For those who are not aware YET, Portuguese CLEAN FEED is one of those record labels which are working as a chronicles of the real changes taking place in the Jazz, and Creative music Avantgarde, in general. This is absolutely priceless work they do, similar to what Labels like, Swiss HAT HUT, (Hathut encompasses the labels hat ART, hatOLOGY, and hat NOIR) and INTAKT are doing. German ECM, JazzWERK or TRAUMTON. American TZADIK, CIMP, AUM Fidelity or Atavistic. French Label Bleu or NATO. British EMANEM, Leo Records, SLAM or INCUS. I can go on and on for long and still miss many who contributed into that titanic work. What matters is that, WE, listeners are aware of them and support them actively by buying their recordings and supporting artist which are going to be A Tomorrow TITANS!
[ March the 3rd,2023 release on Bandcamp:Tomas Fujiwara’s Triple Double – March On ]
“Six of the strongest voices in contemporary music.” – Matt Micucci, Jazziz
“The double instrumentation… provides opportunities for Fujiwara to indulge some compositional potentialities. What if you have a drummer play a song-length solo over the top of a ballad? What if you overlaid two spot-on imitations of The Magic Band waxing skeletally Beefhearty? Keep those questions coming.” – Bill Meyer, The Wire
[ October the 28th, 2022 release via Pyroclastic Records: Trevor Dunn’s Trio-Convulsant – Séances ]
Séances, out October 28, 2022 via Pyroclastic Records, features Mary Halvorson, Ches Smith, Anna Webber, Carla Kihlstedt, Mariel Roberts and Oscar Noriega navigating chamber-jazz-metal compositions inspired by the bizarre tales of an 18th-century French religious sect
“ The music [Trio-Convulsant] play is not so much a fusion of styles as it is a collision of styles… If you’ve been following Trevor Dunn‘s widely varied career as a player, you know he’s got a sense of adventure.” – Sean Westergaard, AllMusic.com
“[Trio-Convulsant] hurtles from heavy to weightless and back again so quickly it’s hard to keep up… [pulling] it off with rare style and impressive improvisational rigor.” – Peter Margasak, Chicago Reader
[ July the 29th, 2022 release on Pyroclastic: Nate Wooley & Columbia Icefield’s – Ancient Songs of Burlap Heroes ]
Trumpeter/Composer Nate Wooley releases breathtaking second album by his singular quartet Columbia Icefield – Ancient Songs of Burlap Heroes, due out July 29, 2022 via Pyroclastic Records, features Mary Halvorson, Susan Alcorn and Ryan Sawyer
“Columbia Icefield [feels like] a mixture of quiet exaltation, wild exaltation, melancholy, fear, curiosity, struggle to keep warm… the prettiest (if most progressive) campfire music ever written.” – Zachary Woolfe, New York Times
“Columbia Icefield, with its long stretches of atmosphere interrupted by jarring dissonances, [is] something weird, haunting, lonely, and endlessly fascinating.” – Michael J. West, JazzTimes
Album Release Concert Monday, July 25 at TV Eye, Brooklyn, NY
[ March the 4th, 2022 release via Firehouse 12 Records: Tomas Fujiwara’s Triple Double – March ]
release date: 04.03.2022 via Firehouse 12 Records
“Deliberately seeing double in the cause of exploratory jazz, Fujiwara brings together instrumentalists primed to rub each other in all the right and creatively wrong ways.“ – The New Yorker
“[The six musicians’] collective talent and Fujiwara’s innovative leadership make for a tonic of unpredictability… A triple scoop of great music.” – Britt Robson, JazzTimes
“March is brilliantly mad, joyously improvisational, cathartically cleansing. The perfect companion to two years of isolation, this music frees your spirits and clearly makes the musicians soar.…It all goes happy-hour punch-drunk in the dual-drummer assault of ‘Wave Shake Angle Bounce,” with ominous tri-tones backing gleeful guitar and trumpet as Fujiwara and Cleaver bash and bleed.” – Ken Micallef, JazzTimes
[ October the 29th, 2021 release via Pyroclastic Records: Mary Halvorson & Sylvie Courvoisier – Searching for the Disappeared Hour ]
release date: 29.10.2021 via Pyroclastic Records
Searching for the Disappeared Hour, due out October 29, 2021 via Pyroclastic Records, finds the two acclaimed artists exploring notions of time through evocative original compositions and thrilling improvisations
“[Courvoisier and Halvorson are] two of New York’s most idiosyncratic and distinctive improvisers… [Their debut recording] Crop Circles is deeply chamber-like in its deft, interactive intimacy.” – Peter Margasak, Downbeat
“This meeting of two of the brightest minds on the edgier side of jazz today produces music that’s astonishing both in its fluency and ceaseless ingenuity.” – S. Victor Aaron, Something Else!
To paraphrase the late Douglas Adams, “Time is an illusion. Pandemic time doubly so.” On their brilliant new duo album, Searching for the Disappeared Hour, pianist Sylvie Courvoisier and guitarist Mary Halvorson make up for lost time with an hour’s worth of kaleidoscopic beauty and startling invention.
[ October 30,2020 release on Firehouse 12 Records: Mary Halvorson – Artlessly Falling ]
release date: 30.10.2020 via Firehouse 12 Records
“Not only the most distinctive guitarist of her generation – her barbed, warped sound also has few rivals in any other.” – Michael J. West, Washington Post
“When all her influences click into place, the result is like little else, in any genre.” – Seth Colter Walls, Pitchfork
“One of the most distinctive voices in jazz … possessing a slippery tone.” – Chris Barton, LA Times
“Ever since [Halvorson] began recording in the mid-2000s, she’s projected a strikingly personal voice on the electric guitar; you only need to hear a few seconds of her fastidious fingering and extravagant pitch bends to know it’s her….her compositional style, with its intricate melodies and sudden tempo changes, is as distinctive as her playing.” – Bill Meyer, Chicago Reader
“Maybe it’s the weathered grace of Wyatt’s vocals or the astringent lyricism of O’Farrill’s trumpet, but the writing here conveys the quirky charm of Carla Bley’s collaborations with Paul Haines. Except Bley’s keyboards were never as otherworldly as Halvorson‘s guitar.“ – J.D. Considine, DownBeat