Geometry Of Caves
Tomeka Reid, Kyoko Kitamura, Taylor Ho Bynum, Joe Morris
"The record also makes plenty of room for each of the musicians' individual strengths to emerge: Bynum is in especially fine form, with movement from lyrical beauty to pure abstraction and noise (just listen to his menacing growls on "Glowworm" as evidence); but Morris is also characteristically exceptional, whether offering prickly fragments or his patented scrapes, as he's continually seeking ways to advance the dialogue. Reid's relentless imagination leads her from chamber-like passages to motion-filled ostinato phrases that always possess compelling rhythmic energy; and Kitamura will be a revelation to those who haven't yet encountered her unique brand of vocal improvisation, turning in an instant from subtle to spasmodic." - Troy Dostert All About Jazz"
Geometry of Distance
Kitamura / Bynum / Morris / Reid
"The four musicians compose as one, weaving a kaleidoscope of unconventional textures and contrapuntal melodies, opening the door to a new sonic universe which only exists in real time composition."
"Glasses was recorded in October, 1977, during a highly significant period in McPhee's work, as he was pioneering the transatlantic, collaborative spirit that has helped to define the last three decades of his career. Documented in Tavannes, Switzerland, the set contains sensational tenor work, including the title piece, which finds McPhee ringing out a rhythm on a half-full wine glass, from which he extrapolates a melody on the saxophone, as well as a stunning version of John Coltrane's "Naima.""
Goofy June Bug
Ab Baars Trio & Ken Vandermark
"This pairing is as comfortable as a reunion of grade school classmates. Recorded live at Amsterdam's Bimhuis at tour's end, Goofy June Bug finds both men splitting their time between tenor saxophone and clarinet (backed by Baars' regular rhythm section of Wilbert de Joode and Martin van Duynhoven) and both honor each other's musical traditions: Baars' compositions are as likely to carry a '60s free jazz influence as Vandermark's are to contain European classical elements."
Terrie Ex & Paal Nilssen-Love
"Fourty-two minutes of unadultered sonic violence and energy. Rock? Jazz? Noise? Punk? Paal Nilssen-Love beats the bejeezus out of his trap kit and Terrie Ex throws harsh antagonistic feedback attacks into the process, which have no direction at all, played with the enthusiasm and energy of a garage band of 16-year olds, exploring what they can produce together, equally being surprised at things that work and that don't work, with an audience that shouts and applauds when the volume decreases, thinking the lengthy improvisation is over, but actually it isn't, because neither Paal nor Terrie want to let go, diving back in, sometimes hesitantly, sometimes with renewed power, new attacks, some novel ideas - and it must be said, not all of them are violent - to be further explored, developed or altogether massacred with an attitude of self-destruction, with a loathing of feelings like empathy or sympathy or even apathy, expressing feelings of anger and disgust, as it should be in a punk band."
Hands Up! You're Free
"Maybe in bursts, where the undertow doesn't need to be ribbed with volume, this record represents the real Ex, the complex, hyperfast, mobile scourge of convenient ignorance and partyline stupidity."
"1. Masani Cisse ... a rich nobleman, a very important person, close to god. Began very poor, making a living cutting and selling firewood. One day he saw a big dead tree. Long long time ago a rich warrior, a king, stranded at the tree, dying. A ghost promised him to guard the money at the tree. Masani Cisse started to cut. After three times, the ghost appeared and asked what he was doing. "I'm hungry," Masani answered. The ghost answered that he could do anything because the money was there in the spirit of the king. "If you are really hungry, you can take the money. But some things you are not allowed to do with it. You can not seduce women from someone else with it, for example." The story of Masani Cisse runs parallel with the beginning of the kora. The founder of the kora is called: Moussa Boulouge... "
Anne-James Chaton / Andy Moor / Thurston Moore
"Heretics is a series of portraits of radical heretical figures found throughout the history of schismatic thinking.Heretics like Caravaggio, William Burroughs, Jose Mujica, Marquis de Sade and Johnny Rotten, fascinated the artists. These influential figures are presented here in the form of poetic texts and catchy melodies combined with experimental noise. - With the addition of ex-Sonic Youth guitarist, singer and songwriter Thurston Moore, Anne-James Chaton and Andy Moor’s more than a decade long collaboration becomes an exciting trio. They researched and created the material for Heretics during a residency in the French port of St Nazaire, in July 2014. They used voice, guitars and electronics in solo, duo or trio, to collaboratively explore their ideas and co-write texts and music."
Sonic Youth & Mats Gustafsson
"Although the disc is divided into separate tracks, Hidros 3 is really one extended piece, with no gaps whatsoever. Dedicated to Patti Smith, it frequently sounds like improvisation rather than composition. The piece was recorded live at its premiere in 2000. The players were housed in small rooms of the Art museum in Ystad, Sweden, during its KulturBro festival. Jim O'Rourke was in charge of the mixing, the only performer capable of filtering the composite whole. The audience were free to wander from chamber to chamber, experiencing various subjective perspectives of the performance."
Joe Morris Bass Quartet
"The music is as free as you can expect it from these musicians, but always very rhythmic, boppish even at times, with Gray and Morris providing the solid, yet shifting foundations for the two soloists, two strong sylists by the way, to interlock and carry the tune, if that's the right word for this music."
"KUZU is a hard-charging but patient trio that came together in the fall of 2017, after saxophonist Dave Rempis a stalwart of the Chicago improvised music scene, worked with both Tashi Dorji (guitar) and Tyler Damon (drums) individually as part of a lengthy solo tour of the U.S. that he undertook in the spring of that year. Dorji and Damon’s work as a guitar/percussion duo has become well-known, a highly refined and specific language developed through relentless touring and recording over the last few years, with a sound that straddles improvised music, rock, and any number of as-yet-undefined territories. These two provide an incredibly fresh take on the possibilities inherent to spontaneous composition. Superimposing Rempis into this mix was a logical next step after the relationships they’d forged individually. "
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 "
History Is What's Happening
"Musically, they sound like a rather more melodic version of Crass; politically, they are a lot harder and their lyrics are excellent... An unashamed political manifesto."
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."
Hôtel du Nord
Sylvie Courvoisier - Mark Feldman Quartet
"It's full of an ethereal, non‑referential lyricism of the players' own – an affirmation of the power of pattern and audibly evolving relationships, even if very little of it resembles songs. - John Fordham, The Guardian"