Chicago Tentet at Molde 2007
Peter Brotzmann Chicago Tentet
""Logic might tell you that the more free jazz players you have in one spot, the greater the volume and intensity will be, but At Molde 2007 the Chicago Tentet turned in a textured performance that touches on the language of American jazz and European classical forms through the use of multilayered voices and nuanced interplay. In addition to the mainstays on the frontline (Brïtzmann, Ken Vandermark, Gustafsson, Joe McPhee), this edition of the Tentet features electro-cellist Fred Lonberg-Holm, who along with bassist Kent Kessler does the work of a symphonic string section. The 40-minute "Ten by Ten" would be a satisfying album on its own, but at Molde the band played two more pieces, both nearly as expansive and spacious as the opener." –All About Jazz"
Lytton / Vandermark / Wachsmann
"On record, the trio tends to blur: reeds and strings rub against Lytton's seemingly almost accidental drumming until he switches to sheets of metal and the triangle again shifts. But at Tonic on June 12, it was easier to discern them as three pieces (it's the sort of band where visuals help). Even on baritone sax, Vandermark found a place in the upper registers of his bandmates. But whether heard as a triad or something more singular, Cinc builds sparse yet protean and quite nice sound spaces. "
Axel Dörner / Fred Lonberg-Holm / Michael Zerang
"Trumpet, cello and percussion wouldn’t seem to share many timbral effects, but it’s often difficult to figure out who’s doing what. “Kasu,” for example, is a rolling patter of metallic-sounding thwacks, taps and scrapes that evokes myriad shades of gray, yet even when Dorner offers more conventional brass tones, as on “Ranzen,” the quick-blink reflexes of Lonberg-Holm and Zerang are at once so intuitive and disorienting that the trumpeter may as well be playing a belt sander, a testament to the trio’s sense of sonic creativity. Rather than revealing pet licks and favorite gimmicks, repeated listening only delivers a greater array of clever details. -Peter Margasak, JazzTimes"
"The music sometimes recalls the magisterial terror of Last Exit, at other times the haunted, structured expanses of Naked City's longform compositions. Whichever way they turn though, Offonoff are a group in touch with their inner ur."
The Rempis Percussion Quartet
"By now the foursome are masters at maintaining an arc of tension over such extended improvisation. What's remarkable is how they sustain the invention without repeating themselves. -John Sharpe, All About Jazz"
Codes / Myths
Rempis / Rosaly Duo
"The drummer is a true equilibrist, walking a tightrope while juggling the pulse with sticks, bells, hands, and metal objects. The concluding third finds Rempis switching to tenor saxophone, and the music resolves to make listeners dance. -Mark Corroto, All About Jazz"
"One more important record to the art of the reed & bass duets, now with Vandermark on reeds, and some of today's greatest modern jazz bassists: Ken Kessler, Ingebrigt Håker Flaten, Nate McBride and Wilbert De Joode. Not only because of the variety of reeds used, and the different styles of the bass players, but also the approach differs greatly on all these relatively short improvisations."
Territory Band-6 with Fred Anderson
"Collide is Ken Vandermark's sixth release for his transatlantic small big band (or is it a large small group?) of American jazz meets European improvisers. Unlike the prior sessions, this disc is comprised of a single composition, divided into five parts."
The DKV Thing Trio
"Recorded live at Krakow Jazz Autumn in 2014, Collider unites two of the hardest hitting contemporary outfits in an off the wall summit."
Color of Memory
The Vandermark 5
"It's a study in elegance, spatial inquiry, and textural restraint. The longer these band members play together, the closer to the bone Vandermark's writing gets for them, and the more they open the music from the inside out. The Color of Memory is the finest and most adventurous set yet from one of the finest bands to emerge from North America in the last 20 years."
"Abstract yes, but melodic too, with careful restraint precision on the first and third piece, with leads indeed to a strange kind of non-figurative clarity, and with more nervous and agitated work on the two other pieces. -Stef, Free Jazz Blog"
"Solo compositions and improvisations performed by Chicago based percussionist and composer Tim Daisy Selected instruments recorded in various combinations including: drums/marimba/ Califones/metal percussion/bass xylophone/transistor radios/bells/chains/sticks/malletts/brushes Recorded live, without overdubs :)"
Brad Barrett / Joe Morris / Tyshawn Sorey
"The music in this recording is completely improvised, although it is not without specific methodology. These works reframe the concept of composition through frameworks that direct musical activity, and explore a participatory compositional process that unfolds through moment-to-moment interaction."
Creole Gardens (A New Orleans Suite)
Joe McPhee & Michael Zerang
"McPhee's cooption of improvised figures out of which he conjures satisfying creations is best shown on "Crescent City Lullaby" where his a capella alto arpeggios gradually link into a plaintive song, referenced time and again through the ensuing improvisation. -John Sharpe, All About Jazz"
Sylvie Courvoisier / Mary Halvorson
"This debut recording between two of New York’s most idiosyncratic and distinctive improvisers reveals just what careful listeners pianist Sylvie Courvoisier and guitarist Mary Halvorson really are. Each musician contributed pieces to the album, which is deeply chamber-like in its deft, interactive intimacy. But the real action is where they take those written themes. - Peter Margasak"
Cut a Caper
Ig Henneman Sextet
"Cut a Caper by Ig Henneman is an album brilliantly composed, performed by a stellar ensemble and executed with staggering passion. Adventurous, captivating, demanding and rewarding. -Jazz Alchemist Best Albums of 2011 nr.2 (PL)"