Not Two Records
Not Two Records is a renowned independent Polish record label, based in Krakow, celebrated for its dedication to avant-garde jazz, free improvisation, and creative music. Founded and run by Marek Winiarski, it has built an impeccable international reputation by consistently releasing high-quality albums from legendary artists such as Peter Brötzmann, Ken Vandermark, and Joe McPhee. The label is known for its meticulously produced editions, often in deluxe formats, and serves as a vital document of the powerful European jazz scene, standing as an essential beacon for connoisseurs of exploratory sound.
What Country Is This?
What Country Is This?
“One of Ken Vandermark’s larger ensembles, Resonance, has always expressed itself with poetic vibrancy. On the groups latest, What Country Is This?, they again explore sound through a series of rising arches and steady calms. And as usual, spanning three long epic pieces that investigate some of the influences of Vandermark.” -Stephan Moore
Excerpt from liner notes by Ken Vandermark:
In mid December of 2004, for some completely unknown reason, a complimentary issue of Time Magazine showed up in my mailbox. I hate the periodical, never read it except when I’m at the dentist, so I have no idea why it arrived. On the front cover was George W. Bush’s face, he had been selected as “Person of the Year” by the magazine’s editors after his reelection as president. Just one more reason to hate the publication. As I flipped through the pages with masochistic curiosity while drinking my morning coffee, I came across the following, an excerpt from Late Ripeness, written by Czeslaw Milosz
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Ken Vandermark – baritone sax & Bb clarinet
Per-Åke Holmlander – tuba
Magnus Broo – trumpet
Michael Zerang – drums
Tim Daisy – drums
Devin Hoff – bass
Mikołaj Trzaska – alto sax & bass clarinet
Dave Rempis – alto & tenor sax
Wacław Zimpel – Bb & bass clarinet
Steve Swell – trombone
Recorded: at STROBE STUDIOS, Chicago, on March 7, 2011 by BOB WESTON.
Mixed by BOB WESTON & KEN VANDERMARK at Chicago Mastering Service.
Mastered by BOB WESTON at CMS.
Typography, photos & design by MAREK WAJDA
Unexpected Alchemy
Unexpected Alchemy
The set’s documents performances between reedman Ken Vandermark and a wonderful blend of improvisers – all recorded over the space of a few days in the Polish city of Krakow + a bonus disc of music recorded in Munich.
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John Butcher – saxophones
Hamid Drake – drums
Kent Kessler – bass
Joe McPhee – tenor sax, trumpet
Ikue Mori – laptop, electronics
Steve Noble – drums
Eddie Prévost – drums
Mette Rasmussen – alto sax
John Tilbury – piano
Ken Vandermark – reeds
Nate Wooley – trumpet
1-21: Recorded live at Hevre and Alchemia, Kraków on 7-10 November, 2017, featuring various artists in different configurations
22: Recorded live in Munich, Black Box im Gasteig, on May 14, 2018
Design – Małgorzata Lipińska
Executive-Producer – Marek Winiarski
Mixed and mastered by David Zuchowski
Producer, Liner Notes – Ken Vandermark
Recorded by Rafal Drewniany
This Is Our Language
This Is Our Language
“Lisbon’s Rodrigo Amado has chosen a crack team of improvisers with whom to present his vocabulary. With This Is Our Language, he has succeeded in uniting the varied parlances of creative musicians around the world. Over the span of forty-three minutes, Amado has condensed a diverse array of concepts that blossom and mature with each listening. This is a commanding and authoritative recording that should not be missed.” -Peter Gough, Free Jazz Blog
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Kent Kessler – Bass
Chris Corsano – Drums
Rodrigo Amado – Tenor Saxophone
Joe McPhee – Trumpet [Pocket], Alto Saxophone
Recorded at Namouche Studios, Lisbon, December 2nd, 2012
Executive-Producer – Marek Winiarski
Liner Notes – Stuart Broomer
Mixed By, Mastered By – Joaquim Monte, Rodrigo Amado
Photography By – Nuno Martins
Photography By [Inlay] – Vera Marmelo
Producer – Rodrigo Amado
Recorded By – Joaquim Monte
Design – Rui Garrido
NotTwo 922
The Resonance Ensemble
The Resonance Ensemble
“Resonance band is one of the most important groups in Ken Vandermark’s immense assortment of undertakings, which not only revisit several decades of history of jazz history art form (from Sonny Rollins to Stan Kenton, to Cecil Taylor, to Ornette Coleman, to Eric Dolphy, to …), but also writes some new and fascinating chapters…” -Polish Jazz com
Ken Vandermark – tenor & baritone saxes, clarinet
Yuriy Yaremchuk – tenor & soprano saxes, bass clarinet
Mikolaj Trzaska – alto sax, bass clarinet
Mark Tokar – bass
Steve Swell – trombone
Dave Rempis – tenor & alto saxes
Per-Âke Holmlander – tuba
Tim Daisy – drums
Magnus Broo – trumpet
Michael Zerang – drums, percussion
Recorded in Krakow, Poland between November 12 and 16, 2007, and in Lvov, Ukraine on November 17, 2007
The Horse Jumps And The Ship Is Gone
The Horse Jumps And The Ship Is Gone
“This 2-CD’s set documents an expanded Vandermark 5 at Chicago’s Green Mill club in June of 2009. The quintet is assisted by Scandinavian stalwarts Magnus Broo (trumpet) and Håvard Wiik (piano), both members of Atomic who previously worked with several members of the Chicago outfit. The album once again proves that the Vandermark catalogue for this band is an awe-inspiring work-in-progress. Using several songs from ‘Annular Gift’ (Not Two, 2009) as a foundation, leader Ken Vandermark augmented his compositions, rewriting passages and rethinking their structures to fit this seven-piece Special Edition. The result is a striking balance of tight interplay, free excursions and anything in between. The album includes recent compositions, returns to ‘A Discontinuous Line’ and ‘Beat Reader’ (with a marvellous version of “Friction”), contains one new composition (“Nameless”) and two pieces composed by the guests: Broo’s “New Weather” and Wiik’s “Green Mill Tilter”. ‘The Horse Jumps And The Ship Is Gone’ is another strong V5-release, that not only confirms Vandermark’s reputation as one of the hardest working men in the business, but also the band’s telepathic interplay and adventurous spirit.” -Instantjazz Blog
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Tenor Saxophone, Clarinet – Ken Vandermark
Alto Saxophone, Baritone Saxophone – Dave Rempis
Trumpet – Magnus Broo
Bass – Kent Kessler
Cello – Fred Lonberg-Holm
Drums – Tim Daisy
Piano – Håvard Wiik
Recorded on June 19 and 20, 2009, in concert at the Green Mill, Chicago.
The Disappointment of Parsley
The Disappointment of Parsley
“I have rarely heard a live CD that starts so powerful as this one. After a short intro, the whole band dives in full throttle, no holds barred, full of energy and drive, full of self-confidence and without hesitations, slow-downs or any other deviations: onward and forward, no matter what. The train driver is Dave Rempis, on tenor on this piece, with Anton Hatwich on bass and with the double drums of Tim Daisy and Frank Rosaly. After six minutes Rempis shuts up and leaves his locomotive in the hands of the rhythm section, full speed, onward and forward, and when Rempis re-joins, what started as a boppish tune, now swirls into full swing, with his expressive horn borrowing from tradition in a wild rollercoaster of a free solo, relentlessly, keeping up the powerplay without slacking down, but then yes, it comes to a halt, unavoidably, after eighteen minutes of madness. On the second piece, Rempis switches to alto, for a piece which is the exact opposite of the first one, slow, sensitive and calm, first solo, then joined by arco bass and gently the percussion enters the tune as well. The third piece starts with polyrhythmic drums, for a free form piece, more abstract, totally unpredictable, and it is only after about ten minutes that a steady vamp gets going, giving the tune a more traditional foundation for the music’s development, yet it slows down into a quite kind of intermezzo, with the four musicians softly bouncing off ideas, gently, sensitively, slowly gathering volume, and speed, ending the tune again in a paroxysm of sound, to the general satisfaction of Alchemia’s enthusiastic audience.” -Stef, Free Jazz Blog
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Alto Saxophone, Tenor Saxophone – Dave Rempis
Bass – Anton Hatwich
Percussion – Frank Rosaly, Tim Daisy
Photography – Krzysztof Penarski
Produced by Marek Winiarski
Design – Marek Wajda
Mixed and mastered by Amos Scattergood, Dave Rempis
Recorded live in Kraków at Alchemia, April 6th, 2008.
Mixed and mastered in Chicago December, 2008.
The Damage is Done
The Damage is Done
“While the players can (and do) perform volatile energy jazz here, their preference is for music that’s dissectible enough for the players to be distinguished in parts and direction. The breadth and power of these four players comes through with an exhaustive clarity in this crisp and vigorous live recording.” -Mark Corroto, All About Jazz
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Peter Brötzmann: Alto Saxophone, Tenor Saxophone, Tárogató, Clarinet
Kent Kessler: Bass
Michael Zerang: Drums
Joe McPhee: Trumpet, Alto Saxophone
Recorded at ‘Alchemia’, Krakow, March 16th, 2008.
Mixed and mastered June 2009.
“The whole session uncut on two CD’s”
Tells or Terrier
Tells or Terrier
From the liner notes by Joe:
“This recording took place at my home in the woods in Connecticut. My dog, Scout, a Border Terrier, came with us on a walk onto the huge rock outcropping behind the studio that I call the Temple. Scout draws a lot of attention which explains why Terrier is in the title. On the walk, in the studio, and later eating take-out pizza on the beach together, we all talked like the old friends that we are. Sharing ideas and stories, having endured the tough parts and enjoyed the best parts of doing this for so long, which might be why Tells is also part of the title, although our playing has a certain —particular to this group—kind of narrative formulation too. These things were improvised like the music, in collective agreement, casually, and also worthy of being noticed as part of the whole collective creative process.”
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Jeb Bishop-trombone
Nathan McBride-bass
Joe Morris-drums
Recorded April 2 2022 at Riti Studios, Guilford Connecticut
Sound In Motion In Sound
Sound In Motion In Sound
“This is a great recording by an unmistakable, intense group of musicians with a sound and feeling of their own. That much is clear now. I would even dare to call this album their best to date. Inspired, full of energy, harmonically, rhythmically, and even melodically rich, capable of wonderfully recreating the joy of listening to DKV Trio live.
The end of 2014 has brought us some wonderful music and DKV Trio’s “Sound in Motion in Sound” is no exception. In fact, it ranks amongst the best this year and the sheer grandeur of this release is commanding. Recommending this album is a no-brainer. Go and listen.” -Antonio Poscic, Free Jazz Blog
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Bass – Kent Kessler
Drums – Hamid Drake
Reeds – Ken Vandermark
Austria [Metal]: Recorded in concert on July 19, 2013 at the Jazz Galerie for the Nickelsdorf Konfrontationen.
Poland [Earth]: Recorded in concert on November 1, 2012 at Manggha Hall for the Krakow Jazz Autumn.
Slovenia [Wood]: Recorded in concert on May 24, 2014 by Radio Slovenija, Program ARS at the Jazz Cerkno Festival.
United States (A) [Fire]: Recorded in concert on May 28, 2014 at The Hideout, Chicago.
United States (B) [Water]: Recorded in concert on December 19, 2013 at The Sugar Maple, Milwaukee.
Mixed and Mastered – One Room Studio
Artwork, Photography, Design – Federico Peñalva
Sound Engineer – Miha Ocvirk (tracks: 3-1 to 3-6)
Mixed and Mastered by Dave Zuchowski
Producer Hugo Šekoranja (tracks: 3-1 to 3-6)
Recorded by Dave Zuchowski (tracks: 4-1 to 5-7), Michel Huon (tracks: 1-1 to 1-6), Radio Slovenija, Program ARS. (tracks: 3-1 to 3-6), Rafał Drewniany (tracks: 2-1 to 2-5)
Six Situations
Six Situations
“Recorded at the venerable Roulette venue in New York City it’s a free jazz conclave at once in the tradition and transcendent of the same in the vibrant gathering of passion and skill each player brings to the stage. McPhee further reveals the lineage in written form through a poem penned to John Coltrane and James Baldwin printed on the gate-fold sleeve. The six situations vary dramatically in duration and design. Inspired by a series of artworks by Dan Flavin, they find the players planting common ground from the jump.” -Derek Taylor, Dusted Magazine
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Joe McPhee – tenor saxophone, voice
Damon Smith – double bass
Alvin Fielder -drums
Recorded live at Roulette, NYC September 13th, 2016 by Justin Frye
Mixed and mastered by Ryan Edwards
Cover art “Untitled Drawing” oil, graphite, photograph, ink, bass rosin, wax crayon & collage on book cover by Damon Smith and Dnaiel Healey
Concert photo by Reuben Radding
Design by Malgorzata Lipinska
Thanks too Jim Staley and everyone at Roulette Intermedium & Dave Dove
Titles come from artowrks by Dan Flavin. Flavin preferred the term “situation” to “Installations”
Russian Standard
Russian Standard
“Russian Standard” is the latest effort by the Frode Gjerstad Trio, a muscular, freely improvised hour long live album with only two tracks, almost split evenly between the two. Accompanied by Jon Rune Strom (bass) and Paul-Nilssen-Love (drums), the trio grind out a pair of long, complex improvisations that seen live, must have been something to experience.” -Stefan Wood, Free Jazz Blog
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Frode Gjerstad: Alto Saxophone, Clarinet
Jon Rune Strøm: Acoustic Bass
Paal Nilssen-Love: Drums
Recorded at DOM Cultural Center, Moscow on December 11th 2013.
Past Present
Past Present
“There is nothing extraneous here, just spirited and consistently powerful playing. Perhaps time away from the group allowed each of the band’s members to refine their approach; compared to earlier recordings the music on Past Present seems more incisive and the improvisations (especially those of Vandermark) effectively colorful. 18 years together and apart will necessarily generate a bevy of experiences that translate into deeper levels of communication and it’s clear that DKV has grown as a unit. That’s not to say every moment is perfection – this writer has never completely been able to get behind the backbeat sections that occasionally crop up with this group, though admittedly the groovy close to Disc Six’ second piece (all of the improvisations are untitled) is pretty fine. Furthermore, seven discs is also a lot to get through, especially with a format that’s pretty basic. Nevertheless, in going through the set one finds that any single disc “toe dip” will be rewarding and overall Past Present is extremely consistent. The set’s size shouldn’t deter anyone interested in these three musicians’ work and even if there are a few flagging moments, the process of hearing and assimilating the DKV Trio’s music is very worthwhile.”
-Clifford Allen, NYCJR (January 2013)
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CD 1 – Chicago, July 15, 2009
CD 2 – Chicago, January 6, 2010
CD 3 – Chicago, December 29, 2010
CD 4 – Milwaukee, December 30, 2010
CD 5 – Milwaukee, December 27, 2011
CD 6 – Chicago, December 28, 2011
CD 7- Bonus Disk – DKV plays the music of Don Cherry
Sant’Anna Arresi, Sardinia, August 31, 2008
Hamid Drake – drums
Kent Kessler – bass
Ken Vandermark – reeds
Overlap
Overlap
John Herndon: Drums
Nate McBride: Electric Bass, Electronics
Jeff Parker: Electric Guitar, Electronics
Ken Vandermark: Tenor Saxophone
Sides A-C Recorded at Estrada Poznánska/Scena Na Pietrce live on may 9, 2007 in Poznan/Poland
Side D recorded at Chicago Public Radio on January 14, 2008 in Chicago, Illiinois
Engineer – Mary Gaffney (tracks: D)
Mixed By – Bob Weston* (tracks: A – C)
Design – Marek Wajda
Photography By – Krzysztof Penarski, Krzysztof Wesolowski, Ziga Koritnik
Producer – Wawrzyniec Mąkinia
Other Violets
Other Violets
“Unfortunately we lost one of the great innovators in the free jazz world in October 8, 2012. John Tchicai had been a face on the scene for many years, although sadly for many he was often just remembered as the man who played on John Coltrane’s Ascension along with other saxophone greats Marion Brown, Archie Shepp and Pharoah Sanders. In reality he made many great records that were quite easily accessible, yet remained firmly committed to the art of music and freedom of expression. One of my favourites is ‘Satisfaction’ with bassist Vitold Rek where Tchicai not only played some sublime saxophone and bass clarinet but also recited some of his poems to great effect. Somehow I guess for me he wasn’t a free-jazzer, just someone who had a large palette of sounds and was open to playing in all musical situations.
So it’s a welcome return to hear The Engines featuring John Tchicai on one of his last recordings. It’s also a chance to hear John Tchicai in the very capable company of these great players, also a real band that’s been in existence since 2008. For all that don’t know ‘The Engines’ it’s a group made up of Dave Rempis (saxes), Jeb Bishop (trombone), Nate McBride (bass) and Tim Daisy (drums). The music, which isn’t much different in style from earlier albums, is post Ornette meets Mingus meets the Vandermark 5 …. which isn’t surprising as they (Daisy, Rempis and Bishop) were part of the Vandermark 5! Their compositions are often mini-suites which develop throughout a piece taking the soloists into new areas where they are required to develop ideas that lead towards the next sections, hence the Mingus connection. Furthermore that means the music is very organic, the themes are small gems of development in melody and rhythm.
It’s great to see that Tchicai isn’t used as a ‘featured’ soloist, but as a true member of the band. He blends perfectly into the working sound of the group, so well you’d imagine that he’d always been part of that ensemble. As on all ‘Engines’ releases it’s a co-operative effort with compositions from all members, and the same applies here with Tchicai adding two tunes to the bands repertoire. On tunes like the opening ‘High and Low/Strafe’ or ‘Cool Copy/Looking’ (tk3) Tchicai plays like a Dewey Redman, blowing bluesy growling lines over swinging free-bop. He duets on flute with Jeb Bishop on the beginning of his own ‘Super Orgasmic Life’ (tk4), but the main point of this group is being ‘a group’, and soloists come and go like trains in a station bringing new ideas and then leaving to make space for others, everything seemingly timed perfectly. The energy of the group is as always top notch, helped by the live recording (*) to inspire creativity, focus and direction for the group and each player. The glorious ‘Gloxinia’ (tk2) drifts over rubato rhythms which dance away with great energy giving the soloists a stormy ride clearly inspires them. Dave Rempis blows up a storm on his saxes on several of the pieces, often reminding me of Thomas Chapin mixed with Ornette. It seems that he takes fewer solos than normal on this recording leaving more space for John Tchicai. Tim Daisy is a marvel as always showing (for me) that he is one of best kept secrets in the history of the drums! Always creative with bassist McBride these two are certainly part of the success of this group, constantly full of energy and new ideas.
A highly recommended album for fans of the Chicago jazz scene, free-bop, Mingus, melody and swing.” -Joe, Free Jazz Blog
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Alto Saxophone, Tenor Saxophone, Liner Notes – Dave Rempis
Bass – Nate McBride
Drums – Tim Daisy
Tenor Saxophone, Flute – John Tchicai
Trombone – Jeb Bishop
Recorded May 15th, 2011, live at the Hungry Brain, Chicago by Todd Carter
Mixed and Mastered January 2012 by The Engines, Todd Carter
One Foot In The Air
One Foot In The Air
“is the palpable sense of dialogue between them that makes this such an engaging listening experience. It is as if they are playing a game of sonic chess where one move draws a considered, crafty, but ultimately unpredictable response. However, here of course the aim is synergy rather than ultimate victory, and everyone wins.
And that they achieve in splendid style. From crashing avalanche to the merest shimmer, from passages of dazzling virtuosity to primitive tapping, this is a treat.” -John Sharpe, All About Jazz
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Elisabeth Harnik – piano
Zlatko Kaucic – drums and percussion
Recorded live in the concert at Kulturhalle Eggersdorf / Austria on 14th June 2022
On The A and On The B
On The A and On The B
“Per-Åke Holmlander was born in 1957 in Skellefteå in the very north of Sweden. Holmlander received his diploma in classical tuba in 1983 at the Royal Academy of Music in Stockholm with Michael Lind as a teacher. Holmlander has always worked simultaneously with improvisation, jazz and rock music as well as classical and contemporary music.
As an improviser Holmlander has worked with – Eje Thelin, Marilyn Crispell, Paul Lovens, Folke Rabe, Phil Minton, Sten Sandell, Sven-Åke Johansson, Mats Persson, Gunter Christmann, Kjell Westling, Keith Rowe, Jan Allan, Georg Riedel, Position Alpha, DJustable, Jon Vanderlander Trio, The Swedish Radio Jazz Group, Ken Vandermark – Territory Band & Resonance Ensemble, The Frontroom Ensemble, London Jazz Composers Orchestra, Torden Kvartetten & Peter Brötzmann Chicago Tentet…among many others.
Holmlander works a lot with theatre music, sometimes he plays solo and he regularly works with Fire! Orchestra, Paal Nilssen-Love Large Unit, Barry Guy New Orchestra, Fredrik Ljungkvist and his Yun Kan 5 & 10 and recently with Parti&Minut, Swedish azz, Inner Ear, Mats Gustafsson & NU-Ensemble.
Per-Åke has participated in more than 100 records and 1800 theatrical performances. He has given concerts in 35 countries and he is since December 2008 a member of the government run” –Musikalliansen
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One A-side of the tuba
- a B-O-X piece – (Holmlander) – 5`47”
- PÅpuri – (Holmlander) – 8`07”
- Jabulani – (Dollar Brand) – 5`12”
Performed by:
Per-Åke Holmlander – Tuba
One B-side of the duo
- Beside – (Holmlander/Daisy) – 8`00”
- Besides – (Holmlander/Daisy) – 9`28”
Performed by:
Per-Åke Holmlander – Tuba
Tim Daisy – Drums & Percussion
Side a is recorded, mixed and mastered by Mats Äleklint at Sångbolaget , Stockholm, Sweden (28 May 2014)
Side b is recorded, mixed and mastered by Rafal Drewniany at Alchemia, Krakow, Poland (22 November 2013)
Layout by Malgorzata Lipinska
Produced by Marek Winiarski
Thank you to Ken Vandermark and the Resonance Ensemble and the crew at the 8th Krakow Jazz Autumn Festival
Nine Ways to Read a Bridge
Nine Ways to Read a Bridge
“Bridges are a symbol of bringing people together, of communicating with each other, of connecting ideas. What else could reading bridges in the context of the music we usually talk about here mean but presenting different approaches of making music and trying to understand how communication works? Who else but Ken Vandermark has been constantly presenting such approaches by crossing the borders between hardcore jazz/punk (with The Flying Luttenbachers), noise core (with Zu), free funk (with Made to Break), new classical music and of course with his various free jazz/improv projects (everything from duos to larger ensembles like Audio One or the Resonance Ensemble) – and these are only a few examples! Ken Vandermark is simply one of the great masters of notated music and completely free improvisation.”
“With this box set Ken Vandermark proves that his music and his style cannot be pidgeonholed or codified, ”as soon as you define an art form, it’s done, it’s over”, he once said. My friend Peter, a dedicated follower of his music, says that his music has always been full of surprises, that he is constantly ready for the unexpected which is why he is one of the great innovators on the scene.” -Martin Schray, Free Jazz Blog
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Line-up:
Ken Vandermark – reeds
Agusti Fernandez – piano & prepared piano
Christof Kurzmann – electronics & voice
Joe McPhee – pocket trumpet, tenor & alto saxes, alto clarinet
Joe Morris – electric guitar
Nate Wooley – trumpet
Paul Lytton – drums & percussion
John Tilbury – piano
Eddie Prevost – percussion
Recorded:
Disc 1: Recorded in concert on May 15, 2013 at Jamboree, Barcelona. Originally produced by Discordian Records and released on December 12, 2013.
Disc 2: Recorded in concert on November 20, 2013 at Klub Alchemia during the Resonance Ensemble Residency, part of the Krakow Jazz Autumn. The poem, Song For Beggars, by Joe McPhee.
Disc 3: Tracks 1-7 recorded in concert on June 22, 2013 at The Palm Tavern during Okka Fest 5, Milwaukee; tracks 8 & 9 recorded on June 6, 2012 at The Sugar Maple during Okka Fest 4, Milwaukee.
Disc 4: Recorded in concert on August 8, 2013 at Elastic Arts Foundation, Chicago.
Disc 5: Recorded in concert on June 18, 2013 at the Casa Del Popolo during the Suoni Per Il Popolo Festival, Montreal.
Disc 6: Recorded in concert on January 12, 2014 at the Heni Onstad Kunstsenter, Høvikodden during the All Ears Festival for Improvised Music.
Mad Dogs On The Loose
Mad Dogs On The Loose
All tracks improvised by the musicians.
Recorded during the 7th Krakow Jazz Autumn Festival.
Alchemia, Kraków, Poland (November 21-22 2012)
Barry Guy – bass
Maya Homburger – baroque violin
Raymond Strid – percussion
Paul Lytton – percussion
Per Âke Holmlander – tuba
Johannes Bauer – trombone
Herb Robertson – trumpet
Hans Koch – tenor & soprano saxes, clarinets
Mats Gustafsson – baritone & tenor saxes, fluteophone
Evan Parker – tenor & soprano saxes
Agustí Fernández – piano
Trevor Watts – alto sax
Live in Copenhagen
Live in Copenhagen
“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.” -Eyal Hareuveni, Free Jazz Blog
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Recorded at Jazzhouse, Copenhagen, Denmark April 14, 2016
Peter Brötzmann: Saxophone & Clarinet
Steve Swell: Trombone
Paal Nilssen-Love: Drums & Percussion
Latitude 41.88
Latitude 41.88
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
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Hamid Drake: drums
Kent Kessler: bass
Ken Vandermark: reeds
Special thanks to Marek Winiarski and Not Two Records and to Adrienne Pierluissi for her ongoing support of the Option Milwaukee series.
Recorded in concert on December 21st 2014 by David Zuchowski at the Sugar Maple in Milwaukee.
Mixed and mastered by Dave Zuchowski, One Room Studio.
Back cover photo by Petra Cvelbar.
Inside cover photo by Ziga Koritnik
Design by Malgorzata Lipinska
Lark Uprising
Lark Uprising
“The ensemble is harmonically unified. Yet, McPhee’s clarinet sound is strikingly different; in fact, when the purity of his tone rises from the whole, its origins lurk mysteriously.” -Lynn Horton, JazzTimes
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Recorded live in 2009 at the Tzadik Poznań Festival, Poland
Joe McPhee: Alto Clarinet
Mikołaj Trzaska: Alto Clarinet, Bass Clarinet
Michał Górczyński: Bass Clarinet
Wacław Zimpel: Bass Clarinet, Clarinet, Tárogató
Paweł Szamburski: Clarinet, Bass Clarinet
Krakow Nights
Krakow Nights
Paal Nilssen-Love: Drums, Percussion
Peter Brötzmann: Saxophone, Clarinet
Steve Swell: Trombone
Recorded February 24, 2015 @ Alchemia Club, Kraków, Poland
Recorded, mixed and mastered by DTS Studio
All music by Peter Brötzmann [GEMA/FMP Publishing], Steve Swell [Steve Swell Music, BMI] and Paal Nilssen-Love [TONO, Cien Fuegos]
Kopros Lithos
Kopros Lithos
“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.” –All About Jazz
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Recorded December 9th 2009 at the Dragon Club, Poznan, Poland
Recorded by Macuej Frycz
Produced by EFG
Multikulti Project 1013
Mats Gustafsson: Baritone Saxophone, Reeds [Alto Fluteophone]
Agustí Fernández: Piano
Peter Evans: Trumpet
Kafka In Flight
Kafka In Flight
“Vandermark makes full use of the resources and textures available within the ten-piece group, deploying the ensemble in varying combinations from full band to solo. Each track is multi-sectioned, allowing natural evolution to contrast with abrupt changes in dynamics or tempo. In some ways, they come on like a scaled-up version of the leader’s accomplished workhorse, the Vandermark 5—and in case anyone is wondering, that’s intended as a huge compliment—although as the liners explain, limited rehearsal time meant that complex written parts had to be thrown out of the window in favor of thematic material that could be quickly absorbed along with modular improvisational strategies. Nonetheless, the charts and subsequent extemporizations hang together beautifully ,creating powerful and absorbing statements.” –All About Jazz
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Magnus Broo-trumpet
Michael Zerang-drums
Ken Vandermark-tenor saxophone, Bb clarinet
Mikolaj Trzaska-alto saxophone, bass clarinet
Mark Tokar-bass
Steve Swell-trombone
Dave Rempis-alto saxophone, tenor saxophone
Per-åke Holmlander-tuba
Tim Daisy-drums
Waclaw Zimpel-Bb clarinet, bass clarinet, taragato
Recorded in concert at the Philharmonic Hall, Gdansk, Poland, on October 31, 2009.
Mixed by Bob Weston and Ken Vandermark at Chicago Mastering Service.
Instruments Of Change
Instruments Of Change
“Almost every sleeper record becomes a well-regarded rarity someday – witness the high demand for albums that were doyens of ‘70s cutout bins. In similar fashion, it might be easy to overlook this excellent release by Chicago saxophonist Dave Rempis and the Boston triumvirate of trumpeter Forbes Graham, pianist Pandelis Karayorgis and drummer Luther Gray. The name “Construction Party” presumably refers to the reformist (anti-Ahmadinejad) Iranian political party and as Graham, Rempis and Gray are known for work in freer realms of improvisation, the disc’s penchant for composition means the name is oddly apt.
Instruments of Change consists of a solid 70 minutes of music spread across eight tunes, with each member of the quartet composing two pieces. It’s an interesting ensemble structure – trumpet, alto saxophone, piano and drums (no bass), with Karayorgis’ robust left-hand movements holding down the bottom end. The pianist’s “Two-ophony” offers detailed rent-party swing, Gray’s flitting brushwork an athletic counterpoint to Rempis’ acerbic loquaciousness. Karayorgis is aesthetically a student of such masters as Herbie Nichols, Hasaan Ibn Ali, Misha Mengelberg and the early work of Cecil Taylor. Graham – whose recordings are relatively small in number – is positively awesome on this disc, with a crumpled finesse that recalls Bill Dixon acolyte Marc Levin, able to convey a broad textural/emotional range with short bursts and incisive whines. His low barbs on Rempis’ “Hover” are striking for their unsettled simplicity, with a deep and stomach-projected oration.
On the trumpeter’s “Fibbin’”, loose traditionalism gives way to collective sparks as Karayorgis’ right hand teases and undoes before working into a stubborn and rangy behind-the-beat solo, quoting “Satin Doll” with drunken discomfort. The quartet is formally well balanced between improvisation and composition, able to stray from the tunes’ centers while also offering taut and sometimes frightening measurement. Yet there is a sizeable fire burning throughout and in a time of “office cubicle free jazz”, recordings like Instruments of Change are scarce and not to be missed.” -Clifford Allen, The New York City Jazz Record, January 2013
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“Today, a quartet recording in the avant vein by four formidable exponents of the new jazz who, as it turns out, work very well together. They call the quartet Construction Party. The album is dubbedInstruments of Change (Not Two 852-2). It’s Forbes Graham on trumpet, Dave Rempis, alto, Pandelis Karayorgis, piano, and Luther Gray, drums. Now that works out well. Graham has good melodic improv ideas that range over the whole horn. Dave Rempis, as followers or the music know, is his own man on alto. Pandelis Karayorgis is one of the important pianists out there now with a percussive attack and, important for this bass-less group, an ability to play inventive, innovative lines with both hands independently. So he sometimes has a kind of pianistic bass line going that complements the drumming. The latter is handled adeptly by Luther Gray, who has power and a very effective time-freetime sense.
There are eight numbers; each bandmember composes two. They are of the abstracted avant head sort and work well in setting up the blowing. There are moments where Rempis and Karayorgis solo together that got my attention, but everybody has a chance to intermingle collectively and individually in good ways.
It’s top-notch new avant jazz. So of course I recommend it.” -Gapplegate music review, September 24, 2012
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Forbes Graham, trumpet
Dave Rempis, alto sax
Pandelis Karayorgis, piano
Luther Gray, drums
Recorded December 9, 2009 at Fraser Studio, WGBH, Boston.
Recording engineer: Frank Cunningham
Mixed February-March 2010 by Michael Caglianone at 7A West Studio, Charlestown, Boston.
Photos by Lillian Helen Graham.
Publishing credits:
Dave Rempis, ASCAP
Pandelis Karayorgis, Stray Line Publishing, ASCAP
Luther Gray, Lugrayther Music, BMI
In The Abstract
In The Abstract
Ken Vandermark: reeds
Håvard Skarpnes Wiik: piano
Chad Taylor: drums
Recorded in Concert at Jazz Festival Ljubljana July 3rd and 4th 2013
Recorded by Luis Delgado
Mixed by: Bob Weston and Ken Vandermark
Photo by: Petra Cvelbar
Album Design by: George Staicu
Not Two 917
Released June 2014
Ibsen’s Ghosts
Ibsen’s Ghosts
“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.” -Alfie Cook, Free Jazz Blog
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Ingebrigt Håker Flaten: Bass
Michael Zerang: Drums
Joe McPhee: Tenor Saxophone
Jeb Bishop: Trombone
Recorded at Victoria Theater, Oslo, February 21, 2009
Artwork, Photography, Design – Marek Wajda
Engineer – Thomas Hukkelberg
Mastered – Rafał Drewniany
Hidros 6 – Knockin’
Hidros 6 – Knockin’
“An avant-garde jazz composition based on the songs of ’50s rocker Little Richard. Really? Yep, that’s the premise behind Swedish reedman Mats Gustafsson’s large scale work recorded at the Krakow Jazz Autumn in 2013. Although best known for his small group output with The Thing and Fire!, Gustafsson has regularly assembled bigger groupings during his career, most recently his Fire! Orchestra. Through a festival commission, Gustafsson was granted the opportunity to convene the 12-strong all star Nu Ensemble which rehearsed for four days, before performing “Knockin'” on the last evening.
All the fruits of the residency, including solo and group improvisations, were collected in a sumptuous 5 CD, 2 LP, 1 DVD box set, also entitled Hidros 6: Knockin’, (Not Two, 2014). Perhaps calculating that the size of that package militated against a wide circulation, Not Two has now issued the final concert as a single 70-minute CD to allow this extraordinary concept to receive the attention it deserves.
A significant part of the success is down to the amazing tour de force by Norwegian experimental vocalist Stine Janvind Motland who brings an affecting mix of vulnerability, sexuality and sheer prowess to the party. Gustafsson selected a line from each of 20 favorite Little Richard songs to serve as the basic text for Motland to embroider. Via a graphic score Gustafsson also ensures ample solo space for his illustrious cast, as well as composed sections peppered throughout the performance.” -John Sharpe, All About Jazz
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Mats Gustafsson – slide, tenor, baritone and bass saxes, electronics and piano mate
Ingebrigt Håker Flaten – bass
Jon Rune Strøm – bass
Per Åke Holmlander – tuba
dieb13 – turntables
Kjell Nordeson – vibes, drums, flexatone, glockenspiel
Agustí Fernández – piano and organ
Christer Bothén – bass clarinet and guimbri
Joe McPhee – pocket trumpet, tenor sax and space organ
Peter Evans – trumpets
Stine Janvind Motland – vocals
Paal Nilssen-Love – drums
Dedicated to the music and lyrics of Little Richard
Composed by Mats Gustafsson (STIM/NcB)
Recorded Oct 12th 2013 at Manggha, Kraków.
Mixed, mastered and recorded by Rafał Drewniany
Design – Małgorzata Lipińska
Lyrics – Wayne Penniman
Photography – Krzysztof Penarski, Lars Jönsson
Producer – Marek Winiarski, Mats Gustafsson
Full version of Hidros 6 including 2lp vinyl release, 5 cds of small groups, booklet and DVD is available from here: gustafsson1.bandcamp.com/album/hidros-6
Head Above Water / Feet Out Of The Fire
Head Above Water / Feet Out Of The Fire
“There is something to be said for the sequence of tracks on a recording. Only seconds after the opening kick to the embouchure, comes Elegy for Two Rooms (For Fred Anderson and Von Freeman). It is like watching a tear from in the corner of someone’s eye and over the course of 10 minutes, you study intently as it rolls down the face leaving a trail of itself, and distant pleasant memories, until it slows down over the cheek bone and pauses on the chin before slightly darkening the fabric of the shirt it gets absorbed into. Listen.” -Phillip Coombs, Free Jazz Blog
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Magnus Broo – trumpet (Stockholm)
Michael Zerang – drums (Chicago)
Ken Vandermark – tenor saxophone, Bb clarinet (Chicago)
Mikolaj Trzaska – alto saxophone, bass clarinet (Gdansk)
Devin Hoff – bass (Chicago)
Steve Swell – trombone (New York)
Dave Rempis – alto & tenor saxophones (Chicago)
Per-Âke Holmlander – tuba (Stockholm)
Tim Daisy – drums (Chicago)
Waclaw Zimpel – Bb & bass clarinet, taragato (Warsaw)
Mark Tokar – acoustic bass (Lviv)
Disc 1 recorded August 29th, 2012 at Strobe Recording, Chicago – Recorded by Bob Weston
Disc 2 recorded live in concert March 17th at the Kunstencentrum, Belgie, Hasselt – Recored by Michael W. Huon
Mixed by Bob Weston and Ken Vandermark
Mastered by Bob Weston
Cover Design by Marek Wajda
Hasselt
Hasselt
Frode Gjerstad – alto saxophone, bb and bass clarinets
Paal Nilssen Love – drums
Peter Fris-Nielsen – electric bass
Sabir Mateen – tenor saxophone, flute & clarinet
Recorded live at Kunstcentrum Belgie, Hasselt, Belgium, September 2006.
Recorded, mixed and mastered by Frode Gjerstad
Gromka
Gromka
This duo recording with fellow-countryman and drummer Paal Nilssen-Love, was recorded a year ago at Klub Gromka in Ljubljana, Slovenia. Both musicians had already toured before this performance and that can be heard. the interaction is quite fun to listen to, rapid, telepathic even at moments, which is even clearer in an environment where everything is left to in-the-moment decisions. Gjerstad does fall back quite a lot on the higher registers, making music like excited birds in the trees, as said before. As Gjerstad describes it himself on his blog, about this performance : “Since we last played as a duo which was in August last year in the US where we played 13 gigs, I think the music has become more focused and freer. I have to admit that I think this has to do with the fact that I have been practising a bit more than before and therefor feel more relaxed when playing….”. -Stef, Free Jazz Blog
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It is hard to choose which duo partner of drummer Paal Nilssen-Love to favor over another, as there are simply so many to pick from. There are his collaborations with Ken Vandermark, heard on their Chicago Volume and Milwaukee Volume (Smalltown Superjazz, 2009); the fine Peter Brotzmann session, Woodcuts (Smalltown Superjazz, 2010); Mats Gustafsson’s Splatter (Smalltown Superjazz, 2007); or, a personal favorite, Joe McPhee’s Tomorrow Came Today (Smalltown Superjazz, 2008). Nilssen-Love can also be heard with Magnus Broo, Nils Henrik Asheim, John Butcher, Lasse Marhaug, Anders Hana, and, perhaps his longest sustained partner, multi-reedist Frode Gjerstad. The two have been collaborating for nearly 20 years in the Circulasione Totale Orchestra, the longstanding Gjerstad trio with bassist Øyvind Storesund, and in duo performance. The two Norwegian players speak the same language: free jazz. This date—a live session from Club Gromka in Ljubljana, Slovenia, in June 2008—delivers a torrent of forcefulness and passion which will not be surprising to their followers. As a drummer, Nilssen-Love eschews the jazz canon for a more disheveled pulse. He’s like a dinner guest that comes wearing a tuxedo with his shirt untucked and three days growth of beard. His beats are dynamic, yet asymmetrical. Paired with Gjerstad the sound is animated and buzzing. Gjerstad favors the upper registers here—even on his bass clarinet which, at times, is difficult to distinguish from his alto saxophone. With this music, the themes are dynamism and passion, and the two charm the crowd with their constant mutable nature. Gjerstad feels no need to tether Nilssen-Love’s playing to the ground. And likewise, the drummer responds to Gjerstad with his jumbled flurry of sticks and beat. This is music that grips by the throat from the first note.” -Mark Corroto, All About Jazz
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Frode Gjerstad: Alto Saxophone, Bass Clarinet, Clarinet
Paal Nilssen-Love: Drums
Recorded live on June 10th and 11th 2008 at Klub GROMKA, Ljubljana, Slovenia.
Game Theory
Game Theory
It is a dark piece, full of frenzy, yet it is also elegant, beautifully swinging, enrooted in gospel and blues. Another great album of a great artist. -Martin Schray, Free Jazz Blog
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Recorded in concert on October 26, 2010, at Instants Chavirés, Paris, France
Mixed at Experimental Sound Studio – Chicago
Mastered at dts studio
Alto Saxophone, Pocket Trumpet – Joe McPhee
Cello, Electronics – Fred Lonberg-Holm
Percussion – Michael Zerang
Design – Malgorzata Lipińska
Mastered – Rafał Drewniany
Mixed By – Lou Mallozzi, Michael Zerang
Photography – Filip Przewoźny
Photography – Steve Robinson
Recorded – Jean-Marc Fossat
Fourth Altas
Fourth Altas
“Fourth Atlas marks the latest chapter in the enduring collaboration between Chicago-based improvisers Ken Vandermark and Tim Daisy. Recorded on January 14th, 2023, at Electrical Audio in Chicago, this album showcases Vandermark’s versatility on tenor saxophone, baritone saxophone, Bb clarinet, and bass clarinet, alongside Daisy’s dynamic work on drums and percussion.”
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Ken Vandermark – tenor & baritone saxes, Bb and bass clarinet
Tim Daisy – drums and percussion
Compositions 1, 3, 5, and 8 by Ken Vandermark (Twenty First Mobile Music/ASCAP-Cien Fuegos)
Compositions 2, 4, ,6 and 7 by Tim Daisy (Split Music/ASCAP)
Recorded at Electrical Audio, Chicago, USA on January 14, 2023
Recorded by Nick Broste
Mastered by Alex Inglizian at ESS
Not Two Records
Four Sides of the Story
Four Sides of the Story
Cello – Fred Lonberg-Holm
Double Bass – Kent Kessler
Drums – Tim Daisy
Saxophone – Dave Rempis
Saxophone, Clarinet – Ken Vandermark
Recorded November 23, 2005 at the Alchemia, Kraków, Poland.
Mixed and mastered at MAQ Studio Poland.
Cover [Front Cover “Szlak Trafił” (Stick-in Picture On Paper 30cm X 30cm)] – Andrzej L. Turek
Graphic Design – Andrzej L. Turek, Andrzej Wojnowski
Producer – Marek Winiarski
Recorded, Mixed, Mastered – Michał Rosicki
Fine Objects
Fine Objects
“Great unpretentious sax trio, playing improvised music around thematic structures, with three excellent musicians, freely, but sounding like a very traditional bop sax trio. A pleasure to hear, “fine objects for listening”, as Joe Morris aptly puts it in the liner notes. Morris plays bass, Petr Cancura tenor and soprano, and Jason Nazary drums. The playlist consists of two “older” Morris compositions, one by Dolphy, one by Ornette Coleman, and a few group compositions/improvisations. The sound quality is good, the technical skills are excellent, the improvisations deeply felt, the accessibility is high. No boundaries are broken, no exceptional things are tried out, but just listening to the absolute basic notion of what a sax trio should sound like, is a true joy.” -Stef, Free Jazz Blog
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Joe Morris – bass
Petr Cancura – tenor and soprano saxophones
Jason Nazary – drums
Recorded February 3, 2007 at Riti Studios, Guilford, Connecticut.
Engineered, mixed and mastered by Petr Cancura
Layout, Design – Anne Marcotty
Liner Notes – Joe Morris
Cover Photograph by Petr Cancura
Existential Moments
Existential Moments
“Multi-instrumentalist Joe McPhee’s trio with British bassist John Edwards and German drummer Klaus Kugel has become another of his most potent working bands, following in the footsteps of such esteemed outfits as Trio X and Survival Unit III. On their third album, after Journey To Parazzar (NotTwo, 2018) and A Night In Alchemia (NotTwo, 2019), recorded in front of an audience at the FreeJazzSaar festival in Saarbrucken in 2019, the threesome conduct a masterclass in building and releasing tension, during the course of three off-the-wall creations.” -John Sharpe, All About Jazz
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Joe McPhee – trumpet, tenor saxophone, voice
John Edwards – double bass
Klaus Kugel – drums
Recorded, mixed and mastered on April 6th, 2019 in Saarbrucken, Germany during live performance at the festival “FreeJazzSaar 2019 by Ralf Schnellbach
A recording of the SAARLÄNDISCHER RUNDFUNK Saarbrücken SR