Brandon Lopez
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Solo contrabass improvisations. First and only takes.
Released November 15, 2019
Recorded live at GSI studios.
Mixed by Jon Lipscomb
Mastered by Weasel Walter
Produced by Brandon Lopez
Edition Redux
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Edition Redux releases its second album on Audiographic Records this January. Entitled Broadcast Transformer, it was recorded at Palisade Studios in Chicago by Nick Broste in March of 2024 directly after their second tour in the States. The group, which features Chicagoans Erez Dessel on keyboards, Lily Finnegan on drums, Beth McDonald on tuba & electronics, and Ken Vandermark on reeds, issued their first recording, Better A Rook Than A Pawn, to great acclaim, called “Essential New Music”, by Magnet Magazine and picked as one of “The Best Jazz on Bandcamp, January 2024”. Throughout the rest of 2024 the band was extremely busy, with a special recording project including poet John Yau in July, a weekly residency at The Hungry Brain in Chicago during October, and a tour in Europe in November where Edition Redux was featured at both the Festival Internacional de Jazz Madrid and the Music Unlimited Festival 38 in Wels, Austria.
Broadcast Transformer features 14 new compositions by Vandermark that explore his interests in the experimental jazz of the AACM and different schools of improvised music developed in Europe, all investigated with a post-punk/free-funk attitude. After continuous work during the year before the second album was recorded, the musicians’ understanding of Vandermark’s goal to perpetually reinvent material by not only re-arranging individual pieces from performance to performance, but to also reorganize their sequence as unique “suites”. The response to this new collection of music both at home and abroad has been extraordinary. Listeners everywhere can now experience the ensemble’s creative achievement with Broadcast Transformer, the next step in documentation for this innovative and exciting ensemble.
Music composed by Ken Vandermark (Twenty First Mobile Music Publishing/ASCAP, AUME/Published by Cien Fuegos)
Music performed and improvised by:
Erez Dessel: piano and Nord synthesizer
Lily Finnegan: drums
Beth McDonald: tuba and electronics
Ken Vandermark: reeds
Recorded by Nick Broste at Palisade Studios, Chicago on March 3, 2024.
Mixed by Nick Broste and Ken Vandermark at Kind Wizard.
Mastered by Kate In at Experimental Sound Studio.
Produced by Ken Vandermark for Audiographic Records.
Cover art, PLC Sunrise, October 1st, neon variation, by Beth McDonald
Album design by Federico Peñalva
Thanks to the musicians, to Nick Broste and Kate In, to all the audiences and organizers for the February 2024 U.S. tour, to Fede Peñalva, and to the listeners. Special thanks to Ernst Gesslbauer whose patronage made work with Edition Redux in Europe during the autumn of 2023 more feasible. Ongoing thanks to Ellen Major for her ongoing support.
Ingebrigt Håker Flaten's Village Songs
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What is the likelihood that hymns from the time of Pietism would resonate with progressive free musicians in Austin, Texas? Particularly when they are sung in a language that feels distant, even to Norwegians. On this album the miraculous happens, in that old texts communicate across centuries and language borders. The conversation makes room for new depths in text and tone. I don’t know how this is possible.
Ingebrigt grew up in a milieu clearly influenced by Pietist Christianity. The album Elise, which was released in 2008, was a musical acknowledgement to this heritage, and to his grandmother, Elise, who was a tradition bearer. On Den signede dag (“The Blessed Day”), he takes an even bolder step in that the texts are brought completely to the foreground. They sound the way Gunvor Fagerhaug learned them from her teachers. The texts have lived among the people since they were written by Kingo, Brorson, and other hymnodists from the Lutheran Orthodoxy and the time of Pietism. The texts were set to folk melodies, and different versions could be found from district to district. And then centuries have passed…
Pietism strongly promotes a life in faith and humble service. In Pietism, the letter of the teachings is less important than a personal and sincere faith in practical life. There is a powerful longing for heaven. The feeling of falling short as a human being, living in difficult circumstances with sickness, exhausting work, and poverty, resonated with the words of the hymns. Despite the distance and many differences between the two traditions, this sense of life can be likened to the situations of those who wrote spirituals and blues on the other side of the great ocean.
Pietism, like many other pietistic movements, has a tendency to isolate itself from “the others”, whose ways of life and beliefs are different. Their personal sincerity and criticism of all forms of vanity have given Pietists an unfair reputation as being judgemental and moralistic. Ingebrigt elevates the texts to the level of a surprising and challenging encounter for those of us who do not have Pietism’s hymn texts under our skin. It is an encounter that inspires wonder, but also has a strange relevance for today’s deep and fundamental questions: anxiety about the actions of world leaders, about what the natural disasters caused by the environmental crisis might lead to, about how we will manage to take in all of those who must flee from inhuman circumstances… “Lord, protect the child from all danger…”
Life in an impossible and frightening world gives meaning to the hope for heaven. It may appear to be an escape and a withdrawal, but it also brings hope and strength to a patient life spent fighting injustice and evil – or “sin”, as the hymns refer to it. Heaven is a vision of the opposite of a hopeless world. Having faith in “The Blessed Day” creates the strength to believe in goodness and love in the midst of everything which pulls in the opposite direction. Grandmother Elise and Gunvor’s foremothers didn’t give up. They were strong, good people who never stopped doing the best they could for their family and neighbourhood. The hymns gave comfort and courage to them and to those who sang with them.
A dialogue plays out between Gunvor Fagerhaug’s singing and Andreas Bjørkås’s fiddle playing on the one side – and Ingebrigt Håker Flaten’s bass and the impressive lineup of Austin-based musicians from both hip-hop, free jazz, and electronica on the other. The result reflects Ingebrigt’s vision of the music as groundbreaking and life-giving across traditional borders. In this way, Den signede dag is in itself a statement about coming together and creating meaning by listening to one another in a dialogue which, at first, may seem impossible.
Ivar Flaten, Dialogue Priest, the Church of Norway
English translation: Laura Ellestad
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Ingebrigt Håker Flaten – bass
Gunvor Fagerhaug Gustavsen – vocal
Andreas Bjørkås – violin / hardanger fiddle
Daniel Dufour – drums
Sterling Steffen – tenor saxophone
Jonathan F. Horne – guitar (on 2-6)
Bob Hoffnar – pedalsteel (on 1 & 3)
Joe McPhee – soprano saxophone (on 2)
All songs are based on folk melodies from Oppdal, Norway, interpreted by Gunvor Fagerhaug Gustavsen, and arranged by Ingebrigt Håker Flaten (TONO).
Recorded at Oppdal Kirke, Oppdal/Norway by Jørn Hoel and Olav J. Hoel on July 18th 2016. Additional recordings by Chico Jones in Austin/Texas, September 2017. Mixed and produced by Chico Jones (www.chicojones.com) and Ingebrigt Håker Flaten, September 2017. Mastered by Morgan Nicolaysen at Propeller Mastering in Oslo, October 2017
Produced by Ingebrigt Håker Flaten. Executive production by Andreas Risanger Meland for Heilo/Grappa Records
Liner notes by Ivar Flaten. Cover photo by Ingebrigt Håker Flaten.
Additional photos by Gunvor Fagerhaug Gustavsen and Ivar Flaten.
Cover design by Rune Mortensen
Released with support from Oppdal spell- og dansarlag, Oppdal Historielag, Oppdal kommune and Fond for utøvende kunstnere
Thanks to Tore Fagerhaug, Erik Viken and Gunvor Fagerhaug Gustavsen for all the work in collecting, transcribing and interpreting this incredible cultural heritage. Thanks to Gunvor, Andreas, Daniel, Jonathan, Sterling, Bob and Joe for your patience and musicianship, and to Andreas Risanger Meland for believing in this music. Thanks to all my family for your endless love and support. A special thanks to my brother Ivar Flaten for your continuous support, wise and loving guidance, deep knowledge, and for getting this project initiated.
Rob Mazurek
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“The band is seriously locked-in, particularly the drummer and bassist, who provide a springy, ever-morphing foundation for the leader’s clarion pocket trumpet excursions” -Peter Margasak
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Desert Encrypts Volume 1, is a two-part suite based on observations from the desert in and around Marfa, TX. It also explores Mazurek’s ongoing fascination with social, psychological, and physiological structures, both terrestrial and extra-terrestrial. The composition includes written music and graphic scores for improvisation. For Desert Encrypts Vol. 1 Mazurek has put together an awe-inspiring new ensemble featuring Kris Davis on piano, Ingebrigt Håker Flaten on bass & Chad Taylor on drums. Recorded live at the Crowley Theater in Marfa, TX during Mazurek’s inaugural Desert Encrypts Festival in August 2018, Desert Encrypts Vol. 1 captures the quartet burning through Mazurek’s newest compositions like they’ve been playing together for years (to be fair some of them have been playing together for years).
Mazurek has always been associated with the Chicago scene he spent so many years in (as well as his time in Brazil thereafter), but Desert Encrypts Vol 1 is his first album that feels truly Texan to these ears, and we’re excited to present a new exciting development in a long string of exciting developments that have marked Mazurek’s long and illustrious career.
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Rob Mazurek – Piccolo Trumpet, Electronics
Kris Davis – Piano
Chad Taylor – Drums
Ingebrigt Håker Flaten – Bass
Lynn Xu – voice on The Blue Haze
all music by Rob Mazurek OLHO ASCAP
Double True Stereo + 2 Recording, Mix and Master: Ken Christianson, Pro Musica, Chicago
promusicaaudio.com truestereo.net
Recorded Live at the Crowley Theater, Marfa, Texas
Produced by Britt Mazurek
Thank You – Hotel St. George, Marfa Book Co., City of Marfa, Tim Crowley, Rob Crowley, Tim Johnson, Christopher Wool, Charline Von Heyl, Jeff Elrod, Robert Bielecki, Ken Bauso, Chris Newman, Nancy DeDakis, Paco Barba, Cody Barber, Anthony DeSimone, Nate Cross, Monofonus Press.
Bobby Bradford, Frode Gjerstad, Ingebrigt Håker Flaten & Paal Nilssen-Love
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“Free jazz in the best tradition. And the audience is enthusiastic too.” -The Free Jazz Collective
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Released on Circulasione Totale – 2009
Bobby Bradford – cornet
Frode Gjerstad – sax, clarinet
Ingebrigt Håker Flaten – bass
Paal Nilssen-Love – drums
All music by quartet.
Recorded live at the Molde International Jazzfestival 2008. Graphic design by Lasse Marhaug.
Tim Daisy
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Relay Records proudly presents the fourth and final edition in its October Music series: “Tim Daisy October Music: Vol 4 – 7 Compositions For Duet” (relay 037) presents a set of new compositions by Chicago-based percussionist and composer Tim Daisy, each work performed in a duo context, written for and brought to life by seven great Chicago-based musicians.
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Jeb Bishop – trombone & electronics
Erez Dessel- piano
Lily Finnegan – percussion
Robbie Lynn Hunsinger – oboe & percussion
Mabel Kwan- piano
Mai Sugimoto – alto saxophone
Mark Feldman – violin
Tim Daisy – drums, percussion, composer, marimba (track 7 only)
All compositions by Tim Daisy (Split Music / ASCAP)
Recorded on June 14th and 15th 2024 @ Experimental Sound Studio Chicago, IL.
Recorded, mixed and mastered by Alex Inglizian.
Cover art by Federico Peñalva.
Harold E. Smith, Mike Kull & Joe McPhee
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“Trinity was the first record where he really began to feel comfortable with his tenor playing. Drinking in his work on each of his horns over the duration of the album it’s startling how much of McPhee the mature player is already solidly in place and his explanation takes on new candor. Curiously the gothic sword and sorcery cover illustration is left unexplained.” – Derek Taylor, All About Jazz
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Joe McPhee: tenor and soprano saxophones, trumpet, pocket cornet;
Mike Kull: piano and electric piano
Harold E. Smith: percussion
Recorded on November 28, 1971 in the Parish Hall, West Park, New York.
Dave Rempis & Tashi Dorji
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This overdue duo record by longtime colleagues Tashi Dorji (guitar) and Dave Rempis (saxophones) is a monument to the endless musical curiosity that links them. These two come at it from remarkably different backgrounds – Dorji combining his Bhutanese ethnicity with a love for metal, punk, American blues and folk, and anarchist political theory, with Rempis riding the outer edges of the jazz world throughout his career, while also inspired by his Greek ethnicity and a longstanding interest in folk musics from around the globe. The genre-less record that results here is astounding. With no allegiance to any specific orthodoxy, the two create something wholly new from their disparate vocabularies.
This end-result isn’t just a matter of open-minded listening though. The two have put in some serious elbow grease since 2017 when they first came together as a duo on the extensive solo tour that Rempis undertook across the US that spring. Performing together in Dorji’s hometown of Asheville, the two spurred one another on with back-to-back solo sets that ratcheted up the fire, before coming together in a shared union of volcanic proportions. That initial meeting soon led to the formation of the trio Kuzu with drummer Tyler Damon, which has toured extensively, and released five outstanding records since 2018.
Over the past couple of years, the two have also decided to re-visit the more stripped back duo context as a way to re-discover the underlying tendons of what’s become a profound musical relationship. In 2023, they headed out on a string of duo performances including a widely heralded set at FIMAV in Victoriaville, QC that May, and a stretch of dates in the southeastern US in October, all in preparation for the live January 2024 recording session from which Gnash emerged. For that session, the two met up on Rempis’ month-long Thursday-night residency at the Hungry Brain in Chicago, then ventured up north the following evening for a concert at Milwaukee’s beloved Sugar Maple, a homebase where the two have recorded twice before. Playing to a packed-out house on a cold midwestern Friday evening, Rempis and Dorji channeled the energy and anticipation from the crowd into two sets of patient, deliberate, and focused creativity.
On a special note, this album marks Rempis’ recorded debut on soprano saxophone, an instrument left to him by friend and mentor Mars Williams when he passed in November 2023 after a year-long battle with cancer. Rempis regards this new ax as a homework assignment that’s gotta be giving Williams, the consummate prankster, a hearty laugh each time he hears Rempis struggle through some of the many challenges this beast of a horn presents. Thanks Mars!
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Dave Rempis – soprano/alto/tenor/baritone saxophone
Tashi Dorji – guitar
Recorded January 26th, 2024 @ The Sugar Maple, Milwaukee, WI
Recorded, mixed and mastered by Dave Zuchowski
Artwork and cover design by Lasse Marhaug
Produced by Dave Rempis
C & P 2024 Rempis/Dorji
Special thanks to Adrienne Pierluissi, Bob Szocik, and Steve Marquette
Gunwale
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“Albert Wildeman is Gunwale’s secret weapon. He propels the group with roly-poly stabs on his bass, all accents and rhythmic tumble, that bring unfailing allegiance from drummer Ryan Packard & inspiration to saxophonist Dave Rempis.” -Tom Burris, Free Jazz Blog
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This debut release by the working trio Gunwale matches veteran Chicago saxophonist Dave Rempis up with two of the brightest up-and-coming stars from the next generation of Chicago improvisers. While Packard is known mostly for his extensive work as a composer and percussionist within the thriving contemporary classical scene in Chicago, Wildeman has achieved notoriety for his meteoric rise from novice instrumentalist to one of the busiest players around after relocating from the Netherlands in 2011 to immerse himself in this city’s broad-shouldered sound. With these varied backgrounds the two contribute noticeably fresh perspectives to the ever-evolving local artistic dialogue. As a trio, their voice is stark, and clear, combining a love for driving blasts of energy with a sensitivity to the smallest details, leading to music that can be a freight train one moment, and an insectoid microcosm the next. These intuitive abilities make sense when one considers the trio’s rare commitment to several months of weekly rehearsals before their first performance in December of 2015, a tradition they still continue when all three members are in town. So while Polynya may document a band in its early stages, its laser-beam focus leaves no doubt that these three know precisely where they’re headed.
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Dave Rempis – alto/tenor/baritone saxophone
Albert Wildeman – bass
Ryan Packard – percussion/electronics
Track 1 recorded January 7th, 2016 at Elastic Arts in Chicago
Track 2 & 3 recorded January 31st, 2016 at The Hungry Brain in Chicago
Recorded, mixed, and mastered by Dave Zuchowski
Design by Johnathan Crawford
Produced by Dave Rempis
Special thanks to Paul Giallorenzo and Elastic Arts, and to Josh Berman, Mike Reed, and the Hungry Brain.
Mats Gustafsson & His All-Stars Featuring John Corbett
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Side One was recorded live on Radio Dada, WHPK-FM, Chicago, 26 January, 1999. Mastered at Airwave Studios, 28 January 1999.
Side Two was recorded and mastered at Experimental Sound Studio, Chicago, 25 January 1999.
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Track 2 contains material from Davey Williams “Criminal Pursuits” (Trans Musiq 8, 1985).
Track 4 contains material from Wolfgang Fuchs “So-Und? So!” (Uhklang UK-7, 1985), side A tracks 4 (“C-BCL”), 5 (“SSI”), 6 (“CL”) and 7 (“BCL”). By permission.
Mats Gustafsson: Tenor Saxophone, Fluteophone
John Corbett: CD Players, Turntables (tracks 1 to 4); Electric Guitar (tracks 5 to 14)
Jaap Blonk, Mats Gustafsson & Michael Zerang
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Complete unedited session recorded live March 4, 1996 at Andra böker och skivor (Stockholm, Sweden).
Michael Zerang: Percussion –
Mats Gustafsson: Soprano Saxophone, Tenor Saxophone, Baritone Saxophone, Flute, Fluteophone, Flageolet
Jaap Blonk: Voice
Wolter Wierbos, Jasper Stadhouders & Tim Daisy
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An album worth repeated listens, this will be spun on my commute for days to come while keeping me dreaming of this secret garden and the sounds that it makes over the concrete i’ll be driving on. Closing statement, turn of the key, I’ve arrived. —Phillip Coombs, Free Jazz Blog
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Sounds in a Garden documents an improvised meeting between Dutch trombone great Wolter Wierbos, young star Jasper Stadhouders on electric bass and electric guitar, and Chicago’s Tim Daisy on drums. Recorded on one beautiful afternoon at the Experimental Sound Studio in Chicago.
Recorded on April 17th, 2016 at the Experimental Sound Studio Chicago, Il
Recorded, mixed and mastered by Alex Inglizian
Cover Design by Dan Mohr / yesisaid.com
All compositions by Wolter Wierbos (Buma/Stemra) Tim Daisy (ASCAP) & Jasper Stadhouders (Buma/Stemra)
Tashi Dorji
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It’s also the kind of tape that welcomes the morning sun peeking over the horizon, greeting it with sleepy-eyed enthusiasm and going about its business following a productive all-nighter. It’s workmanlike in its progress, deliberate, yet full of surprises if you’re not ready for them.” – Ryan Masteller, Tiny Mix Tapes
Recorded at home, 2018
Originally released on cassette in 2018 and quickly went out of print. For this version, Tashi carefully curated about 15 more minutes of material.
Art by James Fella
Printed matte jackets
2018 tour poster insert
Released by: Moone Records
AALY Trio + Ken Vandermark
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In her review for AllMusic, Joslyn Layne states “These numbers are firmly entrenched in blues roots, carrying on a wailing, at times plaintive, blues spirit with conviction.”
The Penguin Guide to Jazz notes that “Vandermark and Gustafsson are formidably like-minded, at least in the way they want the band to make its impression, and the sound of the quartet in full flight has a harsh, narcotic edge to it.”
The JazzTimes review by Bill Shoemaker states “While there is plenty of wide-open blowing space for the two saxophonists (Vandermark also plays a good amount of pungent clarinets), and the flexible, fluent Janson and Nordeson, there is an overarching ensemble cohesion that holds this album together.”
Bass – Peter Janson
Drums – Kjell Nordeson
Tenor Saxophone, Clarinet, Bass Clarinet – Ken Vandermark
Tenor Saxophone, Flute, Reeds [Fluteophone] – Mats Gustafsson
Layout – Dan McCleary
Design [Booklet] – Mac McCaughan
Mastered – John McCortney
Photography – Ellen Black
Recorded live at Unity Temple January 17, 1998, by Malachi Ritscher
Cecilia Lopez & Brandon Lopez
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Cecilia Lopez – Electronics
Brandon Lopez – Guitar
Recorded at Casa De Lopez.
Mixed by Cecilia Lopez.
Michael Bisio & Joe McPhee
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“The two make some of the best music around, and do it with elegant simplicity. Entirely original in concept, this is a perfect setting for the bassist and sometimes saxophonist (McPhee is elsewhere just as effective on brass), and features them at their best. The range of moods is astonishing, from soft, slow, and lazy to completely invigorating.” -Steve Loewy, All Music
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Joe McPhee – tenor saxophone, alto saxophone
Michael Bisio – bass
Cover – Kara D. Rusch
Engineer – Marc D. Rusch
Producer – Robert D. Rusch
Recorded at The Spirit Room, Rossie, NY, July 6 & 7, 1998.
The performances on this CD are issued in the order in which they were played.
Joe McPhee & Ingebrigt Håker Flaten
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“Multi-instrumentalist Joe McPhee and Norwegian bassist Ingebrigt Haker Flaten have been collaborating for the better part of a decade, chiefly through McPhee’s work with Flaten’s agro-jazz trio The Thing. Their second duo release is a far more restrained affair, full of loosely sketched melodic information rather than sonic carpet-bombing.” -Shaun Brady, JazzTimes
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Joe McPhee: pocket trumpet, soprano and alto saxophones
Ingebrigt Hake
Design – Travassos
Executive-Producer – Trem Azul
Mastered – Joe Marciano
Photography – Pente Costes
Recorded at “Systems Two” in Brooklyn on July 13th, 2011 direct to two track.
Ballister
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“The three men work very well together, with Rempis’ naked and vulnerable saxophone going from a whisper to a full throated scream at will, and Nilssen-Love, who has seemingly played on 1,000 LP’s this year, has pummeling rhythm. Lonberg-Holm is the wild card, almost the trickster as compared to the other more instruments. whether sawing away at his cello or blasting jolts of pure electricity into the proceedings, he has a pivotal role.” – Tim Niland, Jazz and Blues
Dave Rempis – reeds
Fred Lonberg-Holm – cello, electronics
Paal Nilssen-Love – drums
Recorded by Nate Cross at the North Door, Austin, TX, April 5, 2014.
Mastered by Gordon Comstock.
All music by Dave Rempis (ASCAP), Fred Lonberg-Holm (BMI) & Paal Nilssen-Live (TONO)
Thanks to Pedro Moreno
Icepick
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The very first Astral Spirits release way back when in 2014! The debut release from ICEPICK! The tape quickly went OOP as did the subsequent repress. Here’s your chance to have the digital at a discounted price.
“Great live debut by this threesome. Nate Wooley, Chris Corsano and Ingebrigt Haker-Flaten power down into some of the best trumpet trio stuff I’ve heard since the death of Raphe Malik. Brass and rhythm section sounds like a spare setting, but these guys see that it ain’t. Rich and explosive when it’s boiling, it’s still damn rich when it’s just wafting.” – Byron Coley for The Wire
ICEPICK is:
Nate Wooley – trumpet
Chris Corsano – drums
Ingebrigt Haker-Flaten – bass
Recorded Live in Concert at Shapeshifter Lab, Brooklyn, NY on Monday November 18, 2013.
Produced by Icepick, executive production by Nate Cross.
Mastered by Doug Ferguson
All music by Nate Wooley (Fourwordseamusic/BMI), Chris Corsano (BMI) & Ingebrigt Haker Flaten (Tono/BMI).
Thanks to Nate Cross, Morgan Coy & Eivind Opsvik.
Free Fall
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Recorded at Fattoria Musica in Osnabrück on November 21 & 22, 2004.
Mixed and mastered at Strype Audio on February 18 & March 3, 2005.
Clarinets – Ken Vandermark
Double Bass – Ingebrigt Håker Flaten
Piano – Håvard Wiik
Co-producer – Joakim Haugland
Design – Kim Hiorthøy
Producer – Håvard Wiik, Ingebrigt Håker Flaten, Ken Vandermark
Recorded By – Hrólfur Vagnsson
Elisabeth Harnik, Tim O'Dwyer & Darren Moore
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“Elements» was recorded at Lasalle College of the Arts (where O’Dwyer and Moore teach) in Singapore in January 2020. The title of the album reflects this trio’s aim to search for the elemental qualities of sound as well as its quest to create an elusive sonic ambiguity that blurs the common distinctions between the aural spectrums of the piano, sax, and drums, in a manner that would transcend their traditional domains.” -Eyal Hareuveni, Salt Peanuts
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What are the elemental qualities of sound? How can we distinguish one instrument from another when an artist’s aim is to transcend the traditional domains? Elements offers answers to these questions posing sonic answers that unfold in the moment. A first time meeting, Elements features pianist Elisabeth Harnik, saxophonist Tim O’Dwyer and drummer Darren Moore. Recorded live in Singapore in January 2020 just prior to worldwide lockdowns, the pristinely documented album captures unadulterated exploration of sound where each artist lays down the territorial markers of their individual style towards shared modes of discovery.
Elisabeth Harnik – Piano
Tim O’Dwyer – Alto Saxophone
Darren Moore – Drums
Recorded at Lasalle College of the Arts on January 20, 2020
Recorded by Lasalle Audio Production Team
Mixed and Mastered by Joe Talia
Cover Design by Darren Moore
LaoBan Records 2020
The Thing
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“At this juncture The Thing and its members need little by way of introduction. Individually their output plots a course through much of the territories mapped by contemporary improvised music, shines a light on its more outré reaches, and stretches the wallets of even the most committed listener. Moreover, seeing any of their names affiliated with a project has become a seal of quality, much as the FMP logo did a generation prior.
Self confessed Discaholics, the announcement that newly formed The Thing Records would ensure the eventual availability of all The Thing’s oeuvre on vinyl initially sounded like a way for the trio to self medicate. For the rest of us, given that last year alone the individual members appeared on over 40 releases, the news was greeted more as luxury than necessity. However, the label’s current release schedule boasts 3 new recordings (last year’s Boot, a Record Store Day exclusive Boot EP and forthcoming live record with Thurston Moore) and only one re-issue, 2011’s Mono.
Whilst any new The Thing release feels like a virtually mandatory purchase at this point, what justifies the acquisition of Mono on LP to those who already own the original Smalltown Superjazzz release (other than Gustafsson’s own ‘discaholic parameters’; cover art, feel, smell…), is the fact that there is over 30 minutes of previously unreleased music included.
To describe the sounds herein is probably rather like preaching to the choir at this juncture. The Thing, now entering their 14th year, have carved out a very singular niche. John Peel’s adage regarding favourites The Fall seems appropriate here, “They are always different; they are always the same… The Fall are always identifiably The Fall, but they do seem to evolve.” This recording touches the key facets of The Thing’s sound; taut muscularity, deft and fleet footed musicality, energy seemingly tapped direct from the Ur source, all tempered by an understanding that The Stooges swing every bit as hard as Ornette’s Atlantic sides or Coltrane’s classic quartet.
If, as Gustafsson would have it, ‘one piece of vinyl a day keeps the doctor away’, then surely 2 LPs worth of material this vital, and the promise of more to come, ought to keep listeners in good health indefinitely.”
-Matthew Grigg, Free Jazz Blog
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Mats Gustafsson: Reeds
Paal Nilssen-Love: Drums
Ingebrigt Håker Flaten: Bass
All compositions by Mats Gustafsson (STIM), Ingebrigt Håker Flaten (TONO) and Paal Nilssen-Love (TONO) except “Alfies Theme” by Sonny Rollins, Bruremarsj (Trad.) and “Viking” by Paal Nilssen-Love.
Recorded 31st January- 1st February 2011 by Casey Rice in MONO at Headgap Studios, Melbourne, Australia. Mastered 14th April 2011 at Chicago Mastering Service by Bob Weston and Ingebrigt Håker Flaten. Design by Rune Mortensen. Produced by The Thing, executive production by Joakim Haugland.
Ab Baars
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“This is a varied recording, a generous offering of personable, personal, and pleasingly experimental songs. Baar’s employs just the right amount of stream of consciousness to soulfulness in his melodies to make ‘Time to do my lions’ a fascinating one.” -Paul Acquaro, All About Jazz
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Clarinet, Tenor Saxophone, Shakuhachi – Ab Baars
Recorded at the Bimhuis, Amsterdam, 4 April and 28 November 2008
Design, Photography – Francesca Patella
Mixed & Edited – Micha De Kanter
Photography – John R. Fowler
Producer – Ig Henneman
Liner notes, recording and compositions by – Ab Baars
Original Silence
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Titles created and inspired by Steve Lacy (1934-2004) and Thurston Moore.
Recorded live in concert on September 28th, 2005 at Brancaleone, Rome
Mats Gustafsson: Baritone Saxophone, Slide Saxophone, Electronics
Paal Nilssen-Love: Drums, Percussion
Massimo Pupillo: Electric Bass
Terrie Ex: Electric Guitar
Thurston Moore: Electric Guitar
Jim O’Rourke: Electronics
Producer – Original Silence
Producer [Assembled By] – Olof Madsen
Recorded – Alberto Mattaroccia, Matteo Spinazze
Co-producer – Joakim Haugland
Cover – Kim Hiorthoy
Mixed, Mastered – Audun Strype, Mats Gustafsson, Paal Nilssen-Love
Smalltown Super Jazz 144
Original Silence
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1X
Recorded live in concert on Sept. 30 2005 at Teatro Ariosto, Reggio Emilia, Italy.
Mixed at Locomotore Studio, Rome, Italy.
Mastered October 2006 at Strype Audio, Oslo, Norway.
Titles inspired by Carl Frederik Reutersward.
Smalltown Super Jazz 124
Mats Gustafsson: Baritone Saxophone [Slide], Electronics
Paal Nilssen-Love: Drums, Percussion
Massimo Pupillo: Electric Bass
Terrie Ex: Electric Guitar
Thurston Moore: Electric Guitar
Jim O’Rourke: Electronics
Mastered – Audun Strype, Paal Nilssen-Love
Mixed – Massimo Pupillo, Matteo Spinazze
Photography – Alberto Mattaroccia, Alessandro Cappodano, Luca Bottigliero, Matteo Spinazze
Producer – Original Silence
Recorded [Live] – Alberto Mattaroccia, Matteo Spinazze
Co-producer – Joakim Haugland
Design – Kim Hiorthöy