“They generate plenty of fury on Boneshaker, their terrific debut as a working trio, particularly on the relentless, aptly titled ‘Hostilities In Progress’”writes Peter Margasak in Downbeat, listing it as one of the best recordings of 2013. “While Williams is one of the planet’s most fearsome fire-breathers and Nilssen-Love one of its most explosive percussionists, Boneshaker also emphasizes the deep jazz roots all three players have, from the coolly churning swing that closes “What Doesn’t Kill You…” to the ballad-like fragility of “Beauty Of Sadness.”
Norwegian phenom Paal Nilssen-Love has established himself over the last decade as one of the most important voices of his generation. A powerful drummer of unbounded energy, he shows an ongoing ability to break physical and musical boundaries on his continual hunt for new collaborations and experiences. Currently, Nilssen-Love is active with musicians such as Mats Gustafsson, Peter Brotzmann, Ken Vandermark, Evan Parker, Otomo Yoshihide and Frode Gjerstad. Some of the world-renowned groups he performs with include The Thing, Atomic and TheVandermark/Nilssen-Love Duo....
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“They generate plenty of fury on Boneshaker, their terrific debut as a working trio, particularly on the relentless, aptly titled ‘Hostilities In Progress’”writes Peter Margasak in Downbeat, listing it as one of the best recordings of 2013. “While Williams is one of the planet’s most fearsome fire-breathers and Nilssen-Love one of its most explosive percussionists, Boneshaker also emphasizes the deep jazz roots all three players have, from the coolly churning swing that closes “What Doesn’t Kill You…” to the ballad-like fragility of “Beauty Of Sadness.”
Norwegian phenom Paal Nilssen-Love has established himself over the last decade as one of the most important voices of his generation. A powerful drummer of unbounded energy, he shows an ongoing ability to break physical and musical boundaries on his continual hunt for new collaborations and experiences. Currently, Nilssen-Love is active with musicians such as Mats Gustafsson, Peter Brotzmann, Ken Vandermark, Evan Parker, Otomo Yoshihide and Frode Gjerstad. Some of the world-renowned groups he performs with include The Thing, Atomic and TheVandermark/Nilssen-Love Duo.
Kent Kessler, born in Crawfordsville, Indiana, grew up mostly in Chicago. He studied musique concrete at Chicago Musical College from 1977-1983, playing in various punk rock and free-improv groups in Chicago and taking time off to wander in Brazil. Kessler started concentrating on the double bass, after having played trombone, guitar, electric bass, short-wave radio and various other instruments and non-instruments. He joined the Hal Russell NRG Ensemble in 1985 and gained his first international experience when the group went on to record for ECM and tour in Europe. In the 1990′s Kessler became known as a frequent bandmate of Ken Vandermark. He has played in groups led by Georg Graewe, Peter Brötzmann and Daniele D’Agaro, and has a solo CD on Okkadisk, “Bull Fiddle”.
Mars Williams commutes easily between free jazz, funk, hip-hop and rock and has played and recorded with Billy Idol, Massacre, Fred Frith, Bill Laswell, Ministry, Power Station, The Waitresses, Pete Cosey, Billy Squier, DJ Logic, John Scofield, , Kurt Elling, The Mission UK, Swollen Monkeys, Jerry Garcia, Friendly Fires, Blow Monkeys, MC5, and virtually every leading figure of Chicago’s and New York City's "downtown" scene. He is an original member of The Psychedelic Furs,and leads his band Liquid Soul. “Whatever the situation,” writes John Zorn, “ Mars plays exciting music. In many ways he has succeeded in redefining what versatility means to the modern saxophone player."
“This trio’s name belies their range,” writes The Wire. “True, the two boisterous tracks that bookend the set find drummer Paal Nilssen-Love in his natural setting, attacking the snare like an angry Buddy Rich getting into polyrhythmic blast-rock. Mars Williams’ sax responds with explosions of rude melody in a growling, bar-walk tone, decorated with pinched squeals and squonks like elaborate flourishes on a handwritten ransom note. But on “Beauty Of Sadness”, bassist Kent Kessler’s arco introduction sets a ruminative mood. Nilssen-Love comments with brushes and fizzing cymbal, and Williams plonks a musical box refrain on toy instruments, before sliding in a scalpel-edged reed harmonic, which spirals outwards and upwards in tight corkscrews. Finally, Kessler’s slow clots of bass reveal a balladic intent, fulfilled by Williams’ sweet and rueful closing lament.”
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