Recorded on 9 April 1990 in New York at Jazz City Productions Studio.
Anthony Cox: Double Bass
Bill Stewart: Drums
Clyde Criner: Piano
Joe McPhee: Soprano Saxophone, Valve Trombone
André Jaume: Tenor Saxophone, Bass Clarinet, Clarinet
Engineer [Sound Engineer] – David Baker
Layout – Jorma Brüger
Painting – Jean-Pierre Giacobazzi
Piano – Clyde Criner
Producer – Robert Bonaccorsi
“With its beautiful sound, In Finland captures three master improvisers live and spinnin’ takes. Longtime fans of Matthew Shipp who miss his prolonged flights into thundering, gothic creations: this is your fix. With two tracks hovering around the thirty-minute mark, the performances allow Shipp room to stretch and flex. Joe McPhee sticks mainly to a rich-toned soprano sax, although he plays some playful pocket trumpet. A veteran of Mark Whitecage’s ensembles as well as a frequent collaborator of McPhee’s, bassist Dominic Duval plays rough, his hands exploding with fat, rapid-fire plucking or smeared arco.” -Rex Butters, All About Jazz
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Joe McPhee: soprano sax, pocket trumpet
Matthew Shipp: piano
Dominic Duval: Prescott bass.
Jim O’Rourke: Guitar
Mats Gustafsson: Reeds
Thurston Moore: Guitar
Mixed 2004 in New York City by Jim O’Rourke
released 2006 on Load Records
Recorded in 2002 in Tokyo, Japan.
“I have to admit that I came to the music somewhat biased, never having heard a bad Vandermark record, but be that as it may, this one is up to his usual high standards. The reed player shares half of the composition credits on these eight tracks with bassist Nate McBride, but the overall shared articulation overshadows the differences between the two. At times the trio waxes lyrical, as on the sweet ballad “Tilted,” where understatement from all players carries the day; or the forward-moving “Framinghammer,” where simplicity is the mode and a romantic tone predominates. McBride sometimes riffs away, which reflects both his personal style and the structured emphasis of some of these pieces. The aforementioned “Framinghammer” rides on a loping bass line (complemented by drum counterpoint), and “Bird, Field (gray)” draws strength from rhythmic leads that originate in the bass.
Three of these pieces offer more dissonance than the rest. They include “Two” (dedicated to Joe Morris), which not surprisingly passes through many small intervals, bubbling and popping across bits and pieces of sound. It’s not the kind of extroverted overblown expressionism that Vandermark is clearly capable of, and which he does engage in elsewhere on the record. But the most satisfying moments on Gambit occur when the trio parks its articulate, almost intellectual approach in an area that’s more rough around the edges. It’s that give and take which provides the tension and release here.
It’s fun to hear Vandermark, McBride, and Newton swing in unexpected contexts (some times more obviously than most, and aided immensely by Newton’s range), and they demonstrate a clear respect for the tradition, both inside and out. It all comes down to how many tools they have at their disposal, which as you might guess is quite a few.” -All About Jazz
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Double Bass – Nate McBride
Drums – Curt Newton
Reeds – Ken Vandermark
Design – Rui Garrido
Executive-Producer – Trem Azul
Liner Notes – Mark Corroto
Mastered – John Golden
Photography [Cover] – R. Nuuja
Photography [Musicians] – Nuno Martins
Recorded By – Bob Weston
Recorded August 18 and 19, 2003 at Audiolutions in Martha’s Vineyard, Massachusetts.
“Sound In Action Trio demonstrates inventive ways to expand the possibilities of small group improvisation. These players convincingly reimagine standards dependent on solid harmonic development and lyrical exploration with a rollicking polyrhythmic frenzy and dedication to form that never abandons structure. Gate is a testament to Vandermark, Daisy and Barry’s improvisational acumen.” Troy Collins, All About Jazz
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Drums – Robert Barry & Tim Daisy
Reeds – Ken Vandermark
Design – House Of ATA
Engineer, Mastered – John McCortney
Recorded at Airwave Recording Studios, Chicago on July 29 & 30 2003
“This is the third duo recording by Joe McPhee and Dominic Duval, after Rules Of Engagement, Vol. 2 (1999) and Dream Book (2004), and next to a quite substantial number of releases with Trio X. In essence, the music is not too different from the Trio X albums, the only major difference is that it is more conversational, less rhythmic, more focused on sound than on melody. And yet … The 25-minute first track starts slowly, almost hesitantly, gently, with the two musicians probing each other, then, close to halfway the piece, they start in earnest, with McPhee blowing from the depth of his heart and soul, majestically supported by Duval, who intensifies the intense moments, and deepens McPhee’s warm tone in the more melancholy moments, switching to arco when the alto becomes moody and plaintive. Both McPhee and Duval are real equilibrists, balancing between exploratory free form and traditional elements, always with an incredibly sincere and selfless approach to music. It’s hard to describe, but in comparison with many other avant-gardists, they’re not looking for shock effects, or a “have you heard this”, or a “watch me break boundaries” kind of attitude, they don’t care where they are going to, the music takes them, sound after sound, deep into musical and emotional possibilities, possibly leading to some sudden dancing steps or shouting through the horn or circular breathing, or just plain beautiful melodious soulful and spiritual melodies, … they do it all, in a very genuine and authentic manner. I will not describe every track, but what both musicians do on “A Poetic Resonance” is absolutely timeless and masterful – it’s classical, it’s jazz, it’s blues, it’s avant-garde all in one, it’s sad and joyful at the same time, it’s emotional and clever. It’s music as it is meant to be. Just excellent.” -Free Jazz Blog
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Alto Saxophone – Joe McPhee
Double Bass – Dominic Duval
Recorded June 14, 2006 at Casa del Popolo, Montreal, Canada
“This is Ballister. Handle with care. Named after the origins of the crossbow, Paal Nilssen-Love (Drums), Fred Lonberg-Holm (Cello, Electronics), and Dave Rempis (Saxophones), collectively pull back the arrow with all their might and pull the trigger with no regard for innocent bystanders.” -Phillip Coombs, Free Jazz Blog
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Recorded live in concert on November 24th 2010 at The Hideout, Chicago.
Dave Rempis: Alto Saxophone, Tenor Saxophone, Baritone Saxophone
Fred Lonberg-Holm: Cello, Electronics
Paal Nilssen-Love: Drums, Percussion
“Here, Vandermark, pianist Håvard Wiik and bassist Ingebrigt Håker Flaten move beyond suggestion into outright declamation, in the process arriving at a vibrant, concise update on this unusual trio format” – Charles Walker, All About Jazz
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Ken Vandermark: clarinets
Havard Wiik: piano
Ingebrigt Haker Flaten: bass
Recorded at Fattoria Musica in Germany in September 2008.
Mixed and mastered at Chicago Mastering Service.
All compositions by Vandermark (ASCAP), Wiik (TONO) and Håker Flaten (TONO).
Thanks to Benno at Fattoria Music and Volker Winck.
“Brotzmann and drummer Paal Nilssen-Love seem like a perfect pairing: Brotzmann’s saxophones, clarinets and tarogato—a Hungarian single-reed instrument with a deeper, louder and woodier timbre—are underscored by Nilssen-Love’s relentless, fast-paced cymbal work.” -Ted Gordon, All About Jazz
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Recorded live in concert on May 10th 2006 at Sting Jazzklubb Mai Jazz Festival / Stavanger / Norway.
Peter Brötzmann: Clarinet, Alto Saxophone, Tenor Saxophone, Tárogató
Paal Nilssen-Love: Drums, Percussion
“Musical shading, not musical imitation, is what makes this collection of Songs work so well.
With well-thought-out arrangements and the smarts of committed improvisers, the three show
how well Aboriginal sounds can be adapted and transformed into impressive improvisations.” –Ken Waxman
[…] There are no bad compositions on the cd Songs; Maliseet Love Song and Aotzi No-otz are especially beautiful. […] From extremely delicate to unusually heavy. […] The Ab Baars Trio’s sound and intensity recall the best of the legendary Albert Ayler Trio.” –Frans van Leeuwen (NRC, 31-8-2001)
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Recording at theTheater De Burcht Zaandam, on February 4th, 2000.
Clarinet, Tenor Saxophone – Ab Baars
Double Bass – Wilbert de Joode
Drums, Percussion – Martin Van Duynhoven
Solo contrabass
Recorded at home and at Issue Project Room
Mixed and mastered by Jon Lipscomb and Bob Bellerue
Produced by Brandon Lopez
“Throughout the album, Rempis plays with an open, fluid voice, which pairs well with Daisy’s resonant pitches and warm rhythms. And his sly references and unvarnished fury cut straight through Chicago’s thick night air.” – Lee Rice Epstein, The Free Jazz Collective
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Dave Rempis — Saxophones
Matt Piet — Piano
Tim Daisy — Drums
Track 1 improvised live on May 8, 2017 at Elastic Arts, Chicago, IL
Track 2 improvised live on July 2, 2017 at The Hungry Brain, Chicago, IL
Track 1 recorded by Dave Zuchowski
Track 2 recorded by Bill Harris
Mixed & Mastered by Dave Zuchowski
A small leather satchel with four vials of pills and powder accompanied Jane Addams on her expeditions around the world. This travel kit is on display in the settlement house leader and social reformer’s bedroom at the Jane Addams Hull-House Museum in Chicago, along with her Nobel Peace Prize and the thick FBI file that once tracked “the most dangerous woman in America.”
Medicine Kit is based on a site-specific book that lives in Addams’ bedroom next to her travel medicine kit. The text is written – and now spoken – by Terri Kapsalis, with Damon Locks on electronics/sampler and Ken Vandermark on reeds. Part forensic mystery, part experimental documentary, Medicine Kit is a sonic meditation on rest and restlessness, antagonism and peace, domesticity and justice, medicine and poison.
Reference material for this unconventional work includes:”I Didn’t Raise My Boy to Be a Soldier” (1914), the first anti-war song to be commercially popular; Lil Armstrong’s “Lonesome Blues” (1926), first recorded in Chicago by Louis Armstrong and his Hot Five; “Land of the Noonday Night” (1915), a protest song by Hull-House resident Eleanor Smith, who co-founded the Hull-House Music School; and “Mountains of Alonistena,” a folk song originating in Arcadia, the region from which many Greek immigrants who frequented Hull-House emigrated.
Working together and independently, Vandermark and Locks shaped and adapted the rich sources, extending and augmenting them via improvisation. In the resulting mix, expertly engineered by Alex Inglizian at Chicago’s Experimental Sound Studio, Kapsalis integrated her words and spun everything into its final form, a wild, provocative, thoroughly captivating reimagination of the idea of “setting” text to sound.
From 1996-1998, together with John Corbett, Vandermark and Kapsalis performed as an improvising trio called Wounded Jukebox. Their gigs found Corbett spinning records, Vandermark on reeds, and Kapsalis on “reads” (found texts) at venues including WHPK, Lunar Cabaret, and the second Performance Studies International Conference at Northwestern University.
In 2012, Locks and Kapsalis were each commissioned by Chicago’s Experimental Sound Studio to create pieces in response to the ESS Sun Ra/Alton Abraham archive. In lieu of solo work, they teamed up and invited Wayne Montana to collaborate on a text-rich sound piece. They then welcomed animator Rob Shaw to create an accompanying visual track for the 17-minute video Noon Moons.
In 2020, Locks and Vandermark began improvising as a duo by way of an invitation to perform at Chicago’s Hyde Park Jazz Festival. They toured Europe in May 2023 and in August 2024 performed at Chicago’s Fred Anderson Park. Though they racked up many stage hours as a duo in a relatively short amount of time, Locks and Vandermark had never been in the studio together until Medicine Kit. Given the magic of what transpired there, we hope there will be more sessions to come.
A collaboration nearly thirty years in the making, Medicine Kit is the first time.
Terri Kapsalis: words
Damon Locks: sampler/electronics
Ken Vandermark: reeds
Written and Directed by Terri Kapsalis.
Recorded by Alex Inglizian at Experimental Sound Studio, Chicago on January 9 and 21, 2025.
Mixed by Terri Kapsalis and Alex Inglizian at Experimental Sound Studio.
Mastered by Alex Inglizian at Experimental Sound Studio.
Thanks to Damon and Ken for their brilliance and friendship. Thanks to Lisa Lee for the invitation to write about Jane Addams’ medicine kit. Thanks to Ross Jordan and Liesl Olson at the Hull-House Museum for their ongoing commitment to the kit’s “alternative label.” Thanks to John Corbett for continuous encouragement, support and creative counsel.
“This third offering from Wooley and Vandermark is easy to recommend, especially to the already initiated, but there is something- from the gentler melodies to the fierce runs- to engage all eager ears.” -Paul Acquaro, Free Jazz Blog
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Ken Vandermark and Nate Wooley release their third recording as a duo, an LP entitled “Deeply Discounted/Sequences of Snow.” Their first two albums, also released as co-productions between Audiographic Records and Pleasure of the Text, were critically acclaimed (East By Northwest [2014] received a 5 star review in the “Free Jazz Collective”; and “The New York City Jazz Record” stated that All Directions Home [2015] “showcases the strengths that have made the duo luminaries in their respective scenes.”). In addition, their performance at Issue Project Room, Brooklyn, on May 16th, 2017 was heralded as one of the “Concerts of the Year” by “The New York City Jazz Record”.
This latest album is an exciting new statement from the duo, featuring long-form compositions for the first time, written specifically for the LP format and developed while touring in North America during 2017. Nate Wooley’s piece, “Deeply Discounted II,” is inspired by John Cage’s “Cheap Imitation” which, in turn, was inspired by Erik Satie’s, “Socrate;” Ken Vandermark’s composition, “Sequences of Snow,” is dedicated to the visual artist and musician, Michael Snow, and was influenced by several of Snow’s experimental films, such as “Wavelength,” “Dripping Water,” “La Région Centrale,” “So Is This,” and “See You Later.”
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Nate Wooley: Trumpet
Ken Vandermark: Reeds
The material was recorded in Chicago by Alex Inglizian at Experimental Sound Studio on June 24, 2017.
Artwork designed by Federico Peñalva.
“The recording is a fine example of the meeting between free jazz and modern electronic music (…) The trio oozes to such an extent that I fantasize how the color released from the walls in Queen Elizabeth Hall during their gig. It really pops when the trio get in touch with each other”. -Jens Holmberg’s review on the Swedish website ‘Soundofmusic’
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Steve Reid: Drums
Kieran Hebden: Electronics
Mats Gustafsson: Saxophone, Slide Saxophone
Recorded live at the South Bank, London on 20th June 2009.
Recording engineered at Folded Wing for Red Bull Music Academy radio.
Mastered at The Exchange.
Günter Christmann: Cello, Trombone, Design [Cover]
Alexander Frangenheim: double bass
Thomas Lehn: electronics
Christian Munthe: guitar
Paul Lovens: percussion
Mats Gustafsson: saxophone
Recorded during two concerts of Vario-34 on 28 October and 29 October 1993 at the Forum Kesselhaus, Hannover.
Recorded By – Hrolfur Vagnsson
Handmade covers by Günter Christmann come in three variants: ripped rustbrown sandpaper, ripped black sandpaper, and (6 copies only) multi-coloured paper application.
“Brötzmann’s playing is as dense and as hard as ever, shadowed by a slightly deferential Mats Gustafsson, who strains the upper limits of his baritone and the assaultive, relentless drumming of Paal Nilssen-Love. The players occasionally break the momentum for a series of pops, squeals and general skittering, but the moments of rest only add to the pressurized environment, as you anticipate the next onslaught.” -Jeff Stockton, All About Jazz
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Mats Gustafsson: Baritone Saxophone, Flutophone
Paal Nilssen-Love: Drums, Percussion
Peter Brötzmann: Tenor Saxophone, Alto Saxophone, Bass Clarinet
Recorded live in Concert on July 20th at Reknes, Molde Jazzfestival, Norway.
Mixed and mastered at Decibel.No, Oslo, Norway in November 2006
Mixed, Mastered – Paal Nilssen-Love, Thomas Hukkelberg
Photography – Michael Zerang
Producer – Gustafsson, Nilssen-Love, Brötzmann
Recorded – Thomas Hukkelberg
Co-producer – Joakim Haugland
Design – Brötzmann
“In most improvising collaborations, it is not difficult to predict how the music will sound, based on the players’ histories and the common ground between them. But when hard-blowing, free-improvising saxophonist Mats Gustafsson teamed up with Yoshimi, vocalist with Japanese prog-rockers The Boredoms, it was harder to see their common ground.
The duo were recorded when they performed at Malmo Konserthuis in 2005, seemingly at Gustafsson’s behest as he is a long-time fan of Yoshimi’s work. Gustafsson plays tenor sax, baritone sax, fluteophone and slide sax to accompany her voice… and both employ electronics. An initial three-minute piece, “Soundless Cries With Their Arms In The Air”, functions as a warm-up and getting-to-know-you session. The distinctive modulated drone of the slide sax is a key contributor to its soundscape.
The two then launch into an extended improvisation, “And The Children Play Quietly With Words On The Floor”, which occupies the rest of the album. It consists of a series of contrasting episodic pieces. Each lasts long enough to be coherent, with seamless transitions between them. In many of the episodes the sax and vocals are sustained, sometimes electronically, to produce a satisfying dialogue of drones. Other notable episodes feature jungle-like sounds of roaring sax and chattering vocals, bouts of call & response between voice and sax, and a unison duet that slowly builds, giving it obvious sexual overtones.
Gustafsson and Yoshimi have a well developed sense of music as drama and make good use of dynamics; each knows when to let rip and when to hold back to increase tension and prolong a mood. The album’s closing section is dominated by Yoshimi’s voice with a very spare sax accompaniment allowing it plenty of room, before sax and voice both employ full power in a final climax.
The pair establish their common ground because Gustafsson’s playing is restrained compared to some of his more full-on blowing performances, and Yoshimi is prepared to take risks, using her voice as an improvising instrument. The result is a sympathetic meeting of equals, producing music that is exploratory but also highly listenable.” -John Eyles, BBC
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Mats Gustafsson: Slide Saxophone, Tenor Saxophone, Baritone Saxophone, Electronics
Yoshimi: Voice, Electronics
Recorded April 25th, 2005 at Skandiasalen, Malmö Konserthus
Mixed October 9th, 2005 at dinergy music studio, Malmö
Mastered January 18th, 2006 at Cosmos Mastering, Stockholm
Cover – Kim Hiorthøy
Executive-Producer – Joakim Haugland
Mastered – Hoffe Stannow
Mixed – Henrik Frisk, Olof Madsen
Producer – Mats Gustafsson, Olof Madsen
Recorded – Henrik Frisk
“Splatter” is very much a percussion-driven record, with short bursts of sounds and rapid-fire interactions. The music is intense in the sense that it is not a violent blowing session, but you have the impression that most of the music is not getting out of their instruments, but stuck somewhere between mind and reality. -Free Jazz Blog
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Mats Gustafsson: Reeds
Paal Nilssen-Love: Drums
Recorded live at Blå, Oslo during Smalltown Supersound’s 10 year jubilee festival on February the 20th, 2004.
Mixed and mastered, October 5th, 2005.
Co-producer – Joakim Haugland
Cover – Rune Mortensen
Engineer, Recorded – Stig Gunnar Ringen
Mixed, Mastered – Audun Strype
Producer – Mats Gustafsson & Paal Nilssen-Love
“The purity and range of tone emanating from the pocket trumpet and soprano give this recording presence, notwithstanding the design of Voices, which itself glows with integrity. Integrity that is cultivated from diversity, invested with purpose and substance, and evocative of whatever the next moments offer.” -Lyn Horton, All About Jazz
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“Two people on two hot June afternoons. A studio, an experienced and appreciative engineer. A deep need to find music. Total improvisation on larger music that existed, exists and will exist as long as there are voices.” -John Heward on recording Voices: 10 Improvisations, in June 2006
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“This superb pairing of two top-flight improvisors reminds me of why I listen to this music. It’s not about ‘music’, it’s about sounds and their making. It’s a given that these two can really ‘play’. McPhee established that in the immediate post-Coltrane era, and Heward – while I know little about him except that he’s also a visual artist who recorded a duo album on Avant with Steve Lacy – I’m sure he can really whack those tubs. The point, however, is that they don’t ‘just play’, they also listen – and they refrain from playing.
So each of these ten pieces is like a little jewel of sound that two guys built out of powdered glass in the afternoon sun and then blew away. I could listen all winter for how they did it, and be none the wiser; and yet wiser for contemplating it – because sometimes questions teach more than answers. These two guys have recorded before, in a trio. Here, the absence of a rhythm ‘section’ allows the sound to float. Heward is free to play the drums rather than just hit them, an impression heightened by his frequent use of kalimba. McPhee makes liberal use of pocket trumpet as well as alto sax, extending his technique peripherally with valve sounds, and a bowl of water. The results are analogous to natural sounds, as if we could rely on a squeaking door to know which part of the hinge makes the most engaging groans. That’s a door I could listen to all day.” -Bruce Russell, The Wire, July 2008
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Joe McPhee: Pocket trumpet, alto sax
John Heward: Drums, kalimba, percussion
Art Direction, Executive Producer – Brian Brandt
Drums, Kalimba, Painting – John Heward
Engineer, Mixed – David Bryant
Mastered [24-bit Mastering] – Steve Puntolillo
Recorded at The Pines, Montreal on 15-16 June 2006
“The gods were smiling, and Joe McPhee, Michael Bisio, Raymond Boni, and Paul Harding were caught in concert in tip-top shape, revealing the power of sensitive, quality blowing.” -Steve Loewy, All Music
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Michael Bisio: Double Bass
Raymond Boni: Guitar
Paul R. Harding: Narrator
Joe McPhee: Soprano Saxophone, Pocket Trumpet
Recorded on October 27, 2001 at Brechemin Auditorium, University of Washington, Seattle, as part of the 2001 Earshot Jazz Festival by Joe McPhee.
“Fred Lonberg-Holm and Ken Vandermark are like a small band on this album, tight, voluminous, ideally matched, often it seems as if the music was pre-composed (but all of it is freely improvised). The music is like a dance between a songbird (cello) and a belling deer (tenor saxophone), sometimes their energy literally collides.” -Martin Schray, Free Jazz Blog
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Fred Lonberg-Holm: cello & electronics
Ken Vandermark: reeds
Recorded September 21, 2013 at the Heaven Gallery, Chicago IL at a Benefit for the Malachi Ritscher Collection at ESS
Recorded and Mixed by: Dave Zuchowski
Mastered by: M.Bugajak (Audio-Games.PL)
Produced by: Fred Lonberg-Holm and Ken Vandermark
Executive Producer: Grzegorz Tyszkiewicz for Bocian Records
Album Design by: Federico Penalva
“Daisy uses this intimate knowledge to his advantage, writing three compositions that not only call on each musician’s unique personal range but also collapse them together into a single complex layered mass.” —Eric McDowell, Free Jazz Blog
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The second release from composer/percussionist Tim Daisy’s latest ensemble, (formerly known as the Celebration sextet.) Three brand new compositions mix intricate orchestration with spirited improvisation, performed by a cast of world-class improvisers.
The Fulcrum Ensemble is an experimental music sextet organized by Chicago based percussionist and composer Tim Daisy and is a primary vehicle for his compositional style which mixes intricate orchestration with spirited improvisation.
The three compositions on the group’s latest release “Animation” take inspiration from a range of contemporary musical ideas including: the innovative performance and compositional techniques pioneered by the Association for the Advancement of Creative Musicians, structural and textural innovations connected to contemporary composers including Earle Brown, Anthony Braxton and Terry Riley, as well as the energy and spirit generated by the American “free jazz” movement of the 1960’s and 70’s, notably the work of Julius Hemphill, Marion Brown, and Don Cherry.
The intention of the Fulcrum Ensemble’s music lies in the assimilation of these multiple influences with the hopes of creating something new and unique. Utilizing some of the leading lights of today’s improvised music scene, the realization of these compositions would not be possible without the strong personalities, shared experience, good humor, inventiveness and collaborative spirit of the ensemble members.
‘Animation’ is the second recorded document from the Fulcrum Ensemble (formerly called the Celebration Sextet – see relay records 016) and the group has every intention to keep creating these unique collaborative sounds together well into the future.
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James Falzone: Clarinet
Steve Swell: Trombone
Josh Berman: Cornet
Fred Lonberg-Holm: Cello
Dave Rempis: Alto and Baritone Saxophones
Tim Daisy: Drums/Marimba/Metronomes/Califone/Composer
All Compositions by Tim Daisy (Split Music/ASCAP)
Recorded on August 8th, 2017 at the Elastic Arts Foundation, Chicago Il.
Recorded by Dave Zuchowski / One Room Studio
Mixed/Mastered by Alex Inglizian at Experimental Sound Studio
Artwork/layout by Federico Peñalva
“Abstract yes, but melodic too, with careful restraint precision on the first and third piece, with leads indeed to a strange kind of non-figurative clarity, and with more nervous and agitated work on the two other pieces.” -Stef, Free Jazz Blog
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Piano – Steve Lantner
Drums – Luther Gray
Guitar – Joe Morris
Recorded May 12, 2009 at 7A West Studios Charlestown, Massachusetts.
Artwork – Anne Marcotty
Design, Layout – Fumi Tomita
Engineer, Mixed, Mastered – Mike Caglianone
Liner Notes, Producer, Composed – Joe Morris
Production Manager – Adam Downey
“This isn’t a noodle fest, but it is very subdued with little change in dynamic throughout. This is a disc for people who like to think about the saxophone or hear Joe McPhee practice with a couple of other guys.” -Thom Yurek, All Music
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Joe McPhee – pocket trumpet, soprano saxophone, alto saxophone, alto clarinet
Evan Parker – soprano saxophone, tenor saxophone
Daunik Lazro – alto saxophone, baritone saxophone
Recorded in France in 1995 and first released on the Vand’Oeuvre.
