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On this show we feature a selection of exciting new releases including fascinating genre-crossing explorations from Frank Paul Schubert, Kazuhisa Uchihashi and Klaus Kugel.
- Bob Osborne | World of Jazz,

Highly atmospheric and exploratory alto and soprano saxophones, guitar/electronics, and percussion. Seven contrasting pieces move in and out of various grooves and moods; highly pantonal, and polyrhythmic. The fantastic, extended title track is replete with rhythmic invention; a masterful performance by the trio. All of the tracks flow together orchestrally; this group really knows how to stretch out. The closest historical parallel might be music by the late Steve Lacy, the soprano saxophonist, if that description works. Five stars!
- David James,

"Each piece deserves the triple star of quality, and I think with absolute certainty that it will be a work that will win the hearts and souls of not a few who are fond of the emotions of (un)orthodox improvisation."
- Sergio Eletto,

"Uncompromisingly expressive, Black Holes Are Hard To Find becomes a musical act that harks back to the genius of Steve Lacy when he was breaking new ground in the company of world-class improvisers. This convincing trio suggests the difficulty of finding a black hole, but above all deserves to be heard in a luminous way on stage."
- Mario Borroni,
Citizen Jazz

"With rhythmic playfulness and imagination, frayed music is linked together to create a beautifully fresh and exciting, homogeneous end result. The players' experience with the material and manner translates into the album's lightness, while the intensity of the music is evident. The whole album is full of beautifully exciting improvisations. The trio dynamics are great and the experience and joy of playing splashes off the pieces. Without a doubt, a very beautiful, profound and attention-worthy album in this genre."
- Eric Van Der Westen,

This exquisite display of virtuosity by the musicians is encased in a rush of free improvisation: lightness, flexibility, playing, breath, rhythm, restraint, listening to each other, varied moods and atmospheres. On top of this, the impeccability of improvised jazz in the background allow the eloquent trio to build a balanced, sonic structure. Each composition/improvisation has its own colour, its own tonality and its own charm and the Schubert/Uchihashi/Kugel trio is the benchmark for new, improvised music. - Dioni Piątkowski,

An album with pure energy. From the very first song it becomes clear that Frank Paul Schubert on saxophone, Kazuhisa Uchihashi on guitar and Klaus Kugel on drums, gongs and percussion instruments together know only one direction: Forward! Always full energy, no limits and no false consideration. No compromises, no deviation from one's own vocation, no consideration for the mainstream, for fashions or even for the demands of the music market.
- Claus Volke,

The trio's Japanese-German composition and their wide-ranging musical experience as composers, performers, conductors, instrumentalists and technological innovators results in amazingly powerful and kaleidoscopic collaborative creations. … as if not a black hole is approaching, but the largest possible repertoire of human as well as saxophonistic as guitar controlled and percussion technical ability is opening up – a fascinating journey past a vacuum or a threatening nothingness.
- Clemens Verhooven,

Very interestingly composed and played, it is of phenomenal beauty.
- Jacek Brun,

This seems to me to be of a rather exceptional dimension in the field of so-called improvised music. Lightness, flexibility, play, breathing, measure, restraint, mutual listening, varied climates... and the presence of jazz in the background, all these notions allow this perfect triangle to build a particularly elaborate and balanced sound edifice, which does not prevent some powerful flights. Each note, each sound seems to be thought out, then carefully worked out in a relationship to time and space that allows the music to settle and develop. Each of the seven collective compositions/improvisations has its own colour, its own tonality, and constitutes a constituent element in the creation of a work of great unity. It is rare that a free music record captivates the listener's attention over such a long period of time: 73 minutes that one would like to see extended. A record of a rare quality…
- Jean Buzelin,

Even in an era as diverse as the present, in which creative musicians penetrate styles that differ from one another, there are few ensembles that impress as convincingly with their ability to combine idioms and blend sonic textures and musical tradition with the present. The trio's Japanese-German pedigree, and the artists' wide range of musical experience as composers, interpreters, leaders and instrumental and technological innovators, has resulted in a remarkably strong, kaleidoscopic collaboration. We can experience the result on the album 'Black Holes Are Hard To Find'.
- Robert Ratajczak,

An illustrious cosmos of sound that challenges the listener and lives from the improvisational interplay of the musicians.
- Ecke Buck,

Overall, this a meeting of highly skilled and talented Free Jazz / Improvised Music activists and their work together is impressive and coherent in the ears of listeners skilled in that idiom. Highly recommended to the followers of that particular manifestation of sound manipulation. Adam Baruch, The Soundtrack Of My Life

The three musicians are heading towards each other programmatically and show the principle of free improvisation in an ideal way.
- Helmut Böttiger,

You can imagine what these three highly experienced artists were able to show together. ... the entire range of saxophone playing from Schubert, the expressive and refined sound of Uchihashi's guitar and the rhythmic freedom of Kugel's drums are at your service.
- Leonid Auskern,

The seven extended pieces juggle with polystylistic themes, abstract ideas, stories and mini-dramas, explore fragile textures and challenging timbres, but flow naturally with their own inner logic and already with a distinct sonic identity of the trio. Likewise, the atmosphere constantly shifts from intimate and introspective to symphonic and cinematic or provocative, obscure and chaotic, often in a matter of a second and within the same piece, inviting the listener to a kaleidoscopic experience. The music flirts with free jazz, contemporary music and prog-space-rock and sometimes even swings (check «Additional Randevous») but never surrenders to familiar narratives or conventions and insists on building its unpredictable tension. The accumulated experience of Schubert, Uchihashi and Kugel as idiosyncratic and innovative composers, interpreters, improvisers and bandleaders contribute to the success of this collective trio and its inspiring albums.
- Eyal Hareuveni,

A free form of cosmic jazz. All this is played with class, concentration and inspiration and is worth listening to for a nice late winter evening away from the noise of the worlds.
- Jean-Michel Van Schouwburg,

This German/Japanese avant-garde jazz trio is quite remarkable. Or rather, its music is highly remarkable. ... the music is an eclectic, polystylistic and abstract, tightly woven tapestry of acoustic and electronic sound fused together. Frank Paul Schubert (alto and soprano saxophone), Kazuhisa Uchihashi (electric guitar and electronics) and Klaus Kugel (drums and bells) create landscapes as if they were landscape architects ... How much the three musicians in the studio improvise, how much they have composed in advance, is unclear - but their mutual understanding of music is obvious. Even though or precisely because the maelstrom prevails and is given free rein.
- Ivan Rod,

Brilliantly sensing each other's intentions, the formation presented seven jointly arranged pieces. The musical landscapes they paint have a lot of space in them, although they are also not free of moments of accumulated emotion and harmless explosions. An important asset of their work is the creation of original harmonies. Uchihashi's unusual electronic preparations play a major role in the creation of new consonances. At times, Schubert's saxophone sound and narrative style are reminiscent of the legendary Albert Ayler. Robert Fripp's eloquence can be detected in Ushihashi's guitar ideas and tone, while Kugel's playing echoes Jack DeJohnette's liberated efforts.
- Cezary Gumiński,

The start of each track is emotionally balanced, at times filigree, often shrouded in an intriguing, at times dreamlike atmosphere.

When these guys are in sync, they're magic, ... Damn, that's wild!
- Steve Mecca,
Chain D.L.K.

This is not an album for the neophyte. This is an album best appreciated after a snifter of your favorite intoxicant and a long, dark night ahead of you. Pack your passport and a raincoat — I can’t predict where you might end up.
- Carl F. Gauze,
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Photo by Martin Buhl