The Old Fart was Smart - Captain Beefheart and the Magic Band (1969)
Pappy with the Khaki sweatband
Bowed goat potbellied barnyard
That only he noticed, the old fart was smart
The old gold cloth Madonna
Dancin' to the fiddle and saw
He ran down behind the knoll
And slipped on his wooden fishhead
The mouth worked and snapped
All the bees back to the bungalow
Momma was flattening lard
With her red enamel rollin' pin
When the fishhead broke the window
Rubber eye erect and precisely detailed
Airholes from which breath should come
Is now closely fit
With the chatter of the old fart inside
An assortment of observations took place
Momma licked her lips like a cat
Pecked the ground like a rooster
Pivoted like a duck
Her stockings down caught dust and doughballs
She cracked her mouth glaze, caught one eyelash
Rubbed her hands on her gorgeous gingham
Her hands grasped sticky metal intricate latchwork
Open to the room, uh
Smell cold mixed with bologna
Rubber bands crumpled wax paper bonnets
Fat goose legs and special jellies
Ignited by the warmth of the room
The old fart smelled this
Through his important breather holes
Cleverly he dialed from within
From the outside we observed
That the nose of the wooden mask
Where the holes had just been a moment ago
Was now smooth amazingly blended, camouflaged in
With the very intricate rainbow trout replica
The old fart inside was now breathin' freely
From his perfume bottle atomizer air bulb invention
His excited eyes from within the dark interior glazed
Watered in appreciation of his thoughtful preparation
This spoken word/song/poem is taken from ’Trout Mask Replica’, the legendary/seminal double album by Captain Beefheart & the Magic Band, released in June of 1969, fifty years ago! This album is one of the weirdest and most unique releases in an era of many classic sonic treasures, none nearly as bizarre as ‘Trout Mask Replica’. I recall my friend Mitch E. winning this record in a dance contest at a Bar Mitzvah later that year. A copy of which made the rounds among my friends, a sort of litmus test to see if one could endure & eventually figure what this music & lyrics were about. While I was at college (1972-1976), I remember spending an entire evening transcribing the words to “The Old Fart at Play” and then trying to figure out the meaning of every line of the song. It was important to us and at the end of the evening, we did figure it out, but it has since been lost our collective memories. Captain Beefheart’s lyrics often reminded me of Dylan Thomas’ poetry which also took a good deal of time to figure out. But was always well worth the effort.
I would like to send a shout out to some of college roommates, whose serious listening sessions and discussions I still think about today: John Masucci, Frank Ruck, Ed O’Donnell, Mike Rice and Mike Dmochowski (sic). A cosmic nod and a wink from BLG
Check Out These Special Sounds from:
Dave Douglas with Joe Lovano / Mary Halvorson / Julian Lage / Bill Laswell..! New Otomo Yoshihide Quintet! Martin Philadelphy / Jamie Saft / Cyro Baptista! Rinde Eckert! Simon Rose & Steve Noble!
Dark Ages! Fennesz! Two from Merzbow! Bernard Xolotl! Blossom Toes! Rare & Live Thelonious Monk! MJQ! Stan Getz Qt! LP’s from Federico Ughi & Daniel Carter! Luc Ferrari! John Coltrane! And Lots More..!
The DMG FREE Music Series Continues Every Sunday at 6pm and Features:
Sunday, March 31st: A Series of Solos & Surprises!
6pm: BEN STAPP and SAM NEWSOME - Tuba and Soprano Sax!
7pm: JOANNA MATTREY - Solo Viola!
Sunday, April 7th:
6pm: CHET DOXAS - Solo Tenor Sax
7pm: FERAL CHILDREN: NOAH BECKER / NICK DUNSTON / LESLEY MOK -
Alto Sax & Clarinet / Bass / Drums & Percussion
Sunday, April 14th:
6pm: DAVID GROLLMAN - Solo Snare
7pm: DREW WESELY / DAVE ZAKARIAN - Guitar and Alto Sax
8pm: VIV CORRINGHAM / MIA ZABELKA - Voice / Violin
Sunday, April 21st:
6pm: AARON NAMENWIRTH / DANIEL CARTER - Guitar / Horns
7pm: BENJAMIN SCOTT - Drums Reeds / K. HANK JOST - Bass Reeds
Sunday April 28th:
6pm: OMAR & EMILIO TAMEZ - Tribute to Paul Motian
7pm: BLAISE SIWULA / LUCIANO TROJA / GIANCARLO MAZZU
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. You can check the weekly in-store sets through our Instagram feed
Bruce’s Recommended Gigs of the Week:
Saturday, March 30, 2019 at 8:00pm
5th Annual A WORLD IN TRANCE FESTIVAL
JAKOUKA MEETS NEW YORK:
BACHIR & MUSTAPHA ATTAR (of the Master Musicians of Jajouka)
with NED ROTHENBERG, ARRINGTON DE DIONYSO & BEN BENNETT
At Roulette - 509 Atlantic Avenue (at 3rd Ave)
ERIC’S HOUSE OF IMPROV PRESENTS
Wednesday, APRIL 3, 2019
MARS WILLIAMS - Tenor SAX
KENT KESSLER - BASS
PAAL NILSSEN-LOVE - DRUMS
244 Rehearsal Studios
Performances start at 8 PM | ADMISSION $20
244 W. 54th St., 10th floor
C or E trains to 50th St / N, Q, R, Q Trains to 57th St.
Starting Off Today’s Sonic Treasures with this One:
DAVE DOUGLAS With JOE LOVANO / MARY HALVORSON / JULIAN LAGE / BILL LASWELL / IAN CHANG - UPlift: Twelve Pieces for Positive Action (Greenleaf 1068; USA) Featuring Dave Douglas on trumpet & compositions, Joe Lovano on tenor sax, alto clarinet & mezzo-soprano sax, Mary Halvorson & Julian Lage on guitars, Bill Laswell on bass and Ian Chang on drums. In the dark & difficult times that we have all been going through, we need some positive energy to inspire us. Creative music continues to inspire & engage all who listen closely to these sounds. The Dave Douglas subscription series continues with monthly downloads and yearly CD’s. For ‘UPLift’, Mr. Douglas has gathered together another all-star Downtown ensemble, musician, a leader, composer and collaborator in their own right. As the title suggests, the vibe here is one of ‘Uplifting’ our spirits. What Mr. Douglas does so well is this: the music is crafty, often subtle yet somehow complex and positive on several levels. “The Power of the Vote” has both guitarists creating an enchanting web while the rhythm team pulsates in the center, both horns floating cerebrally on top. It takes some time to actually hear the intricate interplay and thoughtful arranging. Both horns, Douglas & Lovano, work together in another co-led project and sound consistently great together, playing similar harmonies and shades in perfect sync. Both guitars also weave their way around and with one another, completing each other lines and interacting in unexpected ways. Master electric bassist & producer, is usually the main or central voice in most of his own projects, but here he is in a more supportive role, sounding most gracious, adding his dreamy tones to the bottom end of sprawling sextet. This is music for introspection and Mr. Douglas has a long list of organizations to check out to help through these precarious times. - Bruce Lee Gallanter, DMG
CD $20 [LTD Edition Subscription Series / we have 20 copies only)
Back in stock, these LTD Edition, Subscription-Only CD’s:
DAVE DOUGLAS / SUSIE IBARRA / MARC RIBOT - New Sanctuary Trio - Paperback Series Vol. 5 (Greenleaf 053: USA)
CD $20 [LTD Edition Subscription Series]
DAVE DOUGLAS With WADADA LEO SMITH / OLIVER LAKE / FRED FRITH / MATT MITCHELL / KRIS DAVIS / ANDREW CYRILLE - Metamorphosis - Paperback Series - Vol. 6 (Greenleaf 1061; USA)
CD $20 [LTD Edition Subscription Series]
OTOMO YOSHIHIDE / ANTONIO PANDA GIANFRATTI / MARCO SCARASSATTI / PAULO HARTMANN - Psychogeography - An Improvisational Derive (Not Two MW 981; Poland) Featuring Otomo Yoshihide on guitar, bass & turntables, Paulo Hartmann on prepared guitar & fretless chiquita, Marco Scarassatti on viola de cocho (short lute-like instrument from Brazil) & home-made instruments and Antonio Panda Gianfratti on percussion & drums. After a deluge of releases on labels: Tzadik & Erstwhile from more than a decade ago, guitarist/electronics/turntablist, Otomo Yoshihide, has slowed down considerably recording wise. His recordings and performances in the US are relatively rare nowadays. This session was recorded at live at the Festival Internacional de Improvisacao in Sao Paulo, Brazil in April of 2017. I haven’t heard of the other musicians here although Mr. Scarassatti does have a disc out on the Creative Sources label. Since I don’t know these other players, it is difficult at times to tell who is doing what.
Each of the six pieces is named after a location via latitude & longitude coordinates. The music is extremely focused: rubbed strings, quick strumming, odd manipulated sounds most likely coaxed from the home-made interments involved. There are some sounds which sound like a sampler (disembodied voices?) or electronics or a turntable, hard to tell. Some sections are restrained and filled with suspense. This is a special, rather magical set, everyone involves listens closely, no one overplays. It almost sounds conducted or directed. Is that Otomo on slide guitar?!? Extraordinary! We recently got another new disc in the mail on FMR with Otomo and another unrecognized unit. Will wonders never cease?!? - Bruce Lee Gallanter, DMG
MARTIN PHILADELPHY / JAMIE SAFT / DAN REISER / CYRO BAPTISTA - Arkitsa (Three Saints Records 190101; Austria) Featuring Martin Philadelphy on guitar, vocals & compositions, Jamie saft piano, organ & slide guitar, Cyro Baptista on percussion and Dan Reiser on drums. Austrian guitarist, Martin Philadelphy, plays here at DMG generally once a year and usually works with different personnel in each visit. Last Sunday (3/24/19), he put together another eclectic quartet with Jane LeCroy (spoken words), Bradford Reed (pencilina, home-made) and Rich Hutchins (percussion, formerly of Live Skull). The ever-prolific, Mr. Philadelphy, always leaves us with a new CD or two and just left us with this gem. Our own database list some 30 releases so far from Philadelphy.
Mr. Philadelphy is a longtime fan of a number of the Downtown elders at the heart of the creative music scene here, seeking them out for recording sessions. On a couple of previous occasions, Mr. Philadelphy has worked with keyboard wiz, Jamie Saft. For this disc Martin also uses the talents of percussionist Cyro Baptista, both Mr. Saft & Baptista are also longtime collaborators with John Zorn. Drummer, Dan Rieser, is the one name I don’t quite recognize although he has worked with Stephan Crump & Bill McHenry. What makes this disc different from most (all?) other previous Philadelphy releases is that Martin sings (in Austrian) for a change. I wasn’t sure how this would work out, but playing this disc in the store yesterday with Frank (Meadows, employee), we were both enchanted by the results. Since moving up to the Woodstock area a few years ago, keyboard wiz & producer/engineer, Jamie Saft, has refined and expanded his roots rock/organic jazz aesthetic. The opening song, “Alleine”, has one of those infectious repeating riffs that makes us all feel good. Along with Philadelphy’s charming, folk/rock vocals and Saft’s funky organ, the groove will have you nodding your heading and doing the slow dance around the room. All of the lyrics here are reprinted in the booklet in Austrian except for a couple with lyrics in English. Although I don’t understand the lyrics, Phildelphy does have a modest, charming voice. I asked Mr. Philadelphy why do a disc with vocals and he said that he has always wanted to try this. Philadelphy plays slide guitar on several songs which also add a certain sly, swampy vibe. Each of the nine songs here have a charming, laid back, world-weary vibe which is bound to be quietly intoxicating like sipping on some fine wine late at night… So good! - Bruce Lee Gallanter, DMG
RINDE ECKERT – The Natural World (National Sawdust Tracks) “Nearing his 40th anniversary as a performer and writer for stage work, Rinde Eckert has released his first solo album, and it couldn’t be a happier surprise. On stage, in works created with Paul Dresher, Jerry Granelli, Paola Prestini and others, he is a powerful presence, striking in appearance and profound in delivery. Eckert has most often worked in theatrical pieces, dealing with character and narrative arc, but if there’s a story here it’s one of a man who has traveled the world and is happy at home surrounded by instruments. He’s heard on strings (banjo, guitar, ukulele), keyboards (piano, accordion), flutes, hand percussion, shruti box and electronic effects, occasionally modified to suit particular songs. All but two of the songs were written by him—he reworks “Black is the Color” and a Bach theme—borrowing from British and American folk traditions, sometimes augmented with underlying drones and Eastern influences. Producer Lee Townsend brings the close warmth he’s given to so many releases by Bill Frisell, with whom Eckert has occasionally collaborated. The Natural World runs deep with sentiment, nostalgia, melancholy, humor and charm, without a moment that misses the mark.“ - Kurt Gottschalk, guest reviewer
DARK AGES With TOM SHAD / NICK DIDKOVSKY / NICK ODDY / JESSE KRAKOW / DAVE MILLER - Dark Ages (Chant Records 1806; USA) Featuring Nick Didkovsky & Nick Oddy on electric guitars, Tom Shad & Jesse Krakow on electric basses and Dave Miller on drums. From what I heard, this disc was recorded several years ago but not released until more recently. This quintet is led by Tom Shad, a bassist that I not quite familiar with. I do know of guitarist Nick Didkovsky (from Dr. Nerve & Vomit Fist), bassist Jesse Krakow (Pak, Captain Beefheart tributes & Time of the Orchids) and drummer Dave Miller (Pet Bottle Ningen & honored DMG employee). This disc was recorded by Martin Bisi, the legendary Downtown producer & engineer, who has used to work Bill Laswell and who had a film made about his work & studio called, “Sound and Chaos”.
Over the last few years, I have starting to check out more Metal music (speed, doom, extreme & experimental) in several different types. Thanks to my pals Jason Roth, Nick D & Phil Freeman for their suggestions. The opening piece, “Golem”, has a throbbing low end with two howling guitars on top. The music here is tight & well-played, the music has that Beefheartian fractured, bent note or twisted rhythmic thing happening as well. At times it sounds as if one of the guitars (or basses) is using some odd devices to alter the tone of his axe. Since I don’t listen to much metal, I can’t compare this to anyone else but I do enjoy it nonetheless. On “Sweat”, the bass is featured and at the center of the quintet. Dave Miller’s powerful drumming and one or both guitars erupt tightly together into some intricate interaction. The music is often dark, intense and pounding, the guitars on the verge of turning to a molten flow. Much different from anything I’ve heard or reviewed in a long while but no less interesting than anything from the wide variety of Downtown’s diverse sonic blend. - Bruce Lee Gallanter, DMG
SIMON ROSE / STEVE NOBLE - North Sea Night (Not Two MW 983; Poland) Featuring Simon Rose on baritone sax and Steve Noble on drums. British-born, Berlin-based saxist, Simon Rose, keeps busy playing solo, duo and trio sets but records infrequently. He has worked with dozens of familiar musicians from either side of the great pond and lived for a period in the Bay area. Mr. Rose has also written a well-regarded book called, “The Lived Experience of Improvisation: In Music, Learning and Life”. Mr. Rose has long worked with British drum phenom, Steve Noble in both duo and trio (a/k/a Badland) situations. UK drum master, Steve Noble, is also well-respected, having worked with many giants: Peter Brotzmann, Decoy & NEW.
This disc was recorded live at the Bridge Hotel in Newcastle, UK in February of 2018. The sound os this disc is superb, well-balanced and exquisitely nuanced. Both men take their time and deal with textures, stretching out notes carefully. Mr. Rose has a warm, rustic, haunting tone on baritone, with no screaming but expanding and contracting slowly. Like Mother earth breathing freely. Mr. Noble plays a long, modest, laid back, earthy drum solo which builds and eventually turns into a somber, righteous unaccompanied bari solo, long and story-like in the way it organically unfolds. The duo sounds like they are in no hurray so that everything unfolds in its own way. Mr. Rose moved further from the mic so that we, the audience, will lean closer to hear the entire picture. So nice to hear a set of free/jazz that is from a more restrained standpoint, still most inventive without any over-blowing or extreme eruptions. - Bruce Lee Gallanter, DMG
Back in Stock:
DKV [KEN VANDERMARK / KENT KESSLER / HAMID DRAKE] & JOE McPHEE - The Fire Each Time (Not Two MW 982; Poland) “Not Two Records presents The Fire Each Time, a 6 CD boxset of recordings from the DKV Trio with Joe McPhee as a guest, and dedicated to James Baldwin. The music was recorded during the quartet's tour in Europe which took place in November of 2017, and at shows in Chicago and Milwaukee from December of that year. These performances are historic in many respects: the DKV Trio – with Hamid Drake [drums], Kent Kessler [bass], and Ken Vandermark [reeds] – has only recorded with other musicians on four occasions in it's two decade career (with Fred Anderson, [Okka Disk, 1997]; Joe Morris on "Deep Telling" [Okka Disk, 1999]; with Mats Gustafsson, Paal Nilssen-Love and Massimo Pupillo on "Schl8hof" [Trost, 2013], and with The Thing ["Collider," Not Two, 2016]); also, this is the first time all four musicians have worked together as a band; and the material documented over the six concerts included in the collection features performances of Joe McPhee's compositions – like his classic "Nation Time" (listen below) as well as completely improvised music generated by the participants.”
6 CD Set $66
BARRY GUY BLUE SHROUD BAND - Odes and Meditations for Cecil Taylor (Not Two 980; Poland) The new Barry Guy 5 CD set of The Blue Shroud Band in Small Formations is the most exciting release of the new year called “Intensegrity” (previous 4 CD box was called “Tensegrity” from 2014, I think. The new box is also described as “Odes & Meditations for Cecil Taylor”. the DKV box is recorded live from November 2017 at concerts in France, Poland & Czech Republic and then in late December 2017 at a show @ Sugar Maple in Milwaukee and then 2 homecoming shows @ Elastic Arts in Chicago. I’m so fired up about this one as I’ve been waiting to hear the trio with a foil for Vandermark and I think McPhee is playing at as creative a level as anyone on the planet these days. Looks like we have a few different new members of the Barry Guy band including Percy Pursglove (no Peter Evans this time) & Jurg Wickihalder. Another exciting aspect is that we get the full band on disc 5 with what is called the “Ode & Meditations to Cecil Taylor”. This could be a composed Guy piece. Discs 1 through 4 recorded live @ Alchemia in Kraków, Poland (11/27-29, 2016) and Disc 5 recorded 11/30/2016 @ Radio Kraków. - Steve Reynolds
5 CD Set $60
ZLATKO KAUCIC With EVAN PARKER / AGUSTI FERNENDEZ / LOTTE ANKER / RAFAL MAZUR / JOHANNES BAUER / et al - Diversity (Not Two MW 969; Poland) Featuring Zlako Kaucic on drums, percussion & electric zither with Evan Parker on tenor sax (duo & trio CDs), Agusti Fernandez on piano, Lotte Anker on alto, tenor & soprano saxes, Artur Majewski on trumpet, Rafal Mazur on acoustic bass guitar, Johannes Bauer on trombone and Phil Minton on voice. Over the last decade, Polish percussionist, Zlatko Kaucic, has recorded a dozen discs with an interesting cast: Barry Guy, Peter Brotzmann, Steve Lacy, Joelle Leandre and Stefano Battaglia. Not Two has done a splendid job of producing this fantastic five CD set of solo percussion, a duo Evan Parker, a trio with Parker & Fernandez, a trio with Johannes Bauer & Phil Minton and a quartet with Lotte Anker, Artur Majewski & Rafal Mazur. It you hadn’t hear much from Mr. Kaucic in the past, this 5 CD set captures him superbly in five greats settings. - BLG/DMG
5 CD Set $60
PER-AKE HOLMLANDER With MIKOLAJ TRZASKA / SUSANA SANTOS SILVA / STEVE SWELL / JULIE KJAR / TIM DAISY - It’s Never Too Late Orchestra (Not Two 976; Poland) Collective personnel: Per-Åke Holmlander - tuba & leader, Julie Kjaer alto sax & flute, Signe Dahlgreen - tenor sax, Anna Högberg - alto & baritone saxes, Mikołaj Trzaska - bass clarinet, alto & baritone saxes, Johan Norin - trumpet , Susana Santos Silva - trumpet, Steve Swell - trombone, Elsa Bergman - bass and Tim Daisy & Christopher Cantillo drums. Two of the three discs here feature small groups: duos, trios & a sax quartet. The third disc features a small orchestra (11 piece) and it is an extraordinary work of composing & arranging by Mr. Holmlander, as well as a number of inspired solos from Mikolj Trzaska, Steve Swell, Susana Santos Silva and a number of different reeds players. An excellent endeavor on all counts.
3 CD Set $40
FRODE GJERSTAD With HAMID DRAKE / WILLIAM PARKER - self-titled (Not Two MW 968; Poland) Most (all?) of this great trio performances have been previously released on Not Two as single CD’s. Legendary Norwegian saxist & clarinetist, Frode Gjerstad, is immensely prolific with more than 100 releases under his belt. Mr. Gjerstad chooses his collaborators well and has worked with dozens of giants in both Europe and the US. An incredibly creative trio! OUTstanding! - BLG
4 CD Set $60
FRANCESCO DIODATI YELLOW SQUEEDS - Never The Same (Auand Records 9080; Italy) Three years after his previous work (Flow, Home, 2015), Italian guitarist and composer Francesco Diodati releases Never The Same, his latest and long-awaited album as a leader. He's back with the same band, Yellow Squeeds with Enrico Zanisi (piano, synth), Francesco Lento (trumpet), Glauco Benedetti (tuba, valve trombone), and Enrico Morello (drums), and the same label, Auand Records. His name has become one of the most renowned ones in the Italian and European music scene: working and touring extensively with Enrico Rava, he has also proved his personality and innovative attitude on his works as a leader. At the core of Never The Same is a deep reflection on individual perceptions and team work and on the countless transformations these two elements can generate even on the most basic melody. What dominates the composing side is "several layers of sounds overlapping," Diodati says, "intertwining lines becoming mutually essential, albeit maintaining their own independence. This way of building music ensures, for example, that the same tune can be perceived in a different way by each listener. It's like looking at the same 3D object from different perspectives, in your hands or suspended in space." This approach generates the apparently alienating effect that can be heard on "Entanglement", with its constantly changing rhythm. Diodati states, "On our previous album, Zanisi played the piano, while he's doubling on Fender Rhodes, modular synth and bass synth now. I gave Morello a ton of Burmese gongs, which I collected along my trips and live shows in Myanmar, and we played those in the intro of 'Simple Lights'. Glauco Benedetti turned out so surprisingly well on the valve trombone that I rewrote some parts to add it. Francesco Lento brings so many different sounds out of his trumpet, making the timber possibilities endless. He can be truly lyric as well as angular and harsh. We often converse very fast, and this became more and more intense over the years. They are all impressive musicians. I chose them because they break boundaries, and go beyond what's common." As the likes of "River" show, sometimes their interplay is the starting point of an enchanting sound flow, built on the melody and ending in a dense collective improvisation. And while they're playing with an out-of-tune instrument, focusing on timber or exchanging roles in the lineup, the album cover also catches the eye, embracing the whole idea of the album.
FENNESZ - Agora (Touch 115; UK) ‘Agora’ is Christian Fennesz's first solo album since Mahler Remix (TONE 052LP, 2014) and Bécs (EMEGO 165CD/LP, 2014). Fennesz writes: "It's a simple story. I had temporarily lost a proper studio workspace and had to move all my gear back to a small bedroom in my flat where I recorded this album. It was all done on headphones, which was rather a frustrating situation at first but later on it felt like back in the day when I produced my first records in the 1990s. In the end it was inspiring. I used very minimal equipment; I didn't even have the courage to plug in all the gear and instruments which were at my disposal. I just used what was at hand." Fennesz uses guitar and computer to create shimmering, swirling electronic sound of enormous range and complex musicality. His lush and luminous compositions are anything but sterile computer experiments. They resemble sensitive, telescopic recordings of rainforest insect life or natural atmospheric occurrences, an inherent naturalism permeating each piece. He lives and works in Vienna. Recorded at Kaiserstudios, Vienna, August, September 2018. "Rainfall": vocals by Katharina Caecilia Fennesz; "Agora": field recordings Manfred Neuwirth, vocals Mira Waldmann. Photography and design by Jon Wozencroft. Mastered by Denis Blackham at Skye. Extended digipak. "Imagine the electric guitar severed from cliché and all of its physical limitations, shaping a bold new musical language." - City Newspaper
MERZBOW - Kookaburra (Hospital Hill 4130739; Australia) 2013 release. "There is no argument; Merzbow stands as the most important artist in noise music. The moniker of Japanese artist Masami Akita has appeared on over four hundred albums since 1979. The name comes from German artist Kurt Schwitters' famous work Merzbau, in which he transformed the interior of his house with found objects. This is reflected in Akita's junk art / collage aesthetic. Other influences on the Merzbow philosophy range from ritualized eroticism (fetishism and bondage), surrealism to extreme metal and animal rights. Since the early 2000s Akita has been a vegan and dedicated animal rights activist. Many of his releases are dedicated to or about particular animals. Kookaburra documents a rare live appearance of Merzbow down-under, capturing his solo performance in Sydney, Australia, May 2012. Following a slew of archival boxset releases and a relative scarcity in new recordings, Kookaburra comes at an opportune time to showcase the current solo Merzbow live sound. Leaving aside the more melodic and ambient touches heard on recent studio albums, Kookaburra cuts straight to the chase with 60 minutes of blissfully dense noise, brimming with endless detail. Differing from previous Merzbow live albums, the trademark loops are now buried deep within a monolithic torrent of black noise, characterized by both analog and digital flavors. The world of Kookaburra is built upon impenetrably thick walls of low-end oomph and filled with relentlessly caustic textures from which distorted howls, wild oscillations and inexorable pulsations rear their monstrous heads. This monolithic single track is remarkable for its incredibly hypnotic journey along an enormous arc of sonic strata that is both glacial in its pacing and molten in its unyielding force. This is Merzbow at his most elemental and Kookaburra boldly displays the king of noise's most focused exploration of stunningly powerful noise in recent years." - Alex Pozniak Deluxe CD; LTD ed.
MERZBOW & OREN AMBARCHI - Cat's Squirrel (Hospital Hill HH 4130740; Australia) 2013 release. "Cat's Squirrel is a live recording of Masami Akita and Oren Ambarchi's performance in Sydney, Australia in May 2012. Although Akita and Ambarchi have known one another since 1993 and performed together as part of larger ensembles, this was their first performance as a duo. Together they create a massive wall of sound that moves from the cavernous to the blisteringly psychedelic, laying down shifting low-end structures over which pointillist details ricochet across the stereo field. Akita and Ambarchi's voices blend together into a sonic morass. Moving through a number of episodes, from deluges of reverberated metal screeches to rapid-fire iterations of visceral electronic tones, the record reaches a high point midway through the second side, where Akita's electronics gradually thin out into a stream of skipping chirps and screeches while around him Ambarchi builds up a dense mass of phasing low-end guitar tones; the duo patiently developing an impenetrable wall of ecstatic, psychedelic noise." --Francis Plagne Deluxe CD; limited edition.
CYCLE~440 - The Topography of Ascending Frameworks (Hospital Hill HH 2140742; Australia) 2015 release. Cycle~ 440 are the London-via-Perth duo of Sam Gillies and Kevin Penkin. Their semi-improvisational electro-acoustic explorations fuse Kevin's brooding acoustic piano with Sam's fractured laptop sampling and processing to create soundscapes of alternately extreme fragility and overwhelming density. Both Penkin and Gillies are former students of Australian sound artist, composer and graphic score exponent Cat Hope. The Topography of Ascending Frameworks marks the final installment of the Constructions Trilogy; a longform conceptual recording project that explored a large scale idea-based framework to guide improvised composition. The trilogy began in 2011 with The Geography of Collapsing Structures, a study of deconstructive forces as applied to composition. In 2012, Cycle~ 440 recorded The Cartography Of Shifting Planes, an exploration of the musical potential of the line and of constant variation through minimal gestures. Finally, 2015's The Topography Of Ascending Frameworks explores the power of growth, utilizing musical structures characterized by excessive development and departure. The Topography of Ascending Frameworks boasts a strikingly scientific title, but it is by no means a cold or clinical listen. It ticks forward with quiet, sanguine momentum, bubbles under its still surface, surges with warped strands of noise pitted against contemplative piano chords and seethes with ominous drones and unsettling oscillations. Every moment exudes a unique blend of granular detail and zoomed-out expansiveness. Cycle~ 440 are winners of the 2013 WAM Experimental Song of the Year award for "So We Beat On, Boats Against The Current". Deluxe CD; limited edition.
JAKOB ULLMANN - Fremde Zeit Addendum 5 (Edition RZ 1030; Germany) "Do we hear what we know? How, if this is obscured? Sent on a journey of discovery into the audible, at first almost nothing appears here. But once the ear has become accustomed to the intermediate realm of the pianissimo, an abundance of timbres becomes apparent, everyday noises unexpectedly dispersing in their non-spatial aura, then the surprising appearances of short tonal shapes, which enter the flow of time standing still as if they were revelations of the ear itself with no possibility to guess their origin, verifiable on the instrument. After all, it is in fact the tone which is the improbable, out of all that is weaving in and out within the grounding, static sound, like a distant army of constellations below, taking place uneventfully at the level of the permanent. 'solo V' is not an instrumental piece for a soloist in the ordinary sense. The grand piano becomes an unknown sound body. Although there is a soloist, they could hardly carry out the performance on their own, requiring either pre-produced electronic playback or, as in the present recording by Lukas Rickli, the participation of three assistants sustaining a soundscape. Ullmann conceived a sonic space in which sound is subjected to the laws of a specific 'gravity'. Its meridians range continuously from noise to tone and from shortest single event to sustained continuity, but what constitutes the true aura of this space is its reduced dynamics, and a rhythmic sense that is averse to any kind of melody in the usual sense. 'solo V' is also 'solistic' in another way: there is no fixed notated score, it must first be created individually, and so hardly ever will any performance score be the same as another. Rickli and his partner Zora Marti had a variety of graphic and notated material at their disposal for the development of the temporal form. Following the composer's graphically notated glissandi, Rickli and Marti modify the sound of the centers and generate transitions with them. The piece to be heard unfolds in a pulsating, breathing pianissimo. Hardly bringing any instrument to mind, it opens up a harmonic cosmos, urging the listener into it -- because other than through listening to the barely recognizable, nothing is revealed. --Rainer Schmusch, translated by Peter Gebert.
TURGUT ERCETIN - Panopticon Specularities (Edition RZ 10024; Germany) A native of Istanbul, Turgut Erçetin (1983) studied composition and completed his doctorate studies at Stanford University. In 2016, Erçetin was awarded with DAAD Artists-In-Berlin program for a year-long residency in Berlin, and since then he has been based in Berlin. Erçetin's works engage with issues of sound, not as colors but as sonic entities that interface with time and space. Most of his works, therefore, are involved with acoustics and psychoacoustics as well as computer aided compositional processes. "String Quartet No.2" performed by Arditti Quartet; "Im Keller" performed by Neue Vocalsolisten Stuttgart; "Panopticon Specularities" performed by Ensemble Mosaik, Ensemble Apparat, Ensemble Adapter, and Sonar Quartett.
AN ANTHOLOGY OF GREEK EXPERIMENTAL ELECTRONIC MUSIC - 1966-2016 / various artists (Sub Rosa SR 471; Belgium) An Anthology of Greek Experimental Electronic Music 1966-2016 aspires to map the heterogenous landscape of Greek experimental electronic music in all its contextual, sociopolitical, geographical and aesthetic disparity. With a single exception: it zeroes in on post-80s music. It comprises works of very different kinds by composers of all sorts of backgrounds that, still, can be thought of, as both "Greeks" and "experimentalists". Experimental electronic music is generally expected to be highly variegated, especially when examined in a breadth of several decades, and with respect to all sorts of artistic, academic, subcultural, and other influences. What is not so obvious, however, is that the very notion of Greekness, as well as its contextual and historical offshoots, are highly diversified, too. This anthology is an attempt to map the various kinds of experimental music that has been produced by Greeks over the last few decades. More, it is also an attempt to delineate different understandings of what "Greek" or "experimental" may stand for, by means of zeroing in on the numerous, often overlapping, realities and micro-scenes that are associated with the former. Double-CD version includes 20-page booklet.
2 CD Set $18
BUD PETAL - Fabric Cordial (Hospital Hill 11140744; Australia) 2014 release. Bud Petal is the stage name of musician Eran Asoulin. His music has been described as 'cerebral art-folk' & 'the music Lord Byron would be making had he lived in the 21st century'. Bud is a true outsider, a freak-folk wunderkind who has been compared to Syd Barret and Daniel Johnston. But don't for a minute think him primitive or naive - Bud is worldly beyond his years and holds a PhD in both linguistics and philosophy. He was 'discovered' when his self-produced first album was pulled from the trash at a local radio station. A self-taught musician from The Levant, he spent his teenage years immersed in the bohemian/DIY art scene of Newtown, Sydney. His music collides Mediterranean '70s/'80s folk pop (Lucio Battisti, Nada Malanima, Aviv Geffen), the Middle Eastern/Arabic music of his childhood (Marcel Khalife, Oum Khaltoum), and from the west: early Joan Baez and elements of free jazz. Once you come to terms with his voice - a glorious, effortful glissading din with stuttering vibrato - lyrically you'll find an oddly surreal, socialist-utopian world with strands of Emile Zola, A. B. Yehoshua, Yaakov Shavtai, Andre Breton, Noam Chomsky, Howard Zinn, and Stephen J. Gould. The making of Fabric Cordial was a two-year adventure, written in small German towns, cities of The Levant & the inner west of Sydney. It sees Bud Petal create an idiosyncratic world of sounds and stories. Folk songs dressed in screeching sax, freeform guitars, makeshift choirs, droning e-bows & Bud's ever-strained but mesmerizing voice. Deluxe CD and booklet; limited edition.
CRYPT TRIP - Haze County (Heavy Psych Sounds 094; Italy) Crypt Trip returns! Following their last album Rootstock (HPS 079CD/LP/LTD-LP, 2018), the Texas rockers are delivering more cosmic American sounds straight to your ears, mind, and soul. Their new album, Haze County, sonically and lyrically explores the complexities of space and time and then brings you back down to the very Earth you're made of. Nine new songs make up the band's most focused and organic effort to date. Mixing elements of hard rock, psychedelic, and rural music, each track is unique and has something different to say. Loud Fender amps and a pounding rhythm section immerse you in an enticing groove on some tracks, while dreamy guitars take you away in others. Staying true to a Texas tradition, the album features a special guest, Geoff Queen, on pedal steel, adding an entirely different color to the tonal palette. Haze County was recorded and mixed by James Campbell at Cibolo Studios in San Antonio, Texas. It was mastered by Jerry Tubb at Terra Nova Digital Audio in Austin, Texas. High quality analog equipment was used at every stage of production for the best possible "vintage" sound. For fans of: The James Gang, Epitaph, The Byrds, Humble Pie, Allman Brothers Band, Bubble Puppy, Homer, Jericho Jones, Flying Burrito Brothers, Waylon Jennings, Led Zep and Grateful Dead.
SPECTRAL WOUND - Infernal Decadence (Vendetta Records 154; Germany) “Infernal Decadence is the second album by Spectral Wound from Canada. "Spectral Wound play a voracious take on Black Metal. One that is seeped in atmosphere without the heavy use of keyboards or operatic elements. Their initial sonic declaration is grim, evil and drenched in unrefined disgust for our world. But even with their heavy leaning towards the Finnish style of Black Metal, they've managed to take it and twist out their own take and identity, a fact that comes into play the further one delves into this release." --cvltnation
Historic & Archival Recordings & Reissues & Restocked Items:
BERNARD XOLOTL - Last Wave (Bureau B 314; Germany) Bureau B presents a reissue of Bernard Xolotl's fifth album Last Wave, originally released only on cassette in 1982. This is French electronic music from California. He named himself after the Aztec god of lightning and death; his music is influenced by the Berlin school of electronic music. As a teen, Xolotl (b. 1951) was introduced to electronic music through the works of Musique Concrete composers like Pierre Henry and Pierre Schaeffer, although he found the early recordings of Pink Floyd to be more inspirational. During the early 1970s, Xolotl began creating music of his own, working in studios across Europe and the US before settling in California in 1974, where he built his own studio. Between 1978 and 1981, he recorded four solo cassette albums. On Last Wave, Xolotl expanded his musical palette with new instruments such as the Yamaha CS60 and the PPG. Includes previously unissued bonus track.
Xolotl on the process of Last Wave: "The first Last Wave I started while still living in San Francisco, a simple and longish piece which could be used as a background for the concerts I was giving with Daniel Kobialka and Richard Horowitz. However, after I moved to the residential suburb of Marin to build up my studio, I kept adding tracks to it so it just became part of my next album. This was going to have more instruments; I got to do everything myself, playing and recording one track at a time. But mixing there was still out of the question; I had to wait for the right opportunity to use a San Francisco studio with the best reverb and acoustics. This took several years in the end and was the last album I didn't mix at home. It was also the last 'analog' album and the 'last' of many other 'things' which made the title very significant in my life."
BLOSSOM TOES - If Only For A Moment (Sunbeam 1021; UK) Sunbeam Records present the first official reissue of Blossom Toes' If Only For A Moment, originally released in 1969. Two years after their brilliant popsike debut, 1967's We Are Ever So Clean, Blossom Toes unleashed this extraordinary fusion of acid rock and prog, emphasizing how far they'd come since "the summer of love". Characterized by complex song structures and memorable guitar solos, and featuring a guest appearance on sitar from US folkie Shawn Philips, the album has gone on to become a major cult favorite. Heavily bootlegged over the years, this is its first official reissue. Produced with the band's full involvement, it comes with seven bonus tracks, encompassing non-LP singles, demos, out-takes and live performances, as well as a12-page, full-color booklet incorporating many rare photographs and a comprehensive band history, as well as an introduction from the band's leader, Brian Godding.
"Bears the influence of heavy California psychedelia and Captain Beefheart in its intricate, interwoven guitar lines and occasional gruff dissonance, leavened by close harmonies and sparkling guitar interplay." - Richie Unterberger, All Music
THELONIOUS MONK QUARTET With CHARLIE ROUSE / MARTIAL SOLAL TRIO with OSCAR PETTIFORD / KENNY CLARKE - Live In Berlin 1961/Live In Essen 1959 (Jazzline/PÖ 77009; Germany) Live In Berlin 1961/Live In Essen 1959 by Thelonious Monk Quartet/Martial Solal Trio, is original master concert recordings from the 22nd of May, 1961 at Deutsche Jazz Salon, Berlin, and April 18th, 1959 at Grugahalle, Essen. Both sessions were retrospectively released for the first time in 2012. This is release is another in WDR's The Cologne Broadcasts series, produced by Rolf-Dieter Weyer, Manfred Niehaus, and Franz-Josef Schwarz and mastered by Thomas Sehringer. Both formats include musician and composer credits, plus liner notes by journalist and radio host Karsten Mützelfeldt in English and German. Personnel: Thelonious Monk Quartet: Thelonious Monk - piano; Charlie Rouse - tenor saxophone; John Ore - bass; Frankie Dunlop - drums. Martial Solal Trio: Martial Solal - piano; Oscar Pettiford - bass; Kenny Clarke - drums; Lucky Thompson - soprano saxophone ("The World Awakes" and "Yesterdays"). In slipcase with eight-page booklet.
THE MODERN JAZZ QUARTET - 1959 Bonn, Beethovenhalle (Jazzline/PÖ 77001; Germany) The Modern Jazz Quartet's 1959 Bonn, Beethovenhalle is an original master concert recording from the Beethovenhalle, in Bonn, Germany, previously retrospectively released for the first time in 2010. A release in WDR's The Cologne Broadcasts series, it was executively produced by Franz-Josef Schwarz and mastered by Thomas Sehringer. Both formats include musician and composer credits, plus liner notes by journalist and radio host Karsten Mützelfeldt in English and German. The Modern Jazz Quartet (MJQ) was a jazz combo established in 1952 that played music influenced by classical, cool jazz, blues, and bebop. For most of its history the Quartet consisted of John Lewis (piano), Milt Jackson (vibraphone), Percy Heath (double bass), and Connie Kay (drums). The group grew out of the rhythm section of Dizzy Gillespie's big band from 1946 to 1948, which consisted of Lewis and Jackson along with bassist Ray Brown and drummer Kenny Clarke. Slipcase with four-page booklet.
STAN GETZ QUARTET With JAN JOHANSSON / RAY BROWN / ED THIGPEN - Live in Dusseldorf 1960 (Jazzline/PÖ 77016; Germany) Live In Dusseldorf 1960 by the Stan Getz Quartet is an original master concert recording from March 28th, 1960, recorded at the Rheinhalle in Düsseldorf, Germany. Previously unreleased, it was retrospectively released for the first time in 2014. Another release in WDR's The Cologne Broadcasts series, it was executively produced by Franz-Josef Schwarz and mastered by Dirk Franken. The current release includes musician credits and liner notes by journalist and radio host Karsten Mützelfeldt in English and German. Stan Getz, born Stanley Gayetski (February 2, 1927-June 6, 1991) was an American jazz saxophonist. Playing primarily the tenor saxophone, Getz was known as "The Sound" because of his warm, lyrical tone, his prime influence being the wispy, mellow timbre of his idol, Lester Young. Coming to prominence in the late 1940s with Woody Herman's big band, Getz is described by critic Scott Yanow as "one of the all-time great tenor saxophonists." Personnel: Stan Getz - tenor saxophone; Ray Brown - bass; Ed Thigpen - drums; Jan Johansson - piano. In slipcase with eight-page booklet.
THE DAVE BRUBECK QUARTET - 1960 Essen, Grugahalle (Jazzline/PÖ 77003; Germany)
1960 Essen, Grugahalle by The Dave Brubeck Quartet is an original master concert recording from the 2nd of April, 1960 at the Grugahall, Essen. It was retrospectively released for the first time in 2010. Another release in WDR's The Cologne Broadcasts series, it was executively produced by Manfred Niehaus and mastered by Thomas Sehringer. Both formats include musician and composer credits, plus liner notes by journalist and radio host Karsten Mützelfeldt in English and German. Personnel: Dave Brubeck - piano; Paul Desmond - alto sax; Eugene Wright - bass; Joe Morello - drums. In slipcase with four-page booklet.
THE 39 CLOCKS - Next Dimension Transfer (Tapete 405; Germany) The 39 Clocks are one of the most magnificent bands ever to have emerged from Germany; Diedrich Diederichsen, German pop boffin, considers them to be the nation's best band of the 1980s. The legendary duo from Hanover broke every rule in the music business, without exception. And -- above all -- with attitude. They are elusive, incapable of being categorized, unless the category is a little bit weird. Their real names have been eradicated ("never had one" -- Clocks), replaced by cryptic initials (CH-39, JG-39), less than randomly reminiscent of molecular chains like LSD-25. The weirdness is reflected in their music: sizzling irradiated, repetitive. The outrageous rumors surrounding the duo are the stuff of legend: strung-out live performances with vacuum cleaners instead of guitars, frequently facing a throng of concertgoers with a tendency to boo, flee the venue or threaten them with physical violence. The Clocks project really began to take shape in 1979 when they turned away from punk and created "psycho beat", positioning themselves as the antithesis of the emerging NDW/German New Wave movement. Their music is a futuristic, definitively urban, evolution of American garage punk from the 1960s. Their stylistic modus operandi: expressionless voice, English lyrics with an intentionally heavy German accent, dirty sound, cool monochrome image. Those lacking in imagination might identify touches of the Velvet Underground and stop right there, but many other influences were also at work: from Salvador Dali via the Troggs, Suicide, Peter Handke's Offending The Audience (1966), Antoine to Tiny Tim, Kurt Schwitters, Can, and NEU! The Clocks themselves spoke of "at least 123" sources of inspiration. In early 1980s Germany, the 39 Clocks were, at one and the same time, a panoply of discernible influences and a singular phenomenon with a clear, inimitable sonic identity. Time and again, the 39 Clocks succeeded in pushing back the borders of experimentation a little further: barely tolerable, protracted live improvisations, atonal passages, background noises, extreme lo-fi and a tinny beatbox test the listener's receptivity to the limit. And their sonic experiments popped up in various film soundtracks and on television series, like Halt and Catch Fire in the US. The Next Dimension Transfer box set, authorized by the band, provides the ultimate overview of the Clocks' output -- a phantom of the German music underground, enshrouded in myth.
Available as a five-CD box set or a five-LP box set. Includes two regular studio albums: Pain It Dark (1981) and Subnarcotic (1982); two collections of outtakes, leftovers, and rarities (one of them renamed, edited, and updated by The 39 Clocks exclusively for this box set), plus, a previously unreleased live LP from 1981. Also includes comprehensive deluxe booklet (titled "Revelations") featuring mind-blowing new trivia and secrets; Booklet included with five-CD box set is 44-pages.
5 CD Box Set $70
LP (Mostly) Only Section:
DANIEL CARTER / WATSON JENNISON / WILLIAM PARKER / FEDERICO UGHI - Vol. 1 Erie Live! (577 Records 5797; USA) Featuring Daniel Carter on tenor & soprano saxes, clarinet, flute & keyboard, Watson Jennison on soprano sax, recorder & keyboard, William Parker on contrabass & Shakuhachi and Federico Ughi on drums. Recorded in Erie , PA in May of 2015. Daniel Carter plays here at DMG very often, occasionally monthly and with different personnel in each visit. There is an going ritual of Mr. Carter putting together his half dozen reeds & trumpet before the set and slowly, carefully putting away the half dozen instruments afterwards plus long periods of serious listening and thoughtful discussions. I truly enjoy these communal gatherings of kindred souls.
The 577 Records label has exploded over the past couple of years with some half dozen new LP & CD releases. The label is run by drummer Federico Ughi and who is on each of their dozen plus records, and often with the ubiquitous Daniel Carter as well. This quartet includes the amazing William Parker on bass, who has worked in Mr. Carter in many settings (like Other Dimensions in Music). Saxist Watson Jennison was bred in Canada, lived in NY in the late seventies and is back in Canada now. Mr. Jennison has played at DMG on occasion and worked with Todd Capp.
This is a live session captured well for an LP only release. Mr. Jennison plays electric piano when this album opens with Mr. Carter on sublime soprano sax. This is a fine, somewhat laid back quartet, the sound here warm and inviting. Mr. Ughi plays with mallets for the first long piece and sounds great, perfectly in tandem with William Parker’s well lubricated, propulsive, pumping bass. Considering that this is on vinyl, sound is even better than expected. Side one ends with a somber, ritualistic piece for shakuhachi, flute and quiet mallet work. Things pick up on “Smoke: as both saxes start swirling together, tenor & soprano saxes reaching out together. The quartet ascends, the energy rising higher throughout the last long piece, “Live!”. The pulse increases throughout this piece and sounds like it is on the verge of exploding to smithereens.
LP $20 [LP only / LTD Edition]
FEDERICO UGHI With RACHEL MUSSON / ADAM LANE - Transoceanico (577 Records 5800; USA) Featuring Rachel Mussen on tenor sax, Adam Lane on bass and Federico Ughi on drums. Recorded at Wombat Studio in Brooklyn in March of 2016. Brooklyn-based drummer & 577 Records label head, Federico Ughi, moved from his native Italy to the UK, where he lived for a few years. Mr. Ughi’s first recordings were for the UK-based Slam Records label. One of those early discs was a collection of percussion & reeds duos, which included a duo with Rachel Musson on tenor sax. Ms. Musson has since worked in a quartet with Olie Brice, John Edwards & Mark Sanders and more recently in a trio with Steve Beresford & Michael Caratti. Adam Lane has long been one of the best bassists from Brooklyn, hang worked with all kinds of greats: Ken Vandermark, Avram Fefer, John Tchicai, as well as leading several of his own great bands.
This is an intense, focused, well-balanced tenor sax fronted trio with strong support from the massive rhythm team. The balance between all there musicians is superb, they all all integral to the tight, flowing united group sound. Side Two opens with “Emergency Exit”, in which Mr. Lane’s masterful bass is at the center of the storm as the intense winds whip the frenzy around him. On the title track, the trio simmers, the vibe is cerebral, rather dream-like, the centrifugal force building, spinning, slowly erupting. The production here is consistently splendid, warm, all acoustic, more like those older analogue dates from the sixties or early seventies. Mr. Ughi, who runs this label and appears on most if not all of their releases is an incredible drummer and is clearly at his best throughout this date. He keeps the energy and spiritual essence at its height. Although this date is often rather laid-back at times, the inner flame burns bright at the center. It is difficult to capture that organic, hypnotic quality but this trio and date do it just right. - Bruce Lee Gallanter, D
OLMSLICE With BRADFORD REED / JANE LeCROY / DANIEL CARTER / JOSH MATTHEWS - Conduit (Imaginator 003; USA) Olmslice features Bradford Reed on drums played through modular synth, Jane LeCroy on voice & poetry, Josh Matthews on drums plus guests Daniel Carter on trumpet and Bill Bronson on guitar (1 track). I recall Downtown instrument-maker, Bradford Reed, from the eighties and nineties when he was a member of Shimmy Disc stars King Missle plus the playing his unique home-made pencilina (instrument). I haven’t seen or heard of Mr. Reed since then. This past Sunday (3/24/19), Austrian guitarist, Martin Philadelphy, put together an odd yet winning quartet with Mr. Reed on his pencilina, plus spoken word vocalist Jane LeCroy and Rich Hawkins (former Live Skull drummer), on assorted bells. The called the quartet Olmslice which is mostly the same folks on this album released in 2017. I found Ms. LeCroy’s free-flowing, spoken word performance to be consistently humorous and worthy of reflection. I wasn’t sure the way things would translate on this record. It is always great to see & hear the participation of the ubiquitous horn-man, Daniel Carter, who is on three tracks here. “I wish I had a rocket ship, I wish I had mushrooms, Iwant to get away, I want to get away!” (speak/sings Ms. LeCroy). So do I, let’s get away from this current mess. The instrumentation of synth, drums and voice, bathed in selective shimmering echoes, reminds me of Gong at times. A space/ritualistic music blend. Josh Matthews’ hypnotic drumming is at the center of much of this music, spinning up a a mesmerizing web, groove. Ms. LeCroy’s words & observations also sound like a blend of Gilli Smythe’s space vocals with some Sun Ra-like twisted sense word salad construction. The music is often shaped by Bradford Reed’s synth playing which is more musical and never too far out to alienate those who can’t deal with more extreme electronic sounds. This album is one those under-recognized gems that find their way to bowels of Chinatown, here at DMG’s museum of musical wonders. - Bruce Lee Gallanter, DMG
LUC FERRARI - Music Promenade/Unheimlich Schon (Recollection GRM 022; Austria) "Music Promenade" (1964-1969): Electroacoustic Music, world premiere for the Théâtre de la musique, March 16, 1970 "Hétéro-Concert". Permanent version for four stand-alone tape recorders. A series of colliding realistic sounds and sonic images. Whilst walking, a man is struck by the violence of his surroundings. Nature has disappeared in a whirlwind of warfare and industry in the midst of which he encounters a dying folklore and a lost young girl. The "Installation" version is used to sonify a place in which walkers are free to choose their musical itinerary. "Unheimlich Schön" (1971): Musique concrète made in 1971 in the studios of the Südwestfunk in Baden-Baden. Voice: Ilse Mengel. "How does a young woman breathe when thinking about something else?" To be listened to at a low volume.
JOHN COLTRANE With WYNTON KELLY / PAUL CHAMBERS / JIMMY COBB - Live At The Apollo Theater, Dusseldorf, Germany, March 18th, 1960 (Wax Love WLV 82109; Italy) Recorded by the German WDR radio at the Apollo Theater in Düsseldorf on Monday, March 18, 1960 this session documents a precise step in John Coltrane's career. While on tour in Europe with the Miles Davis Quintet, the young but already mature tenor saxophonist took the chance to lead a quartet session with the Davis rhythm section, a hard-swinging combo with pianist Wynton Kelly, bassist extraordinaire Paul Chambers, and drummer Jimmy Cobb. This is very fine set based on a bunch of well selected standards, among them "On Green Dolphin Street", Miles Davis's "Walkin'", and a deep ballad medley including "Yesterdays", "Autumn Leaves", "What's New", and "Moonlight In Vermont".
JESSE SHARPS QUINTET & PAN AFRIKAN PEOPLES ORCHESTRA - Sharps And Flats (OuterNational 004; UK) Issued on vinyl for the first time, Outernational Sounds presents a monumental spirit music document from the Los Angeles underground - Jesse Sharp's slept-on deep jazz classic Sharps And Flats. "He became the Ark leader -- he was hardcore. They'd all be quiet and listen to him when he talked" --Horace Tapscott, on Jesse Sharps. You could be forgiven for not knowing how important saxophonist, bandleader, and composer Jesse Sharps is. After all, the only album to come out under his name, Sharps And Flats, was recorded in 1985, and wasn't issued on CD until 2004. But despite this seemingly small recorded footprint, Jesse Sharps is a major figure in the history of jazz music in Los Angeles. As the bandleader for Horace Tapscott's Pan-Afrikan People's Arkestra (P.A.P.A.) -- the Marshall Allen to Tapscott's Sun Ra -- he led Tapscott's seminal music community through its most cohesive phase. And, after a hiatus living in Europe, his return to Los Angeles in the 2000s saw him build a new group, The Gathering, which linked original heads including acclaimed singer Dwight Trible and legendary trombonist Phil Ranelin with a new generation of LA jazz voices, including none other than Kamasi Washington. Sharps has been around, and he's made an indelible mark. At college, Sharps studied under Cecil Taylor. When he came back to LA he rejoined the Arkestra on flute and reeds, and eventually took over band-leading duties from the great altoist Arthur Blythe. Trusted completely by Tapscott, as bandleader Sharps turned the Arkestra into a well-drilled unit. This was the time of the classic P.A.P.A. recordings, 1978's Flight 17 (OTR 010LP), Live at I.U.C.C. (1979), and The Call (1978), and Sharps also wrote for the band. The funky, deep spirituality of compositions like "Desert Fairy Princess", "Macramé", and "Peyote Song III" has made his tunes among most celebrated in the whole P.A.P.A. catalog. Sharps And Flats was recorded in 1985 for Tom Albach's legendary Nimbus West imprint, a label Albach had founded specifically to document the work of Horace Tapscott and his circle. Featuring a quintet of P.A.P.A. regulars at the height of their game, Sharps And Flats is one of the great lost Nimbus sessions -- it lay unissued until 2004, and never saw a vinyl press. A lost classic of the LA underground, on wax at last!
“Jesse's quintet features Nate Morgan on piano, Jesse Sharps on reeds, Steve Smith on trumpet, Joel Ector on bass and Carl Burnett on drums. The Pan Afrikan Peoples Arkestra was led by legendary LA pianist, bandleader and teacher, Horace Tapscott and here they are a nine piece band with Sabir Mateen, Billie Harris and Jesse Sharps on saxes and Horace on piano. The quintet session was done in a studio in 1985 and Tapscott is a guest on two pieces. The Arkestra piece is 16 1/2 minutes long and was recorded live at Immanuel United Church in 1979. Like many of the (non-Tapscott led) Nimbus releases, the modal spirit of McCoy Tyner is at the center of this music. Pianist Nate Morgan, who also has a CD out on Nimbus, has an enchanting McCoy-like touch. Jesse plays some exquisite soprano sax in the Trane-like mode, just more laid back and lovely. Tapscott's "Carnival" has an island groove with Jesse playing some festive flute and Horace getting a steel drum-like sound on piano. The final long, live work is called McKowsky's First Fifth" and features some fine piano from Tapscott throughout the entire piece, a superb flute solo from Adele Sebastian and a strong bass solo from Alan Hines. This nifty little jewel, is a must for the Horace Tapscott completist, as well as anyone who digs those great McCoy like spiritual sides from the seventies.”
2 LP Set $30
CREATIVE ARTS ENSEMBLE With GARY BIAS / GEORGE BOHANNON / HENRY FRANKLIN / SUNSHIP THEUS - One Step Out (OuterNational Sounds 005; UK) “Outernational Sounds presents a Nimbus West spirit jazz essential: the Creative Arts Ensemble's classic debut One Step Out. This release features all tracks at full length for the first time on wax. One of the most sought after and highly-regarded titles to have appeared on Tom Albach's celebrated Nimbus West imprint, One Step Out is a timeless work of spiritualized jazz. A true gem from the Los Angeles jazz underground, the album was pianist and composer Kaeef Ruzadun Ali's first recording as leader of the Creative Arts Ensemble, the only large ensemble group that emerged directly from Horace Tapscott's legendary Pan Afrikan Peoples Arkestra community jazz group. A Los Angeles native, Kaeef was introduced to the Tapscott circle in the late 1970s. His first experience of the Arkestra's ethos was through PAPA tenorist Michael Session, who took him to the famous "Great House" at 2412 South Western Ave., LA -- a large mansion house which members of the Arkestra had taken over as a space for communal living. Life in the Great House was a continuous stream of music, dance and community events. "When I walked in there," recalled Kaeef, "it was like this whole rush came over me, just from going in the front door -- It was like a very, very warm feeling of love. I went and I came out with 'Flashback Of Time', and that was my first arrangement." Kaeef quickly became a significant contributor of compositions to the Arkestra's songbook - his piece "New Horizon" would be recorded by Horace Tapscott for the latter's Tapscott Sessions series. But "Flashback Of Time" would eventually appear on One Step Out, played by the new group he had put together from stalwart Arkestra members. Inspired by both Tapscott's example and by the Art Ensemble of Chicago, Kaeef had wanted to follow their lead by assembling a larger unit. Featuring seasoned Arkestra regulars including reedsman Dadisi Komolafe, drummer Woody "Sonship" Theus and altoist Gary Bias, with veterans Henry "The Skipper" Franklin on bass and George Bohannon on trombone, One Step Out is a key document of the Los Angeles radical jazz underground. Featuring the sanctified vocals of Kaeef's sister, B. J. Crowley, the album is a tour de force of spiritually energized independent jazz music. On vinyl for the first time since 1981. 180 gram vinyl, mastered at 45rpm for enhanced sound; Fully licensed from Tom Albach.”
Featuring Kaeef Ruzadun on piano & compositions, Shaleethia B.J. Crowley on vocals, Wilbert "Jiggs" Helmsley on tenor sax, Gary Bias on alto & soprano saxes, Jeff Clayton on bari sax, Dadesi Komolafe on flute, George Bohannon on trombone, Al White on trumpet, Henry Franklin on bass and Sunship Theus on drums. Like another Nimbus artist, pianist Kaeef Ruzadun also encouraged and inspired by Horace Tapscott. And like the great pianist & bandleaders, Horace Tapscott and Sun Ra, Kaeef's great ten piece band embraces the history of jazz. The title piece is a powerful work which features the enchanting vocals of Shaleethia Crowley, the great McCoy-like piano of Kaeef and the tight, rambunctious playing of this superb little big band. The only players I am familiar with here are the rhythm team of Henry Franklin on bass and Woody "Sunship" Theus, who once played with in John McLaughlin's Electric Dreams band. The rhythm section play excitingly throughout and Kaeef's writing for the six horns is also a thing of great beauty and passion. Solos are kept relatively short, but no less engaging, especially George Bohannon's trombone, Jeff Clayton's bari sax and Jiggs Helmsley on tenor sax. Mr. Ruzadun's short snippets of lyrics and overall vibe is that of spiritual concerns and it all feels just right. In a blindfold test one might have pegged this for a long lost McCoy Tyner large group session from the early 70's, it is just as good! - BLG/DMG
2 LP Set $30
SHANKAR JAIKISHAN - Raga Jazz Style (Outernational Sounds 001; UK) Never before reissued, this legendary 1968 EMI recording is a revered Indian jazz rarity; a collectors' holy grail. Raga Jazz Style is an original Indian excursion into Indo-jazz fusion. A one-away recording from the almost unknown Bombay jazz scene, it is among the few jazz LPs to hail from the subcontinent. Closely contemporary with the UK-based explorations of Amancio D'Silva, John Mayer, and Joe Harriott, Raga Jazz Style takes the melodic, scale-based raga system of Indian classical music and marries it with a swinging jazz rhythm section assembled by Bollywood's most highly acclaimed musical directors, the soundtrack composing duo Shankar Singh and Jaikishan Panchal. Singh and Panchal were a dominant force in Hindi film music from the late 1940s onwards. Shankar had been trained in classical tabla, while Jaikishan was an expert harmonium player. They worked together on well over a hundred films, and their innovative compositions and orchestral scoring revolutionized the music of the nascent Bollywood industry. Central to their sound was regular collaborator Sebastian D'Souza. Originally from Goa, D'Souza had cut his teeth in the dance-band era, arranging and playing with his uncle's jazz bands in Lahore and Quetta. After Partition, he had moved to Bombay to follow the reliable work provided by the film industry, where Goan musicians had become the mainstay of Bollywood's film studio orchestras. Goans were also the core of Bombay's thriving dance-hall and hotel-based jazz scene, with artists including saxophonist Braz Gonsalves, guitarist Amancio D'Silva and trumpeter Chic Chocolate all working in the city during the post-war years. The team assembled for Raga Jazz Style were drawn from this inventive and forward-thinking milieu. Pianist Lucilla Pacheco, saxophonist Manohari Singh, and guitarist Anibal Castro were all fixtures on the Bombay jazz circuit, while drummer Leslie Godinho is reputed to have taught Joe Morello the 5/4 "Take Five" beat when they jammed together during Dave Brubeck's State Department tour of India. To this jazz backbone was added the sitar of Ustad Rais Khan, scion of long line of classical instrumentalists, and nephew of the renowned sitarist Ustad Vilayat Khan. Bombay's jazz modernists had been experimenting with the fusion of ragas and jazz since the 1950s, long before American or British jazz musicians had tuned in to Indian classical music. But very little of this exciting scene was ever captured on record. Reissued using the original masters. Facsimile artwork; 180 gram vinyl pressed at Pallas, in Germany.”
JEFF RESNICK - SAC (OutNational Sounds 002; UK) Outernational Sounds present a reissue of Jeff Resnick's SAC ("School Of American Craftsman"), originally released in 1978. Organically funky, laced with avant-garde synth textures, and studded with breakbeats, the second release on Outernational Sounds is Jeff Resnick's unique, ultra-rare, 1978 promotional recording for the School for American Craftsmen, at the Rochester Institute of Technology. Five tracks of soul jazz and modal fusion -- re-modeling Trane, and opening with a variation of "Norwegian Wood" -- by a local group including trumpeter Jeff Tyzik and pianist Sonny Kompanek; then Resnick mostly solo for the second side, when the money ran out, multi-tracking synthesizers on his home set-up, in an engrossing blend of reflective abstraction, grooving electro and spiritualized fourth-world tropicalism.
DEBEN BHATTACHARYA - Music On The Desert Road (Fantome Phongoraphique 1014; Italy) Fantôme Phonographique present a reissue of Deben Bhattacharya's Music On The Desert Road, originally released in 1957. The late Deben Bhattacharya was a noted Bengali record producer, ethnomusicologist, poet, documentarian, radio producer, and all-around renaissance man. Having moved from Northern India to London as a young man, Bhattacharya began working for the BBC as a radio producer. In 1955, having worked all possible angles to securing funding Bhattacharya traveled to India to record musicians. The success of this trip allowed him to travel again soon after to the countries of the Middle East. With recordings from Turkey, Syria, Jordan, Iraq, Iran, and Afghanistan, as well as India and Pakistan, this LP is one of the best and earliest documents of the diverse and rich musical traditions of the Middle East. Subtitled "A Sound Travelogue by Deben Bhattacharya", Music On The Desert Road is exactly that, a beautiful and flowing document of the region's sound. 425 gram sleeve; hand-numbered sticker.”
JEAN RITCHIE - Singing The Traditional Songs Of Her Kentucky Mountain Family (Fantome Phongraphique 1019; Italy) Fantôme Phonographique present a reissue of Jean Ritchie Singing The Traditional Songs Of Her Kentucky Mountain Family, originally released as a 10" in 1952. In the world of American folk music, Jean Ritchie was a truly unique presence. Most of the younger artists of the folk revival of the '50s and '60s were middle class urbanites and liberal arts college students who helped "rediscover" the older traditional artists of the South. Though these two groups intermingled at concerts and the younger artists idolized the "true" folk artists, Jean Ritchie was an anomaly in that she fit equally in each crowd. Born in Viper, Kentucky in 1922, Jean was born into The Ritchies of Perry County, who were considered one of the two great ballad-singing families of Kentucky celebrated among folk song scholars. The youngest of 14 children, Jean had Appalachian folk music in her blood, learning dozens of songs at a very early age from her parents and siblings. By college she was a master of traditional song and it was there that she met Alan Lomax who brought her to New York where she quickly began performing and mingling with Woody Guthrie, Pete Seeger, and the like. Though she would appear on Library of Congress compilations and various other Lomax related recordings, this 1952 release is her first proper album and you will not find a more beautiful example of traditional Appalachian dulcimer and folk singing than Jean Ritchie Singing The Traditional Songs Of Her Kentucky Mountain Family. Another essential piece of obscure Americana to have new life breathed into it by Fantôme Phonographique. 425 gram sleeve; hand-numbered sticker.”
DUSTIN LAURENZI - Snaketime: The Music of Moondog (Feeding Tube Rercords 430; USA) Chicago saxophonist Dustin Laurenzi, a touring member of Justin Vernon's Bon Iver and one-third of the inventive Chicago improvising collective Twin Talk, first encountered the music of Moondog a decade ago, while studying at Indiana University. "Initially, I liked the quirkiness of the music and the lore surrounding him," he says. "I had always thought that there was potential for the music to be reimagined in a more improvised context, but it took a long time for that to actually happen," explains Laurenzi. In fact, it wasn't until a couple of years ago that he formed a versatile octet designed to interpret and expand on those sounds. "I started listening to more of his music and I became really obsessed with it, especially a lot of the rounds on his 1971 record Moondog 2. That music is really meticulous contrapuntally and rhythmically, but also super catchy and groovy." Several of the pieces featured on that octet's riveting debut Snaketime: The Music of Moondog, including "Nero's Expedition", "Lament I", "Bird's Lament", and "Down is Up" utilize rounds, or perpetual canons. Laurenzi assembled a dazzling group of Chicago improvisers for the group, and his inventive arrangements of the material created various paths for each musician to extrapolate on the source material, whether through the extended passage bass clarinetist Jason Stein takes on the opening track "Nero's Expedition" over the polyrhythmic groove meted out by percussionists Ryan Packard and Quin Kirchner and bassist Matt Ulery before the rest of the ensemble chimes in, or the way the leader's imploring, powerfully sobbing tenor solo cleaves the cycling melody and practically silences his bandmates before they gently reenter. "Fiesta Piano Solo" deftly expands on the original solo piano work, engaging each horn player to contribute to a buoyantly infectious round robin party, where each statement lifts and inspires the next. The album was recorded live at Chicago's Hungry Brain in January of 2018, but Laurenzi didn't expect to release the music until he listened back later. The ensemble -- which also includes guitarist Dave Miller, trumpeter Chad McCullough, and alto saxophonist Nick Mazzarella -- was carefully assembled: a mixture of players Laurenzi had worked with or had desired to. There's an inescapably human, idiosyncratic vibe to the album, coursing with raw emotion and fragile beauty that both honors the distinctive spirit of Moondog and creates something utterly fresh at the same time. Edition of 500.
LETHA RODMAN MELCHIOR - Mare Australe (Feeding Tube Records 432; USA) "Another brilliant posthumous album by Letha Rodman Melchior. Letha's music, as her visual art, was a great collaged pile of extreme strangeness, with seemingly irreconcilable objects butting heads in ways that end up making great sense. I met Letha a long time ago, when she was in Cell, but I had not much idea of her work beyond that until she had moved to North Carolina and I started hearing her health was bad. Siltbreeze put out an amazing album called Handbook for Mortals (2013), and it was essential listening. Letha managed to create very very warped music without making it off-putting. Although her sonics were whacked as hell, they were created with such a warm and gooey center that even people who'd usually shy away from such things, would ask what was playing when we floated the album through the store's stereo system. Siltbreeze followed up with the ungodly brilliant, Shimmering Ghost (2015), after cancer claimed another genius, and we were stunned when Dan Melchior offered us the chance to do this LP. Letha Rodman Melchior was a truly singular artist. And it is with great pride that Feeding Tube presents another chapter of her largely undocumented saga." --Byron Coley, 2019
MAXINE FUNKE - Home Fi (Feeding Tube Records 434; USA) "Vinylization of the recent Home Fi cassette (originally released on the Australian Brierfirld Flood Press label) by this magnificent New Zealand singer/songwriter. We were never able to score a copy of the tape, despite the fact we released Maxine's last LP, Silk (FTR 410LP), so we figured we would perform the public service of making it generally available to the whole wide world. That's just the kind of guys we are! Recorded in stark and simple terms, Home Fi represents Ms. Funke working mostly with just acoustic guitar accompaniment. And it's a classic. Most often, I'm put in mind of the Dandelion era recordings of Britain's Bridget St. John. There's a plainspoken quality to the songs and an equally straight forward approach to the musical bits that may not be indicative of the scope of Maxine's musical art (which has lots of space for odd noises and techniques), but it sounds just gorgeous. Hard to imagine anyone who actually likes music not falling for the sound of Home Fi. But hey, there's a clown born every minute. Not you of course. But look around sometime." --Byron Coley, 2019 Edition of 400.
Bruce Lee Gallanter’s Recommended Gig List for February of 2019:
THE NEW STONE
Is Located at the New School’s Glass Box Theatre
55 West 13th street - just east of 6th ave
The Stone will be closed between 3/16 & 3/26
THE STONE RESIDENCIES - PETER APFELBAUM - MAR 26–MAR 30
8:30 pm - Peter Apfelbaum & Sparkler - Peter Apfelbaum (keyboards, sax, vocals) Natalie Cressman (trombone, bass, vocals) Jill Ryan (sax, flute, vocals) Kyle Sanna (synth, electronics) Charlie Ferguson (drums, sampler)
8:30 pm - Peter Apfelbaum & the New York Hieroglyphics: Peter Apfelbaum (sax, piano, percussion) Peck Allmond (trumpet, reeds) Natalie Cressman (trombone) Jessica Jones (tenor sax) Tony Jones (tenor sax) Norbert Stachel (baritone sax/flute) Charlie Burnham (violin) David Phelps (guitar) Viva De Concini (guitar/percussion) Brad Jones (bass) Aaron Johnston
THE STONE RESIDENCIES - PAOLA PRESTINI - APR 2–6
8:30 pm - VOCAL WORKS AND SONTAG WORDS - Liv Redpath (voice) Amanda Gookin (cello) Robert Fleitz (piano) - Featuring soprano Liv Redpath in several vocal works, from Body Maps to The Hubble Songs, and cellist Amanda Gookin in a new work for cello electronics entitled “To Tell a Story” based on truths, secrets, and fragments of the Susan Sontag talk on storytelling. Composer Spotlight: new work for Amanda Gookin by Nathalie Joachim.
8:30 pm - SOLOS AND DUOS - Francesca de Pasquale (violin) Ian Rosenbaum (percussion, vines, marimba) Jonah Sirota (viola) Jeffrey Zeigler (cello)
Solos for violin, viola, cello and percussion. Including violinist Francesca de Pasquale in Oceanic Fantasy, percussionist Ian Rosenbaum in Night Song (for marimba) and Last Hymn (for vibes), violist Jonah Sirota in Vento e Sole, and cellist Jeffrey Zeigler in From the Bones to the Fossils. Ian Rosenbaum and Jeffrey Zeigler collaborate in Listen, Quiet. Composer Spotlight: World premiere for Ian Rosenbaum by Andy Akiho.
8:30 pm - FOLEY OPERA AND OTHER VOCAL WORLDS - Eve Gigliotti (voice) Gyan Riley (guitar) Jeffrey Zeigler (cello) Sxip Shirey (live foley) Laura Krumm (voice) Robert Fleitz (piano); An evening exploring choral and foley work for the new opera — “Stellet Licht” —that will be workshopped at Banff Opera in the 21st Century this summer. Featuring the Os Vocal Ensemble. The complete Yoani Songs based on the life of the Cuban blogger Yoani Sanchez will also be performed, featuring mezzo soprano Eve Gigliotti, Gyan Riley and cellist Jeffrey Zeigler. Words for both works by Royce Vavrek. Composer Spotlight: new work by Eve O'Donnell.
8:30 pm - WORKS FOR VIOLIN FEATURING REBECCA FISCHER (violin) Featuring House of Solitude, the identity concerto for violin and electronics, and For Becca, violin solo performed by Rebecca Fischer. Composer Spotlight: world premiere by Matthew Fuerst.
8:30 pm - NELSON PATTON - Dave Nelson (trombone, electronics) Marlon Patton (drums, moog bass); A new work for trombone and electronics with trombonist Dave Nelson of the duo Nelson Patton. Composers Spotlight :Nelson Patton in new works composed for trombone, drum set and electronics by the duo.
ONE NIGHT ONLY! TUESDAY APRIL 9TH
AN EVENING WITH LAUNEDDAS MASTER LUIGI LAI
DISCUSSION AT 8PM-CONCERT AT 8:30! - Luigi Lai is an Italian musician from Sardinia and is the living heir of the school of Sarrabus players of the launeddas, a Sardinian woodwind instrument that dates back to 8th century. Consisting of three pipes the launeddas are played using circular breathing, with complex melismas over drones. A single song can last over an hour. The music of the launeddas is some of the most primal and ritualistic music in the European tradition and The Stone is proud to present Luigi Lai in this rare NY appearance!
THE (NEW) STONE is located in The New School’s Glass Box Theatre
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.
A serious listening environment.
The Stone is booked purely on a curatorial basis
Bushwick Improvised Music Series Continues:
Monday April 1st
7pm Dave Miller – drums Daniel Rovin – tenor saxophone Austin White – bass
8pm Stephen Gauci – tenor saxophone Sandy Ewen – guitar/electronics Adam Lane – bass
9pm Henry Mermer – drums Nicky Barbato – guitar Kaelen Ghandhi – saxophones
9:45pm Colin Avery Hinton – drums Todd Neufeld – guitar Eivind Opsvik – bass
10:45pm Aaron Novik – clarinet Evan Francis – flute Matt Nelson – saxophone Michael Coleman – keyboard Vijay Anderson – drums Kurt Kotheimer – bass
11:30pm Kevin Murray – drums Darren Johnston – trumpet Eli Wallace – keyboard/electronics Kaelen Ghandhi – saxophones
Monday April 8th
7pm Colin Avery Hinton – drums Todd Neufeld – guitar Shawn Lovato – bass
8pm Stephen Gauci – tenor saxophone Sandy Ewen – guitar/electronics Adam Lane – bass
9pm Judi Silvano – vocals Bruce Arnold – guitar
9:45pm Jonathan Goldberger – guitar/electronics Jonathon Haffner – alto saxophone Dave Harrington – bass Max Jaffe – drums
10:45pm Nick Demopoulos – smomid Tinuade Oyelowo – vocals Jeremy Carlstedt – drums
11:30pm TOC Trio
Downstairs @ Bushwick Public House
1288 Myrtle Avenue , Bushwick
(Across the street from M train Central Ave stop
Jazz Habitat (at El Barrio Artspace, 215 E 99th St)
A Music Series presenting Improvised Music and more
Colin Hinton, Cat Toren, Yuma Uesaka
Dafna Naphtali, Gordon Beeferman
$10 suggested donation - closest subway : Q & 6 trains to 96th St
Please check out previous shows on our YouTube channel.
Shapeshifter April, 2019:
April 2 - Friends & Neighbors Brandon Lopez
7p: Friends & Neighbors:
André Roligheten - reeds
Thomas Johansson - trumpet
Oscar Grönberg - piano
Jon Rune Strøm - double bass
Tollef Østvang - drums
8:15p - Brandon Lopez - double bass
8:15p - The Alpine Ensemble - Emily Sgouros, Zosha Warpeha,
Sergio Tabanico, Hwansu Kang, Evan Wright, Clifford Cameron
7p Vocal group ROSA (singing traditional female folk songs from Serbia)
8:15 p Marko Djordjevic & Sveti with Justin Salisbury - piano and Evan Marien - bass
9:30 p Balkan brass band Sarma
INGRID LAUBROCK Upcoming Performances:
The Stone Series at Happy Lucky #1:
Friday, April 5th: JOANNA MATTREY / NICK DUNSTON / ERICA DICKER / INGRID LAUBROCK
Sat, April 6th: MARC HANNAFORD / ERICA DICKER / DAN PECK / TOM RAINEY / INGRID LAUBROCK - Perform the Music ANTHONY BRAXTON
Happy Lucky No. 1: 734 Nostrand Avenue, Brooklyn, NY 11216
646 623 0414 / firstname.lastname@example.org
by subway: Take 2, 4, or 5 trains to Franklin ; Take 3 train to Nostrand Ave.
Take A or C to Nostrand Ave.
ERIC’S HOUSE OF IMPROV PRESENTS
APRIL 16, 2019
MACK GOLDSBURY - SAXOPHONE
HERB ROBERTSON - TRUMPET
LOU GRASSI - DRUMS
ERIC UNSWORTH - BASS
April 20, 201
KEIR NEURINGER - SAXOPHONE
LOU GRASSI - DRUMS
SPECIAL GUEST FROM GERMANY
MICHIKO REHEARSAL STUDIOS
PERFORMANCES START AT 8 PM | ADMISSION $20
149 W. 46TH STREET, 3RD FLOOR
B, D, F, M TRAINS TO 47TH-50TH STREETS / N, Q, W TRAINS TO 49TH STREET
APRIL 23, 2019
DAVE REMPIS - SAXOPHONE
BRANDON LOPEZ - BASS
RYAN PACKARD - DRUMS
244 REHEARSAL STUDIOS
PERFORMANCES START AT 8 PM | ADMISSION $20
244 W. 54TH STREET, 10TH FLOOR
C, E TRAINS TO 50TH STREET / N, Q, R, Q TRAINS TO 57TH STREET