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
[ 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 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