"After concerts and recordings as Angles 10, Angles 9, Angles 8 and Angles 6, here is back the original Angles line-up, Angles 3. It was 2004 and for a gig at the Glenn Miller Cafe it’s mentor and saxophonist, Martin Küchen invited two Scandinavian musicians now living in the United States (respectively, Austin – Texas and San Diego – California), Ingebrigt Håker Flaten and Kjell Nordeson. “Parede”, the title, is a tribute to the Portuguese town near Lisbon where the album was recorded live, at a venue called SMUP which in few years became the equivalent in this Southern European country to The Stone, Cornelia Street Café and Nublu. Most of the compositions, like Küchen’s classics “Satan in Plain Clothes” and “By Way of Deception”, are the same of those other Angles investments, of course with different arrangements. This version functions as a reduction to the essence of the music conceived by the Swedish musician, resulting in an energetic, even brutal, kind of free bop delivered to the ears as if it is punk or metal, echoes of Sonny Rollins and Albert Ayler mixing with something that could come from… The Melvins. credits "
Catalytic Quarterly Issues 1-4 (2018)
"In a very limited quantity of 30 hand-numbered sets, we present the first four issues of the Catalytic Quarterly collected in an envelope designed by our own Federico Peñalva. From Ken Vandermark's first article on the challenges of 21st-century sustainability to Mat's Gustafsson's collected Discaholic's Corner notes and everything in between from Ig Henneman, Andy Moor, Terrie Hessels, Paal Nilssen-Love, Joe McPhee, Joe Morris, Nate Wooley, Ab Baars, Elisabeth Harnik and Tim Daisy all of our partner artists non-musical Catalytic activity is collected in this set. Get one while the stock lasts! "
"Both McPhee and Bishop have played far on the outside but while these pieces are framed as improvisations between the four participants, neither strays too far from their lyrical side. The opener begins with a mournful trombone laying out thematic concepts. McPhee joins in the mourning against Zerang's slow rumble. Then it all gives way, Bishop becoming increasingly percussive, as if trying to match the drummer's off-kilter rhythms before this in turn disintegrates and McPhee, his tone reminding me of Charles Tyler, comes storming in. And so it continues, each track revealing just why they are regarded as amongst the greatest improvisers currently performing. "
Hong Kong Cab
Ingebrigt Håker Flaten's Time Machine
"Time Machine is Ingebrigt Håker Flaten — electric and acoustic bass, effect pedals. His robust fingerwork is ever-present in this new collection that explores mood & texture in a bold departure from his usual propulsive rhythms. An outgrowth of his eclectic outings with the likes of The Thing, Atomic, The Young Mothers, Plutonium Farmers and more, Ingebrigt Håker Flaten bridges the divide between jazz & rock, exemplifying the rugged freedom that defines both genres, joining pioneers like James Blood Ulmer, Stanley Clarke, Sonny Sharrock and Bill Frissell."
James Blood Ulmer and The Thing
"This is not a James Blood Ulmer album. This is not a The Thing Album. If that’s only what you’re after I can highly recommend the magnificent Blood’ album ‘Tales of Captain Black’ from 1979, or The Thing’s ‘BOOT! from 2013. Furthermore, one simply cannot say what James Blood Ulmer is, as far as genres go. Is he jazz? Is he funk? Is he rock or blues? Is he ‘someone-who-took-Jimi-Hendrix-playing-to-the-next-level’? I’m just going to leave it at this: he’s James Blood Ulmer. He’s a living legend as far as breaking boundaries in cross-genre guitar playing goes. - Gustav Lindqvist"
LEVIN / HAKER FLATEN / CORSANO
"Three innovative improvisers, Daniel Levin on cello, Ingebrigt Haker Flaten on bass, and Chris Corsano on drums, in a studio album of collective free playing that traverse both ferocious and introspective aspects of their dialog with tremendous technical skill and wonderful creative strategies."
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 "
Decayed - Live at Aketa No Mise
Michiyo Yagi, Ingebrigt Håker Flaten & Paal Nilssen-Love
"1. Cascades [30:14] 2. Low End Brew [18:37] 3. Derek & the Domino Theory [12:50] All music by Yagi (Hotwire Inc.), Håker Flaten (TONO) and Nilssen-Love (TONO/Cien Fuegos) except ttack 3 by Yago, Håker Flaten, Nilssen-Love and Kaiser (Fractal Music/BMI) "
"It’s not the first time we find Scandinavian and American musicians playing together – some of the bands founded by Ken Vandermark have this characteristic –, but Starlite Motel comes with a different focus than the ones trying to reconnect the techniques and aesthetics of improvisation developed in Europe with its jazz roots in the United States. In “Awosting Falls”, non-idiomatic and idiomatic improv meets with… psychedelic rock. Those procedures and styles are very well known by the mastermind of this new enterprise: Gard Nilssen, the Norwegian drummer of the rock-oriented, electric bands Puma and Bushman’s Revenge, but also of hardcore post- free jazz groups like Acoustic Unity and Cortex. His Nordic companions are also familiar with it, namely saxophonist Kristoffer Berre Alberts, who brought jazz to noise domains with partners like Lasse Marhaug and Maja Ratkje, and bassist Ingebrigt Haaker Flaten (now living in Texas, by the way), a member of the free jazz / free rock band The Thing and leader of the metal / hip-hop / jazz combo The Young Mothers. The American in the quartet is Jamie Saft, one of the most permanent of John Zorn’s collaborators, part of Electric Masada and also the author of “Trouble: The Jamie Saft Trio Plays Bob Dylan” and leader of a band including the jazz mainstream bassist Steve Swallow, The New Standard. The music is puzzling and sensuous, cosmic and groovy at the same time. Now you can dream with a beat."
"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 "