Toshimaru Nakamura / English (Joe Foster & Bonnie Jones)
"“The sense of engagement between Nakamura and English is at all times palpable, and One Day is an extremely valuable and pleasing addition to their discographies.” - Brian Marley, The Wire"
One To (Two)
Günter Christmann / Mats Gustafsson
"this is music that challenges as it subverts, its highly esoteric, yet disarmingly attractive lines an attractive hook. Highly ambitious, subtly exciting, and always formidable, Christmann and Gustafsson make a delightfully revolutionary pair. Not easy listening, but rewarding listening, and continuously challenging listening, these guys shake the heavens with heartfelt cries of mercy. There are no liner notes but what could be said? Powerful stuff, but you have to look below the surface."
Barry Guy New Orchestra
"Four years after the successful debut album Inscape-Tableux, Barry Guy and his New Orchestra present their second release, Oort-Entropy. – The first CD was a success at first go. The French magazine Jazzman placed it among its records of the year in 2001 (“a scalpel from the first second”); the Canadian jazz magazine Coda put Barry Guy’s New Orchestra on the title page, and the Neue Zürcher Zeitung called the release “a masterpiece looking toward the future.” The Taktlos Festival 2004 in Zurich saw and heard the premiere of Barry Guy’s second composition for the Barry Guy New Orchestra, the three-part work “Oort-Entropy.” What has characterized Barry Guy’s orchestral works is also found in “Oort-Entropy”: the tension-filled interlocking of written passages and improvised highlights of the band members including Evan Parker, Mats Gustaffson, Herb Robertson or the Spanish pianist Agustí Fernández. That Barry Guy has created another masterpiece with “Oort-Entropy” is described by the Canadian jazz critic Greg Buium, who enthusiastically writes in his liner notes of “the tug between order and clutter, tenderness and brute strength, lyricism and discord.”"
Oslo / Chicago Breaks
"Vandermark conceived Powerhouse Sound in the summer of 2005 to explore composition focusing on the bass, rather than writing from the proverbial "top down." Inspired by the rhythms of James Brown, the dub experiments of Lee Perry, and the textural collages of Public Enemy, Vandermark arrived at a concept more funky, electronic and rockin' than anything he's done before."
Oto: Pat Thomas
"The quartet plays four untitled pieces, each of around ten minutes, and on the whole, it’s high-octane stuff. -Collin Green, Free Jazz Blog"
Oto: Steve Noble
"On occasions, what we have is Brötzmann and Lonberg-Holm in the one corner, and a wave of percussion in the other; sometimes Lonberg-Holm supports the barrage with low regular throbs; sometimes he’s pitted against it. The result is two unnamed pieces, the first lasting almost forty minutes - epic in its emotional span – and a short coda of some five minutes. -Collin Green, Free Jazz Blog"
Out of the Hole
Noah Kaplan Quartet
""Character, imagination, and distinctiveness - only three of this music's many virtues - are subject to no temporal limitations. Thus time passing has no significance other than the altering of our perception - which, musically and metaphorically, seems to be on the mind of Noah K as well." - Art Lange"
Out Right Now
Joe Morris / Mat Maneri / Joe Maneri
"The musicians' animated approach and spurious interplay is akin to some sort of domino effect, where the respective soloist's trigger responses from one another. Throughout, the trio expounds upon an abundance of emotionally driven mini-themes, consisting of Morris' articulately executed, fluttering single note lines, Mat Maneri's interrogation of all sonic registers and the band's overall propensity to pursue verbose dialogue amid various odd-metered rhythmic foundations. Hence, the music portrayed here often elicits notions of three scientists delving into a complex mathematical formula."
"Double Tandem has build up music whose real expression lies below the surface. It injects an unsettling sleaziness into a funny, occasionally wild and boastful collection of tracks that walk the line between postmodernism and sincerity. The tracks are all living, breathing entities, not blank slates to project my plain ideas and desires of how to review music on. This is music about honesty and truthfulness."
Joe Morris Instantiation
"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, June 2019"
"it's an invigorating performance and designed with great focus, as the musicians don't blow matters out of proportion or engage in long-winded soloing sprees. —Glenn Astarita"
Parrot Fish Eye
"Recorded in Chicago in 1994, Parrot Fish Eye presents Mats Gustafsson in two lineups: a duo with percussionist Michael Zerang, and a trio with Gene Coleman on bass clarinet and Jim O'Rourke, who moves between guitar, accordion, and percussion. Gustafsson and Zerang incorporate their vast vocabularies as they improvise through the eighth track, "Shut Up!"; the remainder of Parrot Fish Eye is improvised by the trio. An interesting and exciting listen for big fans of Mats Gustafsson."
Party At The Bimhuis
Ab Baars Trio & Guests
""Concision and concentrated emotion commingle with technical proficiency at a quite rarefied level throughout. Discipline and definitude are combined with a sometimes-dizzying willingness to explore uncharted territory in a thoroughly engaging fashion. Baars can be bracingly abstract at times - particularly on clarinet - then turn around and prod your viscera with tenor playing nakedly ardent enough to give Gene Ammons a run for his money. … Discipline and definitude are combined with a sometimes-dizzying willingness to explore uncharted territory in a thoroughly engaging fashion. ... Party at the Bimhuis is a brilliant recording." Bill Barton, Sudden Thoughts CD Reviews credits "
Rempis/Abrams/Ra + Baker
"The album consists of two live performances. The first is from August 2015, recorded at Elastic Arts. The second is from January 2016, recorded at The Owl. The main difference between the two is the addition of Baker, but both are just super fantastic. -Lee Rice Epstein, Free Jazz Blog"
McPhee • Caloia • Stewart
"Permutations” is a set of colorful expressions, rich musical language, marvelous and brilliant solos and original musical decisions." -AvantScena Art Stew Records – ASR 007"
""The string quartet is an instrumental combination most often heard in many different genres of classical music; in fact, it is one of the standard groupings for this music, whereas it is a more rare enterprise in improvised music. Certainly there are examples of string players getting together to improvise, but the results can not so often be compared favorably with great classical string quartets. The Dutch viola player and composer Henneman is making great progress in this area however, as she has found a regular group of musicians to work with, evidenced by the six-year span of recording dates. The difficult task of integrating composition and improvisation is carried out with aplomb by this group: they actually make it sound easy. A nice combination of male and female energy exists in this group, as well as a combination of Dutch musicians and so-called ex-patriot Americans who have settled in the Netherlands. The players are comfortable working in a traditional, melodic, and harmonic manner but also can and do go way out. Everything that happens makes logical sense, and this is music that reveals rich layers of detail upon repeated listenings." - Eugene Chadbourne (All Music)"
The Rempis Percussion Quartet
"Phalanx, which pairs 2012 performances from Milwaukee and Antwerp, is the sixth recording by the Percussion Quartet. The songs are epic-the first of two Antwerp offerings runs 48 minutes-but with its continual sense of rhythmic and thematic renewal and its sheer propulsive drive, the music never wears out its welcome. -Loyd Sachs, JazzTimes"