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DMG Newsletter for June 22nd, 2018

“I’m gonna raise a fuss
I'm gonna raise a holler
About workin' all summer
Just-a trying to earn a dollar
Every time I call my baby
Try to get a date
My boss says "No dice, son
You gotta work late"
Sometimes I wonder
What I'm-a gonna do
But there ain't no cure
For the summertime blues

“Summertime Blues” by Eddie Cochran - rel Aug, 1958
Covered by Blue Cheer - Spring of 1968
Is there a cure for the Summertime Blues???
Going to the beach? Having a picnic?
Seeing and hearing some free music in Central Park??

Here is the Menu for this week’s Delectable Sonic Delights from:

Two from Thumbscrew (Mary Halvorson / Michael Formanek / Tomas Fujiwara)! Jemeel Moondoc / Matt Shipp Qt! Louis Moholo-Moholo’s Five Blokes! Gordon Grdina: Solo & Qt: Oscar Noreiga/Russ Lossing / Satoshi Takeishi! Christian Wolff & Michael Leonhart Orchestras!

Two Nicola L. Hein Duos: Alfred 23 Harth & Paul Lytton! Robbie Lee / Norbert Rodenkirchen /James Ilgenfritz! Jack O’ the Clock! Motorpsycho! The Return of the SHIIIN label: Three from Elaine Radigue! Charlemagne Palestine! Luc Ferrari & Brunhild 4 CD Set!

Haco! The (EC) Nudes! Todd Dockstader! Ornette Coleman Trio! Paul Bley Trio! John Handy/Ali Akbar Khan/L. Subramanian..! Plus lots of Rare Vinyl from: Paul Panhuysen! Mikolaj Trzaska! Elaine Radigue and Luc Ferrari! And much more..!

Upcoming Sets at Downtown Music Gallery - FREE, every Sunday at 6pm


Sunday, June 24th:

Sunday, July 1st:
6pm: BEN GOLDBERG and GERALD CLEAVER - Clarinet and Drums
7pm: JOSH SINTON / TODD NEUFELD / GIACOMO MEREGA - Bari Sax & Bass Clarinet / Guitar / Bass

Sunday, July 8th:
7pm: SARAH BERNSTEIN - Solo violin Performing the Violin Music of ORNETTE COLEMAN

Sunday, July 15th:
7pm: SCOTT FIELDS / ELLIOTT SHARP - Solo & Duo Guitars

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 Amazing New Discs from Downtown’s Finest Trio: THUMBSCREW to Begin This Week's Newsletter:

* THUMBSCREW [MARY HALVORSON / MICHAEL FORMANEK / TOMAS FUJIWARA] - Ours (Cuneiform 439; USA) Thumbscrew demonstrates their unique collective musical vision in contrasting but complementary ways on two exciting new CDs. Ours and Theirs are the first to be released on a newly revamped Cuneiform Records, just returning from a hiatus. Comprised of longtime collaborators Michael Formanek, Tomas Fujiwara, and Mary Halvorson, Thumbscrew is a true collaborative effort with all three members contributing at an equal rate both in terms of composition and improvisation.
Born out of a residency at Pittsburgh’s City of Asylum where Thumbscrew created their striking second album Convallaria, Ours and Theirs showcase Thumbscrew in two different contexts performing all originals on Ours and all covers on Theirs. Both albums present a meticulous and intuitive original sound that could only be crafted during focused and intensive time as a collective in a place like City of Asylum. “When we arrived at City of Asylum for our second residency in June 2017, we immediately said, ’we’re home!’” says Fujiwara, “The feelings we get when being at City of Asylum, around the people that make it such a unique place doing great work...All of this contributes to a creative process that’s open and inclusive and experimental.”
Tomas, Michael, and Mary are no strangers to each other’s work, having performed in a multitude of projects together, including Michael Formanek’s Ensemble Kolossus, Tomas Fujiwara and the Hook Up’s After All is Said, and most recently, in Mary Halvorson’s critically-acclaimed Code Girl.
Ours, as its namesake suggests, is an album of original compositions with Fujiwara, Formanek and Halvorson contributing three works apiece. Opening with Halvorson’s striking “Snarling Joys,” Ours begins with delicate (and ever so slightly warped) ensemble figures that very naturally develop into an urgent and tense thrill-ride of a track, with a brilliant bass solo from Formanek. Fujiwara’s “Saturn Way” shows the ensemble bouncing off of each other’s rhythmic framework with Fujiwara anchoring the group through a pummeling rolling tom figure that slowly descends into a spacious and attentive group improvisation. Later, on Formanek’s punk-thru-the-wormhole style “Cruel Heartless Bastards” the ensemble shifts metric pulse in total lockstep on the turn of a dime while a teasing 4/4 figure creates a sense of gravity for the entire composition. Halvorson takes the track to the stratosphere with a dizzying guitar pedal laden solo after the group snakes their way through Formanek’s labyrinth.
On the contrast between the two records, Halvorson says, “The approach to presenting a unique and personal take on a composition is the same whether it’s one of Ours or one of Theirs.”
CD $15

* THUMBSCREW [MARY HALVORSON / MICHAEL FORMANEK / TOMAS FUJIWARA] - Theirs (Cuneiform 4441; USA) ’Theirs’ features covers penned by venerable composers, from North American jazz legends Benny Golson and Wayne Shorter, to South American composers Julio De Caro (Argentina) and Jacob Do Bandolim (Brazil), to songwriter Evelyn Danzig and Dutch avant-gardist Misha Mengelberg. Thumbscrew covers considerable ground in bringing their unique arrangements and ensemble sensibility to this transfixing set of other composers’ music. On the selection of covers, Fujiwara says, “Each of us brought in a number of covers--more than double what we ended up releasing--that we were curious for Thumbscrew to try. We played through each composition many times, trying different arrangements, and slowly started to focus in on which ones felt right for the group.” Formanek states that “for me it was mostly a matter of which tunes I thought would have strong enough bones to sustain a Thumbscrew interpretation. It was also a matter of imagining how certain pieces would work with Mary, Tomas, and my approaches that wouldn’t sound like just another version.”
On the contrast between the two records, Halvorson says, “The difference is that with the covers we’re aware of trying to honor the composer’s vision, and in many cases, classic versions of the song which serve as inspirations.”
CD $15

* THUMBSCREW are currently on tour so don’t miss if they are playing near where you live. Check out their schedule at:
Local listeners, Thumbscrew will be playing at the Village Vanguard July 17th - 22nd!

JEMEEL MOONDOC QUARTET With MATTHEW SHIPP / HILLIARD GREENE / NEWMAN TAYLOR BAKER - The Astral Revelations (Rogue Art 081; France) Jemeel Moondoc and his bandmates are masters of the terrifying art of communicating how they feel, an art which, of course, takes both great intelligence and great discipline… A fire burns in Jemeel Moondoc’s music and once it was ignited it keeps spreading; it’s the flame you can also feel in the playing of Matthew Shipp, Hilliard Greene, and Newman Taylor Baker. This quartet’s music is never easy, but it’s always truthful."- Ed Hazel
CD $16

LOUIS MOHOLO-MOHOLO’S FIVE BLOAKS With JASON YARDE / SHABAKA HUTCHINGS / ALEXANDER HAWKINS / JOHN EDWARDS - Uplift the People (Ogun 047; UK) Featuring Jason Yarde & Shabaka Hutchings on saxes, Alexander Hawkins on piano, John Edwards on contrabass and Louis Moholo-Moholo on drums. Considering that Louis Moholo is the last surviving member of legendary Blue Notes, a South African jazz unit who burst onto the British Scene in April of 1965 (at Ronnie Scott’s), he continues to bear the weight of their legacy by leading great bands more than a half century later. This disc was recorded live at Cafe Oto in London in April of 2017, 52 years after the Blue Notes debut in the same city. One way to keep this legacy alive and fresh is by playing songs written by various Blue Note members: Chris MacGregor, Dudu Pukwana, Harry Miller and Mr. Moholo-Moholo himself as well as by other South African composers. Mr. Moholo-Moholo organized this band a few years ago when they were known as ‘Four Blokes’, a quartet with Jason Yarde (from the Jazz Warriors) on alto & soprano saxes, Alexander Hawkins (Convergence Quartet & Decoy) on piano,and veteran bassist John Edwards (on more than 100 recordings) plus the addition of saxist Shabaka Hutchings, one of the most talked about musicians in the UK, his won band is called Shabaka & the Ancestors.
Commencing with “Dikeledi Tsa Phela”, written by South African pianist & composer Pule Pheto, there is some invigorating, powerful, spiritual jazz erupting here. Both saxists are spinning their lines tightly around one another while the rhythm team creates a cosmic cushion of support underneath. While listening to this, I am overwhelmed with emotions, due to the wealth of bad news I read on-line. The incredible interplay between both saxes is what makes this even more extraordinary. Moholo’s own “Those Little Birds (Ezontakana)” is a poignant, bluesy ballad which most sad and soulful. One of the things that makes this quintet so special is the way Mr. Moholo keeps several currents spinning at the same time: while one sax plays (the theme) with the rhythm team, the other sax plays around that theme, creating several inter-connected orbits. All of the 11 songs on this disc are continuous, hence the flow is most organic. Pianist Alexander Hawkins, who has been worked with Moholo for a while now (in a duo & quartet) is in truly fine form here, consistently playing lines of notes, creating or cresting on the waves sailing through this mighty unit. One of the highlights here is when the quintet all chant the melody of “Zanele” together, rather like a gospel chorus. Spiritually speaking, this is without a doubt the disc of the week or perhaps month! - Bruce Lee Gallanter, DMG
CD $16

GORDON GRDINA QUARTET With OSCAR NOREIGA / RUSS LOSSING / SATOSHI TAKEISHI - Inroads (Songlines 1624; Canada) Featuring Gordon Grdina on guitar & oud, Oscar Noreiga on alto sax, clarinet & bass clarinet, Russ Lossing onn piano and Satoshi Takeishi on drums. This is the second quartet disc from Vancouver’s Gordon Grdina announced in the last couple of weeks. This quartet played here at the Greenwich House last Saturday 6/16/18) and covered much more ground than anyone might expect. “Giggles” begins with hushed, delicate solo piano, a rather solemn intro. “Not Sure” erupts with a tight, difficult guitar & sax line played tightly together. This piece is pretty complex, the quartet navigating the difficult charts together until finally slow down midway for a spacious section. This piece keeps building until the guitar and alto sax explode together in the last section! The final section ends with an unexpected dark, Crimsonesque conclusion. “P.B.S.” shows Mr. Grdina’s prowess as a composer, the piece sounds like a third stream chamber work, with intricate intersecting lines and alternating duos finishing each other’s lines. What is interesting is that Mr. Grdina keeps changing the sound of guitar, blending prog and metal sustained tones with fusion-like difficult patterns, all fitting seamlessly together. “Fragments” sounds fragmented yet it seems to balanced between freer skeletal sections and with numerous written bits scattered throughout tat emerge from continuing currents. Mr. Grdina always gives the members of his bands many chances to stretch out: several intense duos erupt in unexpected sections, a tight-knit guitar & bass clarinet explosion on “Casper”, followed by some intricate hairpin turns. This disc is nearly an hour long and filled many wonderful surprises. It will take some time to further explore all of the many wonders, but ti well worth the journey. This quartet is is on a Canadian tour as I write this on June 20th, 2018. - Bruce Lee Gallanter, DMG
CD $15

GORDON GRDINA - China Cloud (Self-produced; Canada) Featuring Gordon Grdina on guitar, oud, bowed guitar and candelabra. I got to hand it to Vancouver plectrumist, Gordon Grdina, who is continually in motion leads several projects simultaneously, each one different. Last Saturday (6/16/18) I caught his NY Quartet at the Greenwich House and was knocked out. Last week I reviewed another quartet disc called ‘Ejdeha’ with a different NY-based unit, also great. At the end of the set last Saturday, Mr. Grdina left me with a limited edition self-produced solo CD. Grdina has around a dozen discs out but this is his first solo recording, as far as I can figure. “Cages of Our Own Design” has Mr. Grdina playing an acoustic guitar and it is warmly recorded. It sounds as if he is about the break into the melody of Mingus’ “Good-bye Pork Pie Hat” at any moment, his playing going from an exquisite sense of calm to a flurry of notes. “Compacted Dreams” is a solo for the oud, slow and haunting when it begins and building throughout with some odd background noise buzzing. “Wax Works” is for electric guitar and it is dark and probing with selective reverb used to add an eerie, ethereal vibe, the strings resonating like ancient ghosts at a gathering of spirits. Each piece of this disc creates a different mood or vibe, telling a story or tale. Grdina plays oud on “The Waiting” which sounds like raga going from contemplative and increasing in tempo and intensity as it unfolds. Grdina’s playing here is astonishing, showing him to be a force to be reckoned with on this difficult to play instrument, more often found in the Middle East or Northern Africa. This disc is a tour-de-force for one of the best pickers to emerge from the rich Vancouver creative music scene which to evolve in leaps and bounds. - Bruce Lee Gallanter, DMG
CD $15

CHRISTIAN WOLFF // ROBYN SCHULKOWSKY / SWR SINFONIE ORCHESTRA - 2 Orchestra Pieces (New World Records 80796; USA) “This recording is the first ever devoted to the orchestral music of Christian Wolff (b. 1934) and thus documents a little-known aspect of his wide-ranging work. John, David (1998) introduces in its second part a prominent role for solo percussionist, playing a wide range of pitched and non-pitched instruments, including marimba, glockenspiel, a variety of drums, wood and metal instruments and other sources, the exact choice left to the performer. Rhapsody (2009), in contrast, uses instruments of the traditional Western orchestra without percussion, divided into three separate ensembles and reordered into unusual combinations and relationships, both within and between the groups.
In his essay On Charles Ives (1990) Wolff remarks that in the mid-1970s he had a sudden sense of his own work as “an odd sort of mix of Ives and Satie.” He refers to Ives’s “readiness to draw upon whatever sources are useful”; the tendency to include altered versions of popular music and hymn tunes is a feature they have in common. The unlikely conjunction of Ives and Satie may provide a clue to such disparities as are evident in these orchestral pieces: Sections reminiscent of the density and complexity of Ives, of the simplicity and directness of Satie, and of the transparency of Webern, are juxtaposed without any need to mediate or explain how they are connected. The music is continually surprising, exhilarating, and challenging; it resists easy categorisation. Sometimes engagingly direct and transparent, at other times bewilderingly complex and profuse, it invites listeners to be alert to new kinds of musical experience, to suspend judgement based on more familiar models. There is a sense of immediacy that deliberately avoids any suggestion of a general plan or underlying theoretical principle; the controlling idea of a “grand narrative” such as is associated with composers of the European avant-garde is explicitly rejected in favor of a variety of ad hoc procedures. “
CD $15 (In stock next week)

MICHAEL LEONHART ORCHESTRA With NELS CLINE / DONNY McCASLIN / SAM SIGURDSKY / MATT BAUDER / et al - The Painted Lady Suite (Sunnyside 1519; USA) "'The Painted Lady Suite', the debut album by the Michael Leonhart Orchestra (MLO) is inspired by the butterfly of the same name. While Leonhart was initially attracted to its flamboyant coloration and wing ornamentation, it was the butterfly’s incredible migration, which spans over six generations and 9,000 miles — twice that of the Monarch butterfly, that inspired the trumpeter/composer/bandleader to write his “Painted Lady Suite.”
When Nels Cline introduced me to bass trumpeter, Michael Leonhart, at a DMG anniversary gig I organized a couple of years ago, Nels was surprised that I didn’t know about Mr. Leonhard previously. Mr. Leonhart was in the process of writing the arrangements for Mr. Cline’s sprawling ‘Lovers’ effort (a 2 CD set on Blue Note), as well as conducting the 21-piece ensemble for the recording. Mr. Leonhart wanted to continue to work with a large ensemble and that is how the Michael Leonhart Orchestra was born. This orchestra is even larger than the one for Mr. Cline, employing some 32 musicians (10 winds, 9 brass, a small choir, etc.). “The Painted Lady Suite” is in seven movements and represents two migrations: North America into Canada and Europe into Northern Africa. An immensely ambitious task on several levels. The Painted Ladies of the title refers to a type of butterfly that has migrated over a distance of 9,000 miles.
As someone who loves and seeks out large ensembles, I was most impressed by the amount of work that Mr. Leonhart has obviously put into this most ambitious effort. Each piece here features a different soloist or more, each solo story-like in this long journey across several continents. One of New York’s finest saxists, Donny McCaslin plays the first solo on the opener: “Transformation in the Deserts of Mexico”, fitting the desert like vibe perfectly. What makes this disc even more amazing is the arranging/composing by Mr. Leonhart. “The Silent Swarm Over El Paso” sounds like a Morricone soundtrack, the great throbbing groove most hypnotic, the occasional chorus sly and selectively added as tasty spice to a delicious stew. On “The Experimental Forest…”, there is a most haunting, drone floating through the entire piece. There is a layer of pizzicato strings plucked throughout “Countdown to Saskatchewan” which creates a sublime, dreamy effect. Mr. Leonhart’s does a wonderful job of creating suspense-filled land or soundscapes for his soloists: simmering brass, swaying reeds, even the occasional funky grooves for the rhythm teams to brighten the vibe, all sound swell. What I find interesting is that Leonhart finds way to craft modest melodies at the center of what becomes more complicated as far as the arrangements go. No easy feat, I assure you. Mr. Leonhart mentions in the liner notes that he hopes that Frank Zappa would be proud of his piece, “Music Your Grandparents Would Like”. There is something both nostalgic, humorous and crafty about this piece that does recall that Zappa-esque pastiche. Even Nels Cline’s guitar solo here is even weirder than usual. I can’t quite compare this disc to anyone else currently leading a large ensemble so we will have to place it a world of its own. - Bruce Lee Gallanter, DMG
CD $15 (In stock next week)

ALFRED 23 HARTH / NICOLA L. HEIN - When the Future was Now (Kendra Steiner Editions #400; Texas/USA) Featuring Alfred 23 Harth on clarinets and Nicola L. Hein on guitar. This was recorded live at the Pit Inn in Japan in July of 2017. Since moving to Korea in 2002, we only hear from German saxist/composer Alfred 23 Harth on rare occasion. Since his move I’ve noticed just a handful of recordings with Otomo Yoshida, band called 7K Oaks and was a member of the Henry Cow tribute concert for Lindsay Cooper in 2014. The last recording we got in was a collaboration with Elliott Sharp, which was on the sea label as this disc. German guitarist, Nicola L. Hein, has been doing a residency at Columbia University for the past few months. During that times he has played several duos here at DMG with: Briggan Krauss, Chris Pitsiokos and Robert Dick. Each one has been completely different since Mr. Hein changes his playing to accommodate each musician. Mr. Hein has also left us with several duo and trio CD’s with differing personnel over the past few months, with two newer ones this week. The first piece, “About Men and Poses” erupts quickly with intense spiraling clarinet and restrained yet furiously paced guitar strumming. Things slow down for a more cerebral piece called, “Life is a Tape”, Nicola keeps a drone humming in the background while the clarinet keeps the paces it goes from slow and somber to some more agitated swirling in the second half. Of all of the great clarinetists I’ve heard, Mr. Harth seems to be the furthest out and free of normal jazz licks. He does lay back and even deal with more solemn vibrations at times. Both of these musicians are well-matched and often shadow each other in textures and sounds. Aside from some quick strumming. Mr. Hein is a master of manipulating his guitar sounds, rubbing strings with assorted objects as well as using devices to expand and contract the sustain. Oddly enough, a piece called, “This is Not Here or There…”, actually sounds like a soft ballad, short and sweet. “War is Over If You Want It” was coined by John Lennon and plastered on billboards in Times Square and a dozen other cities. Was this what got Lennon assassinated??? This is also the name of the next to last song here, which begins quietly and erupts into frenzied fragments in the middle. Another strong duo improv from the ubiquitous Nicola L. Hein. - Bruce Lee Gallanter, DMG
CD $15

NICOLA L. HEIN & PAUL LYTTON - Nahezu Nicht (Creative Sources 326; Portugal) Featuring Nicola L. Hein on guitar & objects and Paul Lytton on table drums & electronics. German guitarist, Nicola L. Hein, is currently in residence at Columbia University, simultaneously making his way Downtown to collaborate with an array of NY’s finest. He has played here at DMG on half dozen occasions with a diverse cast: Mia Zabelks, Robert Dick, Chris Pitsiokos and Briggan Krauss last Sunday (6/17/18). He has also left us with a number of disc with assorted European musicians. For this session, Nico is playing with British percussionist & handmade electronics wiz Paul Lytton (LJCO, Evan Parker, Ken Vandermark & Nate Wooley). I’ve long admired Mr. Lytton ever since seeing him at the 100 Club in London in December of 1975, playing a duo with Evan Parker and whipping his drum kit with chains & pieces of metal. Lytton still has a unique approach/style, coaxing strange, insect-like fragments from his percussion and electronics.
What this reminds me of the most is the first Music Improvisation Company record on ECM with Derek Bailey, Evan Parker, Jamie Muir & Hugh Davies. This early version British free improv is often referred to as “insect music”. This current duo take their time to explore textures, manipulate sounds carefully and amplify microscopic sounds. Since Mr. Lytton utilizes a variety of odd objects and amplified surfaces, it is hard to tell who is doing what at times. Things unfold slowly here, so get a bit of sparse improv which makes each sound focused, noticed. It sounds as if Mr. Hein is makes some of his sounds (drones) in the distance. Although beginning slowly and quietly, it eventually evolves into a fascinating stream of drifting electronic & acoustic spirits, the density and flow pulsating like heart in a body. “I Sing the Body Electric” (early Weather Report album title) is what I kept thinking about. The second half goes through a section of space travel, which recalls early Pink Floyd. This disc sounds like nothing else that Mr. Hein has done previously. He consistently changes his approach, tactics or sonic explorations depending on the language of his collaborator(s). - Bruce Lee Gallanter, DMG
CD $15

NORBERT RODENKIRCHEN / ROBBIE LEE / JAMES INGENFRITZ - Opalescence (Telegraph Harp 012; USA) Featuring Norbert Rodenkirchen on medieval & baroque flutes, Beaudin traverse & piccolo, Rbiie Lee on contrabass recorder, chalumeanu, gemshorn (type of ocarina), sopranino sax and Quantz flute & glissando 1/4 tone flutes and James Ilgenfritz on double bass. It was James Ilgenfritz’ residency at The Stone last week (6/12-6/15) and he played with different personnel each night. Mr. Ilgenfritz often straddles the jazz, classical and avant worlds. This trio features two virtuosos who specialize in ancient (baroque) instruments like baroque flutes, a contrabass recorder and a Beaudin traverso (flute). Since Baroque music was popular more than 300 years ago (1600-1750), it is pretty to hear modern or improvised music played on these instruments. You might recall the name Norbert Rodenkirchen, since we once listed/reviewed a duo CD he did with Albert Maurer. Robbie Lee is an old friend of DMG who runs this, the Telegraph Harp label, has records out as a singer.songwriter and has collaborated with Mary Halvorson & Che Chen.
The music on this disc is partially written or based on older themes, but mainly it is improvised. It was recorded live at Issue Project Room in 2015 and First Unitarian Church in 2017. The sound is super, warm clean and perfectly balanced. Considering that there are mostly just flutes and contrabass, this disc is much more diverse than one would imagine. The sound of Mr. Ilgenfritz’s bass works well with the flutes, their textures often similar. Robbie Lee also plays sopranino sax, which gives the trio some of that Roscoe Mitchell-like bent note spice, keeping the vibe somewhat off-balance. Mr. Ilgenfritz is featured on bowed bass for “Mille Regretz” and sounds great, as he bows, the notes go back & forth with two flutes hovering under and over his moving waves. There a few instruments used which have their own odd, distinctive sound like the contrabass recorder which is deeper and more wooden in tone. When we listen Baroque music, we usually think of more positive and playful melodies. This is certainly not the case here where we hear a trio of ghost/spirits who are in between the ancient and modern worlds, creating occasionally dark but no less fascinating sounds. - Bruce Lee Gallanter, DMG
CD $12 / LP $15

JACK O’ THE CLOCK With DAMON WAITKUS / JASON HOOPES / JORDAN GLENN DARREN JOHNSTON / CORY WRIGHT / et al - Repetitions of the Old City II (JOTC 06; USA) "Jack of the Clock just seem to go from strength to strength, one of the most original and compelling groups I know playing some amazing compositions that seem to tread effortlessly between Van Dyke Parks and folk music from an as yet unidentified culture, while making all the things you've always thought of as difficult sound as effortless and natural as breathing.” - Fred Frith
"[The] compositions and the ensemble playing is beautiful, confident and perhaps even a bit heavier than what we’re used to [with the band's earlier work]. Fantastic balance of songs and moods, and no shortage of raw soul and emotional power. How can I describe these guys? Maybe what would happen if you threw ‘Heavy Horses’ era Tull and Roy Harper into a blender with a dash of Henry Cow and a pinch of ‘English Settlement’ era XTC. In other words - You don’t want to miss this!" - Ian Beabout, Deep Cuts
This is the sixth disc from the amazing, Bay Area phenomenon, Jack O’ the Clock! I’ve only listened to this once so far as it just came in on my birthday (6/19) and haven’t had time to further explore it yet. Can’t wait to play this several times this week as I am a big fan. Except for Thinking Plague, there are no other US bands currently existing who are influenced by the Henry Cow/Art Bears/Canterbury axis, that I know of. Grab this now! - BLG/DMG
CD $12

ESPEN ERIKSEN TRIO With ANDY SHEPPARD - Perfectly Unhappy (Rune Grammofon 2199; NORWAY) Espen Eriksen Trio was formed in 2007 and released their first album in 2010. Their music relies on highly melodic and lyrical instrumentals and a "less is more" approach and is often credited for its unique voice within today's jazz scene by the international press. The aptly named Perfectly Unhappy features eight new songs by the pianist, all written with this collaboration in mind. These are enchanting and lyrical tunes, often melancholic and uplifting at the same time and will surely speak to followers of both the trio and Sheppard and attract many new ones. With a career spanning over four decades, working together with the likes of George Russell and Gil Evans, Andy Sheppard is truly one of Europe's leading saxophonists. Lately, his main focus has been with his own quartet and the trio with living legends Carla Bley and Steve Swallow, both acts recording for ECM.
   Andy Sheppard on the recording: "I knew from the first time I heard the trio play that I would fit right in. I loved the melodic sense and vibe and was thrilled when I was invited to guest with the trio in London in 2016. Since then we've had a chance to grow the music with tours in Korea and Norway, before Espen wrote a set of fantastic tunes for the recording session in Oslo. They played themselves and we had a ball recording, everything clicked and in two days we had made a very special album."
CD $17

MOTORPSYCHO - Roadwork Vol. 3: The Four Norsemen of the Apocalypse (Rune Gramomfon 320; Norway) Previously only available as part of the Haircuts DVD (2008). Remastered for vinyl by Helge Sten. Recorded at the Paradiso Club in Amsterdam in 2002. The club streamed its own recording of the show at the time but presented here is Motorpsycho's own recordings, meaning properly mixed from 24 audio tracks. The centerpieces of the concert were heavily extended versions of old warhorses such as "Hogwash" and "STG", showing a band more concerned with exploring the furthest reaches of their improvisational abilities rather than trying to recreate the detailed arrangements for string-quartet and pop-group that had dominated their three previous albums. It's worth mentioning that Baard Slagsvold is on keyboards, his fearless approach to improvisation taking the music well into uncharted territories. Double-LP; Comes on 180 gram vinyl; Includes CD.
2 LP CD $35

The SHIIN label hails from France and was founded by a well respected architect. Hence, the covers of each of their CD’s feature award winning graphics and design. They currently have little or no distribution in the US and we just have a handful of each one. It took three months get in this batch, but we did as we promised. We hope to get more once these are sold out. Each release is a work of art!

The Return of the Incredible SHIIIN label:

ELAINE RADIGUE // CHARLES CURTIS / CAROL ROBINSON / BRUNO MARTINEZ - Naldjorlak I, II. III (Shiiin 09; France) "Student of Pierre Schaeffer, assistant to Pierre Henry, legendary composer Eliane Radigue (1932) has long been known for lengthy drone compositions like Adnos I-III and Kyema, Intermediate States using analog synthesizers. Recently she has been writing for acoustic instruments including this piece for solo cello, Naldjorlak (2005). Especially composed for cellist Charles Curtis (La Monte Young, Alvin Lucier) the microtonal tuning is based on the natural resonant frequency of the instrument. Usually the wolf tone of a string instrument is to be avoided or under emphasized; here it's central to the work. Like much of her previous works, Naldjorlak is a humming breathing meditation of resonant sustained pitches, sometimes rumbling, sometimes drifting in the distance. The Tibetan title refers to the motion of all life toward unity." - David Beardsley
“"It is one of the prerogatives of the minimalist music based on long-held sounds [...] that to be able to plunge the listener into a second state, a sort of waking dream which paradoxically increases the sharpness of his listening and allows him to perceive the most minute details and the most subtle nuances of what is given him to hear. "
These words of the friend Daniel Caux, in the text accompanying the recording - also published by Shiiin - of the resonante island, ultimate electronic piece of Eliane Radigue (2000, crowned six years later at the Festival Ars Electronica de Linz), could well be valid for the series of instrumental pieces in which radiant Eliane has since been exclusively devoted. and in particular to the Naldjorlak trilogy, composed from 2004 to 2009 for a cellist (Charles Curtis) and two clarinetists (Carol Robinson, Bruno Martinez, playing in this case the basset horns of identical model), and here it is the first full recording.” - David Sanson
3 CD Set $50

ELAINE RADIGUE - L'ile Re-Sonante (Shiiin 01; France) "The success of a piece such as 'L'Ile Re-sonante' lies in the fact that, more than the happy outcome of a synthesis of the composer's earlier work, it now seems to be the result of a natural osmosis. It is a perfectly autonomous work which, in accordance with her wishes, ends up escaping from its author because of the infinitely varied interpretations that can be placed on it every time it is heard." -Daniel Caux "For myself, this sounds like a drone that glows, resonates rather slowly and adds subtle layers of electronic waves as it evolves. Quite beautiful and delightfully haunting. - BLG "Eliane Radigue is a French composer associated with Pierre Schaeffer and Pierre Henry. While her music is minimal, a better description would be music that slowly evolves. Slowly evolves-ism, evolutionism? Deep drones from her trusty ARP analog synthesizer rise up and blanket the room, phantom tones appear and exit. Early in the composition a choir and/or maybe an organ loops in one channel only to fade away a while later and we are again drifting on a sea of drones. After a while sweeping wave sounds show up like slow wind on Saturn. Fans of Eliane's previous work will not be disappointed, other's should get acquainted ASAP. Also be sure to check out the interview with her in the Wire #260 and Charles Curtis performing Naldjorlak at the Tenri Cultural Institute on December 5th at 9 pm." - Art Gumm
CD $25

ELIANE RADIGUE - Occam Ocean (Shiiin EER 01; France) Mindblowing edition, comes with a 40 page booklet! What can be said about Éliane Radigue? International treasure? Sonic saint? The most important composer living today? Even these grand designations fall short of doing the composer the justice she deserves. Born in 1932, beginning her life in music in Paris during the late 1950 and early 60’s, working under Pierre Schaeffer and Pierre Henry, for more than half a century she has carved a singular path in sound, sculpting one of the most astonishing bodies of work that the world has ever seen - transcending the efforts of her teachers and nearly anyone else. We are thrilled to announce a brand new double CD set - Occam Ocean Vol. 1, the first recorded installment of the sprawling, remarkable, and evolutionary work which has occupied much of her focus in recent years. Issued within the French imprint Shiin’s already remarkable catalog, it is nothing short of a historic event.
“It all began with an image seen so long ago at the Natural History Museum in Los Angeles, the image of a long chart showing known wavelengths. It was clear that in addition to the wavelength from the earth to the sun, there were long waves stretching between other planets, solar systems and galaxies. Closer to us on this earth, there is the ocean that brings us closer to a more accessible contemplation. Beyond its own cycle, it also gathers the rivers, waterfalls, springs, fountains that nourish it. For that reason there are, in the Occam pieces, all the themes associated with water, necessarily. It is the element that moves through them, the image of life, life in its fluidness, like the flow of blood. What I ask of the musicians is highly demanding, the virtuosity of absolute control of the instrument, an extreme, subtle and delicate kind of virtuosity. Regardless of what is being used, the essential goal is to produce and bring out the partials, the overtones, the harmonics and sub harmonics, these vibrations in the air, not only those of the string or the breath, but the intangible contents of sound. An instrument vibrating beyond the fundamental(s) generates an extraordinary richness that turns into fascination. This calls for extreme simplicity, i.e. sounds maintained between piano and mezzo forte dynamic levels, beyond which the fundamental again becomes predominant. Hence the famous law from Occam’s Razor, never overdo anything, concentrate instead on breath control, or a gentle stroke, that caress of a key or a string that is sufficient to develop and enrich this infinite universe.” - Eliane Radigue
2 CD Set $30

CHARLEMAGNE PALESTINE - The Golden Mean (Shiiin 02; France) ‘The Golden Mean' is performed on two Bösendorfer imperial pianos. Chapelle de la Sorbonne, Paris, November 2, 1979, festival d'automne. Recorded by Radio France for a broadcast by Daniel Caux for France Culture (Atelier de Création Radiophonique). Very luxurious object (which explains The price !) : each CD is hand-made, one by one, and each box is fully covered by The velvet material! "
“‘Part 1’ begins on middle C each piano every so slowly sounding this tone first one piano then the other so slowly then gradually gradually a little stronger a little faster but ever so gradually all the overtones ringing and singing amazing how just two repeated middle c's can have so many ever changing rich little cascading voices behind them then the middle c# is also added little by little creating the interval of a minor second between with beating and beating and overtones beating and beating then the middle d is introduced smoother less sharp and dissonant the major second rich and reinforcing one with the other and their overtones less strident than before a collaborative resonant interval a sing-song then the d# is introduced creating a minor third some say melancholy is the ringing of the minor third soon the middle e the major third arrives brighter more triumphant and jolts and battles with our minor third each pulls its sonic punches minor major minor major and finally major holds on and minor retreats and soon our old major second comes to greet major third and they dance the majors dance such a vibrant and victorious sound but soon the middle f arrives and gradually the majors give up their dancing to let the middle f and the interval of the perfect fourth clang in it's perfection and resolution but this perfection will not last and the devil arrives the f# brings the dreaded tritone the devil's interval is here and all balance and harmony are in confusion it clangs its famous dies irae and ends the first section.” - Charlemagne Palestine
CD  [Limited Edition CD in handmade covers] $40

LUC FERRARI & BRUNHILD - Contes Sentimentaux (Shiiin 8; France) These pieces have been made between 1989 and 1994 for the German radio. Brunhild and Luc Ferrari are speaking around the pieces from Luc like 'Petite symphonie intuitive pour un paysage de printemps', 'Ce qu'à vu le Cers', 'Collection de petites pièces' (36 enfilades pour piano et magnétophone), 'Music promenade' among others, describing small details and anecdotes. They speak in French and German and consider the recorder as a scratchpad. "The success of a piece such as "L'Ile re-sonante" lies in the fact that, more than he happy outcome of a synthesis of the composer's earlier work, it now seems to be the result of a natural osmosis. It is a perfectly autonomous work which, in accordance with her wishes, ends up be escaping from its author because of the infinitely varied interpretations that can be placed on it every time is heard." (Daniel Caux)
“In projecting the sentimental tales, I realized (but probably I already knew) that often a situation, a fact of life, a trip, an innocuous gesture had triggered a musical composition. and now it is these adventures that I would like to relate and, I can not explain why suddenly, these achievements seem important to me in my work. " - Luc Ferrari
4 CD Set $50

IVAN WYSCHNEGRADSKY / ALAIN BANCQUART / ALAIN MOENE - Pianos Quart de Ton (Shiiin 10; France) "Ivan Wyschnegradsky (1893-1979) is undoubtedly an essential figure in the music of the twentieth century. Pioneer of music in micro-intervals, heir to the thought of Scriabin, he left many works in third, fourth, fifth, sixth and even twelfth of tone. His research, theoretical, organologiques and compositional, paved the way for other composers who have in turn devoted their work to music in micro-intervals, which is probably, as Alain Bailey says, the music of the future. The CD includes, in the first record, three works representative of three distinct periods of the production of Ivan Wyschnegradsky: Meditation on two themes of the day of existence for cello and piano of 1918, so spoke Zarathustra for 4 pianos awarded at a distance of 1/4 tone, work admired since its creation in 1937 by Olivier Messiaen, and the 4th symphonic fragment of 1956, for 4 pianos and Ondes Martenot, written in full control of his microtonal language. These are joined by two recent works commissioned by Alain Moëne and Alain Bailey, composers who have always devoted themselves to writing in micro-intervals. By their total diversity and originality, all these works prove how much these musics can touch us and convince us in their obviousness."
CD $25

HACO - Qoosui (Someone Good 016; Australia) David Toop on Haco's Qoosui: "Weightless, not so much a voice from heaven but a voice that swirls in liquidity, water spirit, a world and a time in which humans, plants, animals and weather could communicate in multiple tongues through the barriers that separate living entities, the world of Apitchatpong Weerasthakul's Uncle Boonmee Who Can Recall His Past Lives (2010), in which a catfish with erotic powers speaks to a princess, a world in which spirits could be heard whispering in forest glades, in spider's webs and waterfalls, from the hidden places of bright tiled rooms filled with emptiness and the yellow fizzing of neon strips. Henry J. Farny painted 'The Song of the Talking Wire' in 1904: a Lakota Sioux hunter stops in the snow, pressing his ear to a telegraph pole to listen to the humming of its wires. For his model, Farny sketched a religious man named Long Day or Long Dog, who spoke about hearing spirit voices over the wires, an experience he then used to bolster his claims to being a spiritual leader. One hundred years later, Haco listened through contact microphones to the spirit voices inaudibly (to unaided human perception) emanating from CD-R drives, mobile phones, wireless routers and similar sources of electromagnetic waves, enacting the cyborgian reworking of nature and culture of Donna J. Haraway's A Cyborg Manifesto (1984). 'Cyborg imagery can suggest a way out of the maze of dualisms in which we have explained our bodies and our tools to ourselves,' Haraway wrote. 'This is a dream not of a common language, but of a powerful infidel heteroglossia.' The siren song is weightless, blissful, but also flightless -- always connected to the body whose aurality must be blocked to survive its seduction..."
“Haco has received recognition internationally as the founder, singer, lyricist, and composer of the legendary avant-pop group, After Dinner, one of the first Japanese indie bands to tour abroad and to receive the unanimous praise in the 1980s. Hailed as one of the first female proponents of onkyo, Haco has made field recording environmental sounds from daily life and used them as materials in her composing, programming, and mixing. "A founding member of the legendary band After Dinner, Haco is one of the most versatile vocalists in the Japanese indie scene." - John Zorn
CD $18

Two Recent Discs from ReR MegaCorps:

THE (EC) NUDES With CHRIS CUTLER / AMY DENIO / WADI GYSI - Vanishing Point (ReR RN1; UK) The (EC) Nudes were a trio that featured Wadi Gysi (Swiss) on guitar, Amy Denio (from the Tonedogs & the Tiptons) on bass, alto sax, accordion & vocals and Chris Cutler (Henry Cow & Art Bears) on drums, radio & electrics. Their one & only disc was released in 1994. The lyrics were written by (mainly) Chris Cutler or Amy Denio. This disc was mixed by the great Bob Drake who also added bits of violin & bass guitar. Both Ms. Denio and Mr. Cutler have had long careers in different types of progressive musics while Mr. Gysi has only appeared on a few records, including a duo with Hans Reichel. Right from the “Opening”, this music has an infectious, rocking quality which should a smile on your sour pus. Ms. Denio & Mr. Cutler make a great rhythm team while Mr. Gysi is a crafty electric guitarist. Besides being a great electric bassist, Ms. Denio is also a charming singer, as well as adding intricate sax and/or accordion to these consistently enchanting songs. Although Ms. Denio hails from Seattle, her singing and playing are influenced by a wealth of diverse interests. She has works with different prog bands, Eastern European pop bands (The Danubians) and even a Mexican death metal project. You can hear some of those influences bubbling within this superb disc. “It Might Be Better” sounds like punk-rock with some Zorn-like screaming sax on top. Chris Cutler, who also wrote the lyric for the Art Bears, is a gifted and ever-enigmatic poet/lyricist. If you take the time you will find several layers of meaning in his words. Somewhere in the land of prog/rock, you will find a number of great bands who rarely got the recognition they obviously deserved. The (EC) Nudes should be placed high on that list. - Bruce Lee Gallanter, DMG
CD $14

TODD DOCKSTADER - Omniphony (ReR Todd1; UK) The completed work is a bizarre blend of Dockstader's fundamentally intuitive approach to sound, and Reichert's more conservatoire-based feeling for melody and orchestration. It often sounds like an unlikely collaboration between Stravinsky and Frank Zappa in avant garde mode, or Stockhausen and his alter-egos, Stock, Hausen and Walkman. Its not simply an important historical document, but an intriguing and entirely convincing listen; a truly extraordinary combination of electronic and orchestral textures.
CD $16

ORNETTE COLEMAN TRIO With DAVIS IZENZON / CHARLES MOFFETT - Tivoli Koncertsalen Copenhagen 1965 (Hi Hat 3099; UK) Ornette Coleman Trio, live from Tivoli Koncertsalen, Copenhagen, Denmark on November 30th, 1965. Ornette Coleman formed a new trio with bassist David Izenzon and drummer Charles Moffett in October 1961. As the decade progressed, they expanded their musical palette to include trumpet and violin -- not instruments Coleman was experienced on -- and divided audiences and critics with their fiercely uncompromising music. Originally broadcast on Danmarks Radio, this remarkable set predates the recording of his classic At The "Golden Circle" Stockholm (1965) album by only a few days. The entire broadcast is presented here, digitally remastered, with background notes and images.
CP $17

PAUL BLEY TRIO With MARK LEVINSON / BARRY ALTSCHUL - Festival International De Jazz Lungano 31 August 1966 (Hi Hat 3111; UK) Paul Bley Trio, live at the International Jazz Festival, Lugano, Switzerland August 31st, 1966. The young Paul Bley earned his spurs playing with legends including Charles Mingus, Art Blakey, Chet Baker, Jimmy Giuffre, Ornette Coleman, and Bill Evans. As the 1960s progressed, he increasingly embraced the avant-garde, with arguably his greatest successes coming in the piano trio format. Originally broadcast on the RSI Rete Due radio station in the summer of 1966, this superb set included material by Bley, his wife Carla, Annette Peacock, and Sonny Rollins. The entire broadcast, digitally remastered, is presented here with background notes and images. Personnel: Paul Bley - piano; Mark Levinson - bass; Barry Altschul - drums.
CD $17

JOHN HANDY with ALI AKBAR KHAN / L. SUBRAMANIAN / ZAKIR HUSSAIN - John Handy's Rainbow Band 1979 (Hi Hat HH 3102; UK) John Handy with his Rainbow Band, live at the San Francisco Great American Music Hall, July 27th, 1979. At the end of the 1970s, jazz saxophonist John Handy helmed an adventurous plunge into world fusion with his Rainbow Band. Featuring Indian music virtuosos Ali Akbar Khan on sarod, Zakir Hussain on percussion, and L. Subramanian on violin, it also included Brazilian guitarist Bola Sete. This San Francisco Great American Music Hall performance from July 27, 1979, was originally broadcast on National Public Radio's "Jazz Alive" program and features a 54-minute performance of a work also titled "Rainbow", composed by Khan specifically for this broadcast. The entire broadcast is presented here, digitally remastered, and includes background liners.
CD $17

DEWEY TERRY With HARVEY MANDEL / JIM HORN / et al - Chief (Prog Temple 8075; UK) Prog Temple present a reissue of Dewey Terry's Chief, originally released in 1972. As half of the legendary R&B duo Don & Dewey (alongside Don "Sugarcane" Harris), Dewey Terry was responsible for numerous classic songs, and toured alongside Jimi Hendrix in Little Richard's Band. After a period out of the spotlight, he resurfaced in 1972 with this lost classic, a fun and funky stew of blues, soul, and rock that was produced by Bill Szymczyk (shortly to find fame for his work with the James Gang) and features guest appearances from Harvey Mandel, Jim Horn, and others. It makes its long-overdue CD debut here, together with background notes and images.
CD $17

FRESH MAGGOTS - Hatched (Sunbeam 1002; UK) Sunbeam Records present a reissue of Fresh Maggots' Hatched, originally released in 1971. This legendary album combines gentle, pastoral songs with violent fuzz guitar to stunning effect. Though it sank without trace on its original release, it has since acquired a major reputation amongst acid folk fans. Presented here with rare photographs, detailed sleeve notes, and seven bonus tracks (including the duo's rare non-album single and a previously unheard 1971 radio session). This is the most comprehensive collection of their music ever assembled.
"The British folk-rock duo of Mick Burgoyne and Leigh Dolphin were just 19 years of age when their sole, self-titled album came out in 1971. Comprised entirely of original material, the LP has an admirable array of textures, adding some heavily distorted electric guitar and orchestration around an acoustic guitar base." - Richie Unterberger, All Music
"There are no weak links on this consistent album, which is thoroughly recommended." - The Tapestry Of Delights
CD $17

GORDON JACKSON With DAVE MASON / STEVE WINWOOD / CHRIS WOOD / JULIE DRISCOLL / RICK GRECH / CHRIS WOOD / JIM CAPALDI - Thinking Back (Sunbeam 1001; UK) Sunbeam Records present the first CD issue of Gordon Jackson's Thinking Back, originally released in 1969. Produced by Dave Mason, it's a melodic distillation of folk, pop and psychedelia which could almost be called a lost Traffic album, featuring as it does the talents of Steve Winwood, Jim Capaldi, Dave Mason, and Chris Wood. Also appearing are Jim King and Ric Grech (Family), Julie Driscoll, the Blossom Toes, Meic Stevens, Reg King, and many others. A true lost classic, it comes complete with bonus tracks, comprehensive liner notes, and rare photographs.
"The album varies from the meditative and Eastern-tinged to the heavier and more psychedelic, and what could easily have been a good-natured mess is in fact surprisingly taut and complex." - Record Collector
"A mixture of psychedelic rock, jazz, folk, soul and world music with a nice introspective groove and haunting minor-key melodies." - Richie Unterberger, All Music Guide
CD $17

DAVE AND ANSELL COLLINS - Double Barrel: Expanded Edition (Doctor Bird 016; UK) "In the Spring of 1971, the wildly exuberant 7" single, Double Barrel shot to the top of the British pop charts, resulting in Dave Barker and Ansel Collins becoming international celebrities almost overnight. The success of the disc was repeated throughout the world and was followed soon after by the best-selling LP of the same title. Within weeks of its issue, the duo's equally vigorous Monkey Spanner provided the pair with their second major global hit, although by the time the record hit the charts, Barker and Collins were back to working on their respective solo careers. While Barker, one of Jamaica's most accomplished vocalists, relocated to Britain, Collins remained on the island, where his talents as a keyboard player remained heavily in demand throughout the remainder of the decade and into the next. Featured on this expanded version of the best-selling Trojan LP from 1971, are the UK Number One title track, the duo's Top 10 follow-up, Monkey Spanner, and an array of sought after vocal and instrumental sides for the sessions with leading producer, Winston Riley."
CD $17

ALBERTO PINTON NOI SIAMO With TORBJORN ZETTERBERG / NIKLAS BARNO / KONRAD AGNAS - Opus Facere (Clean Feed 473; Portugal) Personnel: Alberto Pinton -baritone & alto sax, clarinet & bass clarinet, Niklas Barnö - trumpet, Torbjörn Zetterberg - bass and Konrad Agnas - drums. Alberto Pinton is an Italian musician living in Sweden and working with mostly Swedish musicians. Mr. Pinton has an earlier CD out with Torbjorn Zetterberg. Mr. Zetterberg is one of the most in demand Swedish musicians, having worked with Jonas Kulhammar, Daniel Levin and Susan Santos Silva. I didn’t recognize the other two players here although Niklas Barno is part of a band called the Jolly-Boat Pirates. Commencing with “Unquietly/Sabbia”, the quartet take off with Mr. Pinton burning on bari sax. The quartet have that early Ornette Coleman-like fluid flow with both Pinton on bari and Mr. Barno on trumpet both taking inspired, furious solos while the rhythm team backs them with immense craft and care. On the second half of this piece, the quartet calm down to a more restrained, solemn vibe. The bari sax and trumpet play somber, haunting harmonies while the skeletal rhythm team sway below. The band swing hard at times and it sounds effortlessly. If you dig the spirited sounds of bands like Angles (8, 9, 10 or 3), then most likely you will dig this quartet as well. A tasty concoction through and through! - Bruce Lee Gallanter, DMG
CD $15

CD Sale:

MADE TO BREAK [KEN VANDERMARK / CHRISTOF KURZMANN / DEVIN HOFF / TIM DAISY] - Provoke (Clean Feed 273; Portugal) The released of the CD Provoke is the result of a three day series of concerts, by a Ken Vandermark's new project, during the commemoration, in Lisbon, of the 10th anniversary of the label Clean Feed. This is it: Made to Break, a quartet shared with electronicist Christoff Kurzmann, electric bassist Devin Hoff and drummer Tim Daisy. 'New', here, means literally a different approach from the many others tried and accomplished by the Chicagoan saxophonist and clarinetist, even if there's connections with some aspects of the explorations signed by FME, Frame Quartet and Spaceways Inc There's one main principle followed, and this is named 'modular organization'. It consists in the tactical combination of distinct defined modules in always changing compositions, or 'comp-improvisations' to be exact, because the purpose is to apply an alternative writing for improvisers. "I'm trying to move further outside of 'jazz resources and aesthetics' and to utilize different sources of rhythmic/melodic ideas inspired from other genres of music I'm interested in (funk, rock, European free improvisation and the New York School of composition - Cage, Feldman, Wolff, Brown) in order to find new ways to organize compositional material", says Vandermark. Some modules are groovy oriented, others get more abstract and disjointed, and others still have an ambient feeling, interconnecting as if a puzzle is being formed. The criteria: "Modular organization allows me to reshape the structure of the music from its components at each performance, and in addition it allows the musicians to improvise sub-structures based on these components because all the members of the band can immediately hear how someone else is referring to the composed elements or is reinventing them. It's a fluid basis of cause and effect between composition and improvisation, but one that can invert this 'hierarchy' so that the spontaneous music creates a force that affects the pre-determined elements."
CD Sale $10

Restocks on Most of the Essential OGUN Catalogue on CD - All prices now reduced!

CD $16

LOL COXHILL With MICHAEL GARRICK / VERYAN WESTON / RICK WRIGHT / DAVE GREEN / et al - On Ogun: The Joy Of Paranoia/Diverse (Ogun 008; UK)
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2 CD Set $20

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EVAN PARKER/JOHN STEVENS - Corner To Corner/The Longest Night Vols 1 & 2 (Ogun 022/023; UK)
2 CD Set $20

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LP Section:

MIKOLAJ TRZASKA / DEVIN HOFF / MICHAEL ZERANG - Sleepless in Chicago (NoBusiness LP 70; Lithuania) Studio recordings 2011-2012; Mikolaj Trzaska - alto saxophone; Devin Hoff - double bass; Michael Zerang - drums. “With Poland proving such a welcoming venue for so many of Chicago's finest, it's no surprise to see a little quid pro quo from time to time. Reedman Mikolaj Trzaska, one of his country's most forward thinking players, has collaborated with various visiting Americans, most notably Joe McPhee and Ken Vandermark, but it is as a member of the latter's Resonance Ensemble that he may be best known. The two side long cuts on the LP Sleepless In Chicago each stem from a run of Resonance Ensemble concerts in the Windy City in March 2011 and August 2012, which also included space for smaller subsets of the whole unit.
Completing the trio alongside Trzaska are two stalwarts of the home town scene: Michael Zerang on drums and Devin Hoff on bass. Zerang constituted one of the dual powerhouses for Peter Brötzmann's Chicago Tentet since its inception in 1997, while Hoff brought an avant rock and jazz background to the Nels Cline Singers and currently features in Vandermark's Made To Break quartet. On his husky toned alto saxophone Trzaska mixes staccato phrases and melodies with expressive textures beyond notation to forge an emotionally charged voice. Together they create an egalitarian group music founded on unbridled interaction.” - John Sharpe, AAJ
LP Sale $16 (currently sold out & never to return. $10 off regular price)

ELIANE RADIGUE - Vice-Versa, Etc…(Alga Marghen 041; Italy) Alga Marghen very proudly presents a remastered version of Vice-Versa, Etc..., an LP originally included in the first 400 copies of Eliane Radigue's Feedback Works 2LP. Vice-Versa, Etc... was originally a small handmade box, signed and numbered and released on the occasion of a show at Lara Vincy's gallery in 1970. The box contained a reel of magnetic tape and the instructions for use. It indicates that all playback speeds are possible, forward or backward, as well as any combination of two channels, on several recorders, ad libitum. This LP presents two versions done by Emmanuel Hoelterbach following the indications of Eliane Radigue to the letter, respecting her composition methods. There is no doubt that Eliane Radigue's vocabulary is based on observing and entering into dialog with the fundamental behavior of sounds: pulsing, beating, sustained, very light, a subtle and delicate evolution. When she moved from feedback sounds to the ARP synthesizer, she naturally continued the same music -- a continuity where the original use of feedback sounds stands out for its cruder and more savage inner character. One could say that somehow it's the very texture of the sounds, which leads the form of her compositions. At the same time, this approach favors an intense sensuality in the listening.
LP $25

LUC FERRARI - Atelier De Liberation De La Musique (Alga Marghen 156; Italy) Alga Marghen present recordings from Luc Ferrari's Atelier De Libération De La Musique, a collective he created together with Martin Davorin Jagodic, Philippe Besombes, and Alain Petit in 1975 for a series of performances at the Galliera Museum in Paris. It was in those years that Luc Ferrari investigated open forms and created some of the most experimental and elusive works of his entire catalog. "Exercices D'improvisation", first recorded by Brunhild Ferrari with GOL, issued on PLANAM in 2010; but specially "Ou Donc Est-T-On?", a very complex piece forthcoming on Alga Marghen including both "Dance", issued on Alga Marghen on the occasion of the presentations at Centre Pompidou in 2009 and "Ephemere", issued on CD by Alga Marghen in 2010, as well as the "Labyrinthe De La Violence", an audio-visual permanent labyrinth for which Ferrari created four fantastic electronic music pieces forthcoming on Alga Marghen. After these experiences the composer decided to discontinue these open practices for a more controlled work in the studio. And within the "Labyrinthe De La Violence" installation Luc Ferrari conceived a series of electro-visual concerts to be performed by the newly created Atelier De Libération De La Musique. The collective included some of the most creative artists of the time: together with Luc Ferrari playing the electric organ you find on electric piano Martin Davoric Jagodic (whose masterpiece of electronic music titled Tempo Furioso was issued on Cramps in Italy that same year), on synthesizer Philippe Besombes (of Pole fame) and on sax, flute, and clarinet, Alain Petit (who was at the time collaborating with Besombes at the wonderful Besombes / Rizet double LP). These four artists met in February and March of 1975, rehearsing for a series of concerts to take place within the audio-visual labyrinth. It is the previously unheard recordings from these wild rehearsals which make up this incredible LP. The sound of Atelier De Libération De La Musique is a thrilling and overwhelming ride. Rattling, difficult polyrhythms play against droning, pulsing and simmering sonorities. These recordings are human and open, wild and incredibly ahead of their time. Obi strip; Edition of 500 (numbered).
LP $30

PAUL PANHUYSEN - Long String Installations (Edition Telemark 785-04; Germany) After two LPs in 2014 and 2017, Edition Telemark now turns to the group of works that is probably the most well-known within the vast oeuvre of Dutch sound and visual artist Paul Panhuysen (1934-2015): his long string installations. Using this term, he referred to all of his works involving strings and sounds. They were realized all around the world between 1982 and 2012 -- until 1991 mostly together with Johan Goedhart --, each installation made specifically for the site where it was displayed. Unlike other artists working with long strings around the same time, e.g. Ellen Fullman and Terry Fox, Panhuysen's strings were instruments or performative material only secondarily. Rather, his installations can be considered sculptural and sounding events in space, operating in between two lines of tradition, constructivism and situationism, that are evident also in many other parts of his oeuvre. The first recordings of Panhuysen's long string installations were published in the 1980s, most famously on a three-LP box set edited on Apollo Records in 1986. This new three-LP set includes solely unreleased recordings made between 1982 and 2012, with one recording added posthumously in 2017. It is presented in a triple gatefold sleeve with printed inner sleeves containing liner notes by Rolf Sachsse and Stephan Wunderlich as well as various high-resolution photos. Regular version comes in an edition of 250.
3 LP Set $75

JACQUES THOLLOT - More Intra Musique (Alga Marghen 043-2; Italy) Produced in collaboration with the legendary Jac Berrocal's label d'Avantage, More Intra Musique is the second LP in Alga Marghen's series dedicated to previously unreleased recording by the drummer and experimentalist Jacques Thollot. While the furious Intra Musique free jazz first LP (ALGA 043LP, 2017) was centered on a live recording with Michel Portal, Eddie Gaumont, and Mimi Lorenzini at the Faculty of Law in Paris, on an evening in 1969, it is an unexpected Jacques Thollot that you encounter on this second LP, vivid and blazing even more than you might have already known. Jacques Thollot was a major force in the French free jazz scene, collaborating with artists at the level of Don Cherry, Steve Lacy, Sonny Sharrock, Joachim Kühn as well as with French pioneers Jef Gilson and Barney Wilen. Starting from 1971 he released Quand Le Son Devient Aigu, Jeter La Giraffe A La Mer or Watch Devil Go on Futura and Palm Records, or some of the most relevant and revolutionary sonic masterpieces in France. More Intra Musique is free improvisations of course, but also synthetic jitters, musique concrete, and loop experiments, sketched pop songs, minimalist trances with African accents, or simply the promiscuity of a lullaby or the voice of a child posed like a bird in a Norman garden. These long-lost visionary recordings featuring Eddie Gaumont on prepared piano and Jacques Thollot on drums, piano, prepared piano, synth, and tapes are an absolute revelation which make you rethink everything you know about French free improvisation. Tape manipulation created as a potential background for a live set... Bursting rehearsal with Eddie Gaumont... Is the piano well prepared? Besides the stingy mention Intra Musique sticked on the reel, nothing is known of this recording. Edition of 350 copies.
LP $25

WILKINSON / EDWARDS / NOBLE - 3 Of A Kind (Bo Weavil Recordinsg 055; UK) The trio of Alan Wilkinson, John Edwards, and Steve Noble continue to plot their course ever outward and ever upward. These new songs, recorded in South London at that wonderful performance space -- at the heart of the improve scene here at this moment -- Iklectik, are the very beating heart of improvised music. It's not that they are good, or even representative -- such relative terms fail to express the continuum of which these sounds are a key part. This is music that evades the strictures of scientific measurement or critical theory. It just is. Wilkinson is a master of the tribal, balls-out approach to sax playing. He lets it all hang out. But there is great subtlety in what he does with his horn, in the range of inflection, the space between the phrases, the singing tone. At times he sounds like a tight knit sax section in a swinging big band all on his own. There is definitely jazz in there. Edwards and Noble form the rhythmic base for much that is good and beautiful in the improv scene today. Years of playing together and individual brilliance mean they mesh like the gears of a micro-tuned machine. Together the trio make music. And that is all that needs saying. Personnel: Alan Wilkinson - alto, baritone saxophones, bass clarinet; John Edwards - double bass; Steve Noble - drums.
LP $24

MARK FELL - Intra (Boomkat 016; UK) Intra is Mark Fell's fascinating study in computer generated rhythm, performed by Drumming Grupo De Percussão on the Sixxen metallophone system: a set of six microtonally tuned instruments originally conceived by Iannis Xenakis for use on Pléäides (1976). Commissioned by Porto's Fundação de Serralves, the eight-part Intra develops from Fell's Focal Music series and his projects with Indian Carnatic musicians. It probes the perceptive difference between ideas of simplicity and complexity by instructing acoustic instrumentalists via electronic triggers relayed through headphones, an idea previously explored on the Time and Space Shapes for Gamelan installation Fell made in collaboration with Laurie Spiegel (Sheffield, 2017), as well as earlier collaborations between Fell and noted virtuoso improvisors Okkyung Lee, Laura Cannell, Sandro Mussida, and Aby Vulliamy. It is important to acknowledge Fell's ongoing interests in the systems of Carnatic music, the Southern form of Indian classical music whose mathematical sound rules are practically inseparable from musical expression in a way that's difficult to comprehend from a Western perspective. In terms of rhythm, Carnatic musicians perform within a set of rules, or tala, whose seven structures each have five variations, resulting in 35 possible combinations -- many more than the usual Western structures of minor and major scales. Heard in context of Carnatic systems, Intra becomes a crafty and even wittily playful piece of sound art, one which undermines deeply entrenched conventions and perceptions of music, both composed and improvised, generated and performed, in a way that's entirely pleasurable, even strangely soothing in its stilted trickle of off kilter tones. Artwork by Joe Gilmore. Edited by Rian Treanor. Mastered and cut by Matt Colton.
LP $24

PATRICK HIGGINS - Dossier (Other People OP 049; USA) Nicolas Jaar's Other People present a new solo record of guitar and live custom electronics from artist Patrick Higgins, an American avant-garde composer and producer from New York City. Higgins is known for his work in experimental and contemporary classical music, playing guitar and composing in the ensemble Zs, which is said to be one of the strongest innovative bands in New York. His work as a composer traverses the styles of the European avant-garde styles with the post-minimalist sounds of New York. Dossier is a four-movement piece performed live without overdubs or edits. All of the samples and synthetic patches were custom built and specifically engaged to become elements of live guitar manipulation. The sound world is post-apocalyptic in style but builds to an intimate and introspective finish. The material was developed over a two-year period and finished at the end of 2016. Cover art is by Alfredo Jaar.
LP $25


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

MEMORIAL for Z’EV at The Kitchen, Saturday, June, 23rd at 7pm:

The Kitchen will host a memorial celebration to honor the artist Z’EV, after his passing this winter. The evening will include live and recorded music by Z'EV, Shelley Hirsch David Weinstein, Carl Stone, David Linton, Elliott Sharp, Zach Layton, Bob Bellerue, and Julien Ottavi, with remarks, remembrances, and images by Ellen Zweig, Ned Sublette, Roberta Friedman, Livia Polanyi, Steve Speer, and Paula Court.
Z’EV (born Stephan Joel Weisser) was a composer/percussionist, visual artist, poet and theorist. Since the late 1970s, he created his own abstract percussion soundscapes out of found materials, and he is regarded as a pioneer of industrial music (though he did not like the term himself). In his long career, he created unique performance strategies to explore sound in spaces, starting with acoustic sound and later working also with electronic sound. Critic Roy Sablosky wrote: "Z'EV doesn't just break the rules, he changes them." Journalist Louis Morra wrote in 1983: "Z'EV is a consummate example of contemporary performance art, as well as modern composition and theater;" and "Z'EV realizes many of modernist art's ultimate goals: primitivism, improvisation, multi-media/conjunction of art forms, the artist as direct creator." 
Z’EV presented several key performances at The Kitchen in the 1980s and went to Europe on a tour organized by The Kitchen. Although born in Los Angeles, he always preferred living in Europe, and The Kitchen tour was the beginning of his life in Amsterdam and London. For many years, he toured within Europe, where he was lauded as an innovator. In 2011, he performed again at The Kitchen in a program called Aluminum Music, as part of The Kitchen’s 40th Anniversary celebration.
Best known for his explorations of acoustic phenomenon, Z’EV was also a sculptor and a sound poet. He wrote extensively on Kabbalah and rhythm–Rhythmajik–which he noted "is not about music but spells out the use of rhythm and sound and proportion for trance and healing.” His sound works, videos, and writings can be found at



6/22 Friday
8:30 pm - Marsella, Fraticelli, Wollesen play ZORN - Brian Marsella (piano) Jason Fraticelli (bass) Kenny Wollesen (drums); Playing the music of John Zorn—Bagatelles, Masada and some new pieces!

6/23 Saturday
8:30 pm - Gatos do Sul- Brian Marsella (piano) Itai Kriss (flute) Mark Feldman (violin) Jon Irabagon (tenor saxophone, clarinet) Pablo Aslan (bass) Graciliano Zambonin (drums) Cyro Baptista (percussion)


6/26 Tuesday
8:30 pm - “Fundamental Evolution (Back Street Shuffle)”; Anne Humanfeld (aquasonic) Leonid Galaganov (aquasonic) Jeff Schlanger (aquasonic) William Parker (aquasonic) Peter Dennis (bass) Walter Stinson (bass); William Parker and The Aquasonic Ensemble—Music for 4 Waterphones and 2 basses. World premiere!

WEDNESDAY JUNE 27: JON IRABAGON - TWENTY FIVE DOLLARS; In collaboration with National Sawdust The Stone presents a series of World Premieres the last Wednesday of every month through 2018.
7pm at National Sawdust in Williamsburg. For details check

6/27 Wednesday
8:30 pm - “THE BLINKING OF THE EAR” - AnneMarie-Sandy (mezzo soprano) Eri Yamamoto (piano) Leonid Galaganov (percussion) William Parker (bass) Daniel Carter (reeds) Steve Swell (trombone)

The Stone is proud to present music at Russ and Daughters Cafe at 127 Orchard Street the last Thursday of every month! Drop by for smoked fish, pickles and great music!

6/28 Thursday
8:30 pm - “White Wine Positions” dedicated to Johannes Bauer July 22 1954—May 6, 2016 - Jim Staley (trombone) Steve Swell (trombone) Masahiko Kon (trombone, electronics) Joe McPhee (brass) Lower Mixed Chamber Ensemble: Jeff Schlanger (didgeridoo) Walter Stinson (bass) William Parker (Eb ophicleide) Peter Dennis (bass) - World Premiere

6/29 Friday
8:30 pm - “Music For Cosmic Octet”—“Eventual” (for Sunny Murray)’ Steve Swell (trombone) Jaime Branch (trumpet) Rob Brown (alto sax) Darius Jones (alto sax) James Brandon Lewis (tenor sax) Cooper Moore (piano) William Parker (bass), illiam Hooker drums

6/30 Saturday
8:30 pm - “A Word is A Sound”—A Remembrance of David Budbill - Berne Groden (shakuhachi) Leonid Galaganov (shakuhachi) William Parker (shakuhachi) Lisa Sokolov (voice) Kyoko Kitiamura (voice) Andrea Wolper (voice) Amirtha Kidambi (voice) Morley Kamen (voice); A choral piece for five voices and three shakuhachis. All words by David Budbill. Music by William Parker.

THE (NEW) STONE is located in The New School’s Glass Box Theatre
55 West 13th street - near 6th ave
All Sets at The New 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 Jun 22
8:35PM LAGE LUND QUARTET - Lage Lund, guitar; Micah Thomas, piano; Jared Henderson, bass; Craig Weinrib, drums

Saturday Jun 23
6:00PM AUDREY SILVER QUINTET - Audrey Silver, vocals; Bruce Barth, piano; Marcus Printup, trumpet; Paul Beaudry, bass; Gene Lewin, drums
8:35PM LAGE LUND QUARTET - Lage Lund, guitar; Mark Turner, tenor sax; Jared Henderson, bass; Craig Weinrib, drums

Sunday Jun 24
8:01PM ISRAELI JAZZ SPOTLIGHT: YOTAM BEN-OR - Yotam Ben-Or, harmonica; Gabriel Chakarji, piano; Agustin Uriburu, cello; Alon Near , bass; Noam Israeli, drums; Rogerio Boccato

Monday, June 25th:
8:30PM  VANISHA GOULD QUARTET - Vanisha Gould, vocals; Lisanne Tremblay, violin; Leandro Pellegrino, guitar; Dan Pappalardo, bass

Tuesday Jun 26
6:00PM  SONGS ON A SUMMER NIGHT - Jessica Crandall, soprano;  Ellen Mandel, piano, compositions;  Melanie Haskins, violin
Matthew Sheens, piano;  Sam Zerna, bass;  Kenneth Salters, drums

Wednesday Jun 27
8:01PM ANDY BISKIN’S 16 TONS, CD RELEASE: LOMAX - Andy Biskin, clarinet, bass clarinet; Matt Holman, trumpet; Dave Smith, trumpet; Kenny Warren, trumpet; Rob Garcia, drums

Thurs, June 28th:
8:01PM SAM BEVAN QUINTET, CD RELEASE: Peter Apfelbaum, tenor sax, melodica; Kenny Brooks, tenor sax; Evan Francis, alto sax, flute; Sam Bevan, bass; Jerad Lippi, drums

Friday Jun 29

Saturday Jun 30
8:35PM AN EVENING WITH MICHELLE LORDI - Michelle Lordi, voice, piano; JD Allen, tenor sax; Matthew Parrish, bass

Sunday Jul 01
6:00PM LISA HOPPE’S THIRD REALITY - Davy Lazar, trumpet; Tal Yahalom, guitar; Lisa Hoppe, double bass, composition
8:00PM DJANGO AT CORNELIA STREET: SARA L'ABRIOLA - Sara L'Abriola, guitar; Francisco Batista, guitar; Sammy Weissberg, bass
9:30PM DJANGO AT CORNELIA STREET: THE BAILSMEN - Brandon Vetrano, guitar; Charlie Castelluzzo, guitar; Gabriel Yonkler, sax; Abraham Pollack, bass

I-Beam Presents:

Saturday, June 30th 8:30 PM
Emi Makabe/Thomas Morgan Duo
Emi Makabe- Vocal, Shamisen, piano
Thomas Morgan- Double Bass

Friday, July 20th 8:30 PM
Luca Soul Trio
Elias Stemeseder – piano
Billy Mintz – drums
Luca Soul – bass & compositions

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.

ROULETTE Special Events:

Sunday, June 24, 2018 @ 8:00 pm
Jonathan Finlayson - Composer
Andre Solomon Glover – Baritone
Jonathan Finlayson – Trumpet
David Bryant – Piano
Chris Tordini – Acoustic Bass
Craig Weinrib – Drums and Percussion

ROULETTE is at 509 Atlantic Ave
509 Atlantic Ave, Brooklyn, NY 11217
SUBWAY lines: 2, 3, 4, 5, D, M, N, R, B & Q and the LIRR arrive at Atlantic Avenue-Barclay’s Center; G train to Fulton Street. A, C, Trains to Hoyt-Schermehorn


Downstairs @ Bushwick Public House
Monday June 25th
7pm Brian Groder - trumpet
Anders Nilsson - guitar/electronics
Sean Conly - bass
Jeremy Carlstedt - drums
8pm Stephen Gauci - tenor saxophone
Sandy Ewen - guitar/electronics
Hans Tammen - synthesizer/electronics
9pm Bonnie Kane: Sax and Electronics 
Bob Kanen: Guitar
Cyrus Shaoul - Synth, Guitar
Ben James: Drums, Percussion 
John Loggia - Drums and Percussion
9:30pm Aaron Rubinstein - guitar
Sarah Hughes - alto saxophone
Nick Dunston - bass
Michael Larocca - drums
10:30pm Alexis Marcelo - piano
Devin Brahja Waldman - saxophone
Michelle Marie Osbourne - bass
Malik Washington - drums
11:15pm Sandy Ewen - guitar/electronics
Andrew Neumann - synthesizer/electronics

1288 Myrtle Avenue , Bushwick
(Across the street from M train Central Ave stop)

Monday, June 25th at 8pm:
@ Trans Pecos
915 Wycoff Ave.
Ridgewood, Queens 11385
Zomes - (Hanna Olivegren - voice/electronics & Asa Osbourne - keyboard/electronics)
Eartheater - (Alex Drewchin - voice/guitar/electrtonics)
* Snake Union - (Dave Grant - modular synth, Chuck Bettis - electronics)
$10 (advance) $12 (day of)
L to Halsey

*Snake Union has been very busy recording several new records but hasn't crept out of our crypt for a NY performance for almost a year, come experience what we have morphed into.


Shapeshifter Presents:

Jun 21 and 22
Britpop Choir &  Brooklynite Choir
1st choir 7:00 - 7:30pm
2nd Choir 7:45pm - 8:15 pm

Jun 21
9:30: Mateusz Smoczynski Quintet - Berek / Metamorphoses 
Mateusz Smoczynski - violin, baritone violin; 
Rafal Sarnecki - guitar; 
Kuba Cichocki - piano; 
Matthias Pichler - bass; 
Sebastian Kuchczynski - drums. 

Jun 22
9pm: ShoutHouse
Julia Anrather (vox), 
Quilan Arnold (hip-hop dancer), 
Nuri Hazzard (rapper),
Connell Thompson (saxophone)

Jun 24
5pm, 6pm, 7pm - Bernard Woma Memorial 
A musical celebration of the life of Bernard Woma featuring Jumbie Records artists. Bernard Woma left an immense musical legacy, from prolific musical performances on the gyil (xylophone) from his native Northern Ghana, to leadership of Jumbie Records, to founding and directing Saakamu dance company based in Accra, to founding and leading the Dagara Cultural Center, to being an incredibly warm and giving friend and father. His friends, collaborators and many students will gather together to honor this legacy through performance and camaraderie. We will share stories of this life, and start the work of continuing his legacy without his physical presence.  Performances will include long-time partners from Jumbie Records including Mark Stone, David Rogers, Raul Rothblatt and Famoro Dioubate. 

June 25 
7pm: Jon Snell Trio
Jon Snell, piano
Wayne Batchelor, bass
Jason Tiemann, drums

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

Sunday, July 17 at
Scholes Street Studio 8 & 10 PM

Jeff Pearring & Nick Lyons, alto sax
Ken Filiano & Francois Grillot, bass
Billy Mintz & Todd Capp, drums

Scholes Street Studio is at 375 Lorimer Street, Brooklyn.11206 718-964-8763;
L to Lorimer Street, G to Broadway, j,Z,M to Lorimer Street