeter Jon Corbett follows suit as the band progressively raises the pitch amid jagged detours and laconic doses of humor and wit.
The quartet subdivides into low-key duet interludes, the improvisational aspects a principle factor, although the musical approach and metrics appear to have been given some upfront thought. It's not about rambling or superfluous instances of entwining workouts, equally noticeable on "Five Souls (plus the barman)," which rotates between a fast-paced burner impetus with undulating rhythmic flows, and medium-tempo exchanges. Simply put, the band effectively takes care of business sans any mysterious agendas or trivialities.” - Glenn Astarita, AllAboutJazz
MARY HALVORSON TRIO With JOHN HEBERT/CHES SMITH - Ghost Loop (ForTune 10; Poland) "No one can play the way she does, no one writes music like hers"; "One of the most original artists of today's jazz scene"; "A truly unique voice in the guitar world" exclaim the headlines of the jazz press and magazines focused on improvised music. Can she be labeled as a jazz guitarist, though? Do such categorizations hold any appeal for her at all? I don't think so. Nor do I believe it is worthwhile to try and classify her artistic achievements, as classifications are hardly valid in her case. Efforts of this kind are interrupted by Halvorson herself who haltingly remarks: "I don't enjoy jazz guitar in general." If anything, her music resembles indie rock; rock, we should say, was her first musical experience - the years she spent performing with such bands as Xiu Xiu and People, or her fascination with the art of JimI Hendrix. If we insist on working jazz into her musical activity, then jazz is found in her comprehensive view of a creative process in which both the improvised and the composed form a new picture; a picture being the fruit of perpetual searching, of constant experimenting, of incessant questioning. One of the key vehicles to this end is a trio Mary Halvorson set up several years ago with John HebErt on double-bass and Ches Smith on drums. This group may even be the best definition of what Mary Halvorson finds essential in music today. On the one hand, it provides the ground work for complex compositional and improvised structures; on the other hand, it is an ideally formed organism, allowing her imagination to roam down the most astounding paths, liberated from the ruts of style. (Maciej Karlowski)
CD $30 (Last 2 sealed copies just found - 12/24/17 & we are no longer in touch with this label)
New from the Evil Clown Label:
It is the last week of 2017 and we just got in five new discs from the mighty Leap of Faith and their sub-groups. Lovers of experimental music can rejoice once more. After a long series of inactivity in the eighties and nineties, Dave PEK, Glynis Lomon, Yuri Zbitnov and Steve Norton returned to active performances and recordings in the aughts. Although DMG just lists 45 CD’s, I believe Evil Clown has released more than a hundred discs so far. Here are two new discs, well worth checking out, the other three will be reviewed next week.
LEAP OF FAITH ORCHESTRA & SUB UNITS With PEK / GLYNIS LOMON / YURI ZBITNOV / ERIC ZINMAN / SYD SMART / et al - Vertices (Evil Clown 9163; USA) Leap of Faith continues to expand (personnel wise) and explore (with each session), now having a half dozen discs from the Leap of Faith Orchestra. There are number of key figures involves besides the usual core of PEK, Lomon and Zbitnov, also these Boston area elders: Syd Smart (drums) and Eric Zinman (piano). The first disc includes four sub units, each with four different members. There are a few new names here as Mr. Peck continues to gather a variety of improvisers from the Boston area. The first quartet features Zinman on piano, Syd Smart on drums and two trumpets: Bob Moores and Steve Provizer. All four sub-sets sound great since each quartet just had one chance to play. Plus they sound as if they respect one another, the balance is just right and there is no stepping of toes.
The second disc is one long (51 minutes) work called, “Extreme Point of Curvature”. Keeping thirteen musicians, many multi-instrumentalists, focused is no easy feat. PEK has learned how to direct the orchestra performances by keeping a clock to time certain subsections to keep things balanced and flowing. At the beginning we just hear a few players: a reed, brass or two, percussion, cello, slowly whistles, more percussion, more brass, more reeds, the odd vocals, enter, one or two at a time. The piece evolves organically and the balanced, flow and recurring are all high quality. I doubt the Leap of Faith Orchestra will find their way down to NY although we are lucky to have had a smaller (quartet & quintet) version here at DMG twice. Those of you in the Boston area I would advise you to check them out if you can. Elsewhere, you can choose one of many discs to hear them do their thing. Try one, you will most likely be knocked out. - Bruce Lee Gallanter, DMG
2 CD Set $15
LEAP OF FAITH With PEK / GLYNIS LOMON / YURI ZBITNOV - Vector Space (Evil Clown 9165; USA) Featuring Dave PEK on tenor & bass saxes, clarinets, tarogato, contrabassoon, sheng, melodica, game calls & siren, Glynis Lomon on cello, aquasonic & voice and Yuri Zbitnov on drums & percussion. Recorded live at the Outpost in Cambridge, MA on December 9th of 2017. This set features just the three core members of Leap of Faith with no guests and it is the smallest version of this ever-evolving ensemble whose membership goes from quartets to orchestras. This is also the least amount of instruments that Dave PEK usually brings, just over a dozen. The sound here is more stripped down and takes its time to build into the normal, ritualistic, organic vibe. The trio start off with just hand percussion, rustling chimes, metal or cymbals until Ms. Lomon starts plucking on the strings of her cello. It takes a while before Ms. Lomon uses her strange voice to evoke the twisted side of our ritualistic journey while PEK answers her quietly on melodica. There is strong yet restrained duo section for bass sax and bowed cello slowly builds into a more frenzied midsection for weird vocals from all three members (Mothers-like freak-out stuff), layers of percussion ands whistles. Things later seems to move in slow motion with those eerie blasts of bass sax, intense cello flurries and majestic mallet-work from Mr. Zbitnov, always a great navigator through the rapids. Thing wind down to a more calm section for somber double reeds, quiet plucked strings and nimble percussion. This disc shows that Leap of Faith actually have a more mellow side at times, strange as it may seem. This is still tasty medicine for those who need that ancient free spirit. - Bruce Lee Gallanter, DMG
FRETLESS BROTHERS With JON CATLER / DANE JOHNSON / HANSFORD ROWE / BRIAN CHASE - Live at Shapeshifters (FreeNote 1501; USA) Featuring Jon Catler & Dane Johnson on 12-tone Ultra Plus guitars, Hansford Rowe on 12-tone Ultra Plus & fretless basses and Brian Chase on drums. Longtime FreeNote label founder and microtonal guitar great, Jon Catler, played lead guitar for La Monte Young’s Forever Bad Blues Band, who still play live on rare occasion. Guitarist Dane Johnson once played in Prelapse, a Boston-based band that were known for playing difficult covers of Naked City songs and on whose CD (from 1999) had John Zorn guesting. Prog bassist Hansford Rowe played in Pierre Moerlin’s Gong and later founded Gongzilla. Downtown drummer Brian Chase has kept a busy profile over the past few years recording a number of great duo releases and/or gigs with Andrea Parkins, Alan Licht and Thollem McDonas.
The Fretless Brothers definitely have their own sound, with both guitars playing their own version of the blues and bending their notes in their own unique way. The opener, “East Coast Blues”, hovers between an early Pat Metheny-like slinky guitar tone as both guitars create a fine tuned web of intricate interaction. The main riff recalls, “Take Five”, written by Paul Desmond more than sixty years, using in a new era of modern (cool) jazz. Jon Catler wrote all of the pieces on this disc and he does a great job giving both guitars complex parts to play. Whenever either guitarist solos, the other one plays a series of rich chords which lead the band through layers interconnected sections. One must listen closely to hear those intricate parts or layers. Having two strong guitarists involved keeps things interesting since the quartet often sounds like they are moving through an ocean with each player balancing on different currents, the flow or inner pulse remains constant, the rhythm team humming, moving tightly together. Both guitarist use some sustain, but never too much. Although all solos sound inspired, they are also relaxed and dreamy at times, no one is in hurry and there are no reason for overplaying or showing off. Towards the end of “While She Sleeps”, both guitar increase the sustain tone, bringing us deeper in the slow moving currents way below the surface. Time slow down as we sail slowly between different schools of fish. Next on “Aqua Luna”, it feels as if we are now living in the ocean and moving at a slower more buoyant pace. I am reminded of Jimi Hendrix’s “Merman” which also evokes the feeling of traveling in waves (either below in the sea or even out there in outer space). On this long piece both guitars stretch out and weave a long web of interconnection lines, absolutely breathtakingly by the end of the piece. Oddly enough, the quartet launch in “Cat’s Boogie” which does have one of those old style boogie (Canned Heat-like) grooves. Both guitar starting trading lines, adding varying amounts of distortion as the plot thickens (close to an explosion at one point) and then calms back down. That boogie groove was very popular in the seventies and often abused or overdone by certain white blues band. The funny thing is that this quartet know when to not depend too much on any one formula or structure, always showing some restraint. The last piece is appropriately titled, “Lost at Sea”, and sounds like an exquisite, laid back, psychedelic lullaby. A perfect conclusion for a superb discs that blurs the lines between jazz, rock, blues and even psych. This disc was recorded live at Shapeshifters Lab in Brooklyn, one of favorite music places in these parts. The Fretless Brothers are currently living in the Boston area. I urge you to check them out live or on disc if you get the opportunity to do so. One of my favorite discs of the year! - Bruce Lee Gallanter, DMG
CD $13 (In stock next week)
NORMIL HAWAIIANS - More Wealth Than Money (Upset the Rhythm 096; UK) Upset The Rhythm present a reissue of Normil Hawaiians' debut album More Wealth Than Money, originally released in 1982 on Illuminated Records. Normil Hawaiians had a transformative 1982. With two 7" singles and a 12" EP under their belts, they suddenly found themselves disillusioned, so they forced the hand of change. The band's true constant in Guy Smith soon found himself with a new crew of musicians: Simon Marchant, Noel Blanden, and Mark Tyler. Normil Hawaiians' communal take on post punk quickly sprouted and began carving out a new furrow. Greater emphasis was awarded to group improvisations, resulting in longer, freer journeys; Tape loops, echo boxes, extended percussive sessions, and duteous faith in the tones emanating from a particular old wah-wah pedal were all employed by Normil Hawaiians to stretch their sonic fabric into wild and redolent new dimensions. Normil Hawaiians booked into Foel Studios, and Dave Anderson (Hawkwind, Amon Düül II) managed and engineered. Anderson even joined in on bass for several of those sessions. Normil Hawaiians lived together in a small cottage in the studio's shadow, sharing everything together and working long days. This is how the band's debut album More Wealth Than Money was formed, through trial and close listening, through cultivation and patient growth. Of course there were significant amounts of mushrooms involved too and several UFO sightings. More Wealth Than Money proved a vastly ambitious debut album, sprawling in a way that still feels expansive, brave, cinematic even. From the plaintive pastoralism of "British Warm" to the transcendental vistas of "Other Ways Of Knowing", the album constantly surprises with its ringing trails of guitar, motorik pulse, and synth rambles. Guy Smith's vocal floats through the album in a haunting manner. Described by the press upon its release in 1982 as an "absolutely mesmerizing double album traveling through progressive rock, via industrial folk to freaky art-punk whilst sounding delightfully coherent" and "a huge slab of mindblowing dark psychedelia," the album was critically acknowledged for its peculiarly British kosmische. It's curious that More Wealth Than Money never came out officially in the UK. The band's label Illuminated Records were temporarily blacklisted by their distributor because of unpaid debts and so the album was only available from the band at concerts within the UK. Remastered; Includes a booklet full of anecdotes and photos from all band members.
2 CD Set $16
2 LP Set $27
MOUNTAIN ASH BAND - The Hermit (Hiatus 9004; UK) Hiatus presents a reissue of Mountain Ash Band's The Hermit, originally released in 1976. Emanating from the curious urban landscape of the west midlands in the early 1970s, the Mountain Ash Band emerged in the midst of a sustained interest in folk music. Cambridge-born writer Colin Cripps led the band up to the beautiful moors of Ilkley in Yorkshire, providing an idyllic backdrop for their concept album The Hermit in 1975. Cripps's network of friends from the Coventry arts scene would prove vital in bringing the album to fruition, but wouldn't be able to envisage its continuing influence and its hefty price tag decades later. Hiatus present their 1976 classic album here with previously unreleased material, restorative audio remastering, interviews, background liners, and rare archival memorabilia.
ALVIN LUCIER - Criss-Cross / Hanover (Black Truffle 033; Australia) Black Truffle present the premier recordings of two recent works by legendary American experimental composer Alvin Lucier. Lucier has been crafting elegant explorations of the behavior of sound in physical space since the 1960s and is perhaps best known for his 1970 piece I Am Sitting In a Room (LCD 1013CD). He has written a remarkable catalog of instrumental works that focus on phenomena produced by the interference between closely tuned pitches, often using pure electronic tones produced by oscillators in combination with single instruments. Demonstrating the restless creative drive of an artist now in his 80s, the two recent works presented here both feature the electric guitar, an instrument Lucier has just recently begun to explore. In "Criss-Cross", Lucier's first composition for electric guitars, two guitarists using e-bows sweep slowly up and down a single semitone, beginning at opposite ends of the pitch range. The piece exemplifyies Lucier's desire not to "compose" in the conventional sense, but rather to eliminate everything that "distracts from the acoustical unfolding of the idea". In this immaculately controlled performance of "Criss-Cross" by Oren Ambarchi and Stephen O'Malley, for whom the piece was written in 2013, a seemingly simple idea creates a rich array of sonic effects -- not simply beating patterns, which gradually slow down as the two tones reach unison and accelerate as they move further apart, but also the remarkable phenomenon of sound waves spinning in elliptical patterns through space between the two guitar amps. In the comparatively lush "Hanover", Lucier draws inspiration from the photograph on the cover, an image of the Dartmouth Jazz Band taken in 1918 featuring Lucier's father on violin. Using the instrumentation present in the photograph, Lucier creates an unearthly sound world of sliding tones from violin, alto and tenor saxophones, piano, vibraphone (bowed), and three electric guitars (which take the place of the banjos present in the photograph). Waves of slow glissandi create thick, complex beating patterns, gently punctuated by repeated single notes from the piano. The result is a piece that is simultaneously both unperturbably calm and constantly in motion. LP design by Stephen O'Malley; Includes inner sleeve with a portrait of Alvin Lucier by Kris Serafin. "Criss-Cross" recorded at Studios Ina GRM, Paris by Francois Bonnet and mixed by Alvin Lucier. "Hanover" recorded in Zurich and mixed by Alvin Lucier. Mastered and cut by Rashad Becker at Dubplates & Mastering, Berlin.
BECOMING ANIMAL With MASSIMO PUPILLO / GORDON SHARP - A Distant Hand Lifted (Trost 161; Austria) Massimo Pupillo (heavy bass player of ZU) teams up with the mesmerizing voice of Cindytalk, Gordon Sharp. Recorded live at Cafe Oto, UK at their first meeting -- producing haunting music from another sphere. Dark, atmospheric, wondrous. Personnel: Massimo Pupillo - electric bass; Gordon Sharp - voice, computer.
KODIAN TRIO With COLIN WEBSTER / DICK SERRIES / ANDREW LISLE - II (Trost 168; Austria) London based saxophonist Colin Webster is quickly establishing himself on the European avant-garde scene. Working with a broad range of collaborators, Webster is known for working from extreme sonic palettes -- from minimal to maximal, constantly pushing boundaries. Webster first worked with Dirk Serries on the landmark Endless Voids performance led by Dead Neanderthals at the 2014 Incubate Festival. Since this initial meeting, the two have worked on different collaborations both live and in the studio, a number of these encounters involving the drummer Andrew Lisle. Also based in London, Andrew Lisle's quick and highly textural playing is making him highly in demand in the fertile improvisation community. In turns both propulsive and abstract, Lisle has worked with a number of key UK-based improvisers including Alex Ward, Daniel Thompson, Seymour Wright, and also plays in the Roland Ramanan Tentet, and punk-improv band Shatner's Bassoon. Dirk Serries is hardly your average improvising musician. Even though the man has a fondness for the classic free jazz of the sixties and seventies and the current updates, his own talents lie elsewhere. As a master of texture, a skill which he's been able to forge and refine for more than 30 years (as Vidna Obmana, Fear Falls Burning, Microphonics, with collaborative projects and, more recently, under his own name), he has always been involved in the more abstract, or sound-oriented wing of experimental music. Serries is now less reliant on his trademark effects and loops. A new "naked" language that veers from gentle strumming to scribbling, pointillism, and occasional outbursts of disjointed howls. Pulling from his great experience in the worlds of ambient and industrial music, as well as from masters like Derek Bailey, Serries's approach is improvisation that relies purely on his relationship with his electric guitar, prepared or not. Personnel: Dirk Serries - electric guitar; Andrew Lisle - drums; Colin Webster - baritone and alto saxophone. Mastering by Dirk Serries. Edition of 300. "Kodian Trio ... blasts through, mashing free improv clicks and clatters with free jazz-inspired hoots and hollers, all wrapped up in a waistcoat of gimlet-eyed punk attitude." --Paul Margree, We Need No Swords
SERGE GAINSBOURG - Du Jazz Dans Le Ravin (Rumble RUM Records 2011140; USA) Rumble Records present a reissue of Serge Gainsbourg's Du Jazz Dans Le Ravin, originally released in 1966. Gainsbourg, the original bad boy of French pop, the man who updated the French chanson and made it hip again infusing it with the youth culture of the late '50s and '60s, ruled by jazz, drugs, and free love. Very different from his celebrated later works, the music captured on this vinyl edition finds Gainsbourg mixing traditional chanson and big-band jazz rather than the avant garde pop that went on to define his career outside of France. This record presents a revealing insight into the early years of this iconic figure.
B.B. KING - Beats Like A Hammer: Early And Rare Tracks (Jambalaya 13020; Italy) Beats Like A Hammer collects classic cuts from Riley "Blues Boy" King's late 1940s and 1950s output which is arguably his greatest period, and definitely his grittiest. This fantastic collection features classic hits like "Three O'Clock Blues" and "Please Love Me", as well as a bunch of under-appreciated and rarer tracks not often heard from the Memphis blues master. If there was ever any doubt that B.B. King belongs in the top tier of guitar gods, these early slices of guitar wizardry and pure blues mastery will put those doubts to rest.
JOHN LEE HOOKER - Burning Hell (Rumble Records RUM 2011141; USA) Rumble Records present a reissue of John Lee Hooker's Burning Hell, originally released in 1964. Blues legend John Lee Hooker cut countless records beginning with his debut for Modern in 1948 and going some 50 years until his death in 2001. With such a vast discography it can be easy to lose track of some records and Burning Hell, recorded in Detroit in 1959 with just his guitar and vocals, is one such lost record. But this album deserves so much to be rediscovered, a brilliant set from his "acoustic" period, this is raw southern acoustic blues at its best and a truly brilliant collection of songs. Rumble Records bring this lost classic back to light on LP.
PROFESSOR LONGHAIR - Mardi Gras In New Orleans (Wax Love 82004; Italy) Wax Love present a reissue of Professor Longhair's Mardi Gras In New Orleans, originally released in 1981. Fusing diverse elements of blues, barrelhouse boogie-woogie, funk, and gospel, with mambo, rhumba, and second-line street parade rhythms, Professor Longhair's contribution to today's musical vocabulary is immeasurable. You can't listen to Fats Domino, Dr. John, Allen Toussaint, James Booker, or Huey Smith without recognizing the unique "Fess" imprinting. This compilation of B-sides, rarities, and alternate takes, recorded between 1949 and 1957, honors one of the great and unique talents in rock and roll history.
WOODY GUTHRIE - Dust Bowl Ballads (Wax Love 82008; Italy) Wax Love present a reissue of Woody Guthrie's Dust Bowl Ballads, originally released as a full LP in 1964. This is the first record that "The Oklahoma Cowboy" made in NYC for Alan Lomax, after his arrival in 1940, as part of his work for the Library of Congress, taped on April 26th and May 3rd. Originally released as three separate 78 rpm records, these are Guthrie's tales about one of the most dire periods in rural America, the Dust Bowl era. This quintessential work proves that Guthrie was a true minstrel of the other face of America, the one that you can't find in history books: tales of poverty, migration, storms, illness, hunger and harsh criticism of the American government. This record kills fascists.
ALEXIS KORNER'S BLUES INCORPORATED - R&B From The Marquee (Rumble Records RUM 2011139; USA) Presenting a reissue of Alexis Korner's Blues Incorporated's R&B From The Marquee British, originally released in 1962. Blues legend Alexis Korner first began performing live in 1949 in Chris Barber's Jazz Band, where he met his longtime bandmate, the great harp player Cyril Davies, and they released their first recordings in 1957. After cutting their teeth on the UK club circuit, honing their skills to near perfection, together in 1961 they formed Alexis Korner's Blues Incorporated along with the great UK vocalist Long John Baldry, and released this, their debut album, in 1962. R&B From The Marquee is one of the pillars of British Blues and an album that influenced heavily the coming generation of British Invasion blues groups. Featuring originals penned by Korner, Davies, and Baldry as well as American blues legends Jimmy Witherspoon and Muddy Waters, this is a killer piece of British blues history, finally back in print on vinyl.
MARISA ANDERSON - Traditional And Public Domain Songs (Mississippi Records 114; USA) "Originally released on Grapefruit records in an idiotically limited edition, reissued here with new tracks. Marisa Anderson continues her streak of amazing solo guitar LPs. On first glance of the track listing you may feel like you've heard it all before -- classic folk songs and anthems -- but trust me, Marisa takes these tunes to places they have never been. The vibe is heavy on this one. The guitar playing is beautiful at points and intense at others. Not for the faint of heart. Comes with liner notes written by Marisa herself!"
JOAN BAEZ - Joan Baez (Wax Love 82011; Italy) Wax Love present a reissue of Joan Baez's self-titled debut album, originally released in 1960. Joan Baez is one of the most prominent figures of the '60s folk scene and a legendary musician, and activist. Growing up Mexican-American and in the Quaker faith in the 1950s instilled in Baez a strong belief in pacifism and a deep dedication to racial justice. After high school Baez moved to Boston and immediately fell in with burgeoning folk scene there, meeting the influential Odetta, and performing with Bob Gibson. It was her performance with Gibson at the 1959 Newport Folk Festival that led to her signing and this debut album, a truly fantastic piece of 1960s folk and the intro to one of the most important voices of the 20th century American left.
Bruce Lee Gallanter’s Recommended Gig List for End of December of 2017 & Beginning of January of 2018:
8:30 pm - Nels Cline (guitar) Yuka Honda (keyboards) Shanir Blumenkranz (bass) Tim Keiper (drums) Makigami Koichi (voice, theremin)
8:30 pm - Gyan Riley (guitar) Jamie Saft (keyboards) Makigami Koichi (voice, theremin)
OUR LAST NEW YEAR'S GIG AT THE ORIGINAL LOCATION
BRING THE NEW YEAR IN AT THE STONE!
8:30 — NEW YEARS EVE IMPROV BENEFIT
John Zorn (sax) Chris Speed (sax) Makigami Koichi (voice) Ikue Mori (electronics) Brian Marsella (piano) Jim Black (drums) Chris Tordini (bass) Okkyung Lee (cello) Jad Atoui (electronics) and many special guests
11pm — NEW YEAR'S EVE SPECIAL
PAKORA with Chris Speed (clarinet) Brad Shepik (guitar, saz) Chris Tordini (electric bass) Jim Black (drums, percussion) - FORTY DOLLARS
A special concert for New Year's Eve! Pachora is a fabulous instrumental unit inspired by the music of Eastern Europe—a legendary all-star ensemble performing a unique set for the holidays! Bring the New Year in Stone-style at our LAST EVER NEW YEARS SHOW!
THE STONE RESIDENCIES - KEN VANDERMARK - JAN 2–7
8:30 pm - Ken Vandermark SOLO (reeds)
8:30 pm DUO: Ikue Mori (laptop, electronics) Ken Vandermark (reeds)
8:30 pm - TRIO - Kris Davis (piano) Paal Nilssen-Love (drums) Ken Vandermark (reeds)
THE STONE AT THE NEW SCHOOL—55 WEST 13TH STREET
DAN WEISS - FRIDAY AND SATURDAY NIGHTS JANUARY 5–6 AT 8:30PM
Craig Taborn (keyboards, piano) Matt Mitchell (keyboards, piano) Ben Monder (guitars) Trevor Dunn (electric bass) Dan Weiss (drums, compositions)
8:30 pm - QUARTET - Sylvie Courvoisier (piano) Tom Rainey (drums) Nate Wooley (trumpet) Ken Vandermark (reeds)
830 pm: DUO - William Parker (bass) Ken Vandermark (reeds)
8:30 pm - HASSLES - Terrie Ex (guitar) Paal Nilssen-Love (drums) Norwegian guest (bass) Ken Vandermark (reeds)
All Sets at the Old Stone 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 Dec 29
6:00PM NEW AIRES TANGO - Malena Dayen, vocals; David Rosenmeyer, piano
8:35PM LAGE LUND - Lage Lund, guitar; Jared Henderson, bass; Jochen Rueckert, drums
Saturday Dec 30
6:00PM DANCE OF THE WORD - Evie Ivy and Dancers; Fred Simpson; Patrick Hammer; Philip De Pinto; The Elegant Ivory Duo; Mindy Levokove; Jack Tricarico; Peggy Fitzgerald; Anthony Moscini
8:35PM TOM RAINEY, OBBLIGATO TRIO - Kris Davis, piano; Drew Gress, bass; Tom Rainey, drums
Sunday Dec 31
9:15PM PAUL SHAPIRO'S RIBS & BRISKET REVUE - Paul Shapiro, sax, clarinet and vocals; Cilla Owens, vocals; Jerry Korman, piano; Brad Jones, bass; Aaron Alexander, drums
11:15PM PAUL SHAPIRO'S RIBS & BRISKET REVUE - Paul Shapiro, sax, clarinet and vocals; Cilla Owens, vocals; Jerry Korman, piano; Brad Jones, bass; Aaron Alexander, drums
Tues Jan 2nd, 2018:
6:00PM ARCOIRIS SANDOVAL'S SONIC ASYLUM TRIO - ArcoIris Sandoval, piano; Marty Kenney, bass; Allan Mednard, drums
8:01PM CONVERSATION WITH BILL EVANS, ELENE DEE, ANDY LAVERNE - Elene Dee, vocals; Andy Laverne, piano
Wednesday Jan 03
6:00PM ANDREA WOLPER QUARTET: THE WEAVING - Andrea Wolper, voice; John DiMartino, piano; Ken Filiano, bass; Michael TA Thompson, soundrhythium 8:00PM DAN LOOMIS PRESENTS “JOB’S TRIALS: OUR TRIALS” - Howard Fishman, narration; Song Yi Jeon, voice; Yoon Sun Choi, voice; Jeff Miles, guitar; Dan Loomis, bass, comp.; Jared Schonig, drums
9:30PM SONG YI / VITOR / ROGERIO TRIO - Song Yi Jeon, voice; Vitor Gonçalves, piano; Rogerio Boccato, drums, percussion
Friday Jan 05
6:00PM THE 11TH ANNUAL CHARLES BUKOWSKI MEMORIAL READING - Kat Georges, Peter Carlaftes, hosts - Mike Daisey; George Wallace; Richard Vetere; Michael Puzzo; Puma Perl; Diane O’Debra
Sunday Jan 07
6:00PM ENTERTAINING SCIENCE: FOURIER AND FREQUENCIES, MUSIC AND NOISE
Roald Hoffman, Dave Soldier, hosts - Matthew Herman, mathematician; Stephon Alexander , cosmologist; Melvin Gibbs, musician
8:00PM DAVY LAZAR QUINTET - Davy Lazar, trumpet, comp.; David Leon, alto sax; Matt Mitchell, piano; Ben Rolston, bass; Stephen Boegehold, drums
Davy Lazar Quintet image
9:30PM GAYA FELDHEIM SCHORR SEPTET - Gaya Feldheim Schorr, voice; Davy Lazar, trumpet; Blake Opper, tenor sax; Tal Yahalom, guitar; Micha Gilad, piano; Almog Sharvit, bass; Stephen Boegehold, drums
Evolving Free Jazz Festival Justice is Compassion / Action is Power Abrazo Gallery, Clemente Soto Velez, 107 Suffolk St, NYC 10002
www.artsforart.org/evolving $20 1-2 sets / $25 all sets // $15 student/senior
Friday 12/29 8pm: Michael Foster – sax / Brandon Lopez – bass / Matt Weston – percussion, electronics 7pm: Jochem Van Dijk Quartet - Jochem van Dijk - bass guitar / Dave Gould - drums / Evan Gallagher - piano / Sana Nagano - violin 9pm: Sarah Bernstein Quartet - Sarah Bernstein - violin / Ron Stabinsky - piano / Stuart Popejoy - bass / Satoshi Takeishi – drums
Saturday 12/30 7pm: Jeff Lederer - clarinet / Kirk Knuffke - cornet 8pm: Jemeel Moondoc Trio - Jemeel Moondoc - alto sax / Larry Roland - bass / Newman Taylor Baker - drums
9pm: Karen Borca Quartet - Karen Borca - bassoon / Hill Greene - bass / Warren Smith - vibes / Jackson Krall – drums
7pm: Amina Baraka & the Red Microphone - Amina Baraka - poetry / John Pietaro - drums / Ras Moshe - reeds / Rocco John Lacovone - reeds / Laurie Towers - bass guitar 8pm: Melanie Dyer's Baraka Project - Melanie Dyer - viola / Gwen Laster - violin / Patricia Nicholson - dance 9pm: Joe McPhee Trio- Joe McPhee - reeds / Billy Stein - guitar / Charles Downs – drums
Wednesday 01/03 7pm: Raymond Nat Turner / Larry Roland - poetry 8pm: Hooker / Parker Duo - William Hooker - drums / William Parker - bass 9pm: Heroes are Gang Leaders Abridged - Thomas Sayers Ellis - voice / Randall Horton - voice / Luke Stewart - bass / Warren Crudup III - drums / James Brandon Lewis - tenor sax
Thursday 01/04 7pm: Ensemble Fanaa - Dan Kurfirst - percussion / Daro Behroozi - reeds / John Murchison - bass, gimbri 8pm: Whit Dickey / Mat Maneri - Whit Dickey - drums / Mat Maneri - violin 9pm: Nate Wooley - trumpet / Brandon Lopez - bass / Michael Foster - reeds / Ben Bennett – percussion
Friday 01/05 7pm: LIP - K.J. Holmes - dance / Jeremy Carlstedt - drums 7:30pm: David Henderson - poetry 8pm: Jeremy Carlstedt Quartet - Jeremy Carlstedt - drums / Brian Settles - sax / Anders Nilsson - guitar / Sean Conly - bass 9pm: Tablopan - Juanma Trujillo – guitar / Hery Paz – tenor sax / Andrew Schiller – bass / Robin Baytas & Daniel Prim – percussion
Saturday 01/06 7pm: Ronnie Burrage / Greg Lewis - Ronnie Burrage - drums / Greg Lewis - Hammond B3 8pm: Deep Ecology Trio JD Parron - winds / Cristian Amigo - guitar / Andrew Drury - perc / Jackson Krall - perc
9pm: Weasel Walter Quintet - Weasel Walter - drums / Michael Foster - sax / Leila Bordreuil - cello / Brandon Lopez - bass / Jaimie Branch – trumpet
Friday, January 12th 9:00 PM
Eva Novoa Trio: Novoa / Gress / Gray
Eva Novoa, piano and compositions
Drew Gress, bass
Devin Gray, drums
Saturday, January 27th 8:30 PM
Joe Fiedler’s Stunt Chicken
Playing music from the golden age of Sesame Street
2 sets (8:30 and 10:00)
Joe Fiedler/Trombone & Arrangements
Jeff Lederer/Soprano & Tenor Saxophones
Sean Conly/Electric Bass
I-Beam is located at 168 7th Street in Brooklyn, NY 11215 - Directions: SUBWAY: Take the F or R trains to 4th Ave & 9th Street. Walk down 4th ave to 7th street. Make a left on 7th and walk past 3rd ave. We are located on the ground floor, the grey doors to the right of the stairs of #168.
Shapeshifter Lab Presents:
8:15p: RAFAL SARNECKI SEXTET
Rafal Sarnecki - guitar
Lucas Pino - tenor sax
Bogna Kicinska - voice
Kuba Cichocki - piano
Rick Rosato - bass
Colin Stranahan - drums
Oleg Butman Trio "Jazz Passion"
Natalia Smirnova-Butman (vocal/piano)
Christian Fabian (bass)
Spec.guest Calvin Boocker (tap-dancer)
7pm: The Binghamton Vibrations, Winter Tour 2018 - The Binghamton Vibrations is Binghamton University’s only co-ed oldies a cappella group. Our repertoire contains all of your favorite oldies songs, such as Come on Eileen, Carry On my Wayward Son, and many more! We will be performing a short selection of our set for a 60 minute performance.
7p Unspeakable Garbage:
Jon Irabagon - saxophone
Nick Millevoi - guitar
Ron Stabinsky - piano
Moppa Elliott - bass
Dan Monaghan - drums
8p Mike Kennedy Trio: Mike Kennedy - guitar/ TBA - bass / Dan Monaghan -
9:30pm: Ryan Slatko Quartet
Ari Hoenig (Drums) Matt Penman (Bass) Todd DelGiudice (Alto)
Shapeshifter is located at
18 Whitwell Place in Brooklyn, NY
R train to Union stop
bushwick improvised music series
Monday January 8th
7pm Aron Namenwirth – guitar
Zach Swanson – bass
Joe Hertenstein – drums
8pm Stephen Gauci – tenor saxophone
Sandy Ewen – guitar/electronics
Kevin Shea – drums
9pm Brian Groder – trumpet/compostions
Shoko Nagai – keyboard/synth
Sean Conly – bass
Newman Taylor Baker – drums
9:30pm Piotr Michalowski – bs clarinet, soprano/sopranino saxes
Steve Swell – trombone
Ken Filiano – bass
Michael T.A. Thompson – drums, percussion
10:30pm Shoko Nagai – keyboard/synth
Jonathan Goldberger – guitar/electronics
Satoshi Takeishi – drums
Monday January 15th
7pm Eric Plaks – piano
Jorge Sylvester – alto saxophone
Tcheser Holmes – drums
8pm Stephen Gauci – tenor saxophone
Sandy Ewen – guitar/electronics
Adam Lane – bass
Kevin Shea – drums
9pm Michael Attias – alto saxophone
Hery Paz – tenor saxophone
Kenneth Jimenez – bass
Stephen Boegehold – drums
9:30pm Jason Hwang – violin/viola/compositions
Ken Filiano – bass
Andrew Drury – drums
10:30pm Matt Lavelle – trumpet
Ras Moshe – tenor saxophone
Reggie Sylvester – drums
Downstairs @ Bushwick Public House
1288 Myrtle Avenue, Bushwick in Brooklyn
(Across the street from M train Central Ave stop)
$10 suggested donation