Music For Lying Still
"Music For Lying Still is Chicago based composer and percussionist Tim Daisy's latest solo release. Further developing methods and ideas explored by his two previous solo efforts: 'Relucent: music for marimba, radios and turntables' (relay 012), and 'Red Nation 1' (relay 018), MFLS is the first to utilize a multi-track, multi-layered recording process to develop and shape the composition. All the sound making devices were recorded separately and then assembled and edited into one continuous, twenty-five-minute composition. Music for Lying Still is the first in a set of three releases using the studio as an integral component of the music making process. -multi-layered, mystic metaphoric, ambient, experimental low-fi gamelan drone music for people who like to lie still. "
Tim Daisy's Fulcrum Ensemble
"The three compositions on the group’s latest release “Animation” take inspiration from a range of contemporary musical ideas including: the innovative performance and compositional techniques pioneered by the Association for the Advancement of Creative Musicians, structural and textural innovations connected to contemporary composers including Earle Brown, Anthony Braxton and Terry Riley, as well as the energy and spirit generated by the American “free jazz” movement of the 1960’s and 70's, notably the work of Julius Hemphill, Marion Brown, and Don Cherry. "
The Rempis/Daisy Duo & Guests
"Dodecahedron, the third duo recording by saxophonist Dave Rempis and percussionist Tim Daisy, celebrates a special mile-marker in the musical history of these long-time partners, as 2018 marks the twentieth anniversary of their duo pairing. These two have formed the backbone of well-known working bands dating back to 1997, when they first met in Chicago, including Triage, The Vandermark Five, The Rempis Percussion Quartet, and The Engines. But that list only scratches the surface, accounting for just a portion of likely more than a thousand gigs they’ve played together over that time. On the first disc of this new two-disc set, recorded live at Elastic Arts in Chicago in October 2017, you can hear every nuance of that two decades of shared experience. Rempis and Daisy have logged far too many hours in the van together to suffer each other’s bullshit, and continue to undermine any whiff of cliché by pushing here, pulling there, and sometimes just outright kicking the chair out from underneath one another. There’s no hiding from family. To further celebrate this special milestone, the duo invited six guests to join them individually for two recording sessions in the summer of 2017, released here on the second disc in this set. Each of these musicians – Jason Adasiewicz, Jim Baker, Fred Lonberg-Holm, Steve Swell, Katie Young, and Aaron Zarzutzki – are friends and colleagues whose distinct personalities and long histories with Rempis and Daisy have helped to shape the duo’s approach as a unit, and as individual musicians. And each of the pieces presented here showcase yet another of the many facets contained within the duo’s complex lexicon. "
"Solo compositions and improvisations performed by Chicago based percussionist and composer Tim Daisy Selected instruments recorded in various combinations including: drums/marimba/ Califones/metal percussion/bass xylophone/transistor radios/bells/chains/sticks/malletts/brushes Recorded live, without overdubs :)"
En Las Montañas de Excesos
Chris Cogburn//Ingebrigt Håker Flaten//Bob Hoffnar//Henry Kaiser
"En Las Montañas de Excesos is the unease & frisson of scaling a mountain, a trek with long moments to peer over the edge or stare far off into your thoughts. From the collective fingertips & minds of drummer/percussionist Chris Cogburn (SSBT), prolific bassist Ingebrigt Håker Flaten (The Young Mothers; Atomic), composer & pedal steel guitar maestro Bob Hoffnar (The Mood Illusion; Indoor Life) & renowned guitar experimentalist Henry Kaiser, the album is a towering edifice of free rock, fusion and new music. "
Live At Konfrontationen Nickelsdorf 2012
Ab Baars / Meinrad Kneer / Bill Elgart
"live at konfrontationen nickelsdorf 2012 features baars in a trio, which had quite a few gigs in those days, a co-op with german bassist meinrad kneer and long-time american-in-europe expatriate drummer bill elgart. for those used to baars’ gentlemanly ellington-affected playing and composing the first sound heard on “nickelsdorf suite #1 part i” may shock. here’s the dutchman skronking harsh aylerian smears from his saxophone. at the same time though baars’ altissimo screams and tonal exaggerations slide securely in place besides the weightlifter-like string pulls that kneer resonates to solidify the rhythm and elgart’s elegant pings and ruffs which moderate the output. - ken waxman, 11 november 2018, jazzword.com "
"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 "
Hit The Ground Running
"On the traumatic day after the election of Donald Trump as president of the United States on November 8th, 2016, a recording session had been scheduled at Elastic Arts in Chicago for a new trio. Two members of the trio – Dave Rempis and Tim Daisy, had been working together in various contexts in the Chicago improvised music scene for years. They were invited by up-and-coming piano wunderkind Matt Piet to be a part of an ongoing series of first meetings that he’d released on his Amalgam imprint. (This recording soon came out as Cure For The Quotidian) The feeling in the room, in the city of Chicago, and around much of the United States was dark in a way no one had ever before experienced. The music that came out that day was an honest and direct expression of that energy. Afterwards, Piet threw out the idea of a benefit concert to coincide with the new “president’s” inauguration. Daisy spearheaded the charge, and put together a stellar event at Elastic Arts on January 21st, 2017, the same day as the monumental Women’s March that took place around the world. The concert featured a solo set by Darin Gray, the debut of Ken Vandermark’s new quintet Marker, the duo of Ben Lamar Gay and Ayana Contreras, and this trio. The energy of that evening was indescribable – the packed room felt defiant yet loving, angry yet calm, fearful yet fully empowered to take on the new reality of the unimaginable political situation in our country. And the music from each group reflected those feelings in a different and powerful way. "
Mêlée + Joe Morris
"There are moments of intimacy, of direct emotional delivery, and moments of stress and distress, of darkness, signs of an upcoming storm. That doesn't come. Only the tension before it. There is no real power either. And no sweetness. It gets you out of your comfort zone. Yet you want to hear it again, and again, and again. And that's usually the only yardstick that counts. A new musical experience." -Stef "Free Jazz Blog" 2009"
"This transatlantic trio combines musical sensibilities derived from their experiences in two world capitals of improvised music, Chicago and Amsterdam. Rempis and Rosaly, both longtime staples of the Chicago scene, have partnered for more than 15 years, most significantly in the Rempis Percussion Quartet and Rempis/Rosaly Duo. The two met guitarist/bassist Jasper Stadhouders at the Moers Festival in 2009 where the three shared a stage on the legendary “morning sessions.” Despite being only 18 years old, Stadhouders was a presence to be dealt with, his energy and aesthetic already developed into a cohesive whole. "
The Sugarhill Suite
"The musicians address a narrow window within a broad perspective. The recording as a whole describes a memory of the epitome of the Harlem Renaissance and how musicians came out of that time still longing for a recurrence of the dream of the focal point which was Sugar Hill- --where resided the quintessence of the African-American culture.... one whole world within a geometry of avenues and streets. The music possesses a substantive subtlety. It is taut and somewhat restrained, even though the fluidity of McPhee’s tenor lines overrides the tightness of the rhythm section. The music is soft even when it is loud. The music grows out of melody into abstraction easily, without fracture (Lyn Horton, jazzreview.com)"
His Flight's At Ten
Lotte Anker · Pat Thomas · Ingebrigt Håker Flaten · Ståle Liavik Solberg
"All the energy and nuance of this captivating convert are captured in this stunning live recording. Both exhilarating and hypnotic, the album is a cutting edge release traversing the worlds of contemporary classical music and avant-garde jazz by a group of improvisers at the forefront of the creative music world. credits "
"Now into their third decade as Holland's bravest avant-punk terrorists, the Ex seem incapable of slowing down... Rhythmically there are few who can touch the Ex, and Albini's hand lends these proceedings an especially scalpel-sharp wallop, allowing the band's now-trademarked taut, skittering trapwork, thrusting bass-encounter play and nicked-guitar screech to propel their cleverly refined political/social text with an irrepressible mix of dexterity and abrasiveness... Get in their way at your own risk."
Ab Baars Trio + Rosewell Rudd
"...If you are accustomed to the eclectic, dissonant and perhaps even sometimes bullying Baars language, then you’ll find some true gems on the album Four. The group interaction and the improvisations are of an exceptionally high level. Rudd fits perfectly with the trio; together they form a real quartet.” Kees Stevens Parool 31/7/2001"
No Queen Rises
" "Dew lies on the instruments of straw that you were playing, / The ruts in your empty road are red" Fish-Scale sunrise signals for Baars a broadening spectrum of possibilities for compositions and improvisations. Baars wanted to explore new timbre, dynamics and sounds. He employs for the first time in his ensembles a pianist - Slovenian, Amsterdam-based pianist Kaja Draksler, who collaborated before with Baars in her Octet - introducing a new weight of nuances of timbre and dynamics as well as new harmonic horizons. Canadian, Stockholm-based double bass player Joe Williamson completes this drummer-less format and positions the bass with a unique role. Baars wrote seven compositions and the other two are free-improvisations. -Eyal Hareuveni, All About Jazz"