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DMG Newsletter for January 12th, 2018

While the News Gets More Ridiculous Every Day
Creative Music Seems to be One of the Few Things
That Continues to Evolve, Enrich and Inspire Us All
No Matter What Anybody Might Say or Do
Check Out The Sounds, This Note’s For You!

Here is This Week’s Menu of Sonic Delights:

Peter Blegvad Quintet! Sylvie Couvoisier Trio: Drew Gress & Kenny Wollesen! ZNR: Hector Zazou & Joseph Racaille! New Jazz Fest Balver Hohle: Brotzmann & Bennink, John Surman Trio Albert Mangelsdorff, Willem Breuker Kollektief, Eddie Prevost! Florian Egli Weird Beard!

Ernest Dawkins’ New Horizons Ensemble Vijay Iyer! New from Not Two & Listen! Foundation: DKV Trio: Drake/Kessler/Vandermark! Frode Gjerstad/Willam Parker/Hamid Drake! Trevor Watts & Strings! Joe Morris! Agusti Fernandez! Samo Salamon / Szilard Mezei / Achille Succi!

Plus Archival Music from Herbie Hancock! U Roy! A Tribute to Roswell Rudd! A Relative Pitch Sale! And Loads of Vinyl from: Duck Baker Plays Thelonious Monk! Sun Ra Arkestra! David Behrman! Lasse Marhaug/Jon Wesseltoft! John Coltrane! Billie Holiday! B.B. King! Four from Heldon! Cosey Fanni Tutti! Tropicalia and Even More!



Sunday, January 14th:
6pm: XANDER NAYLOR - Solo Electric Guitar
7pm: VIV CORRINGHAM and NYKOILA HAYN- Vocals and Guitar

Rare Saturday, January 20th Event:
6pm: DAMON SMITH and MICHAEL VATCHER - Contrabass & Drums
7pm: TOMCHESS - Oud, Ney, Morsing / ESAT EKINCIOGLU - Acoustic Bass

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

Sunday, February 4th 2018:

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


Two Incredible Discs from the Wonderful Folks at ReR (Recommended Records):

PETER BLEGVAD With KAREN MANTLER / BOB DRAKE / JOHN GREAVES / CHRIS CUTLER - Go Figure (ReR PB4; UK) “Just in time to make the new year brighter, a most welcome surprise: master songwriter Peter Blegvad's first solo album of new material in two decades. Relatively hot on the heels of "Gonwards," Peter's 2014 collaboration with Andy Partridge, comes this collection of 17 songs, 14 of them brand-new. Topics include aging ("My Father's Face"), enduring love ("Our First Kiss"), metaphysics ("God Detector" and "Powers in the Air," the latter a remake of a burner that originally appeared on 1984's "The Naked Shakespeare," Blegvad's first solo LP) and the "Way To Play The Blues," in which Mr. Blegvad explains this process to a famous band already well-renowned for its chops in this respect. This latter is one of Blegvad's funniest songs, and the album brims with humor, some of it downright goofy, as in "Sven." As has been his custom, Peter is here joined by longtime comperes John Greaves and Chris Cutler, on bass and drums respectively, and of course they are maestros. But here he fills out the band with Bob Drake on guitar (the album was recorded at Blake's studio in Caudevel, France) and Karen Mantler, who plays keyboards, chromatic harmonica, and provides backup vocals. As we know from Henry Cow, Greaves and Cutler comprise one of the most innovative and intricate rhythm sections in modern music, and while they never resort to cliché here, they do take a more relaxed approach than you're used to hearing; Cutler can do "in the pocket" as beautifully as he does everything else. Drake and Mantler fill out the band's sound beautifully; the result is some of the warmest, most humane music Blegvad has ever produced.” - Glenn Kenny
CD $15

ZNR [HECTOR ZAZOU / JOSEPH RACAILLE] - Traite De Mecanique Populaire (ReR ZNR2; UK) The second and last release of this cult band: Captain Beefheart meets Erik Satie; eccentric, exquisite. The second and last release by this most exquisite and eccentric of groups, who hardly touched the world of working bands and whose existence was tenuous, flickering, mythological - and yet who managed, to find its way to legendary status - rather like Duchamp's fountain, by leaving an indelible trace in recorded form of their verifiable existence.
CD $15

Two Colossal Discs from the Ever Excellent Intakt label:

SYLVIE COURVOISIER TRIO With DREW GRESS / KENNY WOLLESEN - D’Agala (Intakt 300; Switzerland) With her high-quality trio with Drew Gress and Kenny Wollesen, Sylvie Courvoisier presents her eleventh album on Intakt Records: Intakt CD 300. In both her playing and her composition she shows neoclassical influences mixed with European improvised music and the experimental nonconformismof the New York downtown scene.
The nine pieces on ‘D’Agala’ are dedicated to people who admired and influenced Courvoisier. The title tune is for pianist Geri Allen, "one of three dedicatees who passed away as this June 2017 recording was in preparation – the others being guitarist John Abercrombie and French politician, women’s rights advocate and Holocaust survivor Simone Veil. Two pieces are for sculptors, Martin Puryear who merges organic and geometric forms, and Louise Bourgeois. On “Bourgeois’s Spiders,” Courvoisier is all over the piano – plucking or strumming strings inside, or playing with one hand inside and one on the keys, or rattling around on the metal frame. Sometimes the band sounds like a trio of percussionists; they’re that rhythmically acute", writes Kevin Whitehead in the liner notes and adds: "Some pianists approach the instrument like it’s a cathedral. Sylvie Courvoisier sometimes treats it like a playground".
CD $18

FLORIAN EGLI WEIRD BEARD With DAVE GISLER / MARTINA BERTHER / RICO BAUMANN - Orientation (Intakt 291; Switzerland) The quartet Weird Beard was founded by Zurich based saxophonist Florian Egli. Following the debut album 'Everything Moves' on Intakt Records, they release a second studio album, recorded again in the Blackbox Studio in Brittany by the out­standing sound engineer David Odlum. 'Orientation' is a sophisticated record on which Weird Beard increasingly focus their attention on the creation of moods and atmospheres.
Christoph Wagner writes in the liner notes: "Weird Beard forge creative sparks out of opposites. The band use contrast as a means to create dramaturgy, veering back and forth from soft to loud, from fast to slow, and from forceful to lyrical. Sometimes the music acquires a lightness and transparency, but then becomes progressively more dense. In other places it can morph into a dreamy wallowing elegy, before opening out into a tub-thumping inferno. Perhaps “post-jazz” is the word which comes first to mind to describe it."
CD $18

NEW JAZZ FESTIVAL BALVER HOHLE With PETER BROTZMANN / HAN BENNINK / ARCHIE SHEPP GROUP / JOHN SURMAN TRIO & ALBERT MANGELSDORFF / WILLEM BREUKER KOLLEKTIEF / EDDIE PREVOST QUARTET / MAL WALDRON TRIO / YOSUKE YAMASHITA / AKIRA SAKATA / et al - 1976 & 1977 (Be! Jazz 627279; Germany) Recorded live inside the cave at Balve, West Germany, June 26/27, 1976 & June 25/26, 1977 8 hours of music recorded live inside the cave at Balve, West Germany 32-page booklet with concert pictures, posters and flyers Includes complete performances and improvisations by Peter Brötzmann / Han Bennink Duo, Archie Shepp Group (with Richard Greenslee, Dave Burrell, Cameron Brown & Beaver Harris), John Surman Trio (Barre Phillips & Stu Martin) with Albert Mangelsdorff (aka Mumps), Willem Breuker Kollektief, Joachim Kühn solo, Mal Waldron Trio (with Jimmy Woode & Allen Blairman), Yosuke Yamashita Trio (with Akira Sakata), Eddie Prevost Quartet, Zbigniew Namyslowski Quartet, Grumpff with Ekkehard Jost and Hugo Heredia Quintet.
8 CD Box Set Booklet $205

* ERNEST DAWKINS’ NEW HORIZONS ENSEMBLE Featuring VIJAY IYER / ISAIAH SPENCER / JUNIUS PAUL - Transient Takes (Ernest Dawkins Music; USA) “Nostalgists pining for the days of “live-in-the-studio” recordings will rejoice: Saxophonist Ernest Dawkins and his New Horizons Ensemble (bassist Isaiah Spencer and drummer Junius Paul), along with pianist Vijay Iyer, recorded this set in Chicago last year over the course of about four hours. It features 10 selections, seven improvised on the spot; three others are Dawkins compositions that Iyer had never recorded or rehearsed previously.
“Dawkness” opens the set with a salvo that could also serve as a declaration of purpose: Dawkins’ astringent, clarion-like tone clears a space, and then he claims it—planting his sonic flag of conquest and breaking into scurries, engaging his bandmates in antic delight as they traverse this newly liberated territory. Iyer hews somewhat closer to conventional tonalities than Dawkins, but he remains jubilantly defiant of Western scalar/harmonic norms. Spencer and Paul, meanwhile, lock so tightly they seem to become a single instrument with multiple voices, melding rhythmic, sonic and even harmonic conceits into a roiling, furious whole.
Mr. Dawkins’ sardonic humor is evident throughout, as he ignites sparks and scatters shards over the ruminations of his colleagues, which often tend toward the darkly meditative (although Paul’s solos evince a trickster-like wit). Iyer’s attack can be fierce, even violent, yet the lines he unspools weave and flow, wresting optimism from aggression. At times, as on Dawkins’ “South Side Breakdown,” things verge on the conventional—the piece swings breezily, and Dawkins’ playing is appropriately bluesy and rough-edged. “Transient Sounds,” by contrast, finds Dawkins at his most unfettered, creating and then annihilating constructs with every breath.” - David Whiteis, Jazz Times
CD $15 (Being dropped of today - 1/11/18)

* Ernest Dawkins New Horizons Ensemble with Vijay Iyer will be playing at Subculture (42 Bleecker @ Lafayette) this Friday, January 12th at 1 am

New from Not Two & Listen! Foundation (Two of Poland’s best labels)

DKV TRIO With KEN VANDERMARK / HAMID DRAKE / KENT KESSLER - Latitude 41.88 (Not Two 970; Poland) In 1994 Ken Vandermark (reeds), Kent Kessler (double bass) and Hamid Drake (drums) formed DKV trio. By the end of the 1990s they were one of the most prominent groups in free jazz and improvised music; recording numerous albums documenting their magic, mostly as a trio but also in collaboration (e.g. Fred Anderson or Joe Morris). In more recent years, they released two excellent box sets documenting live performances Sound In Motion and Past Present, a sextet recording including Mats Gustafsson, Massimo Pupillo and Paal Nilssen-Love and a double trio with all members of the thing. Their most recent effort, Latitude 41.88, is a trio live date recorded at the Sugar Maple in Milwaukee in 2014 by David Zuchowski and released on the Polish Not Two label.
The albums starts “Faster Then It Would Be” featuring a free blowing Vandermark on tenor saxophone, quickly joined by a bowing Kessler and a more subtle, colouring Drake; working their way into a funky groove initiated by Vandermark, promptly supported by Drake and Kessler. From here, the trio really joins as a unit and weaves threads of free and groove into a polyrhythmic web propelling Drake into a contagious solo. Following Drake’s solo, toe-tapping continues when Vandermark adds a catchy melody that develops into the climax of the piece. To clear satisfaction of the audience and this listener, well-earned applause.
“20th Century Myth” finds Hamid Drake solo, searching for other worlds on his drum kit. He is a real adventurer, taking us all around the world musically. Free phrases intertwine with tribal rhythm and world music. After 5 minutes, he settles and is joined by a gentle Vandermark, and supported by a deep bowing Kessler. The track continues into a pulsating rhythm initiated by Vandermark and collectively develops and fades into a deeply wailing free blues.
“Uncontrolled Writer” finds Vandermark on clarinet squealing through high registers, overtones and harmonics before settling with gentle cymbals and plucked strings. Vandermark quickly switches back to saxophone and is propelled into a groove by Drake’s brushwork that is – all too – briefly interrupted for a nice pizzicato solo on double bass by Kessler. The trio joins forces and finishes off the set with a catchy climax, answered with loud cheers and applause by the audience.
This is a really tight record by masters of free music that have been all over the scene for the past 25 years. Highly recommended. You should own the record, if only for the second track. - Martin Sekelsky,
CD $17

FRODE GJERSTAD Featuring HAMID DRAKE / WILLIAM PARKER - Frode Gjerstad with Hamid Drake and William Parker (Not Two 968; Poland) Featuring Frode Gjerstad on alto sax & clarinet, William Parker on contrabass and Hamid Drake on drums & percussion. Norwegian saxist Frode Gjerstad is one of the most prolific and hard working of all European saxists, a career that stretches back some forty plus years, with upwards of 100 releases during his long tenure. Mr. Gjerstad is forever juggling several bands simultaneously: Detail (with John Stevens & Johnny Dyani), Calling Signals (with Nick Stephens), Ultralyd (Scandinavian noise/rock) and his current trio with Jon Rune Strom & Paal Nilssen-Love. Gjerstad always chooses master musicians from around the world to collaborate with: Bobby Bradford, Louis Moholo, Derek Bailey and Peter Brotzmann. One of the best groups that Mr. Gjerstad has organized is with the amazing rhythm team of William Parker and Hamid Drake. This is the fourth release from this trio which has previous releases out on the Cadence, FMR and Circulasione labels. I haven’t listened to this box set yet since we sold all ten copies already and it is just appearing in the newsletter for the fist time right now. A second batch should be on its way shortly so pre-order your copy now and save a fin ($5).
4 CD Set $50 (pre-order sale price, currently sold out, second batch in 1-2 weeks)

SAMO SALAMON / SZILARD MEZEI / ACHILLE SUCCI - Planets Of Kei (Not Two 964; Poland) Featuring: Samo Salamon – acoustic guitar, Szilard Mezei – viola and Achille Succi – bass clarinet & alto sax. Italian guitarist Samo Salamon has a recent sextet CD on Clean Feed with a fine all-star ensemble. One of the saxists in that band as well as being a member of Salamon’s Bassless Trio is fellow Italian Achille Succi. Ever since checking out Mr. Succi live at The Stone with Andrea Centazzo and hearing him on several discs for El Gallo Rojo, Auand & Leo labels, I remain a big fan. What better partner could they choose for this disc than Hungarian violist Szilard Mezei, one of the most adventurous and prolific (3 dozen discs & counting) musicians in eastern Europe.
According to the liner notes, this is Mr. Salamon’s first release on all acoustic guitar and first disc of all improvised music. As I listen to this disc, I am mesmerized by what I hear: high end improv, tight, focused, quick, several layers of lines intersecting all over the place. The trio here is completely acoustic and this disc is extremely well-recorded. Often sections of this disc are quiet, the playing nimble, careful, from the most sublime to the occasional eruption. Since the playing is all acoustic, the three players have though of ways to manipulate the sounds of their respective instruments to keep things interesting. Mr. Salamon sounds like he has prepared his guitar by muting certain strings with objects while Mr. Succi appears to be walking around, further or closer to the mic, so his sound changes depending on where he is. The ever-incredible Mr. Mezei continually lets loose, weaving furious flashes, which seems to keep his partner on their toes as they respond to whatever he comes up with. This disc is nearly 70 minutes long and mush of the time I was at the edge of my seat, absolutely breathtaking! - Bruce Lee Gallanter, DMG
CD $17

TREVOR WATTS With ALISON BLUNT / HANNAH MARSHALL - Dialogues With Strings - Live at Cafe Oto in London (Listen!Foundation FSR 9; Poland) “The title for the CD and compositions were inspired by a desire that Veryan Weston & I had, which was to open up our regular duo's musical improvisational interactions and incorporate other musicians within them, and thereby expand the scope of what we do after many years of playing together. We'd already done a performance with the addition of Violinist and well known Folk Musician Peter Knight at Café Oto which was filmed by Mark French. Alison had recently asked me to play with her and Hannah, and that worked very well. Veryan has had quite a long association with Hannah in various projects as Hannah & Alison have together also. It then seemed logical to try to bring the idea of this quartet to life. I had been offered a broadcast by the BBC and suggested this quartet idea to Veryan who immediately was enthusiastic about it, so the group was born. Café Oto was our very first concert as a quartet and on that occasion film maker Mark French decided to record it all on film and that the Café Oto recording engineers would do the sound recording, and they agreed. Part of this concert was also used for BBC transmission a few days later. The photo of the quartet incorporated in the artwork was taken before this first concert, and I think we all could tell that it was going to be a very enjoyable occasion just by the social interaction we had together. I felt we all took that feeling on to the stand and transferred it to the music in an open and honest way, also with no fear. I sincerely hope that anyone listening to this music will be transported in a good way by those good intentions and concentrated collective artistic endeavor.”
CD $17

JOE MORRIS With AGUSTI FERNANDEZ / YAMINE AZAIEZ / JUNKO FUJIWARA - Ultra (Listen! Foundation FSR 6; Poland) Combining guitar with bowed instruments is not as simple as it might seem. The short sustain of the guitar can easily be overwhelmed by the bow. My first goal with Ultra was to have the strings key off of the guitar and interact using percussive sounds, harmonics, and proportional expressions of time (pulse) in addition to melodic ideas. The first tries on Ultra used a mix of strings, flute and trumpet with some notated parts. But the composed parts restricted the flow of the music, and so I abandoned the idea of this group.
Some time later, the pianist Agusti Fernandez came to New York for some work with me. I decided to give Ultra another try with him. This time it would be completely improvised.
Tanya, Yasmine, and Junko—all powerhouse virtuosos and unique improvisers—took instantly to Agusti and the group effortlessly became a beautiful sounding entity. The session was great. I admit that being the guitarist and recording engineer was tough though. Later, I felt the recording still didn’t work so I set it aside.
Two years later Agusti was back. He asked “What about that recording?” I put it on. Within five minutes he said, “It’s fantastic!” Letting time pass and hearing it with new ears I agreed and began preparing it for release. Nick Lloyd and Greg DiCrosta did the masterful post-production work.
I’m glad that Ultra demanded revision. I am the organizer not the composer. The music was made with equal contributions from all of us. To me, Ultra is free of the contrivance that often plagues this kind of attempt, and that allows the listener to determine its meaning and value. I speak for the group when I say that we hope the music surprises and inspires you. - Joe Morris , June 2017
CD $17

AGUSTI FERNANDEZ / ALBERT CIRERA / RAMON PRATS - The Liquid Trio Plays Bernoulli (Listen! Foundation 08 2017; Poland) Featuring Agusti Fernandez on piano, Albert Cirera on tenor & soprano saxes and Ramon Prats on drums. No doubt you know Spanish pianist Agusti Fenandez, since he has worked with so many heavies: Derek Bailey, Barry Guy (trio & New Orchestra), Evan Parker, William Parker, Joe Morris and many more. The other two members of this trio, Cirera and Prats have a rare duo CD out from 2014 while Mr. Cirera can also be found on a disc from Clean Feed with João Hasselberg & Pedro Branco. This disc was recorded live at a Conservatory in Salamanca in Spain, almost one year ago on January 20, 2017. Both the recording and the music is extraordinary. Obviously close mic’d and perfectly balanced. Not very far into the first and longest piece, things erupt intensely: furious circular lines spinning in tight orbits together. Agusti always chooses he musical partners wisely and this trio is one his best dates yet. Consistently OUTstanding!-Bruce Lee Gallanter, DMG
The poem comes from the lines notes: “A tragic gush, an overcast, a kermesse, a cake, the almond tree in full bloom, the mare’s passing, the crust, a plight, the end, thrills, a rice dish, a jolt, a resolution, the void, the outset, restlessness, ashes, the crash, no excuses, lament, urgency, a braid, the scream, vocabulary, an escape, sobrassada, persistence, the flight, haughtiness, honey, a finger and also its nail, the sun and the grass solstice.”
CD $17

HANS PETER HIBY / MICHAEL BARDON / PAUL HESSION – Roots (Not Two MW 966; Poland) Featuring: Hans Peter Hiby – tenor & alto sax, Michael Bardon - bass and Paul Hession – drums. “This album compositions reveal the original playing manner and especially expressive sound of all three musicians. Turbulent, expressive, vital and loud collective improvisations are based on wide range of unusual timbres, strange noises, shocking and experimental ways of playing, rich, vivacious and adventurous musical language. Sudden stylistic changes, absolutely different musical expressions and playing techniques are masterfully combined together in one composition. Musicians like brave and shocking musical experiments – they expand from the traditional and usual zone of sound and improvising. Interesting, spontaneous and striking solos, vivacious and expressive melodies, very well-known methods of playing are mixed together with innovative playing techniques. Saxophones melodies are full of bright and vivid sound. Wild fast, furious and especially sharp solos, loud, powerful and turbulent blow-outs and fascinating riffs brings very much energy and live to these improvisations. Bass melodies are the opposites to the saxophone – it has many subtle and silent episodes, very much unusual and strange timbres, vibrant and intense solos. Intense and vibrant bass solos, virtuosic pizzicato, glissando, various spontaneous solos are marvelously mixed together with extravagant and sharp saxophone melodies. Drums improvisations also are especially expressive, dynamic and emotional – various kinds of rhythms are masterfully used in these compositions. Energetic, vibrant, turbulent and vivid drum rolls, loud and powerful arpeggios and tremolo mixed with wide range of unusual, colorful and gorgeous percussion sounds. Interesting and dynamic rhythmical improvisations gently fit together with saxophones and bass, and also form colorful and solid rhythmical basic and background of the improvisations. Big palette of various colors, sounds, timbres, tones and noises are heard in these compositions. The improvisations are based on free, not strictly-based structure and form – independent and individual melodies which are absolute opposites to each other, are put together one against other. Big amount of contrasts, musical expressions, playing techniques, moods and characters are the main elements which make an effort to essential sound and basement of these compositions. Rich, bright and adventurous musical language, innovative improvising make original and modern sound of this album compositions.” -
CD $17

SUNDOGS - Sundogs (Listen! Foundation FSR 10; Poland) Featuring: Mateusz Rybicki - clarinet, bass clarinet, preparations, Samuel Hall - percussion, objects, prepared oven-tray, electronics, cymbals, drums, environment and Zbigniew Kozera - bass, preparations, objects. The Sundogs are a Polish trio, none of whom’s name I recognize and this disc was recorded at the Galeria in Wroclaw. Thanks to a handful of labels: Not Two, ForTune, Kilogram and Listen! Foundation, there is a large ever-evolving scene of creative music in Poland which has been growing over the past decade. Besides the more conventional instrumentation of clarinets, bass and drums, this trio work with electronics, preparations and assorted objects. The acoustic bass at the center as we begin with rustling percussion and whirring electronics, soon a soft clarinet peeks through. Slowly things build and become more intense, the clarinet circling above the simmering sounds below. There are a good deal of eerie, dark sounds here, like rubbed surfaces, ominous drones and other unexpected or unpredictable sounds. Clarinetist Mateusz Rybicki is especially strong but takes his time to show his wares, using nuance, space and cautious timing, never hogging the spotlight. This music is more about creating moods and dream-like shifts where things fade into one another so we never know where we will end up. It take some patience to appreciate this, but the rewards are modest yet somehow rich in their own way.” - Bruce Lee Gallanter, DMG
CD $17

THE OWL - Not the Way (Listen! Foundation FSR 7; Poland) “Featuring: Marcin Hałat – violin, Maciej Garbowski – bass and Krzysztof Gradziuk – drums. The jazz violin tradition in Poland is dominated by two Giants: Michal Urbaniak, who pioneered highly distinctive use of electric violin in fusion music of 1970s and Zbigniew Seifert, who combined free and modal jazz à la Coltrane with fusion. Amazingly, this tradition is present even today: listen to the winners of the first two Seifert Competitions: Bartosz Dworak or Mateusz Smoczyński. An exception that support this rule is Adam Baldych, who records for the ACT label and whose music has a Scandinavian/Slavonic melancholy, characteristic for ECM/ACT sound. The double album of Marcin Harat “On the Way” comes in this situation as a great, unbelievable surprise. Marcin studied in Jazz Department in Katowice with Henryk Gembalski and at the Kraków Academy. In the last 15 years or so he mostly played classical violin with chamber ensembles and orchestras. “On the Way” might be regarded thus as a jazz debut – maybe that is why it sounds so fresh and unconventionally. Maciej Karłowski says, that Marcin’s music reminds him of that of Dominique Pifaréli. I have some trace associations with Mat Maneri and Ornette Coleman playing violin. But, the truth is that nothing compares to Hałat’s art.
Marcin is accompanied here by one of the best, if not THE best rhythm section in Poland, Maciej Garbowski and Krzysztof Gradziuk from the piano trio RGG . RGG since the recording of the fantastic “Szymanowski” disc drifts consequently toward more free improvised music. The recording of “Live@Alchemia” with Evan Parker, released by Fundacja Słuchaj! illustrates this perfectly. But, both Maciej and Krzysztof have more free recordings on their accounts: with Piotr Damasiewicz, with ELMA, to name a few. Obviously, the present double album is the joint obra maestra of the trio.
The part I of this double album contains seven wonderful songs and it is not easy to dig out something. The starting “Cheerful Time”, a composition in a Ornette Coleman/Thelonious Monk style, is a great illustration of the trio’s incredible synergy. I love the slow ballad “Incognito” for its particularly open structure. But, the highlight here are the two parts of “Vision Fugitive 1-2”, with particularly intense and immensely expressive free improvisations. The part II of the album contains in fact three more parts, “Vision Fugitive 3-5, all of extra-terrestrial quality. “For the Little Ones” is perhaps the most traditional track and joyful, with a slight Americana touch. My personal favorite, however, is another slow and melancholic ballad “Coming Soon”. There is one thing that has to be added: Marcin is a man of motifs, like Tomasz Stańko – he frequently repeats similar phrases in various songs and, similarly as in the case of the great trumpeter, Marcin’s playing is quite free and open, yet it makes impression of being melodic.
CD $17

Historic & Archival Recordings:

HERBIE HANCOCK With BENNIE MAUPIN / JONI MITCHELL / CARLOS SANTANA / BUSTER WILLIAMS / TONY WILLIAMS / et al - The Broadcast Collection 1973-1983 (Hi Hat 3002Box; UK) The Broadcast Collection 1973-1983 is an eight-disc box set that brings together eight legendary performances by the visionary keyboardist/composer Herbie Hancock. The box set traces his musical trajectory from the point he closed the Mwandishi (1971) chapter to embark on his Head Hunters trip in 1973, to putting together a revised line-up of his Very Special One-Time Performance band in 1983. Along the way, Hancock collaborated with distinguished musicians such as Bennie Maupin, Jaco Pastorius, Joni Mitchell, Wynton Marsalis, Buster Williams, Tony Williams, and Carlos Santana. This superb collection of live performances broadcast on radio and TV, is presented here, professionally remastered. Includes the entire original WBCN, KJSO, WXRT, WBUR, NHK-FM Radio, and PBS-TV broadcasts, covering live performances from Boston (1973), Omaha (1975), Chicago (1977, 1981), Berkeley (1978), Tokyo (1981, 1983). Includes 24-page full-color booklet with background notes and rare images.
8 CD Set $40

U ROY - The Originator (Radiation Roots 322; Italy) Radiation Roots present a reissue of U Roy's The Originator, originally released in 1990. Ewart Beckford, aka Daddy U Roy, changed the focus of Jamaican popular music by turning the sound system deejay from an incidental figure that told jokes in between records and made announcements about where the next dance would be held, to a major star whose rhyming toasts were as important as the lyrics for any singer. U Roy's command on the microphone on sets like Dickies Dynamic and Sir George the Atomic paved the way for his influential residency on King Tubby's Hi Fi. Keith Hudson, Lee "Scratch" Perry, and Bunny "Striker" Lee were some of the first producers to bring him into the studio, but the breakthrough hits came for Duke Reid in 1970, with Roy toasting over old rock steady rhythms. Work for Prince Tony subsequently brought him international fame through a contract with Virgin, but he continued to record grassroots efforts at home. The Originator gathers some of the greatest tracks U Roy cut for Striker, voiced as usual at King Tubby's studio over hot hits by Johnny Clarke, Cornell Campbell, Gregory Isaacs, and others; "King Tubby's Skank" celebrates Tubby himself.
CD $15

SECAO RITMICA - Instrumental Funk From '70s Brazil (Atemoya Records 7101; USA) "Brazil has always had its own brand of musical virtuosity, one that combined a distinctive and innate rhythmic swing with an effortless ability to turn seemingly abstract riffs into ridiculously catchy hooks. In the late '60s and '70s when these talented players in Rio and Sao Paolo turned their focus towards the North American funk scene and bands like Kool & the Gang, the Meters and the JBs, a new element was added to the mix. As the more polished sound exemplified by Quincy Jones and CTI Records took hold, Brazilian musicians fired right back with their own distinct twist on the sound, one that inevitably revolved around a rhythm section laying down grooves that were both the tightest and the most supple imaginable. If that combination seems paradoxical, this collection will make the notion clear. Culled from the times no vocalist was claiming the spotlight, these instrumentals focus firmly on the rhythm section and its funky accompaniment, a journey through the '70s heyday of instrumental funk from Brazil from its rawest roots to refined boogie gems."
CD $17 / LP $25

ROSWELL RUDD - The Incredible Honk or The Unbound Sound of the Magic Trombone!

Towards the latter part of last year, we lost two very important musicians, both of whom influenced and inspired many: Muhal Richard Abrams and Roswell Rudd. I’ve been a longtime fan of Roswell Rudd, since hearing him play on recordings by Steve Lacy, Albert Ayler, the New York Art Quartet, Cecil Taylor and Archie Shepp, all made in the first half of the 1960’s. I finally had a chance to hear Mr. Rudd live with the Carla Bley Ensemble (at Hurrah’s & the Public Theatre) and with Archie Shepp (at Boomers) in the mid-seventies. Both incredible and still memorable! I started collecting Mr. Rudd’s own records and collaborations, starting in 1972 and have always marveled in his ability to make great music no matter what category or era anyone would place him in. It was and is still rare for one musician to excel at playing in so many styles: Dixieland, the music of Herbie Nichols and Thelonious Monk, Carla Bley and Michael Mantler. In the seventies and eighties, Mr. Rudd worked with a diverse cast of musicians: Enrico Rava, Elton Dean, Misha Mengelberg, Han Bennink, Louis Moholo, Duck Baker, Mark Dresser, Terry Adams and members of Sonic Youth - wow!

The following comes from Steve Swell, a friend of and collaborator with Roswell Rudd:

“Even though we have lost one of the great ones, and my first inspiration to really play the trombone, we are ever so lucky to have such a large, diverse group of recordings that Roswell Rudd has left us. From his earliest days as part of the “free jazz” movement to his later forays into world music, Roswell exhibited an amazing curiosity in how to incorporate the trombone in many of the musical circumstances in which that curiosity led him. As he said to me one time with that patented other worldly look up to the sky, “Steve, I feel like I’m just scratching the surface.” And that was when he was 75! That kind thinking and humbleness perfectly exemplified the world of Roswell Rudd.
Roswell’s importance to the legacy of this country’s original art form, jazz, for lack of a better word or improvised music if you prefer, cannot be understated. During the turbulent 60s and 70s when every aspect of the culture of the time was being turned upside down and reinvented, Roswell was just beginning his musical journey and he was right there doing his share of the reinventing. He was part of the original DIY movement of Bill Dixon’s October Revolution and one of a handful of white musicians both trusted and respected for his music in the largely African-American Free Jazz paradigm.
Whenever I re-listen to “Everywhere” or “New York Art Quartet” or those great Archie Shepp recordings I am still lifted and inspired and realize what courage and commitment it took for Roz to go for his very personal sound and his “never before heard” ideas in his improvising as well as his composing. In his later years, the tunes and vocal groups he convened were just as remarkable. To listen to Roswell perform a standard was to really hear what a creative mind can do with a song like “Our Love is Here to Stay” or “Mood Indigo” which were probably recorded thousands of times and yet he still managed to turn them into masterpieces.
Roswell, all I can say is Thank you! And thank you for waking me up!” - Steve Swell, 1/10/18

Roswell Rudd signed with Sunnyside Records around 2007, the label released seven of his discs, each one completely different, each one involving different cultures, concepts and personnel. And for many of us, each one was a gem. Sadly, two have recently gone out-of-print: ‘Malicool’ and ‘Blue Mongol’. The other five are listed below and I urge you to check any or all of them. January is Roswell Rudd Month here at DMG so take $1 off of each one. All are great and well worth exploring!!!

ROSWELL RUDD With JOHN MEDESKI / STEVEN BERNSTEIN / GARY LUCAS / FAY VICTOR /IRA COLEMAN et al - Trombone For Lovers (Sunnyside 1369; USA) It is amazing how hearing a song can bring you back to another time and place. A refrain or a melody sparks an image of the past as well as emotions from that particular moment. Legendary trombonist Roswell Rudd has put together a recording of pieces that have this effect on him. The musical pieces chosen have become standards of American song, most of the selections stemming from Rudd's recollections of childhood when he would sing the songs in school or in church. Trombone for Lovers brought together not only a collection of fantastic music but also a tremendous assortment of musical talent, including John Medeski, Bob Dorough, and Steven Bernstein. Rudd has been sharing his love of standards for many years. He has long been a champion of the music of early jazz, Thelonious Monk, and Herbie Nichols. Rudd has also been adding more folk pieces to his repertoire, including Danny Boy from his most recent recording, Trombone Tribe. Trombone for Lovers presents a mix of jazz, rock & roll, R&B, gospel, and country swing. To assist on Trombone for Lovers, Rudd once again brought a tremendous group of musicians together. The core ensemble features organist John Medeski (of Medeski, Martin & Wood fame), bassist Richard Hammond and drummer Aaron Comess. Special guests on the record include slide trumpeter Steven Bernstein (Sex Mob), violinist Michael Doucet (BeauSoleil), bassist Ira Coleman, guitarists Rolf Sturn and Gary Lucas along with vocalists Bob Dorough, Fay Victor and Heather Masse. The album begins with Stan Jone's Ghost Riders In the Sky, a spirited, soulful take on the cowboy classic. John Lennon and Paul McCartney's Here, There & Everywhere features the wonderfully idiosyncratic vocals of Bob Dorough over Medeski's lush organ. Frank Loesser's Baby, It's Cold Outside follows with a gospel tint as Bernstein and Rudd play in a moving duet. Vocalist Fay Victor lends her talents to a moving, blues drenched version of Richard Jones's Trouble In Mind which is followed by a percussive, New Orleans parade beat on Struttin' with Some Barbecue. Much more greatness follows A performer of eclectic taste and stylistic breadth, Roswell Rudd has provided an intriguing recording of music that has made an impact on him. Trombone for Lovers is a tribute to a lifetime of listening and love of music through the collaboration of an eclectic crew of musical friends.
CD $14 (sale 1/1/18 - 1/31/18)

ROSWELL RUDD With SUNNY KIM / MICHAEL DOUCET / JOHN LINDBERG / BILL WARE / et al - The Incredible Honk (Sunnyside 1279; USA) In his mid-seventies at the time of these recording sessions, trombonist Roswell Rudd takes the listener on a worldwide journey with his diverse musical interests. He explores a couple of widely known songs, though his bluesy take of "Feeling Good" is a funky affair showing off his chops with a mute and on open horn as organist Arne Wendt and pianist Ivan Rubenstein-Gillis lead the rhythm section behind him. His take of "Danny Boy" showcases Wu Tong on sheng (a bamboo predecessor to the harmonica), followed by the leader's sassy muted horn accompanied by bassist John Lindberg, with Tong achieving an organ-like sound as he rejoins them. Rudd also ventures to Latin America, interpreting the Cuban traditional piece "Dame la Mano" with guitarist/vocalist David Oquendo. Rudd even composed the Cajun-flavored "C'Etait dans la Nuit" to feature fiddler/vocalist Michael Doucet and Beausoleil, along with penning "BRO" to play with an impressive group of musicians from Bali playing exotic instruments. The Incredible Honk is one of the rare CDs that will broaden the listening experience of everyone. - Ken Dryden, AMG
CD $14 (sale 1/1/18 - 1/31/18)

ROSWELL RUDD TROMBONE TRIBE With STEVE SWELL/DEBORAH WEISZ/BOB STEWART/HENRY GRIMES/BARRY ALTSCHUL et a - Trombone Tribe (Sunnyside 1207; USA) Featuring Roswell Rudd, Steve Swell & Deborah Weisz on trombones, Bob Stewart on tuba, Henry Grimes on bass and Barry Altschul on drums, plus guests Steve Bernstein & Sex Mob and Bonerama. "Roswell Rudd's idea of a trombone army is not as pronounced as one might think when initially looking at the credits. It's not an offshoot of Slide Hampton's World of Trombones, but elaborates on the concept somewhat. Certainly Rudd's veteran status allows him to invite players of different generations who admire him, as Deborah Weisz, Sam Burtis, Josh Roseman, Eddie Bert, Ray Anderson, Wycliffe Gordon, or Steve Swell all fit that bill. Rudd apportions different lineups to play music with far reaching implications, including that of ethnic and down home, creative improvised, European, and American jazz traditions. The music constantly evolves and shapes itself in chameleon proportions, ignoring nothing that Rudd has himself experienced in his lengthy and distinguished career as an original individualist. Five tracks feature the proper Trombone Tribe, with Weisz, Swell, Rudd, Bob Stewart on tuba, bassist Henry Grimes, and drummer Barry Altschul, a quite formidable ensemble. They include a tuneful and easy swinging tribute for the recently deceased British saxophonist "Elton Dean," the appropriately titled "No End" with the bass lead of Grimes firing up trombone solos with false starts and then steamrolling solos, the samba/Latinized, warm and soulful "To the Day" with bass filling the cracks of a New Orleans-cum-central African theme, the bluesy soul-jazz "Sand in My Slide Shuffle," and the conversational, Dixieland inspired, bawdy, free, low-down, and cleverly titled "Slide & the Family Bone." Two other cuts feature Rudd and the other five trombonists, a brass phalanx of epic proportions. They do the frantic, herky-jerky, Kurt Weill circus inspired "Astroslyde" paralleling bass note informed East European bands, while "Hulla Gulla" is a blues up and down motif derived from a bottom end vamp. Trumpeter Steven Bernstein and Sexmob goof up X la Thelonious Monk in New Orleans during "Twelve Bars," the famous Herbie Nichols march tune laced with the alto sax of Briggan Krauss, while Bonerama get their kicks on the funky strut "Bone Again," with Matt Perrine's sousaphone doing the dirty deed. The final five-piece suite and the introductory fanfare has Rudd working with Gangbe, the world music brass group from Benin, in short, thematic bursts based in joyous shouts, the religious Doxology precept, dance to spiritual music, tuba with vocal chanting, and a modal improvisation, again via Monk. They playing from top to bottom is fantastic, diversity the watchword as you would expect, and the cohesion of all the groups quite enjoyable from track to track, and never boring. It's a genuine triumph for Roswell Rudd in the golden years of a very successful occupancy in modern music, and comes highly recommended. - Michael G. Nastos, AMG
CD $14 (sale 1/1/18 - 1/31/18)

ROSWELL RUDD QUARTET With LAFAYETTE HARRIS/BRAD JONES/SUNNY KIM - Keep Your Heart Right (Sunnyside 1188; USA) For five decades, trombonist Roswell Rudd has navigated through many inventions and dimensions of music, from Thelonious Monk, the avant-garde stylings of the New York Art Quartet, to Charlie Haden s Liberation Music Orchestra, West African, Mongolian, and Latin music. Now, on Keep Your Heart Right, his fourth Sunnyside release, Rudd returns from his musical world tour with a recording that revives his early compositions in a lyric-centric, straight-ahead setting that recalls his roots. This horn player is definitely a frustrated singer whose playing has in turn been influenced more by singers than by other instrumentalists, such as Louis Armstrong, Bessie Smith, Billie Holiday, Ella Fitzgerald and Al Hibbler, Rudd writes in the CD liner notes. The songs came of necessity out of experiences, people, things that I read or heard, and the songs were piling up always a part of my musicality. Rudd bathes his songs in a church-meets-bop aura with an impressive drumless quartet featuring pianist Lafayette Harris, vocalist Sunny Kim and bassist Bradley Jones. With Jones s firm basslines, Harris s effervescent keyboard lines, and Kim s diasporic and down-home vocals, Rudd s rooted and revolutionary trombone revisits some of his compositions. The title track is a reverent gospelized number composed in 1965 with Archie Shepp, revised with vocal version sung by Sheila Jordan, included in an opera The Gold Rush, and re-recorded in 2000. Loved by Love is a beautiful, hymn-like composition inspired by the words of the Nobel Prize-winning novelist Gabriel Garcia Marquez. I Look in the Mirror is a no-nonsense 4/4 swinger with a delicious bass solo. The Light Is With Me is another selection that beams in the delicate, Ducal spotlight, contrasted by the bouncy, boppish I m Going Sane (One Day at a Time). Rudd and company revisit Bamako, with English lyrics, previously recorded on the CDs El Espiritu Jibaro with cuatro master Yomo Toro, MALIcool, The Shepp/Rudd Quintet Live In New York with Archie Shepp, and Early & Late Steve Lacy. All Nite Soul is yet another track set in a Godly groove, dedicated to the late Reverend John Garcia Gensel of St. Peter s Church in New York City, and the All Nite Soul celebrations he started in the sixties. The hypnotic Suh Blah Blah Buh Subi is another New York-centric number that recalls Rudd s days as a cab driver. The stop time syncopated You Blew It originally included in Rudd s jazz oratorio Blues For the Planet Earth is a blues/vocalese cousin to Marvin Gaye s Mercy, Mercy Me (The Ecology). Whatever Turns You On Baby is a sexy chaser that closes this vibrant CD.
CD $14 (sale 1/1/18 - 1/31/18)

ROSWELL RUDD & YOMO TORO With BOBBY SANABRIA & ASCENSION - El Espirito Jibaro (Sunnyside 1174; USA) It was Yomo Toro who brought the cuatro (a four string guitar) into the international arena - the funky jibaro (whom Robert Palmer, writing in The New York Times, called "the Puerto Rican Jimi Hendrix") was a long time member of the Fania All Stars. When Roswell first heard Yomo he swooned, and they finally met in 2002 when Roswell sat in with Yomo at a concert in Haverstraw, NY. It was love at first sound and their collaboration had seeded. Following MaliCool and Blue Mongol, Roswell Rudd now collaborates with musicians of the Latin culture, and the fusion with his jazz idiom is perfect. Collective personnel includes George Cables on piano, Peter Brainin, Jay Collins & Gene Jefferson on saxes, Chris Washburne on trombone plus strings, bandoneon, tres and assorted percussionists & even some vocals.
CD $14 (sale 1/1/18 - 1/31/18)

LP Section:

DUCK BAKER - Duck Baker Plays Monk (Triple Point 271; USA) New studio project recorded in 2010 and 2015. This is a vinyl-only release strictly limited to this one pressing. Insert contains new essays by Duck and the late Roswell Rudd. On this new LP, Duck Baker delves deeply into the thinking of one of our most challenging composers and renders guitar interpretations that are true to the original intent. That Baker's experience playing blues, gospel, ragtime, and swing serve him well on this project goes without saying. 
 In a way, ‘Duck Baker Plays Monk’ is a companion piece to Spinning Song, Baker’s CD of Herbie Nichols tunes. But there's an important difference: He had never arranged any of Nichols' music before Spinning Song, but had been working with Monk's tunes for most of his musical life when he made this record. Baker reminds us through his playing that the idiosyncrasies of Monk’s composing are further dimensions of the Americana continuum (and source musics) that has been his turf for years. 
 Now, the world can hear Duck’s takes on these nine Monk compositions—framed by Rudd’s essay, which may be his last published musical analysis.”
LP Only / Limited Edition $35

LASSE MARHAUG/JON WESSELTOFT - Nature Lovers (Holidays Records 109; Italy) Norwegian musicians Lasse Marhaug and Jon Wesseltoft team up for a computer duo. Pretty abstract, but not too noisy computer music. Marhaug is well known in the field of noise music but has frequently drifted into other areas such as improvisation and jazz, contributing throughout his career to well over three-hundred releases, and also publishing the amazing fanzine Personal Best under his own imprint Marhaug Forlag. Jon Wesseltoft is a multi-instrumentalist actively performing in a wide variety of projects, shifting from acoustic sources to electronics. The record features five tracks recorded in 2016 at the best studio in Oslo, slightly edited and overdubbed by Wesseltoft but still clear and strict. Edition of 200.
LP $25

DAVID BEHRMAN - Music With Memory (Alga Marghen 152; Italy) Alga Marghen introduce Music With Memory, a new record LP by David Behrman focused on his '70s work with new small, inexpensive devices then known as "microcomputers" equipped with "memory" to be used in live performances and installations. Side A presents "Interspecies Smalltalk" with Takehisa Kosugi (violin) and David Behrman (electronics). A wild intertwining of two worlds of resonance, structure, and tonality, decades ahead of its time. Commissioned by John Cage and Merce Cunningham as music for the 1984 Cunningham Company dance titled "Pictures", it was made to be performed by Takehisa Kosugi playing violin in his uniquely personal style. Side B includes "Circling Six", an earlier version of a more extended piece titled "Leapday Night". "Circling Six" had six looping synthesizer phrases which could be played along with by the acoustic instrumentalist, on this recording by Werner Durand on saxophone. "Interspecies Smalltalk" and "Circling Six" were pieces for instrumental performers and a small computer-controlled music system that Behrman assembled during the 1980s. The electronic gear consisted of pitch sensors ("ears" with which it listened to the performing musicians), various music synthesizers (some homemade), a video display, and a personal computer. The pieces were made with computer programs governing interaction between performers and the electronics. The software created situations rather than set pieces. The performers had options rather than instructions, and the exploration of each situation as it unfolded was up to them. Also on side B is a short track titled "All Thumbs" for two electrified mbiras (African instruments of ancient origin also known as thumb pianos, kalimbas, or zanzas). This piece grew out of a collaborative sound and video installation that George Lewis and David Behrman made for the opening of the Paris science museum La Villette in the spring of 1986. The metal tines of the mbiras were linked to sensors and to a computer music system. In this concert version, played together with Fast Forward, the piece was in several sections. All the sounds in "All Thumbs" were electronically generated. Includes liner notes by David Behrman and photos of the performances, as well as original programs of the Music With Memory Festival. Edition of 400.
LP $26

SUN RA AND HIS INTERGALACTIC MYTH SCIENCE SOLAR ARKESTRA - Sleeping Beauty (Art Yard 333; UK) Originally released in 1979; 2017 remastered repress of Art Yard's 2005 reissue. One of the more delicate recordings of Sun Ra's 28-strong Arkestra, Sleeping Beauty drifts in on a cloud of cosmic dust, sounding unlike anything before or after. With drummer Luqman Ali keeping the narcotic funk, but with dreamy solos from other key Arkestra players like John Gilmore, Michael Ray, and Marshall Allen, no Sun Ra collection is complete without this LP. Inspired space-age lullaby music.
LP $24

JOHN COLTRANE With McCOY TYNER / JIMMY GARRISON / ELVIN JONES - Bye Bye Blackbird: Live At Penn State University, January 19th, 1963 (Wax Love 82025; Italy) When John Coltrane performed in 1963 at Penn State University, it was with the group that is now considered his most "classic" group: the quartet featuring McCoy Tyner on piano, Jimmy Garrison on bass, and Elvin Jones on drums. Featuring an epic, 25-minute long "Bye Bye Blackbird", among other early '60s originals and covers, this is the sound of an artist coming into his own and truly shining. Coltrane at the top of his modal/post-bop powers.
LP $17

BILLIE HOLIDAY - Billie's Blues (Wax Love 82019; Italy) Wax Love present a reissue of Billie Holiday's Billie's Blues, originally released as Ladylove in 1962. Though she had been performing professionally since the late 1920s, as a teenager in Harlem during its Renaissance, the immortal Billie Holiday didn't play a single night on the European continent until 1954. It was in that year that the great journalist and musician Leonard Feather and a Swedish promoter organized the Jazz Club U.S.A. tour, named after Feather's wildly popular radio program. Featuring Red Norvo, Sonny Clark, and more, the centerpiece of Jazz Club U.S.A. was, undoubtedly, Lady Day. Recorded at various dates across the tour, Billie's Blues shows Holiday still had it, despite the turmoil, and drug and alcohol abuse, her voice remained strong, a stunning document of one of America's greatest treasures on her first ever tour of Europe. Includes an introduction by Leonard Feather. Reissued here with five bonus tracks.
LP $17

B.B. KING - Story From My Heart And Soul: The 'Modern' Label Singles 1957-1962 (Wax Love 82023; Italy) This collection compiles many of the classic '50s and '60s sides that B.B. King recorded for the Los Angeles based label Modern. Mostly recorded in King's home base of Memphis, Tennessee -- some even recorded and produced by Sam Phillips of Sun Records fame -- these sides are some of the most important and classic blues and R&B tracks of the late 1950s and early 1960s. A true workhorse, King was often playing more than 300 concerts a year at this point in his career, and it shows in these performances where a tight band is led by one of the most practiced and technically skilled guitarists of the era. King remains a huge influence on guitarists to this day and these recordings, from nearly 60 years ago, are a perfect example why.
LP $17

MARIA MONTI - Il Bestiario (Holidays 105; Italy) Holidays Records present a reissue of Maria Monti's Il Bestiario, originally released in 1974. Maria Monti's legendary Il Bestiario is a prime example of the avant-garde art-song of the 1970s. Known for her renderings of Italian popular songs, Maria Monti is an Italian singer and actress with a noteworthy career: cabaret singer in the '60s, ambitious avant-garde folk artist in the '70s, and starring in films by directors as such as Sergio Leone -- Fistful Of Dynamite (1971) -- and Bernardo Bertolucci -- 1900 (1976). Il Bestiario is a near perfect emblem of the fascinating territory gained through collaboration. It enlisted the radical poet Aldo Braibanti as its lyricist, features arrangements and synthesizer from Alvin Curran (Musica Elettronica Viva), the baritone saxophone of Roberto Laneri (Prima Materia), as well as the soprano saxophone of jazz legend Steve Lacy. The result is absolutely stunning, musically unique within the respective outputs of its participants' long and noted careers. Unquestionably one of the most beautiful and neglected albums of its decade. Comes with a 16-page booklet with lyrics and translations.
LP $26

JOE MEEK - Hits From 304 Holloway Road (Wax Love 82020; Italy) Though he's been dead for nearly 50 years, Joe Meek remains one of the most fascinating and influential figures in British pop music. A brilliant and prolific producer and songwriter -- despite his inability to either play an instrument or read music -- Meek also happened to be an occultist, paranoiac, suicidal depressive, and, to top it all off, a murderer. Though only 37 at the time of his death Meek left a large body of work rivaled only by his equally inspired/insane competitor across the pond, Phil Spector. This brand new collection on Wax Love brings together 18 of Meek's finest early '60s pop productions back to life on vinyl, the format they were made for. Features performances by John Leyton, Mike Berry & The Outlaws, Geoff Goddard, Neil Christian & The Crusaders, Screaming Lord Sutch, Moontrekkers, Tornados, Danny Rivers, Cliff Bennet & The Rebel Rousers, Michael Cox, Pat Reader, Ian Gregory, Tony Victor, and Carter Lewis & The Southerners.
LP $17

HELDON - Un Reve Sans Consequence Speciale (Souffle Continu Records 034; France) Souffle Continu Records present a reissue of Heldon's Un Rêve Sans Conséquence Spéciale, originally released on Cobra in 1976. In Heldon, nobody particularly likes liner notes. However, although the group's albums have none, they abound, from the very beginning, with clues and often cryptic references. The name of the group, obviously, comes from a science fiction novel by Norman Spinrad, but perhaps it is less well known that the title of the album Un Rêve Sans Conséquence Spéciale is taken from a pirate recording of King Crimson made in 1974, an elegant way to state the possible lineage between guitarist (and synthesizer player) Richard Pinhas and Robert Fripp, his peer in the British band. Likewise, Richard Pinhas values the philosophers Lyotard, Nietzsche, and Deleuze, and the cover of Un Rêve Sans Conséquence Spéciale quotes theology specialist Pierre Klossowski, according to whom all creators owe it themselves to provoke a "state of insecurity straying from the oppressive regime of mediocrity". Having been a precursor of the home studio, Richard Pinhas came to the Davout studios to record the fifth Heldon album Un Rêve Sans Conséquence Spéciale. He had a special space reserved for him, where there was a Moog 3 which had belonged to Paul McCartney. Intense, violent, bitter, abrasive, uncompromising: the first on-site recording is in keeping with the four predecessors, prefiguring both industrial- and post-rock, showing once again that the early references to "guerrilla electronics" (and to William S. Burroughs) were not in vain. The newcomers to this universe, bassist Didier Batard (Coeur Magique, Triptyque), on one track, and drummer François Auger (heard on the fifth album by Gérard Manset) finally transform Heldon into a fiery power trio for the inspired "MVC II". Without forgetting that the faithful Patrick Gauthier is also on board, as is Jannick Top (Magma), each on one track. Listening to the result it is easy to understand why Merzbow, Wolf Eyes, and Oren Ambarchi, in the 2000s wanted to record with Richard Pinhas. It must also be noted that the often-made comparison between Heldon/Richard Pinhas and King Crimson/Robert Fripp, while still pertinent, if insufficient, as Un Rêve Sans Conséquence Spéciale breaks much new ground beyond those horizons. High quality mastering from Richard Pinhas's original masters; Licensed from Richard Pinhas. Obi strip; matte printing. Clear purple vinyl; Edition of 700.
LP $24

HELDON - Heldon . 6 . Interface (Souffle Continu Records 035; France) Souffle Continu Records present a reissue of Heldon's Heldon . 6 . Interface, originally released in 1977. The idea in the mind of Richard Pinhas, the driving force behind Heldon, was to produce music "as cold as a huge block of ice" a vertiginous experience, of course influenced by the King Crimson trilogy, from Larks' Tongues In Aspic (1973) to Red (1974), except that Heldon represents an electrified version, leading to a perfect rapport between thought and emotion, perhaps going even further. It's Only Rock'n'Roll (1975), the appropriately-named third album, is in its own way -- already -- a turning point in Heldon's oeuvre, witness the acid and corrosive "Zind Destruction (Bouillie Blues)". Once the next one was released (Agneta Nilsson, 1976), just after Disjuncta, the first French independent label, had been sold to Urus by Richard Pinhas in order to buy the aforementioned Moog 3 from the Beatles, the music became even more uncompromising. The group delved, like King Crimson, into a kind of trilogy, the middle of which was Interface in 1977, a year after Un Rêve Sans Conséquence Spéciale (FFL 034LP) which was, thus, the first part. At this period the group's music, as Gérard N'Guyen wrote in the fanzine Atem, was like "a guided tour through the ruins of a civilisation." In the middle of the punk wave, the universe of Heldon indeed became more threatening and heavy, echoing the novel by Norman Spinrad from which the group took their name, The Iron Dream (1972). This was also the point at which Heldon became a genuine group, centered around Patrick Gauthier (synthesizers), Didier Batard (bass), and François Auger (drums), which allowed Richard Pinhas to focus on the real motivation behind this audacious undertaking. Like its predecessor Un Rêve Sans Conséquence Spéciale, and then 1979's Stand By (FFL 036LP) which followed, Interface, the second album of the "trilogy" recorded at studios Davout, represents a sonic culmination, even a climax, its violence coming from the machines and delving into notions of repetition and scansion, prefiguring a lot of the music that was to follow, whether it be electro and industrial or post-rock and noise. It goes without saying: seminal and always innovative! High quality mastering from Richard Pinhas's original masters; Licensed from Richard Pinhas. Obi strip; matte printing. Swamp green vinyl; Edition of 700.
LP $24

HELDON - Stand By (Souffle Continu Records 036; France) Souffle Continu Records present a reissue of Heldon's Stand By, originally released in 1979. Richard Pinhas began by absorbing Jimi Hendrix as an adolescent, leaving that behind at the beginning of the 1970s, after having heard what Miles Davis and Herbie Hancock were doing with synthesizers, and then discovering the seminal duo Fripp and Eno. It was one year on from this epiphany that the first album by Heldon was released (1974). The main idea was to rock and roll on electronic machines. Richard Pinhas was of course playing electric guitar, but was also interested in the A.R.P. and VCS 3, to the point of purchasing the Moog 3 owned by the Beatles. In order to do so, he had to sell of the Disjuncta label -- the first totally independent French label -- he had created in order to release Schizo (1972), Alain Renaud and Heldon. This was the beginning of the 1970s. Heldon had already released four key albums and left their home studio for Davout, beginning a trilogy starting with the sound of 1976's Un Rêve Sans Conséquence Spéciale (FFL 034LP), continuing with 1977's Interface (FFL 035LP), and concluding with Stand By. When Stand By was released, the press had already labeled Heldon as the first electric punk group. There is nothing silly in that, Heldon having quickly moved away from the spacey German influences which were not to Richard Pinhas's taste. This can be heard on Stand By, the lynchpin of which is the twenty minutes of sound and fury of "Boléro", something of a high-point from the group which owes much to the sequencers of the "technician" Didier Badez. As on the two previous releases, the ever-faithful Patrick Gauthier, François Auger, and Didier Batard were present. For one track, Klaus Blasquiz sings and highlights the underlying links between Heldon, Magma, and Weidorje, but also a shared past experience in Blues Convention with Richard Pinhas. After two solo albums, East West (1980) and L'Éthique (1982), Richard Pinhas dropped everything, through fear of repeating himself, even selling off some of his equipment, before coming back to center-stage with DWW (1992), following a sabbatical decade centered on philosophy, skiing, and paragliding. Thus, Stand By can be seen as the end of an era for Heldon. High quality mastering from Richard Pinhas's original masters; Licensed from Richard Pinhas. Obi strip; matte printing. Sea blue vinyl; Edition of 700.
LP $24

HELDON - 1976-1979 (Souffle Continu Records 001; France) 1976-1979: four years of intensive creativity for Heldon, following on from them leaving the home-studio on the Île Saint-Louis for Davout also in Paris, where a Moog 3, purchased from the Beatles, was ready in a space reserved for the leader of the group, Richard Pinhas. From here on, a trilogy was created which compares favorably with King Crimson of the period from Larks' Tongues In Aspic (1973) to Red (1974), the French band breaking new ground with the electronics used in their music, and the numerous influences they quote, including Fripp and Eno, Philip K. Dick, and Gilles Deleuze. A totally vertiginous experience, the ensemble consisting of Un Rêve Sans Conséquence Spéciale (1976), Interface (1977), and Stand By (1979) can be seen as the sonic climax to Heldon's oeuvre, even its climax, the violence coming from the machines. This Everest of electronic music is completed by a rare single released on RCA at the same period, making this a must-have box set for any self-respecting collector. High quality mastering from Richard Pinhas's original masters. Each LP comes in exclusive vinyl color for the boxset: Un Rêve Sans Conséquence Spéciale comes on clear yellow vinyl; Heldon . 6 . Interface comes on coke bottle green vinyl; and Stand By comes on electric blue vinyl. Limited box set comes with the rare Richard Dunn 7", originally released in 1978. Includes 20-page booklet with rare photos and an essay by Philippe Robert. Edition of 300.
3 LP Box Set 7” = $90

ARIEL KALMA - French Archives 1977-80 (Black Sweat Records 042; Italy) Another indispensable compendium of the great French experimental artist's musical opera. With this four-LP box set of fully unreleased archival materials, Ariel Kalma ideally retraces the map of his own path and spiritual journey during the '70s. Some of music contained in Sarasvati Planet Ariel, Planet Air, Ascend Descend, and Astral Cathedral are born as sound environments for group therapy sessions that carrying healing, trance, and relaxation. The occult and arcane music of Kalma awakens consciousness, expands chakras, sculpts memory indelibly, appears to encompass all the emotional aspects of the universe, and brings its listeners back to the archetypal moments of creation. What is most impressive is the variety of atmospheric stimuli, the rich source of inspiration and compositional mastery. The solemn, triumphal and liturgical, meditative and ascending tone of celestial chapel organs and harmonium, the darkness of Farfisa and Yamaha PS-30 lunar and spectral sequences, the exotic oriental breath of circular dances transfigured and dissolving by the specular shapes of the Wasp Synth... everything converges to the purity abyssal of eternity sound. The melodic and harmonic phrases of sax always reveal a deep song, while the solar blow of flute gives elegiac moments of Debussyian flavor as bucolic recalls of fauns from Eden's lost. Listeners will be struck by equinoxial and solstitial lights, in perfect balance between flares and shadows, nature and galactic procession. Kalma's sensitive ear is expressionist, almost a possible scenario for astral architectural utopias of visionaries such as Hablik, Taut, Steiner, or Poelzig; it absorbs and re-reads in a personal way some insights of the cosmic psychedelia of the early '70s such as K. Schulze, Heldon, Tangerine Dream, Popol Vuh. The music is fully unreleased, with only a few tracks being different versions of previously released tracks.
4 LP Deluxe Box Set $90

COSEY FANNI TUTTI - Time To Tell (CTI TTTLP 2017; UK) The long-awaited deluxe special edition reissue of Cosey Fanni Tutti's Time To Tell, originally recorded and released on cassette in 1982, sees a timely release after the success of Cosey's recent autobiography Art Sex Music (published by Faber & Faber). Available now for the first time on vinyl, this deluxe special edition has been remastered and edited from the original audio tapes for this exclusive vinyl release. It is presented here on super clear vinyl, in a gatefold sleeve incorporating a foil block title and is accompanied by a 16-page full-color 12" booklet containing the original cassette transcripts and photos, plus many new and updated statements and color photos.
LP $30

PIERO UMILIANI (M. ZALLA) - Africa / Continente Nero (Dagored 312-13; Italy) Dagored presents a double LP bundle of two first official Piero Umiliani reissues. Africa from Piero Umiliani's M. Zalla moniker, originally released in 1972, and Continente Nero, released under Umiliani's own name in 1975. The double LP bundle contains inserts with liner notes for each release; Edition of 500.
From the liner notes for Africa, curated by Stefano Gilardino: ". . . Keep in mind the release year, January 1972, before approaching the matter covered in this precious jewel: the black rhythm of the incredible 'Africa To-Day', the 'fourth world' Jon Hassell-style of 'Green Dawn', the 'exotic' touch à la Martin Denny ('Lonely Village', 'Echos'), the 'Sortilège''s reference to the electronic new wave (really!), the folk influence ('Rite', 'Folk-Tune'). With many years in advance, Umiliani synthesizes in Africa sounds and styles that will make then the fortune of well-celebrated and famous artists. . . ."
From the liner notes for Continente Nero, curated by Luca Collepiccolo: ". . . The African continent rebuilt in 'microsolchi' by maestro Umiliani in 1975 is therefore a projection, an image that is influenced strongly by the affairs of overseas colleagues. All those artists from Duke Ellington to the Art Ensemble of Chicago, through Max Roach, who have been fundamental in the genesis of African-American culture . . . Over 40 years since its conception, it is a remarkable, pioneering work, a place of hypotheses and happy intuitions. . . ."
2 LP Set $50

TROPICALIA - Ou Panis Et Circensis (Lilith 340; Russia) Originally released in 1969, this album is one of the most significant in Brazilian musical history, spearheading the musical Tropicalia revolution lead by Brazilian legends Caetano Veloso and Gilberto Gil, not to mention Gal Costa and mutant rockers Os Mutantes. Not only were the artists experimenting with the music, they were also making a very strong political statement that spoke out very harshly against the military regime in Brazil at the time. This album helped land Veloso and Gil a brief stint in jail and eventually in political exile in the UK. Includes bonus CD of the album.
LP CD $24


Beginning in the New Year, we will be having a weekly or bi-weekly Relative Pitch sale. Two CDs from their large (past 60) back catalogue will sell for $10 each. Relative Pitch remains one of the last cutting edge labels that releases consistently challenging/avant/progressive/free form music that most labels tend to ignore. A toast to label founders Mike Panico and Kevin Reilly whose vision has unleashed a swarm of spirited releases from an international cast of worthy musicians. I am currently listing to two new ones (Lopez/Nelson/Nicodemou/Cleaver & Ben Hall’s Racehorse Names) which will be out in February and am amazed by the music found within.

For the next 2 weeks, the two following CDs will be reduced to $10 each - a true bargain!

INGRID LAUBROCK / TOM RAINEY - Buoyancy (Relative Pitch 1048; USA) This is the second duo disc from the dynamic duo: Ingrid Laubrock on soprano & tenor saxes and Tom Rainey on drums. Ms. Laubrock and Mr. Rainey are a married couple who have been working together musically as well, playing in each other’s projects, supporting each others visions. Since each project is so different, things evolve in a variety of ways due to the personnel and direction of each one. I’ve caught this duo a few times live and they have gotten better through time. This disc was recorded live at Audio for the Arts in Madison, Wisconsin during a tour in 2014. Over the past few years both of these gifted musicians have made many more fans around the world since all of their recordings and concerts are so inspired. This disc captures them at their best, listening closely and interacting superbly. An intimate, intricate conversation evolves as it unfolds. I have a drum teacher friend named Ken who is a Tom Rainey fanatic, anything Mr. Rainey records, he wants. I feel the same way about Mr. Rainey and Ms. Laubrock, especially after hearing them so much over the past few years, always pushing themselves to a higher level of adventure and creativity. The four pieces on this disc are long and take their time to develop. “Twenty Lines” starts with soft rustling static-like sounds, calmly building from there. When Ms. Laubrock switches to soprano midway, the tempo increases and the vibe changes into a more free and fractured excursion, finally sailing into a more restrained ending. “The Museum of Human Achievement” has a poignant elegance, organic in the way it naturally unfolds eventually erupting into an intense fever pitched foray. The last piece, “Thunderbird” also starts quietly and remains subdued throughout, bringing us down to a calm conclusion. The title of this disc, ‘Buoyancy’ reminds me of the way these two play together, floating on a raft in the ocean, sometimes calm, sometimes stormy. - Bruce Lee Gallanter, DMG
CD $10 (On sale 1/12/18 - 1/26/18)

INGRID LAUBROCK/TOM RAINEY - And Other Desert Towns (Relative Pitch 1018; USA) Featuring Ingrid Laubrock on tenor & soprano sax and Tom Rainey on drums. Besides being a couple, Ingrid and Tom, are part of another select Downtown family of musicians who work together often in many different combinations. The family includes: Mary Halvorson, Kris Davis, Tim Berne, Matt Mitchell, Ralph Alessi, Chris Speed, Ches Smith... I caught this duo play two phenomenal sets last year at JACK to just a handful of serious fans. Another jewel in the Relative Pitch treasure chest! - BLG
CD $10 (On sale 1/12/18 - 1/26/18)

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


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)


1/16 Tuesday
830 pm - PETER AND AMBROSE - Peter Evans (trumpet) Ambrose Akinmusire (trumpet)

1/17 Wednesday
Ambrose Akinmusire (trumpet) Craig Taborn (piano) Mary Halvorson (guitar)

1/18 Thursday
Ambrose Akinmusire (trumpet) Davis Virelles (piano) Marcus Gilmore (drums)

FRIDAY JANUARY 19: Jon Irabagon Organ Trio—Jon Irabagon (saxophone) Gary Versace (organ) Nasheet Waits (drums) Dan Weiss (drums)
SATURDAY JANUARY 20: Mivos Quartet with Matt Mitchell playing a suite by Jon Irabagon—Olivia De Prato, Lauren Cauley Kalal (violins) Victor Lowrie (viola) Mariel Roberts (cello) Matt Mitchell (piano)

1/19 Friday
Ambrose Akinmusire (trumpet) Kris Davis (piano)

1/20 Saturday
830 pm - SULLIVAN, MATT, TYSHAWN AND AMBROSE - Ambrose Akinmusire (trumpet) Sullivan Fortner (piano) Matt Brewer (bass) Tyshawn Sorey (drums)

1/21 Sunday
830 pm - AARON AND AMBROSE - Ambrose Akinmusire (trumpet) Aaron Parks (piano)

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 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

Mon Jan 15th:
8:01PM PERCUSSION FEST: SEYYAH - Jenny Luna, voice, percussion; Kane Mathis, oud; Eylem Basald, violin; Marandi Hostetter, violin; Zoe Christiansen, clarinet; John Murchison, kanun; Adam Good, bass; Shane Shannahan, percussion; Philip Mayer, percussion

Tues Jan 16th:
8:01PM PERCUSSION FEST: JOHN HADFIELD GROUP - John Hadfield, percussion; Kenny Werner, piano; Ari Hoenig, drums; Or Bareket, bass

Wednesday Jan 17
6:00PM CHARLIE CARR BAKER WITH SPECIAL GUEST VINCE DI MURA - Charlie Carr Baker, voice, guitar; Vince di Mura, piano
8:00PM PERCUSSION FEST: YATHI TRIO - Rajna Swaminathan, mrudangam; María Grand, tenor sax; Miles Okazaki, guitar
9:30PM PERCUSSION FEST: ORAKEL - Roshni Samlal, tabla; Kane Mathis, kora & Oud

Thursday Jan 18
8:00PM BRAZIL FEST: RICHARD MILLER TRIO - Richard Miller, guitar; Itaiguara Brandao, bass
9:30PM BRAZILI FEST: BRIAN ADLER'S HERMATO VIVE! - Frank London, trumpet; Jeff Hudgins, sax; Sean Moran, guitar; Rene Hart, bass; Brian Adler, drums,

Friday Jan 19
8:30PM BRAZIL FEST: ARTHUR KAMPELA - guitar, voice; Denise Puricelli, piano; Vasko Dukovski, bass clarinet; José Moura, bass
10:00PM BRAZIL FEST: RUBENS SALLES GROUP - Rubens Salles, piano, comp.; John Clark, french horn; Leco Reis, bass; Kenny Grohowski, drums

Saturday Jan 20
6:00PM ALBERT MARQUES MEETS ZACK O'FARRILL - Albert Marques, piano; Zack O'Farrill , drums
8:30PM BRAZIL FEST: BILLY NEWMAN QUINTET - Billy Newman, guitar; Eric Schugren, tenor, sopranino sax; Evan Francis, alto sax, flute; Leco Reis, bass; Kenny Grohowski, drums
10:00PM BRAZIL FEST: "SERGIO KRAKOWSKI SOLO" - Sergio Krakowski, pandeiro

Sunday Jan 21
8:30PM CABARET FESTIVAL: CHLOE PERRIER & THE FRENCH HEART JAZZ BAND - Chloe Perrier, voice; Aki Ishiguro, guitar; Jim Robertson, bass; Rodrigo Recabarren, drums


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 01/12
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 12 - 
7p - Lyric Fury Brooklyn CD Release Party” - Cynthia HIlts - composer/piano/voice, Jack Walrath - trumpet, Lisa Parrott - soprano and bari sax, Lily White - tenor and alto sax, Deborah Weisz - trombone, Leigh Stuart - cello, Ratzo Harris - bass, and Scott Neumann - drums.

Jan 13
7pm Luca Rosenfeld Trio feat. Bob Meyer on drums, Steven Frieder on saxophone, and Luca Rosenfeld on bass.

Jan 15 
3:30 pm - RISE UP and SING - A family music singalong for peace, unity & justice; Proceeds benefitting the ACLU and SPLC Featuring: A festive crew of family music artists. Including Elena Moon Park, Sonia De Los Santos, Colin Brooks, John Foti, Yoshi Waki, Nils d'Aulaire (Future Folk), Martin Vejerano (La Cumbiamba eNeYé), Domenica Fossati (Underground System) members of the LADAMA project, and more special guests
7pm: Zack Foley Quartet - Zack Foley, vocals; Jesse Elder, piano; Chris Tordini, electric bass; Devin Gray, drums

Jan 16
New Forum - Improvisation Circle - 6 PM:
1 Magdalena Abrego-Guitar
2 Kalia Vandever-Trombone
3 Dion Kerr-Bass
4 Mike DeiCont-Bass
5 Yuma Useka-Tenor Sax
6 Lee Meadvin-Guitar
7 Noah Halpern-Trumpet
8 Micah Thomas-Piano
9 Eric Stillwell-Trombone
10 Aimee Nieman-Violin

8pm: Ingrid Laubrock - Just Below the Sonic Level of Sense Making
9pm: Contemporary Prospects - Wind up Elephant: Carrie Frey and Robert Fleitz presenting new music for toy instruments and objects

Jan 18 - 
8:15p Allan Andre Solo piano

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 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


With Japanese singer AMI YAMSAKI
Thursday, January 18th at 8pm (doors)
At Planeta - 295 E. 8th St. (corner of Ave B)

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