Thanks to Those who Attended the DMG 28th Anniversary Celebration (Part 1)
Featuring a Rare Performance of KALABALIK at The New Schoolblast Monday (6/4/18)!
And special thanks to John Zorn, Rachel, Richard & Roberta and Scott Friedlander!
We do have some great music coming up at DMG on Sundays, a rare Monday & Tuesday as well
This Week’s Themes are Several Dynamic Duos! Two Ramboy Quartets! Six More Clean Feeds! 1000 1! Spiritual Jazz! Reggae and Rare Experimental Vinyl! Here’s the Menu:
Peter Evans & Weasel Walter! Juhani Aaltonen & Raoul Bjorkenheim! Two from Michael Moore: Wolter Weirbos / Michael Vatcher! 1000 1: Eugene Chadbourne / Jan Klare / Bart Maris / Wilbert DeJoode / Michael Vatcher! Six More from Clean Feed: Alberto Pinton! Rafael Toral! Scott Clark! Lana Trio! Lynn Cassier & Caterina Palazzi! Nicola L. Hein & Emilio Gordoa!
Steve Reich’s ‘Drumming’! New from Another Timbre: John Cage 2 CD Set! Biondi / Martel/ Schiller! The Congos & Pure Vida! Emanative Idris Ackamoor & Nat Birchall! 3 from Achim Kaufmann & Michael Moore! Ted Daniel Rarity! Borbetomagus! Plus LP’s from Martin Bisi’s BC35! Charlemagne Palestine! Alvin Lucier! Oren Ambarchi/Kassel Jaeger/James Rushford and Much More!
Upcoming Sets at Downtown Music Gallery - FREE, every Sunday at 6pm
THE DMG 28TH ANNIVERSARY SERIES OF SONIC CELEBRATIONS Continue with:
Sunday, June 10th:
6pm: CARLO COSTA / C M S / SAM KULIK - Percussion / Bass / Trombone
7pm: JONATHAN MORITZ / SEAN ALI / CARLO COSTA - Sax / Bass/ Drums
Rare, Monday June 11th:
6:30 - CARTOON JUSTICE With G. CALVIN WESTON/MIKA PONTECORVO/KERSTI ABRAMS/ADRIANE PONTECORVO/MARK PINO/ELIJAH PONTECORVO - Drums/Guitar/Alto Sax/Cello/El. Bass/Waterphone
Sunday, June 17th:
6pm: PRACTITIONER: BEN GOLDBERG and MICHAEL COLEMAN - CD Release Set
7pm: NICOLA HEIN and BRIGGAN KRAUSS - Electric Guitar and Alto Sax
8pm: KAWAGUCHI KENYA and NICOLAS LETMAN-BURTINOVIC! - Shakuhachi and Acoustic Bass
Tuesday, June 19th: Bruce’s Birthday Bash!
Dance party Here at DMG with Snacks and Spirits!
Check out some Funky DJ Music by MC Bruce Lee
Sunday, June 24th:
6pm: TODD CAPP’S MYSTERY TRAIN: KURT RALSKE / EMILIE LESBROS /
AUSTIN COVELL / ANDREW HAAS / TODD CAPP
7pm: DCNN: DANIEL CARTER NEWS NETWORK: ELI WALLACE /
BEN COHEN / DANIEL CARTER / DAN KURFIRST
Sunday, July 1st:
6pm: BEN GOLDBERG and GERALD CLEAVER - Clarinet(s) and Drums
7pm: JOSH SINTON / TODD NEUFELD / GIACOMO MEREGA - Bari Sax & Bass Clarinet/Guitar/El Bass
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
PETER EVANS / WEASEL WALTER - Poisonous (ugEXPLODE 71; USA) Featuring Peter Evans on trumpet and Weasel Walter on drums. There is quite a bit more going on here than just the extreme improvisations of two instruments: trumpet and drums. Both Peter Evans and Weasel Walter are masters of their respective instruments, knowing the long histories that their instruments have been used for: jazz, chamber or third stream music, electronics, rock, brutal prog or metal, noise, etc. Both have long experimented in the studio (as well as live), mutating or enhancing their sounds in a wide variety of ways. After listening to this disc a couple of times, I read through Weasel’s press release which explains some of the ideas/techniques which were utilized on this disc. I will include an excerpt from Weasel’s explanation in the on-line version of this review so that you can have a better idea of some of the work which went on in the studio.
“Yellow Stainer” begins with what sounds like a couple of click tracks which are playing in slightly different times with fragments of trumpet sounds selectively & tightly woven in the mix. It sounds like several trumpets playing simultaneously, but might just be sampled and/or echoed in part. Mr. Walter is a studio wizard who works hard at crafting new and unique ways to record and manipulate. On “Satan’s Boletus”, the trumpet and percussion are both closely mic’d so that we can focus on those microscopic sounds which are then magnified and reassembled. If you have had the pleasure of seeing/hearing Peter Evans play live, you will have some idea of how gets some of the sounds otherwise it might be hard to figure who is doing what here. I like the way Weasel has two two different lines running together on “Sulfur Tuft”, both intense drones of windstorm and percussion heavy eruptions coming together as one dense (yet somehow perceptible blast of sound. It sounds like an electronic storm sped up like an adrenalin rush. “Hooded False Morel” has a whirlwind-like drum roll at blast at the center with varying layers of trumpet & percussion pulsating throughout, starting and stopping, densities always varying. Like much of what Weasel Walter does, it is often hard to tell how many things are going on at once and where the actual recording and manipulating continue or end. This is not just a mere duo recording but an orchestra of infinite ideas on two instruments. - Bruce Lee Gallanter, DMGS
JUHANI AALTONEN / RAOUL BJORKENHEIM - Awakening (Eclipse Music ECD-201862; Finland) Featuring Juhani Aaltonen on flute and Raoul Bjorkenheim on 6 & 12 strings guitars & viola de gimbri. Finnish reeds player, Juhani Aaltonen (currently 83), was once a member of Scandinavian prog rock band Tasavallan Presidentti (late 60’s) and later a member of the UMO Jazz Orchestra. Finnish guitar master, Raoul Bjorkenheim (currently 20 years younger), has played with Krakatau, the Scorch trio and currently with eCsTaSy. Both Mr. Bjorkenheim and Mr. Aaltonen worked together with the UMO Orchestra for a disc called, “The Sky is Ruby” on the TUM label. This disc is their first and only duo effort. “Kaleidophonic” was written by Mr. Bjorkenheim and is a strong, expressive duo, lush, warm and completely enchanting. Both of these musicians have been playing and evolving for many years. They bring quite a bit of diverse influences to this session. There is quite of a bit of exciting and inspired playing going on here, a great match of wits and creativity. Although Mr. Bjorkenheim plays with some restraint, Mr Aaltonen does not, hence the duo soar together all over the place… often reaching for the stars and beyond. Besides guitars, Mr. Bjorkenheim plays a “viola da gimbri”, which might just be a name of an instrument that doesn’t quite exist. There is a classical instrument called a Viol da Gamba and there an instrument called a gimbri (a north African three stringed lute) but, I have seen Raoul play this hybrid which does have a pick-up. This is one of the best duo records I’ve heard in recent memory, quite extraordinary. - Bruce Lee Gallanter, DMG
CD $16 (we have just a half dozen for now but hope to more sometime soon)
MICHAEL MOORE FELIX QUARTET With WOLTER WEIRBOS / WILBERT DE JOODE / MICHAEL VATCHER - Felix Quartet (Ramboy #33; Netherlands) Featuring Michael Moore on alto sax, clarinet & compositions, Wolter Weirbos on trombone, Wilbert de Joode on bass and Michael Vatcher on drums. Since moving here last year, Amsterdam-based drummer, Michael Vatcher, has been working with several Downtown greats including an amazing new quartet with Fay Victor, Jaimie Branch & Luke Stewart at the Vision Fest earlier this week (5/26/18). After some three decades in Amsterdam, Mr. Vatcher is here to add his organic poly-rhythms and hand-made percussion to some of New York’s finest. Like ICP Reeds wiz, Michael Moore, Mr. Vatcher is an American ex-pat who has is integral to the Dutch creative music scene.
In addition to Mr. Moore & Mr. Vatcher The Felix Quartet does feature two Dutch musicians, ICP’s Wolter Weirbos on trombone and Wilbert de Joode on contrabass. This disc was recorded live at Felix Meritis in Amsterdam in 2014. “Ramses” begins very quietly and slowly builds with an infectious walking bass-line at the center, the clarinet and trombone swirling graciously around one another. Mr. Moore does a fine job of crafting pieces where the two horns play intricate, ghost-like harmonies while the rhythm team play skeletally underneath. “Big Dog” reminds me of one of those Mancini-esque, film noir soundtracks, all we need to do is snap our fingers to the sly groove. While the two horns dance tightly together or around one another, the rhythm team seem to expand and contract organically. On “Lower Forty”, the horns seem to be chasing each other, tossing lines back and forth before they arrive at a piece called , “Cry”. It is here where Mr. Moore’s haunting alto and Weirbos’ fragile trombone are backed by Mr. Vatcher’s delicate hammered dulcimer. So nice! Similar to what Moore and Weirbos do in the ICP Orchestra, both horns work their way through jazz history, swinging, sparring, playing blues licks and creating creating sympathetic spirits together. I love that prayer-like solace of the closer, “Tis Abay”, so calm and solemn. A perfect to bring things to a elegant close. - Bruce Lee Gallanter, DMG
MICHAEL MOORE FRAGILE QUARTET With HARMEN FRAANJE / CLEMENS VAN DER FEEN / MICHAEL VATCHER - Live in Chicago (Ramboy #32; Netherlands) Featuring Micahel Moore on clarinet, alto sax & compositions, Harmen Fraanje on piano, Clemens van der Feen on bass and Michael Vatcher on drums & hammer dulcimer. This appears to be the third disc by this particular quartet. Both Michael Moore and Michael Vatcher, both former US expats living in Amsterdam, have been working together in several bands over many years, with Jewels & Binoculars, perhaps being the most beloved. “Triptych” starts things off with a most enchanting, lush sound: exquisite clarinet, soft hammered dulcimer, ghost-like piano and bass. The music has a sublime, elegant chamber-like quality with Mr. Moore’s lovely clarinet at it most haunting. This disc was recorded live at Constellation space in Chicago, the sound is superb. On “A Wall/Shrink”, Mr. Moore’s alto sax is both lush and tart simultaneously, a rich, rather ancient tone made by those sax masters of yesteryear, kind of like the voice of an old friend who makes you feel good in his or her presence. One of the things that makes this disc and band so fine is consistently sympathetic interplay between both Michael’s, balancing the sly with the most thoughtful, always weaving several streams together. Certain songs move effortlessly from swinging to spinning to spacious chamber-like austerity. Considering that this disc is some 73 minutes long, there is way too much great music to comment on. There are a few pieces which really stand out: on “A Few Seconds (of Overwhelming Harmony”), there is an eerie, ghost-like presence (a bowed cymbal?) going on, a calm drone at the center hovering… My favorite piece is called “Seascape”, which does sound like we are drifting on a boat at times. The vibe is trance-like and feels like a good way to wind down. Michael Moore hasn’t played in NY in quite a while, so perhaps it is time for Mr. Zorn to give him a residency at the New Stone. In the meantime, grab this disc soon. It is marvelous. - Bruce Lee Gallanter, DMG
* Three more Michael Moore/Achim Kaufmann restocks listed below…
1000 1 Featuring EUGENE CHADBOURNE With JAN KLARE / BART MARIS / WILBERT DE JOODE / MICHAEL VATCHER - Butterfly Garden (eNRD 023; EEC) Featuring Eugene Chadbourne on guitar, fretless banjo & compositions, Jan Klare on alto sax & flute, Bart Maris on trumpet, Wilbert DeJoode on bass and Michael Vatcher on drums & percussion. This is the fifth disc from 1000, a great Dutch quartet who have four fine discs on different labels but seem to have be under-recognized no matter who recommends their sounds. There is a theme behind each of their of the previous discs and this one features the songs of their special guest Eugene Chadbourne. As a longtime friend and promoter of Dr. Chadbourne, I must admit that this disc sounds nothing like any other disc I’ve heard from the good doctor. First there are no vocals here and Mr. Chadbourne does not dominate the proceedings but is an integral part of the what makes this unit so special. One of the things that makes this group special is the playing of percussionist Michael Vatcher. He often creates infectious rhythm lines with whatever odd instruments he is using at the time. Is that a high hat or scissors or something similar in the center of “”Mexican Yellow”? Either way, the stripped down vibe is somehow infectious, playful. “Paris Swallowtail” sounds like a blues with a Monkisk lopsided groove, Vatcher’s fragmented rhythms guiding things in spurts with some spirited alto sax, guitar and trumpet interplay tightly woven on top. On “California Dogface”, the quintet rock out in lurches while the horns spin their lines out on top, unpredictable yet somehow oddly charming. I really dig the way “Regal Frittery” is sped up with banjo, horns, bowed bass and percussion all buzzing together quietly but intensely, coming close to spinning apart but not quite. On “Silvery Blue”, the flute, guitar and trumpet play what sounds like a familiar melody and then take off into tight spirals. “Buckeye” sounds like electric bluegrass, racing at a furious pace, retaining that swell Chadbournesque insanity. This music is often hard to pin down since it keeps changing with what sounds like scripted parts turning into freer moments. It all seems connected somehow and will take some listing sessions to see where the glue holds things together. A winning combination nonetheless. - Bruce Lee Gallanter, DMG
We listed six new CD’s from Clean Feed last week, but that was only half of what was just released. The other sic CD’s are listed below and we have spent the week listening to all dozen releases. This is a particularly strong batch, even the little known ones (474, 484 & 478) are pretty great! I will do my own reviews as long as I have the time…
Six More Discs from the Incredible & Prolific Clean Feed Label:
LYNN CASSIERS - Imaginary Band (Clean Feed 484; Portugal) Ms. Lynn Cassiers is a vocalist, plays electronics and leads this seven piece ensemble. This disc was recorded in Brussels, Belgium, which I assume is where most of these musicians come from. I recognize a few of their names from discs they’ve done with Joachim Badenhorst and Alexandra Grimal. The music here has a dreamy quality, with Ms. Cassiers’ angelic, haunting voices floating in and out of the mix. “71%” is a rich blend of jazz/pop in which Ms. Cassiers uses two voices, one hushed & up front and another through a megaphone in the distance. A tenor sax and piano both swirl around her in heated circles. Even when not singing, Ms. Cassiers uses her electronics to provide a central character. What is interesting is this: Ms. Cassiers sings in English yet uses her voice minimally as just another part of the painting she inhabits. It is as if she is directing a play where each instrument is a different character, interacting is often fascinating ways. If this CD was on a more pop-oriented label, it might just get some of the recognition it rightly deserves. What Stands out is the way Ms. Cassiers alters her voice, selectively twisting certain words while the other members of her septet create harmonius shadows around and with her. An impressive debut from a mostly under-recognized crew. Highly recommended! - Bruce Lee Gallanter, DMG
Giving credit where it is due department: The personnel is: Lynn Cassiers on voice & electronics, Sylvain Debaisieux (soprano and tenor saxophone), Ananta Roossens (violin), Niels Van Heertum (euphonium), Erik Vermeulen (piano), Manolo Cabras (double bass) and Marek Patrman (drums).
ALBERTO PINTON NOI SIAMO With TORBJORN ZETTERBERG / et al - Opus Facere (Clean Feed 473; Portugal) Personnel: Alberto Pinton -baritone & alto sax, clarinet & bass clarinet, Niklas Barnö - trumpet, Torbjörn Zetterberg - bass and Konrad Agnas - drums. The Italian, but living in Sweden, saxophonist and clarinetist Alberto Pinton continues to explore the post-bop heritage of the Sixties with his new album, “Opus Facere”, stretching it to include what is coming after free jazz in a non-conformist attitude. The name of his quartet, Noi Siamo (meaning We Are in English) has “This is Our Music” (because of the “This is” part), by Ornette Coleman, as a reference, but musically it brings us to another classic, Eric Dolphy’s “Out to Lunch”, and specially Pinton’s combinations with trumpeter Niklas Barnö (Fire! Orchestra, Je Suis – another allusion), modeled by the ones formed by the ongoing conversations between Dolphy and Freddie Hubbard. In Torbjorn Zetterberg and Konrad Agnas they have the ideal rhythm section to bring tradition to a sort of reinvention of the present. Through all this you have energetic solos and solid structures, everything you wish from an affirmative and audacious band committed to make jazz a music of fire and soul, as the great mavericks wanted to once upon a time. Intense, agile, shape-shifting, full of drive and, yes, swing.
RAFAEL TORAL - Space Quartet (Clean Feed 479; Portugal) Personnel: Rafael Toral modular feedback circuit, modified MS2 and MT10 amplifiers, Ricardo Webbens - modular and network synthesizer, Hugo Antunes - double bass, João Pais Filipe drums & percussion. After the conclusion of the 13-year-long Space Program series, Space Quartet marks a new horizon in Rafael Toral’s ongoing music explorations. Referring both to a record and a band configuration, Space Quartet embodies a maturing moment for the Portuguese musician. As one of the most internationally-recognized figures in the leftfield domains of music, Toral describes the album as “an advanced application of the Space Program principles”: electronic music with a human touch.
Over the years, Toral developed a jazz-like phrasing using abstract electronics. Operating within the context of a typical quartet, Space Quartet features the interplay of two electronic voices, one played by himself, on melodic feedbacks and hacked amplifiers, and one by Ricardo Webbens, on modular synthesizer and other custom stuff; rounding out the quartet is the versatile Hugo Antunes on double bass and the inventive drums of João Pais Filipe, who also plays gongs and bells of his own making.
The electronics are the driving core of the ambitious Space Quartet, setting it apart from many examples of electronics in jazz. Inspired by some of the principles and methods of enigmatic master Sei Miguel, the music develops solely according to the musicians' free decisions. The result is a sense of flux and ever-renewing forward motion, continuously unfolding into new places, through spirit and matter from jazz- rock to ambient music and “the singing of standards from another planet” (Toral dixit). One thing is for sure: you’ve never heard anything like this before.
SCOTT CLARK - ToNow (Clean Feed 478; Portugal) Personnel: Jason Scott - sax, Bob Miller - trumpet, Alan Parker & Toby Summerfield - guitars, Cameron Ralston - bass and Scott Clark - drums. “’ToNow’ is a contribution in music to the protests that took place at Standing Rock for much of 2016-2017 and remain ongoing. Four songs represent four different aspects: “Plains” (the landscape), “Stand” (Standing Rock reservation), “Red, White, Yellow” (colors on the reservation flag) and “Cantapeta Creek” (the epicenter of the protests). ToNow is meant to be listened to as a suite, continuing the through- compositional voice heard on Bury My Heart (2016), inspired by the events in Dee Brown’s book of the same name. Clark continues to explore the meanings of his own Native heritage in an improvisational and collaborative context, with returning personnel on bass, saxophone and trumpet and two additional guitar voices. An enervating and elegiac post-rock, post-bop format.”
This is the second disc from drummer/composer Scott Clark, who hails from Richmond, VA. Mr. Clark’s first disc featured a quartet, while for this disc he has added two guitarists to the project. This disc is a suite of four long pieces dedicated to the protest at Standing Rock Reservation in North Dakota, a Native American stronghold. There is an illuminating poem inside this disc which deals with frontier borders and conflicting agendas. It is the music itself that evokes so much conflicted and confusing emotions. On “Plains”, the trumpet and sax swirl on top while both guitars create a cushion of ghostly reflections. There is a section with martial drumming at the center while the guitars buzz & burn together, evoking dark, dream-like vibes. I like the way the two horns play their haunting lines together, often evoking ancient spirits wandering over the plains while the guitars create different moods: somber, dark, harrowing, pride, sad, filled with determination and rage and mush more. Although some of this sounds free, there is always a central spirit or vibe being evoked. There is a short unaccompanied drum solo in the third section and that also evokes those contemplative spirits. This is deals more with mood and ambience and does a fine job of creating a thoughtful space to consider the long plight of our Native American ancestors. We are all immigrants in the so-called promised land. Don’t forget. - Bruce Lee Gallanter, DMG
LANA TRIO - With Sofia Jernberg (Clean Feed 469; Portugal) Personnel: Henrik Munkeby Nørstebø - trombone, Kjetil Jerve - piano, Andreas Wildhagen - drums and percussion Sofia Jernberg - voice. With the instrumentation drums, piano and trombone, Lana trio is unique in Norwegian measures and rare everywhere else. The trio plays intuitive and uncompromising improvisations, resulting in music ranging from everything to almost nothing. Since their reformation in 2012, Lana Trio have played extensively throughout Europe and further afield, including two tours of Japan. They have released two records; “Lana trio” (2013) and “Live in Japan” (2014)
Lana trio is an experimental ensemble and a forum for continuous personal and social process. Andreas, Henrik and Kjetil started playing together quickly after meeting in 2007, and extensively explored how parameters like density, velocity, texture and dynamics could be stretched in order to create different possibilities for musical interplay. The trio have worked both with graphical notation and so called free improvisation, and plays music that draws inspiration from many of life's aspects.
When thinking about a collaborator for the trio's third record, Sofia Jernberg became a natural choice, holding the ability to both merge seamlessly with the trio's music, and provide her strong personality to push the trio in different directions. The quartet in real time is a continuous energy stream, like an organism on the edge of breakdown, only controlled through a great collective calm and an acceptance of the unpredictable.
CATERINA PALAZZI - Sudoku Killer Asperger (Clean Feed 474; Portugal) Personnel: Caterina Palazzi - double bass & compositions, Giacomo Ancillotto - guitar, Sergio Pomante on tenor sax and Maurizio Chiavaro - drums Sergio Antonio Raia - guest sax. This is mostly a quartet with guitar, tenor sax, double bass and drums. The music is closer to post punk with some jazz added for good measure. The music was inspired by bad (or evil) characters in certain Walt Disney movies, one character per movie. “Grimald” kicks things off with a great, punk/rock/jazz throb. I am reminded of The Ex with some strong sax riding on top. Most of this is not full throttle rockin’, there is much more dynamic range, building from quiet to occasional outbursts. At times, this music seems to blend surf-like grooves/sound with Italian western-like melodies. There are few if any solos here, as this is more about the mood or vibe. I really like this disc but it does seem out-of-place in the vast Clean Feed catalogue. Yo Pedro (head of CF), you should send a promo to Pitchfork who would no doubt eat this up and smile! - Bruce Lee Gallanter, DMG
NICOLA L. HEIN / EMILIO GORDOA - CORSO Unwanted Pregnancy (Creative Sources 341; Portugal) Featuring Emilio Gordoa on prepared vibes & percussion and Nicola L. Hein on prepared guitar. Last Sunday (3/26/17), we had a most memorable night of music here at DMG with two solos and a duo. Berlin-based guitarist Nicola Hein played first and did a fine job of coaxing odd sounds from electric guitar with minimal preparations and numerous pedals. Mr. Hein also played here a few months ago, sitting in with Mia Zabelka and Viv Corringham and is a member of a fine quartet called Rotozaza with Rudi Mahall & Christian Lillinger. My. Hein left us with a short stack of CDs from his duo with percussionist Emilio Gordoa. The first piece erupts at a furious pace and almost sounds sped up with some furious strumming on a semi-acoustic/electric guitar. The second unnamed piece is pretty long and sounds like the vibes are being bowed along with subtle, mysterious sounds from the guitar: faint plucks, carefully placed along with perhaps toy percussion. Eventually the tempo picks up and it sounds like an Eno-ish jam. With rubbing, bowing (?) and manipulated strings and similar bent sounds from the percussion, it is hard to tell who doing what at times. The overall effect or journey is still rich in nuance and compelling. Thanks to Nicola for leaving us with a handful of these tasty twisted treats. - Bruce Lee Gallanter, DMG
Three New Ones from Another Timbre in stock Next Week:
JOHN CAGE // MARK KNOOP / PHILIP THOMAS - Two2 (Another Timbre 124; UK) One of a handful of John Cage's number pieces, this work for two pianists follows the forms of Renga poetry, composed with 36 lines of music, each containing 5 measures, and each line having 31 events occuring in the sequence 5-7-5-7-7, with the pianists allowed their own tempo but waiting to synchronize each measure, as performed by Mark Knoop and Philip Thomas.
2 CD Set $28
MAGNUS GRANBERG - Es Schwindelt Mir, Es Brennt Mein Eingweide (Another Timbre 125; UK) An hour-
long work for an ensemble of six musicians by Swedish composer Magnus Granberg performed by Anna Lindal on baroque violin, d incise on vibraphonen electronics, Cyril Bondi on percussion, Anna Kaisa Meklin on viola da gamba, Christoph Schiller on spinet, and Magnus Granberg himself on prepared piano, transforming material from a song by Franz Schubert.
CYRIL BIONDI / PIERRE-YVES MARTEL / CHRISTOPH SCHILLER - tse (Another Timbre 123; UK) With backgrounds in both improvisation and compositional music, the new trio of Cyril Bondi on harmonium, Pierre-Yves Martel on viola da gamba, and Christoph Schiller on spinet, agreed on a sequence of pitches for this 5 part improvisational work, allowing space for the players to explore pitch and melody within a contemplative and pensive framework.
STEVE REICH - Drumming (Superior Viaduct 097; USA) "Steve Reich's Drumming is regarded as one of the most important musical works of the last century. Distilled through his studies of African percussion in Ghana during 1970 and Balinese gamelan music, Reich revolutionized our understanding of polyrhythms, sculpting a new sonic territory to illuminate the radical potential of Minimalism. Divided into four sections, performed without pause, Drumming is written for eight small tuned drums, three marimbas, three glockenspiels, piccolo and voice. The singers recite melodic patterns that mimic the sounds of the instruments, gradually rising to the surface and then fading out. The overall effect can be transfixing -- pulling listeners into the rhythm and possessing a raw immediacy, directness and energy. The premier performances of Drumming took place in December 1971 in New York City -- first at The Museum of Modern Art, then at Brooklyn Academy of Music and finally at Town Hall where this recording was made -- and featured the composer along with a cast of longtime collaborators including Art Murphy, Steve Chambers, Russ Hartenberger, James Preiss, Jon Gibson, Joan La Barbara, Judy Sherman, Jay Clayton, Ben Harms, Gary Burke, Frank Maefsky and James Ogden. Originally released in 1972 by gallerist John Gibson in a small private edition, Drumming represents the culmination of Reich's investigation into rhythmic phase relationships and its early realization captures a remarkably organic feel, especially compared to the more widely known version on Deutsche Grammophon from 1974. This first-time vinyl reissue and first-time CD release has been carefully remastered from the original master tapes."
2 CD set $26 [release date: June 15, 2018)
THE CONGOS & PURA VIDA - Morning Star (Lost Ark Music 006; Belgium) In 1977 The Congos linked with Lee "Scratch" Perry at The Black Ark Studio to record their debut album. They made the masterpiece Heart Of The Congos and it became one of the best roots reggae albums in history... When Blood & Fire reissued Heart Of The Congos, Bregt "Puraman" De Boever found this album and was struck by its magic and mysticism. He began to sing along and was inspired to start his own reggae band Pura Vida. At the same time, he started to build his studio The Lost Ark Studio with the guidance of DJ Crossfire. When Pura Vida's debut Struggle In The City was released in 2009, Puraman met The Congos backstage at a show in Ghent. They liked the sound and invited Puraman to come to Jamaica. Puraman stayed for two weeks with Ashanti Roy in Kingston and the plan for an album was made. One year later We Nah Give Up was released marking the birth of the Belgian roots musik label, Lost Ark Music. The link with The Congos stayed and Ashanti Roy became the godfather of Lost Ark Music. He guided Puraman and his brother Maarten to build up the label step-by-step. Lost Ark Music released two albums with Ashanti Roy and Pura Vida, Hard Road and Step By Step, and Pura Vida did some magical live shows with Ashanti Roy. In 2014 Puraman met his idol Lee "Scratch" Perry and they made The Super Ape Strikes Again together. The ark was no longer lost and Puraman moved to a new studio, The Last Ark Studio. Puraman kept on recording with The Congos and is planning new releases. The album is called Morning Star and is a combination of the sound of The Congos and the Pura Vida Sound. It features six new Congos songs, three songs from Pura Vida, and a dub version called "Dub Love". The album has the vintage Last Ark Sound and was mixed the old school way using the mixer as an instrument. It features the voices of Roydel "Ashanti Roy" Johnson, Cedric Myton, Derrick "Watty" Burnett, Kenroy "Tallash" Fyffe, and Bregt "Puraman" De Boever. There is also a guest appearance by Leroy "Horsemouth" Wallace, the famous reggae drummer and movie star, one of Puraman's favorite reggae drummers.”
CD $15 / LP $30
EMANATIVE With IDRIS ACKAMOOR / NAT BIRCHALL / DELE SOSIMI - Earth (Jazzman Records 099; UK) Orbiting somewhere between the interplanetary funk of Sun Ra and the cinematic experimentation of Floating Points lies the new album Earth from the spiritually awakened Brit-jazz collective Emanative. Led by drummer and producer Nick Woodmansey, Emanative have created a cosmic strand of multi-cultural UK jazz with African, Indian, and Middle Eastern influences unlike any other act on the UK scene. Following on from their previous record on Gilles Peterson's Brownswood label back in 2015, Earth celebrates the diverse backgrounds of its galaxy of contributors, which includes Idris Ackamoor of US spiritual jazz legends The Pyramids, Afrobeat legend Dele Sosimi (previously of Fela Kuti's Africa 80), key protagonist from Manchester's jazz scene Nat Birchall, India-raised Ninja Tune artist and Shabaka Hutchings-collaborator Sarathy Korwar, Ibibio Sound Machine player Ben Hadwen, Benjamin Page from RocketNumberNine, The Heliocentrics' Malcolm Catto, and Flying Lotus collaborator Ahu. Initially Emanative was an output for Woodmansey's more beat-led productions which he began releasing in 2008. Over the course of a decade and a multitude of singles and three full-length albums, the project has morphed -- emanated -- into a collaborative, jazz-influenced, outward-facing globally-inspired collective. 2015's The Light Years Of The Darkness album release was a key turning point and a record that saw Woodmansey work with a stellar cast of contributors featuring amongst others Keiran Hebden, aka Four Tet, and trumpeter Ahmed Abdullah. Born in 1975 and growing up in Sussex, music was part of Nick's life from an early age as his dad Mick ("Woody") Woodmansey was the drummer with Bowie's Spiders From Mars. His father instilled in him a life-long passion in drums, teaching him the basics. Plans to go to art college were shelved after he moved to London in 1991, squatting in Dalston, and ensconsing himself in the London music scene. A few years later Woodmansey took a 12-month gig playing drums on a cruise ship, before returning to the UK and spending the next decade playing on the London scene in various projects whilst raising a family -- it was there he decided to go it alone and so in 2006 Emanative was official. The Earth record encouraged Nick to delve deeper into his spirituality.
Back in stock:
ACHIM KAUFMANN & MICHAEL MOORE - Something Nothing (Ramboy 31 B; Netherlands)Featuring Achim Kaufmann on piano and Michael Moore on alto sax & clarinet. For this disc, there are 11 compositions by Moore and 3 by Kaufmann. Both Michael Moore and Achim Kaufmann are fine composers and have done a good job of providing strong material for this session. Although neither men have recorded very many duo records (Kaufmann & Thomas Heberer and duos with Alex Maguire & Fred Hersch), they sound quite perfectly together here, weaving their luxurious playing together. Mr. Moore's warm, thoughtful tone often stands out and reaches deep into our hearts, pulling delicately at the strings. Mr. Kaufmann is a perfect partner as he is also a mature, thoughtful and quietly dynamic player. After a long walk in the cold, this music has a way of warming me up and making me smile and feel good. If I were to name this disc, I might call it "Something Special' because to me, it is quite endearing. - Bruce Lee Gallanter, DMG
ACHIM KAUFMANN & MICHAEL MOORE - Nothing Something (Ramboy 31 A; Netherlands)Achim Kaufmann on piano and Michael Moore on alto sax & clarinet. Twelve improvised compositions by Moore & Kaufmann and one by Kaufmann himself. Unlike the other two duo discs released at the same time as this one (31A & 31B), this disc was recorded over a few days at two different studios in February or 2012 and May of 2011, both studios are in Berlin. This disc is also different since it is almost exclusively improvised in the studios. The duo get to stretch out more and push each other further out at times. Mr. Moore's golden tone (often warm and always thoughtful) and Mr. Kaufmann's elegant, focused piano keep each other within a certain sympathetic compatablity. There is a balancing act of sorts going on with one member of the duo providing a center while the other harmonizes or adds odd spice. For "As eavesdroppings in a story", Mr. Moore plays his alto with a ghost-like bent-tone which makes things feel scary for a bit. I noticed that certain notes which are carefully bent have a way keeping things off-balance or unpredictable to where things will end up. Similar to a play unfolding with two characters exchanging ideas or having a dialogue that makes sense but we still don't know what the ending will bring. Quietly (at times) fascinating, nonetheless. - Bruce Lee Gallanter, DMG
ACHIM KAUFMANN & MICHAEL MOORE//HERBIE NICHOLS - Furthermore: Play Herbie Nichols (Ramboy 31 C; Netherlands) Featuring Achim Kaufmann on piano and Michael Moore on alto sax & clarinet. Pianist Achim Kaufmann and reeds player Michael Moore first recorded together with Dylan Van Der Schyff as well as playing in Achim's quartet who have a couple of discs out on the Leo and Red Toucan labels. Amsterdam-based US ex=pat, Michael Moore, has been a longtime member of the ICP Orchestra and runs this, the Ramboy label, which just released three somewhat different duo CDs with Moore and Kaufmann playing both written and improvised material in different amounts 'Furthermore' features all written music with eight songs from Herbie Nichols, one by Andrew Hill and one by Mr. Kaufmann. Along with his contemporary and friend, Thelonius Monk, Herbie Nichols was one of the most distinctive pianists and composers to emerge during the bop and post-bop era. Unlike Monk, whose songs have long remained popular and covered by a wide variety of jazz & non-jazz musicians, Herbie Nichols tributes are much harder to come by. This disc has an infectious, playful vibe that makes me feel good inside now that I am not trudging through the snow to get to the store. Mr. Moore has a luscious, warm tone and sounds consistently charming tone throughout, occasionally adding some slight bent note spice here and there. I was listening to a Gerry Mulligan/Johnny Hodges disc last night and I can hear some of that superb Hodges/Ellington magic in Mr. Moore's tone/playing. Both musicians play with a certain elegant touch which I find most enchanting. It is hard to tell that Mr. Kaufmann's "De Glazen Muur" was not written by Herbie Nichols since it has a similar sound. Even on clarinet, Mr. Moore has an exquisite, delightful tone. I really dig when the duo stretch these songs beyond their regular structure like they do on "Wildflower". Although this disc is consistently charming, I look forward to checking out the other two duo discs that we got in the same time as this one. - Bruce Lee Gallanter, DMG
TED DANIEL Featuring CHARLES TYLER/ARTHUR BLTYHE/DAVID MURRAY/OLIVER LAKE - In The Beginning (Altura 21752; USA) Recorded at the legendary loft jazz space Studio We in April and May of 1975 during the early hazy loft jazz days. The collective personnel features a stellar crew with Oliver Lake, Arthur Blythe, David Murray, Hassan Dawkins, Kappo Umezu, Daniel Carter on saxes; Ted Daniel & Ahmed Abdullah on trumpets; Richard Dunbar on French horn; Charles Stephens on trombone; Melvin Smith on guitar; Richard Pierce on bass and Steve Reid & Tatsuya Nakamura on drums & percussion. Ted Daniel is one of the more elusive figures who I recall fondly from them great loft jazz days. He grew up and is still living in Ossining, NY, where the late Sonny Sharrock also lived, the two were live long friends. I can remember only a few albums that Ted was on - Sonny's 'Black Woman', Brute Force, Sam Rivers' 'Crystals' and one or two rare solo efforts from the seventies. 'In the Beginning' consists of four pieces, each by a different composer: Ted Daniel, Oliver Lake, Arthur Blythe and Charles Tyler. Mr. Daniel's "Greeting" is first and is a powerful opener that moves in tight waves. Burning solos from Ted, Oliver Lake plus an inventive drum duo all erupt quickly. Arthur Blythe's "Illusions" has various layers of intersecting lines moving simultaneously. As David Murray blows a hot solo, the guitar (Melvin Smith) fronted rhythm team weaves intensely underneath. The epic length "Folley" by Charles Tyler also has furious layers colliding and connecting. Melvin Smith again burns below the frenetic, yet focused lines of horns. I wonder what ever happened to him? I dig the way charted fragments emerge from the tumultuous currents to great effect. Melvin Smith plays an intense, over-the-top Sonny Sharrock like solo in the mid-section. There are too many amazing solos and duos here to describe as this piece is gripping for its entire 23 minutes. Oliver Lake's "Hassan" concludes with another feisty and intense direction. Certain sections are more subdued, while other sections they get into a somewhat funky groove, yet it evolves slowly throughout. More strong solos from David Murray on top of that great groove and Umezu on bass clarinet when it turns into another freer, yet quieter section. There is a more restrained and somber section next that features some lovely flugel from Mr. Daniels. Ted Daniels is still playing as great as ever and played during the TONE Trumpet Fest last month. Good thing he left us with this long lost loft jazz treasure. - Bruce Lee Gallanter, DMG
BORBETOMAGUS - (1st) (Agaric 1980; USA) Restocked; originally released in 1995. The trio of Jim Sauter (reeds), Don Dietrich (reeds) and Donald Miller (guitar) are practically an American institution at this point. For the better part of two decades they have raised the mantle on intense improvisational sound parameters into one of the most unique sound configurations heard on planet earth. Heavy noise, deeply coiled feedback manipulation, hair-raising electronic squeal, and the ultimate in air propulsion explosiveness, all initiated by humans. Pretty much every home could use at least one Borbetomagus recording; this CD is a reissue of their debut album from 1980, with the addition of Brian Doherty on electronics. Includes a previously-unreleased track.
LP Only Section:
BC35 With MARTIN BISI / JG THIRWELL / BOB BERT / GENEVIEVE FERNWORTHY / LAURA ORTMAN / STEVE MOSES / et al - The 35th Anniversary of BC Studio (Bronson Records; USA) "With Members of Sonic Youth, Swans, White Hills, JG Thirlwell, Cop Shoot Cop, Live Skull reunion, Pop 1280, The Dresden Dolls, Alice Donut, Lubricated Goat, Sxip Shirley, Parlor Walls and many more!
BC35 refers to the weekend of performances and resulting album making the 35 year anniversary of BC Studio in Gowanus, Brooklyn. Musicians were invited to participate by Martin Bisi, and were assembled by Genevieve Fernworthy into improv ensembles – in the instances where no group had already self-organized – with particular attention to production logistics, and respect for sonic-dynamic possibility. There were also some long-awaited reunions.
Recorded with a live audience comprised of sound pioneers, social deviants, and studio fans, these tracks were mixed and edited with care over several month by Martin Bisi and by veterans of the studio throughout the decades."
I listened to a few of these tracks and was most impressed. Especially a cut by New Old Skull which includes members of Live Skull, one of my favorite early eighties NY post-punk/HC/Noise ever! Check out the video here: bronsonrecordings.com/2018/04/13/bc35-official-website/. I remain a longtime fan of Martin Bisi, one of the best producer/engineer/studio pioneers who has worked with hundreds of worthy New York/Downtown bands for more than three decades. - BLG/DMG
Check out this review from Pitchfork: https://pitchfork.com/reviews/albums/various-artists-bc35-the-35-year-anniversary-of-bc-studio/
LP $21 [LTD Edition of 350]
CHARLEMAGNE PALESTINE - Aa Sschmmettrroossppecctivve (AudioMer 020; Belgium)
Composer, musician, visual artist, and performer, Charlemagne Palestine is a legendary figure in the New York underground scene. At the piano or on his electronic oscillators, this outsider of skillful music experiments with the principles of resonance and repetition in a quest for the "golden sound": the ultimate harmonic vibration. Based in Brussels for 20 years now, his iconic work consisting of teddy bears, divinities, and other enchanting encounters is exhibited in BOZAR (AA SSCHMMETTRROOSSPPECCTIVVE, May 18-August 26, 2018). For the occasion, Charlemagne Palestine also presents two exceptional musical performances at the Kunstenfestivaldesarts. Published on the occasion of Charlemagne's AA-SSCHMMETTRROOSSPPECCTIVVE exhibition, audioMER. present historical piano recordings dating from circa 1974. They were played on a Bösendorfer model 220, regarded as the "Rolls Royce" of pianos, at Charlemagne's 64 North Moore Street studio, Tribeca in New York. The music here represents Charlemagne's infamous "strumming" technique.
Charlemagne Palestine was born Chaim Moshe Palestine in Brooklyn, New York of a Jewish immigrant family from Odessa and Minsk in 1947. At six years old he started to sing traditional Jewish cantorial music in the synagogue. At the New York University, he began composing electronic music at the NYU Electronic Music Studio run by Morton Subotnick where he worked with electronic synthesizer oscillators and filters which he would name "Spectral Continuum". Later Subotnick invited him in 1969 to relocate to Los Angeles and participate in the creation of a new radical school for multimedia, arts, music, dance, and theater known as the California Institute of the Arts. There he met happening artist inventor Allan Kaprow, video pioneer Nam June Paik, avant-garde composer James Tenney, fluxus artists Emmett Williams, Dick Higgins, Alison Knowles, and Judson Dance Theatre member and artist Simone Forti with whom Palestine created a unique music and dance form called "Illuminations" in 1970, which they have continued to perform irregularly over the last 45 years even just recently at Centre Pompidou, Paris and MoMA, New York. At Cal Arts he developed many different practices: electronic and acoustic sound works, body performance art, video art and multimedia installations. With Forti he was invited for the first time to Europe to perform in a festival in Rome in 1972 where he met La Monte Young, Philip Glass, Steve Reich, and Terry Riley. With his revolutionary solo piano work Strumming Music (1974), he was included in the new musical trend known as minimal music.
ALVIN LUCIER - Criss-Cross / Hanover (Black Truffle 033; Australia) “Black Truffle present the premier recordings of two recent works by legendary American experimental composer Alvin Lucier. Lucier has been crafting elegant explorations of the behavior of sound in physical space since the 1960s and is perhaps best known for his 1970 piece I Am Sitting In a Room (LCD 1013CD). He has written a remarkable catalog of instrumental works that focus on phenomena produced by the interference between closely tuned pitches, often using pure electronic tones produced by oscillators in combination with single instruments. Demonstrating the restless creative drive of an artist now in his 80s, the two recent works presented here both feature the electric guitar, an instrument Lucier has just recently begun to explore. In "Criss-Cross", Lucier's first composition for electric guitars, two guitarists using e-bows sweep slowly up and down a single semitone, beginning at opposite ends of the pitch range. The piece exemplifyies Lucier's desire not to "compose" in the conventional sense, but rather to eliminate everything that "distracts from the acoustical unfolding of the idea". In this immaculately controlled performance of "Criss-Cross" by Oren Ambarchi and Stephen O'Malley, for whom the piece was written in 2013, a seemingly simple idea creates a rich array of sonic effects -- not simply beating patterns, which gradually slow down as the two tones reach unison and accelerate as they move further apart, but also the remarkable phenomenon of sound waves spinning in elliptical patterns through space between the two guitar amps. In the comparatively lush "Hanover", Lucier draws inspiration from the photograph on the cover, an image of the Dartmouth Jazz Band taken in 1918 featuring Lucier's father on violin. Using the instrumentation present in the photograph, Lucier creates an unearthly sound world of sliding tones from violin, alto and tenor saxophones, piano, vibraphone (bowed), and three electric guitars (which take the place of the banjos present in the photograph). Waves of slow glissandi create thick, complex beating patterns, gently punctuated by repeated single notes from the piano. The result is a piece that is simultaneously both unperturbably calm and constantly in motion. LP design by Stephen O'Malley; Includes inner sleeve with a portrait of Alvin Lucier by Kris Serafin. "Criss-Cross" recorded at Studios Ina GRM, Paris by Francois Bonnet and mixed by Alvin Lucier. "Hanover" recorded in Zurich and mixed by Alvin Lucier. Mastered and cut by Rashad Becker at Dubplates & Mastering, Berlin.”
BERNARD BASCHET & MICHEL DENEUVE - 4 Espaces Sonores (Transversales Disques 004; France) Transversales Disques present a reissue of Bernard Baschet and Michel Deneuve's 4 Espaces Sonores, originally released in 1982. Rare 1979 recording of Bernard Baschet performing on his Sound Sculptures. The Baschet brothers are known worldwide as creators of Sound Sculptures, fantastic shapes of molded metal and glass, which combine the visual arts with music. François Baschet had always been fascinated by acoustics, by the relationships between the shape and material of an instrument and the beauty of its sound. Bernard Baschet was passionately interested in contemporary music and firmly believed that such instruments were the proper tools for modern music, for they offered, to the artist and performer, a personal means of expression denied by electronic devices. Together the brothers began to design and produce Sound Sculptures, which could also be regarded as musical instruments. Circa 1965, Bernard worked alongside Pierre Schaeffer as a member of the GRM (Musical Research Group) on the elaboration of what was to become Schaeffer's Traité des objets musicaux ("Treatise on Musical Objects"). The Baschet brothers also created structures and instruments of all sizes, including bell towers, windmills, and fountains, using the natural elements of wind and water to make music. Bernard Baschet was especially proud of his pedagogical work amongst deprived and handicapped children, with the instrumentaium made up of fourteen pieces. Double-LP comes in gatefold sleeve.
2 LP Set $35
OREN AMBARCHI/KASSEL JAEGER/JAMES RUSHFORD - Face Time (Black Truffle 038; Australia) “‘Face Time is the second release from the trio of Oren Ambarchi, Kassel Jaeger, and James Rushford, following on from their 2016 debut Pale Calling (BT 020LP). Recorded at the GRM studios in Paris in June 2017, the record immediately returns to the idiosyncratic sound-world of the trio's first release, a simmering stew of electronic smears, pitched-down animal moans, and mysteriously emotive microtonal organ chords. But before long the record takes an unexpected turn, as sounds that initially enter as occasional percussive pitter-patter build to a halting rhythm. Equally reminiscent of Basic Channel-style dub techno and the sound of a microphone loose in a pocket, these stumbling rhythmic figures provide the framework for the remainder of the record's two sides, occasionally receding into the background to allow squelching electronics, chiming bells, distorted autoharp, inchoate grunts, and the sound of a Cristal Baschet to take center stage, but each time returning with the inevitability of an idée fixe. Eschewing any clear sense of form, the two side-long pieces move seamlessly through episodes with the organic flow of improvisation, embracing the happy accidents of events conjoined by chance and lingering on liminal moments. Gradually washing out into a cavernous roar, the record's final moments are suddenly enlivened by shimmering metallic percussion and a sequence of woozy synth chords, combining with the muted rhythms and a distant thunderstorm to become a sort of oneiric tribute to the work of Wally Badarou. Bringing together three of contemporary experimental music's most individual voices, Face Time is an essential slice of outsider electro-acoustics. Cover design by Stephen O'Malley. Mastered and cut by Rashad Becker at Dubplates & Mastering, Berlin. Comes on neon orange vinyl.
Bruce Lee Gallanter’s Recommended Gig List for May of 2018:
THE STONE RESIDENCIES - JAD ATOUI - JUNE 5–9
8:30 pm - STONE IMPROV NIGHT—A STONE BENEFIT - Jad Atoui (electronics) John Zorn (sax) Simon Hanes (bass) Jeremiah Cymerman (clarinet) Sam Kulik (trombone) Chuck Bettis (electronics) Joanna Mattrey (viola) Aaron Rubinstein
8:30 pm - Biosonics - Jad Atoui (electronics) Ivan Marazzi (scientist, plants) Joanna Mattrey (viola) Lester St. Louis (cello) Frank Meadows (bass) Curtis Sydnor (piano)
THE STONE RESIDENCIES / JAMES ILGENFRITZ / JUNE 12–16
8:30 pm - James Ilgenfritz (bass) Emilie-Anne Gendron (violin) Alex Shiozaki (violin) Stephanie Griffin (viola) Michael Haas (cello) M Lamar (voice, piano)
8:30 pm - James Ilgenfritz & The Anagram Ensemble - Kathy Supove (piano) Jenny Choi (violin) James Moore (guitar) Nick DeMaison (conductor) Margaret Lancaster (flute) Vasko Dukovsky (bass clarinet) Thomas Verchot (trumpet) Sam Kulik (bass trombone) Chris Nappi (percussion) Tamika Gorski (percussion) Jennifer Choi (violin) Stephanie Griffin (viola) John Popham (cello) James Ilgenfritz, Carl Testa, Hilliard Greene, Frank Meadows (contrabasses)
8:30 pm - James Ilgenfritz Solo & Trio - Brian Chase (drums) Robbie Lee (baroque flutes, recorders) James Ilgenfritz (bass)
8:30 pm - Hypercolor & New Thread Quartet - Lukas Ligeti (drums) James Ilgenfritz (electric bass) Eyal Maoz (guitar) Geoffrey Landman, Kristen McKeon, Erin Rogers, Zach Herchen (saxes)
8:30 pm - James Ilgenfritz Solo & New Quartet - Thomas Heberer (trumpet) Sara Schoenbeck (bassoon) Andrew Drury (drums) James Ilgenfritz (bass)
THE (NEW) STONE is located in The New School’s Glass Box Theatre
55 West 13th street - near 6th ave
All Sets at The New Stone start at 8:30pm Tickets: $20
There are no refreshments or merchandise at The Stone.
Only music. All ages are welcome.
Cash Only at the door. There is no phone.
There is no food or beverage served or allowed
just a serious listening environment.
The Stone is booked purely on a curatorial basis
The CORNELIA STREET CAFE - 212-989-9319
29 Cornelia St in the heart of the West Greenwich Village, NYC
Friday Jun 08
8:35PM JOCHEN RUECKERT QUARTET - Melissa Aldana, tenor sax; Lage Lund, guitar; Matt Penman, bass; Jochen Rueckert, drums
Saturday Jun 09
8:35PM DAN WEISS TRIO - Dan Weiss, drums; Jacob Sacks, piano; Chris Tordini,
Sunday Jun 10
6:00PM THE UKULADIES - Katie Down (aka Genevieve), banjo uke, tenor uke, flute, toy piano, penny whistle, voice ; Mary Myers (Aunt Mary Louise), baritone uke, uke, voice; Philippa Thompson (Jimmy Lu), uke, fiddle, harmonica, saw, voice; Heather Warfel (Cousin Bunnie), tap dancing, antics
8:01PM DJANGO AT CORNELIA STREET: BRAD BROSE - Brad Brose, guitar; Josh Kaye, guitar; Adrien Chevalier, violin
Tues June 12th:
8:00PM RAJIV JAYAWEERA QUINTET - Rajiv Jayaweera, drums, comp.; Dayna Stephens, saxes; Can Olgun, piano; Hugh Stuckey, guitar; Massimo Biolcati,
9:30PM PATRICK CORNELIUS QUARTET - Patrick Cornelius, alto sax; Fabian Almazan, piano; Rick Rosato, bass; Clarence Penn, drums
Wed June 13th
6:00PM AZAT BAYAZITOV CONNECTION QUARTET
Azat Bayazitov, saxophone; Ryan Slatko, piano; Boris Kozlov, bass; Samvel Sarkisyan, drums
8:01PM MICHAEL FEINBERG QUINTET - Godwin Louis, alto sax; Noah Preminger, tenor sax; Davis Whitfield, piano; Michael Feinberg, bass; Ian Froman, drums
Thursday Jun 14
8:01PM OR BAREKET QUARTET - Camila Meza, guitar; Eden Ladin, percussion; Or Bareket, bass; Kush Abadey, drums Or Bareket quartet image
Friday Jun 15
8:35PM IGOR LUMPERT & INNERTEXTURES - Igor Lumpert, tenor sax; Roman Filiu, alto sax; Chris Tordini, bass; Kenny Grohowski, drums
Saturday Jun 16
8:35PM ARI HOENIG TRIO - Eden Ladin, piano; Or Bareket, bass; Ari Hoenig, drums
Sunday Jun 17
8:01PM NEW BRAZILIAN PERSPECTIVES: LIVIO ALMEIDA GROUP - Livio Almeida, tenor sax, flute, sop. sax; Delaney Stockli, violin; Mario Forte, violin; Michael O'Brien, bass; Sergio Krakowski, pandeiro
Friday, June 8th 7:00 PM $15 Suggested Donation
7pm: Beyond Group
Cheryl Pyle – C flute, alto flute
Michael Eaton – soprano saxophone
Roberta Piket – piano
Hilliard Greene – bass
8:15pm: 8 Bit Aesthetic
Sean Sonderegger – bari sax
Michael Eaton – tenor sax
Shawn Lovato – bass
Joe Hertenstein – drums
9:30pm: Brad Whiteley/Michael Eaton Duo
Brad Whiteley – piano
Michael Eaton – tenor and soprano saxes
Friday, June 15th 8:00 PM
Ben Perowsky Trio
Ben Perowsky – Drums
Sylvie Courvousier – Piano
Hank Roberts – Cello
Friday, July 20th 8:30 PM
Luca Soul Trio
Elias Stemeseder – piano
Billy Mintz – drums
Luca Soul – bass & compositions
I-Beam is located at 168 7th Street in Brooklyn, NY 11215 - Directions: SUBWAY: Take the F or R trains to 4th Ave & 9th Street. Walk down 4th ave to 7th street. Make a left on 7th and walk past 3rd ave. We are located on the ground floor, the grey doors to the right of the stairs of #168.
ROULETTE Special Events:
Sunday, June 17, 2018 @ 8:00 pm
Amirtha Kidambi: Lines of Light
Lines of Light - Vocal Ensemble with:
Jean Carla Rodea
Amirtha Kidambi/Lea Bertucci Duo
Amirtha Kidambi – Voice
Lea Bertucci – Analog Electronics
Monday, June 18, 2018 @ 8:00 pm
Samuel Blaser Trio: Taktlos
Samuel Blaser – Trombone
Marc Ducret – Guitar
Peter Bruun – Drums
Sunday, June 24, 2018 @ 8:00 pm
Jonathan Finlayson - Composer
Andre Solomon Glover – Baritone
Jonathan Finlayson – Trumpet
David Bryant – Piano
Chris Tordini – Acoustic Bass
Craig Weinrib – Drums and Percussion
ROULETTE is at 509 Atlantic Ave
509 Atlantic Ave, Brooklyn, NY 11217
SUBWAY lines: 2, 3, 4, 5, D, M, N, R, B & Q and the LIRR arrive at Atlantic Avenue-Barclay’s Center; G train to Fulton Street. A, C, Trains to Hoyt-Schermehorn
Downstairs @ Bushwick Public House
1288 Myrtle Avenue , Bushwick
(Across the street from M train Central Ave stop)
Monday June 11th
7pm Stan Zenkoff - saxophones/clarinets
Zach Swanson - bass
Aaron Novik- bass clarinet
Guillermo Gregorio - clarinet
8pm Stephen Gauci - tenor saxophone
Sandy Ewen - guitar/electronics
Adam Lane - bass
9pm surprise guest "N" - guitar
Jon Irabagon - saxophones
Joe Hertenstein - drums
9:30pm Thomas Heberer - trumpet
Yoni Kretzmer - tenor saxophone
Ken Filiano - bass
10:30pm Sam Weinberg - tenor saxophone
Henry Fraser - bass
Mike Pride - drums
11:15pm Jonah Udall - guitar
Brian Krock - bass clarinet
Jake Shandling - drums