"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
"It’s powerful, speedy, chaotic, but with a high degree of interplay and charm. Improvised, yes, but never out of focus. Although the two slow it down at times, they soon build up to the energies described, uncompromising, vibrant, hard, sonic, exploring their noisy palette of sound.” (FREQ)"
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."
"Recorded 5th June 2001 at the Koeienverhuur Studio in Purmerland and 21st May 2002 at Villa Zuid, Wormer by Dolf Planteydt. Mastered at LOUD, Amsterdam by Zlaya."
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. -Unsounds"
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."
"The music on Hiljaisuus is a game of recurring structures. Harmonic islands consisting of staccato and repetitive patterns are used as springboards and fixed points for further improvisation. -Martin Schray, Free Jazz Blog"
His Flight's At Ten
Lotte Anker · Pat Thomas · Ingebrigt Håker Flaten · Ståle Liavik Solberg
""If you're a lover of energetic music, raw, fierce and fearless, if you enjoy the adventure of four musicians interacting with assertiveness and sensitivity, if you like the unexpected, even if you're acquainted with free improvisation, and still like to be taken off-guard, if you like sudden changes, if you can appreciate chaos as both a source and end-point for a journey that can be full of calm, respect and sophistication, if you like pounding chords as well as subtle harmonics, if you like screaming saxes as well as precious timbral vibrations, if you like powerful bass-playing and screeching bows, if you like hard-hitting sticks and refined cymbal touches, if you like to be overwhelmed and impressed and taken for a wonderful trip without having anything to say except to become part of the music, then this album is for you." —Stef, Free Jazz Blog"
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
"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"
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"
Yong Yandsen / Christian Meaas Svendsen / Paal Nilssen-Love
"Hungry Ghosts are beings who are driven by intense emotional needs, periodically roaming the earth’s surface in search for anything that can satisfy their cravings. Now they are here for you! The omnipotent living legend Paal-Nilssen Love clashes head to head with bass prodigy Christian Meaas Svendsen on bass, playing with 2-3 bows, cheek, voice, hands and feet. In the midst of the battle we find Yong Yandsen, a high- octane Malaysian sax virtuoso who virtually explodes on stage combining the best of Japanese noise and European free-jazz-or-whatever-you- wanna-call-it together with the aforementioned gentlemen. Are they the Hungry Ghosts, or are they here to exorcise them out of you? One thing is sure: Don’t leave the Hungry Ghosts hungry! "