CD

Ab Baars / Meinrad Kneer / Bill Elgart

2018

"live at konfrontationen nickelsdorf 2012 features baars in a trio, which had quite a few gigs in those days, a co-op with german bassist meinrad kneer and long-time american-in-europe expatriate drummer bill elgart. for those used to baars’ gentlemanly ellington-affected playing and composing the first sound heard on “nickelsdorf suite #1 part i” may shock. here’s the dutchman skronking harsh aylerian smears from his saxophone. at the same time though baars’ altissimo screams and tonal exaggerations slide securely in place besides the weightlifter-like string pulls that kneer resonates to solidify the rhythm and elgart’s elegant pings and ruffs which moderate the output. - ken waxman, 11 november 2018, jazzword.com "

Ig Henneman Sextet

2012

Diskaholics Anonymous Trio

2006

". At some moment of spontaneous union, everything coalesces to the extent that it's difficult to determine who exactly is playing what, with Gustafsson's attenuated tones fusing exquisitely and inseparably with Moore's sculpted feedback and O'Rourke's analog thrum."

Peter Brötzmann, Steve Swell, Paal Nilssen-Love

2017

"If ever a group deserved the title of “free jazz power trio,” it would be this one. Legendary reedist Brötzmann, American trombonist Steve Swell, and the mighty Nilssen-Love have been playing together since early 2015, and have two masterful live sets under their belt, Krakow Nights and Live in Copenhagen. Both of those recordings boast a dense, muscular, yet occasionally free-wheeling sound that, in many ways, perfectly encapsulates just what these three players are all about - namely, raw power and fierce creativity. Live in Tel Aviv, which documents an October ‘16 performance by the trio, is the perfect entry-point for those who might be intimidated by the relatively long lengths of those prior albums - at only three-quarters of an hour, it is a thrilling condensation of the group’s strengths (Derek Stone, The Free Jazz Collective) "

New Monuments

2015

"Artwork By – Joanna John Drums – Ben Hall Saxophone, Electronics – Don Dietrich Violin, Electronics – C. Spencer Yeh "

Deep Listening Band

2013

Konono Nº1

2017

"Konono No.1, Orchestre Tout Puissant Likembe, from Kinshasa, Congo, was founded more than 25 years ago by likembe (thumb-piano) virtuoso Mingiedi Mawangu. The band was one of the first groups to use electric amplified likembes. They built everything themselves. The pick-ups were made from hammered bits of car starter-motors, handwound with copper-wire; they made wooden microphones and jack-plugs from bits of copper-wire and branches. With a 25 watt amplifier on a car battery and the typical "lance voix" field speakers they play fast, powerful, distorted music with the energy and rawness of a punk band. Konono No.1 plays music based on the tradition of the Bazombe, a tribe living on the border of Angola and Congo. Their style is also the basis of modern Congolese music like Zaiko Langa Langa. They have three likembes (solo, accompaniment, and bass), three drummers (congas [ngoma], cowbells, and a kind of hi-hat from metal plates), two singers, three women dancers and the mysteriously moving "president". It is a rough type of urban Congolese music. The lyrics are a bitter comment on the social situation in the Congo. This CD is a tribute to Konono No.1, to that first ever gig in Holland. It's a rough recording, recorded in stereo directly from the mixing-desk. But the music speaks for itself. PLAY LOUD!"

2017

"Konono No.1, Orchestre Tout Puissant Likembe, from Kinshasa, Congo, was founded more than 25 years ago by likembe (thumb-piano) virtuoso Mingiedi Mawangu. The band was one of the first groups to use electric amplified likembes. They built everything themselves. The pick-ups were made from hammered bits of car starter-motors, handwound with copper-wire; they made wooden microphones and jack-plugs from bits of copper-wire and branches. With a 25 watt amplifier on a car battery and the typical "lance voix" field speakers they play fast, powerful, distorted music with the energy and rawness of a punk band. Konono No.1 plays music based on the tradition of the Bazombe, a tribe living on the border of Angola and Congo. Their style is also the basis of modern Congolese music like Zaiko Langa Langa. They have three likembes (solo, accompaniment, and bass), three drummers (congas [ngoma], cowbells, and a kind of hi-hat from metal plates), two singers, three women dancers and the mysteriously moving "president". It is a rough type of urban Congolese music. The lyrics are a bitter comment on the social situation in the Congo. This CD is a tribute to Konono No.1, to that first ever gig in Holland. It's a rough recording, recorded in stereo directly from the mixing-desk. But the music speaks for itself. PLAY LOUD! credits "

Yannis Kyriakides

2016

Joe Morris & Do Yeon Kim

2018

"Do Yeon Kim is a masterful performer on the gayageum or kayagum, a kind of zither or harp from Korea. Joe Morris is the better-known performer here, playing guitar on this album. Their duo is an impressive and captivating example of incredible skill and a diversity of approaches from both players, including pointillistic improv, rich rivers of chords, languid moments of beauty, and moments where it's difficult to discern who's playing what. It may take several listens to embrace the "space" they occupy in performance, but the mix of exotic interplay and the fascinating challenge of hearing a unique combination of instruments that yields unexpected results draws in the listener. Morris and Kim are clearly captivated by their own playing, and their focus and flow in their dialogs keeps this album interesting from start to finish."

Maja af Svea

2012

Territory Band-3

2004

Ken Vandermark

2011

Mats Gustafsson / Massimo Pupillo / Brian Chippendale

2016

Joe Morris

2014

"Recorded in October of 2011 with longtime collaborators Steve Lantner on Yamaha electric piano and Jerome Deupree on drums, the disc’s five improvised pieces revolve around a core set of ideas that seek to employ the guitar as a post-Hendrix sound generator. The past two entries in the project, Sweat Shop (1990) and Racket Club (1998) explored various avenues of melodic composition with detours into ostinato and groove forms. Here the structures are more open-ended and concerned with color, texture and weight. To that end Morris breaks a rule set earlier in his career (although discarded with increasing regularity these days) by incorporating effects pedals into his sound and eschewing clean single-note runs. "

Ballister

2013

"Rempis snarls and chortles his way through the proceedings as Nilssen-Love catapults himself straight from one end of the set to the other, providing the relentless drive for which he's so well known. A must have recording for any fan of the intertwined Oslo-Chicago scenes."

Frode Gjerstad Trio

2011

"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."

Paal Nilssen-Love

2010

Frode Gjerstad Trio

2015

"Frode again this time with different long time fellow players the excellent drummer Paal Nilseen Love and bassist Jon Rune Strom Recorded on tour in Japan in Miyazaki Three great tracks from masters of the art form."

Getatchew Mekuria & The Ex & Guests

2006

"it is a magnificent melding of cultures. [...] Moa Anbessa is a great introduction to Mekurya for rock fans. The Ex doesn’t cut their intensity a bit – heck, they need it all to keep up with Mekurya, still going strong in his seventies. This is a powerful, rocking record that will thrill even listeners who’ve never bought a “world music” album in their lives."