CS Radio Archives - Page 5 of 17 - Catalytic Soundstream

Kristian Enkerud Lien's KRISE

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Apt Opt Kroma, like the debut album Svartsymra, is an avant-garde exploration of sound and musical boundaries by the experimental contemporary ensemble KRISE, led by Kristian Enkerud Lien. The ensemble ventures into new territories by blending just intonation, microtonality, indie rock, and folk music in an innovative way. Through experimentation with ideas from Ben Johnston, Harry Partch, and Eivind Groven, they aim to create a more complex yet captivating musical journey.

As the title suggests, Apt Opt Kroma is an appropriate choice of colour in this music. This reflects the band’s work in microtonality and sonority. It also delves into an approach found in Ben Johnston’s profound work with just intonation in a serial chromatic language. The album consists of ten pieces, each offering a different take on this music. The album ranges from indie rock tunes like “Våre riper og hvite hester” to conceptual pieces like “Laus,” and serial compositions such as “Benjo”, to ballads like “Feblater.” The album opens with a nod to Portishead in “Våre riper og hvite hester.” “Laus” is a study of microtonality and modulation. “Eteik” explores melodic and harmonic concepts within a ballad form. “Septimal dans” portrays a septimal dance club, which leads to a depiction of a reversed abyss, “Avrev”. “Presol” is a solo work for just intonation guitar, and “Capsol” is a remembrance of dear Gastr del Sol. “Benjo” is composed for a 46-note octave and modulates between four harmonic centers. “Polygon” is our pyramid song, leading into the final ballad, “Feblater.”
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Emil Bø – trombone
Anna Ueland – retuned synth, MS20
Bjørn André Syverinsen – drums, synth
Kristian Enkerud Lien – refretted guitar, lap steel

Recording by Morten Qvenild Ugla Lyd January 16-17 2025
Mixed by Bård Ingebrigtsen at Ekkoko Studio
Mastered by Helge Sten at Audio Virus Lab
Composition and artwork by Kristian Enkerud Lien

Thanks to FFUK, FFLB and Det norske komponistfond for financial support.
Thanks to Ingebrigt Håker Flaten for releasing our music through Sonic Transmissions Records.

Dykdypp

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Dykdypp – the band with the most misspelled name in Norwegian music history, and one that will continue to torment proofreaders in jazz magazines and festivals for years to come.
A tornado of soaring saxophone solos, scraping — almost screaming — guitar, driving bass, steady drumming, and wild energy… and right in the middle of it all: cello!
Despite their young age and a mix of still-in-progress and freshly completed jazz studies (from Bergen and Trondheim, respectively), the band has already celebrated multiple birthdays together.
What might appear from the outside as a glorious mess — orange, brown, and blonde; messy and neat; tall and short; smooth and scruffy; uncompromising and fragile; plucking and blowing — is united through breathless, folk-infused rock-prog-jazz. Where the only thing more rock’n’roll than the electric guitar is the saxophone.
That you’ll love this vinyl/CD/streaming link for the rest of your life, I have no more doubt about than that you’ll get a proper workout for your neck, tapping foot, and smile muscles at a Dykdypp concert.
Enjoy!
Kisses, claps, and hugs,
— Selma with the red hair

Åsne Ausen Fossmark – tenor saxophone
Arin Myklebost Gran – guitar
Selma Sophie Tudor Edwards Granly – cello, vocals
Johannes Wilhelm Burns Lykkås – double bass
Linus Hanem Solvang – drums

Recorded by Jo Ranheim in Øra Studios
Mixed by Kyrre Laastad in Øra Studios
Mastered by Karl Klaseie in Øra Studios

Photography by Eva Hovem Gjelsvik
Coverart and layout by Erlend Wik

Gush

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3-CDs box-set documents Gush residency at Alchemia club in Krakow in November 2018 celebrating band’s 30th aniversary.

Gush performs precisely as one might anticipate from a trio of seasoned musicians who have collaborated for three decades. Gustafsson’s saxophone emulates the qualities of the human voice, Sandell’s piano evokes both lyricism and percussive rhythm, while Strid’s drums exude a captivating, enigmatic fluidity in their aesthetics. Their collective efforts yield an intense, abstract beauty in the seamless convergence of sounds, culminating in an organic, harmonious unity.
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CD ONE
Recorded at Alchemia Nov. 26th 2018
Performed by Gush / Anders Nyqvist / Sofia Jernberg

CD TWO
Recorded at Alchemia Nov. 27th 2018
Performed by Gush / Philipp Wachsmann / Christine Abdelnour

CD THREE
Recorded at Manga Nov. 28th 2018
Performed by Gush Gush /Jörgen Adolfsson / Peter Söderberg / Sven-Åke Johansson

Mats Gustafsson – reeds and flute
Sten Sandell – piano
Raymond Strid – drums

with:
Sofia Jernberg – voice
Anders Nyqvist – trumpets
Philipp Wachsmann – violin
Christine Abdelnour – alto sax
Peter Söderberg – lute and guitar
Jörgen Adolfsson – reeds
Sven Åke Johansson – voice

Liner notes by Brian Morton
Photos by Krzysztof Penarski and Lars Jönsson
Produced by GUSH & Marek Winiarski

Recorded and mixed by Rafał Drewniany

Gush

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“The Swedish trio Gush, consisting of Mats Gustafsson, pianist Sten Sandell, and percussionist Raymond Strid, is an interesting and unusual improvising trio. Gustafsson wields prodigious and imaginative technique in a near overwhelming manner and Strid’s work has a pleasant clattering quality that recalls Paul Lovens, but it’s Sandell that’s something of a wild card. While perfectly capable of performing in an abstract manner, he is more likely to play surprisingly, in this context, “inside.” Sometimes this takes the form of chords that seem indebted to Abdullah Ibrahim, while on other occasions a brooding romanticism insinuates itself between the roaring and banging. Sandell thus provides a relatively unusual kind of glue for this kind of free improv performance. Still, a newcomer to this disc would surely come away most impressed with the sheer force and variety of sonic assaults that Gustafsson creates.” –All Music
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Drums – Raymond Strid
Piano, Voice – Sten Sandell
Soprano Saxophone, Tenor Saxophone, Fluteophone, Flute – Mats Gustafsson

Recorded November 3, 1996 at the Tampere Jazz Happening, Pakkahuone, Finland.

Ballister

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2020 marks the tenth anniversary of the working trio Ballister, and it’s been a productive ten years. Eight previous records, and regular concert dates across North America and Europe, have produced a band that maintains a core sound and energy, while taking the time and space to continually expand their individual voices and respective interests.

In October 2019, these three musicians met up in Europe for the first time since a US tour in late 2017. With the myriad of projects that each one is involved with, having breaks in their output isn’t uncommon, but this was the longest one in the band’s history. And they dug in deep from the first downbeat, exhilarated to be back at it, and to compare notes on those individual discoveries over the previous two years.

Their tour took them across seven countries including Italy, Poland, Russia, Austria, Germany, Switzerland, and Norway, but as is often the case, it was the riotous energy of the famed Moscow audience that pushed them to new heights. And while the band has long been known for its seemingly endless reserves of fuel, that’s not what comes to the fore here. Not that it’s absent – the band still cooks – but it’s the laser beam focus of the narrative in these longer form improvisations that truly astounds. Forty minutes disappear into a puff of smoke, and the listener’s head whirls from a journey whose seemingly obtuse path through territory as broad as the Wyoming sky becomes eminently clear with the final gesture. Their zigzagging route reveals an underlying logic and structure that’s infallible. There was no other way to get here.

On this new record – their first in three years – we hear Rempis adding more space, breath, and humor to his firebreathing as he matures into his mid-career status. Nilssen-Love increasingly incorporates influences from his ongoing work in Ethiopia and Brazil, often trading his remarkable ability to generate rhythmic drive for newfound subtleties. And check out the sheer breadth of Lonberg-Holm’s musical experience on display here; someone whose discography spans every genre imaginable over the last four decades, and whose jaw-dropping abilities as a musical chameleon gives him a truly singular voice in the improvised music world.

Znachki Stilyag, a somewhat nonsense title in Russian, roughly translates with some help from google as “Hipster Icons.” It was cobbled together from the word “znachki,” a type of small lapel pin, and “stilyag,” a type of western-oriented, zoot suit-wearing rebel from the Soviet era of the 1950’s. Rempis and Lonberg-Holm picked the words up separately during a sightseeing trip around Moscow before their concert, and pieced them together into this record title since they liked the sound of the two combined. And we suggest that you get yours now!

Dave Rempis: Reeds
Fred Lonberg-Holm: Cello
Paal Nilssen-Love: Drums

Recorded October 30th, 2019 at Dom Cultural Center | Moscow, Russia

Recorded by Maxim Khaikin
Mixed by Dave Zuchowski
Mastered by Lasse Marhaug

Design by Johnathan Crawford
Inner cover/concert poster by art by Dmitry Gomzyakov aka ZonderZond

Produced by Dave Rempis
Special thanks to Kirill Polonsky, Dom, and Bigus Coshmarus

Joe Morris & Nate Wooley

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Joe Morris – acoustic guitar
Nate Wooley – trumpet

Recorded at Roulette Intermedium, in August 13, 2008 by Reuben Radding

Liner Notes – Joe Morris
Design – Travassos
Engineer – Matt Mehlan
Mastered – Reuben Radding
Photography – Scott Friedlander
Producer – Joe Morris, Nate Wooley

Dave Rempis & Tim Daisy

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Drums – Tim Daisy
Reeds – Dave Rempis

Recorded in February of 2004 at 3030 by Michael Armstrong
Mixed in August of 2004 at 3030 by Rempis, Armstrong, Daisy

Design – Dave Rempis

Released in limited edition of 800 CDs.

Elisabeth Harnik & Zlatko Kaučič

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“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

Mats Gustafsson, Kurt Newman & Mike Gennaro

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Drums, Percussion – Mike Gennaro
Electric Guitar – Kurt Newman
Tenor Saxophone, Baritone Saxophone, Flute, Reeds – Mats Gustafsson

Recorded at Airwave Studio, Chicago, May 17, 1999.
Mixed and mastered July 1999, Toronto.

Carl Ludwig Hübsch, Claus van Bebber & Jaap Blonk

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“For the last selection, “The Üblog Tide” (by far the longest piece at 12
minutes), Blonk is “trapped” in the left channel while Van Bebber finally
comes up with one of his monstrously effective vinyl superimpositions and Hübsch conjures up sounds that simply should not be coming out of any tuba.” -All Music Guide to Jazz

“I really like the final track, by far the longest piece, but all tracks are creative and interesting. Many moods here, from laid-back and kinda wandering around to humorous to quite intense.” -KFJC

“Blonk recites (?) sings (?) moans (?) in his usual fashion and is probably one of the more wilder characters in this kind of music. His elastic voice seems to be capable of just doing anything with it. It works really nice along the strange sounds produced on a tuba and the turntables.” -Vital Weekly

“On this beautifully conceived disc, he lines up alongside tuba player Carl Ludwig Hübsch and turntablist Claus van Bebber. The nonsense syllables of the opening track. “eh”, confirm Blonk’s interest in inventing fantasy languages. “to ilpehü” is pure vocalizing, with tuba and voice competing in rude noises against Van Bebber’s abrasive vinyl appliqué; “thobb” is a wheezy, throbbing machine; Blonk intones “loipt” in a Goon-like voice, teasing listeners into thinking he’d make sense if only he was properly audible. On “pheite bedog”, a winding down music box is followed by Blonk conducting an argument with himself while necking with the tuba. Blonk’s quirky, witty art might well be limited, but it’s superior to many an over-serious attempt to express the profound and sublime.” -The Wire
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Carl Ludwig Hübsch: tuba
Claus van Bebber: turntables
Jaap Blonk: voice

Recorded and mixed by Jurre Wieman at Edgetip Recording Studio, Arnhem, Netherlands
Recording dates October 1 and 2, 2002
Mastered by Hans Strikkers at Mediatrack, Amsterdam, Netherlands

Produced by HüBeBlo
Executive producer Jaap Blonk
Graphic design Melle Hammer

The Thing with Otomo Yoshihide

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Mats Gustafsson: Alto Saxophone, Tenor Saxophone, Slide Saxophone Ingebrigt Håker Flaten: Bass
Paal Nilssen-Love: Drums
Otomo Yoshihide: Guitar

Recorded live at Pit Inn, Tokio, on 2nd October 2007 by Jim O’Rourke
Mixed at Chicago Mastering Service on April 3rd, 2009 by Ingebrigt Håker Flaten & Bob Weston
Mastered Chicago Mastering Service on April 11th, 2009 by Bob Weston

Producer – Otomo Yoshihide & The Thing
Co-producer – Joakim Haukland
Design [Sleeve] – Rune Mortensen

Smalltown Superjazz 169

Kuzu

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“As Coltrane drew from jazz, gospel, and Eastern music, Kuzu do too, updating their approach with rock, metal and the tools of free jazz. We hear Rempis’ patented rip, tear, crunch sound, but also there is a tranquility about this music not found in most free jazz.” – Mark Corroto, All About Jazz
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Purple Dark Opal is the second release by the working trio Kuzu, a band whose deep roots in disparate musical traditions delivers a sound that’s not only new, but totally organic. Saxophonist Dave Rempis is best known for his work in the improvised music scene in Chicago, often exploring areas at the farthest edge of the jazz tradition. Guitarist Tashi Dorji, a native of Bhutan, came up through the active noise scene in his home base of Asheville, NC. The last decade has found him deep in that world nationally and internationally, putting out ear-splittingly in-your-face solo records, regularly opening for Godspeed You Black Emperor on their concert tours in the US and Europe, and touring frequently with duo partners Thom Nguyen, Mette Rasmussen, and Kuzu drummer Tyler Damon. That last pairing was the band that caught Rempis’ ear a few years back, and Damon is clearly the musical link here – someone who works comfortably in the avant-garde jazz scene in Chicago, as well as in the rock and noise world holding the drum chair for Circuit Des Yeux, Thee Open Sex, and in his duo with bassist Darin Gray.

After their first concert outing in the fall of September 2017, the three left the stage exhilarated, and knew immediately that this was a BAND. Immediately planning more work together, they released that concert as an Astral Spirits LP titled Hiljaisuus in August 2018, later released on cd by Aerophonic Records. That fall they did twenty dates on the road in the US, rolling up their sleeves to develop a promising union into a real working unit. The results of that effort are documented here on Purple Dark Opal – recorded live in Milwaukee, WI as concert number fifteen of that extended run.

And what do we find after all that work? Rempis’ penchant for pentatonic melodies and rough and tumble timbres combines seamlessly with Dorji’s thick, raw sound and singular approach to intonation, buttressed by Damon’s rapid-fire yet powerful stickwork, to produce a music that’s exquisitely detailed at any one point in time, yet carries the narrative arc of the lengthy piece presented here without ever losing its coordinates. In this music you can hear the many hours together in a van roaming the hills of Tennessee and Pennsylvania, the plains of Texas and Illinois, and the forests of North Carolina and New England, trading playlists ranging from jazz icons like Pharaoh Sanders and Yusef Lateef to Scandinavian black metal bands like Craft and Darkthrone. While this isn’t a new thing in creative music – broad ears are a trademark of musicians in this world – what makes the pairing so unique is the truly organic way in which they string these influences together into a coherent sound. This isn’t a Frankenstein pastiche of bits and pieces held together with duct tape and glue, and a paper-thin conception. This is an emotionally deep and sincere effort to join genuinely disparate influences arrived at only through patient toil. When we ask if Rempis is channeling Coltrane, or a Turkish clarinet player; does Dorji sound like a Delta bluesman, or a southeast Asian rocker from the 70’s; is that Art Blakey or John Bonham rolling out through Damon’s toms; the answer is undoubtedly all of the above. And yet, despite the breadth of the trio’s inspirations, their music never collapses under the weight of its aspirations, fearlessly carving out a new corner in the broader sonic landscape.
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Dave Rempis – alto/tenor/baritone saxophone
Tashi Dorji – guitar
Tyler Damon – drums

Recorded October 14th, 2018 at The Sugar Maple in Milwaukee, WI
Recorded, mixed and mastered by Dave Zuchowski

all compositions by Rempis/Dorji/Damon

Design by Johnathan Crawford
Produced by Dave Rempis

Special thanks to Adrienne Pierluissi and Bob Szocik.

Kuzu

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“The music on Hiljaisuus is a game of recurring structures. Harmonic islands consisting of staccato and repetitive patterns are used as springboards and fixed points for further improvisation.” -Martin Schray, Free Jazz Blog
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KUZU is a hard-charging but patient trio that came together in the fall of 2017, after saxophonist Dave Rempis a stalwart of the Chicago improvised music scene, worked with both Tashi Dorji (guitar) and Tyler Damon (drums) individually as part of a lengthy solo tour of the U.S. that he undertook in the spring of that year. Dorji and Damon’s work as a guitar/percussion duo has become well-known, a highly refined and specific language developed through relentless touring and recording over the last few years, with a sound that straddles improvised music, rock, and any number of as-yet-undefined territories. These two provide an incredibly fresh take on the possibilities inherent to spontaneous composition. Superimposing Rempis into this mix was a logical next step after the relationships they’d forged individually.

The trio’s debut record HILJAISUUS (“silence” in Finnish…) features a highly focused pallet of sounds. At times, spacious gestures carve up the canvas with the austerity of a calligrapher, while at others those sparse gestures build into an unstoppable tsunami of energy. Those waves are never impulsive or impetuous though, they ebb and flow logically and patiently out of simple and clearly defined sources. This trio pursues every gesture with tenacity, passing them back and forth until they’ve explored every facet of an idea. Through it all, Kuzu emerges as a unit and not as a meeting of individuals.

This cd release is done in partnership with our friends at Astral Spirits, who released this same material on a limited edition vinyl LP in September 2018. Although the first pressing rapidly sold out, a second pressing is also now available from them.
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Dave Rempis: Reeds
Tashi Dorji: Guitar
Tyler Damon: Drums

Recorded September 13th, 2017 at Elastic Arts, Chicago

Recorded/mixed/mastered by Dave Zuchowski

artwork by id m theft able
Design by Johnathan Crawford

Produced by Dave Rempis and Nate Cross
released in partnership with Astral Spirits Records

Matthew Shipp & Joe Morris

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“This dynamic duo features Matt Shipp on piano and Joe Morris on contrabass. Recorded at the Roulette studio in February of 2010. This is the third disc that this particular duo has been involved with, although the other ones featured Joe Morris on guitar. Since Mr. Morris has been switching off between bass and guitar, he has played bass with Matt in both trio and quartet dates. Joe’s acoustic bass playing continues to grow stronger all the time so he sounds superb and spirited spinning those notes underneath Matt’s layers of cascading waves. In the first piece, Joe is quite a bit busier than Matt, yet the balance is consistently strong. There is a strong dialogue going on, like a familiar conversation between two old friends. Joe switches to bowed bass and kicks off the second part by himself. This piece moves more slowly and the currents are darker and more murky. Joe takes a fine long bass solo during the first half of part three which Matt follows with an equally thoughtful solo piano interlude. Both are solos somber and carefully constructed. Matt often seems to be developing a few different themes, building different layers or currents as the tide rolls in and then out. It sounds as though a story is being told as different connected scenes unfold and evolve into other scenes. There are quite a few moments here that are stunning, lovely or transcendent. I got a promo of this disc in June and have been playing it often ever since. It still blows me away. This is an incredible duo whose time has come. The poetic liner notes by Steve Dalachinsky and stark cover art by Steve’s wife Yuko Otomo also fit this disc perfectly.” -Bruce Lee Gallanter, Downtown Music Gallery
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“The recording is sonically rich, the acoustics and overtones have just as much presence as the actual notes and tones. I took the opportunity while listening to Broken Partials to revisit the Shipp/Morris duo album ‘Thesis’ (Hatology, 1998) on which Morris plays acoustic and electric guitar. Regardless of the instrumentation, the duo posseses a sympathy for each others playing that allows their separate lines to intertwine and meld like an ongoing, and sometimes freewheeling, conversation with Shipp seemingly stating and restating the facts and Morris spitting out rapid responses and interjections. A really interesting listen, ‘Broken Partials’ makes for some excellent eavesdropping.” -Paul Acquaro, Free Jazz Blog
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Matthew Shipp – piano
Joe Morris – bass

Recorded on February 17, 2010 at Roulette Studio, NYC by Matthew Mehlan
Mixed & Mastered – Rafał Drewniany at DTS Studio, Kraków

Design – Yuko Otomo
Liner Notes – Steve Dalachinsky
Producer – Marek Winiarski

Mats Gustafsson & Nu Ensemble

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“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

Joe McPhee, John Edwards & Klaus Kugel

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“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

Per-Åke Holmlander & Tim Daisy

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“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

Ballister

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“Chrysopoeia is an excellent album that shows a slightly different face of the trio. In their most wonderful moments Ballister combine Ken Vandermark’s idea of funkiness, heavy metal, free jazz and avant-gard music. To be honest, as long as they are on the scene, the absence of The Thing doesn’t hurt so much. I hope they will also last 20 years.” -Martin Schray, Free Jazz Blog
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Alto Saxophone, Tenor Saxophone – Dave Rempis
Cello, Electronics – Fred Lonberg-Holm
Drums, Percussion – Paal Nilssen-Love

Recorded October 28th, 2019 at Alchemia in Krakow, Poland by Rafal Drewniany.

Design – Małgorzata Lipińska
Mastered – Lasse Marhaug
Mixed – Gordon Comstock
Producer – Ballister, Marek Winiarski

The Rempis Percussion Quartet

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“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 Engines with John Tchicai

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“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

Construction Party

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“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

Joe Morris & Luther Gray

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“Joe Morris (guitar & acoustic bass) and Luther Gray (drums) have been playing together for many years in bands led by Joe as well as with Rob Brown, Dennis Gonzalez, Jim Hobbs & Steve Lantner. This is the first time these two have recorded a duo session and it is about time. Although Joe Morris has become a fine acoustic bassist (his second instrument), here he concentrates on his original instrument, the guitar. Each of the five pieces here are named “Creature (something)”. The first is called “Creature Emotion” and it has a more restrained vibe with Joe playing semi-acoustic and Luther using brushes & soft sizzling cymbals. These two fine musicians have a special way of weaving their notes together into an impressive sonic web. Joe Morris, who also plays banjo & mandolin on occasion continues to come up with new ways of coaxing sounds out of his guitar. I caught Joe a couple of weeks ago (7/17/10) in a session with John Butcher where Joe played an entire solo by just rubbing his strings in an odd way. Here also Joe appears to bend & mute his strings in ways that are hard to describe yet certainly unique. On each piece the duo explores a different terrain or vibe. They swing in a bent sort of way on “Creature Adventure”, trading lines, shadowing each other with streams of notes cascading upon one another. What I dig about “Creature Proportion” is the way the duo take a theme and then build upon it, adding chords and flurries of notes as the piece ascends higher and higher, taking us with them on their journey. The energy is breathtaking! On “Creature Influence” things glide down for a more restful episode where each note counts and is slowly placed upon a sea of calm. Finally, “Creature Outlook” is a long piece which works its way through a few different sections. Joe plays a twisted melody when the song begins and then the duo take off, turning the melody inside-out and then weaving layers of lines in waves that keep sailing and soaring and crashing together in connected streams. The duo often seem like they are balancing upon a precipice and are about to fall into the big void yet somehow arrive together in the same exciting place. A place we all need to rest upon before the next set takes place.” -Bruce Lee Gallanter, Downtown Music Gallery
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Drums – Luther Gray
Guitar – Joe Morris

Mastered – Kevin Frenette
Artwork and Design – Alexa Morris
Photography – Laurence Killick
Producer – Luther Gray

Recorded and mixed at Kimchi Studios Cambridge, Massachusetts April 7th 2009 by Andy Hong.

Not Two Records – 2010

Petr Cancura, Joe Morris & Jason Nazary

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“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

Joe Morris, Jeb Bishop & Nate McBride

6 Tracks

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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

Swedish Azz

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Mats Gustafsson: Alto Saxophone, Baritone Saxophone, Electronics
Erik Carlsson: Drums
Per-Åke Holmlander: Tuba, Trombone
Dieb13: Turntables, Electronics
Kjell Nordeson: Vibraphone

Liner Notes – Carliot Nelson, Olof Madsen
Producer – Marek Winiarski, Azz
Design – Marek Wajda

Not Two 857

Recorded on February 27, 2010 at Alchemia, Krakow, Poland by Rafał Drewniany