"The eight pieces blend together so that it’s almost impossible to separate them, not unlike the empathetic interplay between Rempis’ horn, Reid’s cello, and Abrams’ bass. -Andy Beta, Pitchfork"
"Much of the time it's a three way enterprise, illuminated by inventive passages like the knotty interplay between circular-breathed alto, clanking percussion and scuttling guitar on "IIOII." -John Sharpe, All About Jazz"
Let the World Cry (Duets)
"Featuring duets with Shaine Scarminach, Eugene Chadbourne, Dave Rempis, and Fred Lonberg-Holm"
Silke Eberhard, Dave Rempis, Kent Kessler & Mike Reed
""This set was a particular highlight of the event, with the longstanding connections between the three Chicagoans providing the perfect springboard for Eberhard to bounce off. As a front line, she and Rempis proved to be completely simpatico - knowing how to lay back, how to tease interweaving lines from one another, and how to dive in on a full-on burn when needed. And Kessler and Reed as always prove to be the perfect accompanists." -Aerophonic Records"
"The music was recorded in a 12,000-square foot abandoned munitions bunker situated in the northeast corner of San Francisco Bay. The unique space created a natural (and unalterable) reverb which the players had to factor into their performance. -Mark Corroto, All About Jazz"
The Chicago Reed Quartet
"Furthermore each contributes two pieces to the book and the resulting variety of approaches engenders a winning program which ranges between tightly scripted and looser confederations. -John Sharpe, All About Jazz"
"The quartet moves from one form to another with ease, and their improvisational skills are very good; the music never lags during that long duration. -Stefan Wood, Free Jazz Blog"
The Strobe Sessions
The Rempis / Rosaly Duo
"This unheard album was recorded back in January 2012, as a follow-up to longtime musical partners Dave Rempis and Frank Rosaly’s 2009 duo debut Cyrillic on 482 Music. After recording, mixing, and mastering the record, 482 Music declined this second release, leaving the record unheard until now. That experience was one of the reasons Rempis decided to start his own imprint, Aerophonic Records, in 2013. Heard here for the first time, the album holds up almost ten years later as a testament to the deeply empathetic relationship that these two sensitive improvisers have both had naturally, and also worked hard to develop further. And it helps to fill in some history between that first release, and 2020’s Codes/Myths on Aerophonic."
The Rempis Percussion Quartet
"By now the foursome are masters at maintaining an arc of tension over such extended improvisation. What's remarkable is how they sustain the invention without repeating themselves. -John Sharpe, All About Jazz"
Cash and Carry
The Rempis Percussion Quartet
"Deep within the music there is a pulse that carries this music, and it is mostly directed by Håker Flaten's bass. Switching to baritone, the music gets even more quiet, and at the same time more rigorous. As the piece ramps up, the insistence of the music exhausts the piece. -Mark Corroto, All About Jazz"