(Free Jazz, Free Improvisation) [CD] Jason Adasiewicz, Christoph Erb, Jason Roebke - Yuria’s Dream - 2014, FLAC (tracks+.cue), lossless

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Jason Adasiewicz, Christoph Erb, Jason Roebke / Yuria's Dream
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TITLE "Yuria's Dream"
PERFORMER "Jason Adasiewicz, Christoph Erb, Jason Roebke"
REM GENRE "Free Jazz"
REM DATE "2014"
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FILE "01 - Untitled.flac" WAVE
  TRACK 01 AUDIO
    TITLE "Untitled"
    PERFORMER "Jason Adasiewicz, Christoph Erb, Jason Roebke"
    REM COMMENT "Recorded on November 10th 2013 at Kingsize Studio, Chicago"
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    INDEX 01 00:00:00

http://www.freejazzblog.org/2018/09/a-short-introduction-to-swiss-reedist.html
45-year-old Lucerne-based saxophone and bass clarinet player Christopher Erb is an excellent musician. However, except for a short review of Sceneries and his collaboration with Frantz Loriot, we somehow haven’t had him on the screen so far. Erb is not only a prolific member of the busy Swiss scene, but in 2007 he also formed his own label, Veto Records. A formative moment in his musical life came in 2011 when he moved to Chicago for a four-month-long residency. Of course, the time he spent there wasn’t enough to explore all that the city has to offer, but he used it to create a network with many of Chicago’s improvisers and figure out who was most compatible with his egalitarian approach to total improvisation. During his stay he played with Fred Lonberg-Holm, Michael Zerang, Jason Adasciewicz, Tomeka Reid, Jim Baker, Frank Rosaly, and many others. These connections yielded releases like the Erb/Baker/Zerang trio’s self-titled album (2011), Erb/Lonberg-Holm/Roebke/Rosaly’s Sack (2011) and The Urge Trio’s Live at the Hungry Brain (2017) - all published on Veto.
In 2012 Erb received the Culture Award from the City of Lucerne. Apart from his releases on Veto Records there are recordings on Hatology and Creative Sources.
https://en.wikipedia.org/wiki/Jason_Adasiewicz
Jason Adasiewicz (born October 14, 1977) is an American jazz vibraphonist and composer.
Jason was born in Wichita, Kansas in 1977, but raised in Crystal Lake, Illinois. He studied jazz drums at DePaul University for three years. He only eased into the vibraphone after leaving school, playing it in the indie-rock scene around Chicago with bands like Pinetop Seven and the singer-songwriter Edith Frost.
In the early 2000s he began his collaboration with cornetist Josh Berman and drummer Mike Reed. Since then he was worked in the Chicago jazz and improvisation scene with multiple bands, including Rob Mazurek’s Starlicker and Exploding Star Orchestra, Mike Reed’s Loose Assembly, Josh Berman and His Gang, Nicole Mitchell’s Ice Crystal, James Falzone’s Klang and Ken Vandermark’s Topology and Audio One.
Adasiewicz formed his Chicago-based jazz quintet, Rolldown, in 2004, while living in Madison. In 2008 he founded the trio Sun Rooms, with Nate McBride and Mike Reed.
https://www.allmusic.com/artist/jason-roebke-mn0000221413/biography
Artist Biography by Charlie Wilmoth
Avant-garde bassist Jason Roebke was raised in Kaukauna, WI, and he began playing bass at age 14. After graduating from Lawrence University, he moved to Madison, WI, to study with Chicago jazz legend Roscoe Mitchell. He earned a master's degree from the University of Michigan in 1998, then briefly taught at Albion College before moving to Chicago the following year. Since his arrival in Chicago, Roebke has performed with many of the city's most famous avant jazz musicians, including Ken Vandermark, Jeb Bishop, Jeff Parker, Chad Taylor, and Rob Mazurek. In 2001 and 2002, Roebke played on two recordings led by Fred Lonberg-Holm, A Valentine for Fred Katz and Terminal 4's When I'm Falling. He also repeatedly appeared on disc with guitarist Scott Fields. Roebke has also made numerous trips to Japan, performing with musicians like Toshimaru Nakamura, Taku Sugimoto, and Tetuzi Akiyama. Since 1998, Roebke has also performed with Art Union Humanscape, a duo with dancer Ayako Kato. Tigersmilk, which featured Roebke along with Mazurek and percussionist Dylan van der Schyff, was released in 2003

https://www.allaboutjazz.com/yurias-dream-christoph-erb-veto-records-review-by-glenn-astarita.php
Experimental saxophonist Christoph Erb recorded this lone 43-minute track in Chicago with prominent improvisers and composers, vibraphonist Jason Adasiewicz and bassist Jason Roebke amid a tour of the US. Here, the trio articulates an immense plane of perceptions, and if charted, may appear as a histogram that contains various deviations from the mean, when considering dips and spikes. The musicians embrace an in-depth improvisational forum, while occasionally abutting the fringes of minimalism. But they also delve into microtonal vistas with gritty exchanges and a polytonal muse, spanning aggressive tactics and intricately engineered subversions.
On tenor sax, Erb exudes grainy and muscular lines across the asymmetrical flows. His buzz-saw like forays also project angst, offsetting the more intimate moments as Adasiewicz shades, peppers, and executes delicate fabrics of sound within a host of rangy contrasts. Moreover, Roebke's knotty bass lines and effective use of counterpoint spawns the common bond.
The trio expands, contracts, and covers about every conceivable angle afforded to an improvising trio. Although it's not a cantankerous blowing session by any stretch, as the musicians' listen and react to each other's subplots and shifting tides. They frequently temper the flows down to a near whisper, while Erb's reverberating choruses 30-minutes into the piece alludes to a spooky sense of isolation, where Adasiewicz' twirling and understated notes insert a budding framework for the saxophonist's angular and creaky lines. Most importantly, the artists sustain interest by hovering around an imaginary midpoint of sorts and establishing a cohesive set of building blocks to be used as launching pads for their intriguing thematic developments and poignant dialogues.
http://dustedmagazine.tumblr.com/post/84161910237/adasieiczerbroebke-yurias-dream-veto
Which Yuria did Jason Adasieicz, Chrtisoph Erb, and Jason Roebke have in mind when they named this album? Was it the singer for the Japanese punk band Pinky Doodle Poodle, or the witch in the PlayStation 3 role-playing game Demon’s Souls? Either way, their manifestation of her dream is a far more spontaneous affair than the reality, virtual or physical, of how she spends her days.
Yuria’s Dream is a three-quarter-hour-long free improvisation by two Chicagoans, one a rising star of the jazz vibraphone (Adasiewicz) and the other a ubiquitous bassist (Roebke) who has recently revealed himself to be a superb bandleader and composer as well. Erb is a Swiss tenor saxophone and bass clarinet player, and this disc is the eighth installment of his Exchange Series on Veto Records.
Remember the foreign exchange student you met in high school? Turns out that in more civilized parts of the world, governments use taxpayer money to send artists abroad to represent the culture and make connections with practitioners in other parts of the world. Erb spent three months in Chicago in 2011, long enough to not just get on stage and play with a few folks, but to steep in the scene’s aesthetic and social milieu. He’s been coming back ever since to tour and make records with constantly varying combinations of the city’s contemporary improvisational community.
Erb’s previous work with the likes of Josh Berman, Michael Zerang and Fred Lonberg-Holm has tended towards restlessness and bustling activity that creates form in the moment. This session is different. While Adasiewicz is no stranger to freely improvised settings, the force with which he hits the vibes guarantees that any time he is playing, there will be a continuous flow of sound. You’ll feel his presence in the air even when he gives the mallets a rest. Adasiewicz turns this to musical advantage by playing with an implied destination; even when he is clearing reacting to another player, he seems to have an arc of action in mind. It isn’t exactly a narrative, but nonetheless evidence of a compositional intelligence at work. Roebke has played with Adasiewicz enough to know how he works, and his pizzicato forays have a sense of propulsion that fits right in.
Erb works more with long sighs and cries that fluctuate between abrasion and caressing. His opening tenor gambit reminds me of Evan Parker, but his development is more deliberate than Parker’s would be. There’s a bit of trepidation in his responses, as though he’s not sure what his fellows will make of what he’s going to play, but the darting phrases that Roebke proposes spark a series of increasingly confident and probing responses from Erb. But he also exercises a lyrical side more in this setting than he has before, which points to the beauty of free improvisation practiced with flexibility and respect; swap out any one of these players and this music could not have been made. The chance to be reminded that as the species mechanically reproduces its way towards planetary resource exhaustion, humans can still make a singular, of-its-moment creation, is one of the best reasons I know to listen to this music.
Bill Meyer

Jason Adasiewicz: vibraphone;
Christoph Erb: tenor saxophone and bass clarinet;
Jason Roebke: bass