Inspiration of the Week is comes from
A Box of CD’s from FELA Ransome Kuti Traded in…
Nearly Every Friday, We Listen to a long disc from Fela
This Helps us to Get through the day with a Smile
Dancing in our Places, Behind the Counter and Feeling Good to be Alive!
Music has a Way of Reaching Deep into our Bodies, Souls and Minds
And Shaking us Free of our Everyday Worries and Woes..!
This Week’s Dynamic Discs Feature These Important Musicians and Composers:
Spontaneous Music Ensemble’s ‘Karyobin’! Sun Ra Arkestra’s ‘Discipline 27’ on CD! Eugene Chadbourne Lost Sessions! Joe McPhee’s Willisau Concert Reissue! Rob Mazurek! While We Still Have Bodies: Ben Gerstein/Michael Foster/Sean Ali/Flin Van Hemmen! Sandcatchers: Yoshi Fruchter/Myk Freedman/Erik Friedlander/Michael Bates..! The Dwarfs of East Agouza!
John Cage/John Tilbury Piano Quartet! Jurg Frey! Brooklyn Rider! Bruce Russell! Asmus Tietchens! Plus Archival Recordings from Suns of Arqa! Davy Graham! Klaus Schulze! Gary Bias! Flamin’ Groovies! Plus LP’s from: Two Sun Ra LP Rarities! Lou Reed! The Gun Club! Hector Zazou & Bony Biyake! Barry Adamson Pan Sonic Hafler Trio! Mary Jane Leach! Suzanne Ciani!
And a Large Michael Vatcher / Michael Moore / Ramboy Discs Sale!
THE DMG 26TH ANNIVERSARY SERIES OF SONIC CELEBRATIONS Continue with:
Sunday, November 12th:
6pm: ROBERT DICK - Rare Solo Flute Performance
7pm: GIACOMO MEREGA / ANDREW SMILEY / ELI ASHER - Electric Bass / Guitar / Trumpet
Sunday, November 19th:
6pm: TODD CAPP / SYLVAIN KASSAP / GUILLERMO GREGORIO / PATRICK HOLMES / MICHAEL LYTLE Clarinet Choir
7pm: ANDY HAAS and DON FIORINO - Sax/Electronics and Guitar
Sunday, November 26th:
6pm: FRANCOIS GRILLOT / RICH ROSENTHAL / LEONID GALAGANOV - ContraBass/Guitar/Drums
7pm: VIV CORRINGHAM and GLEN HALL - Experimental Vocals and Multi-Instruments
Sunday, December 3rd:
6pm: ANDERS NILSSON / HAMPUS OHMAN-FROLUND / SAM KULIK Scandinavian Guitar & Drums Trombone
7pm: AARON NOVIK / PATRICK HOLMES / THOMAS HEBERER - Clarinet / B-flat Clarinet / Trumpet
Rare Monday, December 4th Event:
6pm: NH / MM / GERALD CLEAVER Trio
Sunday, December 10th:
6pm: DISSIPATED FACE: DANIEL CARTER / KURT RALSKE / STEPHEN POPKIN /
MICHAEL LUBLIN / WILL DAHL / BILL MILKOWSKI
7pm: RAS MOSHE /KYOKO KITAMURA / ANDERS NILSSON
Sunday, December 17th:
6pm: ATTRACTIVE NUISANCE: CRAIG FLANAGIN & NORMANDY SHERWOOD: Modular Electronics
7pm: PRAIRIE MUFFIN: FUNG CHERN HWEI - Solo Violin!
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
John Zorn’s Masada Book Three: NOVEMBER 14 - 19 2017
MASADA at the VILLAGE VANGUARD Next Week
6 Nights & a Matinee Performance
Here’s the schedule:
tuesday November 14
GNOSTIC TRIO—2 sets
bill frisell guitar
kenny wollesen vibes
carol emanuel harp
Benjamin Shwartz keyboard, viola
Carina Lopez bass
Todd Clouser guitar
Fede Schmucler guitar
Tavo Nandayapa drums
Osito “moro” sax, flute, accordeon
Eyal Maoz - guitar
Aram Bajakian - guitar
shanir blumenkranz - bass
Kenny Grohowski - drums
matt hollenberg guitar
nick shellenberger keyboards, voice
dan kennedy bass
larry kwartowitz drums
VADIM NESELOVSKYI TRIO—early set
vadim neselovskyi piano
ronen itzik bass
dan loomis drums
BRIAN MARSELLA TRIO—late set
brian marsella piano
kim cass bass
kenny wollesen drums
BANQUET OF THE SPIRITS—2 sets
Shanir Blumenkranz - bass
Tim Keiper drums
Brian Marsella keyboards
Cyro Baptista - percussion
3pm matinee LAGE-RILEY
gyan riley - guitar
julian lage - guitar
ZION 80—2 sets
Jon Madof - guitar
Frank London - trumpet
Greg Wall - tenor sax
Jessica Lurie - bari sax
Zach Mayer - bari sax
Brian Marsella - organ
Yoshie Fruchter - guitar
Shanir Blumenkranz - bass
Evan Pazner - drums
Marlon Sobol - percussion
Cyro Baptista - percussion
special guest- John Zorn - sax
The Village Vanguard is located at
178 Seventh Ave. South (just below West 11th St. in Greenwich Village)
New York, New York, 10014 - 212-255-4037
Reserve tickets at: www.instantseats.com/index.cfmfuseaction=home.venue&VenueID=1&sid=3
Two Essential Archival Recordings from Emanem in Stock Soon:
SPONTANEOUS MUSIC ENSEMBLE With JOHN STEVENS / EVAN PARKER / DEREK BAILEY / KENNY WHEELER / DAVE HOLLAND - Karyobin 1968 (Emanem 5046; UK) The second SME record to be issued, and the first to feature their new organizational method. Long recognized as a classic of free improvisation, this reissue has far superior sound and balance than ever before, thanks to the skills of recording engineer Adam Skeaping working from the original tapes. Greatly improved reissue of Island ILPS9079, with new notes by Evan Parker, Dave Holland and Martin Davidson plus session photos. 49 minutes.
GEORGE KHAN With PETER LEMER / CHARLIE HART / TERRY DAY / et al - Ah! (Emanem 5211; UK) “George Khan could be called a forgotten pioneer of the London free music scenes, except that anyone who has heard or seen or met him could surely never forget him. A superb saxophonist and flautist, as well as one of the nicest and most laid-back people – he is capable of outputting an apparently endless stream of what is generally called Fire Music.
Meeting up with Terry Day in the mid-1960s, Khan became a member of the People Band, and since then has mostly combined his musical and theatrical talents in the People Show. On this long overdue first album featuring him playing free improvisation in small groups, he can be heard in four different settings in different London venues at various times in his career:
(1) a duo gig with Terry Day at the LMC around 1980;
(2) a quintet with Albert Kovitz, Peter Lemer, Frank Flowers and Day at an art college in 1968;
(3) A trio gig with Charlie Hart and Day at the Unity Theatre around 1975; &
(4) Two short solos on flute and baritone sax at the Red Rose around 2005;
All previously unissued.”
Legendary tenor saxist “George” Nisar Ahmad Khan has turned up on perhaps a dozen progressive/Canterbury/avant-jazz classics throughout his long career. Essential albums like: Peter Lemer Quintet ‘Local Colour’ (on ESP-1968 w/ John Surman on the other reeds), The People Band (1968 - Emanem), Battered Ornaments’ ‘Mantle-Piece’ (Harvest - 1969), Mike Westbrook’s Live 1972 (Hux), Robert Wyatt’s ‘Ruth is Stranger Than Richard’ (1975-Virgin with Gary Windo on the other tenor) and Brian Goddings’ Mirage -‘Now You See It…’ (Compendium - 1977). Considering that his career is about to hit the fifty year mark, it takes a label like Emanem to finally gather enough material for his first solo effort. I can’t wait to hear this double disc and will do my own review when it appears in the next few days. - BLG
2 CD Set $22
Seminal Historic Reissues from the Folks at Corbett Vs. Dempsey:
SUN RA With JOHN GILMORE/MARSHALL ALLEN/DANNY DAVIS/PAT PATRICK/ELOE OMOE/ et al - Discipline 27-II (CvsD 039; USA) Corbett Vs. Dempsey present a reissue of Sun Ra Discipline 27-II, originally released on El Saturn Records in 1973. Arguably the last great original-era Saturn LP to be reissued on CD, Discipline 27-II has long deserved to be more familiar to Sun Ra fans and layfolk alike. Recorded during the same sessions in 1972 at Chicago's Streeterville Studios that produced Ra's most popular and best-known record, Space Is The Place (1973), it's got much the same vibe, from the 24-minute four-part suite of the title track -- an important conducted piece that Ra performed frequently in these years -- to the opening cut, "Pan Afro", with John Gilmore's sensational tenor work. Sporting a percussion-rich 18-piece Arkestra, the music can be thick, voluble, and dense or it can winnow down to a small group, as on the delightful track "Neptune", a vehicle for June Tyson's singing and the site of the indelible Sun Ra space chant: "Have you heard the latest news from Neptune, Neptune, Neptune?" This marks the first time Discipline 27-II has been reissued on CD. It has been remastered from the original tapes, includes a never published period photo of Ra by Charles Shabacon, and ends with an explosive bonus track from the same session, showing quite a different side of the same ensemble.
Personnel: Sun Ra - electronic keyboard space age instruments, Moog synthesizer, vocals; John Gilmore - tenor saxophone, percussion, vocals; Marshall Allen - alto saxophone, flute; Danny Davis - alto saxophone, flute; Pat Patrick - baritone saxophone, bass; Danny Thompson - baritone saxophone, flute; Eloe Omoe - bass clarinet, flute; Akh Tal Ebah - trumpet, flugelhorn, vocals; Lamont Kwamie McClamb - trumpet, percussion; Russell Branch - percussion, congas; Stanley Morgan - percussion, congas; with Alzo Wright, Harry Richards, Lex Humphries, Robert Underwood on drums and vocals by June Tyson, Cheryl Banks, Judith Holton, and Ruth Wright. Cover art by LeRoy Butler; cover design by Alton Abraham. Recorded by Ed Michel at Streeterville Studios, Chicago, October, 1972; LP produced by Alton Abraham for Infinity Inc.
EUGENE CHADBOURNE - The Lost Eddie Chatterbox Session (CvsD 041; USA) Corbett Vs. Dempsey present The Lost Eddie Chatterbox Session, a reissue of Eugene Chadbourne's album, first released as a cassette on No Prestige Records in 1988. Dateline: Christmas Day, 1977, San Francisco. On an ailing quarter-track tape deck, in a marathon session, Eugene Chadbourne recorded a series of slide guitar solos playing compositions by the likes of Thelonious Monk, Charlie Parker, John Coltrane and Ornette Coleman, along with a few standards and originals. Although the recording quality was imperfect, the playing was absolute genius -- enough so that Chadbourne was eventually convinced, a decade later, to issue it as a cassette tape, which he sold at concerts. Long pre-dating the slash-and-burn-and-reinvent approach to jazz songbooks now familiar from groups like News From Lulu, Chadbourne leapt into each short track with giddy abandon, introducing the piece with a nerdy credit line, then ripping and tearing at it adoringly, his improvisations forcing a new view of the familiar melodies. Anyone familiar with Chadbourne's wonderful duets with Frank Lowe on Don't Punk Out! (1979), waxed in the same period, has a general sense of his modus, but the complete commitment he gave to the project on The Lost Eddie Chatterbox Session makes it a special and wholly unique item in the manic master's chronicles. On this special CD reissue, the tracks have been tenderly but respectfully restored, eliminating some of the most distracting audio flaws but leaving the inconceivable artistry intact. Four unreleased tracks have been added to the jam-packed program, as well as the original cover photo and Chadbourne's unreadable track listing, which is carefully reproduced on the interior. Recorded December 25, 1977, in San Francisco.”
Considering that this epic length session was recorded two years before I first met Mr. Chadbourne in December of 1979 (in duo with Fred Frith at Studio Henry), in retrospect, it sounds much more engaging than I would’ve imagined. Considering that I was more of a jazz and prog-snob, when I first heard many of the early Downtown players, Like John Zorn, Polly Bradfield & Tom Cora, I can hear how Mr. Chadbourne was already rewriting the book and deconstructing standards in his own twisted yet refreshingly unique way. The future Dr. Chadbourne covers a dozen Monk songs, as well as seminal gems from John Coltrane, Bird & Diz, Ornette Coleman, Duke Ellington plus nine originals. I like the way that Doc Chad turns these songs inside out, playing the themes with gleeful ease before leaping into the stratosphere of free eruptive outbursts. Mr. Chadbourne doesn’t joke around nearly as much he did when I first heard him. He seems to committed to finding new ways to stretch these songs outside of any predictable interpretation. This long disc is more like an encyclopedia of Downtown’s own new, weird world. Fascinating! - Bruce Lee Gallanter, DMG
JOE McPHEE With JOHN SNYDER / MAKYA NTSHOKO - The Willisau Concert (CvsD 040; USA) This is a reissue of Joe McPhee's The Willisau Concert, originally released on Hat Hut Records in 1976. Asked earlier this year which of his out-of-print records he'd like to see available again, multi-instrumentalist Joe McPhee's response was immediate: The Willisau Concert! Recorded at the Swiss festival that gave it its name in 1975, it appeared a year later as "Hat Hut B", the second of the new label's great letter series. It came packaged gorgeously in a double-gatefold with artist Klaus Baumgärtner's stunning pen-and-ink work on the inside and out, and a little hand-colored Swiss flag on the interior of each copy. Returning to the music, it's easy to hear why McPhee holds it so dear. He's in absolute top form on tenor and soprano saxophones, ranging from the relaxed and confident Afro-conscious feel of Nation Time (CVSD 011CD) to areas of more diffuse and textural investigation. John Snyder's analog synthesizer is brilliant and hyperbolic, a surprisingly hand-in-glove match for McPhee, not dissimilar to their collaboration on the CjR release Pieces Of Light (1974). South African drummer Makaya Ntshoko is the surprise element, a guest whose sensitivity and warmth are everywhere evident, even when he kicks the energy up a notch. Along with McPhee originals, this reissue includes a never-released bonus, their take on the classic "God Bless the Child", a total heartbreaker. The CD has been designed as a facsimile cover of the LP, respecting the beautiful and original graphic work on this classic record. Never before available in any digital form, remastered from the original tapes, The Willisau Concert is restored to its place as one of McPhee's masterpieces. Recorded live at Willisau Jazz Festival, Switzerland, October 11, 1975. Personnel: Joe McPhee - soprano and tenor saxophone; John Snyder - analog synthesizer; Makaya Ntshoko - drums.
SUNS OF ARQA With MICHAEL WADADA / STYLE SCOTT / LIZARD LOGAN / AZIZ ZERIA / et al - Revenge of the Mozabites (CvsD 037; USA) Review next week, in stock soon!
SUNS OF ARQA With JOHN COOPER CLARK / MICHAEL WADADA / DANIEL BROAD / COLIN WOOD / et al - Seven (CvsD 038; USA) “Perhaps the greatest record in the Suns of Arqa discography, Seven was released in 1987 and was in fact the band’s fifth LP. Review next week, in stock soon!
ROB MAZUREK - Chimeric Stoned Horn (Astral Spirits MF154/AS054; USA) Astral Spirits first CD release comes with a pair of 3D glasses, to allow the listener to view Mazurek's 3D lithographs that cover this album of piccolo trumpet explorations with electronics, voice and percussion, a deeply personal and spiritual album from the Chicago trumpeter, released in conjunction with Mazurek's art opening "Constellation Scores" at URDLA in France.
WHILE WE STILL HAVE BODIES With BEN GERSTEIN / MICHAEL FOSTER / SEAN ALI / FLIN VAN HEMMEN - While We Still Have Bodies (Neither/Nor 009; USA) Featuring Ben Gerstein on trombone & radio, Michael Foster on tenor & soprano sax & cassettes player, Sean Ali on double bass & cassette player and Flin van Hemmen on percussion. After listening to and reviewing several CDs from the UK-based Confront label, I am convinced that the lower-case or reductionist approach to improv is still worth exploring. This Downtown quartet is involved in that aesthetic approach and do a fine job of exploring cautious textures. Something else to consider is this: although each member of this quartet are great at what they do, they are all under-recorded. This disc was recorded at the New Museum in a studio in September of 2016. When it starts, it sounds as if all four members are playing percussion: metal, chains, rubbed surfaces, most mysterious and somewhat disorienting. Slowly the other instruments enter: mutant sax and trombone fragments, strange percussion sounds and later tapes of distant voices. A number of these sounds recall industrial sound effects sonics with moments of hypnotic transcendence. Often it is hard to tell who is doing which sound, the results remain pretty fascinating nonetheless. I am currently on getting this quartet to play at DMG in January or February of next year (2018). You shouldn’t miss them if you get the opportunity and the disc is well worth exploring. - Bruce Lee Gallanter, DMG
* SANDCATCHERS [YOSHI FRUCHTER / MYK FREEDMAN / ERIK FRIEDLANDER / MICHAEL BATES / YONADAV HALEVY] - What We Found Along the Way (Chant Records 005; USA) Featuring Yoshi Fruchter on our & guitar, Myk Freedman on lap steel, Erik Friedlander on cello, Michael Bates on bass and Yonalevy Halevy on drums. A couple of months ago (September of 2017), I attended the Guelph Jazz Festival (GJF) in Ontario, Canada. I always enjoying this festival when I do get a chance to go. For the last few years, there is an outdoor stage in the center of town where admission is free and around a dozen bands performed over Friday and Saturday. I am usually busy seeing other music, but do try to see some of the bands that play in the town’s square. Usually there is a GJF program which lists the personnel of each band but not this year for some reason. I happened to be in that area getting dinner that night and caught just one band called the Sandcatchers, whom I had not heard of. When they hit the stage, much to my pleasant surprise, I recognized all four members of the band: Yoshi Fruchter (CD on Tzadik & member of Zion80) on oud, Myk Freedman (whose recent CD I just reviewed) on lap steel, Michael Bates (Canadian expat whose works with Michael Blake) and Tim Keiper (from Banquet of the Spirits) on drums. Their set was a wonderful blend of ethnic, psych, rock and jazz. They now have their debut CD out and it is even better since it includes Downtown cellist extraordinare Erik Friedlander.
I have long been a fan of the oud, a short necked, lute-like instrument usually found in Arabian countries like Greece or Turkey. Whether played traditionally or in free settings, the sound of the oud is something unique. Putting the oud (acoustic), the lap steel (electric) and the cello (mostly acoustic) in the frontline is also a first, a splendid choice. The oud and the cello, plucked pizzicato style, sound especially great together here, and adding the occasional lap steel twang/psych bursts makes this music even more enchanting. Whenever the oud or cello takes a solo, the lap steel usually answers them with those crazed bent, slide steel ghost-like spirit sounds. Mr. Freedman is the secret ingredient here that puts this band and disc in a class of its own. All thirteen songs were written by Mr. Fruchter and each one has a most charming, enticing melody. Both Mr. Fruchter on the oud and Mr. Friedlander on the cello each take occasional inspired solos, but it often the central melody/song that sweeps us away time and again. I have played this disc in the store several times over the past week and each time a customer or two asks what this is, smiling at what they are hearing. The Sandcatchers are one of the best new bands to emerge from New York in recent memory, check out this disc and be the first of your friends to dig their splendor! - Bruce Lee Gallanter, DMG
* CD of the week, highly recommended!
JOHN CAGE // JOHN TILBURY/PHILIP THOMAS/MARK KNOOP/CATHERINE LAWS - Winter Music (Another Timbre 118; UK) John Cage's 1957 composition in a visceral realization for four pianos, played by John Tilbury, Philip Thomas, Mark Knoop and Catherine Laws, using chance procedures to assign each of the pianist's five of the twenty pages of the score, the pianists agreeing on an overall duration of 40 minutes and preparing their parts independently, performed without rehearsal.
JURG FREY - Collection Gustave Roud (Another Timbre 115x2; UK) A double CD with five beautiful pieces that engage with the work of the extraordinary French-Swiss poet Gustave Roud, with performers including Dante Boon, Stefan Thut, Andrew McIntosh and Jurg Frey himself, 10 compositions that Frey wrote in the manner that Roud would, roaming with a sketchbook and developing the pieces based on impressions of his surroundings.
2 CD Set $26
INSUB META ORCHESTRA - 13 & 27 (Another Timbre 117; UK) Coordinated and composed by d'incise and Cyril Bondi, this incredible Swiss-based collective of 30 to 40 experimental musicians was founded in 2010 and has presented concerts and recordings since; this CD presents two works, "13 unissons" splitting the orchestra into 13 subgroups; and "27 times" where each musician plays 27 times in 30 minutes; phenomenal.
ISOTOPE ENSEMBLE - Yitrium (Creative Sources 24270; EEC) An incredible example of Creative Sources/Ernesto Rodrigues' large electroacoustic ensembles, blending acoustic and electronic sources in slow moving and subtle improvised works of a large scale, here with 12 musicians layering string, brass, keys, percussion, synth and computer into a mysterious harmonic and hallucinatory convergence of powerful intention.
MATTHIAS MUCHE / ERNESTO RODRIGUES / NICOLA L HEIN / MIGUEL MIRE / CARLOS SANTO - Klang (Creative Sources 449; EEC) Recorded in Lisbon, Creative Sources core performers Ernesto Rodrigues on viola, Miguel Mira on cello and Carlos Santos on synthesizer are joined by renowned German free improviser Matthias Muche on trombone and Cologne based guitarist Nicola L. Hein for two extended improvisations of actively subdued dialog that ebb and flow in commanding ways.
REDOX - Orbitals (Creative Sources 459; Portugal) The trio of Kaja Farszky on marimba & percussion, Annette Giesriegl on voice and electronics, and Katharina Klement on piano for a gripping album of free/ea improvisation, splitting the release in 3 parts from a live concert in 2015 at Sonnenhang House Concerts Series in Kumberg/Austria, and 3 parts recorded at Croatian Radio in Zagreb in 2016.
BROOKLYN RIDER // TYONDAI BRAXTON / EVAN ZIPORYAN / KYLE SANNA / PAULA MATTUSEN - Spontaneous Symbols (In a Circle 008; USA) Brooklyn Rider are one of the finest string quartets to emerge from New York in the past few years, most often embracing the diversity and pioneering spirit of the ongoing Downtown Scene. So far they’ve covered such composers as John Cage, Claude Debussy, Kayhan Kalhor, Bela Bartok, Philip Glass, Bill Frisell, Vijay Iyer and lots more. With a half dozen discs under their collective belt, their new one, ’Spontaneous Symbols” might just be their best. This disc begins with “ArpRec1” by Tyondai Braxton, a found member of Battles and son of Anthony. This piece is based on ideas developed through generative/electronic techniques. The music has an intense, fractured quality, the repeated rhythms expanding and then being slowly diced and sliced as the piece evolves. “BTT” was composed by Brooklyn Rider violinist, Colin Jacobsen, and was inspired by Downtown composers like John Zorn, Glenn Branca & Meredith Monk. I am not so sure I hear any of those influences in there but I do like the way the piece weaves its way between different themes, some calm and other rambunctious, all well blended together. Clarinet master, Evan Ziporyan, who is a member of the Bang-on-a Can All-Stars, composed a piece called, “Qi”. “Qi” is Chinese for life-force and the piece is in three parts, “Lucid Flight”, “Garden” and “Flight”, each part of our own journey as humans. This pieces pulsates intensely with life, similar to the way our hearts throb (with life) in our chests. “on the attraction for felicitous amplitude” by Paula Matthusen was inspired by field recordings of sounds from a cistern beneath the streets of Rome. I love the way the strings are interwoven with the dripping sounds of water. The final work, “Sequence for Minor White” by Kyle Sanna was inspired by the influential American photographer named in the title. Sanna claims that Mr. White’s photos always captured a sense of spirit or spirituality. What I hear is a series of ghosts who seem to emanate from several different places, organically mocking through different landscapes or soundscapes. This disc is one of the best string quartet discs I’ve heard in recent memory, no small feat I assure you. - Bruce Lee Gallanter, DMG
A Small Package of Goodies Arrived in the Mail from Cellist Hui-Chun Lin:
NEREDEN With CENK ERBINER / HUI-CHUN LIN / SEBASTIAN FLAIG / PETER KUHNSCH - Neredin (Tosch 05161; EEC) Nereden feature Cenk Erbiner on viola, Hui-Chun Lin on cello and Sebastian Flaig & Peter Kuhnsch on percussion. We just got in a half dozen different discs featuring Taiwan-born, Berlin-based cellist Hui-Chun Lin, each one with different personnel and on different labels (Creative Sources is the only label I had heard of). The melody for the opening track, “Late Night” sounds like the Masada String Trio played by two strings and percussion. One of the percussionists sounds like he is playing a frame drum. These pieces sound like they were partially written out with quirky, infectious themes. The quartet is often stripped down to its bare essential, minimal percussion like an mbira, wood blocks or small hand percussion, with just a blend of cello and viola, exchanging lines or shadowing each other in a quaint, charming way. If this were a blindfold test, here is my guess: Mark Feldman, Erik Friedlander, Kenny Wollesen & Cyro Baptista playing some long lost Masada songbook ditties, but stripping them down to a more minimal essence. Superbly recorded. We just a few so he who he snoozes, loses… - BLG/DMG
12 DEGREES [EINS ZWEI HOCH NULL] - Invisible Message (12hochnull; Taiwan/Germany) Featuring Hui-Chun Lin on cello, Max Loeb Garcia on guitar, Pei-Ju Lien on pipa and Peter Kuhnsch on percussion plus Shih-Han Lin on piano. 12 Degrees is a quartet whose members met while studying at schools in (Leipzig & Dresden) in Germany. Each member is from a different place: Taiwan, Germany and Columbia. Taiwan-born, Berlin-based cellist Hui-Chum Lin recently sent us six discs with differing personnel. This music is not freely improvised but partially written and filled with infectious grooves and glee-filled melodies. The guitar, cello and pipa often play these delightful lines with interlinked phrases with the hand percussion keeps a minimal pulse. One of the things I like most about this quartet and the other quartet that Ms. Lin plays in (Nereden) is the way these groups strip down their playing to minimal instrumentation, yet keep their enchanting vibe central to their sound. There is a section on an early piece where the guitar plays these quick, yet quiet layer of lines with a volume pedal going up and down while the cello weaves in a number of tight connected lines like the tapestry in a magical Persian rug. Stunning yet still modestly done. I won’t say any more since we only have a few copies to sell and I have four more disc from the same cellist to review. - BLG/DMG
BRUCE RUSSELL - Metallic OK (Glass Redux 007; UK) Bruce Russell is a New Zealand experimental musician and writer. He is a founding member and guitarist of the seminal noise rock trio The Dead C and the free noise combo A Handful of Dust (with Alastair Galbraith). He has released solo albums featuring guitar and tape manipu-lation, and has contributed articles to The Wire. In summer of 2013, Bruce Russell's daughter Olive Russell uploaded a documentary of her father that she shot and edited herself called "27 Minutes with Mr. Noisy: A Documentary about Bruce Russell" to Vimeo.com. "This will be alien music to many listeners. Guitars tuned to the occult settings of revenants like Skip James and then played with a knife in an uncanny re-contextualising of the sound of beer bottles against guitar strings on the original Metallic K.O.; massively deformed electronics that sound like swarms of static, that sound like the needle eating the vinyl; radio interference; broke down piano; sledgehammer fuzz? this is the sound of taking a live Stooges meltdown as the keys to the goddamn kingdom and as a secret intimation of the arc of the future. Now here it is" Taken from the sleevenotes of 'Metallic OK' by David Keenan, author of 'This Is Memorial Device' Glasgow May '17.
2 CD Set $18
ASMUS TIETCHENS - Parergon (Stille Andacht 004; Germany) "Asmus Tietchens, one of the most prolific German composers in the Electronic/Musique Concrete direction since late 70's, releases 25 years after Daseinsverfehlung his second release on Dark Vinyl's sublabel Stille Andacht. 'Parergon' (Greek 'collection of small texts') is the sequel of the idea to continue to recycle recyclings of recyclings. That does not mean remixes or deconstructions but much more genuine compositions derived from already repeatedly recycled structures. This approach is in no case hermetic because no circular course happens: There is no way back to the beginning. With digital tools -- but without chance operations -- one can achieve treatments and processing which lead to a nearly endless multitude of esthetic relevant compositions derived from once defined basic structures. In this connection 'sampling' is not of importance. The pieces of Parergon do not intend to provoke pictures or moods, but will give the listener simply something to listen to - it is up to him how he handles this offer. In consequence the pieces have no titles. Instead they have index data which point to certain series. Parergon has been composed in dark times, but at the best only the artwork reflects this conditions. The sounds themselves come from the vacuum."
PANDIT ASHOK PATHAK - Ancient Court Raga Traditions (World Arbiter 2003; USA) Subtitled: The Pathak Gharana, Dhrupad Ragas On Surbahar. Performed by Pandit Ashok Pathak (surbahar). Ancient Court Raga Traditions is comprised of two long tracks: "Raga Malkauns" and "Raga Bagesri," recorded in 2000. Only part of India's noblest classical instrumental traditions have been adequately documented on recordings, beginning with sitarist Imdad Khan in 1905. With the compact disc, raga performances could expand from pioneering 4-minute excerpts on 78 rpm discs to span well beyond an hour on CD, allowing full development and style to unfold. One vital court style remains in a fragmentary way: the ancient art of dhrupad, characterized by slowly singing and playing, which favored the arrhythmic alap section, based on the ancient Vedic chant. Too few of these family-based traditions survived the ending of royal patronage. Amongst them are the Pathaks, representing a musical lineage through 5 generations of dhrupad singers, veena players and sitarists, with the current generation including a composer and tabla player. Balaram Pathak introduced the use of harmonics on sitar with meend, heard on his one CD. This unique practice has been further explored by (his son) Ashok, who uses it extensively, along with thematic playing on the sympathetic strings. Before beginning a raga, he dwells on these strings, at times playing two simultaneously, creating harmonies which he adopted after having heard it in pre-Renaissance Western music (in polyphonic works by Perotin, Josquin des Prez, etc.). The recording took place over two afternoons. Each raga was played through once and without any changes or edits, and the decision was made to play "Raga Malkauns" on the second afternoon. As Balaram Pathak recorded one short work on surbahar, these performances further reveal the rare court tradition Pandit Ashok represents, its continuation despite the odds of a diminishing public which prefers khyal, and the musical contributions made by the performer himself to further their lineage.
KJETIL MULELID TRIO - Not Nearly Enough To Buy A House (Rune Grammofon 2196; Norway) Following in the footsteps of In The Country and Espen Eriksen Trio, Kjetil Mulelid Trio is the third piano trio to appear on Rune Grammofon. Although they can be placed in the same musical landscape, it's also fair to say there are certain obvious differences. There's a solid dose of youthful playfulness and curiosity at work here, at the same time they show an assured maturity that belies their age (26, 26, and 29). The music is based on compositions by pianist Kjetil André Mulelid -- inspired by everything from psalms to free jazz -- but there is also room for collective improvisation. It can be energetic, rhythmically complex, and harmonically rich, but also intimate and with a beautiful melody. They work purely with acoustic sounds and timbres and are constantly reaching for new ways to express themselves within these frames. Personnel: Kjetil André Mulelid - piano; Bjørn Marius Hegge - double bass; Andreas Skår Winther - drums.
CD $16 / LP $27
Restocked, Last Copies of these:
DUO B [LISA MEZZACAPPA/JASON LEVIS] - No Ins & Outs [LTD Edition of 100 (Queen Bee QB 003; USA)Featuring Lisa Mezzacappa on acoustic bass and Jason Levis on drums. Bay Area bassist/composer/multi-bandleader, Lisa Mezzacappa, is one of the most ambitious musicians I know. Besides a half dozen discs as a leader, Ms. Mezzacappa, has worked with folks like Vinny Golia, Darren Johnston, Ben Goldberg and lots more. This is the third disc from Duo B, which includes Bay Area drummer Jason Levis. Lisa told that the music on this disc was inspired by a solo piano album by Cecil Taylor. The music here sounds more thematic than free. Ms. Mezzacappa plays a somber, haunting phrase at the beginning of this long 40 minute piece, with Mr. Levis’ drums sympathetically embracing and embellishing the phrase as it is repeated and slowly expanded upon. The duo sounds like they have been working together for a long time, they are consistently connected, sounding like they are telling a story together as one force of nature. Considering that this disc is just a bass and drums duo, there is so much strong, spirited and focused interaction that is was at the edge of my seat for the entire 40 minutes. There is a strong, spirited dialogue going on here. I haven’t heard very many bass and drums duo offering is in there past, just a couple come to mind (Paul Rogers & Edward Perraud, John Edwards & Mark Sanders). This one is as good as it gets! - Bruce Lee Gallanter, DMG [LTD Edition of 100/custom made red envelope covers]
Archival Recordings and Reissues:
DAVY GRAHAM - Folk, Blues & Beyond… (Bread and Wine Records Brine 1; UK/USA) One of the most influential figures in the 1960s British folk scene, Davy Graham inspired many practitioners of the fingerstyle acoustic guitar of the era, notably Bert Jansch, John Martyn and Jimmy Page. Graham is probably best known for his acoustic instrumental Anji and for popularizing DADGAD tuning, later widely adopted by many acoustic guitarists. Not one to be categorized, Graham could be seen covering the genres of folk, blues and jazz.
Graham was an entirely British phenomenon in the sixties, none of his early records were originally issued in the U.S. Originally released in January 1965, this edition of Folk, Blues and Beyond is its official, American debut. It remains perfectly named, a stunning introduction to the breadth of Graham's craft and seeking at the peak of his impact.
CD $14 / LP $18
DAVY GRAHAM - Large as Life and Twice as Natural (Bread and Wine Records Brine 2; UK/USA) Large as Life and Twice As Natural is unique in Graham's work for Decca. The album's three extended instrumentals two immersive ragas and a wickedly knotty homage to the be-bop piano titan Lennie Tristano were the most Graham wrote for any of his Sixties LPs. And Graham never played with a better, bigger studio band. Jon Hiseman, recently out of John Mayall's Bluesbreakers, was leading his own progressive-rock unit Colosseum; Danny Thompson was the earthy, incisive bassist in Britain's folk supergroup, Pentangle, with guitarists and Graham acolytes Bert Jansch and John Renbourn. Large as Life and Twice as Natural was Graham's only album from his most important decade to be released in the U.S., at the time it went unnoticed.
CD $14 / LP $18
KLAUS SCHULZE - Vanity Of Sounds (Made in Germany 1992; Germany) "Re-release of the impressing Klaus Schulze album Vanity Of Sounds (originally released in 2000 as part of the long exhausted 10 CD (wooden) boxset Contemporary Works). Compared with the most CDs from this box, where Klaus worked together with different other musicians (e.g. Solar Moon System, like MIG Release Ultimate Docking), Vanity Of Sounds is 'pure Schulze' again, the way many fans love it. Vanity Of Sounds is another real gem from the huge back catalogue of Klaus Schulze."
GARY BIAS - East 101 (Nimbus West 802; USA) Featuring Gary Bias on alto & soprano sax, flute & compositions, David Tillman on piano, Rickey Kelley on vibes, John Heard or Roberto Miranda on acoustic basses, Rickey Minor on electric bass and Fritz Wise on drums. Besides being an extraordinary pianist, composer and multi-bandleader, Horace Tapscott was a teacher and inspiration to many musicians from the L.A. area and beyond. L.A. reedman, Gary Bias, was only 15 when he was introduced to Mr. Tapscott, and he already starting to rise amongst the ranks of LA jazz underground. Mr. Bias went on to record with Horace Tapscott and the Creative Arts Ensemble. ‘East 101’ was released in 2014 and this is Gary Bias’ debut. I do recognize a few of the names here like Roberto Miranda and John Heard, both of whom also worked with Mr. Tapscott, as well as Bobby Bradford, John Carter, Vinny Golia and George Duke.
Starting off with, “Asiki”, which means “success” in the Yoruba language, Mr. Bias’ soprano sax has a lovely, most enchanting sound supported superbly by a warm, enticing rhythm team. Vibesman Rickey Kelley, pianist David Tillman, electric bassist Rickey Minor and drummer Fritz Wise flow together as one sublime stream underneath. Like many discs on the Nimbus West label, this one also has that McCoy Tyner-like spiritual jazz vibe flowing throughout. “Arthur’s Vamp” is dedicated to the great saxist Arthur Blythe, who used to live in L.A. and also worked with Horace Tapscott in the early part of his career. When Mr. Bias switches to alto sax on the title track, his tone actually sounds similar to the bittersweet tone of Arthur Blythe (or Thomas Chapin or Darius Jones). The one thing that makes this disc special is that uplifting vibe, an inner sense of calm that rises and falls like the waves of the sea. Considering that I hadn’t heard of the pianist or the vibes player before this disc, both are superfine players who should’ve had more recognition that they’ve gotten. The true star of this disc is the sax work of Gary Dias who has a wonderful, haunting, searching tone. I wonder if Mr. Bias ever recorded again since this disc is too good to just be forgotten. You need some healing music my friends, then dig in right here and get those wounds taken care of with the spirit of love. - Bruce Lee Gallanter, DMG
NICK GARRIE - The Moon And The Village (Tapete 391; Germany) LP version, includes CD. In the final year of his teens, Nick Garrie made an album that should be regarded as one of the great classic albums of the decade: The Nightmare Of J.B. Stanislas (1968). It's full of smart, romantic, melodious baroque-pop story telling songs with killer string and woodwind arrangements. After having disappeared for decades, copies of the album started to pop up for sale online at very high prices. In 2005, Stanislas was reissued. The word of mouth about how great it was soon spread and a new generation of Nick Garrie fans began to emerge. Musicians including Teenage Fanclub, Wilco, Camera Obscura, The Trembling Bells, Ladybug Transistor, and BMX Bandits were among those declaring themselves as fans. In 2009, Duglas T. Stewart was asked to help produce a new Nick Garrie album, 49 Arlington Gardens, and the world could hear that none of Nick's talents had diminished. Norman Blake of Teenage Fanclub, who performed on the album, declared this during the sessions: "Nick's the real deal. He can really do it. Brilliant songs and what a voice." The Moon And The Village is the new album by Nick Garrie. It's a thing of great and rare beauty. It's still very much the same Nick Garrie who made that incredible 1969 debut and the 2009 album too, but this time, Nick Garrie is in a more reflective mood. The songs are as strong as ever, but they have a certain directness and fragility about them. The sonic settings created by Gary Olson and a supporting cast of players matches the tenderness of the story telling in Nick's songs. The arrangements are from the school of less-is-more. Nothing is screaming out for attention here, but instead every sound perfectly plays its part in bringing the stories in the songs to life. Nick sings about a lost diary and about losing one's way on the album's opener "Lois' Diary". This track, like others on the album, has a beautiful sadness about it. One of the album's most affecting tracks is its most stripped back, "Got You On My Mind". It's just Nick's voice and a harp. The intimacy and warmth of the album feels like the perfect antidote to the in-your-face and often ugly nature of modern life. This is a gentle album that soothes the soul and warms the heart.
LP CD $24
FLAMIN' GROOVIES - Live In San Francisco 1971 (Rockbeat 3372; USA) "The closing of the Fillmore West (actually, the Carousel Ballroom) put a big dent in the 'City By the Bay'. This performance was taken from the closing concerts for the venue. The list of bands that Bill Graham didn't want was also big... and the Flamin' Groovies were on it, for years. Our first manager was Bill's right hand man and when he quit working for Bill to manage the Flamin' Groovies this this did not sit well with Bill, so the Groovies went up and down in Bill's eyes. So it came as a big surprise when we discovered he wanted us for this big and important event, to participate in a series of shows leading up to the closing of this legendary venue. I remember the show well. The difference in playing this gig as opposed to the Whisky-A-Go-Go in L.A. was like night and day. At the Whisky, we were the house band (two summers in a row); at the Fillmore, we were up for grabs. Oh yeah, this was our last show with my good buddy, Roy Loney." - Cyril Jordan (Flamin' Groovies)
LP Only Listings:
SUN RA - Space Is The Place (Jackpot Records JPR 049; USA) "In the endless ocean of Sun Ra recordings, Space Is The Place ranks among the very best but more importantly stands as the most immediately understandable of his records. This masterpiece touches flawlessly on elements of many of Ra's multiple phases and provides both a mission statement for and a gateway to his immaculate body of work. Originally released in 1973; Tip-on Gatefold Jacket; Original Artwork; Limited Transparent Blue Colored Vinyl."
SUN RA - My Brother The Wind (Cosmic Myth Records; USA) “My Brother the Wind, Vol. 1 captures Sun Ra's initial encounter with the Moog synthesizer, and one of several albums that showcase Ra's reckonings with it. Although the Astro Infinity Arkestra is credited on the original Saturn LP sleeve, only three sidemen were on the session; reed players Marshall Allen, John Gilmore, and Danny Davis, with Moog performance pioneer Gershon Kingsley serving as synth programmer and technical consultant.
The original 1970 Saturn release featured four tracks, which are included on side A/B of this two-LP remastered edition. Side C features the complete tracking session of Ra's Moog-centric single The Perfect Man, with three full takes of the title, including two previously unissued versions. Side D features the monumental 18-minute 'Space Probe', his outrageously freewheeling solo work recorded on a Moog (or two) around the same time.
The album has been meticulously remastered from archival session tapes and includes rare and previously unreleased studio material. Includes liner notes by Moog historian Brian Kehew, and technical notes provided by jazz historian Ben Young (who also restored and remastered the album with Triple Point Studio's Joe Lizzi).
2 LP Set $30 / CD $14
LOU REED - Early Lou: Pre-Velvet Underground Recordings 1958-1965 (Andy 066; France) Limited repress. Tracks: The Jades ("So Blue - Leave Her for Me" single, 1958), Lewis Reed ("Your Love - Merry Go Round" 1962 Demo), The Primitives ("The Ostrich - Sneaky Pete" single, 1964), The Intimates ("I've Got A Tiger In My Tank", 1965), Donnie Burks ("Why Don't You Smile Now", 1965), Lou Reed ("Heroin" Demo Pickwick Studios, 1965), The Roughnecks ("You're Driving Me Insane", 1965), The Beachnuts ("I've Got A Tiger In My Tank - Cycle Annie", 1965), The Surfsiders ("Little Deuce Coupe - Surfin'", 1965) and The All Night Workers (" Why Don't You Smile Now", 1965).
HECTOR ZAZOU/ BONY BIYAKE CY1 - Noir et Blanc (Crammed Discs; Belgium) “Vinyl reissue of one of the biggest cult albums in the history of Crammed Discs, Noir et Blanc was a studio encounter between Congolese singer Bony Bikaye, Algerian-born French composer Hector Zazou and mad scientists CY1, it's traditional Central African vocals and uncompromising analog electronics was unanticipated at the time and remains sonically relevant to this day.
This 1983 LP is constantly being (re)discovered by generations of fans, musicians and DJs, who hail it as an unsurpassed Afro/electronic milestone. Remastered from original analogue tapes, with 5 previously unreleased original demos available on DL card and new liner notes by Andy Beta
One of the most innovative LPs of the year... in the same class as Byrne and Eno's "Bush Of Ghosts"... resembles the startling outcome of an imaginary collaboration between DAF and Fela Kuti" (Melody Maker, UK, '83)”
WORLD'S EXPERIENCE ORCHESTRA - As Time Flows On (Now-Again 5162; USA) "World's Experience Orchestra's As Time Flows On has not been available as a stand-alone vinyl release since first being issued as a private pressing out of Boston in 1980. And those pressings where in small runs -- set in motion by a visionary, bassist/composer/arranger John Jamyll Jones. Jones is a magical type, who communicates with his instrument, his ensembles, and jazz's ancient lineage in a manner so profound that his late-'70s album are out of time with jazz's trajectory, but timeless when presented today. By the late '90s the music of World's Experience Orchestra was circulating throughout the collections of esoteric jazz fans, the likes of Gerald 'Jazzman' Short and Gilles Peterson, who played WEO for those, the Coltrane-enthralled searching for something new, something different. Something spiritual and honest. As interest in spiritual jazz and WEO grew, Now-Again set about an ambitious plan to reissue Jones' landmark works. 'I knew it was going to happen, but I didn't know when,' says Jones of the road to seeing his music re-issued. 'It's 35 years or more now, and I've been waiting for this, and I'm quite sure I'm not the only one.'"
GIOVANNI DI DOMENICO / JIM O'ROURKE / TATSUHISA YAMAMOTO - Delivery Health (Silent Water 010; Belgium) Delivery Health is the highly idiosyncratic trio of Giovanni Di Domenico, Jim O'Rourke, and Tatsuhisa Yamamoto. The recording was done in Tokyo's great GOK Sound, directly on a 24-track tape recorder, and was mixed at Steamroom, Tokyo, by Jim O'Rourke himself. The blend of early '70s ECM drum sound, long unfolding travelogues, and a great transparency in the mix, gives to this record a breadth and depth make the music hard to categorize. Jazz (think John Abercrombie's Gateway (1975) and, again, early ECM), electronic drones (reminiscent of Tony Conrad), and the most organic of rock sound (especially in drummer Tatsuhisa Yamamoto's tightness and openness) fuse in a very special way. Cover picture by Antonio Julio Duarte. 180 gram vinyl; Edition of 300.
THE DWARFS OF EAST AGOUZA With ALAN BISHOP / SAM SHALABI - Both Sides Of The Curtain (Unrock 010; Germany) Dadawahn Bishopesque taken to just another level. Beirut, Lebanon.... three major players: Alan Bishop (Sun City Girls, Invisible Hands, Alvarius B) Osama Shalabi (Karkhana, Shalabi Effect, etc.) and Maurice Louca (Karkhana, Lekhfa). Delicate improvised freeform recorded live in Beirut in spring of 2017. Improvisation on the highest level. Organic, never arty. Hot. Released in association with Mophradat. Cover art made exclusively for this release by Mariana Castillo Debal. Deluxe gatefold sleeve. Limited edition, one-time pressing.
BARRY ADAMSON PAN SONIC THE HAFLER TRIO - The Hymn Of The 7th Illusion (Cold Spring 241; UK) Pan Sonic, arranged and edited by Barry Adamson, with an additional re-arrangement by The Hafler Trio. Here, Barry Adamson and Pan Sonic have composed a 12-minute music piece that is performed by the Hljomeyki Choir and Pan Sonic. Originally released on CD by Icelandic label Kitchen Motors in 2001, now released on vinyl for the first time by Cold Spring. Produced by Barry Adamson, Jóhann Jóhannsson, and Pan Sonic. The cover art features Icelandic electronic composer Magnús Blöndal Jóhannsson having a brain scan performed while listening to this disc. 180 gram vinyl with matte card sleeve; Includes download card. "...a blend of an Icelandic choir performing Barry's (treated) microtonal, urgent score is slowly infiltrated, first with an electronic breath and then by well-rounded bass that evolves into a satisfactory crescendo before the scary humhum returns... highly successful" --Vital Weekly.
MARY JANE LEACH - Pipe Dreams (Blume 011; Italy) Milan based imprint Blume offer two incredible archival works from the 1980s American composer Mary Jane Leach, never before released. Mary Jane Leach is a definitive model of the American avant-garde and experimental composer -- creatively brilliant, tragically underrecognized, yet always there, rigorously plumbing the depths, issuing challenges, venturing toward the unknown. Leach's creative practice began at the crossroads of the modern and post-modern -- with the death of the American dream, its hegemonic point of view, and with the irreconcilable reductive legacies of their predecessors, the minimalists. Leach pursued the physicality of sound and acoustic phenomena -- investigating their properties, and interactions with space. Despite being incredibly active, during the 1970s and '80s Leach failed to offer a single commercial release. She instead instigated a singular body of work which is conceptually centered around live acoustic phenomena and performance. In effect, there are two dynamic components of her work -- the notes, structures, and relationships which make up a composition, and a secondary series of difference, combination, and interference tones, generated by a work's relationship to the space in which it is conceived and performed. Pipe Dreams represents a turning of the tide -- a means through which to offer the composer the attention she has always righty deserved. Comprised of two incredible works -- "4BC" and "Pipe Dreams" -- this LP is a brilliant entry point into Mary Jane Leach's sprawling body of composition and investigatory work. Like all of her efforts, they are temporal snapshots, incapable of being fully reproduced. They are singular and unique. "4BC" is a work for four bass clarinets, recorded during 1984. It is part of Leach's large body of compositions which employs long tones (drone) within a constrained tonal palette. "Pipe Dreams", written for, and recorded on, the organ in St. Peter's in Köln, Germany, during 1989, was realized by, and as a direct response to, the unique environment for which it was made. St. Peter's organ has two sets of pipes at opposite ends of the church, each having separate sounds and stops that can generate microtonal intervals. The work is a structured improvisation, exploring antiphony and the specific sounds of that organ, extra-musical as well as musical. These pieces help illuminate Leach as one of the most important voices in her generation.
SUZANNE CIANI - Help, Help, The Globolinks! (Finders Keepers 094; UK) As faithful guardians of the Ciani Musica Inc. studio vault, Finders Keepers twist the key and return to their collaborative series of previously unreleased music from one of the most important and influential composers in multi-disciplinary electronic music, Suzanne Ciani. This electronic soundtrack for an operatic, ecological, scholastic, science fiction theater production for children of all ages not only further reveals Suzanne's vibrant and versatile skills as an experimental musician and narrative sound designer, but also highlights her European heritage -- working to the script of Milanese librettist Gian Carlo Menotti and a cast of forward-thinking fellow Italian-American creatives (including Giorgio Armani and Fiorucci in the wardrobe department). Originally written and performed in 1968, and gaining worldwide acclaim throughout the 1970s, Gian Carlo Menotti would update and revise his play for the turn of the '80s which called for a new approach to the music and sound effects -- all of which would make their world premiere in New York high school theaters in April of 1980. Suzanne on the original: "The original production had been in 1968 and I felt that the electronic music component could be more playful and less abrasive than the original production." For Help, Help The Globolinks!, Ciani would give Menotti's well-traveled aliens a brand new voice and with reinvention she communicated with a young audience keen to hear the genuine sounds of the future while retaining melodicism and personality. Unlike many successful electronic composers, Suzanne managed to evade the obvious typecasting of her music through the medium of shlock sci-fi cinema; within the realms of opera and education Suzanne found her perfect channel -- scratching her other cosmic cinematic itches with android music in The Stepford Wives and as "the first female composer to score a major Hollywood movie" with The Incredible Shrinking Woman (1981). Furnishing a plot of an ecological alien intervention worthy of a Magma youth starter pack and realigning early pioneering electronic operas such as Karl-Birger Blomdahl's Aniara or Remi Gassman's Electronics (CACK 004B-LP), this virtually undocumented work by the hardest working woman in VCO business is finally preserved after just a handful of exclusive theatrical airings over 35 years ago. Ciani's combined roles as an abstract artist and an astute technician are in equal measures here, a rare duplicity which is essential to The Globolinks!.
THE GUN CLUB - Elvis From Hell (Bang! Records 108; Spain) High-quality The Gun Club rarities compiled on a double album. Side A includes The Gun Club's very first demo from 1981. Side B has an on-air recording at a radio station in New York City in 1982. Side C has acoustic rarities from Jeffrey Lee Pierce, recorded in 1990. Side D features an absolutely killer live recording of The Gun Club in Europe on the "Lucky Jim" tour in 1993. All of it comes packaged in a deluxe gatefold jacket which will please all of the fans around the world of this legendary and unforgettable band. 150 gram vinyl; Edition of 500.
2 LP Set $35
Big RAMBOY / MICHAEL VATCHER / MICHAEL MOORE CD SALE!
The great drummer Michael Vatcher recently moved to NYC, which is wonderful for us local adventurous music listeners. Mr. Vatcher just left is with a stack of CDs from (mostly) the Ramboy label. The Ramboy label is run by Amsterdam-based reeds wiz Michael Moore, who is also a longtime member of the ICP Orchestra. Both the Ramboy label and everything I’ve heard from Mr. Vatcher is consistently excellent, so don’t miss this opportunity to complete your Ramboy and Vatcher back catalogue!
Most Ramboy CD’s sell for $16, but while our supply lasts, these will be $14 each. If you take 5 or more, you can take another $1 off if each. I will include a few reviews down below as well.
AVAILABLE JELLY [MICHAEL MOORE/GREG MOORE/MICHAEL VATCHER et al] - Available Jelly (Ramboy 14; Netherlands)
AVAILABLE JELLY [MICHAEL MOORE/WOLTER WIERBOS/TOBIAS DELIUS/ERIC BOEREN/ERNST GLERUM/MICHAEL VATCHER] - Happy Camp (Ramboy 10; Netherlands)
AVAILABLE JELLY [MICHAEL MOORE/ERIC BOEREN/GREG MOORE/MICHAEL VATCHER] - In Full Flail (Ramboy 17; Netherlands)
AVAILABLE JELLY [MICHAEL MOORE/WOLTER WIERBOS/TOBIAS DELIUS/ERIC BOEREN/ERNST GLERUM/MICHAEL VATCHER] - Bilbao Song (Ramboy 21; Netherlands)
AVAILABLE JELLY [MICHAEL MOORE/WOLTER WIERBOS/TOBIAS DELIUS/ERIC BOEREN/ERNST GLERUM/MICHAEL VATCHER] - Set 1: Plushok, Baarie Nassau, NL, 3 March 2007 (Ramboy 28 A; Netherlands)
AVAILABLE JELLY [MICHAEL MOORE/WOLTER WIERBOS/TOBIAS DELIUS/ERIC BOEREN/ERNST GLERUM/MICHAEL VATCHER] - Set 2: Plushok, Baarie Nassau, NL, 3 March 2007 (Ramboy 28 B; Netherlands)
MICHAEL MOORE QUARTET With ERNST REIJSEGER/ALEX MAGUIRE/MICHAEL VATCHER - Neglige (Ramboy 04; Netherlands)
MICHAEL MOORE QUARTET With HARMEN FRAANJE/CLEMENS VAN DER FEEN/MICHAEL VATCHER - Amsterdam: Muziekgebouw 16 February 2010 (Ramboy 27; Netherlands)
MICHAEL MOORE With AB BAARS/MICHAEL VATCHER et al - Fragile (Ramboy 25; Netherlands)
MICHAEL MOORE QUARTET With HARMEN FRAANJE/CLEMENS VAN DER FEEN/MICHAEL VATCHER - Easter Sunday: Bimhuis Amsterdam, 24 April 2011 (Ramboy 30 ,Netherlands)
THE PERSONS [MICHAEL MOORE/ERNST REIJSEGER/MICHAEL VATCHER et al] - Live During Wartime (Ramboy 03; Netherlands)
THE PERSONS [MICHAEL MOORE/ERNST REIJSEGER/MICHAEL VATCHER et al] - Sweet Ears (Ramboy 23: Netherlands)
THE PERSONS [MICHAEL MOORE / ERNST REIJSEGER / DANNY PETROE / DAN LICHT / ERIC CALMES / MICHAEL VATCHER] - World Surf Music (Ramboy #18 ,Netherlands)
Still part of our sale but only 1 or 2 copies of each:
GEORG GREAWE / MARCIO MATTOS / MICHAEL VATHCER - Subsymbolism (Nuscope 1002; USA)
STEUART LIEBIG/MICHAEL VATCHER/VINNY GOLIA - On The Cusp Of Fire And Water (Red Toucan 9324; Canada)
TRISTAN HONSINGER With SEAN BERGIN / TOSHINORI KONDO / TIZIANA SIMONA / JEAN-JACQUES AVENEL / MICHAEL VATCHER - Picnic (CvsD 28 / Data 852; Netherlands)
1000 [JAN KLARE/BART MARIS/WILBERT DE JOODE/MICHAEL VATCHER] - 1000 Anthems to Work on a Goof End (Umland 10; Germany)
Last copies of these two, no discount:
AVAILABLE JELLY [MICHAEL MOORE/TOBIAS DELIUS/MICHAEL VATCHER et al] - Monuments (Ramboy 07; Netherlands)
MICHAEL MOORE HORN QUINTET With FRANK GRATKOWSKI/TOBIAS DELIUS/AB BAARS/WOLTER WIERBOS - Tunes For Horn Guys (Ramboy 08; Netherlands)
Here’s some of the above CD’s with Reviews by Yours Truly and others…
AVAILABLE JELLY [MICHAEL MOORE/GREG MOORE/MICHAEL VATCHER et al] - Available Jelly (Ramboy 14; Netherlands) Originally released on Square Records a decade ago, the line-up on this recording is Michael Moore reeds and marimba, Jimmy Sernesky, Barry Block, Stuart Curtis, Greg Moore on trombone, tuba el bass and mandolin, and Michael Vatcher on percussion, hammered dulcimer and marimba. Travels in the fun aspects of the similar but larger ICP Orchestra!
AVAILABLE JELLY [MICHAEL MOORE/WOLTER WIERBOS/TOBIAS DELIUS/ERIC BOEREN/ERNST GLERUM/MICHAEL VATCHER] - Happy Camp (Ramboy 10; Netherlands)"Available Jelly is a Dutch group that plays a heady blend of originals, little heard Ellington, and some African songs, the instrumentation almost giving it the feel of traditional jazz (by which I intend the kind that developed around the time of the first world war). Eric Boeren's cornet, Wolter Wierbos's brash and vocal trombone, and Michael Moore's clarinet and alto can impart the flavour of a New Orleans front line, while tenor saxophonist Toby Delius can summon the breathy bluster of Hawkins and Webster. While its eclecticism is bound to suggest Dutch ensembles led by Misha Mengelberg and Willem Breuker, Available Jelly has a character of it's own, a raw vitality that seeps into the most precise ensemble. It's music that's often contrapuntal within the ghost of tonality and it jumps with spectacular life in the joyous collisions that arise between its written parts and its improvising styles. Ernst Glerum on bass and Michael Vatcher on drums drive and bounce it along with the effervescence of a (global) village band." - Coda, January/February 1998
AVAILABLE JELLY [MICHAEL MOORE/ERIC BOEREN/GREG MOORE/MICHAEL VATCHER] - In Full Flail (Ramboy 17; Netherlands) Originally released on Ear-Rational a decade ago, the line-up on this recording is Michael Moore reeds and marimba, Eric Boeren trumpet and cornet, Greg Moore on trombone, tuba el bass and mandolin, and Michael Vatcher on percussion, hammered dulcimer and marimba. Flexible music with wit!
AVAILABLE JELLY [MICHAEL MOORE/WOLTER WIERBOS/TOBIAS DELIUS/ERIC BOEREN/ERNST GLERUM/MICHAEL VATCHER] - Bilbao Song (Ramboy 21; Netherlands) Recorded in February of 2004, the line-up on this recording is Michael Moore on reeds and marimba, Eric Boeren on cornet, Wolter Wierbos on trombone, Toby Delius on tenor sax and clarinet, Ernst Glerum on bass and Michael Vatcher on percussion. Available Jelly is Michael Moore's longest ongoing band, with four other discs of theirs at present. The personnel includes mostly members of the ICP Orchestra, except for American- born, Dutch-based drummer Michael Vatcher, Mr. Moore wrote half of the songs here, except for covers by Burt Bacharach, Hoagy Carmichael, Kurt Weill and two by bnd-member, Eric Boeren. This superb sextet has that same freewheeling yet tight-knit vibe that The ICP Orchestra has, without going over the top too much. This band is often filled with surprising twists and turns. They take two traditional Siamese tunes on "Bulan" and "Khek Borates" and turn the inside-out, sounding exotic at the beginning and then veering off to free space later. Hoagy Carmichal's delightful "Baltimore Oriole" is a dreamy, bluesy ballad with a quaint, haunting trombone solo. "Selat Sunda" is inspired by Balinese & Javanese music and it is filled with layers of repeating phrases, reminding me more of Steve Reich, only more interesting and not boring. "Jackdaws and Blackbirds" is a marvelous spacious piece that is a portrait of Michael's garden with evocative nature sounds floating in the environment. There is something beautifully quirky about this music that I find charming but hard to describe. Perhaps you could explain it to everyone else who is not convinced of how wonderful this is. Me? I'm already touched by this. - BLG
AVAILABLE JELLY [MICHAEL MOORE/WOLTER WIERBOS/TOBIAS DELIUS/ERIC BOEREN/ERNST GLERUM/MICHAEL VATCHER] - Set 1: Plushok, Baarie Nassau, NL, 3 March 2007 (Ramboy 28 A; Netherlands) Available Jelly features Eric Boeren on cornet, Wolter Weirbos on trombone, Michael Moore on alto sax & clarinet, Tobias Delius on tenor sax & clarinet, Ernst Glerum on bass and Michael Vatcher on drums. Available Jelly are another of Michael Moore's ongoing bands whose personnel has changed in recent year to include fellow members of the ICP Orchestra like Wolter Weirbos, Tobias Delius & Ernst Glerum. Then other two members are also Netherlands-based musicians like Michael Vatcher who also plays in a few of Michael Moore other projects and Eric Boeren who has a fine quartet CD on Clean Feed and is a member of Playstation 6. Mr. Moore composed 5 of the 7 songs here with a couple of eclectic covers like "Isfahan" by Billy Strayhorn and a traditional song from Myanmar. For "Lovelock" three of the horn play a theme while Tobias Delius takes a rip roaring solo. Drum wiz Michael Vatcher sounds as if he is about to spin out of control until the sextet breaks into a mutant Dixieland groove. While trombone ace Wolter Weirbos take a smokin' solo, the rest of the group plays some rather lop-sided swing. The traditional song from Myanmar (or Burma) has an exotic laid back charm with infectious swirling horns. Mr. Moore does a fine job of providing odd yet thoughtful harmonies for the four horns while the rhythm team consistently shines always shifting to accommodate whichever direction the songs evolve through. "Fanfare" starts off with all for horns playing in tight orbits around one another, sputtering and spinning intensely until they come together for that great sixties horn-band theme. In number of ways Available Jelly are similar in sound to the ICP Orchestra only with the hijinks of Han Bennink but still with a sense of humor in part. All four horns (alto & tenor sax, trumpet & trombone) get a few chances to solo but it is often those infectious background horn harmonies that really makes this consistently enchanting. At times it sounds as if the sextet is playing with slightly drunken swagger but they remain tight, loose and spirited throughout. Strayhorn's gem "Isfahan" get a particularly elegant reading with some especially charming Ellingtonian buttery saxes floating on top. I can't wait to hear the other set since this one is so fine! - Bruce Lee Gallanter, Downtown Music Gallery
AVAILABLE JELLY [MICHAEL MOORE/WOLTER WIERBOS/TOBIAS DELIUS/ERIC BOEREN/ERNST GLERUM/MICHAEL VATCHER] - Set 2: Plushok, Baarie Nassau, NL, 3 March 2007 (Ramboy 28 B; Netherlands) Available Jelly features Eric Boeren on cornet, Wolter Weirbos on trombone, Michael Moore on alto sax & clarinet, Tobias Delius on tenor sax & clarinet, Ernst Glerum on bass and Michael Vatcher on drums. Available Jelly are another of Michael Moore's ongoing bands whose personnel has changed in recent year to include fellow members of the ICP Orchestra like Wolter Weirbos, Tobias Delius & Ernst Glerum. Then other two members are also Netherlands-based musicians like Michael Vatcher who also plays in a few of Michael Moore other projects and Eric Boeren who has a fine quartet CD on Clean Feed and is a member of Playstation 6. Considering that the 1st set had a great Billy Strayhorn cover, this set contains three Duke Ellington covers. This discs starts with the relatively rare "Village of the Virgins" by Duke, a somber, moody delight. Although you can hear the audience quietly, the sound is well captured and warm. Mr. Wierbos plays some fine trombone with a plunger while the clarinets sing righteous harmonies. "Rat-Like Box" simmer softly with layers of rolling horns rotating together in a dream-like state. A number of Moore's pieces are filled with selective spaces so that we have to fill in the blanks in the structure. Reminiscent of the ICP Orchestra, some of these songs are filled with disparate parts the work together when sees or hears the entire picture. Some pieces feature sections of fascinating unaccompanied horns playing shrewd harmonies. - BLG/DMG
MICHAEL MOORE QUARTET With ERNST REIJSEGER/ALEX MAGUIRE/MICHAEL VATCHER - Neglige (Ramboy 04; Netherlands) "This work begins with an introductory piano solo by Alex Maguire that quickly darts around before Michael Moore's equally arresting whinnying on alto saxophone, lustfully building into his more lonely neighing split-tones before groove-entry; euro-style swing jazz, free and playful, avant-garde, and unrelenting joyousness. An upbeat treasure for the world of jazz improv, it never holds one mood or tempo too long before it moves to another soundscape. Resolutions segue to new beginnings, with beautiful woodwinds, low clarinets balancing sax creeping through percussion, strings and electronic soundscapes. This avant-jazz with all its quirks and surprises was certainly enough to keep me playing this wonderfully listenable CD, with all its apparent 'dutchness' and 'un-dutchness’.”- LaDonna Smith, The Improvisor, 1993
MICHAEL MOORE QUARTET With HARMEN FRAANJE/CLEMENS VAN DER FEEN/MICHAEL VATCHER - Amsterdam: Muziekgebouw 16 February 2010 (Ramboy 27; Netherlands)"Recorded in 2010 at the Muziekgebouw in Amsterdam, the quartet featured here is comprised of Moore on alto saxophone, clarinet and bass clarinet; Harmen Fraanje on piano; Clemens van der Feen playing bass; and Michael Vatcher on drums and percussion.
The concert starts out a little more raw and free than Rotterdam. The dialog between Moore and his group is high caliber and sections of the tunes feature syncopations, stops and starts that reward intensive listening. The opener, Round & Round, is full of exciting interactions and unanticipated concurrencies. Seven follows, which again features a free approach to the composition. Rapidly becoming my favorite track of the album, Moore's clarinet jumps through unanticipated intervals and delivers short melodic phrases while van der Feen's bass punctuates and propels. Throughout, the drums and piano are very economical and play just what is needed. A repeated theme that surfaces on occasion elevates the song a notch each time it appears. Other tunes like Lusty Bike have very beautiful moments that, while sometimes feel a bit whimsical, are also quite lyrical.
A mix of free and composed pieces, the album seems to start off on the freer side and weaves back and forth between structured and free playing. Moore's tone on the woodwinds stretches and bends but never breaks, and his group at times delivers a gentle sophistication that pops up between more strident moments like a soothing ointment. Moore has a rounded, breathy tone, that is not without teeth. Edgier moments like the more experimental Creeley provide a great balance to the set." - Paul Acquaro, FreeJazz
MICHAEL MOORE With AB BAARS/MICHAEL VATCHER / et al - Fragile (Ramboy 25; Netherlands) Featuring Michael Moore on alto sax, clarinets & compositions w/ Harmen Fraanje (piano), Clemens van der Veen (bass), Michael Vatcher (drums/glass harp), and guest Ab Baars (clarinet). "Fragile" refers to the precariousness of human relationships and our eco-systems. All of these were written during a summer tour of 2007 and are about the caring folks who support the traveling musicians in a variety of ways. What struck me most about this disc is the often laid-back vibe and haunting melodies. I am not familiar with the pianist (Harmen Fraanje) or bassist (Clemens van der Veen) here, although I do know drum wiz Michael Vatcher from his superb work with Jewels & Binoculars, who played in our town this week (4/19/08) and were just incredible. Starting with "Paint as You Like," we enter a lovely, elegant world that is poignant, with some delightfully restive clarinet by Mr. Moore. On two of these pieces, fellow ICP reeds wiz, Ab Baars, is added on clarinet. "Yahoo Day" features just Moore and Baars and is a delightfully quaint piece for two hushed reeds. The title piece, "Fragile" starts with Vatcher playing glass harp, which sounds as if he is rubbing glasses softly. I love the way that Mr. Vatcher insinuates the beat by playing just a minimum of taps of his cymbals. Moore plays some mighty fine bass clarinet on "Bagdad," which has a Monkish melody and elegant piano from Harmen. Every piece here is precious and filled with haunting melodies and is exquisitely played. At nearly 70-minutes long, it does take a bit of patience to appreciate this long dreamy journey. The riches are indeed great when you take the time to savor this entire treasure chest of enchanting songs. - BLG
MICHAEL MOORE QUARTET With HARMEN FRAANJE/CLEMENS VAN DER FEEN/MICHAEL VATCHER - Easter Sunday: Bimhuis Amsterdam, 24 April 2011 (Ramboy 30 ,Netherlands) Live at the Bimhuis in Amsterdam April of 2011. The personnel features Michael Moore on alto sax, clarinet & compositions, Harmen Fraanje on piano, Clemens van der Feen on bass and Michael Vatcher on drums, percussion & saw. You no doubt know about reeds great Michael Moore form his many years with the ICP Orchestra as well as his own Ramboy label which now has some thirty discs with him as the leader of several ensembles. Drummer Michael Vatcher is another American expat living for many years in Amsterdam and playing with a number of fines ensembles like Maarten Altena, Jewels & Binoculars (Dylan tribute trio with Moore & Lindsay Horner) and Four Walls. Although I don't recognize the bassist, the piano player (Harmen Fraanje) has worked with Eric Vloeimans & Mats Eilertsen. Michael Moore composed all but one of the songs here, with one cover of the standard "It Might as Well be Spring". "Cool, Simmering" opens and it has an apt title since Mr. Moore's cascading alto sax sounds like Lee Konitz or Paul Desmond at their coolest. His tone is stunning, the tune is lovely, calm and exquisitely sublime. The tempo and intensity slowly build throughout this piece until it drifts into the clouds and simmers. Overall most of these songs have mellow, spacious sound. Quietly adventurous without breaking a sweat. Pianist Harmen Fraanje plays in a haunting, warm and mostly melodic way, each of his solos are superb with never a wasted note. The tempo and temperature increases somewhat on "Evguth" which is adventurous in its own odd way. One of the more distinctive traits about Michael's music is that he has a sly way of using less notes or spaciousness while keeping the essence of the song intact. Playing a fragment of the entire melody or line and letting the listener fill in the rest. His music seems to breathe and leaves us in magical state of mostly subdued grace. - Bruce Lee Gallanter, Downtown Music Gallery
THE PERSONS [MICHAEL MOORE/ERNST REIJSEGER/MICHAEL VATCHER et al] - Live During Wartime (Ramboy 03; Netherlands) With Michael Moore reeds, Ernst Reijseger cello, Michael Vatcher drums, Dan Licht, Danny Petrow and Franky Douglas guitars, and James Royer on bass. This is a live broadcast on Radio Bremen from the early '90s for this arty-instrumental-on-the-border-between-jazz-and-RIO-rock group. Provacatively FUN listening!
THE PERSONS [MICHAEL MOORE/ERNST REIJSEGER/MICHAEL VATCHER et al] - Sweet Ears (Ramboy 23: Netherlands) Featuring Michael Moore - alto saxophone, clarinet, bass clarinet & melodica, Ernst Reijseger - 'cello, Danny Petrow & Nick Kirgo - guitars, James "Sprocket" Royer - bass and Michael Vatcher - drums. This is the third disc from Michael Moore's electric ensemble called The Persons. The Person feature two electric guitarists, playing interlocking riffs and are much different from any other project that Mr. Moore has organized. We know Ernst Reijseger from his work with the ICP Orchestra (Moore is also a member) and Michael Vatcher from Jewels & Binoculars (Bob Dylan tribute trio with Moore & Lindsay Horner). The two guitarists and bass player, we only know from the previous discs by The Persons. Although "Vicky/Sweet Ears" starts with cello, clarinet and drums, we soon move into some intense free rock territory. Eventually both guitars get into some cool Talking Heads-like spastic rock/funk grooves. Mr. Moore even adds some funky chicken-like sax squawks here and there. I had to get up and dance during this tune and it sure felt great. "Sluggo" starts out as heavy and inventive rock instrumental and then evolves into a laid-back sax conclusion. "Humoroso" features some fine, bluesy slide guitar and sexy, late-night sax from Mr. Moore and an inspired plucked cello solo. What I find most interesting about this band/disc is the way Moore writes for the guitars, bass and cello. There are a number of engaging and intricate inter-locking riffs that make these pieces so fascinating. On "Ishi/Let 'em Ring," the guitars constant shift and evolve, playing around once another as the bass sails quickly underneath. It is quite progressive without any bombast. There are loads of surprises in store throughout this entire long (67-minute) disc. The Persons do not sound like anything else the Michael Moore does, yet remain consistently intriguing. - BLG
THE PERSONS [MICHAEL MOORE / ERNST REIJSEGER / DANNY PETROE / DAN LICHT / ERIC CALMES / MICHAEL VATCHER] - World Surf Music (Ramboy #18; Netherlands) “" The Persons are a loose-knit collective of improvising and jazz musicians who have come together under the banner of World Surf Music in 1989. The band consists of Clusone Trio cellist Ernst Reijseger, guitarists Daniel Licht and Danny Petrow, bassist Eric Calmes, saxophonist and clarinetist Michael Moore, and drummer Michael Vatcher. Here, Vatcher and Moore create tunes that can only be described as popular, riff-driven music, such as surf, as read through Middle and Far Eastern folk traditions, and pop, with electric guitar interplay, and a jazzman's sense of adventure. Sonic textures are created in near song-like forms and built into towering dynamic statements that are as much fun to pretend to dance to as to listen to. Moore's soloing grounds the music in improvisation and jazz, but with two guitarists, a bassist, and a cellist, strings are the thing and they prevail here on "Surfing in Bali"; the tune sounds like its title. "Two Lines" comes off as a '60s girl group tune a lá Phil Spector, played through a filter of oriental mysticism's ritual music with a Jimmy Giuffre sense of restraint. "Franz," written for composer and bandleader Franz Koglmann is a series of his own motifs loosely strung together with plenty of space, and enough melodic invention to constitute the kind of harmonic bridges that create impressions, rather than leave them. While World Surf Music is not as powerful as Live During Wartime, their succeeding live album of a couple years later, World Surf Music is easily as gratifying because of its relative quiet, its smart arrangements, and the fact that no one here overplays. All of the music is honest, and close to the bone, no matter how far the compositions journey." - Thom Jurek, All Music Guide.
Bruce Lee Gallanter’s Recommended Gig List for November of 2017:
THE STONE AT THE NEW SCHOOL — 55 WEST 13TH STREET
FRIDAY AND SATURDAY NIGHTS NOVEMBER 10-11 AT 830PM
FRIDAY NOVEMBER 10: Mazz Swift (violin, voice) Sam Newsome (soprano sax) Simón Wilson (acoustic bass) Jim Black (drums)
SATURDAY NOVEMBER 11: Peter Evans (trumpet) Joey Chang (piano) Michael Formanek (acoustic bass) Jim Black (drums)
THE STONE RESIDENCIES - MARC RIBOT - NOV 7–12
830 pm - SONGS OF RESISTANCE - Marc Ribot (guitar) Shahzad Ismaily (percussion, bass, keys) Briggan Krauss (sax)
8:30 pm - MARC RIBOT TRIO
Marc Ribot (guitar) Henry Grimes (bass) Chad Taylor (drums)
8:30 pm - MARC RIBOT SOLO—COMPOSITIONS BY CASSEUS, ZORN AND CAGE
Marc Ribot (guitar)
THE STONE RESIDENCIES - IKUE MORI - NOV 14-19
8:30 pm - Mephista with special guest Jim Staley - Ikue Mori (electronics) Sylvie Courvoisier (piano) Susie Ibarra (drums) Jim Staley (trombone)
8:30 pm - QUARTET - Ikue Mori (electronics) Satoko Fujii (piano) Kappa Maki (trumpet) Erik Friedlander (cello)
8:30 pm - QUARTET - Ikue Mori (electronics) Zeena Parkins (harp) Fast Forward (percussion) Cyro Baptista (percussion)
THE STONE AT THE NEW SCHOOL—55 WEST 13TH STREET
JENNIFER CHOI - FRIDAY AND SATURDAY NIGHTS NOVEMBER 17-18 AT 830PM
FRIDAY NOVEMBER 17—The Secret Quartet: Cornelius Dufallo, Jennifer Choi (violins) Lev Zhurbin (viola) Yves Dharamraj (cello) Earle Brown-String Quartet / Lev Zhurbin - Culai / Trevor Dunn- String Quartet
SATURDAY NOVEMBER 18—Jennifer Choi (violin) Kathleen Supove (piano) Neil Rolnick (laptop) Vasko Dukovski (clarinet) Alexandra Joan (piano) / Rolnick-Deal With the Devil (duo) * / Jen Shyu-Jum Jeng Yi* / Missy Mazzoli-A Thousand Tongues / Stravinsky-The Soldier's Tale (Trio Version) *world premiere
8:30 pm - Ikue Mori, Ned Rothenberg, Magda Mayas and Billy Martin - Ikue Mori (electronics) Ned Rothenberg (reeds) Billy Martin (drums) Magda Mayas (piano)
8:30 pm - TRIO - Ikue Mori (electronics) Okkyung Lee (cello) George Lewis (trombone)
8:30 pm - STONE BENEFIT IMPROV NIGHT
Ikue Mori (electronics) John Zorn (sax) and many special guests
All Sets 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 Nov 10
6:00PM COMPCORD ENSEMBLE - Juecheng Chen, countertenor; LeeAnet Noble, percussion, tap dancer; Sean Satin, classical guitar; Gene Pritsker, electric guitar; Jai Jeffryes, piano
8:35PM SWARMIUS MEETS OPERA - Rudy Alexander Giron, countertenor voice; Todd Rewoldt, alto saxophone; Michael Couper, tenor saxophone; Geoffrey Burleson, piano; Daniel Pate, percussion; Joseph Martin Waters, composer, laptop; special guest Charles Coleman, baritone voice
Saturday Nov 11
8:35PM LUCIAN BAN & ELEVATION - Lucian Ban, piano; Gavril Tarmure, voice; Abraham Burton, tenor sax; Mat Maneri, viola; Brad Jones, bass; Billy Hart, drums
Sunday Nov 12
8:00PM ISRAELI JAZZ SPOTLIGHT: GAYA FELDHEIM SCHORR - Gaya Feldheim Schorr, voice; Davy Lazar, trumpet; Blake Opper, tenor sax; Tal Yahalom, guitar; Eva Lawitts, bass; Mareike Wiening, drums
Tues Nov 14th:
8:00PM MATT DAVIS TRIO - Matt Davis, guitar; Ben Bryden, saxophone; Austin Walker, drums
9:30PM ROGÉRIO BOCCATO QUARTETO - Dan Blake, saxophone; Nando Michelin, piano; Jay Anderson, bass; Rogerio Boccato, dance, percussion
Wednesday Nov 15
6:00PM MEAGHAN BURKE AND THE CREATURE COMFORTS BAND - Meaghan Burke, cello, voice; Leah Asher, violin, viola; Carlos Cordeiro, clarinets
8:01PM MARTIN NEVIN GROUP - Roman Filiu, alto sax; Kyle Wilson, tenor sax; Sam Harris, piano; Martin Nevin, bass; Craig Weinrib, drums
Thursday Nov 16
8:00PM TYLER BLANTON ELECTRIC TRIO - Tyler Blanton, vibraphone; Jorge Roeder, bass; Jonathan Blake, drums
9:30PM CARLO DE ROSA QUARTET - Quinsin Nachoff, tenor sax; Mike Eckroth, piano; Carlo De Rosa, bass; Kush Abadey, drums
Friday Nov 17
6:00PM AN EVENING OF SONG, POETRY AND MUSIC - Barry Wallenstein, poetry; Alan Rosenthal, piano; Ken Filiano, bass; Robert Silverman, trumpet; Jeremy Carlstedt, drums; Vincent Chancey, french horn; and Farzad Amoozegar, setar
8:35PM DAN WEISS, MATT MITCHELL DUO " FOURTH FLOOR " - Dan Weiss, drums; Matt Mitchell, piano
Saturday Nov 18
8:35PM JIM BLACK TRIO - Elias Stemeseder, piano; Desmond White, bass; Jim Black , drums
Sunday Nov 19
8:01PM NEW BRAZILIAN PERSPECTIVES: ALEX KAUTZ GROUP - Helio Alves, piano; Edward Perez, bass; Alex Kautz, drums New Brazilian Perspectives: Alex Kautz
November at Shapeshifter:
7pm: Darcy James Argue’s Secret Society performs Real Enemies
8:35p - Nick Di Maria presents Time Circuit
Nick Di Maria - Trumpet
Josh Walker - Tenor Saxophone
Andrew Kosiba - Fender Rhodes/Effects
Andrew Zwart - bass
Eric Hallenbeck - drums
Nov 12 - CityStomp
Doors 3:30p, show 4pm
7pm: BOKCO MASS Brooklyn College Conservatory Mondays at ShapeShifter Lab
conTEMPO and Percussion Ensemble Night - Ursula Oppens, conTEMPO Director; Whitney George, Assistant Director; Frank Cassara, Percussion Ensemble Director
The Conservatory’s New Music Ensemble and Percussion Ensemble perform cutting edge contemporary works.
Night of Illusions VI featuring
7pm: Daryl's Trifecta: Alfredo Colon(EWI/Alto Sax), Nat Janoff (Guitar), Sean Wayland(Piano/Synths), Daryl Chen (Electric Bass), Andrew Atkinson (Drums)
8:15pm: Rachma Lim Group
9:30pm: Eugene Seow Quintet: Myeonghan Yu (Soprano/Tenor Sax), Alan Kwan (Guitar), Joel Gonzalez (Piano), Eunjung Jo (Bass), Eugene Seow (Drums)
7pm: Dave Meder Trio - Dave Meder, piano; Marty Jaffe, bass; Kush Abadey, drums
7pm: Dreaming with Eyes Wide Awake - Stories of a Life Time
Hendrik Meurkens on harmonica
Misha Tsiganov on piano
Itaiguara Brandao on bass
Samuel Martinelle on drums
Michaela (Misha) Steinhauer vocals
9:30: Noshir Mody Ensemble
Noshir Mody: Guitar
Mike Mullan: Alto/Tenor Sax
Ben Hankle: Trumpet/Flugel Horn
Campbell Charshee: Piano
John Lenis: Bass
Yutaka Uchida: Drums
7:30pm: Brooklyn Tribute Concert for Jeff Buckley in the 20th Year of his Afterlife
FRIDAY, NOVEMBER 17TH, WOULD BE JEFF BUCKLEY'S 51ST BIRTHDAY, ON THE YEAR OF THE 20TH ANNIVERSARY OF HIS AFTERLIFE SINCE HIS UNTIMELY PASSING IN 1997.WE WILL REMEMBER, CELEBRATE, AND RELIVE THE ARTIST'S WORK IN AN INTIMATE NIGHT OF DIVERSE JEFF BUCKLEY COVERS AND ORIGINAL WORKS BY A RANGE OF TALENTED MUSICIANS. www.eventbrite.com/e/brooklyn-tribute-concert-for-jeff-buckley-in-the-20th-year-of-his-afterlife-tickets-38086438563
7pm - Kennedy
Brainchild of composer/songwriter Kurt Juergens, The Broadest Blue's debut album Kennedy is a grand-storytelling chamber pop endeavor in the tradition of Brian Wilson's SMiLE and Sufjan Stevens' Illinois. Lurking mid-century harmonic textures and novel instrumentations provide the backdrop for a dark exposé of the assassination of our 35th president.
Shapeshifter is located at
18 Whitwell Place in Brooklyn, NY
R train to Union stop
Thursday, November 16th 8:30 PM - Double Feature
8:30PM - In Tone: Richards / De Brunner / Rosenbloom
Cheryl Richards Voice
Claire De Brunner Bassoon
Mara Rosenbloom Piano
9:30PM - Pearring Sound
Jeff Pearring Alto Saxophone
Adam Lane Bass
Tim Ford Drums
Thursday, November 16th 8:30 PM
8:30PM In Tone: Richards / De Brunner / Rosenbloom
Cheryl Richards Voice
Claire De Brunner Bassoon
Mara Rosenbloom Piano
9:30PM Pearring Sound
Jeff Pearring Alto Saxophone
Adam Lane Bass
Tim Ford Drums
Friday, November 17th 8:30 PM
Gato Libre featuring Satoko Fujii
Kappa Maki – trumpet
Neko Jaras – trombone
Satoko Fujii – accordion
Saturday, November 18th 8:30 PM
Maloney / Yeh
Meredith Maloney -piano
C Spencer Yeh -violin
Lena Bloch Quartet
Saturday, December 2nd 8:30 PM
Lena Bloch (tenor saxophone)
Russ Lossing (piano)
Cameron Brown (bass)
Billy Mintz (drums)
I-Beam is located at 168 7th Street in Brooklyn, NY 11215 - Directions: SUBWAY: Take the F or R trains to 4th Ave & 9th Street. Walk down 4th ave to 7th street. Make a left on 7th and walk past 3rd ave. We are located on the ground floor, the grey doors to the right of the stairs of #168.
Sound It Out series @ Greenwich House – Concerts, October 2017
November 10: Ricardo Grilli
November 11: Double-bill – Marc Hannaford Trio Satoshi Takeishi, etc
December 14: Mike Baggetta & Anders Nilsson with Jerome Harris & Satoshi Takeishi
Greenwich House Music School:
46 Barrow Street, just west of 7th Avenue South in New York City’s West Village - www.greenwichhouse.org / 212-242-4770.
AN EVENING OF JAZZ WITH SYLVAIN KASSAP, STEVE DALACHINSKY & TODD CAPP
Monday, November 20th at 8pm
At Zurcher Gallery - 33 Bleecker St., NYC
Just east of Lafayette
take the 6, B, D, F & M trains to the Broadway & Lafayette stop
ADAM RUDOLPH’S GO: ORGANIC ORCHESTRA
31 winds, strings, percussion
Composed and Improvisationally conducted by Adam Rudolph
Monday November 27 8pm $15
At Roulette - 509 Atlantic Ave Brooklyn, NY 11217
Michel Gentile – c and alto flute, bamboo flutes
Sylvain Leroux - tambin, flute, bamboo flutes
Ze Luis – c and alto flute, bamboo flutes
Mariano Gil - bass flute, piccolo, bamboo flutes
Graham Haynes – cornet, flugelhorn, kudu horn
Stephen Haynes – trumpet, flugelhorn, kudu horn
Peter Zummo - trombone, didjiridoo
Libby Schwartz - french horn, kudu
Ned Rothernberg - clarinet, shakuhachi
Sean Sonderegger – soprano sax, contrabass clarinet, ney
Ivan Barenboim - clarinet
Avram Fefer – tenor sax
Sara Shoenbeck - bassoon, sona
Sana Nagano – violin
Mark Chung – violin
Elektra Kurtis – violin
Julianne Carney-Chung – violin
Gwen Laster – viola
Melanie Dyer – viola
Alva Anderson - viola and vocal
Leco Reis - contrabas
Marco Cappelli - acoustic guitar
Kenny Wessel - electric guitar
Alexis Marcelo – piano and electric keyboards
Mia Theodoratus - harp
Damon Banks - electric bass
John Hadfield- frame drums, percussion
Dan Kurfirst - cajon, frame drums, percussion
Rogerio Boccato - pandero, zabumba, percussion
Keita Ogawa - frame drums, percussion
BILL LASWELL & LARAAJI - AMBIENT CHURCH
December 16th, 2017 at 8pm
Bushwick United Methodist Church
1139 Bushwick Ave., Brooklyn - 718-574-6610
TICKETS@ambient.church - $25 - discounts for members