Label: Intakt Records, 2026

Personnel - Angelika Niescier: alto saxophone; Dave Rempis: alto and tenor saxophones; Nicole Mitchell: flute; Jason Adasiewicz: vibraphone; Luke Stewart: bass; Mike Reed: drums.

German alto saxophonist, composer, and improviser Angelika Niescier emerges on Chicago Tapes with a refreshed, invigorating sound shaped by an expanded ensemble that gathers some of the Midwest’s most adventurous musicians. Long engaged in collaborations with American players—among them Tyshawn Sorey, Gerald Cleaver, Chris Tordini, and Tomeka Reid—Niescier brought her compositions and open-ended sketches to Chicago for an ambitious project that yielded nine fearless originals, each brimming with sharp turns and volatile energy.

The album’s kinetic opener, “Rejoice, Disrupt, Resist”, is a furious, defiant response to the anti-immigration stance of the Trump administration. Here, Niescier joins forces with Dave Rempis on the frontline, both alto saxophonists blowing with tart intensity and restless momentum. The rhythm section is equally compelling and flexible, with vibraphonist Jason Adasiewicz’s finely nested mallet work adding harmonic radiance, all firmly anchored by bassist Luke Stewart and drummer Mike Reed. Niescier and Rempis reconnect on “Great Horned Owl”, a trio piece that sustains a continuous sonic buzz over Adasiewicz’s shimmering colorations, and again on the atmospheric “Fluxed”, where parallel and contrapuntal motion unfolds atop an exquisitely shaped percussive flow.

“Poronek”, an endlessly spiraling trio improvisation, is driven by Niescier alongside flutist Nicole Mitchell, whose ecstatic exchange rides over Reed’s talkative, responsive drumming. Just as dynamic is “SAMO (bsqt)”, a burnished tour de force built from flutter-tongued flute, expansive saxophone lines, patterned ride cymbal and snare propulsion, and vigorous bass plucks. The ensemble moves through a sequence of gripping passages centered on saxophone and drum exploration, with Mitchell adding a gauzy, atmospheric textural layer.

“Bouncin’ The Ledge” follows as a rambunctious, high-energy statement, with saxophone and flute operating in a liminal space between the ghostly and the grounded. A darting saxophone chant is mirrored by Stewart’s bass before the piece erupts into extraordinary commotion. The closing “E Randolph Street”, propelled by a loose yet insistent 4/4 groove, wraps things up while parading a stream of motifs, fluxes, and refluxes.

Firmly rooted in avant-garde and free improvisation traditions, Chicago Tapes highlights Niescier’s affinity for high-voltage contemporary jazz and reveals a deep, genuine rapport with her Chicago collaborators.

Favorite Tracks:
01 - Rejoice, Disrupt, Resist ► 02 - Poronek ► 03 - SAMO (bsqt) ► 07 - Bouncing’ the Ledge

Label: Intakt Records, 2019

Personnel - Angelika Niescier: alto saxophone; Chris Tordini: bass; Gerald Cleaver: drums + guest Jonathan Finlayson: trumpet.

German alto saxophonist Angelika Niescier is based in Cologne but firmly connected with the New York improvisational scene through projects like the NYC Five and New York Trio. Her new album on the Intakt imprint, precisely called New York Trio, is a natural follow-up to The Berlin Concert, whose release coincided with her earning of the prestigious Albert Mangelsdorff prize for jazz excellence. Niescier, who drew inspiration from John Cage, is rhythmically backed by bassist Chris Tordini, a longtime associate, and probes the drumming talents and stirring sounds of Gerald Cleaver, who occupies the chair formerly occupied by Tyshawn Sorey. The steadfast trumpeter Jonathan Finlayson joins the trio on selected tracks, broadening the melodic options and empowering interaction in the frontline.

The session’s volcanic inception couldn’t have had a better title: “The Surge”. The knotty rhythms and crisp accents invite Niescier’s garrulous blows, aptly expanded with a peculiarity in timbre and plenty of elasticity. She finds the pair Tordini-Cleaver set in stone back there, and after aesthetic unisons, it’s the drummer who pitches in, delivering an effusive solo when Finlayson was expected next. The latter eventually sneaks in with a sportive attitude, placing his uncompromising thoughts over Cleaver’s pressurized actions.

The trio communicates in fluid counterpoint on the invariably tense “Cold Epiphany”, whereas the open designation of “…ish” presents many possibilities for a word resolution, including some obvious ones such as swing-ish or Ornette-ish. There's visceral swinging excitement, with the robustness of well-nourished phrases promoting this rumpus.

Much more meditative and nearly reaching the classical domain, “Ekim” reveals an egalitarian sense of give-and-take with Niescier and Finlayson contributing weightless trills during each other’s proceedings. Their approaches are quite opposite for the sake of the music. The saxophonist is raw, vibrant, and impulsive; the trumpeter is rational and often erudite in his melodic exposition. They deliver again on “Push Pull”, which boasts that irresistible rhythmic thrust that every free jazz musician validates without blinking. The tune ends with long unison notes, in a more dispassionate environment.

“5.8”, an unfettered yet rhythmically locked-in exercise designed with a busy motion, has Cleaver punching upfront, preparing the unbending, asymmetric groove to be held by Tordini. The musicians’ chemistry is on display and the rewards are undoubtedly there for the adventuresome.

Favorite Tracks:
01 - The Surge ► 05 - Push Pull ► 07 - 5.8