Digital

ADA

2013

"The quartet plays four untitled pieces, each of around ten minutes, and on the whole, it’s high-octane stuff. -Collin Green, Free Jazz Blog"

ADA

2013

"On occasions, what we have is Brötzmann and Lonberg-Holm in the one corner, and a wave of percussion in the other; sometimes Lonberg-Holm supports the barrage with low regular throbs; sometimes he’s pitted against it. The result is two unnamed pieces, the first lasting almost forty minutes - epic in its emotional span – and a short coda of some five minutes. -Collin Green, Free Jazz Blog"

Otomo Yoshihide & Paal Nilssen-Love

2014

Powerhouse Sound

2010

Double Tandem

2012

"Double Tandem has build up music whose real expression lies below the surface. It injects an unsettling sleaziness into a funny, occasionally wild and boastful collection of tracks that walk the line between postmodernism and sincerity. The tracks are all living, breathing entities, not blank slates to project my plain ideas and desires of how to review music on. This is music about honesty and truthfulness."

Mats Gustafsson

2020

"Available to exclusively to Catalytic Sound members. For more info on this and other perks, visit https://www.patreon.com/catalyticsound"

XT

2016

"A fascinating document, full of surprises, of a live performance by Paul Abbott (drum kits, percussion, computer) and Seymour Wright (alto saxophone, feedback) recorded at Café Oto in London in November of 2015. -Brian Olewnick, The Squid Ear"

Joe Morris Instantiation

2019

"My goal with Instantiation is to create unique and rewarding experiences for listeners by synthesizing the meta-properties of Free music in new and creative ways. I rely on the attention to the material and the individual and collective artistry of the ensemble of players to realize a unique result with each performance."-Joe Morris, June 2019"

Mats Gustafsson

1994

"Recorded in Chicago in 1994, Parrot Fish Eye presents Mats Gustafsson in two lineups: a duo with percussionist Michael Zerang, and a trio with Gene Coleman on bass clarinet and Jim O'Rourke, who moves between guitar, accordion, and percussion. Gustafsson and Zerang incorporate their vast vocabularies as they improvise through the eighth track, "Shut Up!"; the remainder of Parrot Fish Eye is improvised by the trio. An interesting and exciting listen for big fans of Mats Gustafsson."

Ab Baars Trio & Guests

2003

""Concision and concentrated emotion commingle with technical proficiency at a quite rarefied level throughout. Discipline and definitude are combined with a sometimes-dizzying willingness to explore uncharted territory in a thoroughly engaging fashion. Baars can be bracingly abstract at times - particularly on clarinet - then turn around and prod your viscera with tenor playing nakedly ardent enough to give Gene Ammons a run for his money. … Discipline and definitude are combined with a sometimes-dizzying willingness to explore uncharted territory in a thoroughly engaging fashion. ... Party at the Bimhuis is a brilliant recording." Bill Barton, Sudden Thoughts CD Reviews credits "

DKV Trio

2012

Yannis Kyriakides & Andy Moor

2020

"“The music they produced is much more jagged than the clean lines of the room in which they made it, but it nonetheless feels like it was sculpted to emphasize textures and shapes, instead of the melodies that define the duo’s other work.”  -Bill Meyer, Chicago Reader, June 5th, 2020"

Rempis/Abrams/Ra + Baker

2016

"The album consists of two live performances. The first is from August 2015, recorded at Elastic Arts. The second is from January 2016, recorded at The Owl. The main difference between the two is the addition of Baker, but both are just super fantastic. -Lee Rice Epstein, Free Jazz Blog"

Henneman Strijkwartet

1999

""The string quartet is an instrumental combination most often heard in many different genres of classical music; in fact, it is one of the standard groupings for this music, whereas it is a more rare enterprise in improvised music. Certainly there are examples of string players getting together to improvise, but the results can not so often be compared favorably with great classical string quartets. The Dutch viola player and composer Henneman is making great progress in this area however, as she has found a regular group of musicians to work with, evidenced by the six-year span of recording dates. The difficult task of integrating composition and improvisation is carried out with aplomb by this group: they actually make it sound easy. A nice combination of male and female energy exists in this group, as well as a combination of Dutch musicians and so-called ex-patriot Americans who have settled in the Netherlands. The players are comfortable working in a traditional, melodic, and harmonic manner but also can and do go way out. Everything that happens makes logical sense, and this is music that reveals rich layers of detail upon repeated listenings." - Eugene Chadbourne (All Music)"

The Margots

2013

The Rempis Percussion Quartet

2013

"Phalanx, which pairs 2012 performances from Milwaukee and Antwerp, is the sixth recording by the Percussion Quartet. The songs are epic-the first of two Antwerp offerings runs 48 minutes-but with its continual sense of rhythmic and thematic renewal and its sheer propulsive drive, the music never wears out its welcome. -Loyd Sachs, JazzTimes"

Henneman String Quartet

2002

""Spolia" is a term that comes from architecture and refers to construction sites that are repurposed from previous buildings. Similarly, the Dutch violist borrows this term for a title on her sixth album and thus also describes one of her typical methods of working. Musical fragments, on the present album taken mostly from the Italian Renaissance and folklore, are processed into new pieces and serve as the basis for improvisational excursions. This approach pays off numerous times. The tension between composition and improvisation, and between tradition and innovation creates uncommon music in the world of contemporary jazz music.” --Emanuel Wenger Jazz live - magazine for contemporary music February 2002 credits "

Joe McPhee & John Snyder

2005

"McPhee at times anticipates and complements the limited wave forms of his playing partner, but the two don't try to mimic or play on top of each other. Rather, they assume, shift, meld and counter roles. McPhee at times plays marvelously jazzy in alien vistas and if Snyder's synthesizer sounds a bit dated at times it never comes off as quaint. With the renewed popularity of analogue electronics of late, 'dated' is not much of an issue. In fact, if anything dates this as an 'electroacoustic' meeting, it's the pair's willingness to be musical. -Kurt Gottschalk, All About Jazz"

c.o.d.e.

2008

"The music on this album varies between real boppy tunes, highly rhythmic and clearly structured around the core themes on the one hand, and free explorations on the other. "

Olle Bonniér

2005