Frode Gjerstad Trio
"Recorded live at Mir, Oslo, September 28th 2010, it captures four parts of fully free and improvised music between Norwegians musicians, Frode Gjerstad on alto saxophone and clarinet, Jon Rune Strøm on bass and Paal Nilssen-Love on drums and percussion."
Nothing Is Forever
Frode Gjerstad Trio
"The trio freely accumulates sonic materials until a pattern emerges and the music then takes off from there, always holding the listener's attention in the process; the music very rarely becomes rises to all-out blowing, keeping the energy flowing through control and careful listening instead. Gjerstad’s phrasing employs wide intervals and a chirping, bird-like sound, and makes a very convincing case for an original and highly original combination of Eric Dolphy's and Albert Ayler's lineages. The different strategies devised by drums and bass in reaction to the unexpected breaks, jumps and timbral microvariations in the reeds' lines make for this listener the most exciting moments in a very successful CD."
Frode Gjerstad Trio + 1
"With the release of “Forgotten City” Norway’s premier free-jazz trio sounds as fresh and exciting as when they started."
Frode Gjerstad Trio + Steve Swell
"Frode Gjerstad’s name can be legendary in Norway and all the European continent, due to the fact that he was practically the only one to contrast himself, from the beginning, to the saxophone style which defined the Scandinavian approach to jazz for 40 years, the one defined by Jan Garbarek, but his trio with Jon Rune Strom and Paal Nilssen-Love is relatively new on the scene. It started in 2011 and there’s only another recording with trombonist Steve Swell as special guest, “At Constellation”, from 2015. Of course, there were some previous cumplicities between these musicians: Nilssen-Love was a member of Gjerstad’s Circulasione Totale Orchestra since 1992 and the alto saxophonist and clarinetist played with Swell in several occasions, mostly when visiting the United States. Musically, the quartet proposes a very particular kind of free improvised music with strong connections to the free jazz tradition, reinforced by the participation of the American who collaborated with the likes of Cecil Taylor, Bill Dixon and Anthony Braxton. The energy level is very high, but the delivery isn’t always on the red: lots of dynamics and sudden contrasts keep the group interactions interesting and unpredictable. Frode Gjerstad’s approach to improvisation is distinctive in itself: he’s a melodic player, even if asymetrical, and he prefers the “old school” jazz phrasing to «reed-fueled bric-a-brac», as a music critic once wrote, managing to present it as if it’s a novelty."
Snakelust (To Kenji Nakagami)
"The label information says that this “documented concert was voted by Portuguese critics as the last year's very best”. Yes, it is purgatory but I always feel purified after listening, too. Play really loud!"
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 & Paal Nilssen-Love
""Red Sky comes from folk lore of sailorsill and farmers predicting or forecasting weather. I use it here as a metaphor for looking backward and forward at the saem time, remember the past (lest we be doomed to repeat it) but with an eye to the future. [...]" -Joe McPhee, from the liner notes."