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Phone: (212) 473-0043 - Toll Free: (800) 622-1387 - Fax: (212) 533-5059
Email: dmg@downtownmusicgallery.com


NEWSLETTER - July 1st, 2005
TOO MUCH HEAT & HUMIDITY? SO COOL DOWN WITH NEW SOUNDS FROM TIPPETT/DUNMALL/TIPPETTS, VIJAY IYER, BARRY GUY/HOMBERGER/FAVRE, THREE NEW DISCS FROM EMANEM, GROUNDTRUTHER (HUNTER & PREVITE), PHIL MINTON & FRED VAN HOVE QT., FENNESZ & SAKAMOTO, AHMAD ABDULLAH, ALVIN CURRAN, NICOLE MITCHELL, NO NECK BLUES BAND, KNEEBODY, POALO ANGELI...




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DOWNTOWN MUSIC GALLERY PRESENTS...

ROGER TRIGAUX'S 'PRESENT'

AT BOWERY POETRY CLUB ON SUNDAY JULY 10TH at 5:30!!! Not to be missed!!

One of the greatest of all current progressive bands will play a very rare set down the block from usat Bowery Poetry Club (308 Bowery at Bleeker). Here's what the journalists have said:

In 1998, when Cuneiform released Present's fifth album, Certitudes, the band came to the USA for the very first time and undertook a huge, full US tour, logging in 10,000 miles and 5 weeks of concerts. Professionally recorded on 24 track on the final date of the tour, after 35 days of touring, the band were a tight, hard-rocking, road-tested machine and this is a very well recorded, stunning, loud and hot performance. Roger & Reggie Trigaux - guitars and vocals, Pierre Chevalier-piano, Jean-Pierre Mendez-bass and Dave Kerman [of 5UU's and Thinking Plague] -drums. "No matter how great their record is, little could have prepared us for experiencing Belgium's Present live. They churned out mind-numbingly complex and shifting songs that always seemed to be driving towards some sort of awesome denouement. If they ever come around again, see them even if you have to kill to do it." - Atlanta Press


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FIELDWORK [VIJAY IYER/STEVE LEHMAN/ELLIOT HUMBERTO KAVEE] - Simulated Progress (Pi 16) Hailed as one of today's truly original and groundbreaking ensembles by publications as diverse as The Wire, Mojo, the San Francisco Chronicle, and the Village Voice, Fieldwork sets forth a dynamic, high-impact group sound that's unlike anything you've ever heard. Simulated Progress, the band's second release, brings together three of creative music's most exciting young composer-performers - Vijay Iyer on piano, Steve Lehman on alto & sopranino saxophones, and Elliot Humberto Kavee on drums & percussion - who use the collaborative organizational model of a rock band to advance a unique vision of 21st century music. Simulated Progress significantly ups the ante from the band's 2002 debut Your Life Flashes, in no small part due to the additional compositional contributions of Kavee and new saxophonist Steve Lehman alongside those of Iyer, and the sonic expertise of noted hip-hop & rock producer Scott Harding (aka Scotty Hard). BLG's review next week, but why wait.
CD $15

VIJAY IYER - reimagining (Savoy Jazz 17475) This is modern jazz piano sensation, Vijay Iyer's fifth fantastic disc as a leader and again he has amazed us with his new gift enduring sounds. His new quartet features his constant collaborator Rudresh Mahathappa on alto sax, Stephan Crump on bass and an incredible young new drummer named Marcus Gilmore, a nephew of Roy Haynes. Over the past year, Vijay has won a number of awards and has gained much recognition for his efforts as a pianist, composer and bandleader. He and his swell quartet are most deserving, as each release and gig can attest to. 'reimagining' opens with "revolutions", which has a dense, dancing line that Vijay spins quickly giving alto sax great Rudresh a web of intricate waves to navigate and sail upon. The rhythm team also are kept on their toes as the dynamics go back and forth between more and less tense currents. This disc features a number of songs with dark, restrained yet turbulent undercurrents. The repeating theme of "song for midwood" is so hypnotic that I feel as if I'm about to drown. Rudresh's alto sax sails on top of the waves and provides a life preserver to hold on to. Vijay's piano sounds as if it is always simmering and shifting between different shades, summoning the spirits within, ever restless. "cardio" has that Steve Coleman-like complex, quick-shifting pulse that blends bebop's fast pace with a more funky groove, yet is difficult to pin down what makes it work so well. It feels as if the inner energy about about to erupt, yet they remain more subdued as they go. Vijay brings this fine disc to a close with a haunting solo version of John Lennon's "imagine", which seems like an appropriate way calm the somewhat turbulent waters that flow through the rest of this CD. - BLG
CD for $17




THREE NEW RELEASES FROM THE EMANEM LABEL:

JOHN STEVENS QUARTET - New Cool (EMANEM 4117; UK) (1992) As well as his pioneering work with the Spontaneous Music Ensemble, John Stevens continued to explore the jazz idiom. This group with three fine young musicians active on the London jazz scene, was one of his best as well as being one of his last. BYRON WALLEN (trumpet & flugelhorn), ED JONES (soprano & tenor saxophones), GARY CROSBY (double bass) & JOHN STEVENS (drum set) find fresh things to say in the areas associated with Ornette Coleman and John Coltrane. This CD comprises the whole of their Crawley Jazz Festival performance. [Reissue of The Jazz Label TJL 006 with extra material.]
CD $18

PAUL RUTHERFORD - Neuph (EMANEM 4118; UK) (1978/80) To make his third solo album, Rutherford went into a studio with both trombone and euphonium and used over-dubbing techniques to create unique pieces involving up to four brass instruments. The only completely solo performance features the euphonium. A couple of short tracks feature the trombone played back at double speed - one of them accompanied by a howling dog (the only other performer involved). This CD also includes two superb solo trombone improvisations recorded in Italian concerts a couple of years later. Reissue of SFA LP 092 with extra material.
CD $18

OLAF RUPP/TONY BUCK/JOE WILLIAMSON - Weird Weapons (EMANEM 4119; UK) (2002) Three musicians, from three different continents and three different backgrounds, happened to be living in Berlin a few years ago, and managed to make superb music together. Two extended dense improvisations by Rupp (guitar), Williamson (double bass) and Buck (percussion) without any amplification or electronics. "I think the three of us in the trio try to achieve a kind of stillness through density and a certain degree of activity. Like the many complex colours and shadings in a pointillist painting that combine to form an impressionistic image, our playing is often very active and busy, while, in totality, creating a slowly shifting, almost three dimensional texture or soundscape." Tony Buck.
CD $18

MAYA HOMBURGER/BARRY GUY/PIERRE FAVRE - Dakryon (Maya 501/UK) Featuring Maya Homburger on violin, Barry Guy on contrabass and Pierre Favre on percussion. This is the first new recording from Barry Guy's great Maya label in quite a while, so what are waiting for? Bruce's review sometime soon.
CD for $17




FIVE NEW DISCS FROM THE EVER CHALLENGING FMR LABEL:

DARTINGTON IMPROVISING TRIO [KEITH TIPPETT/PAUL DUNMALL/JULIE TIPPETTS] - Live At The Priory (FMR 161; UK) Another exquisite gem from three of our favorite British musicians. This was recorded live at The Priory in Southend-on-Sea as part of the Southend International Jazz Festival in August of 2004. If you get the feeling that reeds giant, Paul Dunmall, never sleeps, you wouldn't be far from the truth as he seems to have another release or two every month. Both Manny's and my favorite pianist, Keith Tippett records much more infrequently, so that we have time to savor each and every disc. Vocalist extraordinare, Julie Tippetts (once known as Julie Driscoll in a previous incarnation), is on fewer records still, so again we get a chance to enjoy each rare treasure that she appears on. This particular CD consists of one long 53 minute work that I find completely enchanting throughout. Keith plays both inside and on the keyboard of his piano, Julie uses her mysterious voice and plays assorted percussion & some thumb-piano and Paul plays soprano & tenor saxes & a double reed of some kind. From extremely delicate and sublime to free-floating spaciousness to far away eastern lands, eventually the tempo quickens and heavens part. It builds slowly and transcends ever upwards. Perfect music to put one in a deep trance and help us travel to other worlds, inside and outside. I found it impossible to take off once the journey had begun and was quite satisfied by the end. - BLG
CD $16

AXON [PHIL MINTON/FRED VAN HOVE/MARCIO MATTOS/MARTIN BLUME] - Constant Comments (FMR 156; UK) Featuring Phil Minton on vocals, Fred Van Hove on piano & accordion, Marcio Mattos on cello & electronics and Martin Blume on drums. I've always had a fondness for the bizarre vocal antics of Phil Minton, since he consistently pushes his voice trough a variety of extremes. He has no fear of how ridiculous he sounds at times, from cartoon characters to vocal sounds that would certainly embarrass most humans to operatic and jazz singing. He has worked at length with Mike Westbrook, Lindsay Cooper and Bob Ostertag and more recently in a duo with pianist Veryan Weston (4 Cds so far), as well as in a quartet with Weston again called Four Walls. This group, Axon, had a previous disc out on Random Acoustics as a trio and has now added the great pianist Fred Van Hove. Marcio Mattos can be heard playing bass on discs by Elton Dean, Georg Graewe and Eddie Prevost. This Axon disc was recorded at The Loft in Koln in February of 2004 and it is an excellent, focused and intriguing quartet imrov session. The hour-long disc contains five mostly long tracks and has more dreamy moments than the usual crazier things that Minton is often involved in. Actually Phil is just a member of this quartet, everyone is one part of the group sound. Mr. Van Hove is one of the finest of all European avant-jazz pianists and seems to under-recorded. He gets numerous chances to stretch out on this disc and sounds inspired throughout, playing both inside and on the piano keyboard. Mr. Mattos contributes some creative cello playing, yet most often lays back, selectively adding spice when he can place his sound in the flow. I only know of percussionist, Martin Blume, from some half dozen previous releases, but he also sounds marvelous scurrying around his drums, matching wits with each member of this great quartet. Superbly recorded and quite mesmerizing. - BLG
CD $16

FRODE GJERSTAD/NILS HENNIK ASHEIM - The Shortest Day (FMR 155; UK) Frode Gjerstad (saxophones), Nils Hennik Asheim (organ) Nils Hennik Asheim is a musician in an unusual yet highly enviable position, that of being an insightful, creative musician who specialises in an instrument that hasn't really been explored fully in the world of free improvisation. And this recording certainly exposes the amazing potential of the classical church organ when in the hands of such an open and talented musician as Nils Henrik Asheim. This wonderful musician is caught in full flight with the great Frode Gjerstad for this duo recording and it is the perfect example of a creative partnership made in heaven, the ethereal Asheim sound merging with the signature twisting sax of Gjerstad. Highly recommended this release brings us close to the end of volume one of Gjerstads excellent duo series!
CD $16

STEVE HUBBACK & PAAL NILSSEN-LOVE - Off The Map (FMR 138; UK) Featuring Steve Hubback (percussion) and Paal Nilssen-Love (percussion). Another of Steve Hubbacks great percussion releases on FMR features the highly imaginative percussionist partner, world renowned drummer/percussionist Paal Nielsen Love. Featuring four incredible improvisations that clearly demonstrate each players strengths and subtle sound palettes to full effect. You will not hear two more talented, adventurous and creative players in the world today and if you're interested in percussion this record will be a welcome addition to a strangely limited body of work. Excellent recording, highly recommended!
CD $16

VANISHING PICTURES [DIRK WACHTELAER/OTOMO YOSHIHIDE/PHILIPP WACHSMANN/PIET VERBIST et al] - Like One Feather (FMR 159; UK) Dirk Wachtelaer (drums, electronics, programming) with: Piet Verbist, Sadig Gibril, Hamid Boulouiha, Issam El Ouafi, Cesariusz Gadzina, Michel Terlinck, Adrienne Altenhaus, Xia Hua, Liling Huang, DJ Grazzhoppa, Michael Weilacher, Gerrit Valckenaers, Philipp Wachsmann, Otomo Yoshihide, Tony Faelens Third outing for percussionist Dirk Wachtelaers superb Vanishing Pictures project. This time he has selected an even wider range of musicians from all over the world. Traditional Chinese music merging with free improvisation, North African vocals meeting laptop electronics. It's music that can only be made today impossible without the past indicating a possible future. Also features a magnificent live track And The Sun, recorded in 2000 at the Beursschouwburg, Brussels, a classic electro-acoustic performance by a truly stellar line-up that includes Philipp Wachsmann and turntable and electronics guru Otomo Yoshihide and DJ Grazzhoppa. This is a collection of staggeringly executed music, taking in all the corners of world, electronic, and free improvised music to create a beautiful, complete whole. An album that not only crosses continents but bridges the divide between them
CD $16




ATAVISTIC REISSUES TWO SEMINAL RECORDINGS FROM TWO AMAZING ARTISTS
[Both of which will have other momentous reissues on our own Downtown Music Gallery label later this summer: Last Exit's 'Headfirst Into The Flames' and Sirone's 'Artistry'!!!]

LAST EXIT [SONNY SHARROCK/PETER BROTZMANN/RONALD SHANNON JACKSON/BILL LASWELL] - Koln (1986) (UMS/Atavistic 252) Finally after more than an a decade, this seminal lexicon of lightning [originally released on ITM] is again available for public consumption. A veritable Murderer's Row of sonic stalwarts, each at full strength: Brotzmann on tenor; Sharrock on guitar; Laswell on 6-string bass; Jackson on drums. Simply put, this lineup speaks for itself. "You know, I really feel the Exit quartet is getting stronger all the time... we've been through our 'power playing' period. I don't want to be typecast as just a 'blaster'. Now the shit is really wide open- it can go anywhere. The interaction is getting to be very sensitive- though I'm sure there'll always be some good old passion and violence. But there's a lot of potential still to be explored, and i hope we get the chance to explore it." -Peter Brotzmann, 1990
CD $15

SIRONE [NORRIS JONES] - Sirone Live (UMS/Atavistic 253) "[Barely] released live, amazing taut trio action from 1991 featuring Sirone, Dennis Charles & Claude Lawrence. Sirone's pedigree & discography are nearly incomparable: he's played & recorded with legends, saints, enigmas, luminaries and holy ghosts- such as Cecil Taylor, Albert Ayler, Charles Gayle, Ornette Coleman, Roswell Rudd, Clifford Thornton, Sonny Sharrock, Pharoah Sanders & Sun Ra. "An excellent technician and underrated composer, Sirone [Norris Jones] was part of the great Revolutionary Ensemble trio in the '70s, releasing five albums, and has also worked with many other free bandleaders and groups. His prominent tone and decisive playing expertly meshed with Leroy Jenkins' and Jerome Cooper's on the Revolutionary Ensemble recordings and in concert. Sirone worked in Atlanta with a band called The Group in the late '50s and early '60s, then moved to New York in the mid-'60s. He did sessions with Marion Brown, Gato Barbieri, Pharoah Sanders, Noah Howard, and Sonny Sharrock in the late '60s- and also played with Sunny Murray, Albert Ayler, Archie Shepp, Sun Ra, and many others. Sirone spent six years with the Revolutionary Ensemble, originally forming it with Jenkins and Frank Clayton. He recorded with Clifford Thornton, Roswell Rudd, Dewey Redman, Cecil Taylor, and Walt Dickerson in the '70s and early '80s." ~ Ron Wynn, All Music Guide (excerpted)
CD $14

PETER BROTZMANN CHICAGO TENTET - The Chicago Tentet Tour [2005] T- Shirt (Atavistic; USA) Bold white "woodcut" style image of and by Brotzmann, with band members names on a black 100% cotton 'T'. From the Tentet's 2005 "Be Music, Night" North American Tour. PLEASE SPECIFY Medium, Large, or Xtra-Large when ordering
T-SHIRTS $16




GROUNDTRUTHER [CHARLIE HUNTER & BOBBY PREVITE] - Longitude (Thirsty Ear/Blue Series 57160) With special guest, DJ Logic. This is the third part of the trilogy for Groundtruther, a duet of Charlie Hunter on his 8-string guitar, Bobby Previte on drums & electronics and their guest DJ Logic on turntables. This is quite a unique duo/trio. Charlie Hunter plays both lead and bass guitar lines at the same time, while Bobby Previte lays down some feisty, funky grooves on his drums, both acoustic and electronic, as well as adding odd samples here and there. DJ Logic also knows when to add his warped (record) sounds, often on top of that infectious groove. Charlie alters his tone from section to section or song to song. He is a most inventive jazz guitarist, yet know when to lay back and play with that older greasy tone as well as rock out and hit that distortion pedal at times. Loads of fun for all concerned. - BLG
CD for $15

JOHN HANDY'S - Musical Dreamland (Kingston World 2601) Featuring John Handy on alto sax, David Friesen on Oregon acoustic bass, Vikash Maharaji on sarod, Pandit Prakash Maharaji on tabla and Gunter Paust on tanpura. Sax legend John Handy has had a long and diverse career, which has involved different cultures and challenges along the way. He played with Mingus in the late fifties and went on to lead an award-winning ensemble featuring Jerry Hahn & Michael White in the mid sixties. In 1971, he founded the great Indo-Jazz group Rainbow with master sarodist Ustad Ali Akbar Khan. In 1981, Handy met three musicians from the Music Ensemble of Benares and invited them to play with Rainbow. The fruit of that collaboration is this wonderful disc, which was recorded in 1991 in a studio in Stuttgart, Germany. The music here has an uplifting, joyous quality. Master acoustic bassist, David Friesen, is in the frontline with Handy's sax and Vikash's sarod. All three of these great players take splendid solos and play those intricate lines together. "Shraddah" is a dreamy work that sounds like "Bolero", with sublime solos from Handy and Friesen and Vikash. Friesen's captivating, custom-made multi stringed bass is featured on his own song, "Song for My Sons". The duo section for alto sax and tabla in the middle is a jewel, as is the following sarod solo. Handy wrote "The Soul and the Atma" with Ali Akbar Khan and it is another trance-like wonder of gentle beauty, both sad and lovely. One of the things that makes this disc so special is the superb, enchanting and warm/glowing tone of John Handy's sax., which shines like distant star throughout. - BLG
CD for $15

RICHARD BLIWAS - Yarrow Stalk Bridge (Rising Rose Records) This is local songwriter/singer & pianist, Richard Bliwas' fourth disc in the past few years, although this one is his first totally solo effort. He plasy piano and songs, as well as adding some organ, Fender Rhodes electric piano and clavinet on one tune a piece. Richard is a fine jazz/blues pianist, but it is really his quaint songs and lyrics that truly stand out. He occasionally reminds me of Randy Newman without that overly sarcastic streak, with some Mose Allison thrown in for good measure. The overall vibe here is perfect for laid back, late night listening. Richard's piano playing is often quite haunting, he has a way of slowing down time so we can ponder his charming and thoughtful observations on life. On each of the sixteen songs, Richard creates different dramas by setting moods with his ever-evocative piano playing. Richard Bliwas is a truly gifted pianist and songwriter, he should not go unnoticed for very long. He also makes delicious home-made bread. Thanks, bubby. - BLG
CD for $14

NO-NECK BLUES BAND - The Collective Imaginings Of Quantarenius, Cook, & Co: An Urban Ceremonial [ltd ed] (Green Naftali 80) This CD was taken from a live performance at Greene Naftali Gallery in November of 2004. Eight excerpts and each shows the more mysterious and quietly hypnotic side of these local legends/crazy folk. Echoplexed gongs or cymbals, gentle repeating guitar figures, eerie feedback washing over us, rubbed and chattering pieces of metal, ritualistic throbbing, the child-like joy of innocent improv or jamming... Krautrock or space-rock or just melancholy improvisations done well, all this and more or less? The careful editing makes this a surprisingly well-crafted work. - BLG
CD for $20

KNEEBODY - Kneebody (Greenleaf/Premonition 5813) Kneebody feature Shane Endsley on trumpet & pedals, Adam Benjamin on acoustic & electric pianos, Kaveh Rastegar on electric bass, Ben Wendel on tenor sax (mostly) and Nate Wood on drums & percussion. Kneebody is/are L.A. based, but you probably wouldn't know it from their unique, post/jazz sound. The only musician here that I was vaguely familiar with is Shane Endsley who is on a Ralph Alessi disc and was involved in Dave Douglas' trumpet fest last year. Kneebody are a fun-filled band, move between jazz, rock, funk and even some fusion/prog effortlessly. There is little or now guitar, although their bassist uses some fuzz-bass at times and both the keyboards and horn use some distortion and/or echo devices in just the right places. I am reminded of some of early 70's British jazz-rock bands (Alan Bown, Steamhammer) that used to put their horns through various devices to come up with their own sound. Inventive without overdoing their more serious side. Hard to believe that these young (?) dudes produced themselves, since they did such a swell job of altering their sound(s) and keeping their group sound so well focused. A most impressive first effort that would've sipped through my fingers had not trumpeter Shane Endsley wandered into the store and laid this promo in my hand. - BLG
CD $16



A BUNCH OF WONDERFUL NEW RELEASES NOT YET REVIEWED:

POSITIVE KNOWLEDGE [OLUYEMI THOMAS et al] - First Ones (Charles Lester 26-008) West coast mystery man, Oluyemi Thomas, plays bass clarinet and some double reed instrument. Both he and wife Ijeoma Thomas, an extraordinary vocalist, are spiritual folks whose music is always inspired. Their set at this year's Vision Fest with Kidd Jordan sitting in was incredible. Long review next week. - BLG
CD $15

AHMED ABDULLAH'S EBONIC TONES - Tara's Song (TUM 9/EEC) Featuring Ahmed Abdullah on trumpet, Billy Bang on violin, Alex Harding on baritone sax, Alex Blake on bass & Andrei Strobert on drums. 'Tara's Song' presents a musical journey through a wide array of different styles, what Mr. Abdullah calls "Jazz, the music of Spirit". There are some well-selected renditions of songs by Ornette Coleman ("Lonely Woman"), Frank Lowe, Thelonius Monk and Sun Ra.
CD for $18


ENRICO RAVA With JAVIER GIROTTO/ARES TAVOLAZZI/FABRIZIO SFERRA - Full Of Life (CAM 5007)
CD for $15

GIOVANNI TOMMASO/ENRICO RAVA QUARTET With STEFANO BOLLANI/ROBERTO GATTO - La Dolce Vita (CAM 5008; USA)
CD $15

FULL METAL KLEZMER [FABIO BASILE/ZENO DE ROSSI/GIANNI GEBBIA/ENRICO TERRAGNOLI/GIORGIO PACORIG] - Shacor (El Gallo Rojo 3142; Italy) special guests include Chris Speed, Vincenzo Vasi, Claudia Bidoli, Roberto Lanciai, and Achille Succi
CD $12

MESHUGE KLEZMER BAND - Treyf 1929 (El Gallo Rojo 3141; Italy)
CD $12

ROPE [FABRIZIO PUGLISI/STEFANO SENNI/ZENO DE ROSSI] - Have You Met Miss Bates? (El Gallo Rojo 3143; Italy)
CD $12


STEVE PICCOLO With GAK SATO/LUCA GEMMA - Expedition (Temposphere 1800; Italy) Steve Piccolo has come a long way since co-founding the Lounge Lizards in the glorious NY 1980s. ... Today's complex noisescape meets with moments of lucid detachment in this sonic diary of mental and physical travels." Felice Villa, Static
CD $15

SOUND INFUSION [V.A. With STEVE SWELL/DANIEL CARTER/REUBEN RADDING et al] - Creative Music Recorded Live @ Elixir Smart Bar 2003-2004 (Ilgenfritz)
CD $12



THE OKAY TEMIZ QUINTET...TWO RARE RECORDINGS FROM THE LAST DECADE..

OKAY TEMIZ - Dervis (Ada Muzik 20006; Turkey) Legendary master percussionist Temiz with Aka Gunduz ney; Tuna Otenel piano, alto sax, contrabass; D D Gouirand soprano sax; and Onno Tunc bass guitar.
CD $17

OKAY TEMIZ - Zikir (Ada Muzik 20007; Turkey) Legendary master percussionist Temiz with Aka Gunduz ney; Tuna Otenel piano, alto sax, contrabass; D D Gouirand soprano sax; and Onno Tunc bass guitar.
CD $17



MICHAEL GALASSO With TERJE RYPDAL/MARC MARDER/FRANK COLON - High Lines (ECM 1713; USA) Violinist Michael Galasso has been a valued creator of film and theatre music, acclaimed for his work with Wong Kar-wai ("In The Mood for Love", Robert Wilson (for whom he has written many scores) and others. Now he steps to the fore to play exciting, outgoing music, between all the genres, with a hot band including Terje Rypdal in fiery form.
CD $17

CHRISTIAN FENNESZ & RYUICHI SAKAMOTO - Sala Santa Cecilia [CD-EP] (Touch 022; UK) Every once in a great while, a collaboration comes along which hints at a brighter future, a collision of giants that indicates a convergence of method and music. This is one such event. Sala Santa Cecilia documents the meeting of worldwide laptop guru Fennesz and Japanese electronic music legend Ryuichi Sakamoto at the Auditorium Parco della Musica for the Romaeuropa Festival in Rome, November 2004. This is a unique and complete 19-minute piece that marks the recording debut of this new collaborative unit. It is exclusively available via this CD EP and will not be released elsewhere, and not as part of the forthcoming Fennesz Sakamoto album. The impact and importance of this recording is difficult to overstate. Christian Fennesz is far and away the standard- bearer of laptop music, his thawed sound of fractured guitar chords and warm noise melts hearts around the world. Ryuichi Sakamoto, meanwhile, a contributing force in electronic music for almost three decades in Yellow Magic Orchestra and his vast solo oeuvre, takes his place on laptop next to Fennesz for this historic meeting. Anyone concerned with the future of sound, or interested in modern music composition, or anyone who simply enjoys sweet ambient music should welcome Sala Santa Cecilia as a herald of what is to come. This is brilliant music from brilliant talents... towards a more brilliant world.
CD-EP $13

PAUL METZGER - Three Improvisations on Modified Banjo (Chairkickers 015) "In a time where an increasing deluge of acoustically-oriented recordings are being pumped up with words like 'iconoclastic' or 'transcendental,' it can sometimes be difficult for the adventurous listener to have any clue as to how to separate the wheat from the chaff. Hype and hyperbole be damned; this is the real deal. Metzger's title 'modified banjo' could tend to confuse even the most discerning among us. While it is indeed true that a visual inspection will reveal an instrument so mutated that it bears little resemblance to that simultaneously venerated and reviled backwoods icon that it once was (he has added more than a dozen strings, a sitar bridge and otherwise mutated a traditionally limiting instrument into something entirely unique), it is ultimately one's ears that will yield the most incredulous reactions and ask the hardest questions after being fed their particular set of stimuli, as it is ultimately Metzger's approach to the instrument and the sounds and melodies he wrenches from it that are the greatest and most significant modifications being made here. Metzger's singular, irreverent approach and fluid dexterity in attack are made evident in his seamless hybrids of North Indian and Asian influences, jazz and folk forms through a vehicle that typically ruts its wheels in Americana hill country and are truly unprecedented." A strange and lovely acoustic oddity - BLG
CD $14


RICH WOODSON'S ELLIPSIS - The Nail That Stands Up Gets Pounded Down (N/twirp records 001; USA) If you took a random one-second sample of this disc, you could easily mistake it for jazz, mainly because of the timbres: drumkit, doublebass, tenor sax, clarinet, electric guitar. If you took a random two-second sample, though, such a mixup would never occur. Instead, you might easily mistake it for Blast's A Sophisticated Face or Henry Cow's Western Culture. But that similarity would also soon fade with a few more seconds, because Rich Woodson has a singular and rather radical musical concept you might call "rock serialism" in honor of its compositional rigor and density. Frankly, Woodson's music is the most intricate rock-related music I've ever heard alongside Cheval de Frise and Yowie and it makes Blast and Henry Cow seem like simple catchy tunes, which is a point in their favor and I'm sure many listeners will actually object to the utter lack of catchiness and tunefulness here. Giant leaps of creativity will always leave some in the dust, though. On the back cover of this disc we find the rather uncommon warning and/or boast "THERE IS NO IMPROVISATION ON THIS RECORD". Of course, music with zero improv has been common for about a century now, but it's not a gimmick. The fact is that this kind of instrumentation and kinetic sensibility is very rarely used outside of a partial improv context in one of the many postmodern variations on integrating post-jazz soloing and rehearsal-based group movements, and Woodson's hired guns (Mat Fieldes, Aaron Stewart, Anthony Burr, and the truly brilliant John Hollenbeck) are quite representative of this fertile subculture. But Woodson's methodology and aims are much closer to academic composers hammering out endless permutations of conventional parameters (melody, harmony, and rhythm), but who rarely deal with the level of post-rock energy and exuberance that Woodson breathes as an electric guitarist rooted in the avant-metal underground of the 1980s (e.g. Watchtower). Note that his electric guitar playing is extremely restrained and uses a simple distorted tone with a minor bite; metal-phobes needn't be alarmed as there's nary a metal riff or reference to be heard. Further, his guitar doesn't assume a dominant or foregrounded role in the ensemble. In fact, a crucial characteristic of this music is the rare degree of equalization of foreground-background relationships among the five voices. There is also absolutely nothing resembling a solo on this record. Short-to-medium-length phrases continually enter and exit in all directions from each instrument in a severely anti-repetitive stream of unstable counterpoint. Curiously, despite its vigorously anti-improvisational provenance, the music appeals to me for a similar reason that I generally favor non-idiomatic free improvisation in my listening--there is such a density of information and split-second shifts in direction that the music feels like several independent layers of motion stacked in parallel, creating a constant feeling of ambiguous or indeterminate motion and a sense of intense perceptual demands as small thematic structures seem to fly by and barely elude my grasp. While Woodson doesn't explore most of the abstract parameters of musical organization routinely addressed in contemporary improvised music, he achieves this kind of abstraction in motion and phrasal boundaries that rivals my favorite improv and makes me delirious with joy. Overall, this second release by Woodson's Ellipsis project is very similar in content and quality to its predecessor released on Cuneiform five years ago, Control and Resistance, but let me explain the significance of this seemingly innocent observation: Control and Resistance has a guaranteed spot on any list of all-time top 30 albums I might make!!! So you can understand that Woodson's new platter of miracles is by far the most highly anticipated release of the year for me. I'm pleased to report it comfortably lives up to my hopes. Fans of Beefheart, Zappa, Berne, Ferneyhough, Braxton, Bang on a Can, Dolden, and any RIO music really should hear this and/or the first Ellipsis disc. -Michael Anton Parker
CD $14


ORTHRELM - OV (Ipecac 64) ORTHRELM - Ov (Ipecac; IPC 64; USA) This is a radical departure from Orthrelm's previous releases, but it's sure to incite the same level of passionately divided opinion. The difference is easy to describe: instead of cramming a dozen themes into every few seconds, they now mercilessly repeat the same phrase for minutes on end, sounding much like an instrumental speed metal disc skipping in a CD player. Despite the surface sound, though, this is absolutely NOT heavy metal music. In fact, it's not even rock music in my opinion. I believe Orthrelm have created one of the most groundbreaking works of sound art in history here, and while it's quite easy to describe, the music works on so many levels and means so many different things to different people that somebody really ought to do an ethnomusicology phd dissertation on this band, which could only scratch the surface of what they've achieved. It's like Beethoven--pretty much anyone can hear that something amazing is happening and dig it in some way, but the more carefully you listen and study it, the more layers of meaning and detail you discover. Since this is a tiny blurb review, let me give you the cold, hard, and fast facts: this music is cold, hard, and fast. No, not just fast, impossibly fast. The fastest music ever made? This duo of drumkit and electric guitar plays complicated interlocking parts at a sickening (read: ecstatic) velocity. The guitar playing is like a marathon shred solo, but without any kind of sentimental or melodic feeling. The notes don't matter at all. They are a means to a rare and abstract end: the boundary between a sequence of fast notes and continuous tone. Orthrelm have completely transcended their basic musical vocabulary of African-inspired drum loops and post-metal speed-picking to create fresh and abstract categories of sound experience. The best one-liner I've heard yet about Orthrelm comes from Thymme Jones (Cheer Accident): "It sounds like they're playing someone's nervous system." Orthrelm's earlier music functioned as compact, self-contained units, most literally on the infamous album with 99 pieces packed into about 10 minutes, and it was sort of the ultimate deconstruction of prog rock, but their new music, finally documented on Ov, functions at the opposite end of the time-scale. Ov demands to be heard in its continuous 45-minute entirety to be understood, more so than Riley's In C or Feldman's longer works. It's an experience of immersion in trance loop structures with a violence and velocity that pits serenity, energy, and discomfort against each other in a paradoxical orgy. Orthrelm have been performing this piece in concert for the past two years or so, so the music is already well-known to connoisseurs. One of the best live music experiences in my life was seeing them do this last February--note well that they perform this music in real-time without any kind of computer assistance, which gives it a whole layer of glorious microscopic irregularity. While this composition is old news to some of us, this album is deeply significant for its vastly improved production quality over earlier Orthrelm albums with a powerful, vivid drum sound that shreds the speakers and reveals the timbral nuance of the toms, thanks to the work of Colin Marston (Behold...The Arctopus and Infidel?/Castro). This new release is already sending shockwaves among a larger audience and it probably will be the most heavily discussed and influential recording of the year, music that will become a basic cultural meme like Bach, Schoenberg, Beatles, Beefheart, Sabbath, Reich, Melt-Banana, etc. Of course, most people will find it disgusting and unlistenable, but they will know what the word "Orthrelm" means and they will secretly envy us who experience it with ecstatic transcendence. -Michael Anton Parker
CD $14


VISIONS OF AN INNER MOUNTING APOCALYPSE [JERRY GOODMAN/KAI ECKHARDT/MITCHEL FORMAN/VINNIE COLAIUTA/JEFF RICHMAN] With DAVE FIUCZYNSKI/JOHN ABERCROMBIE/FRANK GAMBALE et al - A Fusion Guitar Tribute (Tone Center 4040; USA) The Mahavishnu Orchestra was one of the true pioneers of jazz/fusion as was their leader, visionary guitar icon John Mclaughlin. This collection features stellar performances by some of today's greatest guitar talents including: John Abercrombie, Warren Haynes, Jimmy Herring, Mike Stern, Steve Lukather, Steve Morse, Greg Howe, Frank Gambale, Jeff Richman and Dave "Fuze" Fiuczynski. Backed by an incredible band featuring Vinnie Colaiuta, Kai Eckhardt and Mitch Foreman, this is one fusion super session you can't afford to miss!!!!!
CD $15



A FEW RELEASES OF MODERN COMPOSER & ELECTRONIC MUSIC:

ALVIN CURRAN - Toto Angelica (ReR IDA 020/UK) This work was made from selected samples of the recorded history of the Angelica Festival from 1991 - 2001. The first two 25 minute tracks were recorded live at the Angelica Festival Internazionale di Musica in Bologna, Italy in May of 2001. Alvin Curran performed on keyboard and samplers, but his computer crashed thirty minutes into the set. He and Massimo Simonini have both remixed and reworked this piece. Curran uses numerous samples taken from previous Angelica festivals. Snippets of John Zorn, Fred Frith, Tom Cora, Jon Rose, Tristan Honsinger, Gianni Gebbia, as well as vocalist like Shelley Hirsch, Phil Minton, Catherine Jauniaux, Maggie Nichols and Mike Patton are utilized, manipulated and reworked. Curran also sampled a variety of animals as well. I sounds as if we are listening to different radio stations broadcasting different concerts, as well as sounds from a zoo. I recognize a few of the voices, as well as Zorn's distinctive sax squeals. I dig the way the sounds are often bent into odd shapes, panned around the stereo spectrum and become a sonic salad of fascinating sounds. The eight shorter pieces that follow are "mostly Simonini remixes Curran's studio recordings with the help of Domenico Sciajno. These pieces are interesting since Curran focuses on less samples and can work with them more carefully. There are a good dell more electronic and keyboard based sounds involved with very selective snips of other odd samples. A consistently engaging blend of exotic and electronic sounds. - BLG
CD for $14

CLEMENS GADENSTATTER - Comic Sense (Kairos 1245/Austria) This is Mr. Gadenstatter's debut and it is indeed an odd one. It features three pieces: "Grand Scherzo Concertant", "Entracte en Miniature" and "Dance mimetique". Performed by the Klangforum Wien chamber group. The music is a bizarre blend of tight Zappa-like quick-changing fervor and a fascinating playful attitude. Everything is in stasis as things keep changing into other things, no one style, genre or structure stands out. A sly sense of humor is always at the center, yet this is only a part of what this about. The joy and fear of endless surprises is the organic thread that holds this together. Humor is often used to shine some light on the inner truth of things we think we understand or would like to comprehend. The unexpected twists and turns here, is what make this so much fun. This is one of the best modern composer works I've heard in a quite a while, since it is free of the darker forces that inhabit so much serious music for the past century or so. Check out the provocative article on Mr. Gadenstatter in the June issue of The Wire. - BLG
CD for $16

MATTHIAS PINTSCHER//ARDITTI QUARTET & TEODORO ANZELLOTTI - Figura I-IV (W&W 097; Germany) Teodoro Anzellotti, accordion/Arditti String Quartet/Rohan De Saram, cello PINTSCHER: Figura I - Figura II - Figura III - Figura IV - Figura V - Quartet "Ritratto di Gesualdo" - Dernier Espace avec introspecteur Teodoro Anzellotti is always exploring and finding new exciting repertoire for the accordion. That's not so easy, because only contemporary composers write pieces especially for accordion; in all other cases it is necessary to adapt the music. Anzellotti has recorded five solo albums for Winter & Winter, with music by Kagel, Satie, Scarlatti, Janacek and Cage. Now he has found the young new music composer Matthias Pintscher, who wrote the music for this new album. "My music places its trust in the power of the poetic, creating situations and domains in which sound events can transform and ultimately dissolve the material presented, only to regenerate in a new physical states. I view my music as an 'imaginary theatre' full of mysteries and secrets, always rediscovering and redefining its own sensibility. It must appeal directly to the emotions without being shored up by moral or academic props. The prime motivation for my work is to counteract a state of motionlessness in a constant quest for new forms of expression and patterns of articulation." - Matthias Pintscher
CD $15

ENSEMBLE RECHERCHE - In Nomine: The Witten In Nomine Broken Consort Book (Kairos; 0012442KAI; Germany) A 2CD treasure chest of 42 short pieces by 40 different composers performed by Germany's Ensemble Recherche and covering various subsets of their flute/oboe/horn/clarinet/trombone/piano/percussion/violin/viola/cello instrumentation. The works were created specifically for the ensemble as variations on the concept of "in nomine", more or less a quaint conceptual conceit of pre-20th century European musicologiy corresponding to what we'd likely call "quotation", "reinterpretation", or "remix", taken as a generalization of the 16th and 17th corpus of English works seminally represented by John Taverner's "Gloria tibi Trinitas" and comprising a specific and acknowledged "in nomine" genre of that era. To be frank, this unifying concept is rather flimsy and irrelevant to the content at hand, which is little other than a dazzling sampler of concise creations within the constraints of academic notated composition covering a thrilling range of aesthetics. The works have the special virtue of being very recent, all composed between 1999 and 2001, though many refer to much older works. What unifies these works more than the "in nomine" concept is the simple fact of Ensemble Recherche's uniform timbres and impeccable technique. Among the more prominent composers featured here are Brian Ferneyhough, Gyorgy Kurtag, Walter Zimmerman, Hans Zender, Gosta Neuwirth, and Wolfgang Rihm, but the collection is noteworthy for its inclusion of younger and lesser known composers. Not all the pieces are so especially short, and the only one to cross the 10-minute work is also one of the most extraordinary, a solo work for bass clarinet by Mark Andre that has the breathtaking sense of gestural economy characteristic of some recent experimental improvisation, interspersing several forceful loud long tones with delicious silences and whispers, a dramatic and sublime work owing a debt to Scelsi's innovations for solo instruments. Running through a handful of other highlights to give a flavor of the riches herein, Isabel Mundry's 93-second contribution feels like a violent haiku whose final syllables linger with a stretched, decaying breath, and Walter Zimmerman delivers an anomalous gem that puts the "in nomine" concept to good use by juxtaposing a recording of a Western New Guinea song with a cellist's transcription-based attempt to imitate it in unison. Perhaps my favorite item here is Salvatore Sciarrino's composition for a full-blooded octet that whimpers, squeals, and provokes for nearly four blissful minutes. Kairos is to be applauded for this unique offering that will be ideal for casual onlookers to this hermetic but fruitful musical subculture who wish to sample its diverging currents in a convenient and undiluted form, and I think all of us will discover a few composers to keep an eye on in the future. -Michael Anton Parker
2 CD set for $22

KYLE GANN - Nude Rolling Down an Escalator, Studies for Disklavier (New World 80633) Using the modern version of the player piano, the Disklavier, a computer controlled acoustic piano, composer Kyle Gann presents ten major works for this instrument. Free from the restrictions of human performance, lines quickly run off the keyboard, maybe the right hand plays five over four in the bass or some other large whole number ratio larger than a triplet and time falls apart in some abstract way - time is like rubber. Unlike Conlon Nancarrow's player piano and most sample libraries, the Disklavier has the dynamics of an acoustic instrument performed by human being, so I tend to forget I'm listening to a machine programmed by a composer. Influences include Nancarrow (Gann wrote the definitive book on the man's music), Charles Ives, La Monte Young (wrote about him too, the piano is tuned in a historical microtonal tuning), Harry Partch, Texas, New England, ragtime, jazz, folk music, Native American music, un-native Americans (those classical people) and all those darned Downtown composers. Fans of Frank Zappa's Jazz From Hell should check this acoustic masterpiece out. - Art Gumm, guest reviewer.
CD for $15


DR WHO AT THE BBC RADIOPHONIC WORKSHOP - Volume 1: The Early Years (BBC DRW 01; UK) "Available in two volumes, these releases deal with the music, effects and atmospheres from the heyday of Dr Who. Volume 1 focuses on the years 1963-1969 (during which time the Doctor was played by William Hartnell and Patrick Troughton) charting the music from the very first episode, taking us through to 1969 when the Doctor was banished to Earth by the Time Lords. The BBC Radiophonic Workshop was a legendary facility which, for over forty years, created pioneering techniques for sound that were used on a myriad of programmes (Dr Who was their biggest client) and for the first time, demonstrated the importance and value of intelligent, creative use of sound. The Workshop's techniques inspired all manner of musicians at the time and continue to do so today. Featuring familiar sounds and music from Dr. Who, the CDs are both an insight into the BBC Radiophonic Workshop's pioneering techniques and influence on electronic music and a glorious reminder of the Dr. Who of old, all the more timely since Christopher Eccleston is currently travelling through time and space on BBC right now."
CD $19

DR WHO AT THE BBC RADIOPHONIC WORKSHOP - Volume 2: New Beginnings (BBC DRW 02; UK) "Available in two volumes, these releases deal with the music, effects and atmospheres from the Dr Who TV series. Volume 2 takes us through the '70s, starting with a new edit of the theme (introduction of colour to the series) and a brand new Doctor -- Jon Pertwee. This CD carries on through to 1980 by which time we had been introduced to one of the most famous Doctors -- Tom Baker. With sleevenotes that reveal the secrets of the most well-known effect of all time -- the tardis taking off -- as well as the history of the opening sequences, the package is illustrated by images from the TV series' respective eras."
CD $19




NEW MAGAZINES:

SIGNAL TO NOISE - the journal of improvised & experimental music - Issue 38/summer 2005 [90 page magazine] Cover articles on Four Tet, ESP-Disk, Saul Williams. Rob Sonic & Busdriver (3 faces of today's hip-hop), Guernsey's jazz auction, David Rakowski, Oneida & Happy Apple. Plus live reviews (Sonic Youth, King Sunny Ade, Starship Beer, Marshall Allen & Henry Grimes & NO Fun Fest), book review and upwards of a hundred thoughtful record reviews. Even the ads are informative.
90 page Magazine for $5.00

ei MUSIC ELECTRONIC AND OTHERWISE - Issue Four Spring 2005 (68 page magazine) Featuring articles Radian, Eivind Aarset, Asmus Teitchens, Thomas Dimuzio, Andrew Deutsch vs. Tetsu Inoue, Canadian Electronica Part 3, profiles of labels: Cold Blue, Apestaatje, Cronica & Vinyl-on-Demand plus a over a 100 reviews of experimental artists like Alio Die, Bitstream, Chris Brown, Harold Budd, Deathprod, Egg, Factrix, Fennesz, Hrvatski, Thomas Koner, Laminar, Main, Manuel Mota, Pete Namlock, Arne Nordheim, Rapoon, Martin Seiwert, etc. This extraordinary zine seems to come out once year or less and is always a worthy read. The cover art appears to be advertising nothing in particular. - BLG
69-page journal for $5.00




HISTORIC RECORDINGS, RESTOCKS and REISSUES:

RARE FIND - GRAB 'EM WHILE WE GOT EM
We've been selling copies of this for $40 recently - these won't last the weekend AT $15!!!

SONNY SIMMONS - Global Jungle (Deal With It 101) Sonny Simmons' Global Jungle is one of the precious few works of his prolific writing period during the 1980s to have been recorded. Originally released on a limited-edition LP in 1990, it was recorded with a band of local musicians in keeping with Simmons' long-held belief that music should be a community effort. That said, there isn't anything lacking here. Simmons is firmly out front, but his rhythm section -- comprised of a drummer, a cellist, and electric and acoustic bassists on the first three tracks, and one acoustic bassist on the remaining three -- stirs up a hell of a tonal, multilingual brew. The title track opens the set and features a burning solo from Simmons after the briefest of melodic statements. His elongated legato phrasing, his skeins of arpeggiated intervals and roaring scalar assaults are picked up and carried into different melodic and modal realms by different parts of the rhythm section. When the soloing is over, the band moves through three modes, all more insistent than the last, all of them rooted in urban musics, and all of them standing in sharp contrast to what was perceived of -- in the United States anyway -- as "jazz reality." When Simmons and crew fight their way through the hairy tempo and pitch courses in the final seconds, they begin to brew up "Global Prayer," the other side, or mirror image, of "jungle." With the trio of strings opening the tune, the dynamic is held taught, shimmering in harmonics and multiphonic sounds. Simmons enters with an angular blues phrase that quotes Illinois Jacquet, Ornette Coleman, and Roscoe Mitchell simultaneously. Beginning in 12/8, Simmons plays behind the beat with Kirk Heyatt's cello providing a slippery chromatic slope for him to climb. When he does and gets to the top, the track breaks wide open and pulls all of the rhythm section into the tumult, and it's a free for all for six caterwauling minutes before Simmons feels he's exorcised the demons properly. This dynamic of tension, disintegration, tension, and release follows throughout the album, carrying within it a holistic view of improv and composition being the same animal to be woven into one another, not played segmentally. It's one of Simmons' finest records and showcases him at the very top of his form. ~ Thom Jurek, All Music Guide
CD $16



MUCH SOUGHT-AFTER TITLES ON THE HARD-TO-GET 'FMR' LABEL...

AMALGAM [TREVOR WATTS/JOHN STEVENS/KEITH TIPPETT/KENT CARTER/LINDSAY COOPER/TERRI QUAYE] - Innovation (FMR 119; UK) Finally one of the gems of my vinyl collection has been resurrected on CD! form 1974..and still happening!
CD $16

AMALGAM [TREVOR WATTS et al] - Another Time (FMR 116; UK) Trevor Watts (alto & soprano saxophones), Steve Hayton (guitar), Pete Cowling (bass guitar), Liam Genockey (drums).
CD $16

AMALGAM [TREVOR WATTS et al] - Samanna (FMR 125; UK) Trevor Watts (Alto and percussion), Dave Cola (guitar), Colin McKenzie (bass guitar), Pate Cowling (bass guitar), Liam Genockey (drums) Continuing FMRs collaboration with Trevor Watts, releasing, for the first time on CD, the British saxophonist, back catalogue.
CD $16

PETER BROTZMANN/PEETER UUSKYLA/PETER FRIIS NIELSEN - Flying Feathers (FMR 91; UK) Peter Brotzmann, alto saxophone, tenor saxophone, tarogato; Peeter Uuskyla, drums; Peter Friis Nielsen, electric bass.
CD $16

ROGER DEAN'S LYSIS LIVES - Resounding In The Mirror [2 CD set] (FMR 73; UK) A 2CD set of 3 recordings by Roger Dean's Lysis Lives, AustraLysis Electroband 'Resounding' and the unreleased LYSIS Plus with Kenny Wheeler. These three recordings are the perfect accompaniment to the talents of Roger Dean [no, not the Yes cover artist], a must for all his fans, old and new!!
CD $25

PAUL DUNMALL/PAUL ROGERS/PHILIP GIBBS/HAMID DRAKE - Love Warmth Compassion (FMR 155; UK) The word is quiet and sensitive - everybody's really listening.!
CD $16

PAUL DUNMALL - EastWestNorthSouth (FMR 72; UK) Paul Dunmall, tenor and soprano saxophones, bagpipes; Mark Sanders, drums; John Adams, electric and acoustic guitar; Philip Gibbs, electric guitar.
CD $16

PAUL DUNMALL/TONY BIANCO/JOHN EDWARDS/JOHN ADAMS - Out From The Cage (FMR 107; UK) Paul Dunmall, saxophones; Tony Bianco, drums; John Edwards, bass; John Adams, guitar.
CD $16

PAUL DUNMALL - solo bagpipes (Shawbaccandised) (FMR 118; UK) The first of several adventurous solo bagpipe 'out'ings from our current main British reedman!
CD $16

PAUL DUNMALL SEXTET - Shooters Hill (FMR 141; UK) Featuring Mr. Dunmall on tenor sax (only), Paul Rutherford on trombone, Jon Corbett on trumpet, John Adams on el. guitar, Roberto Bellatalla on bass and Mark Sanders on drums.
CD $16

INTUITIVE ART ENSEMBLE [PAUL DUNMALL/PHILLIP GIBBS/TREVOR TAYLOR...] - Now (FMR 121; UK) Paul Dunmall (saxophones and invented instruments), Phillip Gibbs(Guitar), Andrew Ball (Piano), Neil Metcalfe (flute), Hilary Jeffreys (trombone), Trevor Taylor (percussion, sound sculptures). 1st release from a new and fantastic collection of the uk's most profilic improvisors.
CD $16

EVAN PARKER/PHILIPP WACHSMANN/HUGH DAVIES/EDDIE PREVOST - 888 (FMR 123; UK) What do you get when you combine Music Improv Company's electronicist Davies, AMM's percussionist Prevost, stellar soprano sax improvisor Parker, and and violinist/electronicist Wachsmann? A delicate, thoughtful and elegant foray into delicate minimalist improvisation - but definitely not flaccid! Recorded 8 PM August 8th, hence '888'
CD $16

HOWARD RILEY/MARIO CASTRONARI/TONY MARSH - Wishing on the moon (FMR 14; UK) Howard Riley, piano; Mario Castronari, bass; Tony Marsh, drums. Recorded at The Premises, London on 24 May 1993.
CD $16

JOHN SURMAN With JOHN TAYLOR/CHRIS LAURENCE/JOHN MARSHALL - Westering Home (FMR 16; UK) originally released on the Turtle imprint in the early '70s
CD $16

KEITH TIPPETT - Linuckea (FMR 70; UK) Keith Tippett, piano; David Le Page, violin; Christopher George, violin; Malcolm Allison, viola; Phillip Sheppard, cello
CD $16

ULTRALYD [FRODE GJERSTAD/KJETIL BRANDSDAL/ANDERS HANA/MORTEN OLSEN] - Ultralyd (FMR 154; UK) Featuring Frode Gjerstad on alto sax & clarinet, Anders Hana on electric guitar, Kjetil Brandsdal on electric bass and Morten Olsen on drums.
CD $16

TREVOR WATTS' MOIRE MUSIC - With One Voice (FMR 108; UK) 'With One Voice' was recorded live in the UK in September of 1988 and this cd is a reissue. Moire Music is an octet with two saxes (Simon Picard & Trevor), three keyboard players (including Veryan Weston and Ms. Liane Carroll doubling on vocals), bass guitar, two African percussionist and a traps drummer.
CD $16




PROG GOODIES REMASTERED/REISSUED...


GENTLE GIANT - The Power And The Glory (DRT 352) [2005 remastering, with a previously unreleased bonus track, overseen by Derek Shulman - DRT is his label!] Besides "In a Glass House", this is Gentle Giant's most constructed album, coming as it did right after 'In A Glass House'. It's also one of their most complex albums. The music is hard to follow and is not recommended to beginners (even though I liked it from the very first time I heard it). "Proclamation" starts the album and what a start! It's a brilliant song with some truly excellent playing from the band, followed by the VERY difficult "So Sincere", a song that will probably destroy your brain if you don't like complex music. After that, "Aspirations", "Playing The Game", "Cogs in Cogs", "No God's a Man" and "The face" appears: All of them is truly breath taking and is some of my favourite GG songs. The band plays flawlessly through all of the songs...WOW!!! The album concludes with "Valedictory", a Very good, but a bit weird song. GG's second best, only beaten by the brilliant "Octopus". This is a fantastic record that every GG fan should own. 5 Deserved stars!! BJ-1, ProgArchives.com
CD $13


SOFT MACHINE [MIKE RATLEDGE/HUGH HOPPER/ROY BABBINGTON/JOHN MARSHALL/KARL JENKINS] - Six [6/Sixth]/Seven [7/Seventh] [2 CD set] (Edsel; UK) SIX - 2 LPs (1 live, 1 studio) on DISC 1: MIke Ratledge on fuzz organ & synth, Karl Jenkins on bari sax, oboe & keyboards, Hugh Hopper on electric bass and John Marshall on drums. The Soft Machine were many things to many people, but to most, the real Soft Machine ceased to exist when founder Robert Wyatt left to work on his conspicuously titled Matching Mole project. This departure is generally credited to the Soft Machine's creative advance away from prog rock and toward jazz-fusion. Three years and three records after Wyatt's departure, this creative motion was in full sail, and the release of Six cemented the band in their distant station beyond the gravity of anything that resembled rock and its spacious, cutting-edge sonics and more symmetrical rhythms. The jazz era that began on Fourth and continued through the '70s mutates slightly on Six, from the free improvisational structures used frequently on prior releases into a somewhat more constrained fusion design. This is due largely to new member Karl Jenkins, who like Wyatt's replacement John Marshall was formerly of Nucleus; Jenkins makes a mighty impact on the Soft Machine's sound with his sax playing and songwriting, and later took creative control over the group, bringing in several guitarists to solidify a fusion sound. Half live and half studio album, Six will never interest classic-era stalwarts, but Jenkins and drummer John Marshall lead old-timers Mike Ratledge and Hugh Hopper through some nifty fusion exercises that fans of the genre (and obscure '70s music of every kind) might find very enjoyable. - Vincent Jeffries, AMG. SEVEN - DISC 2: This one features Mike Ratledge on organ, synth & electric piano, Karl Jenkins on oboe, bari & soprano saxes, recorder & electric piano, Roy Babbington on electric & acoustic basses and John Marshall on drums & percussion. Longtime Softs electric bassist Hugh Hopper finally departs after joining the band in 1969 on 'Volume Two'. He is replaced by an equally excellent bassist named Roy Babbington, who was the Softs' guest second (acoustic) bassist on 'Four'. Karl Jenkins takes over as the main composer, as well as playing second keyboards and providing superb solos on oboe, both saxes and a marvelous recorder solo. Their music is a fine blend of near-fusion jazz/rock and hypnotic, spaced-out, cerebral dreamy sequences. Ratledge's signature fuzz-organ playing is still featured in spots, yet it is mostly laidback and still quite enchanting. Side One ends with an incredibly cosmic, layered percussion & cymbals solo that reverberates with a most haunting ambiance. Recorded July '73 and released in 1974.
2 CD set for $22


THESE TWO CRIMSONs ARE THE 2001 MASTERINGS..BUT BACK IN PRINT ON DGM'S OWN 'INNER KNOT' LABEL...AND ESSENTIAL!!

KING CRIMSON [ROBERT FRIPP/BILL BRUFORD/ADRIAN BELEW/TONY LEVIN] - Discipline (DGM/Inner Knot) After 7 years absence, Robert Fripp re-assembled a new Crimso in 1981 with yet another completely new musical language: a singular vocabulary forged from Gamelan polyrhythms, the lessons of minimalist composers, futurist metal shrieks, ambient electronics and state of the art advanced instrumentation. "Hendrix meets Phillip Glass on Mars" For the 1st time there are two guitarists, Fripp and psychotronic guitarist/vocalist Adrian Belew, along with the amazing rhythm section of longtime Crimso drummer Bill Bruford debuting a completely new electro-acoustic style, and the legendary (Chapman) stick player/bassist Tony Levin.. And to think this is largely live in the studio with a total recording cost of $50k, at a time when other Warner Bros releases cost upwards of half a million to produce! The original version of "Matte Kudasai" which appeared only on the initial Warner Bros pressings of the LPs and CDs in the mid-'80s is thrown in as a bonus cut. Way ahead of it's time then and still a musical catharsis today! Essential!
"Even if you're not a fanatic for Crimso, this is one of three must-owns. ALL THUMBS UP FOREVER!!!" - MannyLunch
CD $14

KING CRIMSON [ROBERT FRIPP/JOHN WETTON/BILL BRUFORD With DAVID CROSS/IAN McDONALD/MEL COLLINS] - Red (DGM/Inner Knot) The swan song of the classic '70s Crimso line-up of Robert Fripp guitar and mellotron; John Wetton bass and vocals; Bill Bruford drums, stripped down to a burning heavy-Crimso-metal trio. Almost entirely a studio recording after the cessation of touring in 1974, violinist David Cross only appears on the magnificent improvised instrumental "Providence" named for the concert location at which it was recorded. Earlier Crimso reedmen Ian McDonald and Mel Collins provide ripping accompaniments throughout, most notably in twin leads on the final song "Starless" This album is completely in power-trio-overdrive, an absolute cruncher that is cited as a major influence by every genre of metal and 'core bands for the last three decades!
CD $14


POPOL VUH - Coeur De Verre (Heart Of Glass) [soundtrack] (SPV 70182; Germany) The soundtrack to Werner Herzog's 1976 film is one of the true masterpieces from Popol Vuh. Coeur De Verre (Heart Of Glass) is based on traditional East Indian classical music and from there Florian Fricke takes the listener (viewer) on a slow and concentrated blissed out trip through the spiritual and emotional psyche of the human heart. Features Daniel Fichelscher (guitar & percussion), Alois Gromer (sitar) and Mattias Tippelskirch (flute). Sheer beauty and often cited as the finest of Popol Vuh's works. Popol Vuh was founded by mastermind Florian Fricke in Munich in 1970 and are known as pioneers of electronic music as well as the predecessors of the 90's ambient and trance genre. Florian Fricke was one of the first German musicians who worked with a MOOG III, an instrument which created a very new and special sound which was profiled on Affenstunde. This album quickly became a milestone and practically created a whole new genre. The name and the book Popol Vuh stems from Incan mythology and is the memory of the evolution of humanity. Florian Fricke doesn't like to catagorize his music; "Music is a form of law for me." He died on December 29, 2001 in Munich. Kraut Rock at the highest level made by, and for, music fans !
CD $16

POPOL VUH - Fitzcarraldo [soundtrack] (SPV 70202; Germany) Originally released in 1982, the soundtrack to yet another of Werner Herzog's films, Fitzcarraldo is perhaps the most bizarre and provocative of all Florian Fricke's film scores. Fitzcarraldo is the story of an opera house being built in the South American jungle for an appearance by Enrico Caruso. Yet Fitzarraldo's music is not what one might expect given the film's circumstance; it is music of and about deep contrast, with Caruso's rich voice interplaying with the Popol Vuh sound. Fitzcarraldo is a true reward to all Popol Vuh and Krautrock fans alike.
CD $16


DAVY GRAHAM - Folk Blues & Beyond (Fledg'ling 3050; UK) Folk, Blues & Beyond was first released on Decca Records in 1965, and is one of the most important recordings from the 1960s folk revival. "UK guitarist, multi-instrumentalist and serviceable-to-perfunctory vocalist. A seminal guitar influence, setting standards for succeeding generations. Graham was the first guitarist to emerge from Britain whose work combined stylistic elements from Julian Bream, Big Bill Broonzy, Blind Lemon Jefferson, Ali Akbar Khan, Leadbelly, Joe Pass, Segovia and others too numerous to name. John Martyn described him as his 'absolute hero' in a Guitar Player interview '75. Of Scottish and Guyanese parents, he came to personify musical adventure, his adoption of non-standard guitar tunings, most notably D-A- D-G-A-D, arguably his most important legacy. His uniqueness became, directly or indirectly, a model for Martin Carthy, Bert Jansch, Wizz Jones and later musicians as diverse as Martin Simpson and J]aso[rgen W. Lang." -- Music Web Encyclopedia "Covers of traditional folk standards like "Black Is the Colour of My True Love's Hair" and "Seven Gypsies" combine with interpretations of compositions by Bob Dylan ("Don't Think Twice, It's Alright"), Willie Dixon ("My Babe"), Charles Mingus ("Better Git in Your Soul"), and Reverend Gary Davis ("Cocaine") for an eclecticism of repertoire that wasn't matched by many musicians of any sort in the mid-'60s. --Richie Unterberger, All Music Guide. This release has been carefully remastered, with restored original artwork in the slipcased edition. Also added are five very rare bonus tracks, new sleeve-notes and previously unpublished photographs
CD $16

DAVY GRAHAM - Hat (Fledg'ling 3050; UK) "First released in 1969 on Decca Records, Hat has not previously appeared on compact disc. The album is a rounded portrait of Davy Graham's remarkable guitar style - drawing together Willie Dixon, Charles Mingus, The Beatles, Henry Purcell and Indian raga on one splendid record. Fledg'ling have carefully remastered this album from the original master tapes, added new sleeve-notes and previously unpublished photographs. drawing together material from Willie Dixon, Charles Mingus, Henry Purcell, The Beatles and Indian ragas on one splendid record." " Hat ... offers the standard pleasures that you expect from his records: excellent, feverishly imaginative acoustic guitar playing; vibrant jazz-blues arrangements; and covers of blues numbers, Paul Simon, and Lennon-McCartney. He's just as capable of good-time blues ('I'm Ready') and a folk cover of 'Getting Better' from Sgt. Pepper as dark, slightly dissonant instrumentals with a modal/Eastern flavor." -- Richie Unterberger, AMG
CD $16


WILD PAARTY SOUNDS [V.A.] - On-U Sound (Cherry Red 024; UK) "A welcome repromotion of this exciting compilation of On-U Sound artists demonstrating the uniqueness of the roster. Alongside Prince Far I and London Underground are U.S. performance artist Judy Nylon and vocalist Allan Pellay, who has since gone to have a hit record with Human Nature with Gary Clail." The artists include: Jah Woosh, Machine Gun Hogg & Co, Prince Far I & Creation Rebel, The Chicken Granny, Alan Pellay, London Underground, Sons Of Arqa, The Mothman, Jeb Loy & The Oil Wells, U.S. New Age Steppers, and Judy Nylon.
CD $16


THE FALL - The Complete Peel Sessions 1978-2004 [6 CD box set] (BBC 982; UK) Expansive (and sadly complete) six-disc set collects 24 four-song Peel Sessions [96 cuts], featuring nearly every incarnation of Mark E. Smith's legendary band. REJOICE!!!
6 CD box set for $55


NEW TITLES [& SOME RESTOCKS] ON THE 'GARDEN OF DELIGHTS' LABEL,
Possibly the greatest archive label of '70s euro Psych & Prog!!!

XHOL CARAVAN - Talking To My Soul [DVD] (Garden of Delights 01D; Germany) German TV recordings from 1970, taken from the station's masters. Xhol Caravan were from Wiesbaden. "In the beginning of 1969 they emerged from Soul Caravan, their predecessors. Xhol Caravan's music was a peculiar mix of jazz and psychedelia. In 1970 they shortened their name to Xhol as to not be confused with Caravan from England. In recording their pieces for SWF (a public radio and TV station from Baden-Baden) in 1970, they were filmed playing four long songs. The colour TV had been introduced in Germany only 3 years before, in 1967. Thus, light effects were used in abundance, especially psychedelic effects. The atmosphere Xhol Caravan created with their music, psychedelic and fraught with drugs, there effects were just right." Colour, 4:3, all regions, PAL and NTSC (double-sided). Comes in deluxe digipak and with 32-page booklet.
DVD $20

XHOL CARAVAN - Electrip (Garden of Delights 045; Germany) "Psychedelic music from Wisbaden, with some jazz elements. Recorded in 1969. After the Germanofon bootleg, here is the legal re-release with a 32 page color booklet and their two 7" tracks as a bonus." First legit CD reissue of the legendary first Xhol album, first issued on Hansa in 1969. This was their first of 3 albums, Hau-Ruk and Motherfuckers GmbH & Co. would follow on the OHR label in '71/'72, concluding one of the strangest chapters in the Krautrock scene of this period. Electrip has freak-out characteristics, some Canterbury-esque vibes and stoned-progressive moves throughout long instrumental passages. The first mysterious record by this band who would always leave a trail of confusion. From Crack In The Cosmic Egg: "Electrip was one hell of a remarkable album, especially for the 60s, an electric sax and organ fronted fusion with a great deal of invention and energy, hinting at later records by Nosferatu, Faust, et al. Remarkable throughout!"
CD $19

AGITATION FREE - Malesch (Garden of Delights 069; Germany) Their debut was pensive and relaxed masterpiece, originally released on Vertigo. The 32-page booklet abounds with photographs, discographies and tons of details. From the master tapes, this is a new definitive reissue that was previously released on Spalax and originally issued in 1972. "Not willing to compromise, and heavily into the avant-garde (many members studied with the influential Thomas Kessler), it took a long for Agitation Free to finally get an album out. By that time they had developed a cosmic styled rock with a strong ethnic element. Although in the spirit of Ash Ra Tempel and Pink Floyd, they had their own individual identity, with a largely improvised music that was predominantly instrumental, featuring lots of electronics, keyboards and dual guitars and a great flair for invention. 'Malesch' documents their trip to North Africa and the Middle East, blending location recordings together with their own compositions and improvisations and is still quite a unique experience even today, combining cosmic, avant-garde and ethnic musics with great invention." - Crack in the Cosmic Egg (the ultimate progressive bible).
CD $19

AGITATION FREE - Second (Garden of Delights 071; Germany) This was the band's second masterwork and is even better than 'Malesch', the first effort. It was originally released on Vertigo's swirled label and now comes with an impressive 32-page colored booklet Like their first, it was previously reissued on the Spalax label. Their second treasure adds bouzouki, mellotron, 12-string guitar to their classic twin guitar, heavy Krautrock sound. Recorded and released in 1973, a few months after the first and incredible 'Malesch'. 'Second' is at the frontiers of experimental, progressive and avant-jazz. If 'Malesch' was experimental recording with a touch of progressive, 'Second' just appears as a progressive recording with experimental touch, revealing the incredible music of the band in an easier and even HIGHER way.
CD $19

BRAINSTORM - Last Smile (Garden of Delights 051; Germany) "Progressive jazz rock, brilliantly played as usual, with occasional vocals in English. A live gig dating from Spring 1974. CD with 32-page booklet with detailed solo-discography." From Crack In The Cosmic Egg, "Highlighted by quality musicanship, notably a dizzying array of winds and keyboards, with complexly arranged instrumentals and, like the Dutch band Supersister, a penchant for eccentric tongue-in-cheek humour."
CD $19

BRAINSTORM - Second Smile (Garden of Delights 047; Germany) "Brainstorm's second work, a definite improvement on their first effort. Masterly played progressive jazz rock with flute, sax... From master tapes." Originally released by Spiegelei in 1973. "The music on both Brainstorm albums was a highly inventive blend of songs and instrumentals, with a touch of Zappa, Canterbury inspired certainly, akin to Caravan, Hatfield & The North, Soft Machine, etc., but also with a style all of their own. Highlighted by quality musianship, notably a dizzying array of winds and keyboards, with complexly arranged instrumentals and like the Dutch band Supersister, a penchant for eccentric tongue-in-cheek humor. Brainstorm lived up to their name, and both albums are classics of the genre." -- Crack In The Cosmic Egg.
CD $19

EMBRYO - Bremen 1971 (Garden of Delights 084; Germany) First release of this Radio Bremen broadcast, from master tapes, recorded 9/23/71. Packaged with typically elaborate 32-page booklet of notes & photos. Recorded shortly after the release of their 2nd album, at the high school Leibnitzplatz. "Trying to describe the music of those days, there had been lots of spontaneous improvisations. There were some fixed riffs mostly guitar and bass, and then small themes were superimposed by the wind players... Very many musicians performing with Embryo came from the school of Mal Waldron, jazz pianist and composer was and is a very important representative of modern international jazz."
CD $19

EMBRYO - Father, Son and Holy Ghosts (Garden of Delights 092; Germany) The third LP by Embryo, originally released by United Artists in 1972. With Sigi Schwab on guitar! Rhythmic space-rock fusion, macro and micro-rhythms and soprano sax, and Asian stringed instruments. A quote from a German magazine at the time proclaimed, "Embryo are, without question, one of a kind rhythm group in Germany. Wouldn't I know that they are from Munich, I'd say that they are the first Afro-Asian rock band." The 20-minute bonus track was recorded at the third Essen Pop & Blues Festival in 1970 and until now has been unreleased.
CD $19

GILA - Bury My Heart At Wounded Knee (Garden of Delights 046; Germany) Finally, a legti reissue of the 2nd Gila album, originally released by German Warner Bros. in 1973. Gila founder Conny Veit had. left the group to work with Popol Vuh on a masterful trio of albums (Hosianna Mantra/Aguirre/Seligreisungun,) but resurrected the Gila name for this record, recorded in conjunction with Popol Vuh's Florian Fricke (Mellotron, grand piano) and Daniel Fichelscher (drums, perc., bass). Sabine Merbach contributed an etherial vocal presence. The result is much more similar to Popol Vuh's more majestic psych moments, but based around Veit's compositions (he performs on acoustic/elec. guitar, Moog, flute). A concept album dealing with the oppression of American Indians (based on texts by Dee Brown), this is a floatational classic. Typical elaborate Garden Of Delights packaging, with extensive Gila-reflective liner notes by Conny Veit. One previously unreleased (but unremarkable) studio track is added as well.
CD $19

GILA - Midnight Works (Garden of Delights 035; Germany) "Their Cologne concert from 2/16/1972 in great sound quality. With their first line-up they are playing songs so far unknown on record. With booklet of 32 pages." "On 02/26/1972, Gila played a gig in Cologne that was broadcast line the in 'Nachtmusik' WDR radio show. Since the WDR had only acquired the broadcasting rights whereas the publishing rights are owned by the artists, nothing stood in the way of this CD release. Thanks to the latest technology the recording, which does not entirely satisfy the demands of today's listeners, has been most carefully de-hissed and remastered but not changed. Happily, all tracks are as yet unknown. Their sound is reminiscent of the first Gila LP and they are its equal in every way." From Crack In The Cosmic Egg: "Gila quickly established themselves as the foremost exponents of psychedelic space-rock. By 1971, they recorded one of the finest cosmic classic of Pink Floyd inspired space-rock. Superbly conceived, [their debut LP] featured an amazingly innovative music that took hints from all the classic Pink Floyd innovations, and went further, blending in ethnic textures with the complex multi-guitars of Conny Veit, and superb percussive fired space drives. Naturally, it's regarded as one of the finest Krautrock albums. Gila were an extraordinary band, at the peak of the Krautrock ladder, and it's a shame that this original incarnation only made the one album. Gila had a vast repertoire, and concerts would include jams in excess of 20 minutes, covering a range from weirder Guru Guru realms to the most ethereal Agitation Free kind of trips."
CD $19 **************************************

SHORT DMG RECOMMENDED CALENDAR:

The DMG Free-Music Series Continues this Sunday. July 3rd at 6pm with: HENRY WARNER & JESSE HENRY!! Sax & guitar duo!
Henry is a legendary alto saxist & clarinetist who has worked with William Parker and Jesse Henry is a wild guitarist that worked with William Hooker!


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The Stone is located at Avenue C & 2nd St. (there is no 'number' address) There are concerts on Tuesday - Sunday
There are two sets per sets, 1 at 8pm & 1 at 10pm
Admission for each set is $10., unless otherwise noted
Here's the schedule for the month of July:



7/1 Friday
8 and 10 pm
John Zorn's COBRA
a Stone benefit
$15


7/2 Saturday

8 pm
Greg Cohen (bass), Marty Ehrlich (reeds), Art Baron (trombone)
Greg Cohen's new trio will play the music of the last 100 years with no respect to order

10 pm
Uri Caine (piano)


7/3 Sunday
8 and 10 pm
Jamie Saft Trio - CD Release Party for Astaroth: Book of Angels Vol. 1: Masada Book Two
Jamie Saft (piano), Greg Cohen (bass), Ben Perowsky (drums)


7/5 Tuesday
8 and 10 pm
Shanir Ezra Blumenkranz (oud), Cyro Batista (percussion), Greg Cohen (bass)
Plays music from John Zorn's Masada Book Two: the book of angels


7/6 Wednesday

8 pm
Tom Abbs - Multifarious "Prehension Suite"
Tom Abbs (bass) will play music for simultaneous bass, tuba and percussion with projected visualizations by painter M.P. Landis

10 pm
Kenny Wollesen (drums)


7/7 Thursday

8 pm
Shelley Hirsch (voice), Ikue Mori (electronics), Okkyung Lee (cello)

10 pm
Tim Barnes (drums, percussion)


7/8 Friday

8 pm
Ellery Eskelin (tenor saxophone), Sylvie Courvoisier (piano)

10 pm
John Hollenbeck (drums, percussion), Jorrit Dikstra (saxophones)


7/9 Saturday

8 pm
Trio S
Doug Wieselman (reeds, guitar), Jane Scarpantoni (cello), Kenny Wollesen (drums)

10 pm
Louie Belogenis (saxophones), Kenny Wollesen (drums), Shanir Ezra Blumenkranz (bass)


7/10 Sunday

8 pm
Bob Hoffnar
Release party for his CD "New Music for pedal steel guitar"
Bob Hoffnar (steel guitar), George Rush (bass), Kenny Wollesen (drums), Chuck MacKinnon (trumpet) plus special guests

10 pm
Dougie Bowne (drums)


7/12 Tuesday
to be announced


7/13 Wednesday

8 pm
Miguel Frasconi (electronics), Neil Duffalo (violin), Aki Onda (tapes)

10 pm
Markus Miller (turntables), Tom Surgal (drums)


7/14 Thursday

8 pm
Ned Rothenberg (woodwinds), Alex Waterman (cello), Gerry Hemingway
New connections and Re-connections

10 pm
Velocity of Hues
Elliott Sharp (solo electroacoustic guitar)


7/15 Friday

RUINS / BASSIST WANTED TOUR
Pioneer of drum/bass duo is seeking a new bass player.
RUINS founder Tatsuya Yoshida performs RUINS ALONE and RUINS songs/ improv sessions with local bass players.

8 pm
RUINS ALONE with guest Shanir Ezra Blumenkranz (bass)
$15

10 pm
RUINS ALONE with guest Jesse Krakow (bass) and Ron Anderson (guitar)
$15


7/16 Saturday

8 pm
Mark Feldman (violin), Anthony Burr (woodwinds)

10 pm
Mat Maneri (viola, violin)


7/17 Sunday

8 pm
Cornelius Duffalo (violin), Stephen Gosling (piano)

10 pm
Jacob Danziger (violin)


7/19 Tuesday

8 pm
Tyshawn Sorey's Obliquity
Russ Losing (piano), Loren Stillman (alto saxophone), Carlo Derosa (bass ), Tyshawn Sorey (drums, compositions)

10 pm
Schematic Musics for quartet, trio, piano
Russ Losing (piano), Jacam Manricks (alto & soprano saxophones), Rubin Kodehli (cello), Tyshawn Sorey (drums, piano, trombone, compositions)


7/20 Wednesday

8 pm
Ben Perowsky (drums), Sylvie Courvoisier (piano)

10 pm
Anthony Coleman (piano)


7/21 Thursday

8 pm
Mark Dresser (bass)

10 pm
Catherine Jauniaux (voice) "solo based on letters I received from friends, lovers, family, musicians ...."


7/22 Friday

8 pm
Raz Mesinai (sampler, percussion)

10 pm
Oscar Noriega (woodwinds), Mat Maneri (violin, viola)


7/23 Saturday

8 pm
Craig Taborn (piano)

10 pm
Herb Robertson (trumpet)


7/24 Sunday

8 and 10 pm
Tony Conrad & Jim o'Rourke


7/26 Tuesday

8 pm
Jenny Lin - Preludes to a Revolution
Jenny Lin (Piano) will perform music by Alexandrov, Deshevov, Feinberg, Ornstein, Roslavetz, and Scriabin

10 pm
Tom Chiu (violin), Milica Paranosic (electronics)


7/27 Wednesday

8 pm
Shelley Burgon
Music for harp and four speakers: Shelley Burgon (harp, computer)

10 pm
Marina Rosenfeld (turntables), Lee Ranaldo (guitars)


7/28 Thursday

8 pm
Sylvie Courvoisire (piano)

10 pm
Dual Identity
Rudresh Mahanthappa (alto saxophone), Steve Lehman (alto saxophone)


7/29 Friday

8 pm
Ikue Mori
Ikue Mori (electronics, video projection) has added image manipulated by her electronics. The piece derived from traditional paintings on the ceiling of Kertha Gosa in Bali, the story of a journey through hell to heaven. The rich iconographic characters will be processed and controlled by the sound signal and other messages.

10 pm
Jim Staley (trombone)


7/30 Saturday

8 pm
Joe Maneri (clarinet)

10 pm
Cognitive Dub: Vijay Iyer (piano, electronics)


7/31 Sunday
8 and 10pm
Improv Party-many special guests a Stone benefit

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Click this link for events at THE STONE [NYC]

Click this link for events at TONIC [NYC]




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