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DMG Newsletter for January 5th, 2018

First Week of the New Year and The Winter is Here!
23 degrees F, Windy, a Snow Storm Brewing Up Outside
So Good to be Inside, Warm and Listening to Great Music!
Ken Vandermark is in Residence at The Old Stone This Week
So Come On Down and Brave the Elements If You Can

Here is a Short Newsletter of Sonic Treasures from:

Roscoe Mitchell & Matthew Shipp! Rob Mazurek’s Third Coast Ensemble! Didier Petit Solo Cello! Two from Ra Kalam Bob Moses With Greg Burk & Bukky Leo! The Jim Campilongo Trio Nels Cline! Rare Lester Bowie 50th Anniversary Reissue!

Dollar Brand Trio & Hugh Masakela/Jonas Gwangwa/Kippie Moeketsi! Krzysztof Komeda Rarity! Prurient! Roland Kayn! Back in Stock from Screwgun: Tim Berne / Julius Hemphill / Marc Ducret / Craig Taborn / Michael Formanek..! Plus Rare Vinyl from John Coltrane! Alvin Lucier! Bob Marley! Sly & Robbie!



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:

Sunday January 28th:
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


Three New Discs from the Rogue Art Label in Stock Shortly:

* ROSCOE MITCHELL / MATTHEW SHIPP - Accelerated Projection - Live at Sant’ Anna Arresi (Rogue Art 0079; France) Featuring Roscoe Mitchell on alto & soprano saxes & flute and Matthew Shipp on piano. This set was recorded live at Sant’ Anna Aressi in Sardinia, Italy in August of 2005. There is nothing better than to hear these two leading lights of the modern jazz avant-garde playing together, challenging each other and challenging us. Downtown pianist, Matt Shipp, continues to blaze trails in variety of situations playing solos, duos, his current trio (with Michael Bisio & Newman Taylor Baker), recent collaborations with Paul Dunmall, Mat Walerian, Bobby Kapp & John Butcher. Not forgetting more than two dozen duos, trios & quartets with saxist Ivo Perelman, many of which have come out on Leo in the last few years. Multi-reeds wiz, composer and professor (at Mills College) is the founding member of Art Ensemble of Chicago, who recently passed their half century anniversary and played a couple of historic reunion gigs. Roscoe Mitchell and Matt Shipp have been working together on occasion throughout the years and have a previous duo CD plus Mr. Shipp was once a member of Roscoe Mitchell’s Note Factory.
Each of the 7 pieces here are titled “Accelerated Projection”, numbers “I-VII”. Things begin quietly with Mr. Shipp’s luxuriant piano playing quiet, majestic lines. Mr. Mitchell begs on alto sax, slowly weaving his lines, bending certain notes cautiously. The pieces here are lie a series of episodes, somber solo piano followed by intense yet controlled, note-bending solo alto sax lines. When Mr. Shipp soon re-enters, the intensity is turned up higher and higher, the two erupting into a storm of furious, swirling, tornado-like lines. By the time we get to “Part V”, Mr. Mitchell switches to flute, bringing things down to a more restrained, minimal level before Mitchell switches to some acerbic soprano sax for the longest piece, “Accelerated Projection VI”. Shipp and Mitchell do a great job of weaving several layers of lines together, matching wits in a tight exuberant fashion, on the verge of exploding into a mass of fragments. Extraordinary! This is an incredible duo session, perhaps the best one I’ve heard in years. In a class of its own. For some unexplained reason, this disc is being sold at a reduced price. Thanks to the fine folks at Rogue Art, perhaps even more folks will take a chance to check out this masterwork! - Bruce Lee Gallanter, DMG
CD $14

* The Matthew Shipp Trio & the Matthew Shipp / Roscoe Mitchell will play an evening of free improvisation at Carnegie Hall’s Zankel Hall on Saturday, January 27th at 9pm

THIRD COAST ENSEMBLE With ROB MAZUREK / NICOLE MITCHELL / JEFF PARKER / TOMEKA REID / MAZZ SWIFT / STEVE BERRY / AVREEAYL RA / et al - Wrecks (Rogue Art 0077; France) Thanks to the AACM (and its many members worldwide), whose founding member/leader Muhal Richard Abrams recently passed away, the Chicago scene has produced a number of visionary musicians/composers/multi-bandleaders: Hal Russell, Ken Vandermark, Nicole Mitchell and Rob Mazurek. Each of these musicians are restless explorers, prolific recording artists with a diverse amount of ongoing projects to check out. Over the past couple of years, Chicago Underground leader & cornetist, Rob Mazurek has had more than a half dozen different discs on labels: Clean Feed, Bridge Sessions, Delmark, Cuneiform, Relative Pitch & Astral Spirits. Mazurek has an ever-expanding ethos and has organized some larger ensembles like the Exploding Star Orchestra. For this project, Mazurek put together an impressive 16-piece orchestra known as the Third Coast Ensemble, which features prominent members of the Chicago scene like Nicole Mitchell, Jeff Parker (both currently living in L.A.) and Tomeka Reid, as well as a number of French musicians. The full line-up is listed below.
The title of this disc, “Wrecks”, comes from a number of shipwrecks that occurred both Lake Michigan (where Chicago is and known as the “Third Coast of America”) and off the coast of France (whose Nautilis Ensemble this group is drawn from). Widely respected French poet & philosopher, Alexandre Pierrepont, contributed the texts. Each of the ten pieces was inspired by a shipwreck which is described by text or poetry written in the liner notes booklet. Starting with “This is the Atoll”, the music has a charming, buoyant, floating sea-worthy vibe with strong waves colliding from the flute, saxes, brass and swirling rhythm team. The writing on each piece is well though out, several memorable themes appear and then reappear with one or two inspired solos of each piece. Highlight solos include the trombone of Steve Berry, several different reeds, especially Nicole Mitchell’s flute. What really stands out is/are the tight layers of intricate parts that Mr. Mazurek has written for the many horns, strings, electronics and percussion. I have listened to this disc several time so far and it just keeps getting better the more time I spent with it. It does feel like a journey through the seas, riding on the waving and rocking back and forth on the ocean currents. I try to give each project from Rob Mazurek a serious listen since all are quite different and well worthy of exploring. This one however is the best and most accomplished one so far. Considering this is only the first week of the new year, we do a contender for best disc of… By the way, the spoken words (in English) are kept to a minimum, tastefully taken from the liner notes and used minimally.
The complete line-up for the Third Coast Ensemble features: Rob Mazurek (cornet, composition, direction), Nicole Mitchell (flutes), Christophe Rocher (clarinet, bass clarinet), Irvin Pierce (tenor sax), Nicolas Peoc'h (alto & soprano saxes), Steve Berry (trombone), Philippe Champion (trumpet), Jeff Parker (guitar), Lou Malozzi & Vincent Raude (electronics), Christofer Bjurstrom (piano), Tomeka Reid (cello), Mazz Swift (violin), Frederic B. Briet (double bass), Nicolas Pointard and Avreeayl Ra (drums) plus Alexandre Pierrepont - texts. - Bruce Lee Gallanter, DMG
CD $16

DIDIER PETIT - D’ Accord (Rogue Art 0078; France) Featuring Didier Petit on solo cello at La Plantation in Beijing, China in November of 2016. Ever since witnessing Tom Cora play solo cello at a loft space in Tribeca in the early 1980’s, I have been big fan of improvised cello music ever since. Through the years, I’ve checked out many cellists: Abdul Wadud, Deirdre Murray, Michelle Kinney, Jane Scarpantoni, Tomas Ulrich, Hank Roberts, Ernst Reijseger, Tristan Honsinger and Erik Friedlander, to name a few. A couple of years ago (2012), a group called the East-West Collective played at the Vision Fest and it featured tow great French musicians; Didier Petit on cello and Sylvain Kassap on clarinets. It turns out that Mr. Petit has worked with Marilyn Crispell, Gael Mevel Quintet and the Double Trio of Clarinettes.
It sounds like Mr. Petit has been around the world, since each piece evokes a different place, vibe or mood. On “Paysage”, Mr. Petit bangs percussively on the strings or bridge with his bow. At times, Petit sings along with his cello, creating hypnotic harmonies, doubling up on the drones, cello and voice as one. There is something special going on here, it is as if Mr Petit is creating his own folk music, based on what sounds like a familiar melody which is buried deep inside each of us. It sounds both lonely and transcendent at the same time. Shining a light on our soul(s). The disc was recorded at a gallery space in Bejing, China and it sound like a letter from a journal describing the adventure that Mr. Petit had by going there several times and experiencing a vastly different culture. Mr. bringing his own singular sound with him, reacting the place he traveled long to get to. This disc is the culmination of those experiences, some of which are described in the liner notes. Just last month we got in a rare solo cello disc from the late Tom Cora and this month we got in another fabulous, heartfelt solo cello offering from Didier Petit. Both are true treasures, especially if you dig the cello in all its glory. - Bruce Lee Gallanter, DMG
CD $16

GREG BURK / RA KALAM BOB MOSES With MATT RENZI / ROSSEN ZAHARIEV / ARYEH KOBRINSKI - Fatherhood (Ra Kalam Records 074; USA) Featuring Greg Burk on piano, Matt Renzi on tenor sax, clarinet, oboe & English horn, Rossen Zahariev on cornet & flugelhorn, Aryeh Kobrinski on bass and Ra Kalam Bob Moses on drums, percussion & gongs. This session was recorded on Father’s Day in Milan, Italy in 2015 and opens with a song called “Fatherhood”, which was written by spirit-master/guitarist Tisziji Munoz. Both Mr. Burk and Mr, Moses are fathers and the liner notes make mention that this music is a celebration of fatherhood. Both Mr. Burk and Mr. Moses live(d) and taught at Berklee in Boston, while Burk has since relocated to Rome. Since the turn of the century, Mr. Burke has recorded around a dozen discs of solos, duos, trios and quartets. Ra Kalam and Burk have worked together on several previous sessions.
Commencing with Tisziji Munoz’ “Fatherhood” seems most appropriate as it has that warm, calm, spiritual, sublime sound, sort of Trane-like, dreamy and most enchanting. “Monkey Bidnez” features several layers of percussion and floating horns. Ra Kalam has a unique way creating liquid waves, ritualistic sounding while Mr. Burk carefully plucks strings inside the piano. Most hypnotic. “City of Tears” is most ethereal sounding with a haunting flugelhorn and a double reed interweaving while the piano, bass and drums create a cushion free floating spirits. On a truly cold day, (under 20 F), that warm, vibe at the center of this music feels wonderful. That and the space heater in my kitchen. This is one of the most cerebral and uplifting discs I’ve heard recently, it creates a thoughtful, positive vibe. Kind of like the way we are inspired by our good fathers, when they take the time to show us a way into a beer world. - Bruce Lee Gallanter, DMG
CD $14

RA KALAM BOB MOSES / BUKKY LEO With VIVEK PATEL / KRITAVI JIM WARSHAUER / DON PATE - Spaceships Over Africa (Ra Kalam Records 075; USA) Featuring Leo Olubukola Afolabi on tenor sax, Vivak Patel on trumpet, Kritavi Jim Warshauer on alto sax (1 track), Don Pate on bass and Ra Kalam Bob Moses on drums, percussion & bass. Good story: African saxist, Leo Afolabi (aka Bukky Leo(, searched long & hard to obtain a Super King 20 sax and when he finally got one, from someone in the US, he had it shipped and was lost in transit. Bummer! Some time later, when another Super King 20 was finally found again, this time Bukky Leo decided to fly to the US to pick it up himself. So Mr. Afolabi came to Quincy, MA to pick up the horn from his friend, Jim Warshauer, and by chance was introduced to drum master Ra Kalam Bob Moses. The two soon jammed and hit it off instantly, like long lost friends or family. A quick session was set up with a handful of Ra Kalam’s collaborators, this disc is the results…
Ra Kalam often chooses former (?) students and kindred spirits for his many releases on his home-made Ra Kalam Records label. Both Vivek Patel and K. Jim Warshauer can be found on several CD’s from this label. Contrabassist supreme, Don Pate, is also a longtime band member of many ensembles led by spirit-master Tisziji Munoz, along with drum master Ra Kalam. Right from the opening, “Cosmic Soul Spirits”, Ra Kalam, Bukky Leo and Vivel Patel all swirl a simmering layer of percussion. When Mr. Afolabi’s tenor sax starts, it has that stark, dark, enchanting, Trane-like tone. Lucky Leo’s strong, spiritual tone is often at the center of each of these pieces, prayer-like, solemn and reverberating like an ancient voice spoken from deep inside. On “Joyous Gathering”, the alto sax of Kritavi Jim Warshauer is added so that there is three horn all swirling gracefully around one another, dancing flames embracing each other in a righteous, powerful way. It turns out that Bukky Leo hails from Nigeria and is currently living in London. He is a member of Black Egypt, plays with Fela drummer Tony Allen and leads his own sextet. Although this was the first time that Ra Kalam and Bukky Leo played together, this is not how it sounds. It sounds as if they have been playing the same spiritual music together for many, many years. A consistently uplifting and inspiring work, through and through. - Bruce Lee Gallanter, DMG
CD $14

THE JIM CAMPILONGO TRIO With CHRIS MORRISSEY & JOSH DION NELS CLINE - Live at Rockwood Music Hall NYC (Blue Hen Records 53; USA) Featuring Jim Campilongo on electric guitar, Chris Morrissey on electric bass and Josh Dion on drums plus special guest Nels Cline on guitar for two tracks. I was heard Bay area guitarist Jim Campilongo sit in the Golden Palominos, whose leader, Anton Fier, produced one of Campilongo’s solo efforts. I was most impressed with his playing that night plus Nels Cline has been singing his praises for a while as well. This appears to be the nineth release that our distributor has listed but it is the first time we are offering a disc from this great guitarist. I don’t recognize the name of the drummer but the bassist was/is a member of the Dave King Trucking Company.
There is a fine line between instrumental rock, jazz, space and progressive rock. The opening song, “I’m Helen Keller and You’re a Waffle Iron”, has a nifty, lumbering, groove with shimmering, tremolo guitar snaking its way through. The rhythm team seems to be in flux throughout “Big Bill”, speeding up and slowing down while Campilongo takes a long impressive, yet somehow modest solo, telling a long and winding tale. “Jimi Jam” seems to named after guitar god Jimi Hendrix and I can hear his influence in there, that great, hypnotic, alien/psych sound where the rhythm team pumps hard and fast while the guitar creates an intoxicating stream around us. “Cock and Bull Story” adds another guitar-slinger, Nels Cline. Both guitars take their time to build, weave and shift through different layers. While one guitar lets loose a long stream of quick notes, the other guitar leads the rhythm team with a series tight, rambunctious chords, eventually the drums and lead guitar speed up into a grand climax of lightning-like whiplash licks. Both guitar cut loose on “There You Are”, connecting with different layered lines. I have been listening to this disc over and over since there is more to be revealed each time I check it out. In the last couple of weeks we’ve had a handful of discs that feature rock/jazz/blues electric guitar playing at its best: Gary Lucas’s tribute to Captain Beefheart, Jon Catler’s Fretless Brothers’ ‘Live at Shapeshifters’ and now the Jim Campilongo Trio with Nels Cline ‘Live at Rockwood Hall’! All three are essential if you are a lead guitar freak like myself! - Bruce Lee Gallanter at DMG
CD $15

13 O’CLOCK BLUES BAND - Devil’s Dance (Free Note 1701; USA) Featuring Jon Catler on 12-tone Ultra Plus & 24 fret just intonation guitars, Babe Borden on vocals & keyboards, Timo Shanko on 12-tone Ultra Plus & fretless basses and Skip Fischer on drums. This is the third disc from microtonal guitarist Jon Catler that I’ve reviewed in recent weeks, each different from the other. You should no doubt the name of Jon Catler, as he once played lead guitar with La Monte Young’s Forever Bad Blues Band. Mr. Catler has continued to play microtonal blues guitar, like he did with minimalist composer La Monte Young, developing it in his own way. Mr Catler moved to Boston in recent years and put together the 13 O’ Clock Blues Band, which includes a Boston-based rhythm team: Timo Shanko on bass (who has worked with Jim Hobbs & Joe Morris and who also plays sax) and Skip Fischer on drums. Keyboardist Babe Borden, once known as Meredith, has played on previous discs by Mr. Catler. Catler wrote six of the eight songs here with two covers: “Evil” by Willie Dixon and “Dazed and Confused” which written by Jake Holmes and adapted by Led Zeppelin for their first album in 1969.
Kicking things off with, “Devil’s Dance”, the title song sounds like feisty, blues rock, rather raunchy but still not too much to offend most jazz snobs. That nasty, potent blues/rock guitar from Mr. Catler sound just right. Considering that I was never much of a Led Zep fan (sacrilegious, huh?), I must admit that I dig this version of “Dazed and Confused”. I always had a problem with Robert Plant’s oft squealing vocals, so hearing Ms. Borden sing this without overdoing it sounds fine by me. Mr. Catler does a fine job of bending and distorting his guitar without getting too carried away, a tendency many guitarists seems to have. Ms. Borden has a modest, blues/rock voice without depending on screaming or going into Janis Joplin-like raunchiness. Ms. Borden double tracks her voice on a couple of these songs, singing harmonies with herself which sounds kinda cool. What makes this band different from other blues rock groups is that both the guitar and bass play in 12-tone microtonal tunings. At times, when Mr. Catler is soling he sounds as if his note choice is odd and goes into unexpected areas. If you’ve seen any pictures of La Monte Young when he performs with his own blues band, he looks like a biker in a denim vest and tied beard. I get the feeling that this band would do well in a biker bar doing their own versions of blues-rock. What saves this from ever sounding too normal is that every guitar solo from Mr. Catler is worth checking out and savoring. - Bruce Lee Gallanter, DMG
CD $14

Historic & Archival Recordings:

LESTER BOWIE With ROSCOE MITCHELL / JOSEPH JARMAN / MALACHI FAVORS - Numbers 1 & 2 (Nessa 1; USA) This recording, taped in August of 1967, was the first release on the Nessa label. It was also the first recorded documentation of a quartet soon to be known as the Art Ensemble of Chicago. Two years later Lester Bowie, Roscoe Mitchell, Joseph Jarman and Malachi Favors ventured to Paris as a first step towards conquering the world. This 24 bit remaster, from the original half inch 4 track session tapes, restores the program as originally released for the first time on compact disc. The complete unedited sessions can be heard on Lester Bowie's "All the Numbers", a 2 disc set also on Nessa. 50th anniversary reissue of this classic free jazz session!
CD $16

DOLLAR BRAND TRIO HUGH MASAKELA / JONAS GWANGWA / KIPPIE MOEKETSI - Plays Sphere Jazz / Jazz Epistles - Verse 1 (Phono 870235; EEC) This is a reissue of two rare albums from the beginning on the long career of South African piano legend Dollar Brand, later known as Abdullah Ibrahim. Brand’s first album as a leader was recorded in February of 1960 and features his trio: Dollar Brand on piano, Johnny Gertze on bass and Makaya Ntshoko on drums. It is titled ‘Plays Sphere Jazz’, Sphere is the middle name of Thelonious Monk, one of Brand’s main inspirations, along with Duke Ellington. This album is considered to be the beginning of original recorded jazz from South Africa and it is something special. Dollar Brand’s music is filled with influences from gospel to South African folk melodies to the blues to Ellington and Monk-like melodies. Mr. Brand draws from them all and makes them his own. Brand does an admirable job on Monk’s “Mysterioso”, twisting it some interesting knots. Dollar Brand sounds like he is having fun, adding some playful, ebullient, unexpected twists to a “Just You, Just Me” (a standard?). Another highlight is Brand’s own, “Eclipse at Dawn”, a rather Monkish gem which was later covered by South African expats the Brotherhood of Breath. The second album included here is an equally rare date featuring the same trio with three horns added: Hugh Masakela on trumpet, Jonas Gwangwa on trombone and Kippie Moetketsi on alto sax. This sextet dateb was actually recorded before the trio date but not released til much later. This sextet, known as the Jazz Epistles, do their own version of hard bop and an infectious, inventive and glowing vibe of their own. All of their tunes were written by Mr. Brand or Mr. Moeketsi with one by Hugh Masakela. Dollar Brand shows off his considerable talents one piano for a trio piece called, “Uku-Jonga Phambili” (“Looking Forward”), rambunctious and intense. This music has an exuberant quality, embracing a joyous spirit at the center of much South African jazz, something that visionary composers/players like Abdullah Ibrahim, the Blue Notes and Brotherhood of Breath have left us with like a gift from the gods. Just last year, the Jazz Epistles reunited (Ibrahim & Hugh Masakeka & other South Africans) and played a concert at Town Hall in NYC, more than half century since these recordings were made. Imagine that! There is where it all began, so check it out now! - Bruce Lee Gallanter, DMG
CD $12

KRZYSZTOF KOMEDA With BERNT ROSENGREN / STANISLAW PLUDRA / JAN WROBLEWSKI / et al - Knife in the Water (Soundtrack Factory 606366; EEC) Featuring Krzysztof Komeda on piano & compositions, Bernt Rosengren on tenor sax, Stanislaw Pludra on alto sax, Jan Wroblewski on clarinets, Wieslaw Eyssymont on trumpet… Polish pianist and composer Krzysztof Komeda is best known for his soundtrack work for Roman Polanski. Well known for his soundtracks for ‘Rosemary’s Baby’ and ‘The Fearless Vampire Killers’, he also composed for ‘Knife in the Water’, Mr. Polanski’s first feature film. Most of Mr. Komeda’s music has been long unavailable except for a recent reissue of ‘Ballet Etudes’. This great reissue contains all of the music for ‘Knife in the Water’ plus two other rare Polanski films, ’Two Men and a Wardrobe’ and ‘Opening Tomorrow’. For each of these soundtrack, Mr. Komeda uses a somewhat different cast of fellow Polish musicians: a quartet and two sextets. For ‘Knife in the Water’ (1961), Komeda utilizes the talents of Swedish saxist Bernt Rosengren, who worked with Don Cherry on several albums, when Cherry was living in Sweden. Mr. Rosengren has a wonderful, warm & buttery, Trane-like tone on tenor and is the featured soloist on much of this soundtrack. Although some of the pieces were taken from the film and sound like excerpts, the music is consistently enchanting. There seems to just a few musical themes which are played several times yet are slightly different each time. The repeated main theme sounds like a film noir and it is most haunting, recalling one of the more Ellington or Mingus-like songs that would feature an old school tenor tone at its most tender. Eventually Mr. Rosengren gets to stretch out on “Cherry” and sounds wonderful, about to take off for parts unknown. For the soundtrack of ’Two Men and a Wardrobe’, we find two longer pieces which make up some 20 minutes. Komeda’s sextet features some strong clarinet from Jan Wroblewski, Komeda has a different quintet for ‘Opening Tomorrow’ which features some spirited vibes from Jerzy Milian and featured acoustic bass (unnamed). On each piece, Komeda gives his musicians a chance to evoke different feelings and moods, from solemn to frenzied. The last soundtrack seems to have the most interesting twists and turns so stick around until end. This disc is more than 71 minutes long and shows Mr. Komeda and his ensembles to be consistently creative with lots of unexpected daredevil arranging and playing. Another buried treasure of European jazz from the early 1960’s. - Bruce Lee Gallanter, DMG
CD $12

PRURIENT - Rainbow Mirror (Profound Lore 197; Canada) "On Rainbow Mirror, the latest work from renowned noise-music artist Prurient, fifteen new time-stretching tracks explore the more glacial and meditative side of Dominick Fernow's noise and power electronics with a total running time of almost three-and-a-half hours. Not necessarily the direct follow-up to the Frozen Niagara Falls album, this second conspiracy between the label and the band stands as another singular landmark among the vast repertoire Fernow has amassed. While familiar moments from that recent album can be found within, this ambient noise marathon also conjures the atmosphere of Fernow's old-school noise histrionics, while bringing in introspective new observations. This intense, unforgiving, trance-inducing aura is presented through waves of time-stretching electronics, layered counterpoint feedback, loops, and extended droning pulsating synth passages."
4 CD Set $22

ROLAND KAYN - A Little Electronic Milky Way of Sound (Frozen Reeds 007-022; Finland) Limited repress, back in. frozen reeds presents the première release of Roland Kayn's 14-hour masterpiece, A Little Electronic Milky Way of Sound, as a 16-CD boxed set. Roland Kayn's truly epic A Little Electronic Milky Way of Sound is both a major late opus and a summation of his vast contribution to the fields of electronic music and composition. Hearing the briefest passage of this piece, assembled in 2009, is enough to date the material of which it is composed back to the era of Kayn's noteworthy LP boxed sets, released on the Colosseum label in the late '70s and early '80s. Kayn's so-called "cybernetic music," to use the term he preferred, resolutely refuses to showcase the methods employed in its creation. The mass of logical interactions and correspondences underpinning the sounds are submerged so deeply below the surface as to defy analysis. One is left only with the results, which grant the listener a profound and unique experience. With A Little Electronic Milky Way of Sound, Kayn provides both a vast sonic territory and the invitation to explore it. From glacial, drone-like vistas to violent staccato sequences, the piece's 22 movements chart the length and breadth of electronic music in as comprehensive a manner as has ever been attempted. The resurgence of the modular synthesizer as a popular musical tool in recent years belies the possibility that its boldest virtuosi may already lie in the instrument's past. In his work in Europe's electronic music studios alongside colleagues such as Leo Küpper and Jaap Vink, Kayn created sonic textures in such abundant variety as to make genre-categorization redundant. Photographs of the one-off, hand-built systems upon which they were realized have inspired the awe of electronic-music connoisseurs for years, but their output has been all too little heard and appreciated. In 2017, Roland Kayn represents perhaps one of the last titanic figures of 20th-century music to receive their due recognition, and to have their vital music restored to availability. Fresh from its 2016 release of Julius Eastman's Femenine (FR 006CD), which spurred on its composer's wider rediscovery and gave rise to performances, broadcasts, and festivals devoted to his work around the world, frozen reeds is proud to initiate the first stage of a similar process for Roland Kayn, which his incredible music so richly deserves. Edition of 750. Audio restoration by Jim O'Rourke. Artwork by Robert Beatty.
16 CD set $140

Back in Stock:

TIM BERNE / HARD CELL: TABORN RAINEY - Acoustic and Electric Hard Cell Live (Screwgun 70014; USA) Featuring Tim Berne on alto sax & compositions, Craig Taborn on acoustic piano, electric keyboards & electronics and Tom Rainey on drums. Two tracks were recorded in front of a studio audience at the iced membrane in Brooklyn and the two other tracks were recorded live by Jules Ryan at the Firefly Club during the Edgefest in Ann Arbor. Longtime downtown sax hero, composer and label dude, Tim Berne, continues to amaze us with his recent output, a half dozen fabulous and diverse releases in the past three years. Hard Cell is just one of his currents bands with two cohorts who also play in other projects - Craig Taborn and Tom Rainey. This new Hard Cell CD seems to be less gnarly, more melodic and more magical than any of Tim's other current projects. This might be due to the highly focused and somewhat mesmerizing piano that Craig Taborn seems to get better at doing each time. Each of the three members of this trio have worked together long enough so that there is a consistent thread at the center of each piece. Tim also continues to write these circular repeating pieces which are most hypnotic in the way they beneath our skin, dig in and take us along for a marvelous ride. Tim's music is strangely funky in an odd sort of way, although it would take some like Michael Parker to pull off that spastic dance in his own convincing way. Most likely this gem is a perfect introduction to the wide world of Tim Berne, just in case you haven't been bitten by the Tim Berne bug as of yet. You just never want it to end. - Bruce Lee Gallanter, DMG
CD $15

TIM BERNE / HARD CELL With CRAIG TABORN/TOM RAINEY - [Feign] (Screwgun 70015; USA) Hardcell features Tim Berne on alto sax, Craig Taborn on piano and Tom Rainey on drums. This is just one of Tim's current bands, but unlike Hardcells' other disc, this one is completely acoustic. Being acoustic, it is easier to hear the way way this trio works without that haze of electronic keyboards that Craig has employed on other Berne projects. The pieces are shorter than the usual Berne works, yet no less intriguing and perhaps more succinct. There is a superb balancing act going on throughout as the trio constantly weave their intricate lines together and around one another simultaneously. The tension rises and falls and moves in waves. The music has a more relaxed vibe when the songs begin but things often build in density and spirit as they evolve. I dig the way "brokelyn" finally erupts midway, after a calm first section and finally explodes into a storm in the second half. An eight minute epic. This trio is quite cerebral, always keeping us off balance by playing with that central clock, slowing down, speeding up, yet never staying on the one. When they finally come together, they take us along for the ride, which is always a joyous release. And we thought it couldn't get any better!?! - Bruce Lee Gallanter, DMG
CD $15

TIM BERNE With MARC DUCRET/HERB ROBERTSON - Open, Coma [2 CD Set] (Screwgun 70012; USA) Tim Berne with Marc Ducret, Herb Robertson and the Copenhagen Art Ensemble. Almost all of this was recorded live for Danish and Swedish radio broadcasts. Each of the two CD's contain two long tracks. The title track opens some angular, twisted solo electric guitar from the great Marc Ducret, sounding somewhat like Zoot Horn Rollo - distant horns, piano and percussion swirl slowly around him is a mesmerizing haze of gnarly harmonies - Tim's strident and unique alto sax tone cuts through with Herb's flaming trumpet insanity - although chaotic sounding, Tim's inner thread is apparent - the rhythm team is rockin' hard, as the horns sail together. This sounds like an expanded version of Big Satan by the way it organic grows expands and contracts through different sections. Eventually we move into a somber, eerie section with bass clarinet at the center and waves of horns and piano fluttering softly in the distance. The clarinet, el. piano and drums weave in a dream sequence as the horns play their focused charts with a few amber hues. "eye contact" is next and begins with Herb's playful trumpet slowly unfolding and expanding with hushed brushes and a haunting cushion of horns underneath - I dig the way the ensemble builds and interacts slowly with different sections of the band accentuating different layers of lines - solos from the baritone sax, the bass are well thought out as grow like plants reaching for the sun - Ducret takes a long, expansive, occasionally explosive and story like guitar solo as the rest of the band plays their difficult charts around him - all ascending to an intense frenzy of activity - and then gliding back down to a more somber section which then becomes a trio of el. piano, alto sax and bass sounding rather Shell Game-like with the trio swirling their lines around a well-knit web - as the rest of the ensemble also weaves layers of lines around them bringing "eye contact" to an organic end. The second disc starts with "the legend of p-1" which opens with elegant, dreamy piano and equally haunting horns - soon the ensemble is swinging nicely, playing Tim's Grand Wazoo (Zappa) like difficult, effervescent charts which even erupt with short bluesy episodes- the chattering horns continue to swerve around the soloists - more of Herb's wacky trumpet and Marc's acerbic guitar - the central section is freer as the ensemble plays through sections of controlled chaos until Tim's alto comes back into the picture to unleash one of his passionate, bent and spectacular solos - the rest of the ensemble playing in slow motion around him - an excellent work! The final piece is "impacted wisdom" which commences with breathy sounds from Herb, morse code-like piano, floating muted horns with Tim's alto once again weaving lines around the rest of the ensemble and then erupting into a scary solo sax section which stops all other activity - until silence occurs to let things slowly build once again from a calming nothingness into the escalating suspense of drifting guitar, flute, el. piano, percussion and the other horns play more of those Grand Wazoo-like intersecting parts- some sections get almost funky with the guitar & el. piano playing those wah-wah like riffs together - the dark harmonies to the ensemble hit hard and bathe us with dense waves of dizzying high-flying horn shrapnel - until that twisted funk line reappears like a lumbering dinosaur doing his waddle/dance - in each section solos sail on top of complex layers of charted ensemble parts below. Throughout, this entire piece works well, since there is a thread which flows through this long and provocative work - holding it together through a variety of connected sections. Much praise to Tim Berne for his adventurous composing and to his marvelous ensemble for their fine playing! - BLG
2 CD Set $20

TIM BERNE'S SCIENCE FRICTION - Mind Over Friction: Science Friction [3 CD Set] (Screwgun 70018; USA)Disc One : [originally released as a single CD on Screwgun in 2002] NY alto and baritone sax giant, distinctive composer, multi-bandleader (Bloodcount, Paraphrase, Caos Totale, Hard Cell) and Screwgun label-head utilized his fabulous Big Satan trio (called Even Bigger Satan here) featuring Marc Ducret on guitar, Tom Rainey on drums, Tim on saxes, and, with newest addition Craig Taborn on electric keyboards, the quartet version is renamed Science Friction. TOO AMAZING for words! Disc Two & Three [originally released on Thirsty Ear]: Recorded live in Switzerland in April of 2003 for Swiss radio. Tim Berne's all-star quartet are one of the most exciting electric avant-jazz bands to emerge from the downtown scene in the past decade. Their long pieces evolve and mutate through thorny, circular pathways which pull us into their mesmerizing grip. Each of the six mostly long pieces here feature Tim's spinning alto sax and Tom's magical flowing drums at the center of the cyclone of continuously mesmerizing waves which swirl together and around each other always connected by an inner thread. Craig's layers of electric piano through devices and alien samples are on one side of the stage as Marc's electric guitar also spirals intricate patterns and selective spice on the other side of the stage. 'The Shell Game' begins with hushed sax and nimble, ghost-like guitar which slowly ascend together as Craig's cautious keyboard and Tom's sublime mallets slowly swirl as one hypnotic force. Eventually the tempo speeds up and the quartet take off tightly together, with Marc Ducret erupting one of those incredible fusion/noise/prog guitar solos as Rainey kicks things into high gear!! 'Mrs. Subliminal' has a more laid back, hypnotic groove which seems not too far removed from one of old Soft Machine riffs from the 'Third' or 'Fourth' album era. In the center section they drift into some free-floating terrain, but later get back to that hypnotic groove once more! - Bruce Lee Gallanter, DMG
3 CD Set $30

MICHAEL FORMANEK - Am I Bothering You? (Screwgun 70006; USA) Michael Formanek, bass. Recorded Makebelieveballroom, West Shokan, NY on December 5 & 6, 1997, and at Red Rock Recording, Saylorsburg, PA, on July 2, 1997. Acoustic jazz bassists are always getting dissed, knuckleheads talking through their bass solos like they don't even exist, hence the title. This would always bother me at jazz clubs in NYC. Solo acoustic bass recordings were always pretty rare-only the likes of Dave Holland, Kent Carter or Barre Phillips would attempt this in the 70's. While a number of Europeans have taken up the challenge-Barry Guy or Peter Kowald, only in recent years have we seen a few amazing solo bass masterworks from William Parker & Mark Dresser. And now Bloodcount bass great Michael Formanek pulls off a powerful solo set. Each piece seems to be dealing with a different area of the bass itself or a different approach to playing-often plucking or bowing in odd places. There is a constant balancing of textures, from thick vibrating strings like bees in heat to swinging his tush off passages, to the deep, dark, sad, wail rendition of Muddy Waters' "Rollin' Stone". You know it's on Screwgun when it includes a recipe for cold noodles w/ spicy sesame sauce. Yummy. Immense! - Bruce Lee Gallanter, DMG
CD $15

LP Section:

JOHN COLTRANE - A Love Supreme: The Complete Masters (Verve 53604; USA) "Until now, the complete picture of what happened on those two days, including all takes, overdubs, and even studio chatter, has been unavailable. That changes when Verve Music Group proudly releases A Love Supreme: The Complete Masters, to celebrate the 50th anniversary of the release of this seminal recording. It includes this alternate version, taken from reels from the personal collection of John Coltrane and originally recorded in incredible sonic detail by Rudy Van Gelder, along with revised notes and detailed information on these amazing lost sessions. With the availability of long-lost session reels, A Love Supreme: The Complete Masters brings together all existing recordings and written outlines for the first time to paint the most comprehensive and accurate picture of the A Love Supreme story. It reveals how Coltrane's masterpiece came together, from its initial conception as a nine-piece performance - it turns out the original plan was for a nine-piece band, including three Latin percussionists - to how it changed and developed in the studio. While the 2002 edition of A Love Supreme did include some of the music recorded at the second session, The Complete Masters is the first to feature all six takes of 'Acknowledgement,' the opening section of the suite, in their entirety, providing a deeper understanding and appreciation of how Coltrane would allow music to mature in the studio." --Mark Corroto, All About Jazz, 2015
3 LP Set $32

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 exemplifies 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.
LP $27

BOB MARLEY - Reggae Soul Master (Abraham 112; Canada) Recorded between 1968-1975. Originally released by Trend Music Group Inc. in 1999. Includes: "Hammer", "How Many Times", "Kaya", "400 Years", "Lively Up Your Self", "Soul Shakedown Party", "Stop The Train", "Rainbow Country", "Cheer Up", and "Don't Rock The Boat". Tracks produced by Lee Perry, Johnny Nash, Leslie Kong, more.
LP $15

SLY & ROBBIE MEET DUBMATIX - Overdubbed (Echo Beach 25; Germany) LP version. Includes CD; Edition of 999 (numbered). In reggae, all roads lead to the "Riddim Twins", Sly & Robbie. They've been revered as style-defining icons for years, and together and individually have a massive influence on the genre. They are also renowned for their willingness to shatter boundaries and experiment with sounds. Over the past decades, they have never been shy of leaping over into other genres -- for instance, their timeless, super-tight production work for Grace Jones. Now, Sly & Robbie meet Dubmatix. The Canadian producer and multi-instrumentalist got his hands on original Sly & Robbie tracks and spent months crafting this new album, Overdubbed. Dubmatix is celebrated for his out-of-the-box thinking and willingness to experiment, and the album shines with fresh ideas. Sly & Robbie's tunes, which are originally without vocals, haven't simply been dubbed; extracting the individual essence of each track, Dubmatix has added a plethora of tweaks, ideas and individuality, making his musical signature clearly audible. On some tracks, he invited vocalists, including Jay Spaker (John Brown's Body), Screechy Dan, and Prince Alla, to contribute their unique style. As well as Dubmatix himself, the album features many other musicians. The result is an album that shines with eclectic diversity. From roots-oriented tunes to dubs for the clubs, there's a bit of everything. Dubmatix's refreshingly playful, bass-heavy approach creates new highlights while at the same time paying deserved homage to two world-class musicians. Also features Megative and Treson.
LP CD $25

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Bruce Lee Gallanter’s Recommended Gig List for January of 2018:

Craig Taborn (keyboards, piano) Matt Mitchell (keyboards, piano) Ben Monder (guitars) Trevor Dunn (electric bass) Dan Weiss (drums, compositions)


1/5 Friday
8:30 pm - QUARTET - Sylvie Courvoisier (piano) Tom Rainey (drums) Nate Wooley (trumpet) Ken Vandermark (reeds)

1/6 Saturday
830 pm: DUO - William Parker (bass) Ken Vandermark (reeds)

1/7 Sunday
8:30 pm - HASSLES - Terrie Ex (guitar) Paal Nilssen-Love (drums) Norwegian guest (bass) Ken Vandermark (reeds)


1/9 Tuesday
8:30 pm - Gnawaism - Uri Gurvich (sax, effects) Amino Belyamani (vocals, qraqeb) Samir Langus (vocals, sintir)

1/10 Wednesday
8:30 pm - Gurvich - Perdomo Duo - Uri Gurvich (sax) Luis Perdomo (piano)

1/11 Thursday
8:30 pm - Blues Quartet - Uri Gurvich (sax) Adam O'Farrill (trumpet) Peter Slavov (bass) Clarence Penn (drums)

FRIDAY JANUARY 12—Maeve Gilchrist (harp) Eivind Opsvik (bass) Jacob Sacks (piano) Okkyung Lee (cello, composition)
SATURDAY JANUARY 13—Okkyung Lee (cello) Chris Corsano (drums) Ches Smith

1/12 Friday
8:30 pm - E-Folk - Uri Gurvich (sax, effects) Elias Meister (guitar) Panagiotis Andreou (bass) Eric Doob (drums)

1/13 Saturday
8:30 pm - Uri Gurvich Quartet plays BabEl - Uri Gurvich (sax) Manuel Valera (piano) Peter Slavov (bass) Francisco Mela (drums)

1/14 Sunday
8:30 pm - Uri Gurvich Quartet plays KINSHIP - Uri Gurvich (sax) Manuel Valera (piano) Peter Slavov (bass) Francisco Mela (drums)

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 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
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
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

Mon Jan 8th:
8:01PM MICHAEL BLANCO QUARTET - Rich Perry, tenor sax; Aaron Goldberg, piano; Clarence Penn, drums; Michael Blanco, bass

Tues Jan 9th:
8:00PM VOXECSTATIC: KARI VAN DER KLOOT QUINTET - Kari van der Kloot, voice; Lisanne Tremblay, violin; Jamie Reynolds, piano; Gary Wang, bass; Nathan Ellman-Bell, drums
9:30PM VOXECSTATIC: HISKE OOSTERWIJK QUARTET - Hiske Oosterwijk, voice; Misha Tsyganov, piano; Boris Kozlov, bass; Donald Edwards, drums; special guest Ivan Baryshnikov, tenor sax

Wednesday Jan 10
6:00PM THE VICKI BURNS TRIO - Vicki Burns, vocals; Art Hirahara, piano; Sam Bevan, bass The Vicki Burns Trio image
8:01PM NASSER/SPERRAZZA QUARTET - Ethan Iverson, piano; Michael Formanek, bass; Vinnie Sperrazza, drums; Kyle Nasser, tenor sax

Thursday Jan 11
8:00PM APAP FEST: GEORGE GARZONE/COLIN STRANAHAN DUO - George Garzone, tenor sax; Colin Stranahan, drums
9:30PM APAP FEST: STRANAHAN/ZALESKI/ROSATO - Glenn Zaleski, piano; Rick Rosato, bass; Colin Stranahan, drums

Friday Jan 12
6:00PM AN EVENING OF SONG, POETRY, AND MUSIC - Barry Wallenstein, poetry; Alan Rosenthal, piano; Ken Filiano, bass; Robert Silverman, trumpet; Jeremy Carlstedt, drums; Vincent Chancey, french horn; Gilbert King Elisa,poet
8:30PM APAP FEST: YOTAM SILBERSTEIN QUARTET - Yotam Silberstein, guitar; Sam Yahel, piano; Matt Penman, bass; Ofri Nehemya, drums APAP Fest: Yotam Silberstein Quartet image
10:00PM APAP FEST: PETER SLAVOV QUARTET - Dayna Stephens, saxophone; Dan Kaufman, piano; Peter Slavov, bass; Mark McLean, drums

Saturday Jan 13
8:35PM APAP FEST: ANDREW RATHBUN QUINTET - Andrew Rathbun, saxes; Tim Hagans, trumpet; Gary Versace, piano; Jay Anderson, bass; Eric McPherson, drums

Sunday Jan 14
8:01PM NUEVA YORK FLAMENCO CITY - Marina Elana, flamenco dance; Juan Pedro Jiménez, guitar; Alfonso Cid, voice


Evolving Free Jazz Festival
Justice is Compassion / Action is Power
Abrazo Gallery, Clemente Soto Velez, 107 Suffolk St, NYC 10002
$20 1-2 sets / $25 all sets // $15 student/senior

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

Monday 01/08
7pm: Yoshiko Chuma - dance / Megumi Eda - dance / Jason Kao Hwang - violin 7:30pm: Nicole Peyrafitte - poetry / Michael Bisio - bass
8pm: JP Carletti Xul Trio
Juan Pablo Carletti - drums / Jon Irabagon - reeds / William Parker - bass
9pm: Jeb Bishop Quartet
Jeb Bishop - trombone / Yoni Kretzmer - sax / Damon Smith - bass / Tom Rainey – drums

Tuesday 01/09
7pm: Devin Brahja Waldman- Devin Waldman - sax / Hilliard Greene - bass / Reggie Sylvester - drums
8pm: James Brandon Lewis / Aruan Ortiz - James Brandon Lewis - tenor sax / Aruan Ortiz - piano
9pm: Amirtha Kidambi / Sam Newsome- Amirtha Kidambi - voice / Sam Newsome - soprano sax

Wednesday 01/10
7pm: Behroozi / Marcelo / Carter / Kurfirst / Galaganov - Daro Behroozi - reeds / Alexis Marcelo - piano / Daniel Carter - reeds / Dan Kurfirst - percussion / Leonid Galaganov -
8pm: Smashing Humans - Sana Nagano - violin / Ken Filiano - bass / Peter Apfelbaum - reeds / Max Jaffe - drums / Keisuke Matsuno - guitar
9pm: Songs for a Free World - William Parker - bass / Rob Brown - alto sax / Jason Kao Hwang - violin / Melanie Dyer - viola / Fay Victor - voice / Gerald Cleaver – drums

Thursday 01/11
7pm: On Ka'a Davis Trio - On Ka'a Davis - guitar / Juini Booth - bass / Lamy Istrefi Jr. - drums
8pm: Nasheet Waits / Julie Ezelle Patton - Nasheet Waits - drums / Julie Ezelle Patton - poetry
9pm: Cleaver / Potter / Virelles / Dunn - Gerald Cleaver - drums / Chris Potter - sax / David Virelles - piano / Trevor Dunn – bass

Friday 01/12
7pm: The Mess - Brandon Lopez – bass / Sam Yulsman - piano / Chris Corsano 
8pm Mixashawn - sax / Joseph Herrington Palmer - drums
9pm: Revolution Resurrection - Patricia Nicholson - dance / Jason Jordan - dance / Jason Kao Hwang - violin / TA Thompson - drums / Bill Mazza - live art


Shapeshifter Lab Presents:

Jan 5
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.

Jan 9
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


I-Beam Presents:

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
Allison Miller/Drums

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.


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
Henry 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

Cataclysmic Commentary
Live Album Recording Performance
Saturday, January 20th at 8pm.
Scholes St Studio
375 Lorimer St
Brooklyn, NY

Cataclysmic Commentary is
Ben Cohen - tenor sax
Eli Wallace - piano
Dave Miller - drums