“Unlike the first volume, which was comprised of 6 CDs of completely improvised music that took place in concert at The Stone in New York City during January of 2016, "Momentum 2: Brüllt" and "Momentum 3: Monster Roster" is a double CD of two studio productions inspired by materials from outside the field of improvised music. Momentum 2 takes its starting place from Tristan Tzara's poem, "Brüllt," and Jaap Blonk's interpretation of it on his album, "Flux De Bouche." Momentum 3 is a piece of music commissioned to celebrate the "Monster Roster" art exhibit of Chicago artists from the post-World War II era, which took place at the Smart Museum during the first half of 2016.”
Wired For Sound
“Vandermark has devised a performance system that not only employs variable order through collage, but has added superimposition to the structuring of material to create another layer of possibility for the organization of the pieces. The music of Marker expands the conventional orchestration for an improvising quintet, and is deeply inspired by Bernie Worrell's keyboard work with Parliament Funkadelic and Talking Heads, contemporary classical music, the guitar work of post-punk groups like Wire and The Ex, and groove methodologies from Brazil, Afro-Beat, and funk.”
Made to Break
“"There comes a time in every extended piece from Made To Break where the ground drops out from beneath the song, and what remains is a simultaneous state of floating and falling, where the song doesn’t really seem to be proceeding in any one particular direction, but there exists, nonetheless, a heavy gravitational pull. On the quartet’s newest, it happens at the halfway mark of opening track “Hydroplane (for Shellac).” The dancing groove instigated by saxophonist Ken Vandermark and amplified by the rhythm-duo of bassist Jasper Stadhouders and drummer Tim Daisy suddenly gives way to the drifting electronics and effects of Christof Kurzmann. That’s when forward locomotion and melodic focus transforms into chaos and unpredictability. It’s as compelling as it’s startling, and as blunt as the transition can feel, it’s no less satisfying when the transformation comes full circle back to where it began. The effect is no more subtle on the blues-inflected “Contact Sheet (for Susan Sontag)” or the relentless volatility of “Slipping Words Against Silence (for Kerry James Marshall),” and that the results can vary so wildly from piece to piece is a source of intrigue that nicely complements the thrills."
-Dave Sumner, The Best Jazz on Bandcamp: November 2017, Bandcamp Daily, December 4, 2017
5 Star Review
"Vandermark, Daisy and Stadhouders alternate constantly between solidifying and deepening the powerful rhythmic envelope and contrasting and challenging each other’s role. Kurzmann, in his turn, alternates between opposing all three with his imaginative stream of alien, noisy and abstract sounds that charge the immediate, tight interplay with a strong sense of surprise and risk taking and soloing along Vandermark like an otherworldly reed instrument."
-Eyal Hareuveni, The Free Jazz Collective, December 29, 2017”