KEN WAXMAN, one of the great reviewers and a person who supports and believes in the music we produce, just published his review of LIVE AT PLUS-ETAGE, our 3cd compilation that covers 3 different concerts, in our label series, at the fantastic Plus-Etage venue in Baarle-Nassau (The Netherlands). The album is available here.
“…Instrumental virtuosity, but expressed in a minimalist fashion is what distinguishes next generation of improvisers as the three-CD set Live at Plus-Etage Volume 1 (New Waves of Jazz nwoj 0060) demonstrates. The duos of trumpeter/flugelhornist Charlotte Keeffe and drummer Andrew Lisle from the UK; double bassists Martina Verhoeven from Belgian and Portuguese Gonçalo Almeida; and the trio of Belgian guitarist Dirk Serries, UK violist Benedict Taylor and German saxophonist Stefan Keune show that collaborating improvisers are as international as always and with one CD for each configuration, all have space to display what they can do. Except for an unaccompanied interlude of cymbal vibrations and drum rumbles during the second and concluding set Lisle mostly limits himself to claves-like resonations, bass drum plops and rim shots accents. That way the figurative spotlight shines on Keeffe’s brass prestidigitation. Emphasizing non-valve movement breaths, broken-chord smears, aviary-like peeps, throaty squalls and tremolo brassiness her spikey asides don’t preclude portamento affiliation however. As much as her tongue jujutsu, swerves and swallows exposing usually unexplored inner portions of her horn’ lead pipe for unexpected tone variations each time sections are repeated, passages of near-lyrical melodies and feathery brassiness are also heard. Vaguely related to the “William Tell Overture”, a riff that gallops through her improvised variations during first set is sounded again before the concert is completed adding a connective leitmotif. Contrasting arco and pizzicato techniques characterize the Verhoeven/Almeida single track as they constantly switch roles with buzzing spiccato tones from whistling screams to woody rubs met with repeated strums and lowing stops that sometimes approximate a washtub bass’ single-string thud. More sophisticated than that primitivism, the sequences include interludes of ratcheting slices, string pops, vibration of implements placed among the strings, and heightened pressure that suggests the bow is cutting through the instruments’ wood finish. During the penultimate section bell shakes and ratcheting whirs add novel patterns as stropped strings expose the highest pitches and col legno pops the lowest. Eventually billowing arco strokes are heard from both, which gradually fade from staccato to connective. Interestingly enough the two improvisations from three players seem most separated. The transformative program includes multiple instances of almost complete silence, while, except near the conclusion where Serries unleashes a string of mandolin-like twangs, the guitarist restricts himself to connective comping. Emphasis is on how Keune’s often singular irregularly vibrated split tones and narrowed peeps meet Taylor’s equally jagged bow slices, stops and sul tasto pressure. Although the two confront one another head on at intervals, fury among the calm is commonly given over to sequential timbral elaboration. Emphasizing melodic and rhythmic ambiguity, alternating expressions include the saxophonist’s dexterous bubbling trills, tongue stops and vibrated tone scoops, while the violist’s strained glissandi and squeaky rests are as distinctive as they are numerous. Preceding and expanding on the guitarist’s one showcase, linear advancement is emphasized in a climatic motif as pointed string scrubs, reed whorls and finger-style guitar chords are patched together. Sometimes exemplary creativity must be expressed in larger than usual forms and these multiple sets prove that truism.” Jazz Word – Canada
A New Wave Of Jazz 
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