Sunday, May 1, 2022

Cuneiform Records MAY 2022 Newsletter


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MAY 2022 Newsletter:
New Releases & Concerts

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Ambient music with electric & acoustic basses, electronics & percussion, recorded live at Chicago's Experimental Sound Studio
Live recordings from 1987 of  Curlew - renowned as THE best live band on the Downtown NY/Knitting Factory scene – from CBGB's soundboard
Live Curlew recordings from 1997&1998 at the long-gone Phantasmagoria in metro DC and at WFMU
Drummer/composer Dave Kerman's  new album of compositionally & lyrically intense, avant progressive/ rock-in-opposition-style  music 
13 piece French / Indonesian  gamelan / guitar ensemble, led by Guigou Chenevier  

Video & audio recordings (2 CDs+DVD) from the Soft Machine quintet's
1970 Facelift tour of France and Holland; electric jazz/rock at its volcanic origins 


Progrock ascends to lyrical perfection and compositional precision via Minneapolis' band Bubblemath. A meme series announcing their release culminates with a video classic
• Explore Cuneiform Records'  SOCIAL MEDIA;  BANDCAMP PAGEYouTube Channel
• Purchase music from100s of labels at WAYSIDE MUSICour sister store estab.1980
• Missed seeing a Cuneiform Newsletter? Access prior issues at 
Find a broken or incorrect link or etc in this eblast? Tell us & we'll fix it!


MAY 27, 2022






Bio information: Curlew
Title: CBGS's NY, 1987
Format: Digital
Label: Cuneiform Records
Cat. #: Cuneiform Rune 3362
Release Date: May 27, 2022

listen/share on Soundcloud: "RAY" from CURLEW's CBGBS, NYC, 1987

George Cartwright - saxes
Tom Cora - cello
Davey Williams - guitar
Ann Rupel - bass
Pippin Barnett - drums
Recorded live off the board on October 15, 1987 at CBGB's, New York City, New York. 

Mastering and cleanup by Ian Beabout, ShedSounds Media.

"This was probably recorded less than 3 months after I saw Curlew for the first time, just after we (Cuneiform Records) released Live In Berlin. I love this show because it brings back some of the awe of what they were doing at that time. All you need to do is listen to the first song, "Ray" (their opener for years) and the incredible solos (and the incredible whooping from the audience at said solos) and YOU TOO will know."
– Steve Feigenbaum, Cuneiform Records


"I had done the math, ok but I thought I should check my figures. I consulted my pal Rick Brown (of 75 Dollar bill, Two Mule Team, Big Feet, and more) and asked him how many gigs were done at CBGB’s in any given week. 
Rick said: “When I was first going there in late '75 it'd be two bands a night, alternating sets. So I guess 20 to 30 sets a week. As things got crazier they'd have 5, 6, or 7 bands a night so more like 45 or more sets.”

With sound checks it adds up to a figure of 90. If a set was one hour and a soundcheck (good lord) could be, let’s say one hour then that’s 90 hours in a week. Plus all the whatever others that took place divided by 24 equals nearly four days. Total days. Four total days out of a week.

God bless Hilly Krystal

At one of the first Curlew gigs there Rick and Sue Garner were standing at the left. As I walked up to get on the stage Rick looked at me, smiled, no no, he grinned looked at me, and said these fateful words: “Have fun.” 

Curlew gigs there were always packed, with Tom Cora inventing the truly modern cello,  Ann Rupel hurling the bass like never before, Pippin Barnett drumming from one of the more esoteric surrealist places, Davey Williams inventing the guitar again and again, and I played sax, hung around on stage and hoped for the best.

...and for those following along:

RAY: Named after author Barry Hannah's book "Ray" and coincidentally later is the name of my son Ray.

KISSING GOODBYE: Came to me as a slightly sad winter day.

TO THE SUMMER IN OUR HEARTS: Yeah, down there on the left or right, depending on your angle of view...

BARKING: Like dogs or as in ‘…mad’

MOONLAKE: Named after the actual lake which is a 2,300 acre oxbow lake located outside the mainline Mississippi River levee about 15 miles north of Clarksdale, MS, and close to Lula, Rich, Birdie, Darling, Rudyard, Belen, Clover hill, STOVALL (Muddy Waters' 'Down on Stovell's Plantation) and Bobo

ONE FRIED EGG: The title refers to to Davey’s ground breaking, startling and shocking book: ”Which Came First: The Fried Chicken or The Fried Egg? Now The Story Can be Told.”

THE HARDWOOD: I wanted to choose a wood and couldn’t decide.

OKLAHOMA: Refers to an unpleasant football drill we did in High School.

AGITAR / THE VICTIM: Agitar is Spanish for the verb Shake while the The Victim is named for the countable and uncountable ones. Co-written with Rick Brown (see before )and guitarist and composer Mark Howell.

LIGHT SENTENCE: Tom’s beautiful piece with a nice, slightly mysterious name.

MINK'S DREAM: Refers to the Mink Snopes character in William Faulkner’s Trilogy: startling "The Hamlet" "The Town" and "The Mansion"

FIRST BITE: Another of Tom's pithy titles.

SHOATS: Young little pigs, especially ones newly weaned.
George Cartwright, Curlew

pre-order Curlew's CBGB's, NYC, 1987 on Bandcamp:

"True story!  ...... 
....the record [Live in Berlin] came out and I came up to see the band play at the then rather new and at that point not-yet-iconic Knitting Factory in the lower East side of Manhattan. ....

3rd or 4th song into the set. The Hardwood. Tom has finished his solo and Ann is doing the low zooooop stuff with Pippin and George and Davey before George takes the tenor solo. And she is shaking her head (watch any video of her playing) and playing REALLY low and everything and everyone is COOKING! ...

A light bulb suddenly blows up and I SUDDENLY and TOTALLY GET IT! I GET EVERYTHING about this band, and I find myself yelling and cheering!

And I remember thinking, "Jesus fucking Christ - somehow you backed into signing the best fucking live band in the country".
Steve Feigenbaum, Cuneiform Records 
[read in its entirety, Steve's story about how Cuneiform Records decided to sign Curlew and his 1st time seeing the band perform live:]



Bio information: Curlew
Title: Live at Phantasmagoria and WFMU
Format: Digital
Label: Cuneiform Records
Cat. #: Cuneiform Rune 3363
Release Date: May 27, 2022
listen/share on Soundcloud: "AUTUMN" from CURLEW'S LIVE AT PHANTASMAGORIA AND WFMU

George Cartwright - saxophones 
Davey Williams - guitar 
Chris Cochrane - guitar 
Ann Rupel - bass 
Kenny Wollesen - drums 

1-11 : Recorded off the board March 7, 1998 at Phantasmagoria, Wheaton, MD
13-20 : Recorded for live radio broadcast June 22, 1997 at WFMU, East Orange, NJ

Mastering and cleanup by Ian Beabout, ShedSounds Media.

"The Phantasmagoria show was part of a small (4 dates, if I remember correctly) East Coast tour to promote Fabulous Drop, released Jan. 1998 on Cuneiform Records. I booked the DC area show; Phantasmagoria was a rock club outside Washington DC in Wheaton that's now long-gone, run by Bobby Rencher, and the band stayed with my wife and I at our home in downtown Silver Spring. The WFMU show was recorded while the NY band was rehearsing / recording the album."
Steve Feigenbaum, Cuneiform Records

pre-order Curlew's Live at Phantasmagoria and WFMU on Bandcamp:  
"It could be cold in Maryland in the winter and so it was in Wheaton and at the Curlew Phantasmagoria show organized by Steve Feigenbaum of Cuneiform Records and put on by Bobby Rencher, owner of Phantas and former owner of Joe's Record Paradise Too. Former employee of Joes, Steve had been tasked to practice selling records. Make of that what you will you will..."
George Cartwright, Curlew
Bio information: Dave Kerman / 5uu'S
Title: The Quet In Your Bones
Format: Digital
Label: Cuneiform Records
Cat. #: Cuneiform Rune 3361
Release Date: May 27, 2022

listen/share on Soundcloud: "ROUTINE" from DAVID KERMAN's The Quiet in Your Bones

"In November 2015, I decided to get back into writing music, after a 12 year break, to make this demo. It took 8 months of full-time work, between December 2015 and July 2016, to compose & record. Then a 7- month break, during which I was the musical director for a project with Theatre Basel.  February thru December of 2017 was again full-time work, rearranging much of it, replacing most of the original midi instruments with real ones, editing out parts that felt “compromising”, and fine-tuning the whole shebang, as best I could. 

I initially worked in the kitchen, recording instruments onto a laptop with an old condenser microphone: my Stratocaster thru a little Pignose amp, two nylon and 1 steel string acoustic guitars, Harmonium, bass guitar, a mini keyboard controller, and anything around the house that would make noise. Usually, the microphone couldn’t generate enough signal, so I beefed it up with a tiny iPod amp. After the aforementioned break, most of the work commenced from the bedroom. I fell asleep with these songs, and I woke up to them. 

The drums were recorded in a local band’s rehearsal room, except for a couple of instances, which were done in Les Reines Prochaines’ cabin. 

The Harmonium was made in Stuttgart in 1846, kept in immaculate shape, and still adhering to the original tuning parameters (Diapason Normal, A435hz, seven decades before Germany was forced to adhere to A440 Standard, as part of the Treaty of Versailles).  As a result, it is a bit creepily out-of-tune with the other instruments. I could have electronically tuned it, but where’s the charm in that? 

Though many parts of this recording used looping and cut & paste, most of it was played in real-time. 

One thing I had in mind was that each song should display a sense of theatrics; the lyrics were written in the first person, to hopefully portray a kind of actor’s soliloquy. So, apart from a couple of instances, the singing is that of a lone voice, without any kind of accompanying harmonies."
– Dave Kerman

Pre-Order Dave Kerman/ 5uu's The Quiet in Your Bones on Bandcamp:

Dave Kerman: words and music, instruments 
Michele Fuchs: vocals, trumpet, euphonium 
Liesbeth Lambrecht: violas on 2 
Bill Gilonis: twangy guitar and bass clarinet on 4 
Dave Willey: organ solo on 5 
Keith Macksoud: bass on 9 
Joel Trieger: intro guitar on 9 

Mostly recorded at home in Basel, Switzerland, 2016 - 2020.
Stereo drums recorded by Luc Wiesner at the Ai Ca Gicle rehearsal room, in Basel.
Guest artists recorded at their own abodes.
Mastered by Bob Drake at Studio Midi-Pyrénées, Caudeval, France.


Bio information: Nick Macri & Mono No Aware
Label: Cuneiform Records
Catalog #: Cuneiform Rune 3364
Format: Digital
Release Date: May  27, 2022
listen/share on Soundcloud: "Without Jumping Out of your Skin" from

Nick Macri - electric and acoustic basses, electronics, percussion
Bassist Nick Macri has been exploring Chicago’s slipstream of creative music for decades from collaborative, creative groups and ad hoc improvised pairings, to notable sideman gigs, and the rare solo excursion. He is a founding member of the collective trio Stirrup with Fred Lonberg-Holm and Charles Rumback and is/was a contributing member to many, varied groups including Ken Vandermark’s Audio One, Momentum 3, and Momentum 5 groups, instrumental explorers Euphone and Heroic Doses, art-pop quartet The Zincs, and the pastoral, psych-folk of The Horse's Ha (with Janet Bean and James Elkington). He has performed and toured as a sideman and recorded sessions with an eclectic list of artists including Laetitia Sadier of Stereolab, The Sea and Cake, Daughter of Swords, Nina Nastasia, Azita, James Elkington & Nathan Salsburg, Joan Shelley, Wanees Zarour, Hector Zazou of ZNR, and visual artist Bruce Licher of Savage Republic. Additionally, he has improvised in duo or group settings with various musicians including Angel Bat Dawid, Bill MacKay, Eve Risser, Isaiah Collier, Avreeayl Ra, Sylvaine Hélary, Tim Daisy, and many more. He has performed across Europe, Asia, South America, and North America including concerts at Saalfelden Jazz Festival (Austria), Festival de Musique Actuelle Victoriaville (Canada), Reading Festival and Leeds Festival (U.K.), World Music Festival Chicago, All Tomorrow's Parties (U.K.), the London Institute of Contemporary Arts, the Museum of Contemporary Art, the Logan Center, and the Pritzker Pavilion (Chicago).

About Amache:

"My natural state as a musician has always been one of collaboration. Whether creatively conspiring with other players in a rehearsal room or on a recording session, side-mousing it (to borrow a phrase from Mike Watt) on a tour, or building something from the ground up with some long-standing comrades, I am most comfortable making noise with others. So, the opportunity to perform a solo, improvised set before a studio audience at Experimental Sound Studio was intimidating, exhilarating, and a challenge I knew I had to accept. So, thank you to Tim Daisy, Ken Vandermark, and Andrew Clinkman for the chance to be alone with my thoughts to see what came to mind and to E.S.S. for documenting it. 

Amache is dedicated to The Chicago Resettlers, the tens of thousands of Japanese American citizens who reestablished their lives and communities in Chicago after being incarcerated by the United States in the internment camps of World War II." 
                                               – Nick Macri


All music performed by Nick Macri. Recorded live in front of a studio audience at Experimental Sound Studio in Chicago on September 30, 2019 by Alex Inglizian as part of the Option Series curated Tim Daisy, Ken Vandermark, and Andrew Clinkman.

Mixed by John McEntire @ Soma Studios
Mastered by Matthew J. Barnhart

Painting by Lisa Tomiko Macri
Design by Brian Case

With gratitude to Tim, Ken, Andrew, the Staff at E.S.S., Fred Lonberg-Holm, Charles Rumback, Steve Feigenbaum, Brian Case, Andrew Skwish and Lisa Tomiko Macri.


APRIL 29, 2022





Bio information: BALUNGAN
Title: KUDU BISA KUDU (Cuneiform Rune 484)
Format: CD  / DIGITAL
Label: Cuneiform Records
Release Date: April 29, 2022
listen/share on Soundcloud: "Kangen" from Balungan's Kudu Bisa Kudu

The French / Indonesian band

New Musical Ground with
Gamelan and Guitars

By the end of 2022, Indonesia will see the completion of its first high-speed rail line, an 88-mile-long section linking the nation’s longtime capital, Jakarta, to Java’s second largest city, Bandung.
According to the globe-trotting musicians of Balungan, however, the train à grande vitesse is already at the station. The 13-member band kicks off its debut, Kudu Bisa Kudu, with the nostalgic steam whistle and intentionally garbled boarding call of “Javanese TGV”, but as soon as Franck Testut’s driving bassline gears ups, it’s clear that we’re riding a 21st-century conveyance. Gang vocals, hairpin-curve guitars, and accelerating arpeggios played on tuned percussion also announce that this is a multicultural journey—and in fact the group is made up of seven of Java’s most open-minded gamelan virtuosos, plus six equally adventurous rock musicians from the south of France.
Gamelan—Indonesia’s national music, based on intricately subdivided polyrhythms and played on shining, lavishly decorated bronze metallophones—has been an influence on European and North American musicians for more than a century, arguably beginning with the 1889 Paris Exposition Universelle in Paris. There, French composers including Maurice Ravel and Claude Debussy first heard a Javanese gamelan ensemble, and immediately reconsidered their notions of what music could be—and the repercussions, so to speak, are still being felt. Artists as diverse as jazz traveller Don Cherry, pioneering minimalist Lou Harrison, and the progressive rock groups Gong and King Crimson have incorporated gamelan-like rhythms into their sound, and while the influence of European music on Indonesia has been less widely celebrated, it’s there: think of the guitarist Dewa Budjana, whom sometimes works Balinese motifs into his blazing fusion jazz.
But there’s never been a gamelan-based cultural exchange as equitable as Balungan, named after the Javanese word for “skeleton”, which is also used to describe the core melody of a musical composition. Nor has there been one as loud. The Javanese members of the band attack their gendèrs, gongs, and bonangs “like a rock ensemble,” says drummer and project sparkplug Guigou Chenevier, “and this was really great to see and to share with them.”
The Balungan project began when Chenevier — a legend in progressive-rock circles for his work with Etron Fou Leloublan, Fred Frith, and others — initially answered a call for a gamelan workshop in Marseilles. The hook was the opportunity to work with a cadre of Javanese instructors, followed by a visit to their home in Yogyakarta, the musical capital of central Java. The Avignon resident recalls that when he learned “the workshop involved making music with these people eight hours a day for 15 days" and that travel costs were covered, he said “Wow, I want to do that!’”
Following that first excursion, Chenevier invited his Javanese friends to his home town, and things grew from there. “They explained to me that they wanted to exchange their culture with something new, because they felt that if they didn’t do that Javanese music and gamelan music would just die,” the drummer notes. “So I said “Wow! Okay, let’s do something together.’ In total, we had three different times in Java and they came three different times in France, and that’s how it started.”
Once the members of the band were in place, aesthetic parameters were quickly established. Balungan wasn’t going to be about rock musicians playing gamelan, or vice versa: one singular feature of the live concert immortalized on Kudu Bisa Kudu is that every musician has written a piece, with the arrangements developed collectively. Chenevier, for example, contributes “The Guy I Am”, which frames a text from the great Hindu epic, the Ramayana, in clanging metallophones, Beefheartesque slide guitars, and clattering drums that gradually build to an ecstatically psychedelic climax. Sapto Raharjo’s “Kangen”, in contrast, opens in an almost traditional manner, but soon veers towards something that recalls pop metal, with power-chord guitars, anthemic singing, and a surging rock chorus.
What’s most impressive about Kudu Bisa Kudu, perhaps, is that the ensemble manages to be both coherent and diverse, even in the live setting. Despite its size and schizophonic nature, Balungan sounds like a band, in part because the performers, recognizing that their time together would be limited, honoured their commitment to rehearsing eight hours a day, every day. But Chenevier also points out that he and his fellow French musicians were inspired by their Javanese colleagues’ inclusive and boundary-free attitude towards art and life.
“In Javanese culture one thing that’s very important is the spiritual aspect, but not in the sense of strict religion,” he says. “For example, lot of people in Central Java, they can be at the same time Muslim and Buddhist. It’s no problem for them. And of course this way of seeing the world is very important in the way they make music and art and all that.
“When you are a musician playing gamelan in Java, you learn everything at first,” he continues. “You learn music, of course, but you also learn dance, you learn poetry, you learn puppets… all that goes into the full show of the shadow theatre. And only then do you choose a speciality. So it was very interesting working with these people, because they are very big fans of the stage, of theatre, and they know how to add often very funny stuff on-stage. So it was very alive; each performance we did was a surprise.”
Chenevier is still contemplating how his work with his Javanese counterparts will change how he approaches music in future, although he notes that it certainly reinforces his desire to operate in a collaborative way—as he has already done on his solo albums Le Batteur Est Le Meilleur Ami Du Musicien (InPolySons), an early exercise in file-sharing with musicians from all over the world, and Les Rumeurs De La Ville (Cuneiform Records), which includes performances from amateur musicians from Avignon as well as a number of virtuosi. But Balungan’s most important lesson, he offers, has to do with the “why” of making music.
“On different occasions journalists would ask us why we were doing this project,” he says. “And generally the Javanese people, they were answering in a way that a French guy never would, which was that it was just about fraternité. That was very beautiful and very simple, and at least as important as the rest of the project: the human exchange, the way they welcomed us when we were there, and also the incredible places where we played some concerts in Java. They were just amazing. I never could have imagined such a thing before.”
Will he imagine such a thing again? That remains to be seen, Chenevier admits. Between the COVID-19 pandemic, hardening racial attitudes in France, and the perils of the global economy, it seems unlikely that Balungan will have a second act—although his memories of this beautiful project and the circumstances that shaped it will remain. Even now, he says, he still dreams of all-day rehearsals in the heat and humidity of Central Java, the cooling rains that would come every night, and the hair-raising scooter rides home afterwards.
“It’s a strong memory,” he says, “a very deep impression that will stay inside me forever.” And listeners may well feel the same once they hear this music.

Guigou Chenevier – drums
Loïc Guénin – keyboards
Laurent Frick – vocals
Gilles Laval – guitare
Laurent Luci – guitare
Franck Testut – bass
Setyanto Prajoko – gamelan
Sudaryanto – gamelan
Tri Widiantoro – gamelan
Setyaji Dewanto – gamelan
Sutikno – gamelan
Bagus Ariyanto Seputro Nasution – gamelan
Desyana Wulani Putri – gamelan

click to pre-order on Bandcamp:


MARCH 25, 2022





Bio information: SOFT MACHINE
Format: 2 CDs  + DVD / DIGITAL
Catalog #s: Cuneiform Rune 495/496/497
Label: Cuneiform Records
Release Date: March 25, 2022
listen/share on Soundcloud: "Out - Bloody - Rageous" from Soft Machine's Facelift France and Holland

From their beginnings as a psychedelic rock band in 1966,
sharing stages with Pink Floyd and
the Jimi Hendrix Experience,
to being one of the

originators of electric jazz/rock by early 1969,

were restlessly creative.
Facelift France and Holland captures them

at a pivotal moment in the first quarter of 1970
as a short-lived quintet,

just before they recorded and released their breakthrough album Third.

Elton Dean :  Alto sax, saxello
Lyn Dobson : Soprano and tenor sax, flute, harmonica, vocals
Hugh Hopper : Bass
Mike Ratledge : Hohner Pianet, Lowrey Holiday Deluxe organ
Robert Wyatt : Drums, vocals
As broadcast on the French TV programme Pop 2, the film of Soft Machine’s concert at Paris’ Théâtre de la Musique, which constitutes the main course of the present release, stands as an exceptional document of the band at, arguably, its artistic peak. It is also the only video footage known to exist of the quintet line-up that was active from January to March 1970, and contains the only professionally-recorded performance of “Out-Bloody-Rageous” with Lyn Dobson on second sax, as well as the only professionally-recorded alternative performance by the quintet of “Facelift” .
Until the release, nearly 30 years later, of Noisette (Cuneiform Records), “Facelift” on Third (itself edited to include segments from other studio and live tapes) had remained the quintet’s sole recorded legacy. Noisette presented the rest of the Fairfield Halls concert of January 4, 1970 captured by sound engineer and band friend Bob Woolford, and has often been singled out as the best of the many Soft Machine archival releases.
And to make this release an even more complete representation of Soft Machine’s live set during this period, Disc 3 presents a previously unreleased performance at Amsterdam’s Concertgebouw from January 1970 from a soundboard source. Heard in excellent sound are Hugh Hopper’s “12/8 Theme” (never recorded in the studio, and save for Hugh’s solo rendition on Monster Band, unheard until Noisette) and a complete “Esther’s Nose Job,” unlike the truncated version shown in Pop 2
Soft Machine - Facelift France and Holland - Official Trailer
Pop 2, which aired from April 1970 to December 1973, was the brainchild of producer Maurice Dumay (a former program manager for Europe 1 radio), who chose to surround himself with a young team spearheaded by director Claude Ventura, whose innovative, reportage-like camera work had already been a trademark of Tous en Scène, recently taken off the air for blasphemy. That a French TV show about rock music should choose to devote its entire premiere, as well as another subsequent edition, to Soft Machine, may seem incredible in retrospect, and probably merits an explanation.

The band's love story with France had begun in the summer of 1967, when the original lineup had somehow found itself providing live musical accompaniment to happening artist Jean-Jacques Lebel's production of Picasso's Le Désir attrapé par la queue during its ill-fated sojourn on the French Riviera. The play became that summer's succès de scandale, and made “La Machine Molle” instant stars: Eddie Barclay hired Soft Machine for his ultra-hip Nuit Psychédélique in Saint-Tropez, and leading magazine Le Nouvel Observateur promptly dubbed them “the new Beatles.” When they crossed the Channel again to perform at the Paris Biennale that autumn, they were duly invited to appear on several high-profile TV shows (Dim Dam Dom, Caméra III, Bouton Rouge), and by the time they played at La Fenêtre RoseFrance's answer to London's 14-Hour Technicolor Dreamin November 1967, their status as one of the top British groups was established.
Despite disappearing for the whole of 1968, first touring America with the Jimi Hendrix Experience and then temporarily disbanding, when Soft Machine returned to Paris in June 1969 to headline a festival at the Bataclan showcasing the new generation of French bands, they had lost none of their popularity, and once again they appeared on French TV's rock programs of the day—Forum Musiques and the above-mentioned Tous en Scène.
The band's commercial potential seemed big enough to its French agent Norbert Gamsohn that he set about organizing a major tour of the country's new Maisons de la Culture circuit. Such was the scale of the eventual itinerary—over 30 dates, divided into two legs, the first in December 1969, the second in February–March 1970—that it allowed the trio to afford what they'd been contemplating for a while already: add a brass section, mostly borrowed from the Keith Tippett Group. Regrettably, that septet line-up was already history by the time the second leg took place: for practical as well as economic reasons, it had been trimmed down to a quintet.

The venue chosen for the Soft Machine’s Paris concert was the Théâtre de la Musique, originally (and better) known as a fine example of Second Empire architecture, it had been built in the early 1860s, soon becoming Paris' most popular showplace when it hosted Offenbach's most famous operettas. With some notable exceptions like the 1918 Ballets Russes season, the 20th century proved less sympathetic to the theatre, which by the early 1960s, lay virtually abandoned as a music venue. It was briefly revived in 1970, and in addition to the Softs, the venerable 1,500-capacity hall also hosted memorable concerts by Magma and Gong. Various attempts at reviving the venue, including as a museum, were short-lived, although recently, it began hosting concerts (and other events) again as La Gaîté-Lyrique.
In order to accommodate the program's 40-minute format, the edited concert was broadcast in two segments: the first on its April 30 premiere, and the second on July 23, ostensibly to coincide with the band's scheduled (but ultimately cancelled) midsummer appearances in several festivals in the South of France.
There is little to fault with either the sonics or visuals of the footage—the occasional, disconcerting and annoying outbursts of fake applause and cheers, mixed in at seemingly random intervals on the original broadcast, have been minimized here, thanks to the discovery in the INA archives of an earlier, work-in-progress edit of the first set and, wherever else the issue manifested itself, using the audience source as patches. All in all, no effort has been spared to ensure that this is the best this performance has ever sounded and looked.
And good it certainly looks. There is a cinematographic quality to Ventura's choice of unusual camera angles, for instance when he films the band from behind the stage, capturing otherwise unseen activity—like Softs roadie Tony Wigens chatting with Elton Dean or maneuvering Robert Wyatt's overhead mic in time for his scat solo during “Esther's Nose Job.” Yet his camera never strays away from the main action for too long. The visual dimension adds much to the enjoyment derived from the music. One gets a better sense of Wyatt's physical abandon, both as drummer and singer—his Echoplexed vocal improvisation here, graced with uncharacteristically sympathetic backing from the rest of the group, is among his best; of the introverted yet asserted presence of Ratledge and Hopper; and of the surprisingly well-behaved playing of dual saxists Dean and Dobson—although the latter gets quite a bit wilder during the drone section in “Facelift.” Oddly enough the only drinks in sight are Orangina bottles, prominently displayed on top of the amps in lieu of the usual beer—clearly not your average rock group!
Let’s leave the final word to Lyn Dobson, who left the band soon after this performance. “I think that what Soft Machine did was totally original. Robert, Hugh and Mike.… Between them it was a fantastic combination. There was a kind of chemical difference between them, but it was out of that tension that something amazing happened. Later it became more watered down, more like everything else that was around—what they called jazz-rock. But what we did was something else altogether.… More like rock-jazz, if you like. Very powerful music!”  Indeed.
buy  the two CD + one DVD set on Bandcamp:
Facelift France and Holland  is the 10th album of archival Soft Machine material released by Cuneiform Records.  See our official website for info on the other releases:


JUNE 24, 2022:



Bio information: BUBBLEMATH
Format: CD  / DIGITAL
Label: Cuneiform Records
Catalog #: Cuneiform Rune 488
listen/share on Soundcloud: "Everything" from Bubblemath's Turf Ascension
Blake Albinson : Guitar 
Jay Burritt : Bass
Kai Esbensen : Keyboards, vocals
James Flagg : Drums, vocals
Jonathan G. Smith : Vocals, guitar
Bubblemath - Turf Ascension - Video Announcement

"This is a nightmare! Dynamic song structures! Unpredictable chord changes! Time signatures that never stop! Songs that are simultaneously incomprehensible and yet infuriatingly catchy at the same time. Like pop songs swallowed by a black hole. The pretentious, festering black hole of progressive rock itself."
Bubblemath Perfectionists Produce

Insanely Correct Masterpiece;

It’s The Finest Prog You’ll Ever Read!
Bubblemath’s new album, Turf Ascension, is the finest progressive-rock album you’re ever going to read. This is not to short-change the music on this four-song, 49-minute collection of shifting time signatures, swirling vocal harmonies, interstellar guitars, and rippling keyboard flourishes.
Hailing from Minneapolis, Minnesota, Bubblemath’s Blake Albinson, Jay Burritt, Kai Esbensen, James Flagg, and Jonathan G. Smith have taken full advantage of their hometown’s long winter nights to hone a singular style that’s at once thrilling, enthralling, and technically demanding.  Not just winter nights, in fact, but entire years. Although the members of Bubblemath joined forces well over two decades ago, Turf Ascension is only their third full-length, with a 15-year gap falling between their 2002 debut, Such Fine Particles of the Universe, and 2017’s Edit Peptide, their first for the Cuneiform Records imprint.
Asked why such a gap, keyboard player and chief lyricist Esbensen blames “happenstance”.
“Our first record, Such Fine Particles of the Universe, we started recording it in 1999, and we took two years to get that out,” he explains. “We were all like, ‘That took two years! That was way too long. Let’s not make that mistake again.’ So we immediately went into the studio and started recording Edit Peptide.”
The band’s obsessive attention to detail almost immediately sabotaged the chance of meeting any reasonable deadline. Once the initial budget was drained, the band members realized they had essentially paid to equip their engineer’s studio. Why not do the same for themselves? Microphones, a ProTools setup, and soundproofing were quickly obtained.
“But the punishment clause for owning your own equipment is that now you have it, there’s no longer any deadline spurring you along. No money that you will continue to owe, and no other bands coming into the space to kick you out,” says Esbensen with a rueful laugh. “So the perfectionism of Bubblemath crept in pretty quickly, and we just took forever to get our takes and arrangements just exactly, perfectly, insanely correct.”
The band’s hard-won knowledge enabled it to produce Turf Ascension in a comparatively fast-paced five years. Actually listening to the record, however, is a decidedly more luxurious experience.

“With this record, we really allowed ourselves to develop themes,” Esbensen contends. “If you listen to our first record, or even Edit Peptide, it’s like we have this mantra of, ‘Why repeat something four times if you can get away with only three?’ That kind of thing. ‘Why give the listener a chance to get bored? Switch it up! Keep it going!’
“It was A.D.D. kind of stuff,” he continues. “And with Turf Ascension, we were like, ‘Well, what if we just lingered on stuff longer, and built out the themes?’ Before, we would have gone, ‘Well, we can’t, in case it gets boring.’ But here the followup question was, ‘Okay, well, what if we just work really hard to not make it boring?’ Switching up the themes quickly in order to hold listener interest is obviously our comfort zone. But in that regard it’s almost a crutch - sort of like having chocolate in a dessert is kind of a crutch. A chocolate dessert is pretty easy to make successful. But what if you had to create a dessert with cucumber and pomegranate? How do you make that good? You have to be really mindful and deliberate, if that’s not your culinary wheelhouse. So it was a fun challenge to let the themes evolve and flow in a way that we really haven’t ever done before.”
It’s tempting to call Esbensen’s lyrics the icing on this cucumber-pomegranate cake, and the idiom is not as clichéd as it might seem. While it may be easy to assume that Bubblemath’s music exists to illustrate its words, the reality is a little different. In fact, Esbensen’s detailed plot lines and well-considered meditations on existence come at the very end of the songwriting process, after the song structures and vocal melodies are already in place.
With the 17-minute, 57-second epic “Surface Tension”, for example, what reads like a science fiction novella emerged from Esbensen’s spur-of-the-moment playfulness.
“It was actually kind of a lucky break,” he says. “We had the vocal melodies already written, as we do, and one of the first things that I do when I’m writing lyrics is to fit nonsense words into the melody lines so I can feel out where the syllables should go and where the rhymes should fall. And the very first nonsense lyric I put in was, ‘In the wall of a bathroom, down the hall from the math room.’ That made me laugh, and so I started thinking what that could be about. And from there I pictured a high school, and a mysterious government computer system clicking away in the walls, with its grand purpose poised and ready for action. And then, meanwhile, the name ‘Bubblemath’ is a reference to the physics of surface tension. So once I decided to have this school burrowing into a secret underground human-race-preservation facility, I was kind of delighted that ‘Surface Tension’ could be the name of the song, given our protagonists’ longing to ascend from their bunker-compound back to the surface.”
The album title Turf Ascension, in turn, grew out of a spoonerism concocted by guitarist Albinson. It also gives a clue as to how Bubblemath operates: every aspect of the band is interconnected.
While claustrophobia, paranoia, and fear for the future are explicit in “Surface Tension”, variations on those themes underpin the other three songs on Turf Ascension. “All songs deal with ascending one kind of turf or another, whether it is literal dirt turf or figurative conceptual turf,” says Esbensen. In the song  “Decrypted”, it’s both: a dead apple tree refuses to admit defeat or even acknowledge its own death, and this anomaly opens the door, inviting the listener on a quest to decipher the mysteries of DNA. But the song can also be interpreted as referring to the onslaught of misinformation we all have to wade through, as well as to the persistence of life in the face of impossible odds.
“Everything”, meanwhile, posits that the entire universe is a simulation, a concept Esbensen traces back to the Swedish philosopher Nick Bostrom’s 2003 essay, “Are You Living in a Computer Simulation?”
“I had read that, and I thought, ‘Oh, that’s a fun concept for a song,’” he says. “It’s existential ennui meets meta-science plausibility. Questioning the bounds of what we know, as those very bounds subsume themselves. And it kind of goes back to the day-to-day gripes and grievances that people have, and the cortisol that people pointlessly expend being bothered by who gets food stamps and who looked at you funny when you were buying coffee that one time. It’s about how, ultimately, everything is probably fairly petty in the grand scheme. It’s like, ‘You’re worried about gas prices when the whole thing is a hologram? Choose your battles wisely, ya know?’”
On the subject of battles, more pressing existential worries are reflected in “Refuse”, a critique of unchecked weapons technology, and the contentious geopolitical border conflicts that drive it. Something that has never been more relevant than it is today.
Esbensen deflects the notion that he has a hotline to the zeitgeist, or that Bubblemath’s extra-musical mandate is to inject social commentary into the often apolitical world of progressive rock. 
“Really, I just wanted to make sure that the lyrics were as good as the music,” he explains. “In so much of the music that I love, the lyrics come across like they were just kind of chucked in as an afterthought. I can roll with that for the most part, but the more I like a song’s music, the sadder I get when the lyrics don’t measure up. So I just want to make sure that the lyrics for Bubblemath deserve the music of Bubblemath.”
Nonetheless, the keyboardist is willing to counsel those perplexed by confusing times.
“Question stuff, but keep tabs on yourself,” he says. “Pay attention to what you’re questioning, as well as what you’re not questioning. And pay attention to why. Learn your biases. Self-deception is a real problem, so employ methodologies to mitigate self-deception as much as you can. You can’t eliminate it completely, but it’s important to understand that about oneself, and to be really mindful and aware of it.”
Sage advice. And nothing would help this process of self-discovery along more than the high-energy, hyper-intelligent, and tuneful tracks on Bubblemath’s Turf Ascension.



In an evolving COVID-19 world, these dates are ALL tentative. Please check with venues, close to the concert date, to confirm. We're ecstatic that live concerts are resuming in many locales, and look forward to music venues and concert halls opening worldwide, when health and safety measures allow.

See also the Tours Page at Cuneiform Records.


"Cheer-Accident are the quintessential Chicago post-rock band that, sadly, you may have never heard of. Too bad. They've been exploring head-scratching, creatively fucked-up time signatures and sideways guitar shenanigans for 20 years now, leaving a pronounced influence on the Windy City's art-rock scene. Their playful musical approach is a ripe aesthetic of absurdist humor." – Pitchfork
June 17 - TBA - Milwaukee, WI

June 18 - The Hideout - Chicago, IL

August 5 - Seaprog - The Crocodile - 2501 First Ave - Seattle, WA 
CHEER-ACCIDENT storm Seaprog, Seattle's festival of progressive rock

" of the most impressive concerts I saw was the Dragon Drop/Cheer Accident/Free Salamander Exhibit show in Indianapolis. ...Cheer Accident...had just released their 18th studio album, Putting Off Death... To put it simply, Cheer Accident blew me away... The music was innovative and powerful and brave and everything I’d hoped it would be."Proglodytes

Listen to & buy 
Chicago XXPutting Off Death

No Ifs, Ands or DogsFear Draws Misfortune 




"The music here walks a wide loop around Soft Machine and Magma, Univers Zero and Henry Cow, Miles Davis and Miriodor, Van Der Graaf Generator and Art Zoyd. It's impeccably assembled and played, while freely indulging the more insane aspects of progressive rock, avant-garde chamber music, and electric jazz....Despite the musical sophistication and adventure on Live at Yoshiwara, this music is extremely accessible to a wide swathe of listeners. Its release signals the magnificent arrival of Ghost Rhythms on American shores. Get it now." – AllMusic

June 8 - La Dame de Canton - Port de la Gare - Paris 75013, France

June 17 - 38 Riv - 38 rue de Rivoli - Paris 75004, France

September 3 - Festival Constellations - Jazz à la Villette Off - Parc de la Villette - Paris, France

October 1 - Freakshow ArtRock Festival - Galerie 03 e.V. - Lindleinstr.8 - 97080 Würzburg, Germany
Listen to & buy:  Spectral Music  //  Live at Yoshiwara



The exuberant Swiss jazz/ pop/ beyond group - named after the American triple-Gold Medal winner at the 1904 Summer Olympics - are one of the most active groups on the European festival and club circuit, top-notch live performers ceaselessly honing their skills.

October 27 - Tango Brücke - Einbeck, Germany

Listen to & buy: Tilt


Grammy winner Henry Kaiser is widely recognized as one of the most creative and innovative guitarists, improvisers, and producers in the fields of rock, jazz, world, and contemporary experimental musics.

THE HENRY KAISER MONTHLY SOLO SERIES, presented exclusively on the CUNEIFORM RECORDS YouTube Channel

 When Covid pandemic lockdowns began in 2020, Henry Kaiser began curating & presenting a weekly series of pre-recorded music videos exclusively on Cuneiform's YouTube Channel for music lovers isolating at home. These "live" concerts are taped beforehand and not streamed - Henry discusses the process in a Guitar Moderne interview, "The New "Live"".  Many videos in the series depict duets and larger bands, despite the program being called the "Henry Kaiser Weekly Solo Series".  While many depict new or recent performances, other videos in this series are vintage footage of performances not available elsewhere (The Valentines' 1994 concert in the Fukuoka Dome).

After lockdowns began to lift In April 2021, the series celebrated its one-year anniversary and converted to a monthly format, which continues. All 52 videos from the Henry Kaiser's Weekly Series and everything in the current Monthly Series are archived & available on Cuneiform's YouTube Channel.  We invite you to visit Cuneiform Record's YouTube Channel to see the videos that Henry presents on the first of every month.

Because all videos are archived on our YouTube site, you can watch anything in the series at any time.


Listen to & buy:
Albums by Henry Kaiser & Friends  on Cuneiform

A Love Supreme Electric [Vinny Golia / John Hanrahan / Henry Kaiser / Wayne Peet / Mike Watt]:
A Love Supreme Electric: A Love Supreme and Meditations 

Yo Miles!: Henry Kaiser & Wadada Leo Smith: Sky Garden & Upriver

Five Times Surprise [Henry Kaiser / Anthony Pirog / Tracy Silverman / Jeff Sipe / Andy West]: 
Five Times Surprise

Henry Kaiser & Ray Russell: 
The Celestial Squid

Henry Kaiser: Lemon Fish Tweezer;
Fred Frith & Henry Kaiser: Friends & Enemies 


Healing Force [Vinny Golia • Aurora Josephson • Henry Kaiser • Mike Keneally • Joe Morris • Damon Smith • Weasel Walter]:
Healing Force:  The Songs of Albert Ayler        

V.A.: 156 Strings: Nineteen Totally Original Acoustic Guitarists


"..the saxophone-heavy Microscopic Septet drew on a cache of sophisticated improvisers and two of the era's most sophicated and stylistically slippery jazz composers and players – the pianist Joel Forrester and the saxophonist Phillip Johnston. This reunion promises equal parts zaniness and braininess..."
– The New Yorker

Embracing jazz’s populist legacy, the Micros brought Uptown jazz back Downtown, where they made a compelling case that swing could look forward as well as backward. Since storming back into action in 2006 after a 14-year hiatus, the radically old-school combo, founded in mid-1980s NYC,  has continued to evolve and extend its reputation. 
July 17 - Jazz Forum - 1 Dixon Lane - Tarrytown, NY

July 21 - Smalls - 183 West 10th Street - basement - New York City, New York 10014,

Listen to & buy:
THE MICROSCOPIC SEPTET albums on Cuneiform:

Been Up So Long It Looks Like Down to Me: The Micros Play the Blues  //  Manhattan Moonrise //

Friday the Thirteenth: The Micros Play Monk // Lobster Leaps In //

History of the Micros Vol. I: Seven Men in Neckties // History of the Micros Vol. II: Surrealistic Swing //



"Twenty-first century big-band music doesn’t get more exciting
and impressive than this."
– Jazz Times

An astounding 18 piece jazz ensemble of five woodwind players, four trumpeters, three trombonists, two keyboardists, guitar, violin, bass and drums, led by arranger, composer & saxophonist Ed Palermo, one of America's most singular arrangers who draws on jazz, pop and rock tunes for his top-notch band. There are a number of ensembles performing the music of Frank Zappa, one of the greatest American composers of the 20th century, but no one does it with the ease, skill and originality that Ed and his band do!
The ED PALERMO BIG BAND returns to the live stage!

May 23 - Iridium - 1650 Broadway (at 51st St) - NYC, NY

June 4 - The Falcon - 1348 Rte 9W - Marlboro, NY 12542

June 27 - Iridium - 1650 Broadway (at 51st St) - NYC, NY

August 6 - The Falcon - 1348 Rte 9W - Marlboro, NY 12542

August 29 - Iridium - 1650 Broadway (at 51st St) - NYC, NY

September 3 - The Falcon - 1348 Rte 9W - Marlboro, NY 12542

October 29 - The Falcon - 1348 Rte 9W - Marlboro, NY 12542

December 17 - The Falcon - 1348 Rte 9W - Marlboro, NY 12542

Listen to & buy:
Ed Palermo Big Band albums on Cuneiform:

The Adventures of Zoyd Zundgren
The Great Un-American Songbook Vols. 1&2
One Child Left Behind

Oh No! Not Jazz!!
Eddy Loves Frank
Take Your Clothes Off When You Dance




One of France's major experimental musicians and a key figure in the development of electronic rock, guitarist and electronic musician Richard Pinhas will perform in 2021 in France and beyond in various groupings.

May 5 - Le Ciel - 2 rue Général Marchand - Grenoble, France [solo sets by Richard and by Oren Ambarchi]

November 19 - Just Drop In Records - FarGo Village -  Far Gosford Street, - Coventry, UK

November 21 - Cafe Oto - 18-22 Ashwin St - London E8, UK

Listen to & buy releases by Richard Pinhas & friends on Cuneiform:

Process and Reality
Desolation Row
Event & Repetitions


Richard Pinhas &
Oren Am


Richard Pinhas & Merzbow:  
Keio Line / Rhizome / Paris 2008


Schizotrope (Richard Pinhas & Maurice Dantec):
 The Life & Death of Marie Zorn



“Cellist Tomeka Reid has been on a serious tear lately; perhaps you noted her on the commanding new album by The Art Ensemble of Chicago, or with the chamberlike Artifacts Trio. Old New is Reid’s second album with [her] rough-and-ready [quartet].... If the title calls to mind an Art Ensemble rallying cry, “Ancient to the Future,” that’s probably not a mere coincidence.”  – Nate Chinen / WBGO

In the hands of Tomeka Reid, the cello is an essential vehicle for unfettered jazz exploration. Old New, the second album by the Tomeka Reid Quartet, exemplifies why she’s quickly become a definitive figure on the 21st century jazz scene. As a composer, arranger, improviser, bandleader, and impresario, she embodies jazz’s progressive ethos.

June 3 - Moers Festival 2022 - "Improvisor In Residence" - Moers, Germany

June 4 - Moers Festival 2022 - "Improvisor In Residence" - Moers, Germany

June 5 - Moers Festival 2022 - "Improvisor In Residence" - Moers, Germany

June 6 - Moers Festival 2022 - "Improvisor In Residence" - Moers, Germany

Listen to & buy:



"Like contemporaries Sonny Sharrock and Terje Rypdal, Russell makes it sound as if the guitar is not enough, as if he's reaching for something wilder, something that can't be contained within the 6 string cage" -Jim O'Rourke


June 23 - Lewes Con Club - 139 High Street - Lewes BN7 1XS, UK

Listen to & buy:
Ray Russell:
Fluid Architecture;  Secret Asylum; Goodbye Svengali

Ray Russell & Henry Kaiser:
The Celestial Squid



"The Best Music of 2015: A Banner Year for the Bold: …here are a dozen albums released in 2015 that I savored repeatedly for their musicality, clarity of statement and courage. …“X” by Schnellertollermeier marries brutality to avant-garde rock and jazz. A classic power trio from Switzerland, the band plays with punk fury and dazzling technical dexterity to create booming, bone-rattling music that stalks, confronts and astonishes.”
The Wall Street Journal

Schnellertollermeier's clear-cut approach burns itself into one's memory; audiences who have seen the trio (bassist Andi Schnellmann/ guitarist ManuelTroller / percussionist David Meier) live describe their music as “stunning”, “minimalist”, “brutal”, “decisive”, “monumental”, “angry”, “controlled”, “captivating” or “radical”.  Simply fantastic.


May 8 - bee-flat in PROGR - Speichergasse 4 - Bern, Switzerland

May 23 - Moods - Schiffbaustrasse 6, Zurich, Switzerland

May 27 - La Meute Festival - La Joux-Perret 3 - La Chaux-De-Fonds, Switzerland

June 5 - Halt Auf Verlangen Festival - Gasthaus Grünenwald AG - Grünenwald 1 - Engelberg, Switzerland

June 11 - Schüür Garten - Konzerthaus Schüür - Tribschenstrasse 1 - Lucerne, Switzerland

Listen to & buy:
5, Rights, X


"In the music he’s played with Irreversible Entanglements, Heart Of The Ghost and the Exposure Quintet, as well as his work programming concerts and radio shows, Washington, D.C., bassist and bandleader Luke Stewart has already established himself as someone who wants to know it all—and share what he knows. ...[Silt Trio] makes it a first order of business to dredge up the comprehension of past eras." – Magnet Magazine

May 14 - Gigspace - 953 Gladstone Avenue - Ottawa, K1Y 3E5, Canada


Listen to & buy:
Luke Stewart Silt Trio's 

The Bottom

  "New York/Washington D.C. via Mississippi bassist Luke Stewart seems to be everywhere these days, not just as a musician working in Irreversible Entanglements, Black Hosts, Heroes Are Gang Leaders, among others, but also presenting concerts, giving lectures, and writing. He’s nominally led some bands, but none as convincing as this trio ...a gripping album that largely relies of subtlety and insinuation to register its uncanny power." –The Quietus


Stirrup is Fred Lonberg-Holm (cellotenor guitar), Nick Macri (bass),and Charles Rumback 
(drums). Formed in Chicago in 2009 to explore their mutual interests in deep grooves, moody harmonies, and extended structures, the genre-defiant trio continue to do so to this day. A true collective, all three write and arrange for the band.

May 1 - Hungry Brain -  2319 W. Belmont Ave - Chicago, IL


Listen to & buy: Stirrup+6's 
The Avondale Addition

  "…an especially robust excursion into the beauty of avant-Chicago... with stretches that roll and even groove... Everybody plays at a high level, and this  [is] splendid stuff.   – The Vinyl District


Thumbscrew is the all-star collaborative trio of Mary Halvorson (guitar), Tomas Fujiwara (drums), and Michael Formanek (acoustic bass). Thumbscrew's critically acclaimed albums, all on Cuneiform Records, have appeared on Best of Year lists worldwide. Thumbscrew perform  frequently at festivals and served numerous residencies at art centers and prominent venues in the US and abroad.

“Made up of three highly distinctive voices in the world of jazz and avant-garde music, Thumbscrew should probably collapse under the weight of its own star power but Tomas Fujiwara (drums), Mary Halvorson (electric guitar) and Michael Formanek (acoustic bass) are just too aware of the potential of this supertrio to let that happen.”  – Something Else!


2022 is THUMBSCREW's 10th Anniversary year!  Celebrate with them as they release a new recording – Multicolor Midnight – on Cuneiform in September, tour Europe in October, and celebrate with record release shows in NY 

September 17 - tba - East Hampton, NY

October 14 - tba - Gent, Belgium

October 19 - tba - Singen, Germany

October 21 - tba - Cormons, Italy

October 22 - tba - Ferrara, Italy

November - tentative US Midwest tour

November 11 - Jazz Gallery - 1160 Broadway (at 27th St), 5th Floor - NYC, NY [record release show!]

November 12 - Jazz Gallery - 1160 Broadway (at 27th St), 5th Floor - NYC, NY [record release show!]

Listen to & buy:
 Never Is Enough,

The Anthony Braxton Project



To set up press and radio interviews with Cuneiform Artists while on tour or at home, please contact:

Thank you for supporting live music as
venues open and festivals resume,
while continuing to  enjoy music at home


–MAY 2022 –
It's Spring in the Northern hemisphere, and for many, the world is reopening socially as the natural world blossoms, unfurling green leaves and colored blooms.  Beautiful weather, an ebb in the pandemic, and high vaccination rates lure us outside and into the streets to hear music.  But not everyone is so lucky.  The Pandemic continues to flare unexpectedly worldwide, like an underground fire in the forest.  And War rages in Ukraine, whose citizens must hide underground while Russian bombs destroy their homes, livelihoods, and towns.

Wherever you are globally or politically, please practice kindness to humanity, to mankind, in these tumultuous times.  Remember that Nature can help shield and solace our troubled hearts  in times of illness or war.  And also:  know that Music can make a positive difference in our lives, and help us survive psychologically and spiritually in evolving and uncertain times. 

For those of us fortunate to see live music in this season: please remember to always check with the venue to make sure a concert is happening. Unexpected Covid surges can cause last-minute closures.

Besides cautiously seeing live music, we'll continue to also enjoy music at home, and we hope that you also continue to enjoy recorded music on your technology of choice.  You can explore tracks from nearly 500 recordings released by Cuneiform Records since 1984 on, our website, or on our Bandcamp, SoundCloud or YouTube sites, and also watch recordings of recent and vintage concerts that we regularly post on YouTube. 

Cuneiform Records has a treasure chest of interesting music to serve as soundtrack, inspiration and solace during these evolving and challenging times. We have a mammoth catalogue of releases by some of avant music's most esteemed icons as well as young rising stars, available for purchase at the Cuneiform Records Bandcamp store and at one of our sister companies, Wayside Music. Your CD and LP purchases support indie musicians, indie labels, and small businesses. 

• Discover new music on Cuneiform Records' BANDCAMP PAGE :  support our artists & our indie label by purchasing music.  

• Visit our internet store, (established 1980!), to purchase  music from ALL your favorite labels! 

We also have a ton of FREE entertainment for your enjoyment on several online platforms:  

• Enjoy hours on Cuneiform Records' YouTube CHANNEL:  free music videos, videos of live shows, & samples from 400+ adventurous releases!   And we've expanded our video content during the pandemic, most notably with an ongoing video series curated  and produced by guitarist Henry Kaiser. 

• Enjoy and share samples of music by releases of countless Cuneiform artists on the Cuneiform Records' SoundCloud Site.

• Visit & Like & Follow our Facebook PAGE for Cuneiform Records.

• Join our Facebook GROUP: Fans of Cuneiform Records.

 Follow @CuneiformRecord onTwitter

• Visit the official WEBSITE for extensive information on the artists and recordings on our label,  upcoming concerts & much more.

• Media professionals: find music to LICENSE from Cuneiform for movies, ads etc via our sister site

• Were you forwarded this email from a friend?  If so, make sure you sign up for the Cuneiform NEWSLETTER to  get this monthly newsletter in your email box, in addition to receiving notices for Cuneiform's weekly "$5 Friday" offers – Cuneiform selects a special album from its archive each weekend,  to be sold in download format via Bandcamp, that weekend only,  for $5.

• Cuneiform Records announces all of its releases - physical (CD, LP) and digital formats - in its monthly newsletter.  Newsletters contain in-depth info on each release.  If you missed seeing an issue, Newsletters are archived on the Cuneiform Blogspot.


Cuneiform Records' Monthly Newsletter is compiled by Joyce [Nalewajk] Feigenbaum,
The Music Outpost–Publicity
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