Digital

Joe Morris & William Parker

1997

"Morris can play with a bluesy swagger, or, as out as an Albert Ayler picnic. A charter member of the Boston Improviser’s Group, his sense of freedom manifests itself musically in stark, abstract ways. No cliches here, yet it’s obvious Morris and Parker are stern self-disciplinarians and the defining characteristic of this music is their responsiveness to each other, in dynamics and rhythm." —JazzTimes"

Alcorn / McPhee / Vandermark

2019

"Some matches are made in heaven and can be brought to a studio in Austin, Texas. Baltimore-based pedal steel guitarist Susan Alcorn, Poughkeepsie-based sax and pocket trumpet player Joe McPhee, and Chicagoan reeds player Ken Vandermark player is, no doubt, one of these rare matches. - Eyal Hareuveni, The Free Jazz Collective, 5 star review "

Jaap Blonk

2017

"It is hard to tell which are vocal sounds and which are electronic or sampled since all are strange in different ways. What is most interesting is the way that Mr. Blonk blends all of the sounds into fascinating combinations, stretching and manipulating select sound in a most focused way. It might be hard to tell that there are vocals at the center of some of these pieces yet I was still captivated throughout. - Bruce Gallanter, Downtown Music Gallery"

Elisabeth Harnik

2005

"Harnik's 2005 solo debut on Extraplatte, featuring microtonal improvisations for piano."

Claire Rousay

2019

"Among the tiny pieces of this tangential pattern, motifs emerge, like a scrunching of heavy paper (lately, I keep ripping the pages of my diary right out) and a single booming drum hit honestly and repetitively as a kind of call to arms, ominous, for an impending doom, perhaps, and what is built using those bits post-destruction. The glass, a window, a mirror, by design. Descriptions that reject prescriptive understandings. Working towards solutions, not even methodically, but hypothetically and completely. Sounds of an involuntary faith, which is what faith is. -cookcook, Tiny Mix Tapes"

Rempis/Reid/Abrams

2018

"The eight pieces blend together so that it’s almost impossible to separate them, not unlike the empathetic interplay between Rempis’ horn, Reid’s cello, and Abrams’ bass. -Andy Beta, Pitchfork"

Jeb Bishop, Jaap Blonk, Weasel Walter & Damon Smith

2019

"The sonic result of this alchemical gamble is a wide-open, unruly field of play where anything can and will happen. The New York City session and performance documented on these releases run the gamut from delicate chamber textures to Xenakis-meets-cracked-video-game burbling to all-out electronic meltdowns."

Arashi

2019

""On the albums third track, the trio demonstrates how tight they are. Their collaborative effort and responsiveness inside a vehicle running at full speed is very impressive." -Gustav Lindqvist, Free Jazz Blog"

Joe McPhee / Evan Parker / Daunik Lazro

1996

"This isn't a noodle fest, but it is very subdued with little change in dynamic throughout. This is a disc for people who like to think about the saxophone or hear Joe McPhee practice with a couple of other guys. -Thom Yurek, All Music"

Joe McPhee

2018

"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. "

Bridge 61

2006

"Bridge 61 is one of the musical highlights of 2006, Vandermark on sax and clarinet, Jason Stein on bass clarinet, Nate McBride on bass and Tim Daisy on drums. McBride is also the bass player of Spaceways Inc., and Tim Daisy is the drummer of the Vandermark 5. Despite his incredible output of albums, Vandermark manages to keep the attention up. The pieces on this album are all composed but with room for improvisation, the search for new effects and sound combinations. "

Trio X

2003

"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

2016

"Critics often speak of the chemistry between two musicians. Why? Because, it is so very easy to toss out this abstract, non-quantifiable concept. Those who agree, nod. Those who differ, well they have nothing on which to challenge your statement. But here I go, Tim Daisy and Marc Riordan showcase a stellar musical affinity on their duo release Joyride. —Mark Corroto, All About Jazz"

Resonance Ensemble

2011

Ab Baars Quartet

2005

Nate Wooley

2017

"You will experience a beautiful set of improvised and composed music, dedicated to and inspired by the poetry of Aram Saroyan. Regardless if you pick out all of the composed parts or some of it or none at all, or if know and like the poetry of Aram Saroyan or not, this album is a beautiful piece of art that you should listen to carefully, maybe with your earphones on and a glass of wine at your side. -Daniel Böker, Free Jazz Blog"

Evans / Fernandez / Gustafsson

2011

"As an archeological project, this recording is a rare artifact, documenting the collaboration of three important improvisers whose technique is paraded on each track. Sometimes they choose to walk a minimalist line, Fernández exploring the piano's insides—much of the time mimicking a percussionist—while Gustafsson and Evans play with breathy sounds. In other spots, Gustafsson delivers his now-patented shout-smack saxophone punch and Evans brings his growling rumbles. Without the persistence of beat or the bounds of meter, the trio is free to exercise some serious kopros noise-making, Some may think these challenging sounds merde, others an instant archaeological treasure."

Konstrukt + Ken Vandermark

2019

"Starts with a reference to Ornette Coleman before turning more and more into a psychedelic trip that goes way beyond the "jazz idiom". But what else to expect from such a stellar constellation? "

Brötzmann / Swell / Nilssen-Love

2015

"There is nothing nothing surprising in this live recording of three great improvisers - German reed titan Peter Brötzmann, American trombonist Steve Swell and Norwegian powerhouse drummer Paal Nilssen-Love - that took place at the Alchemia club in Krakow, Poland on February, 2015, during the trio first ever tour. Still, it is a great one. All three are in top form throughout this demanding and intense 75-minutes performance."

Ab Baars

1989

"This solo album gives Baars a chance to showcase his improvisational abilities and explore his questions about tonal and multi-phonic sonances with complete abandon on clarinet and tenor and soprano saxophones. - Thom Jurek, All Music"