Live at Théâtre Vidy-Lausanne
Sylvie Courvoisier / Mark Feldman
"Even at their most heated, Courvoisier and Feldman always sound as if they're weighing proportions, massaging nuances, and drawing listeners in. - John Fordham, The Guardian"
Live In Japan Vol. 1
Diskaholics Anonymous Trio
". 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."
Live in Ljubliana
Trumpets and Drums
"Trumpet and drums, or more exactly: two trumpets and two drumsets. The trumpeters, Nate Wooley and Peter Evans, are used to playing together, but it’s a first finding such different drummers (one a natural born rhythmicist, the other an architect of textures) as Jim Black and Paul Lytton playing together. Wooley has a duo with Lytton, and Evans worked with the two men holding the sticks. So, don’t think there’s a double duet acting here, or that previous Wooley / Evans or Wooley / Lytton experiences give a base of security to the events heard. As the wild card of the quartet, Black would easily (just by being himself) cut off all attempts to go to chartered terrain, but truth is he doesn’t need to: veteran improviser Lytton and the two younger horn players are known, precisely, for their ability to contradict themselves and to perform the unexpected. So, “Trumpet and Drums” isn’t the kind of summit you normally get when the same instruments are on stage. There’s no battle of skills, even if they’re well evident. That’s something else what conducts this meeting of giants: to find what the mirrors don’t show. And the four musicians do find what they search for, and so can you."
Live In Tel Aviv
Peter Brötzmann, Steve Swell, Paal Nilssen-Love
"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, Free Jazz Blog"
Joe Morris Instantiation
"Six versions of the piece are here, sequenced in the order in which we performed them in the studio. My goal with Instantiation is to create unique and rewarding experiences for listeners by synthesizing the meta-properties of Free Music in new and creative ways. I rely on the attention to the material and the individual and collective artistry of the ensemble of players to realize a unique result with each performance. - Joe Morris, liner notes"
"Lonelyville may be Courvoisier's strongest work yet as a bandleader in a discography that has included compelling trios, solo albums as well as duets with percussionists and other pianists. It's tempting to call it a crowning achievement. It's much more satisfying, however, to realize that there is, no doubt, much more where this came from. - Kurt Gottschalk, All About Jazz"
"Artwork By – Joanna John Drums – Ben Hall Saxophone, Electronics – Don Dietrich Violin, Electronics – C. Spencer Yeh "
Deep Listening Band
"Rediscovered archival tapes from a recording on June 14 & 15, 1999 at the Deep Listening Studios in Kingston, NY.. Released in memory of David Gamper."
Kokono n 1
"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! -Terp Records"
"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! -Terp Recorrds"
"Lunch Music by composer Yannis Kyriakides is a set of pieces for voices, percussion and live electronics, inspired by the 1959 book Naked Lunch by William S. Burroughs. On this recording the virtuosity of percussionists Slagwerk Den Haag (recently heard on the recording of Michael Gordon’s Timber) and contemporary vocal specialists of Silbersee are embedded in a rich sonic environment of electronics, modulated voices, grinding pulses and hallucinatory noises. -Unsounds"
Joe Morris & Do Yeon Kim
"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."
Agustí Fernandez / Joe Morris / Charmaine Lee
"«Magma» is indeed a free-improvised meeting of the volatile and volcanic kind, wild, unpredictable and risk-taking. -Eyal Hareuveni, Salt Peanuts"
Maja af Svea
Maja af Svea
""Bulgarian born Maja Spasova came to Sweden 1984. She makes performances, videoinstallations and many other spatial works. In all fields a unique forerunner. She works internationality, at the moment living in Berlin. She is in many ways a pioneer. Like KlinKlangplan that was installed in a subwaystation in Stockholm 1991.When people arrived waiting for the train suddendly they heard voices and bells from the loudspeakers normally used for other business, like delayed trains. In most of her works sound plays an important role. Thus we asked her to remix some of her works from an aspect of sound to fit into a CD. A few of her own remixes were then given to different musicians, who in their turn made new remixes.""
Maja Ratkje & Jaap Blonk
"This duo deals with improvised vocals – with or without electronic effects. Jaap Blonk is a Dutch performer who has performed sound poetry and free improvisation since the 80’s. They have released two album on Kontrans, one without and one with live electronics. More or less all sounds are derived from the voice/mouth region."
Mark In the Water
"Wether playing open pieces or portraits what Ken Vandermark is really doing is looking in the mirror and making a self-portrait. And it comes out as a picture of an excellent musician, remarkable artist and sensible soul that is as deeply passionate about music as one can be. A mere chapter on his musical journey, a document of his self-conscious development as an artist and a musician. A picture of a mark in the water (trying to capture and fix what never stays the same). I loved the concert, I love the album"
Mars Williams Presents an Ayler Xmas Vol. 4 - Chicago vs. N.Y.C
""The music isn't so much a mash-up as a recognition that Albert Ayler's use of national anthems, military band marches together with his hymn-like creations were part and parcel of a universal sound. A natural addition to that list is Xmas music." - Mark Corroto, All About Jazz"
Orchester 33 1/3
""Orchester 33 1/3's Maschine Brennt is a distinctly post-modern free recording, built on a foundation of extensive improvisation, but with an electronics section headed by Christian Fennesz (courtesy of Mego Recordings) and Christoff Kurzmann, among others. The hour-long album ranges far and wide across jazz and avant-garde; in fact, the 40 minute title track (an homage to Max Brand) veers from absurdist free-jazz bleatings by horns and reeds to slinky, paranoid lounge-jazz to a series of vocal features pitched halfway between Paul Robeson and Tom Waits. Needless to say, Maschine Brennt is a challenging, innovative work, though it will take adventurous listeners to enjoy this as much as they respect it." -John Bush, All Music"