Adam Hopkins - Crickets (OOYH 001)

“Mixing jazz sophistication with punk agression, bassist and label owner Adam Hopkins makes a striking debut.” —JazzTimes (full article)

CRICKETS was ranked as the #2 Best Debut Album in the 2018 NPR Jazz Critics Poll.

Best Debut Album of 2018 by El Intruso, Music and More, NYC Jazz Record, JazzdaGama, Jazz Trail, and Stalker 21.

Best of 2018 on Avant Music News (full list), One of the Top 20 Best Albums of 2018 by Jazz Right Now (full list), Best of 2018 (Jazz/Fusion) on Something Else! (full list)

“While seemingly an incompatible musical proposition, Crickets works on practically any level, announcing Hopkins’ OOYH label as the one to watch.” —Beat Media (full review)

Crickets introduces Adam Hopkins as one of the few talents with the vision to make jazz directed at the current and future generations, not the past ones.” —S. Victor Aaron, Something Else! (full review)

“…compelling and unconventional jazz compositions juxtaposed with blowouts. This is a singular release and hopefully the first of many from Hopkins.” —Avant Music News (full review)

“There is something different going on here than the usual Downtown noise/improv.” —Bruce Lee Gallanter, Downtown Music Gallery (full review)

**** “From the opening circular melody of “They Can Swim Backwards but Sometimes Choose Not To” built upon a deadly groove to the distorted madness of “Scissorhands,” the band plays with forceful conviction, shattering ear drums and taking no prisoners.” —David Menestres, Free Jazz Collective (full review)

**** "Hopkins’ debut unpacks a thrill-a-minute suite rooted in grunge, indie, and punk.” —MOJO Magazine

“Hopkins employs adroit compositional strategies throughout the recording, aiming at an inviting hybridity, which he has all the reasons to be proud of. This is a wonderful start for him as a leader.” —Jazz Trail (full review)

“Creative and inspired by punk rock energy, there's a lot of cool things going on here well worth taking notice of. An accomplished debut…it's obvious great things lie ahead.” —Midwest Record (full review)

“Exploding with a diversity of musical ideas…music that lives from contrasts that are well aimed by Hopkins’ musical vision.” —Vital Weekly (full review)

“It’s heartening to see the DIY spirit of yesteryear alive and well as we do on Crickets.” —In On The Corner (full review)

“An enthusiastic, and technically brilliant album.” —Squidco

“If you like your jazz forward-looking, seasoned with fractious horns and head-bobbing beats, this fits the bill nicely.” —NYC Jazz Record (full review)

“…the improvisation is clamorous and full of life and joyous noise.” —Music and More (full review)

“Mudball, the first single from the album, is a sombre and riveting composition, driven by its entrancing bassline and emblazed by a multi-layered melody highlighting the restlessness and the brashness of the saxophone trio at the forefront. The piece meticulously builds, bobbing and weaving on a path to destruction, only to be dismantled and disassembled into the organized chaos and cacophony of an extended and abstract improvisation led by the horn of Webber.” — (full article)

Dustin Carlson - Air Ceremony (OOYH 002)

One of the Top 20 Best Albums of 2018 by Jazz Right Now (full list)

“Amongst the most promising and inventive discs I’ve heard from under-recognized members of the current Downtown network. - Bruce Lee Gallanter, Downtown Music Gallery (full review)   

“In Air Ceremony we find delirium and ecstasy, avant-garde and noise rock, Henry Threadgill and space jazz but above all so much Dustin Carlson, a musician to be followed carefully.” (translated) —All About Jazz Italia (full review)

“Sophisticated, intricate, lyrical and compelling compositions driving the enthusiasm and exuberance of their ceremony!” —Squidco

“Take late 80s Tim Berne circa 'Fulton St. Maul', combine with the propulsive machines from 'Red'-era King Crimson and leaven with a substantial dose of good old-fashioned free jazz, a pinch of Threadgill and a dash  of thrash and you are in the ballpark.” “The band is tight, Carlson's able guitar work tending to lead the way through the juicy throb. This will be right up the alley of many.” —Just Outside (full review)

“The album as a whole is filled with music that never fully grounds itself and never really feels like it needs to. Where this kind of music lives is in the space around you, floating and fleeting.” —Jazz Right Now (full review)

**** “Throughout Air Ceremony you can tell these are performers who love to improvise together.” —Audiofile Audition (full review)

Michaël Attias - échos la nuit (OOYH 003)

“This is music of deep inquiry and patient exposition. It has the air of a soul-baring even as Attias keeps his cards close to his vest.” —Nate Chinen, Take Five (full article)

“Hearing these 12 tracks is like inspecting the mysterious line drawings of a beloved artist. Sometimes you’ll almost discern the contour of a landscape or the dark shading of a limb, but ultimately the shapes all drift back into a desolate, spacious abstraction.” —Giovanni Russonello, New York Times (full article)

“With a sound that gives off an after-hours feel and a command of his instrument that is both majestic and gritty…Completely improvised, Échos la Nuit is a one-man show of the highest order.” —Brad Cohan, JazzTimes (full review)

"This feels like an album which should inspire poetry, rather than a review. Michaël Attias’ first solo album is an incredibly beautiful, patient, delicately unfurling recording, an intimate duo for alto saxophone and piano played by one person simultaneously…it deepens my respect [for Michaël] even further, one of the most beautiful and unusual new albums I’ve heard in a long time." —Olie Brice, London Jazz News (full review)

“Spare, haunting, and meditative. Attias is cerebral in the best sense, a strong improviser and interesting composer." —The Wire (full review)

“Although this record doesn’t remotely offer any hint of Attias’ formidable chops, it may be the most vivid album he’s ever made.” —Lucid Culture/New York Music Daily (full review)

“Listening to this album was such an oddity. Each track feels like looking at perplexing pictures whose thin focus is on the closest object while the background keeps immersed in obscurity. Indistinctness means forever open and this very personal album is beyond style.” —JazzTrail (full review)

“You have to adjust to the minimal nature of things here, every note and silence has meaning or feeling which is palpable. A utterly sublime effort that is more than a little haunting.” —Bruce Lee Gallanter, Downtown Music Gallery (full review

“The best recordings solicit multiple listens, each time offering up some new little gift. With the music which has become most compelling to me, I can not listen to any album at any time (Kind of Blue being the exception to the rule). However, when the situation is right, the correct music being played is a joy. This album is a new favorite to which I will find myself going back to when I need what it offers. Always the right music for the right time.” —Maxwell Chandler, Our Man On The Coast (full review)

“…the clarity of an ECM recording and an emotional pull that keeps one returning to these songs time and again with renewed wonder.” Richard Kamins, Step Tempest (full review)

“For all the music's minimalist qualities, it is complex beneath the surface and best rewards careful listening.” —Karl Ackermann, All About Jazz (full review)

“This album would have been very impressive from a duo, but considering it came from one person it is remarkable. Attias draws on many threads from classical music to jazz and free improvisation, melding them creatively to create an album that is fresh and unique.” —Tim Niland, Music and More (full review)

“…a deep meditation on extended breathing techniques where every touch of the sax key and every blow is a decisive one.” —Eyal Hareuveni, Free Jazz Collective (full review

“Attias is beyond adept at taking a phrase and slowly developing it into a pure experience. The one-two punch that is “Circles” and “Rue Oberkampf” are perfect examples; both use time, space and extended techniques to explore what a solo saxophone is truly capable of achieving.” —NYC Jazz Record

“Attias shows dexterity and ease when playing both instruments together. If things sound rigid, the music calls for it, not for lack of ideas…even if he forgoes the piano and gets introspective or stuck on an idea (the repetitive "Rue Oberkampf" is based on his studies of the Schillinger Technique), he adds something to the music to keep it from merely sounding like an exercise and gives it a proper payoff.” —Mike Shanley

“A wonderful nuanced reflection in tone, melody & color.” —Squidco

Trinité previewed by S. Victor Aaron in Something Else! Reviews

Nick Dunston - Atlantic Extraction (OOYH 004)

"An ambitious bandleader and composer who’s writing can make his quintet sound like a massive ensemble." —Downbeat Magazine (full preview)

“Nick Dunston's debut as a leader features the unusual instrumental of double bass, drums, electric guitar and flute [and violin] - and his compositions put that configuration to imaginative use." —Daniel Spicer, The Wire Magazine (full review)

“This entire album is evidence of someone who grew up with big ears. It is not just songs from outside of jazz which are then “jazzed” up nor is it outside of genre stylings Frankensteined on.” —Maxwell Chandler, Our Man On The Coast (full review)

“Most impressive and unexpected.” “This disc is a breath of fresh air from the upcoming Downtown New Music Scene.” —Bruce Lee Gallanter, Downtown Music Gallery (full review)

“A sophisticated album of concisely fascinating compositions.” —Squidco