Joe McPhee / Jeb Bishop / Ingebrigt Håker Flaten / Michael Zerang
"Both McPhee and Bishop have played far on the outside but while these pieces are framed as improvisations between the four participants, neither strays too far from their lyrical side. The opener begins with a mournful trombone laying out thematic concepts. McPhee joins in the mourning against Zerang's slow rumble. Then it all gives way, Bishop becoming increasingly percussive, as if trying to match the drummer's off-kilter rhythms before this in turn disintegrates and McPhee, his tone reminding me of Charles Tyler, comes storming in. And so it continues, each track revealing just why they are regarded as amongst the greatest improvisers currently performing. "
"This collaborative trio featuring three mid-career artists with deep roots in the Chicago improvised music scene puts forth a stunning and austere debut, a chamber-like exploration in which their three voices intertwine seamlessly into one multi-headed unit. Although each member is no doubt comfortable as a soloist, with significant leader credits under each of their belts, here they shirk that approach in favor of a music that is unflinchingly interactive and group-oriented. In this context, solo explorations don’t drive the music, but instead the sum of the three parts together delivers an unstoppable momentum recalling the type of egalitarian interactions pioneered by the trio of Jimmy Giuffre, Paul Bley, and Steve Swallow in the early 1960’s. The resulting pieces, each one a thoroughly unique and cohesive landscape, deliver a strikingly clear example of what’s possible when musicians with broad interests in all types of contemporary musical expression combine their aesthetics in a non-genre and non-stylistically bound approach. Rempis, Reid, and Abrams deliver a wholly original sound on this recording, straddling the intersections of free improvisation, contemporary classical, jazz, and folk musics from around the world, without being contained by the precepts of any one of those influences."
Joe McPhee: One Day...A Lightning Storm
"This very special limited edition release features excerpts from Joe’s conversation with John Corbett and is accompanied by the complete interview in a beautifully designed 20 page booklet. It’s release coincides with the Blank Forms celebration of Joe’s career. "
"Much of the credit is due to Joe McPhee's exquisite sense of melody: even when intense, he infuses every note with thoughtful control. The results reflect the group's natural reticence and attraction to nuance, something that is especially evident on "Journey." Overall, though, this is not music for the fainthearted, as delicacy is juxtaposed with aggressive expression. On "Albert's Alto," for example, the ghost of Albert Ayler is resurrected but never cloned, and his spirit absorbed and reincarnated. The closing "Amazing Grace," in memory of Dominic Duval's late wife, is perhaps the highlight of the album, a lovely, even exquisitely executed reflection of deeply held sentiments. - Steve Loewy, AllMusic"
Marc Riordan & Tim Daisy
"Joyride is the debut recording by two veterans of Chicago's vibrant creative music scene. Pianist, drummer, and filmmaker Marc Riordan and composer + percussionist Tim Daisy have both worked together in various contexts over the years including with the Marc Riordan Quartet, the contemporary dance ensemble The Seldoms, and the Tim Daisy Trio. This debut recording documents their recent explorations in an improvised duo context, their latest vehicle for sound exploration. credits "
Knknighgh (Minimal Poetry For Aram Saroyan)
"We can say without exaggeration that the new project by Nate Wooley introduces in the so-called “free jazz” format a system that few times – if ever – we encountered with such a relevance for the musical results since the harmolodic process proposed by Ornette Coleman. And the always surprising trumpeter is very much aware of the ground breaking possibilities of this band with the upcoming New York musicians Chris Pitsiokos, Brandon Lopez and Dré Hocevar, and of the music recorded in “Knknighgh” (to be pronounced as “knife”), when presenting it as «a radical new take on the classic free jazz quartet tradition». So it is: you immediately recognize the approach as free jazz, and yet, free jazz never sounded like this before. - Clean Feed"