"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. -Alfie Cook, Free Jazz Blog"
"Rich and explosive when it’s boiling, it’s still damn rich when it’s just wafting. – Byron Coley for The Wire"
"Listening at high volumes reveal Corsano playing every inch of his drum set, woody chops echo beneath splashy fills and inhuman snare hits while Haker-Flaten runs speed trials around Wooley’s in-the red-runs across a ruinous tonal field. A truly magnificent thing to behold. - Ryan Hall, Tome to The Weather Machine:"
Ingebrigt Haker Flaten
"The solo album, which is a bit of a rarity in Flaten’s decorated recording history, takes a wholesale improvisational approach while keeping Charlie Parker’s classic number “Confirmation” and a religious folk song from his home village Oppdal, contained on Ingebrigt’s album Village Songs "Den Signede Dag,” as subconscious points of attack."
Hong Kong Cab
Ingebrigt Håker Flaten's Time Machine
"Hong Kong Cab, Ingebrigt Håker Flaten's fourth solo bass album, is a different breed. Unconcerned with unadorned rhythm, the Norway-born/Austin-based jazz maverick uses his instruments as paintbrushes, expressing himself with slashing strokes and controlled splatter like Jackson Pollock. —Michael Toland, The Austin Chronicle"
Den Signede Dag
Ingebrigt Håker Flaten's Village Songs
"What is the likelihood that hymns from the time of Pietism would resonate with progressive free musicians in Austin, Texas? Particularly when they are sung in a language that feels distant, even to Norwegians. On this album the miraculous happens, in that old texts communicate across centuries and language borders. - Ivar Flaten"
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"
Joe McPhee & Ingebrigt Håker Flaten
"Multi-instrumentalist Joe McPhee and Norwegian bassist Ingebrigt Haker Flaten have been collaborating for the better part of a decade, chiefly through McPhee’s work with Flaten’s agro-jazz trio The Thing. Their second duo release is a far more restrained affair, full of loosely sketched melodic information rather than sonic carpet-bombing. -Shaun Brady, JazzTimes"
"One more important record to the art of the reed & bass duets, now with Vandermark on reeds, and some of today's greatest modern jazz bassists: Ken Kessler, Ingebrigt Håker Flaten, Nate McBride and Wilbert De Joode. Not only because of the variety of reeds used, and the different styles of the bass players, but also the approach differs greatly on all these relatively short improvisations."
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."