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“limited edition of 214 copies, each numbered,
each cover is a unique one with "rubber stamp art" by Günter Christmann.
many thanks to Stiftung Niedersachsen
and Kulturbüro der Landeshauptstadt Hannover for their support”
Günter Christmann, Mats Gustafsson
The Art Of The Duo 2
“no. 1-9 recorded april 20th 2017 at Atelier Grammophon, Hannover.
no. 10 recorded jan.2012 at Studio Börnestr. 43, Berlin.
no 11, 12, 13 recorded may 9th 2017 at Kino im Sprengel, Hannover.
no. 15 recorded aug. 20th 2014 at explico, Langenhagen.
Track 15 also available on Stratum (track 11).
Limited edition of 150 copies, each numbered,
each cover is a unique one with "rubber stamp art" by Günter Christmann.”
The Sublime And The Profane
“This is a rare copy of this unique CD limited to 220 copies showcasing Günter Christmann's work alongside a host of improvisers. The CD itself has a wooden panel front opening up to a 2 x CD jewel case.”
Details in the Air (Ken Vandermark, Michał Górczyński, Mikołaj Trzaska)
“The music of Open Containers documents the first encounter between two major figures on the Polish music scene, improviser Mikolaj Trzaska and new music performer Michał Górczyński, and Ken Vandermark, who based in Chicago and known for his work in a variety of contexts. Details In The Air is a combination of saxophones and clarinets that sounds like an orchestra in scope, the material covers an incredibly broad range of musical territory, often within the same piece. This is music of the highest order- riveting, melodic, and without borders ”
“In March of 2018, during guitarist Joe Morris’ stay in Calgary (see bim-75 notes for the full story), he joined the Chris Dadge/Jonathon Wilcke duo on two occasions. The first was a live performance at a tiny and packed room in the Theatre Junction GRAND building in the heart of downtown Calgary. After a stellar set from Laura Reid and Mark Limacher, Morris played a short solo set, Dadge and Wilcke played a short duo set, then the latter three played as a trio; it was their first time playing together. Later that month, the three reconvened in Dadge’s basement studio, fueled by Richard Youngs’ vegetable curry, for this sparkling burst of playing. A relative minority of Bug Incision releases are studio-based affairs, but the added clarity and sonic precision on display here greatly benefits this music, which is chock of full of dense, pointillistic playing. Wilcke’s sax work moves from fluffy free-bop melodicism to strangulated smears of sound, bringing out some inventive comping moves from Morris. Morris strikes an impressive balance between Wilcke’s saxophonic abstractions and the kinetic, tactile playing of Dadge, who is clearly relishing the opportunity to interact with such a spiky playing partner. Bug Incision could not be more pleased to present (along with bim-75) this second fine document of Morris’ Calgary saga. (Notes by Benoit Hughes) ”
Joe Morris & Greg Oxoby
Dancing With Penguins
“Oxoby has never sounded better, his bass sound round, supple, and articulate; and Morris’ signature saxophone-like guitar playing, beautifully articulated and breathlessly paced, is heard here to great effect. A fine document of an important period of time for Calgary’s improvising community. (Notes by Jonathon Ronler) ”
Joe Morris & Do Yeon Kim
“Do Yeon Kim is a masterful performer on the gayageum or kayagum, a kind of zither or harp from Korea. Joe Morris is the better-known performer here, playing guitar on this album. Their duo is an impressive and captivating example of incredible skill and a diversity of approaches from both players, including pointillistic improv, rich rivers of chords, languid moments of beauty, and moments where it's difficult to discern who's playing what. It may take several listens to embrace the "space" they occupy in performance, but the mix of exotic interplay and the fascinating challenge of hearing a unique combination of instruments that yields unexpected results draws in the listener. Morris and Kim are clearly captivated by their own playing, and their focus and flow in their dialogs keeps this album interesting from start to finish.”
“If you count The Thing’s collaborations with Joe McPhee, James Blood Ulmer, Ken Vandermark, Neneh Cherry, Barry Guy, Otomo Yoshihide, Jim O’Rourke, Thurston Moore and DKV Trio too, Again is their 20th album (including the compilation Now and Forever and the split album The Music of Norman Howard with School Days, another Gustafsson project). Literally speaking, The Thing have done it again. After 17 years in the same line-up (Mats Gustafsson on saxes, Ingebrigt Håker Flaten on acoustic and electric bass and Paal Nilssen-Love on drums) you might think that the band’s music has become predictable, that their mélange of free jazz, blues, rock and noise is actually a cul-de-sac because the musical options are exhausted. However, it isn’t.
Though Again is the well-proved mixture of cover versions and original compositions, this time the focus is rather on jazz. The only cover, Decision in Paradise, is an old, rather conventional Frank Lowe piece. The Thing turn the tempo down considerably and a trumpet provided by Joe McPhee, the guest star on this track, transforms the falling lines of the original’s opening passage into painfully bruised sounds before Gustafsson strips the delicate melody to the bone (doing this, it reminds me of Gershwin’s “Summertime“). Bass, trumpet and saxophone dance around each other in slow motion and only after four minutes Nilssen-Love enters the game in order to give the piece more drive and tension. It’s the band’s typical way to take possession of a composition which is not their own.
- Martin Schray (Free Jazz Blog)
Full review here: www.freejazzblog.org/2018/06/the-thing-again-trost-records-2018.html ”