Joe Morris Quartet
"... Morris leads his quartet on an adventurous and varied set. With hauntingly atmospheric modal grooves, tender, reflective ballads and invigorating, angular free bop, Morris's singular talents as a guitarist have never been more evident. -Troy Collins, All About jazz"
Before the Code: Live
Made to Break
"Kurzmann[’s] commanding and inventive use of an electronics-based language charges Made to Break's interplay with a built-in dimension of tension, surprise, and danger. He interferes, expands, and challenges ideas about melody, linear structure, sonic cohesion, and pulse (Eyal Hareuveni, The Free Jazz Collective)"
"This is the kind of chemical lab environment situation : put Evan Parker on tenor saxophone in a test tube, together with Scandinavia's power rhythm section, consisting of Sten Sandell on piano, Ingebrigt Håker Flaten on bass, and Paal Nilssen-Love on drums, then wait and see what happens."
Ben Bennett / Zoots Houston / Fred Lonberg-Holm
Pinkie No 2
"Notice Recordings’ Chicago origins were heavily galvanized by regularly seeing sets by cellist Fred Lonberg-Holm and multi-instrumental improviser Zoots Houston. Both have since separately relocated to Kingston, NY, where they continue to engage with the kinds of musical exchanges exemplified here. This set, recorded live at Chicago’s Elastic Arts, finds them performing with percussionist Ben Bennett. Bennett, a musician and performance artist, is a notable figure in the current and vibrant free improv and jazz scene in NYC; recent collaborations include Michael Foster and Jack Wright, among others. "
"Bengt is a solo recording by Mats Gustafsson and is dedicated to Bengt Nordström. Mats Gustafsson plays a plastic alto sax. A classic Grafton sax. The type of sax that was used by Charlie Parker, Ornette Coleman and Bengt Nordström. Nordström is best known having produced Albert Ayler´s first recording Something Different!!!!!! on his Bird Note imprint. It is in his own role as a sax player Bengt was truly inventive. Bengt was playing solo sax improvisation already in 1962 (!!!) Nordström mentored Swedish reedman Mats Gustafsson in addition to playing in a quartet with drummer Peter Uuskyla, bassist Bjorn Ålke, and violinist Lars Svantesson. Nordström died in 2000 at age 63. Bengt is a celebration of the music and the man behind it. On this record you might not hear the Gustafsson you are used to, but this is the real Mats. "
"Melaku likes to call the music ‘Addis Tradition’, which means ‘new tradition’. And that how it is. You feel the strong, traditional Ethiopian tunes, deeply rooted in the culture of many regions, but you also sense the new generation of great dancers and musicians. All five of this Fendika group are extremely talented and groundbreaking in their technique and approach. -Terp Records"
""It wasn’t an exercise in constraint necessarily; it was just what I was feeling. I made that record because those were the sounds I was hearing in my head. The first solo record [Young Cricketer]...it wasn’t like it changed the world, but it did change my little world. It was a first statement, and that’s a powerful thing—it gives context to everything that comes after it. Since there's no point in saying the same thing twice, I felt like the second solo record should be as far away from the first as possible, while still feeling honest to me." Chris Corsano - Bomb Magazine"
Blow + Beat
Mats Gustafsson & Alfred Vogel
"the two musicians have been waiting for this since a long time. In summer 2016 they gave it a chance when Gustafsson played on Vogel´s festival BEZAU BEATZ with his power-free-jazz-trio THE THING. After a short holiday weekend Gustafsson was ready to blow and Vogel to beat. "my baritone never sounded any better" claims the reed wizard while Vogel who was also doing the mix seems to be free as a bird can be - way up in the sky and down to earth ..."
"The succinctly titled Blow Horn starts with a shout from the saxes of Gustafsson and Ken Vandermark, with bass and drums (Kent Kessler and Steve Hunt) churning underneath, and thereafter the energy level seldom subsides. This is post-Ayler, Brötzmann-incited freedom, storm centers of agitation and exuberance, with only brief moments of respite (“Biomass”) between onrushing shock waves. But even at such an intense tack they’re able to suggest distinctive rhythmic designs, like the raucous r&b inflections of “Blow Horn for Service” or the slow, taut groove of “Structure a la Malle"."
Blue Chicago Blues
Joe McPhee & Ingebrigt Håker Flaten
"Though willfully abstract in comparison to conventional interpretations, McPhee and Haker Flaten's commitment to the blues is palpable. Blue Chicago Blues is grounded in the same core principles that bequeathed I-IV-V chord progressions and flatted notes, celebrating an enduring tradition in its endless capacity for emotional expression. -Troy Collins, All About Jazz"
"A guitar that sounds like razor blades dragged across the face of impending doom. A guitar that sounds like Godzilla crashing an orchestral performance set in a warehouse stocked with pessimism and confidence. A guitar that sounds like a tree being felled by a fighter jet’s depression. All in all, Tashi Dorji‘s Blue Twelve can only be summed up by actually listening to it. The beauty of the album lies in it’s desire to evoke fantastical melodies that avoid the expectations of normal guitar sounds. -7BitArcade"
Blueprints For A Blackout
"It's caustic. A real burner. (...) While still retaining an all important relevant edge to their musical comment , they've introduced elements of tunesmithing, attack, decay and composition that places them head and shoulders above their contemporaries."
Boss Of The Plains
"The ten pieces presented here float in ruminating glances. The drummer-less trio invites stillness as its fourth member. Rempis delivers with a stoicism, eschewing volume for eloquence. -Mark Corroto, All About Jazz"
Lacerda / Manso / Nilssen-Love / Zenicola
"A live recording of two extended improvisations at Audio Rebel's Quintavant in Rio de Janeiro, Brazil from the quartet of Arthur Lacerda on guitar and electronics, electric bassist Felipe Zenicola, guitarist Eduardo Manso, and drummer/percussionist Paal Nilssen-Love. "Bota" is a groove-oriented jam, Zenicola and Nilssen-Love carrying the pulse while the guitarists work above, ending with a degenerating electronic display. "Fogo" is the freer of the two, staring quietly and building into a wonderfully driving piece, with Nilssen-Love pulling out the stops with unpredictable and solid rhythmic intensity while Zenicola churns below. A powerful performance from Rio!"
Both Will Escape
Tashi Dorji & Tyler Damon
""I'd say expect great things, but they're already happening. Magic brother shit has arrived." - Tom Burris, Free Jazz Blog"
Peter Brotzmann Chicago Tentet Plus Two
""Certainly when, among other things, the double bass line-up with Kent Kessler and William Parker also presents, the drum tandem Hamid Drake-Michael Zerang or the trio brass with Joe McPhee, Jeb Bishop and Roy Campbell. Where the road is so open for focusing on a crushing group sound, the Chicago Tentet opts for a more modest approach. Especially Brötzmann's more than forty-minute 'Stonewater' leaves a lot of room for 'smaller' passages. The Arabic beginning is a striking example of this. With the tumbling hand drum and the eastern singing style of Hamid Drake, on which Brötzmann releases his elaborate, clarinet-like tarogato.""
"Relying on their shared history and intuitive rapport, Vandermark, Marhaug and Nilssen-Love provide concise thematic continuity to their volatile free excursions with empathetic listening skills and clear communication."
"The third album from this free spirited power trio is a masterful example of passionate improvisation and breathtaking interplay. The hand in glove rhythm section of Paal Nilssen-Love (drums) and Ingebrigt Håker Flaten (bass) has graced a large number of recordings over the years and Finish guitar maestro Raoul Björkenheim has been around since recording with Edvard Vesala and Krakatau for ECM back in the days."