CD Catalog

[reviews]

ART.CappuccinoNet.com CDs in the Press:

...the musicians dish out penetrating input for the mind and soul.

Glenn Astarita - www.allaboutjazz.com, May 2006 on White Room [ART 012]

...These recordings remind me of the environment oriented work of Boulez and the mechanical experiments of Ligeti at times, and if you are interested in these kinds of spatial compositions, then you will find Ge-Suk Yeo an important discovery.

Phillip McNally - www.cadencebuilding.com, April 2006 on White Room [ART 012]

...the feeling of a tragic monodrama that Yeo introduces in Room II, and develops to a compelling climax in Room III. Malik supports the dramatic, angular vocalizations with restraint, and the eerie effect of his pizzicato pulses under Yeo's keening and the disorienting electronics make Room III the most fascinating and memorable track of the album. ...the tolling epilogue of Room IV ties everything together into a satisfying listening experience.

Blair Sanderson - allmusic.com, February 2006 on White Room [ART 012]

La personalità di questa Lady è tale che si rischia di dimenticare per strada la presenza dello strumentista tedesco, e pure si tratta di una individualità altrettanto forte ed eclettica che, con le sue acrobazie dal taglio potente e drammatico, supporta ai limiti del non plus ultra i movimenti ondulatori della sua pard.

Mario Biserni - Sands-Zine, November 2005 on White Room [ART 012]

...The first three pieces are a suite based on Korean folk tales, where Yeo uses her breath and many spoken words altered and in loops, as well as her lovely mezzo-soprano voice, to create hypnotic and very ambient music...

Phillip McNally - www.cadencebuilding.com, April 2006 on DALBUKKI [ART 011]

Yeo deserves credit for her resourcefulness and inventiveness ... Dalbukki, Time Sculptures I, and Voice from Afar all have their moments of cleverness, originality, and odd beauty.

Blair Sanderson - allmusic.com, February 2006 on DALBUKKI [ART 011]

È un pezzo eccezionale che mi ha ricordato il Robert Wyatt di Las Vegas Tango, seppure qui vi sia indubbiamente un maggior rigore, e il Bernhard Gal di “Bestimmung, New York”.

Mario Biserni - Sands-Zine, November 2005 on DALBUKKI [ART 011]

Sori Numgi - Sound Skipping nennt sich das Trio, und es wird diesem Namen gerecht. Die Pianistin Miyeon streut sparsam Klänge ein, entwickelt selten einen Groove, Je-Chun Park kniet auf dem Boden inmitten seiner Trommeln, Becken und Gongs, die nach verwunschenen Tempeln inmitten des asiatischen Regenwalds klingen. Und die Sängerin Ge-Suk Yeo verwirbelt mit einem kleinen Mischpult und digitalen Effekten sinnfreie Klangsilben mit Belcanto- Kantilenen.

Tobias Richtsteig - published on 'Die Tageszeitung', Nov 2004 on Sori Numgi - Sound Skipping [SJHCD-004]

...how does the CD sound? Like ferocious, concentrated free improv. Textures on this searing session are pummeled with all the energy you would have expected from, say, Cecil Taylor and Sunny Murray in the 1960s... There isn't much chance of finding this CD in your local chain record store. But its ingeniousness and originality make it an object d'art to trawl for in specialist shops or on the Internet.

Ken Waxman - published on www.onefinalnote.com and www.jazzword.com, July 2004 on Sori Numgi - Sound Skipping [SJHCD-004]

This is beautiful sample for a crystallization of western culture and asian mentality.

Teruto Soejima, jazz critic, February 2004 on Sori Numgi - Sound Skipping [SJHCD-004]

It is believed that this collaboration of SORI-NUMGI suggests the new paradigm of today's avant-garde music.

Francis HJ Kim, jazz critic, January 2004 on Sori Numgi - Sound Skipping [SJHCD-004]

Quel che risulta dal loro incontro è una registrazione di grande interesse e spessore. Dal punto di vista musicale i tredici brani di Clearings sono un vero e proprio crescendo emotivo.

Lucia Caponi - Altri Suoni, Italy on Clearings [ART 008]

Mein Glückwunsch zu dieser Produktion.

Udo Schindler - Wörthsee, Germany on Clearings [ART 008]

Perhaps the summation of the trio's work comes on the aptly-named, longest track, "Prophecy". As Butcher's blaring spetrofluctuation, key pops and extended grainy slurs meet Fernández's syncopated tremolos and high frequency chording and Irmer's staccato fiddle lines that build makes the prophecy of a Pan-European music a reality.

Ken Waxman - published on www.jazzweekly.com and www.jazzword.com, June 2004 on Clearings [ART 008]

Le plaisir d'audition naît des contrastes habilement ménagés entre délicatesse et robustesse dans cette musique européenne toute de netteté de découpage et d'articulation (qui n'est pas seulement due à un interplay un peu précautionneux). Impeccable !

Guillaume Tarche, published in Improjazz n°105, May 2004 on Clearings [ART 008]

Clearings, a great and unusual recording, delicate and filigree in places, robust in others, from John Butcher, Christoph Irmer and Agustí Fernández

Peter Stubley, European Free Improvisation Pages, April 2004 on Clearings [ART 008]

'Clearings' is a masterpiece in this respect, made by three improvisers who rank among the finest in present day Europe.

Hans Tammen on Clearings [ART 008]

This music dwells in enlightened vestibules, allowing sunshine to penetrate openly and the musicians to bask in its warmth. They successfully convey this feeling to the listener willing to accept their loving gift.

Frank Rubolino, Cadence Magazine, November 2004 on Segue [ART 007]

Yeo has the perfect complement in multi-instrumentalist Blaise Siwula.

Jerry D'Souza, AllAboutJazz.com, June 2004 on Segue [ART 007]

The Segue album has a kind of floating quality somewhere in between various kinds of Asian music and written out Mallarme-Ravel kind of surrealism that one can hear expressed in the pilgrimages into the exquisite of Boulez and Babbitt.

Matthew Paris, MatthewParis.com, January 2004 on Segue [ART 007]