The Laughing Owl
Terrie Ex & Han Bennink
"Despite the often serious aspect of The Laughing Owl, one has a strong sense of spontaneity. These two players clearly got together to see what happens when anything goes."
Resorts and Ruins
"In “Resorts & Ruins”, a set of three recent sound works, Kyriakides deals with several themes in both a physical and narrative sense. All the pieces use source material that highlight specific vocal traditions, namely Turkish pop music, Cypriot epic song, and Baroque opera, but they also all make extensive use of other forms of speech and vocal acts."
"Sensual reflection challenges us to transcend the usual patterns of experience and penetrate into new sound realms. With subtle humor, the borders of genre are evoked associatively and expanded. "
Nate Wooley & Peter Evans
"8 Channel installation prepared by Nate Wooley for Knockdown Center’s Auditorium Series. Performed live April 12, 2015. Wooley develops antiphonal music works from the model of Giovanni Gabrieli's polychoral style using an 8 speaker set up as two slowly twisting and disintegrating brass choirs playing along with Trumpet master, Peter Evans."
Underground Railroad + Live At Holy Cross Monastery
"This set is one of the most essential recordings of late-'60s free jazz, and anybody remotely interested in the period needs to hear it."
Otomo Yoshihide / Paal Nilssen-Love / Lasse Marhaug
""There are long passages of what I’ve described as beautiful noise – especially the weird psychedelic passage at the beginning of the flipside which sounds like manic early Can. It becomes more interesting the more you listen to it. Structurally, the two Pica albums are alike, seeking direction at the beginning, and increasing loudness and power at the end." -Free Jazz Blog"
The Seven Storey Mountain II
"The second piece of composer and experimental trumpeter Nate Wooley’s planned seven-part Seven Storey Mountain. For this round, Wooley engaged Chris Corsano (drums) and C. Spencer Yeh (amplified violin) to join him in creating the forty-three minute, highly improvisatory single-track recording. It is a haunting, often aggressive sound world that moves from a place of chilled droning into a dense and pummeling chaos, before returning to a stressed restraint reminiscent of the work’s opening moments. In his notes to the release, Wooley cites the piece’s exploration of fear, anger, and “spiritual catharsis."