Made to Break
"If Made to Break’s album “Lacerba” deals with futurism, “Provoke” picks up the thread as to musical structure and philosophical references. Although the music is composed “the material is modular and parts can be combined spontaneously by the various members of the band, so the structure is improvised as well as the solos,” Ken Vandermark said. The three titles of the tracks make up the sentence “Further presentation of the facts” and they are dedicated to influential geniuses of the 20th century – John Cage, Buckminster Fuller and Marshall McLuhan."
Purple Dark Opal
"As Coltrane drew from jazz, gospel, and Eastern music, Kuzu do too, updating their approach with rock, metal and the tools of free jazz. We hear Rempis' patented rip, tear, crunch sound, but also there is a tranquility about this music not found in most free jazz. - Mark Corroto, All About Jazz"
"Here, Ken Vandermark is joined by Italian musicians Stefano Ferrian (tenor saxophone), Simone Quatrana (piano), Luca Pissavini (double bass), and SEC_ (Revox tape recorder, instant sound treatment). This album was recorded live on May 5th, 2013, at the Dragon Club in Poland, and it highlights the superb interplay and improvisational skill of the Rara Avis quintet."
"With such a diverse number of projects to his name Vandermark’s output can be kind of intimidating. Proper points of ingress into his work are highly subjective and dependent on what side of Vandermark’s multifarious personality you want to explore. Few if any of his releases capture all of his interests, but this one comes close to showing off all of his major traits as a player and it does so in a highly accessible setting."
Joe Morris / Ken Vandermark / Luther Gray
"One moment will have you holding your breath and the next will spur you to relax and slowly let your breath go. These three players never choose the highways when there are other roads to travel; you never know in which direction they’re going to turn. When the trio arrive at its destination, you’ll want to make the journey again: back to the first track. Another listening, another impression of this detailed recording’s nuances."
"Where a collagist would add and subtract in a studio mix, Daisy creates these sounds, amazingly, without overdubs. The scratchy dream-state wobble of "Concord Citizen" floats as lightly as a cloud with ghost voices as musical seasoning. —Mark Corroto, All about Jazz"
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."
Bradford / Gjerstad / Håker Flaten / Nilssen-Love
"Free jazz in the best tradition. And the audience is enthusiastic too. - The Free Jazz Collective"
Relucent - Music for marimba, radios and turntables
"This music is playfully serious and seriously inspired. It is obsessed with sonic juxtaposition, yet it is highly melodic. It wears its influences openly, yet it is refreshingly new. Born of improvisations, shaped into compositions, Daisy has written pieces that are sturdy, finely crafted morsels of musical experiences that the listener will return to again and again. —Tom Burris, Free Jazz Blog"
Joe McPhee / Michael Bisio / Raymond Boni / Paul Harding
"The gods were smiling, and Joe McPhee, Michael Bisio, Raymond Boni, and Paul Harding were caught in concert in tip-top shape, revealing the power of sensitive, quality blowing""
Repeat That, Repeat
Ig Henneman Tentet
""The Tentet lays out a silken, sumptuous ensemble sound, constructed from one composition to the next... which unfold at a leisurely pace into glorious peacock-feathers." –Erik van den Berg, Volkskrant"
Ken Vandermark & Fred Lonberg-Holm
"Fred Lonberg-Holm and Ken Vandermark are like a small band on this album, tight, voluminous, ideally matched, often it seems as if the music was pre-composed (but all of it is freely improvised). The music is like a dance between a songbird (cello) and a belling deer (tenor saxophone), sometimes their energy literally collides. -Martin Schray, Free Jazz Blog"
Resorts and Ruins
"With Resorts & Ruins he returns to his native land (at least in spirit — he has long been based in Amsterdam) for a sound collage rumination on travel and childhood memories. The disc is filled with washes of sound, Turkish pop music and vague spoken instructions, seeming to collide the parallel confusions of memory and being away from home. -Kurt Gottschalk"
Revolution Before Lunch
Thomas Johansson / Oyvind Storesund / Paal Nilssen-Love
"The rhythm section of Nilssen-Love and Storesund keeps him on his toes, forcing him to adjust his ideas into the urgent, propulsive rhythm section that keeps shifting its rhythmic dynamics. Nilssen-Love and Storesund sound as a telepathic, inseparable unit, but wisely leaving enough space for Johanssen to deliver his commanding solos."
Roadwork 1 / Roadwork 2 / Homework 1 (3CD Box Set)
"Where Wired for Sound felt fresh, youthful and surprising in so many aspects, this triple live album is a spectacular snapshot of how this group has progressed together – and is progressing together… On ‘Accordéon’ they are staring down the abyss just like Mats Gustafsson’s Fire, combining a very heavy pulsating groove with fiery improvisation. Another emotion which must be balanced perfectly to not become a cliché, but they pull it off perfectly! On ‘French Dress’ I think Sudderberg brings his performance up at least one level, again together with the band and on ‘B Eiga’ the group performance is fantastically tight. The album ends but I want more! “ - Gustav Lundqvist Free Jazz Blog *****"
Tim Daisy's Vox 4
"The cheers of the crowd at the end jar me every time. It's such a perfect creation it's easy to forget this is was recorded in front of an audience. Bravo! - Tom Burris. The Free Jazz Collective"
"In March of 2018, during guitarist Joe Morris’ stay in Calgary (see bim-75 notes for the full story), he joined the Chris Dadge/Jonathon Wilcke duo on two occasions. The first was a live performance at a tiny and packed room in the Theatre Junction GRAND building in the heart of downtown Calgary. After a stellar set from Laura Reid and Mark Limacher, Morris played a short solo set, Dadge and Wilcke played a short duo set, then the latter three played as a trio; it was their first time playing together. Later that month, the three reconvened in Dadge’s basement studio, fueled by Richard Youngs’ vegetable curry, for this sparkling burst of playing. A relative minority of Bug Incision releases are studio-based affairs, but the added clarity and sonic precision on display here greatly benefits this music, which is chock of full of dense, pointillistic playing. Wilcke’s sax work moves from fluffy free-bop melodicism to strangulated smears of sound, bringing out some inventive comping moves from Morris. Morris strikes an impressive balance between Wilcke’s saxophonic abstractions and the kinetic, tactile playing of Dadge, who is clearly relishing the opportunity to interact with such a spiky playing partner. Bug Incision could not be more pleased to present (along with bim-75) this second fine document of Morris’ Calgary saga. (Notes by Benoit Hughes) "
Ken Vandermark & Terrie Ex
"these good friends somehow manage to find “seemingly incompatible tactics that somehow fit together.” The tactics, as the titles often suggest, are quite chaotic, and opt for muscular head-on collisions and jumpy cat-and-mouse games with a raw, in-your-face sound. -Eyal Hareuveni, Free Jazz Blog"