Soigne Ta Droite
"This is complex composed music delivered with the passion of free playing, never losing control, but delivering a satisfying punch. The recording was made for the lucky audience of the Artacts Festival for Jazz and Improvised Music in Austria in, 2018. -Paul Acquaro, Free Jazz Blog"
Solo + Trio Roma
"The rhythm section is thunderous in general with Nilssen-Love providing polyrhythmic barrage fire to Brötzmann’s assaults. It is a vortex of sounds – some shrieking, others almost torn, spat, even puked – owing credits both to hardcore and to Dadaistic sound poems, sharing their free rhythms, their devoted declamation and their rejection of conventional form and content. Trio Roma is a supremely passionate and committed group. -Martin Schray, Free Jazz Blog"
"Live recordings from guitarist Joe Morris, performing solo at Bimhuis in Amsterdam in two Octobers from 2013 to 2014, showing remarkable technical and creative skills while captivating his audience with accessible progressions and story-telling; masterful!"
Solo Songs for Instruments
"[...] Ig Henneman has discovered a third route, a fusion of the Lied's finesse with the straightforwardness of a jam session. Her Solo Songs for bassoon, bass clarinet, violin, viola and cello trace a semi-improvised road towards song, starting from an instrument. The musician plays, and plays on, till a tipping point is reached where text presents itself as an answer to the questions uttered by the notes as they were groping, searching, dancing, growling, whining. At this point, replete with climactic musical energy, the musician starts to sing, pressed by an urgency too strong for the voice to withhold: it must speak out. It is the turning point. The words of Ingeborg Bachmann, Anneke Brassinga, Emily Dickinson, Sarah Lawson and Nanao Sakaki provide first aid, in magical ambiguity. [...]. —Bas van Putten"
Something to Hunt
"Designed by Daniel Flodin and Jesper Canell, the artist's book features documentation from Ash Fure's immersive performances, commentary by the composer, an interview with Sound American editor Nate Wooley, and contributions from Zachary Woolfe (New York Times), Steve Smith (New Yorker), and others."
Song for the Big Chief
Joe McPhee & Paal Nilssen-Love
"In the introduction to the concert McPhee made the announcement that tonight’s performance would be in honour to the memory of one the great giants of free music [Sunny Murray]. True to Murray’s spirit this didn’t meaning playing a night of cover tunes, but creating new sounds and pushing the music into the future."
Songs of Little Sleep
"Blonk's commanding vocals are highly expressive, convincing in its inventive phrasing and committed delivery of the experience of sleepless nights, including the occasional nightmares, but with an eccentric-dadaist, dark sense of humor. . . . Blonk, surprisingly enough, succeeded in creating a coherent album out of these disturbing songs. All offer enough lively vocal adventures to keep the listener alert and regrettably, awake despite the insomnia. (All About Jazz)"
"The album was recorded at Cankarjew Dom, a concert hall in Ljubljana/Slovenia in 2012. It is one of the most fabulous recent solo recordings and we highly recommend it, because being Joe McPhee is most of all being pure joy for all the listeners. -Janus And Karl, Free Jazz Blog"
Sounds In A Garden
Wolter Wierbos / Jasper Stadhouders / Tim Daisy
"An album worth repeated listens, this will be spun on my commute for days to come while keeping me dreaming of this secret garden and the sounds that it makes over the concrete i’ll be driving on. Closing statement, turn of the key, I’ve arrived. —Phillip Coombs, Free Jazz Blog"
Hairy Who & The Chicago Imagist
"The original soundtrack performed by Tomeka Reid & co. for the critically-acclaimed, feature-length 2014 documentary, "Hairy Who and The Chicago Imagists," directed by Leslie Buchbinder of Pentimenti Productions."
"They play with spontaneous sonic searches, exploring their instruments' timbres, colors and shifting dynamics with commanding reserve and respectful interplay. -Eyal Hareuveni, All About Jazz"
"Working with his BRAXTAAL group, Blonk combines wit with sputters, twists, and loose social commentary to demonstrate his extraordinary ability to mold the human voice into often unrecognizable forms. Vocalizing in English (and other tongues, some nonsensical), this recording is not easy listening. In fact, it may disrupt and even annoy with its unique vocabulary of noise/sound. Nonetheless, there is much here to savor, and Blonk's utterly unique style and marvelous technique are quite astonishing. Performances by Blonk are not for the squeamish (he has been known to simulate the sounds of bodily functions), and this one is no exception. But for those open to something entirely different that is challenging as well as entertaining, though sometimes upsetting, a fling with Jaap Blonk might do the trick. Especially gripping are his renditions of the entertaining "Speechlos," and the prescient "Rational," and the provocative "As I Was Saying.""
LEVIN / HAKER FLATEN / CORSANO
"Three innovative improvisers, Daniel Levin on cello, Ingebrigt Haker Flaten on bass, and Chris Corsano on drums, in a studio album of collective free playing that traverse both ferocious and introspective aspects of their dialog with tremendous technical skill and wonderful creative strategies."
Daniel Levin / Ingebrigt Haker Flaten / Chris Corsano
""There may be only three players here but, like the titular contraption, the result belies reality - at times, you’d swear you were listening to a much larger group." -Derek Stone, Free Jazz Blog"
Mats Gustafsson & Paal Nilssen-Love
""Splatter" is very much a percussion-driven record, with short bursts of sounds and rapid-fire interactions. The music is intense in the sense that it is not a violent blowing session, but you have the impression that most of the music is not getting out of their instruments, but stuck somewhere between mind and reality. -Free Jazz Blog"
Decoy with Joe McPhee
"McPhee allows the trio space to stretch out and they reciprocate by diligently seeking ways to set off his pocket trumpet and saxophone to best advantage. In spite of the generational differences all four are accomplished breakers of new ground. -John Sharpe, All About Jazz"