"The albums starts “Faster Then It Would Be” featuring a free blowing Vandermark on tenor saxophone, quickly joined by a bowing Kessler and a more subtle, colouring Drake; working their way into a funky groove initiated by Vandermark, promptly supported by Drake and Kessler. From here, the trio really joins as a unit and weaves threads of free and groove into a polyrhythmic web propelling Drake into a contagious solo. Following Drake’s solo, toe-tapping continues when Vandermark adds a catchy melody that develops into the climax of the piece. To clear satisfaction of the audience and this listener, well-earned applause. “20th Century Myth” finds Hamid Drake solo, searching for other worlds on his drum kit. He is a real adventurer, taking us all around the world musically. Free phrases intertwine with tribal rhythm and world music. After 5 minutes, he settles and is joined by a gentle Vandermark, and supported by a deep bowing Kessler. The track continues into a pulsating rhythm initiated by Vandermark and collectively develops and fades into a deeply wailing free blues. “Uncontrolled Writer” finds Vandermark on clarinet squealing through high registers, overtones and harmonics before settling with gentle cymbals and plucked strings. Vandermark quickly switches back to saxophone and is propelled into a groove by Drake’s brushwork that is – all too – briefly interrupted for a nice pizzicato solo on double bass by Kessler. The trio joins forces and finishes off the set with a catchy climax, answered with loud cheers and applause by the audience. This is a really tight record by masters of free music that have been all over the scene for the past 25 years. Highly recommended. You should own the record, if only for the second track. - Martin Sekelsky (Free Jazz Blog) "
Dave Rempis Solo
"Dave Rempis is a mid-career artist whose deep roots in the Chicago improvised music scene have by now stretched themselves out across the world through his multiple ongoing collaborations. But he waited a long time to put out this first solo recording. Highly aware of the singular statements in this context put forth by artists such as Coleman Hawkins, Eric Dolphy, Anthony Braxton, Steve Lacy, Joe McPhee, Evan Parker, Ab Baars, and Mats Gustafsson to name just a few, left him wary of taking this challenge on too soon. But in the fall of 2016, the time felt right. So he decided to combine the development of a unique solo vocabulary on his instrument into the larger goal of exploring and expanding the crucial network of artists, presenters, and fans that support improvised music in the United States. In the spring of 2017, he brought the idea to fruition by undertaking a massive journey across the country, performing thirty-one solo concerts in twenty-seven different cities, while also collaborating with local artists at each stop. This singular odyssey gave him the opportunity to delve methodically, night after night, into his own process towards solo improvisation. Those labors are documented on Lattice."
Anne-James Chaton & Andy Moor
"Using text from newspaper articles and radio broadcasts by one journalist, spoken word artist Anne-James Chaton chooses a portrait out of his series of 100, and sets it to music. Le Journaliste combines voice recordings with multilayered soundscapes by guitarist Andy Moor."
Paal Nilssen-Love & Peter Brötzmann
"This album is one long spontaneous improvisation, and the musicians are able to flex the sense of time and space, with Brotzmann moving through the gamut of instruments he uses which provides a wider range of hues and textures for their performance and the drummer meets him every step of the way, and it is the interaction that they develop that is the most special part of the music, and the two men are egoless in placing the music before themselves and develop a startling and vibrant performance."
Joe Morris / Ken Vandermark / Hans Poppel
"This record finds Joe Morris with Ken Vandermark, who played clarinet and bass clarinet, and German pianist Hans Poppel. It was recorded in 1996 and released on the Knitting Factory label. Produced by Joe Morris."
"The entire record was freely improvised, and the relatively lengthy pieces (averaging ten minutes apiece) do not compromise at any level. You wouldn't want to play this as background music, unless you're uncannily adept at multitasking."
"Curiously, when timbre follows texture during these fully-rounded performances on Hoxha, Rutherford’s slide work and use of mutes at points takes on a gutbucket, traditional jazz coloration, not too distant from the solos of his older contemporary Free Jazzer Roswell Rudd. Trad Jazz was popular in the United Kingdom when Rutherford was coming up and while he, unlike Rudd, was likely never a recorded Dixielander, the fearless technique and casual joy of those older bonemen could influence anyone, even if by osmosis."
Live @ The Jazz Happening
Perch Hen Brock & Rain
"Relative Pitch Records – RPR1051, Wig – 26 Recorded November 2, 2014 at Tampere Jazz Happening, Finland. Produced in collaboration with Wig Records. credits released April 27, 2017 "
Live at Area Sismica
"In two sets, Lean Left is creating a non stop celebration of instant music with blissful grins and playful energy, rattling and shaking at right angles with one furious swing after the next."
Live at the Glenn Miller Cafe
AALY Trio + Ken Vandermark
"Gustafsson and Vandermark perform wide open during most of the album, honking, screaming, rasping and playing as rapidly as possible. "
Live at the Ironworks Vancouver
Ig Henneman Sextet
"(...) In this way Henneman developed a complete own language that shines with purity and authenticity (...) the six members own strong personalities that they like to show with guts, patience and measured discretion."
Live In Copenhagen
Peter Brötzmann, Steve Swell, Paal Nilssen-Love
"The trio goes nuclear on the opening piece, the 30-minute “Copenhagen Maneuvers”. Brötzmann, in top fiery form, outlines the urgent, angry theme, sets the trio dynamics on a volcanic course that gains more volume and more momentum... The other, shorter pieces highlight further the rich and profound vocabulary of this trio. “Actionable Rhetoric” surprises with its reserved lyricism... “Expressionable Ephemera” resumes the trio's explosive, muscular mode, balanced as a tight, organic unit... The last, shortest “Last Night Was, For Sure” is the most poetic one, introduced by Swell otherworldly breaths, followed by Brötzmann moving melodic theme, immediately echoed by Swell and resonated by Nilssen-Love cymbals work, slowly building its tension, but releasing it in subtle, compassionate manner (Eyal Hareuveni, The Free Jazz Collective) "