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. -Steve Loewy, All Music"
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) "
Paul Flaherty / Greg Kelley / Chris Corsano
"The second offering from Flaherty & Corsano is a trio disc with Boston-based trumpeter Greg Kelley. Released in July, 2002, on Flaherty's new imprint Wet Paint, with Paul's artwork gracing the front cover."
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"
Paal Nilssen-Love & Arto Lindsay
"During drummer Paal Nilssen-Love's July 2013 solo gig at Auido Rebel's Quintavant in Rio de Janeiro Brazil, he was joined on stage by Arto Lindsay performing on electric guitar and voice. The result is this album, presenting two improvisations from these powerful players. Of the performance Nilssen-Love writes: "The gig was organised by the guys running Audio Rebel i Rio... fantastic guys who´s also musicians. Gig was amazing and we we´re both drenched in sweat and we agreed that we have to do more... thankfully the recording was a success and I think Lasse´s done a good job mixing and mastering the music."
DKV Trio + Gustafsson / Nilssen-Love / Pupillo
"DKV is one of the tightest free-improvisation units you can imagine due to the use of written material on which they improvise extensively. It’s especially Hamid Drake’s rhythmic pulse – ranging from funky elegant grooves to free wildfire – that provides the fundamentals of this group. It’s almost a shock when “This Building is on Fire”, the first track, abruptly ends and Gustafsson, Pupillo and Nilssen-Love step into the arena, as if they were burying DKV under their wall of noise. If you listen closely however, you realize that both trios complement each other excellently. Nilssen-Love shows his wild and expressive side but Drake is a much too experienced and great a drummer to drown in this torrent. He sticks to his style, and the result is a highly energetic combination that also grooves like hell. - Martin Schray and Colin Green "Free Jazz Blog""
Paal Nilssen-Love & Håkon Kornstad
"This set recaptures the remarkable balance of order and freedom those 2002 gigs delivered, and is the third in a series of duos featuring Nilssen-Love. His solo percussion excursions are constantly absorbing and the singing sound of Kornstad springs vividly off the drum-patterns and feeds back new directions in turn. It's pretty much all uncompromising free-improv, though the final track (Arched Shape), has a more traditional jazz feel in Kornstad's fluently bucolic tenor sound worrying at something near a regular tune. The session often resembles an Evan Parker set. Like the Dutch drummer Han Bennink, Nilssen-Love is a free player who never loses swing. Jazz improv of a very high order."