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DMG Newsletter for February 23rd, 2018

The Final Week of Downtown Style Improvisations at The Old Stone
Has Been a Blast Every Night, Playing to a Packed Room and Blowing Minds!
Four more Nights to GO, so Please Come Down before
The Old Stone closes and becomes History

Raise Your Glass of Spirits and Give a Toast to The Stone Founder: JOHN ZORN!
13 Years, More than Four Thousand Nights of Live Creative Music Performances!
Beginning Next Tuesday, February 27th, The New Stone at The New School Start
Its Weekly Schedule of five nights, Tuesday - Saturday, so come on Down!
Long Live The Stone, Old and New, the Home for Creative Music in NYC!

Here’s What’s Happening This Week on the DMG Menu for New Music Releases:

Anthony Braxton Sextet/Charlie Parker Project: Paul Smoker/Misha Mengelberg/Han Bennink! Scott Johnson/Alarm Will Sound! Amir ElSaffar & Hyper! Bobby Kapp/Abraham Burton Trio! Resonant Bodies: Andrew Drury & Stephanie Richards! Gunter Hampel New Quartet! The Astra Choir: Morton Feldman/Earl Brown/Pauline Oliveros..! Giacinto Scelsi Solo Cello!

Helmut Lachenmann for Clarinet! Thomas Ades String Qt & Piano Quintet! FMR restocks!
Historic Music from: Francois Hardy! Hugh Masakela! Desert Rose Band! The Ramones! And LP’s from: Loren Connors! Three from Pharoah Sanders! Miles Davis 1963! Bill Evans Trio! Herbie Hancock! John Coltrane! Ray Charles! Tony Allen! Scott Walker and more!



Sunday, February 25th:
6pm: CHET DOXAS - Tenor Sax and JOHN ESCREET - Drum Machine / Prophet Synth
7pm: MATT MOTTEL and MARTIN ESCALANTE - Talibam Keyboard Wiz & Mexican Multi-Phonic Saxist

Sunday, March 4th:
6pm: RAF VERTESSEN / KEISUKE MATSUNO / HANS TAMMEN - Drums / Guitar / Buchla Synth!
7pm: MIJ YELNED - Solo Bass Flute!

Rare Tuesday, March 6th Performance:

Sunday, March 11th:
6pm: SEAN ALI & AYAKO KANDA - ContraBass & Voice
7pm: DOGWOOD: NICO SOFFIATO and ZACH SWANSON - Guitar and Double Bass!
8pm: BEN GOLDBERG and TOM RAINEY - Clarinet and Drums!

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


ANTHONY BRAXTON SEXTET With PAUL SMOKER / ARI BROWN / MISHA MENGELBERG / JOE FONDA / HAN BENNINK or PHEEROAN AkLAFF - Sextet (Parker) 1993 (New Braxton House 907; USA) “Throughout the original 2 CD Set version , "the innovative altoist Anthony Braxton (who also plays a bit of his sopranino and the remarkable contrabass clarinet) interprets 13 bebop songs (two taken twice), 11 of which were composed by Charlie Parker. However, do not mistake these performances (which are comprised of both a studio session and a club set) with the type of music often played by the Young Lions. In fact, those listeners who consider themselves bop purists are advised to look elsewhere. Performing with an adventurous sextet that also includes Ari Brown on tenor and soprano, trumpeter Paul Smoker, pianist Misha Mengelberg (the most consistently impressive of the supporting cast), bassist Joe Fonda, and either Han Bennink or Pheeroan AkLaff on drums, Braxton uses the melodies and some of the original structures of such tunes as "Hot House," "Night in Tunisia," "Bebop," and "Ko Ko" as the basis for colorful and often-stunning improvisations. He does not feel restricted to the old boundaries of the 1940s and '50s, preferring to pay tribute to the spirit and chance-taking of Charlie Parker rather than to merely recreate the past. The passionate and unpredictable results are quite stimulating and full of surprises, fresh ideas and wit. It's highly recommended to those jazz followers who have very open ears.” - Scott Yanow - this review is based on the original 2 CD Set from Hat Art or Hatology. If you wish to read a more comprehensive review for the entire 11 CD Set go here:
11 CD Set $150 [If you pre-order for the first week, (until 3/1/18), you can take $5 off and get this box-set for $145)

SCOTT JOHNSON // ALARM WILL SOUND - Mind Out of Matter (Tzadik 4021; USA) “Another masterwork by one of America’s true mavericks—Scott Johnson, a com- poser/performer who works slowly and meticulously crafts every detail. A new work from him is truly a cause for celebration and this sprawling, extended 74-minute eight movement suite marks the culmination of his pioneering work transcribing speech into musical melodies. Here recordings of philosopher Daniel C. Dennett are set in lush and colorful musical landscapes that brilliantly mix pop sensibilities with classical rigor. A labor of love and five years in the making, this is one of Scott’s greatest creations, successfully synthesizing opposing musical inheritances into an exciting new language.”
CD $14

HYPER & AMIR ELSAFFAR - Saadif (Nusica.Org 09; Italy) Featuring Amir AlSaffar on trumpet, Nicola Fazzini on alto & soprano saxes, Alessandro Fedrigo on acoustic bass guitar and Luca Colussi on drums. Italian guitarist Nico Soffiato recently left us with nearly a dozen CD’s from the Nusica.Org label from Italy. Most of the discs on this label feature members of a trio with Nicola Fazzini, Allesandro Fedrigo and Luca Colussi. The only name her I was previously familiar with is Mr. Colussi, who is involved with bands on the Auand and Rudi Records labels. Everything on the label is limited and numbered. Now that I’ve listened to most of the discs, I am most impressed each and every disc.
Over six discs, Iraqi-American trumpeter & composer, Amir ElSaffar, has been evolving and refining his music, blending Persian traditional music and modern jazz in his own unique way. Each of his previous discs/ensembles, from a quartet to the River of Sounds (orchestra), has differed in personnel, his vision and playing guiding everyone around him. Last year, Mr. ElSaffar’s orchestra 2-CD set, ‘Not Two’, ended up an many journalist’s & listener’s best of lists. It is a masterpiece. Over the last few years, Mr. ElSaffar has been doing workshops around the world, teaching other musicians how to perform his music. This disc is more of a collaborative effort since Mr. ElSaffar, Mr. Fazzini and Mr. Fedrigo each contributed a song or two. The opening piece, “Mono Esa Tono” is held together by a quick, insistent bass-line, the quartet tight and focused. Both Mr. Fazzini on alto sax and Mr. ElSaffar on trumpet take strong, spirited solos, but it is the intricate playing of the rhythm team that remains astonishing throughout the entire piece. “Kosh Reng” is solemn and prayer-like with Mr. ESaffar chanting in his native language in the first section, eventually moving into a slow, hypnotic, middle-eastern groove. Both Fazzini on soprano sax and ElSaffar on trumpet take sly, snake-charming solos, weaving their playing around one another in almost magical way. Mr. Zazzini’s “Hyper Steps” has the alto sax and trumpet switching off and completing each others lines in the first section. The writing here has that tight, M-Base-like complexity that is most compelling. Mr. ElSaffar’s slow and simmering, “13th of November”, has a most mysterious, mesmerizing vibe which made me del like searching for something to get buzzed with. In the second half, the tempo increases and turns into a great klez-like groove. Most festive sounding! This entire disc is a winning combination of talents, recorded live, warm and well-balanced. A superb endeavor from all participants. - Bruce Lee Gallanter, DMG
CD $15 [LTD Edition of 200/numbered]

BOBBY KAPP With ABRAHAM BURTON / TYLER MITCHELL - Risky Business (Jazz15man; USA) Featuring Abraham Burton tenor sax, Tyler Mitchell on contrabass and Bobby Kapp on drums. More than fifty years ago, Bobby Kapp played drums on the debut albums for Pharoah Sanders, Marion Brown and Noah Howard, released on the ESP label. After recording a rare duo album with Mr. Howard in the early seventies, Mr. Kapp seemed to have disappeared from the avant/jazz scene up until more recently. It turns out that Mr. Kapp relocated to Mexico in the nineties, returning here to record three newer discs with Matt Shipp, Ivo Perelman and William Parker over the past couple of years. Last Sunday (2/11/18), Mr. Kapp, made his debut at DMG in a trio with Ras Moshe and Charley Sabatino. It was glorious, free, yet laid-back and quietly engaging.
For this disc, Mr. Kapp has organized a new trio with tenor saxist Abraham Burton and bassist Tyler Mitchell. I am not too familiar with Abraham Burton, although he has a great reputation, having worked with Horace Tapscott, Art Taylor and the Freedom art Quartet. Bassist Tyler Mitchell can also be found on the same discs with Art Taylor, as well as with the Sun Ra Arkestra and George Coleman. What is interesting about this recording is this: it is warm and flowing, free yet consistently focused. Mr. Burton has a somber, lovely, dark and haunting tone on tenor, the trio in no hurray to go anywhere, taking their time to build things, slowly, thoughtfully. There is something most organic about this, a superb give and take, a dreamy, laid back, quality, which feels just right. I can’t really describe individual pieces since it is more about the vibe or mood which is at the center of everything: mostly calm, slow-simmering, almost meditative in nature. Today feels like the first day of Spring as the temperature rises to nearly 70 and the Sun is out. It feels wonderful after a long, hard, cold winter. This music fits today perfectly, a ray of sunshine breaking through a cloudy day. - Bruce Lee Gallanter, DMG
CD $14

RESONANT BODIES [STEPHANIE RICHARDS / ANDREW DRURY] - Thaw (Different Track 50004; USA) Featuring Stephanie Richards on trumpet, flugelhorn, snare & timpani and Andrew Drury on floor tom & timpani. Last week, I reviewed a disc from drummer/composer Andre Drury’s band Content Provider, an amazing quartet of Downtown’s finest. Andrew Drury is a restless player and composer and just left us with a very different duo CD, featuring Stephanie Richards on trumpet & percussion and Mr. Drury on floor drum & timpani. The pictures inside and outside this disc show the recording session with Ms. Ricahrds playing her trumpet into the top of the timpani and Mr. Drury blowing or humming into an object on the top of another timpani. The music itself sounds rather ritualistic with eerie rubbed surfaces and ghostlike trumpet drones and breath-sounds. At times, it sounds as if a a small herd of elephants or whales were communicating with one another. This piece sounds like it was recorded in a cavernous room hence some of the low end sounds a bit muffled at times. There is good deal of concentration going on here, focused and making every sound count. Although this disc is around 28 minutes, every sound seems to unlock another mysterious area in our mind’s eye or ear. Fascinating! - Bruce Lee Gallanter, DMG
CD $12

GUNTER HAMPEL - Bounce / Live at Theatre Gutersloh (Intuition 71325; Germany) Featuring Gunter Hampel on bass clarinet, vibes & flute, Cavana Lee-Hampel on vocals, Johannes Schleiermacher on tenor sax & flute and Bernd Oezsevim on drums. For nearly fifty year, German-born musician, Gunter Hampel, has had a cross-cultural life and vision: often spending some of a year in New York and the other in Germany. Due to the lack of playing opportunities in NY and his growing audience in Europe, Mr. Hampel now spends most of his time living and touring in Europe. For the past decade or so, Mr. Hampel has organized a mostly German outfit of younger musicians which often includes his daughter, Cavana, as well as some dancers. For the entire time, Hampel has been living in New York, he has run his own independent label, Birth Records, originally releasing records, the CD’s and now DVD’s. This is Gunter Hampel’s first disc in decades which is not on Birth (except for a historic record on Be! Jazz from 1966), landing on the prestigious Intuition label.
This disc was recorded live at the Theatre Gutersloh and does indeed have better sound then some of Hampel’s more recent Birth discs. The opening song, “Kindred Spirits”, has a joyous, finger-snapping, toe-tapping groove with lovely scat vocals by Cavana and the bass clarinet and tenor sax swirling superbly together, free yet focused. You can tell that Mr. Hampel, Mr. Schleiermacher and Mr. Oezsevim have been playing together for a long while since they sound like one united force, organic and filled with positive energy. The balance between swinging and flowing freely is seamless and is often stripped down to its bare essentials. When Mr. Hampel takes an elegant vibes solo, his backed only by Mr. Oezsevin’s subtle support, skeletal swing. Ms. Lee Hampel is the also the daughter of the late, legendary avant/jazz vocalist Jeanne Lee. Her voice is similar and she has an equally enchanting and creative voice. Cavana is an integral part of this quartet, listens closely and casts an expansive web of sounds with the other three musicians throughout the entire disc/set. On the epic length, “Smiling Energy”, the voice, flute, sax and drums softly combine forces, weaving several lines around one another, with subtle, magical results. As this piece evolves, the intensity and interplay grow stronger and more spirited. This entire disc is almost 80 minutes long and also includes a short interview with Gunter Hampel at the end. I found that this disc had that at-the-edge-of-your-seat type of fascination. Mr. Hampel, who recently turned 80, is still going strong and performing creative music whenever he goes. He is supposed to be back in New York this summer. As a longtime fan and friend, I can’t wait to see him again in his second home. - Bruce Lee Gallanter, DMG
CD $16

MORTON FELDMAN / EARL BROWN / PAULINE OLIVEROS / WARREN BURT / WILL OGDON / ROBERT CARL // THE ASTRA CHOIR - “We, Like Salangan Swallows…” (New World Records 80794; USA) “The intense individuality of Morton Feldman’s (1926–1987) art and its “painterly” aspect have tended to push his rich output of works into a zone all of their own, surrounded by a moat of stillness. This recording attempts the reverse process—to bring his choral works (the previously unrecorded Chorus and Instruments, Voices and Instruments 1, Voices and Instruments 2, and The Swallows of Salangan) into a “gallery” of other choir compositions of his times. Through the interaction with works of other characters and aspirations, mutual illumination might become a new Feldman experience.
Two of the five other works confront Feldman’s textless choral singing with words. These, however, carry their own special musical intent. Three early twelve-tone gems [Three Statements] of Will Ogdon (1921–2013) move with Walt Whitman “into the wordless . . . away from books, away from art,” and reluctantly away from human desire, as embodied in the central poem by Thomas Campion. Robert Carl’s (b. 1954) The City brings a transcendentalist layered sound to the mystical reflections of the architect Louis Sullivan, contemplating the natural and the built-human in the lake and city of Chicago.
The notion of wordless chorus fans out in varied directions in the other three works. As one of Feldman’s closest associates in the New York School, Earle Brown (1926–2002) intrigues us as much for the stark differences from Feldman shown by his abstract choral mobiles (Small Pieces for Large Chorus). The Sound Patterns of Pauline Oliveros (1932–2016) are less abstract than their title might imply—moving in and out of singing itself into extended vocality, and towards newly-suggested verbal exclamations of a non-semantic kind. Warren Burt (b. 1949), a former student of both Oliveros and Ogdon at the University of California, San Diego, contributes with his Elegy the most recent piece, also the closest to Feldman’s simple successions of chorale-like chords. His harmonies, however, acquire their elegiac qualities from chromatic memories and their contradictions, moving along unfamiliar paths.”
CD $15

MICHAEL WINTER – Lower Limit (New World Records 80798; USA) Michael Winter is a composer, but also co-curator and co-director of the wulf., the non-profit arts organization that presents experimental music in Los Angeles. Presented on this CD are five compositions of contemporary minimalism and music with pure tones (just intonation tuning). “necklaces for guitar and tones” opens with a throbbing, droning microtonal chord that eventually includes a guitar pulse. The pulse remains the same, the chord slowly changes. mass and band, for virginal and harpsichord pluck along with much microtonal splendor for almost 12 minutes. Chorale and finely tuned resonators, for eight sustaining instruments evolves as a slow drone. Plucked guitars return on lower limit, pitches tuned to intervals from the harmonic series. “Necklaces” (solo version) returns at the end of the disc with a single guitar playing the only the repeating pulse, harmonics ringing out from the string are the stars.
The dense liner notes in the accompanying booklet by the composer explain his personal compositional approach. A breath of fresh air for ears in these troubled times. – David Beardsley
CD $15

Three More Contemporary Composer Classics in Stock Next Week:

GIACINTO SCELSI // MARCO SIMONACCI - Music for Solo Cello (Brilliant 95355; Italy) An aristocratic background, Eastern philosophies, private study with Modernist luminaries of the early 20th century and a determined pursuit of solitude: all in their ways contribute to the unique soundworld of Giacinto Scelsi’s music. Despite shunning personal publicity, however, the composer surrounded himself with friends and favorite performers, among them the American-born, Dutch cellist Frances-Marie Uitti who came to represent Scelsi on the world stage in his latter years. To her care he entrusted Trilogy, which forms the main work on this album of solo cello music. Comprising Triphon, Dithome and the Sanskritinspired Ygghur, the Trilogy is still to some extent dependent on the Expressionist language he had learnt from disciples of Schoenbergian serialism, yet already personal to him, and now a classic of 20th-century solo cello repertoire. The album is completed by the two fleeting movements of Voyages from 1974, which deploy disembodied harmonics and other techniques familiar from Scelsi’s music.
CD $14

THOMAS ADES // DOELEN KWARTET / DIMITRI VASSILAKIS - String Quartet, Piano Quintet (Cybele SACD 261603; Germany) Thomas Adès studied piano at the Guildhall School of Music and Drama, and read music at King’s College, Cambridge. Adès has won numerous awards, including the Léonie Sonning Music Prize and the Grawemeyer Award, of which he is the youngest ever recipient. His works have been established as a kind of “modern classic“, appearing several times on recordings and entering the repertoire of many ensembles. The range of reference in this and much of Adès’s best-known music has yielded for the composer a reputation as a kind of “postmodern ironist“, whose enormous technical gifts, some have argued, disguise a lack of real imagination and an over-reliance on the music of others. But Adès’s musical idiom is always recognizably his own! The DoelenKwartet, ranking among the leading quartets in the realm of contemporary classical music enhanced by the exceptional pianist Dimitri Vassilakis from Ensemble Intercontemporain, interprets Adès’ works with passion, history and intensity – attributes that characterize Adès’ unique compository manuscript
SA-CD $22

HELMUT LACHENMANN // GREGORY OAKES - Aesthetic Apparatus (New Focus FCR 196; USA) Clarinetist Gregory Oakes releases a recording of the complete chamber works for clarinet by eminent German composer Helmut Lachenmann, the first recording including all three together. Of particular interest is Oakes’ and his colleagues’ virtuosic performance of the seldom heard "Trio Fluido" for clarinet, viola, and percussion. Gregory Oakes is an exciting and energetic clarinetist and a passionate champion of the music of our time. From his Carnegie Hall debut with members of Ensemble Intercontemporain and Pierre Boulez to his performances as a member of the Colorado Symphony Orchestra, Mr. Oakes has been praised by critics for his “outstanding performance” (New York Times) and “jazzy flourishes”(Denver Post). American Record Guide says “Oakes is the rare player who has both excellent classical training and a mastery of the otherworldly procedures demanded by non-traditional repertoire,” and Fanfare Magazine lauds the “formidable technical armamentarium at his command.”
CD $16

Historic Recordings:

FRANCOISE HARDY - Live In The Sixties (Air Cuts 8087; UK) Françoise Hardy, live at L'Olympia, Paris, France; 1963-1965. This remarkable collection of live performances, originally broadcast on French Radio Europe 1's "Musicorama" Special, between 1963 and 1965, captures the iconic Françoise Hardy in her early prime. It includes many of her best-known songs, and confirms her position at the vanguard of contemporary yé-yé singers. The entire original French Radio Europe 1 broadcast is presented here, professionally remastered, together with background notes and images.
CD $17

HUGH MASAKELA - Live At The Record Plant, 24th February 1974 (Hi Hat 3113; UK) Hugh Masakela, live at The Record Plant on February, 24th 1974. This legendary South African-born trumpeter became a major star when he appeared at the Monterey Pop Festival in June 1967, and he had a smash hit with "Grazing In The Grass" the following year. This superb set was originally broadcast on KSAN-FM, and captures him at his infectious best. The entire broadcast is presented here, digitally remastered, with background notes and images.
CD $17

THE DESERT ROSE BAND With CHRIS HILLMAN - Live In New York 1989 (Rox Vox 20129; UK) The Desert Rose Band, live at the Ritz, New York in January 1989. As a founder member of The Byrds and The Flying Burrito Brothers, Chris Hillman requires no introduction to fans of folk and country-infused rock. Launched in 1985, his Desert Rose Band blended bluegrass with traditional country and country-rock, as well as topical lyrics. Originally broadcast on syndicated radio, this superb live set performed at the Ritz, New York followed the release of their classic second album, Running (1988), and finds them at the peak of their powers. The entire broadcast is presented here together with background notes and images.
CD $17

THE RAMONES - Live In Australia 80 (Rox Vox 2115; UK) The Ramones, live at the Capitol Theatre, Sydney, Australia on July 8th, 1980. The Ramones paid their first visit to Australia in mid-1980, during their tour in support of the Phil Spector-produced End Of The Century album (1979). This typically raucous, high-energy show at the Capitol Theatre in Sydney captures them on peak form as they tear through a selection of classics. Originally broadcast on JJJ-FM radio, the full broadcast is presented here, together with background notes and images.
CD $17

TYNDALL - Traumland (Bureau B 287; Germany) Bureau B present a reissue of Tyndall's second album Traumland, originally released in 1981 on Sky Records. The electronic sonic inventors Tyndall pulled out all the stops for their second album. Armed with an impressive array of analog synthesizers, they unleashed the full force of their experimentalist ambitions, weaving synth pop, repetitive bass patterns, laminar sounds, and carefree melodies into a unique amalgam of the Düsseldorf and Berlin Schools. Traumland was released a year after their debut effort Sonnenlicht (BB 286CD/LP). As the title ("Dreamland") suggests, Jürgen Krehan and Rudolf Langer left the earthly realm behind to draw the listener into an almost surreal dream of cheerfully fluting miniatures, as alien as they are imaginative. Traumland is far more experimental than its predecessor, at times even recalling early works of Düsseldorf's synthesizer-pop exponents of the avant garde, Der Plan. Krehan and Langer shared a passion for creating their own electronic instruments, yet when it came to recording the second album, as on their debut, they supplemented the ones they had built with a considerable amount of purchased equipment. This growing arsenal now included several semi-modular Roland System synthesizers. Roland premiered the System 100 in 1975, acknowledged today as one of the very best sounding analog synthesizers, boasting the trademark Roland timbre. Aficionados tend to prefer the System 100 to its considerably more powerful successor the 100m on account of its warm, vibrant sound, and its excellent playing characteristics. The system was immensely popular with other bands in the electronic field such as Tangerine Dream and Depeche Mode. This massive analog synth armory can clearly be heard on Traumland. On many tracks, filtered basslines condense into a funky foundation of looping miniatures. Juicy drum sounds and strikingly hard synth sequences are coupled with saccharine organ and prancing flute sounds, countered by a noise generator or lost in a maelstrom of experimental echoes. This reissue marks the first CD issue of Traumland.
CD $17

ROBERTO TARENZI / JAMES CAMMACK / JORGE ROSSY - Love And Other Simple Matters (Via Veneto Jazz 121; Italy) Roberto Tarenzi presents his new album, Love And Other Simple Matters. To record this expansive work Tarenzi, among the most proficient pianists on the contemporary jazz scene, assembled an amazing international rhythm section made up of James Cammack, legendary bassist for the Ahmad Jamal Trio, and the iconic Jorge Rossy, Brad Mehldau Trio's original drummer and multi-instrumentalist. With his extemporization and innovative stylistic exploration, Roberto Tarenzi exalts listeners in this top-quality and utterly compelling album. The album's title, which at first glance may appear ironic, cheerfully suggests that a lighthearted mindset can transform the burden of complex "matters". The trio provides a musical demonstration of this through complex harmonic and rhythmic elaborations that are deftly and alchemically rendered eloquent and fluid in a language which is pulsating and expressive. After listening to the album preview, David Liebman commented: "Roberto is one of the most talented pianists I have met over the past years, among the world's outstanding musicians with whom I greatly enjoy playing and spending time together. In this album he performs with two brilliant professionals and the depth of his great musical personality fully emerges." Personnel: Roberto Tarenzi - piano; James Cammack - double bass; Jorge Rossy - drums.
CD $18

BLUE MOKA FEAT. FABRIZIO BOSSO - Blue Moka (Via Veneto Jazz 122; Italy) Blue Moka is the debut album of the homonymous quartet composed of Alberto Gurrisi (Hammond), Emiliano Vernizzi (sax), Michele Bianchi (guitar), and Michele Morari (drums) with the extraordinary participation of Fabrizio Bosso. The album collects eight original songs that combine blues atmospheres with funky rhythms and R&B, opening up to New York nu-jazz. To these pieces are added two standards by Wayne Shorter ("Footprints") and Michel Petrucciani ("Brazilian Like") and a tribute to Lucio Dalla ("Futura"), a musician very dear to the band. Blue Moka takes up the colors of the American jazz tradition but experiments with the chromatic textures, creating a new shade of blue: a blue moka. A stylistic number that oscillates between research of language, tradition, and groove, a space that all members live with irony and complicity also thanks to the energetic sound that distinguishes them. The Blue Moka born in this way, in 2009, from an idea of a group of close-knit friends in love with jazz. The inclusion of Emiliano Vernizzi on sax has further expanded the sound possibilities and increased the need to create an original repertoire. Blue Moka collects the different souls of the band and is a mixture of modern jazz, R&B, and funk, with great respect for the Hammond tradition of the '60s. In the background, the numerous artists who influenced and formed the members of the quartet: Jimmy Smith, Art Blakey, Wynton Marsalis, Brian Blade, Pat Metheny, up to Robert Glasper, Roy Hargrove, and Larry Goldings. Among the original songs, "Bacon VS Tofu" (by Emiliano Vernizzi) is the first song played with Bosso, while "I Felt This For You" (by Michele Bianchi) was the decisive piece that highlighted the capacity of the group to explore new sounds together. Characterized by a clear Nordic sound juxtaposed with the typical bop of the Hammond, "Clear" (by Morari and Bianchi) is a reason that Michele Morari had in mind during a lonely trip to Lapland. 30 months born from one session of four days of tests, during which Alberto Morari ate Parmigiano- Reggiano aged 30 months. Personnel: Michele Morari - drums; Alberto Gurrisi - Hammond; Michele Bianchi - guitar; Emiliano Vernizzi - sax; Fabrizio Bosso - trumpet.
CD $18

LP Only/Mostly Section:

LOREN CONNORS - Pretty As Ever (Recital 042; USA) The fourth LP in Recital's Loren Connors editions/reissue series. Pretty As Ever is a beautiful collection of Loren's guitar ballads, dedicated to his wife Suzanne. It includes the "Pretty As Ever" and "Trinity" suites, from the out-of-print album Sails (2005), alongside the complete Little Match Girl (2000). This album falls in line with the other LPs Recital has published, Airs (2015), Lullaby (2016), Evangeline (2017)... as hopeful and careful as a heartbeat. This LP includes "Woman of Sorrows", a 6″x9″ 12-page art-booklet of illustrations by Loren, unpublished until now. It also includes with Loren's rendering of "The Little Match Girl", a tragic tale written by Hans Christian Anderson. Remastered for vinyl by Sean McCann. Edition of 500.
LP $24

PHAROAH SANDERS With SONNY SHARROCK / DAVE BURRELL / HENRY GRIMES / ROGER BLANK - Tauhid (ARC 043; USA) "Pharoah Sanders is Spiritual Jazz, is Devotional Music, is the greatest living link between John Coltrane, Kamasi Washington, and the next generation of this great lineage. His Tenor Sound, his Singing Voice, his compositions, and his recordings have already stood the test of time, in his time, endured, ever-aged so finely, and have now (in my opinion) surpassed critique. Pharoah Sanders is a giant, an innovator, colorful, prayerful, and worthy of all our attention, celebration, and enthusiastic, even ecstatic accolades! Pharoah, (born Farrell Sanders of Little Rock, Arkansas on October 13, 1940,) was not only in John Coltrane's Band from 1965 - 1967, and featured as a Tenor Saxophonist on his Impulse! albums Ascension, Live At The Village Vanguard Again!, Kulu Sé Mama, Meditations, and Om, but had his own distinct concept and direction that you can hear on those recordings. Where John Coltrane is the Father of this Music, Pharoah is John's Brother, his bright, younger contemporary who was ready to express prolifically. His was a sound of entrancement, deep emotion, lyrical chanting, layered mosaic rhythmic grooves, poly-melodic heart cries, ensemble percussion, Love, surrender, upliftment, communication with his ancestors, contemporaries and those yet to arrive, and hope for awakening and peace within Humanity. Of Pharoahs 11 albums on Impulse! as a leader, the ones in front of you are Tauhid (#1 from 1967), Jewels Of Thought (#3 from 1969) and Summun Bukmun Umyun - Deaf Dumb Blind (#4 from 1970). It was John Coltrane's influence on Music and the Recording Industry that opened the door for Pharoah Sanders, and through that door Pharoah would fly, soar and inspire! During this time he was also featured on Alice Coltrane's Impulse! releases Ptah, The El Daoud playing Tenor Saxophone, Alto Flute and Bells and on her most beloved recording Journey In Satchidananda playing Soprano Saxophone and Percussion. The significance of Pharoah Sanders today is for you to discover. He is among my greatest inspirations of all time and always will be! He is a man of few words, and when you see him play now, it's more about being in his presence than expecting him to play lots of flashy runs. From his first note you know it's him and that you're in for profound integrity and deeply soulful energy. He always dresses in bold, bright hues, sometimes patterns, sometimes wearing shades, always a fez or hat of some sort. He stood out in GQ Style's 2016 feature 'These 10 Living Legends of Jazz Prove Nobody Can Out-Dress the OGs' -- the relevance is there. So strong!
LP $21

PHAROAH SANDERS With LEON THOMAS / LONNIE SMITH / RICHARD DAVIS / CECIL McBEE / IDRIS MUHAMMAD / ROY HAYNES - Jewels of Thought (ARC 044; USA) In 1969, Pharoah Sanders was incredibly active, recording no less than four albums and releasing three. The band on Jewels of Thought is largely the same as on Deaf Dumb Blind and Karma, with a few changes. Idris Muhammad has, with the exception of "Hum-Allah-Hum-Allah Hum Allah," replaced Roy Haynes, and Richard Davis has permanently replaced Reggie Workman and Ron Carter, though Cecil McBee is still present for the extra bottom sound. Leon Thomas and his trademark holy warble are in the house, as is Lonnie Liston Smith. Comprised of two long cuts, the aforementioned and "Sun in Aquarius," Jewels of Thought sees Sanders moving out from his signature tenor for the first time and delving deeply into reed flutes and bass clarinet. The plethora of percussion instruments utilized by everyone is, as expected, part of the mix. "Hum-Allah" begins with a two-chord piano vamp by Smith and Thomas singing and yodeling his way into the band's improvisational space. For 12 minutes, Sanders and company mix it up -- especially the drummers -- whipping it first quietly down into the most pure melodic essences of Smith's solo and then taking the tension and building to ecstatic heights with all manner of blowing and intervallic interaction between the various elements until it just explodes, before coming down in pieces and settling into a hush of melodic frames and the same two-chord vamp. On "Sun in Aquarius," African thumb pianos, reed flutes, sundry percussion, and orchestra chimes are employed to dislocate all notions of Western music. Things get very quiet (though there is constant motion); the innards of the piano are brushed and hammered quietly before Sanders comes roaring out of the tense silence with his bass clarinet, and then the tenor and bass share an intertwined solo and Smith starts kicking ass with impossibly large chords. It moves into another two-chord vamp at the end of 27 minutes, to be taken out as a closed prayer. It's more like a finished exorcism, actually, but it is one of the most astonishing pieces by Sanders ever.” - Thom Jurek, AllMusicGuide
LP $21

PHAROAH SANDERS - Summun Bukmun Umyun - Deaf Dumb Blind (Anthology Recordings ARC 045; USA) After Karma was issued and Sanders had established himself -- to himself -- as a musician who had something valuable and of use to say, he was on what this critic considers to be a divinely inspired tear. Deaf Dumb Blind is an example of that inspiration. Beginning with the title cut, a suite of over 21 minutes, Sanders brings in the whole of his obsession with rhythm and R&B. Using African percussion, bylophones, shakers, cowbells, and all manner of percussion, as well as drummer Clifford Jarvis, Sanders brought in Cecil McBee to hold down the bass chair and Lonnie Liston Smith back in on piano, and added a three-piece horn section that included Gary Bartz on alto and Woody Shaw on trumpet in addition to himself. Whew! Here the Latin and African polyrhythms collide and place the horns, as large and varied as they are, in almost a supplementary role. The horns check counterpoint in striated harmony, calling and responding over the wash of bass and drums and drums and drums! It evolves into a percussion orgy before the scary otherworldly multiphonic solos begin. And Shaw and Bartz are worthy foils for Sanders. And no matter how out it gets, those rhythms keep it rooted in the soul. "Let Us Go Into the House of the Lord" is almost 18 minutes in length. It has a long soprano intro, covered in shimmering bells and shakers with a glorious piano fill by Smith, who becomes more prominent, along with some excellent arco work by McBee, until the piece becomes a meditation on lyricism and silence about halfway through. The entire band eventually rejoins for a group ostinato with very little variation, except in timbre and subtle accented color work by Sanders and McBee. It is a stunningly beautiful and contemplative work that showcases how intrinsic melodic phrasing and drones were to Sanders at the time -- and still are today. This piece, and this album, is a joyful noise made in the direction of the divine, and we can feel it through the speakers, down in the place that scares us.” - Thom Jurek, AllMusicGuide
LP $21

MILES DAVIS With HERBIE HANCOCK / RON CARTER / TONY WILLIAMS - Seven Steps To Heaven (Wax Love 8204; Italy) Wax Love present a reissue of Miles Davis's Seven Steps To Heaven, originally released in 1963. Late 1962 and early 1963 were a period of transition for Miles Davis. He had health issues and his original quintet from the 1950s was on its last legs. He played with a variety of hired hands while working on assembling a new quintet. Seven Steps To Heaven collected various recordings from LA and New York, and the New York recordings are particularly interesting because they feature the 17-year-old Tony Williams, as well as Ron Carter, and Herbie Hancock, three of the brilliant players that would make up Davis's working quintet for the next several years. While comprised of various players and sessions, Seven Steps To Heaven is still a beautiful album from the legendary trumpet player well worthy of inclusion among his finest works.
LP $17

BILL EVANS TRIO With CHUCK ISRAELS - Moon Beams (Wax Love 82044; Italy) Wax Love present a reissue of Moon Beams, recorded by Bill Evans Trio in 1962. Following the untimely death of his beloved bassist, Scott Le Faro, Bill Evans was despondent, taking a several month hiatus from performing. Moon Beams was the first Bill Evans Trio album recorded and released with new bassist, Chuck Israels, and a beautiful return to form. Comprised of gorgeous ballads, Moon Beams title is perfectly apt, a late night dream-like album that subdues the listener. Truly gorgeous piano jazz from the absolute master of the trio.
LP $17

HERBIE HANCOCK - Inventions & Dimensions (Wax Love 82049; Italy) Wax Love present a reissue of Herbie Hancock's Inventions & Dimensions, originally released in 1964. Inventions & Dimensions is the third album Herbie Hancock ever released as a leader and proof that he was not an artist who was willing to be pigeonholed. Featuring a quartet made up of a bassist and two Latin percussionists, Inventions & Dimensions explores the possibility of Latin percussion outside the context of a Latin jazz album. Comprised of post-bop and modal compositions all from the pen of Hancock, this is a beautiful album that shows the promise of a young and confident pianist and composer who would blossom into one of the most celebrated talents in jazz history. Essential.
LP $17

JOHN COLTRANE With FREDDIE HUBBARD / DONALD BYRD / RED GARLAND / PAUL CHAMBERS /et al - The Believer (Wax Love 82048; Italy) Wax Love present a reissue of John Coltrane's The Believer, originally released in 1964. The Believer collects recordings from 1958 from tenor master John Coltrane. Featuring longtime collaborators Red Garland and Paul Chambers, as well as two of the finest trumpet players to ever grace a jazz record, Donald Byrd and Freddie Hubbard, the album begins with longtime Coltrane collaborator McCoy Tyner's title composition. Though it's a piecemeal album, Coltrane is in top form and his soloing on tenor at the time was unparalleled. Another great one from 'Trane.
LP $17

RAY CHARLES - Genius Soul = Jazz (Wax Love 82042; Italy) Wax Love present a reissue of Ray Charles's Genius Soul = Jazz, originally released in 1961. Recorded in 1961 under the direction of the legendary Quincy Jones and featuring members of Count Basie's group as well as crack New York sessions players, Genius Soul = Jazz is one of the finest records in Charles's storied career. Lushly arranged and impeccably played, the group and performances form the perfect backdrop for Charles's whiskey smooth vocals. A crucial and essential piece of work from one of the 20th century's most celebrated performers.
LP $17

TONY ALLEN - Black Voices (Comet 082 LP; France) Comet presents a reissue of Tony Allen's Black Voices, originally released in 1999. This reissue features remastered versions and "Ariya (Psychedelic Juju Mix)" as a bonus track, which was not part of the original release. Tony Allen completely rewrote the books on what was possible within the Afrobeat genre with his stunning 1999 album, Black Voices. When one considers exactly "what" is going on throughout Black Voices, it is quite mind boggling, as it is almost impossible to associate a minimalist, electronic feel with the massive walls-of-sound which Allen was known to create. Yet these walls-of-sound are still very present, yet they gain an entirely new feel due to the presence of the producer, Doctor L. He takes the mesmerizing rhythms that Allen creates and he spins them into a stunningly modern sound. While Doctor L's production work throughout Black Voices is truly fantastic, it is clear that the genius behind the album lies within the mind of Tony Allen. With the absolutely mesmerizing, funky grooves that Allen creates, it comes as little surprise that the vocal collaborations are handled by members of one of the funkiest bands in history: Parliament-Funkadelic. For almost two decades, Black Voices has remained a stunning example of the fantastic results that can occur when seemingly unrelated genres clash.
2 LP Set $30

PEOPLE LIKE US / MATMOS / WOBBLY - Wide Open Spaces (Discrepant Creo 052; UK)
Originally released on CD in 2003. The hour-long performance on this disc was captured live on October 5th, 2002 when Wobbly, People Like Us, and Matmos circled their wagons in the lecture hall of the San Francisco Art Institute. Having mutually agreed upon a country and western theme, Vicki Bennett (People Like Us), Jon Leidecker (Wobbly), and Drew Daniel and M. C. Schmidt (Matmos) pored over their archives of honky tonk classics, chopping and dicing Nashville's finest almost beyond recognition, and collectively restitching the mangled shreds in a kind of crazed digital quilting bee. Flickering and tranquil one moment, and wildly slap-stick the next, Wide Open Spaces hits the sweet spot between song forms and improvisation, and showcases the qualities that all three collaborating artists share: absurdist humor, baroque sample manipulation, and stuttering rhythmic frameworks that lurch and sway. While the presence of five samplers, four laptops, three CD players, and a pedal steel guitar on one stage could have led to a tediously ego-driven "jam" or simply cacophony, the results feel lushly detailed but not cluttered, and swing naturally between structure and freedom. Listening back to the recorded results, all three musical units agreed that this concert was mighty fine, and worth sharing. Originally released on Tigerbeat6 in 2003, the music has been re-mastered for this vinyl issue. Artwork by M.C. Schmidt; Design and layout by Vicki Bennett.
LP $25

HENRI CHOPIN / BOB COBBING / BRION GYSIN / STEN HANSON/ et al - Poesia Sonora (Song Cycle 994; UK) Song Cycle Records present a reissue of Poesia Sonora, originally released in 1975. Sound poetry emerged in the early years of the post-war avant-garde and pioneered phonetic art forms that explored the relationship between human speech and sound, experimental music and structures of language. Affiliated to concrete poetry, fluxus, minimalism, conceptual and performance art, the first generation of sound poets questioned the meanings of "music" and "poetry" using interferences as source of new phonetic art patterns/compositions. Poesia Sonora represents one of the first international sound poetry compilations. The record came out in 1975 for CBS under the label "Recorthings & Zona Archives", curated and edited by Maurizio Nannucci. The anthology collects pieces by some of the most important pioneers of the sound poetry movement: Bob Cobbing, François Dufrêne, Henri Chopin, Ernst Jandl, Franz Mon, Arthur Pétronio, Arrigo Lora-Totino, Brion Gysin, Bernard Heidsieck, Sten Hanson, Maurizio Nannucci, Paul De Vree. Poesia Sonora is an indispensable reference anthology that sensitizes the ear for extraordinary pieces/compositions of sound and literary experiments. Released in collaboration with Maurizio Nannucci. Fluorescent artwork; Limited edition clear vinyl (hand-numbered).
LP $30

ALFONSO SANTISTEBAN - Spanish Moog (Adarce Records ADC 005; Spain) Don Sicalíptico on the recording: "We can think of fewer things more Spanish than the works of Alfonso Carlos Santisteban. . . . A tireless Spanish music workaholic, he made no differences between copla, rumba, pop or soul and didn't mind if it was for Bambino, La Polaca, Mara Lasso, Calibre 38, Ellas or Mila. . . . Spanish Moog, an album Adarce Records has the pleasure to present, is one of those strange and almost invisible musical milestones that our man portrayed in Italy. Just as he wrote in his autobiography, in 1973 and thanks to the help of José Antonio de La Loma, he met two of the capos of the most important film music publishing empire in Italy, Giuseppe Campi and Giuseppe Giachi. They were about to open a C.A.M. (Creazione Artistiche Musicale) delegation in Madrid so they could start building their business in the most exciting times for Spanish film industry. The company started by signing two Spanish composers: our man, and Waldo de Los Ríos. . . . Apart from a large number of small (or more like embarrassing) film scores, Santisteban published five library albums up until 1975 for C.A.M.: Ambiente E Folklore (1974), Rinascimenti (1974), Night Club (1984), Situazione Per Orchestra (1975) and this one, Spanish Moog. Five of the songs included ('Jugando Al toro', 'Nuestro Ayer', 'Gitanos', 'Torremolinos Soul' and 'Todo Ha Sido Un Sueño') were originally recorded by Santisteban and Rafael Ferro for the album Flamenco Pop (1969), and three more ('Zorongo', 'Nuestro Ayer' and 'Tierra Mojada') were originally meant for Sabor A Fresa (1971) by La Nueva Banda De Santisteban. Beyond the supposed editorial filibusterism, what is left is a wonderful festival of grooves and beats; an omnipresent Moog, wah-wah and 'cañi' soul blend in 'Torremolinos soul'. Dreamy melancholy, fuzz and southern touch in 'Tierra Mojada", impeccable arabesque beats in the steadfast 'Zorongo', funk and folklore sown tight in 'Noche En Marbella' and pure space Blaxploitation in 'Tute De Reyes"... Alfonso Carlos Santisteban would collide inevitably with a time already lost in the annals of history. We cannot think of a better way to resume his works and his person than the sentence he used to open his autobiography: '... I speak with the authority given to me by failure...'"
LP Only $35

SCOTT WALKER - Meet Scott Engel: The Humble Beginnings 1958-1962 (Cornbread 16048; USA) Cornbread Records present Meet Scott Engel: The Humble Beginnings 1958-1962, a collection of early Scott Walker songs released under his birth name. One of the most beguiling and enigmatic figures in popular music, Scott Walker (born Scott Engel) began his career in Los Angeles playing as a session bassist and recording demos. This eventually led to several singles under his birth name ranging across the popular teen sounds of the time, from rockabilly to doo wop to pure pop. Though these are decidedly of the time, you can hear in his voice the truly mind-bending work that was to come from Mr. Walker. A fascinating look at the early work of a truly brilliant cult figure. 180 gram vinyl; Includes download code.
LP $21

TONALIENS - Tonaliens (Edition Telemark ET 785-02; Germany) Tonaliens is a Berlin-based group investigating the inner dimensions and outer limits of just intonation. It was formed in 2014 by Amelia Cuni (voice), Werner Durand (invented wind instruments), Robin Hayward (microtonal tuba), Hilary Jeffery (trombone), and Ralf Meinz (live sound, electronics). The group came together shortly after the release of the software version of the Hayward Tuning Vine, an interface for exploring microtonal tuning that allows for direct and intuitive interaction with the pitches normally hidden between the keys of the piano. Coming from diverse backgrounds, the musicians were eager to explore this harmonic space, and thus the tuning vine, as Hayward put it "acted first as a catalyst, then as a map, and finally as a spaceship" that enabled them to navigate those areas that largely remain obscured. The music of Tonaliens has so far been focused on a very specific area within the microtonal space that was discovered by mapping out the first three harmonics of three tubes of Durand's self-invented Pan-Ney instrument. They named this area the Tonaliens chord, and both recordings on this double LP -- two live performances from 2015 -- are based on it. Sides A and B are recorded live in a church in Amsterdam, the Vondelkerk, during the Sonic Acts Festival. Sides C and D contain a contrasting, more intimate performance made at KuLe in Berlin for the Labor Sonor concert series. Amelia Cuni appears only on the Amsterdam recording. Full-color gatefold sleeve with liner notes by Robin Hayward, and detailed photos and screenshots; Black poly-lined inner sleeves; Edition of 300.
2 LP Set $40

FMR Restocks:

CD $14

CD $14

CD $14

CD $14

CD $14

CD $14

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

FRIDAY FEBRUARY 23—Maria Grand (sax) Amirtha Kidambi (vox) Joel Ross (vibes) Rashaan Carter (bass) Jeremy Dutton (drums)
SATURDAY FEBRUARY 24—Maria Grand (sax) Miles Okazaki (guitar) Sasha Berliner (vibes) Rajna Swaminathan (mridangam)


2/23 Friday
830 pm - JOHN ZORN IMPROV NIGHT—A STONE BENEFIT - John Zorn (sax) Kris Davis (piano) Okkyung Lee (cello) Jay Campbell (cello) Ches Smith (vibes) Tim Keiper (drums) Wendy Eisenberg (guitar) Trevor Dunn (bass) Mark Helias (bass) and many special guests - THE LAST EVER IMPROV NIGHTS AT OUR ORIGINAL LOCATION—COME AND RELAX IN THE ELEGANT LUXURY OF OUR EAST VILLAGE RENT PARTY STONE-STYLE!

2/24 Saturday
830 pm - JOHN ZORN IMPROV NIGHT—A STONE BENEFIT - John Zorn (sax) Erik Friedlander (cello) Uri Caine (piano) Louie Belogenis (sax) Marty Ehrlich (sax) Jim Staley (trombone) Ned Rothenberg (reeds) Brian Chase (drums) Billy Martin (percussion) and many special guests - THE LAST EVER IMPROV NIGHTS AT OUR ORIGINAL LOCATION—COME AND RELAX IN THE ELEGANT LUXURY OF OUR EAST VILLAGE RENT PARTY STONE-STYLE!

2/25 Sunday


3/1 Thursday
830 pm - Jonathan Finlayson and Steve Lehman DUO
Jonathan Finlayson (trumpet) Steve Lehman (alto saxophone)

3/2 Friday
830 pm - SICILIAN DEFENSE - Jonathan Finlayson (trumpet) Miles Okazaki (guitar) Matt Mitchell (piano) John Hebert (bass) Craig Weinrib (drums)

3/3 Saturday
830 pm - Jonathan Finlayson Sextet - Jonathan Finlayson (trumpet) Steve Lehman (alto saxophone) Brian Settles (tenor saxophone, flute) Matt Mitchell (piano) John Hebert (bass) Craig Weinrib (drums)

All Sets at the Old Stone start at 8:30pm Tickets: $20
There are no refreshments or merchandise at The Stone.
Only music. All ages are welcome.
Cash Only at the door. There is no phone.
There is no food or beverage served or allowed
just a serious listening environment.
The Stone is booked purely on a curatorial basis

The CORNELIA STREET CAFE - 212-989-9319
29 Cornelia St in the heart of the West Greenwich Village, NYC

Friday Feb 23
8:35PM JON IRABAGON QUARTET - Jon Irabagon, tenor sax; Tim Hagans, trumpet; Michael Formanek, bass; Mike Pride, drums

Saturday Feb 24
6:00PM JOE DETTMORE SINGS CAT STEVENS - Joe Dettmore, vocals; Leslie Goshko, piano, vocals; Frd Caruso, guitar, vocals; Ritt Henn, bass, vocals
8:35PM TOM CHANG QUARTET - Tom Chang, guitar, comp.; Quinsin Nachoff, tenor sax; Sam Bevan, bass; Alex Wyatt, drums

Sun Feb 25
8:00PM ISRAELI JAZZ SPOTLIGHT: RONI EYTAN QUARTET - Roni Eytan, harmonica; Lefteris Kordis, piano; Jared Henderson, bass; Eviatar Slivnik, drums

Mon Feb 26th:
Tracy Michailidis, voice; Wiley DeWeese, piano

Tues Feb 27th:
6:00PM ANDRÉ CARVALHO GROUP - Jeremy Powell, sax; Eitan Gofman, saxophone, bass clarinet & flute; André Matos, guitar; André Carvalho, double bass;
8:01PM THEO BLECKMANN, - Theo Bleckman, voice, efx, comp.; Jesse Lewis, guitar; Ike Sturm, bass; Colin Stranahan, drums

Wed Feb 28th:
6:00PM NICK FINZER'S HEAR & NOW - Nick Finzer, trombone; Lucas Pino, tenor saxophone, bass clarinet; Alex Wintz, guitar; Glenn Zaleski, piano; Dave Baron, bass; Jimmy Macbride, drums
8:01PM MARTIN NEVIN GROUP - Roman Filiu, alto sax; Kyle Wilson, tenor sax; Sam Harris, piano; Martin Nevin, bass; Craig Weinrib, drums

Thursday Mar 01
8:00PM MONICA PASSIN - Monica Passin, voice, guitar; Sherryl Marshall, voice; Deborah Berg, voice
9:30PM EMILY DUFF - Emily Duff, voice, guitar; Scott Aldrich, guitar
Emily Duff image

Friday Mar 02
8:35PM STREAMS TRIO W/BILLY DREWES - Billy Drewes, sax; Yago Vazquez, piano; Scott Lee, bass; Jeff Hirschfield, drums

Saturday Mar 03
8:35PM LAGE LUND QUARTET - Lage Lund, guitar; Micah Thomas, piano; Matt Penman, bass; Obed Calvaire, drums

Sunday Mar 04 8:00PM DJANGO AT CORNELIA STREET, CHARLIE ROMAN - guitar; Rocky Chiu, guitar; Ellie Goodman, violin; Abe Pollack, bass
9:30PM DJANGO AT CORNELIA STREET, JOSH DUNN - guitar; Gabe Terracciano, violin; Ian Hutchison, bass


Shapeshifter Lab Presents:

Feb 23
7p & 8:15p - Kent State University Jazz
Kent State Jazz Orchestra, Nova Jazz Singers, Kent State Jazz Faculty

Feb 25
11am - Silly Jazz with Camille! Camille Harris with the Silly Jazz players: Georgia Weber (bass), Dave Tedeschi (drums), and Wayne Tucker (trumpet) Come dance around and sing along with popular Brooklyn Public Library performer, Camille Harris! With popular songs: "The Monster Under My Bed," "Baby on the Subway," "Chopsticks” & more
Shapeshifter is located at
18 Whitwell Place in Brooklyn, NY
R train to Union stop


I-Beam Presents:

Saturday, February 24th 8:30 PM
Otto Hauser

Friday, March 9th 8:30 PM
Jason Mears Presents:
8:30 - Quentin Tolimieri – solo piano
9:30 - Jason Mears- saxophones
Matteo Liberatore- guitar
Quentin Tolimieri- electric piano
Carlo Costa- drums

Saturday, March 10th 8:00 PM
Aaron Shragge Ben Monder / A Circle Has No Beginning
Aaron Shragge – dragon mouth trumpet/shakuhachi/composition
Ben Monder – guitar
9pm - A Circle Has No Beginning
Sameer Gupta – drums/tabla
Pawan Benjamin – tenor sax
Arun Ramamurthy – violin
Rashaan Carter – Bass

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.