Time to do my Lions
"This is a varied recording, a generous offering of personable, personal, and pleasingly experimental songs. Baar's employs just the right amount of stream of consciousness to soulfulness in his melodies to make 'Time to do my lions' a fascinating one."
Today On Earth
Joe Morris Quartet
"The music incorporates a lot, with a title already hinting at it : you have jazz (and a wide variety of it), African music, Middle-Eastern flavors, folk, a little blues, and lots of freedom and joy. Enjoy this beautiful existence, today on earth!"
Tooth and Nail
Joe Morris & Nate Wooley
"This kind of association indicates us, from the start, that we’re going to testify something very special, a journey of puzzling discoveries, mutual challenges, brilliant spontaneous solutions, dynamic interchange, and close interaction."
Tout Ce Que Je Sais
Anne-James Chaton, Andy Moor
"The duo Anne-James Chaton and Andy Moor has produced original works where poetry and guitar combine in explorations of thematic axes. With the project 'Heretics', of which Tout Ce Que Je Sais (All I know) is the second part, they revive the most obscure, violent, erotic passions, summoning the great figures of their personal mythologies. In the company of Caravaggio, Marquis de Sade, William Burroughs and figures such as Jose Mujica, the duo immerses the listener in another world history peopled by radical thinkers. 'Heretics' pays homage to those heroes who used transgression and excess as a necessary means for the advance of humanity. In this new album, recorded live at the Carreau du Temple in Paris on the occasion of Périphérie du 35e Marché de la Poésie (2017), Anne-James Chaton and Andy Moor deliver a radical work at the confines of literary and musical creation"
Duo Baars - Henneman & Dave Burrell
"The brilliance of this trio is proved most powerful when we start to think about all the other moments they could have uttered a note and most certainly would have changed the direction of the music... from beginning to end this is marvellous, improvised music. A music so marvellous that we tend to forget that it did not exist before Ab Baars, Dave Burrell and Ig Henneman stepped on the stage of the Bimhuis that one night in September. And which after that intriguing concert did exist only as a memory. Until now. (Mischa Andriessen)"
Anne-James Chaton & Andy Moor
"A collection of poetry guitar music pieces originally released as a series of four seven inch singles based around the themes of transportation and transition; side A constructed from real or factual information and material, side B from fiction and fantasy."
Made to Break
"The Made to Break template is, ironically enough, a very sturdy one. Take an assertive bassist who isn’t afraid to bring a bit of funk to the mix and a drummer who has been a continuous companion for about 20 years, and you’ve got a pretty perfect setting for the bar-walker grooving, Brötzman-esque barking and rippling, interval-leaping runs that constitute the more muscular side of Vandermark’s playing. But comfort isn’t part of the program here, and Vandermark isn’t satisfied with simply kicking some funky fire music ass. Made to Break is a statement of intent, not just a catchy name, and the fourth member of the band is there to make sure things don’t get too easy. http://dustedmagazine.tumblr.com/post/170799767125/made-to-breaktrebuchet-trost -Bill Meyer, Dusted Magazine February 12, 2018 ----- 5 Star Review Vandermark, Daisy and Stadhouders alternate constantly between solidifying and deepening the powerful rhythmic envelope and contrasting and challenging each other’s role. Kurzmann, in his turn, alternates between opposing all three with his imaginative stream of alien, noisy and abstract sounds that charge the immediate, tight interplay with a strong sense of surprise and risk taking and soloing along Vandermark like an otherworldly reed instrument. -Eyal Hareuveni, The Free Jazz Collective, December 29, 2017 ----- "There comes a time in every extended piece from Made To Break where the ground drops out from beneath the song, and what remains is a simultaneous state of floating and falling, where the song doesn’t really seem to be proceeding in any one particular direction, but there exists, nonetheless, a heavy gravitational pull. On the quartet’s newest, it happens at the halfway mark of opening track “Hydroplane (for Shellac).” The dancing groove instigated by saxophonist Ken Vandermark and amplified by the rhythm-duo of bassist Jasper Stadhouders and drummer Tim Daisy suddenly gives way to the drifting electronics and effects of Christof Kurzmann. That’s when forward locomotion and melodic focus transforms into chaos and unpredictability. It’s as compelling as it’s startling, and as blunt as the transition can feel, it’s no less satisfying when the transformation comes full circle back to where it began. The effect is no more subtle on the blues-inflected “Contact Sheet (for Susan Sontag)” or the relentless volatility of “Slipping Words Against Silence (for Kerry James Marshall),” and that the results can vary so wildly from piece to piece is a source of intrigue that nicely complements the thrills." -Dave Sumner, The Best Jazz on Bandcamp: November 2017, Bandcamp Daily, December 4, 2017 "
Tim Daisy, Michael Thieke, Ken Vandermark
"A triptych, 3 art panels (musicians) usually held together by hinges (common musical direction) or three musical works designed to be listened to together. This recording has indeed three musicians, Tim Daisy (Drums, radios, percussion and the composer of the three before mentioned tracks), Berlin based clarinetist and composer Michael Thieke and Ken Vandermark (tenor sax and bass clarinet) who are hinged together by Daisy’s compositions and by 5 interspersed, improvised pieces... The three composed pieces (At Argyle, Yellow Fern, and Tuesday at Noon) start as very listener friendly tunes that soon break away into each player’s deconstruction. The whistle-alongability is just a front and soon you delve into the non-melodic player (Philip Coombs, The Free Jazz Collective)"
Trost Live Series 001
"recorded live at Fylkingen, Stockholm, 4th of may 2017 credits released September 5, 2017 akira sakata - alto saxophone, clarinet, voice johan berthling - bass paal nilssen-love - drums recorded, mixed, mastered by Mikael Werliin "
"The angular guitars, in-your-face drums, rock cello, and punk vocals are flawless, like a well-slicked machine, perfected through numerous live performances. After a surprising 25 years of existence, The Ex have no signs of becoming stale, tame, or rusty; challenging themselves to bring completely new ideas into the mix.’’ Jon Whitney - The Brainwashed Brain. "
"I’m glad that Ultra demanded revision. I am the now the organizer not the composer. The music was made with equal contributions from all of us. To me, Ultra is free of the contrivance that often plagues this kind of attempt, and that allows the listener to determine its meaning and value. I speak for the group when I say that we hope the music surprises and inspires you. Joe Morris June 2017 "
""What is here, though, is beyond these landmarks of traditional jazz. The world is not flat and neither is jazz, and if you can place some faith in that, you can get into this. FME pays tribute to four innovators of free jazz and improvised music: saxophonist and trumpeter Joe McPhee, percussionist Paul Lytton, guitarist Joe Morris and saxophonist Peter Brötzmann." -All About Jazz"
"The second release on UNSOUNDS by the sound artist Francisco López. It is a two part work based on a radical reconception of the piano. Movement 1 is a composition created for Reinier van Houdt that utilises some extreme preparations, it is a 20 minute tour de force. Movement 2 is a studio sound transformation of the initial piano part, where one hears the exploded and recombined sonorities of the piano taking on an immersive sonic dimension as one has come to expect of López’s work in the last years. The collaboration with Ensemble MAE musician Reinier van Houdt has produced an intriuging and original work of instrumental music, a highlight in López’s oeuvre."
Variations on a Blue / Round Midnight
"Variations on a Blue Line/'Round Midnight was recorded in October, 1977, during a highly significant period in Poughkeespie, NY, multi-instrumentalist Joe McPhee's work, as he was pioneering the transatlantic, collaborative spirit that has helped to define the last three decades of his career. BlueLine comes from a concert in Rouen, France, when McPhee played on a double bill with the Peter Brötzmann/Han Bennink duo. It features the side-length tenor excursion "Beanstalk" (dedicated to Coleman Hawkins), an alternate version of "Knox" (known from his beloved LP Tenor), and two soprano pieces, "Motian Studies" and Thelonious Monk's "'Round Midnight.""