Anne-James Chaton & Andy Moor
"A collection of poetry guitar music pieces originally released as a series of four seven inch singles based around the themes of transportation and transition; side A constructed from real or factual information and material, side B from fiction and fantasy. -Unsounds"
Made to Break
"The Made to Break template is, ironically enough, a very sturdy one. Take an assertive bassist who isn’t afraid to bring a bit of funk to the mix and a drummer who has been a continuous companion for about 20 years, and you’ve got a pretty perfect setting for the bar-walker grooving, Brötzman-esque barking and rippling, interval-leaping runs that constitute the more muscular side of Vandermark’s playing. But comfort isn’t part of the program here, and Vandermark isn’t satisfied with simply kicking some funky fire music ass. Made to Break is a statement of intent, not just a catchy name, and the fourth member of the band is there to make sure things don’t get too easy. http://dustedmagazine.tumblr.com/post/170799767125/made-to-breaktrebuchet-trost -Bill Meyer, Dusted Magazine February 12, 2018 ----- 5 Star Review Vandermark, Daisy and Stadhouders alternate constantly between solidifying and deepening the powerful rhythmic envelope and contrasting and challenging each other’s role. Kurzmann, in his turn, alternates between opposing all three with his imaginative stream of alien, noisy and abstract sounds that charge the immediate, tight interplay with a strong sense of surprise and risk taking and soloing along Vandermark like an otherworldly reed instrument. -Eyal Hareuveni, The Free Jazz Collective, December 29, 2017 ----- "There comes a time in every extended piece from Made To Break where the ground drops out from beneath the song, and what remains is a simultaneous state of floating and falling, where the song doesn’t really seem to be proceeding in any one particular direction, but there exists, nonetheless, a heavy gravitational pull. On the quartet’s newest, it happens at the halfway mark of opening track “Hydroplane (for Shellac).” The dancing groove instigated by saxophonist Ken Vandermark and amplified by the rhythm-duo of bassist Jasper Stadhouders and drummer Tim Daisy suddenly gives way to the drifting electronics and effects of Christof Kurzmann. That’s when forward locomotion and melodic focus transforms into chaos and unpredictability. It’s as compelling as it’s startling, and as blunt as the transition can feel, it’s no less satisfying when the transformation comes full circle back to where it began. The effect is no more subtle on the blues-inflected “Contact Sheet (for Susan Sontag)” or the relentless volatility of “Slipping Words Against Silence (for Kerry James Marshall),” and that the results can vary so wildly from piece to piece is a source of intrigue that nicely complements the thrills." -Dave Sumner, The Best Jazz on Bandcamp: November 2017, Bandcamp Daily, December 4, 2017 "
"Recorded live in concert by Iztok Zupan at Tube’s, Graz/Austria on 24th March 2019."
Tim Daisy, Michael Thieke, Ken Vandermark
"A triptych, 3 art panels (musicians) usually held together by hinges (common musical direction) or three musical works designed to be listened to together. This recording has indeed three musicians, Tim Daisy (Drums, radios, percussion and the composer of the three before mentioned tracks), Berlin based clarinetist and composer Michael Thieke and Ken Vandermark (tenor sax and bass clarinet) who are hinged together by Daisy’s compositions and by 5 interspersed, improvised pieces... The three composed pieces (At Argyle, Yellow Fern, and Tuesday at Noon) start as very listener friendly tunes that soon break away into each player’s deconstruction. The whistle-alongability is just a front and soon you delve into the non-melodic player (Philip Coombs, The Free Jazz Collective)"
Trost Live Series 001
"The word Arashi - 嵐 - means storm in Japanese, and this recording justifies Arashi's reputation as one of the most powerful, exciting working groups. -Eyal Hareuveni, Free Jazz Blog"
"The angular guitars, in-your-face drums, rock cello, and punk vocals are flawless, like a well-slicked machine, perfected through numerous live performances. After a surprising 25 years of existence, The Ex have no signs of becoming stale, tame, or rusty; challenging themselves to bring completely new ideas into the mix.’’ Jon Whitney - The Brainwashed Brain. "
Twenty Minute Cliff
"No triage needed here – as the group blows into the room with a sound that's boldly beautiful, and really demonstrates the improvising skills of all three members at their best – Dave Rempis on alto and tenor, Jason Ajemian on bass, and Tim Daisy on drums – all musicians who've really grown a lot in a short space of time! The sound is wonderful – with fuller moments balanced by great subtlety that really seems to be opened by Ajemian's bass, which also encourages some of the gentler, more personal sounds from Rempis – and nicely restrained sonic pulses from Daisy. -Dusty Groove"
Two Days In December
"With these duos I think that we tried to be as free from musical categories and boundaries as we could, playing what the music suggested not what our preconceptions dictated. -Ken Vandermark"
"I’m glad that Ultra demanded revision. I am the now the organizer not the composer. The music was made with equal contributions from all of us. To me, Ultra is free of the contrivance that often plagues this kind of attempt, and that allows the listener to determine its meaning and value. I speak for the group when I say that we hope the music surprises and inspires you. Joe Morris June 2017 "
""What is here, though, is beyond these landmarks of traditional jazz. The world is not flat and neither is jazz, and if you can place some faith in that, you can get into this. FME pays tribute to four innovators of free jazz and improvised music: saxophonist and trumpeter Joe McPhee, percussionist Paul Lytton, guitarist Joe Morris and saxophonist Peter Brötzmann." -All About Jazz"
Deep Listening Band / Joe McPhee Quartet
"One never knows what Pauline Oliveros will do next, but whatever it is, she is sure to go beyond boundaries and categories. She is sui generis, an artist whose wide open creativity is both inspiring and challenging. On Unquenchable Fire, the musicians have brought the full force of their intelligence and sensitivity to Oliveros’ vision, creating a listening experience both memorable and evocative. -Florence Wetzel, All About Jazz"
Untitled #2 (The Mute)
Jessica Sligter & Wilbert Bulsink
"Centering on the idea of voicelessness, The Mute explores a concept that can be investigated acoustically, but that can also be approached in social terms. How can those who have no voice in our society be heard?"
"Composer and sound recordist Francisco López operates in an area where music and sound merge. With its rich variety of sonorities and its percussive quality, the piano is an ideal instrument for his purposes; and Dutch pianist Reinier van Houdt, with whom López developed the piece, is an ideal performer. -Rene Van Peer"
Variations on a Blue / Round Midnight
"Variations on a Blue Line/'Round Midnight was recorded in October, 1977, during a highly significant period in Poughkeespie, NY, multi-instrumentalist Joe McPhee's work, as he was pioneering the transatlantic, collaborative spirit that has helped to define the last three decades of his career. BlueLine comes from a concert in Rouen, France, when McPhee played on a double bill with the Peter Brötzmann/Han Bennink duo. It features the side-length tenor excursion "Beanstalk" (dedicated to Coleman Hawkins), an alternate version of "Knox" (known from his beloved LP Tenor), and two soprano pieces, "Motian Studies" and Thelonious Monk's "'Round Midnight.""
Veer and Haul
Ab Baars + Mariëtte Rouppe van der Voort
"…Rouppe van der Voort performs miracles in dexterity on the piccolo in "E si fussi pisci", turning it into a penny whistle sliding out of control. Stopping on a dime 45 seconds before the end of the piece, she prompts a quiet and fragile coda that is so perfect you'll go back to the booklet to make sure it was not scored. Other highlights include the busy and playful title track, the tender "Duet for John and Bob" and "Bells," where Baars launches into a soulful non-idiomatic tenor sax solo. Veer and Haul is a title that evokes big ships performing clumsy maneuvers, but Baars and Rouppe van der Voort's lines are sketching a fascinating dance". --François Couture, All Music Guide "
Ken Vandermark & Mats Gustafsson
""Verses is a paean to instantaneity. Quite surprisingly, this is the first time that longtime confederates Vandermark and Mats Gustafsson have played as a duo. But what comes across from the first note is the utter certitude of their playing. There's never any question that each can make sense ofwhatever the other plays, and from this security comes the confidence to take some thrilling individual risks." —Bill Meyer, review in Downbeat"