Taking the month of December off from performing. gonna focus my creative energies on composing, practicing, teaching, cooking, and working on some upcoming releases for my label Relay Records.
In the meantime, here are a few recent releases that I have had the absolute pleasure to play on. Any of these titles can be purchased by sending me an email : email@example.com
Anything released on my label “Relay Recordings” can be streamed and or purchased here: www.timdaisyrelayrecords.bandcamp.com
“A Fine Day In Berlin” by The Tim Daisy Trio w/
Havard Wiik :: Piano | Clayton Thomas :: Bass |Tim Daisy :: Drums
(Relay 006/ Ltd ed. 350 on cd)
Released December 1, 2013 | Ed of 350
“A Fine Day In Berlin” Documents a brand new trio featuring Chicago based percussionist Tim Daisy teaming up with two of Berlin’s finest improvisers: pianist Havard Wiik (Atomic/Side A) and bassist Clayton Thomas (The Ames Room/Thymophalein)
Recorded on September 20th, 2013 at Frangenheim Studios, Berlin
Recorded by Richard Koning
Mixed and Mastered on October 17, 2013 by Alex Inglizian at Experimental Sound Studio Chicago,IL
“Second Spring” by The Rempis/Daisy Duo
Dave Rempis – alto/tenor/baritone saxophone
Tim Daisy – percussion
Released (forthcoming) January 21st, 2014 | CD | AR-003
Recorded May 20th, 2013 @ Minbal by Benamin Balcom
Mixed and Mastered by Dave Zuchowski
Design by Johnathan Crawford
Dave Rempis and Tim Daisy are two musicians whose work has helped to define an entire generation of Chicago improvisers. Having performed together since they both hit the Chicago scene in the fall of 1997, these two have joined forces on hundreds of performances and dozens of recordings with notable groups including Triage, The Engines, The Rempis Percussion Quartet, The Vandermark Five, and countless other ad hoc groupings. Their duo pairing has a similarly long history whose roots date back to the countless all-day/all-night workshop sessions that Daisy hosted in his garage practice space in the late 90’s, where these two rolled up their sleeves together for the first time, laying the foundation for a lengthy and fruitful set of collaborations. On this recording, a follow-up to their 2005 release “Back To The Circle” on the Okkadisk imprint, the two capitalize on these deep roots to produce an almost telepathic interaction in their improvisations. Never willing to settle into comfortable territory though, the two continue to push each other into new sonic realms, repeatedly pulling the carpet out from one another as the ground becomes too firm under foot.
INNER EAR “Return From The Center Of The Earth”
Released November 27th, 2013 / LP soon
Mikolaj Trzaska. Saxophone, bass clarinet/ Steve Swell. Trombone/Per Ake – Holmlander, Tuba/ Tim Daisy. Drums
1. A Night without Sleep
Hideout – Chicago 2-3-2011
2. The Long Full Compartment
Elastic – Chicago 30-8-2012
3. Citizens of the Night Trains
Elastic – Chicago 30-8-2012
All compositions by Inner Ear
Recording during concerts in Chicago: Hideout (02.03.2011) & Elastic (30.08.2012)
Cover Design: Marek Wajda
The Resonance Ensemble “Head Above Water, Feet Out Of The Fire”
(Not Two Records)
Double Cd (Studio recording/ Chicago Aug 29 2012 – Live Recording Hasselt, Belgium March 17 2012)
Ken Vandermark. reeds. composer /Mikolaj Trzaska. reeds /Waclaw Zimpel. alto clarinet/clarinet/Dave Rempis. alto+tenpr saxophone /Magnus Broo. trumpet/Steve Swell. trombone/Per- Ake Holmlander. tuba/Mark Tokar. bass/Devin Hoff. electric bass /Michael Zerang. drums/Tim Daisy. drums
The Resonance Ensemble, an international New Jazz group, began as a co-presentation by Ken Vandermark and Marek Winiarski. Vandermark had performed in Poland over the course of several years, with a large number of groups (the Vandermark 5, duo with Paal Nilssen-Love, Sonore, Free Fall, Powerhouse Sound, the Frame Quartet and many more), and decided that is was time to organize a band that included musicians from that part of the world. After consulting with Winiarski (who runs Not Two Records and is an organizer of Jazz Concerts in Kraków), the two combined their resources and knowledge to organize a large unit of improvisers from the contemporary scene. In addition to Vandermark [reeds], the project included Magnus Broo [trumpet] and Per-Åke Holmlander [tuba] from Stockholm; Tim Daisy [drums], Dave Rempis [saxophones], and Michael Zerang [percussion] from Chicago; Steve Swell [trombone] from New York; Mark Tokar [bass] and Yuri Yaremchuk [reeds] from Lviv; and Mikołaj Trzaska [reeds] from Gdańsk.
In November of 2007, Vandermark arrived in Kraków to complete four new compositions for this ten piece orchestra, all of the pieces loosely based on his impressions of time spent in Poland as a musician and traveler. After a week that work was done and the other artists arrived. For five days the group rehearsed at the Alchemia club during the day, then played in small Improvised Music configurations at night. On November 17, the Resonance Ensemble traveled overnight by bus to perform for the first time, in Lviv, Ukraine. (This concert, which took place for an audience of over 800 people, was recorded, the second set was released as an album by Not Two in the fall of 2008.) The next morning the band returned to Kraków for a concert at the Manghha Museum, playing to another sold out crowd. All of the performances in Kraków, by the small units and the full ensemble, were released in October of 2009 by Not Two as a 10cd box set; just in time for the band’s first tour of Europe.
The Resonance Ensemble’s music has advanced Vandermark’s composing methods for large groups, work that started with the early music of Peter Brötzmann’s Chicago Tentet, and then continued with his Territory Bands. Much of the new material combines his interest in “suite forms” (perhaps most influenced by Duke Ellington and Charles Mingus) and a collaging approach to improvising structures that he began with the Territory Band. The project provided Vandermark with the first opportunity in his career to do nothing but compose for a week. In September of 2009, he began a new approach to writing for the project, a series of “modular pieces”, which can be reassembled for each performance, giving added spontaneity to both the improvising and the compositional structure. The results of these new compositional strategies, coupled with a 10 day European tour, has resulted in the newest album by the band, “Kafka In Flight”, which was recorded live in Gdańsk, Poland, and is also part of the Not Two catalog. In March of 2011 the Resonance Ensemble, and its association with Polish culture, will be celebrated by the Resonance Festival held in both Chicago and Milwaukee, and a new recording for another album by the band on Not Two.
Mars Williams/ Ingebrigt Haker – Flaten/ Tim Daisy “Moments Form”
Mars Williams. Reeds/ Ingebrigt Haker FLaten. Bass/ Tim Daisy. Drums
By Paul Acquaro
“Moments Form” does not need time to warm up, it just starts — a solid stream of invention and drive. Could one expect anything less from free jazz stalwarts, Mars Williams, Tim Daisy and Ingebrigt Haker Flaten? All are experienced and hard hitting improvisors and this consistently engaging album certainly, at the very least, solidifies this perception.
Williams’ tone is bright and fiery and his initial flight in the opening moments sets the bar high. Deftly supported by the bass and drums, the saxophonist fires on all cylinders, delivering endless melodic snippets. Haker Flatens energetic bass solo, or rather dialog with Daisy’s drumming, is intense, if a bit under mic’d. Over the course of 24 minutes, the song ebbs and flows, breaking down to individual voices at times, oscillating between density and spaciousness, often building from ruminative to driving.
“Galactic Ballet” begins with gentle rumbles of an extended percussion solo. Volume kept low, the intensity is maintained through taught rhythmic patterns and a range of textures. The track builds in volume until Daisy hands the proceedings over to the bassist for a short solo, and finally to Williams, who introduces a keening melody. The group coalesces around a steady tempo and the saxophonist takes the slowly building improv to an intense climax.
The sounds that Williams wrenches from his instrument on a “Disjointed Stutter” are fascinatingly bleak and lay uncomfortably over an intriguingly disjointed groove. It’s an aptly titled track, at least in the middle bits, before settling into a steadier, but still uneven, pattern. Daisy and Haker Flaten show an uncanny connection, creating a solid and unpredictable foundation.
Moments Form is an album full of passionately played free jazz that deftly skirts the edge between control and chaos. I had a bit of trouble scouring up much information about the release, but it is worth tracking down.
Ken Vandermark’s TOPOLOGY Nonet featuring Joe McPhee “Impressions Of Po Music”
w/ Joe McPhee, Ken Vandermark, Jason Adasiewicz,Josh Berman,Jeb Bishop,Kent Kessler,Fred Lonberg-Holm, Tim Daisy & Dave Rempis.