Ken Vandermark

Forthcoming interview with KV in MUSICA JAZZ magazine --

1) In the last amount of years your work either as promoter of a lot of local events/ festivals or as leader/player involved in many projects and bands in Chicago could persuade someone to draw a comparison with the same artistic role and predominance that John Zorn holds in New York. Is that an irritating inference (in your opinion) or is it true that the Chicago improv-jazz scene has just become one of the most important American laboratories for creative musicians since your artistic rising in the Nineties?

I WOULDN'T COMPARE MYSELF TO JOHN ZORN, WHOSE ACTIVITIES HAVE HAD A HUGE POSITIVE IMPACT ON BOTH THE IMPROVISED MUSIC SCENE IN NEW YORK AND INTERNATIONALLY. I DO SEE THE NECESSITY FOR TRYING TO CREATE MORE WORK OPORTUNITIES FOR MYSELF AND OTHER MUSICIANS THROUGH ORGANIZING CONCERTS, TOURS, AND RECORDING SITUATIONS, HOWEVER. AND CHICAGO HAS TURNED OUT TO BE AN IMPORTANT CITY FOR IMPROVISED MUSIC IN THE LAST DECADE BECAUSE THIS KIND OF WORK CAN BE DEVELOPED IN COLLABORATION WITH ALL KINDS OF MUSICIANS.

2) John Zorn tends to consider himself a composer more than a player. What about you? What kind of importance do you assign to scores (written composition) and to your improvement on a technical level as a reed player?

WHEN COMPOSING, I AM INTERESTED IN WRITING MATERIAL FOR IMPROVISERS; THE IMPROVISED ELEMENT IS ALWAYS THE MOST ESSENTIAL ASPECT OF WHAT I DO. SOMETIMES HAVING PREDETERMINED ELEMENTS ALLOWS THE MUSIC TO MOVE IN DIFFERENT KINDS OF WAYS THAN IF IT WAS ENTIRELY IMPROVISED, BUT THE REVERSE IS ALSO TRUE. FOR ME THE CIRCUMSTANCES AND PLAYERS INVOLVED DETERMINE THE BEST WAY TO WORK.

THAT SAID, I THINK THAT MANY NEW AND DIFFERENT WAYS OF ORGANIZING MUSIC AND IMPROVISATION CAN BE DEVELOPED IN THE CURRENT TIME PERIOD, AND I AM EXTREMELY INTERESTED IN HOW COMPOSED MATERIALS CAN INTERSECT WITH IMPROVISED MATERIALS TO CREATE NEW FORMS OF EXPRESSION.

3) I think that your solo album "Furniture Music" was undervalued by many critics and magazines (in Italy at least). Actually it includes a lot of brilliant ideas and tunes, displaying your entire reed palette. Apart from the classic/legendary masters who applied themselves to this practice what do you think about the solo performance? Will be there any further solo recording in the future?

THANKS VERY MUCH FOR YOUR INTEREST IN THAT ALBUM. I FEEL THAT SOLO MUSIC HAS BEEN COME AN IMPORTANT ASPECT OF THE CONTEMPORARY IMPROVISERS EXPRESSION, AND THAT THERE IS NOW A LONG HISTORY OF ESSENTIAL SOLO WORK BY MASTERS OF THE FORMAT, LIKE ANTHONY BRAXTON, PETER BROTZMANN, EVAN PARKER, DEREK BAILEY, PAUL RUTHERFORD, HAN BENNINK, JOE MORRIS, CECIL TAYLOR, ETC. TRYING TO FACE THAT HISTORY AND COME UP WITH MY OWN SOLUTIONS TO THE PROBLEMS INHERENT IN PLAYING IMPROVISED SOLO MUSIC (HOW DO YOU SURPRISE YOURSELF? HOW DO YOU KEEP THE MUSIC FROM BECOMING PREDICTABLE? HOW DO YOU DEAL WITH SILENCE?...) HAS BECOME A SIGNIFICANT ISSUE FOR ME, AND "FURNITURE MUSIC" WAS THE FIRST STEP TOWARDS FINDING A PERSONAL EXPRESSION IN THAT ARENA.

OVER THE LAST YEAR THERE HAS BEEN MORE WORK AS AN UNACCOMPANIED SOLOIST THAN EVER BEFORE, PARTICULARLY WITH THE WORK ON THE "PINTURA SERIES" (WITH THE VISUAL ARTIST RICHARD HULL), AND "THE BECKETT VARIATIONS" (IN COLLABORATION WITH JAAP BLONK AND LOTTA MELIN). RIGHT NOW I AM WORKING ON FINALIZING A RELEASE OF THE PINTURA MATERIAL, SO HOPEFULLY THERE WILL BE SOMETHING OUT IN THE FIRST PART OF THE NEXT YEAR.

4) One interesting aspect of your activity is the link that by means of many collaborations and projects you have established and strengthened with European musicians. Is it a common feeling and a shared approach to music that made you prefer artists from Germany, Holland and North Europe than from other European countries (even considering your collaboration with Italian (artists) Zu, and Carlo Actis Dato)?

ALL OF MY COLLABORATIONS WITH EUROPEAN ARTISTS HAVE BEEN DEVELOPED IN A SIMILAR WAY AS TO THE PEOPLE I WORK WITH AT HOME, IN CHICAGO: THEY ARE PLAYERS WITH LIKE MINDS WHO ARE SEARCHING FOR CONTEMPORARY WAYS TO EXPRESS IDEAS IN SOUND. SO THERE HASN'T BEEN A CONSCIOUS FOCUS ON CERTAIN PARTS OF EUROPE OVER OTHERS, IT'S JUST THAT THE PEOPLE I'VE COLLABORATED WITH SO FAR HAVE MADE AESTHETIC SENSE, AND THAT'S THE GOAL.

5) Is there still a sense of invention attached to the free jazz language and expression today? Can it be still considered a form of avant-garde music or is it rather a creative way to update (also exploiting the new digital technologies) what previous artists have completely inquiried in the past?

I THINK THE TERM "FREE JAZZ" DOESN'T WORK ANYMORE. FOR ME, IT DESCRIBES A MUSIC MOVEMENT THAT TOOK PLACE IN THE 1960s, LIKE THE BE BOP MOVEMENT TOOK PLACE IN THE 1940s. THERE IS SO MUCH CREATIVE WORK TO BE DONE RIGHT NOW, THAT INCORPORATES INFLUENCES FROM ALL OVER THE WORLD AND FROM A VARIETY OF TIME PERIODS, I CAN'T BE CONCERNED WITH WHETHER OR NOT THE MEDIA THINKS THAT THIS MUSIC IS STILL VALID OR NOT. I KNOW THAT IT IS, THE PEOPLE I WORK WITH KNOW IT IS, AND THE PEOPLE WHO LISTEN TO MUSIC TODAY KNOW THAT IT IS, AND THAT'S ALL THAT REALLY MATTERS.

6) What do you personally find to be the most alluring aspect of improvisation?

THE FREEDOM TO EXPRESS MY IDEAS IN A NEW OR DIFFERENT WAY EVERY TIME THAT I PERFORM.

7) The replacement of trombonist Jeb Bishop with cellist/electronic manipulator Fred Lonberg-Holm has forced you to reconsider the sound and the scores for the Vandermark 5? Why did Jeb decide to leave the band?

OF COURSE THE PERSONNEL CHANGE IN THE VANDERMARK 5 CAUSED MANY CHANGES IN THE SOUND AND MUSICAL APPROACH OF THE GROUP, HOW COULD IT NOT? AND AS DIFFICULT AS IT WAS TO HAVE JEB LEAVE THE BAND, FRED'S CONTRIBUTIONS SINCE JOINING HAVE BEEN INCREDIBLY EXCITING. I THINK THAT JEB LEFT THE ENSEMBLE BECAUSE HE HAD FELT THAT HE HAD SAID ALL THAT HE COULD SAY WITHIN THE GROUP, AFTER ALL HE WAS WITH US FOR NEARLY A DECADE, SO FOR HIM IT WAS TIME TO MOVE ON. I AM HAPPY THAT WE STILL WORK TOGETHER, MOST RECENTLY ON THE ATOMIC SCHOOL DAYS PROJECT THAT TOOK PLACE IN CHICAGO AT THE END OF APRIL.

8) Bob Weston, a musician more linked to the noise and avant-rock scene, produced the latest two albums by Vandermark 5. Why did you choose him and why is he so special as a producer?

THESE RECORDS WERE ENGINEERED AND MIXED BY BOB, BUT THE ASPECTS ABOUT DECIDING ON WHICH PIECES TO USE ON THE ALBUMS, THE SEQUENCING, THE FINAL MIX, ETC., WERE MADE BY ME. SO BOB'S CONTRIBUTIONS WERE HUGE BUT NOT THE FINAL FACTOR IN HOW THOSE RECORDINGS WERE REALIZED. WORKING WITH HIM IS FANTASTIC BECAUSE HE IS, QUITE SIMPLY, THE BEST ENGINEER I'VE EVER WORKED WITH- HE'S ALWAYS TRYING TO FIND WAYS TO IMPROVE THE SOUND OF THE RECORDINGS, HE APPRECIATES AND LIKES THE MUSIC WE'RE WORKING ON, HE'S ABLE TO RESOLVE ANY TECHNICAL PROBLEMS THAT MIGHT ARISE, AND HE'S A PLEASURE TO BE AROUND. BASICALLY, IDEAL.

9) You also joined the Flying Luttenbachers for some of their albums. Were you at your ease with Weasel Walter's extreme conception of sound?

WITHOUT QUESTION WEASEL IS VERY CREATIVE AND HAS A TON OF ENERGY, BUT I DECIDED TO LEAVE THE GROUP AFTER IT SEEMED THAT THE FOCUS WAS MORE ON THE THEATRICAL ASPECTS OF PERFORMANCE THAN THE MUSICAL ASPECTS.

10) Could you tell me the reason to release a huge box-set like Alchemia? Were these Polish live sets the best ones performed by the Vandermark 5?

THE RELEASE OF THE ALCHEMIA BOX SET WAS INSTIGATED BY MAREK WINIARSKI OF THE LABEL NOT TWO. I TOLD HIM HE WAS CRAZY, BUT IT TURNED OUT THAT HE WAS RIGHT- THE SET HAS DONE WELL FOR THEM AND FOR THE BAND. THE OPPORTUNITY TO PLAY 5 NIGHTS IN ONE CITY AND HAVE THE WHOLE SERIES DOCUMENTED WAS AN EXTREMELY RARE OPPORTUNITY, SO WE TOOK ADVANTAGE OF IT. WHAT IS CONTAINED ON THE ALCHEMIA RECORDINGS PORTRAYS A VERY ACCURATE ACCOUNT OF HOW THE VANDERMARK 5 WORKED AT THAT TIME. I HOPE THAT THE SUCCESS OF THIS PROJECT MAY LEAD TO LONGER ENGAGEMENTS BECOMING MORE COMMON AS I WORK IN THE FUTURE.

11) Don't you think that releasing so many CDs with so many bands and projects could negate a deeper process of assimilation to the listeners? Do you happen to listen again to your previous and past recordings? If "yes", what are your favorite ones?

THERE ARE TOO MANY IDEAS TO EXPLORE AND TOO MANY INTERESTING PEOPLE TO WORK WITH FOR ME TO LIMIT MY WORK BASED ON WHAT SOME PEOPLE MAY OR MAY NOT THINK OF MY CHOICES. YES, THERE IS A LOT OF DOCUMENTATION, BUT MOST OF IT IS MADE BY ONGOING ENSEMBLES WHO HAVE RECORDED ABOUT ONCE A YEAR, WHICH SEEMS TO ME TO BE A REASONABLE PERIOD OF TIME TO DEVELOP NEW IDEAS AND DOCUMENT THEM. SO IS THE ISSUE THAT I WORK WITH TOO MANY GROUPS? HOW MANY GROUPS IS THE CORRECT AMOUNT? MY INTEREST HAS BEEN TO DEVELOP A SOLO MUSIC APPROACH, A TRIO SYSTEM (FREE MUSIC ENSEMBLE), SUSTAIN THE VANDERMARK 5, WORK WITH A LARGE ENSEMBLE, (THE TERRITORY BAND), STRUCTURE METHODS FOR THE INTEGRATION OF SOURCES OUTSIDE OF JAZZ (FIRST SPACEWAYS INC., NOW POWERHOUSE SOUND), EXPLORE FREE IMPROVISATION CONTEXTS (SONORE, DUO WITH PAAL NILSSEN-LOVE, FIRE ROOM WITH PAAL AND LASSE MARHAUG, THE TRIO CINC WITH PAUL LYTTON AND PHILIPP WACHSMANN, THE TRIO WITH JOE MORRIS AND LUTHER GRAY), AND TO CONTINUE TO COLLABORATE WITH PEOPLE LIKE PETER BROTZMANN (THE CHICAGO TENTET) AND WORK ON NEW ENSEMBLE IDEAS.

THE POINT IS THAT THE CREATIVE WORK ISN'T STATIC. WHEN IT IS, IT BECOMES CODIFIED AND IS DONE, WHICH IS TIME TO MOVE ON TO ANOTHER WAY OF WORKING AND THINKING. I REALIZE THAT THIS DEMANDS A LOT FROM THE AUDIENCE, BUT ISN'T THAT SUPPOSED TO BE PART OF THE POINT- TO CREAT CHALLENGING MUSIC?

12) I really liked the "Like Rays" album and I heard that you started another trio with guitarist Joe Morris. You have toured with this band but will be there a related recording? What about Joe as a musician?

JOE AND I RECORDED A NEW TRIO ALBUM WITH LUTHER GRAY IN JANUARY, AND JOE IS PLANNING ON RELEASING IT EARLY THIS SUMMER ON HIS LABEL, RITI. FOR ME, JOE IS ONE OF THE MAJOR CONTEMPORARY AMERICAN IMPROVISERS, AN ESSENTIAL ARTIST WHO ALWAYS PUSHES MY IDEAS AND ABILITIES.

13) The Territory Band is for sure one of the most challenging and adventurous projects you have started up. I still remember the curious quarrel with reference to the silent tracks/episodes present in the "Transatlantic Bridges" album. I can also imagine the logistic troubles you have had to face to reunite and have at your disposal the team of European musicians. Can we say that the Territory Band is the place where creativeness is pushed at a maximum level, also merging the electronic side in the acoustic one? Have you ever thought to embrace and add also an electric side, as the latest Otomo Yoshihide's New Jazz Orchestra did?

I AGREE THAT THE TERRITORY BAND IS WHEN I AM TRYING TO PUSH MYSELF THE FURTHEST AS A COMPOSER AND ORGANIZER. IT'S A LOGISTICAL STRUGGLE TO GET THE BAND TOGETHER EVERY YEAR, BUT WE HAVE SO FAR FOUND A WAY TO DO IT. THE NEW ALBUM, RECORDED WHILE ON TOUR IN EUROPE LAST FALL, COMES OUT THIS SUMMER
IN TIME FOR OUR COLLABORATION WITH FRED ANDERSON IN CHICAGO; I WILL BE ORGANIZING NEW MATERIAL THAT FEATURES FRED AS A GUEST ARTIST.

IN REGARDS TO A MORE ELECTRIC MUSIC, AS I MENTIONED ABOVE, THERE IS POWERHOUSE SOUND WHICH NOW FEATURES JEFF PARKER ON GUITAR, NATE MCBRIDE ON ELECTRIC BASS, AND JOHN HERNDON ON DRUMS.

14) Do you feel in a privileged position being so close friend to John Corbett? How did you know him and start to collaborate as prime movers in the Chicago musical scene?

OF COURSE KNOWING JOHN HAS BEEN FANTASTIC, THROUGH HIM I MET MANY OF THE EUROPEAN MUSICIANS THAT I WORK WITH TODAY. WE MET THROUGH OUR COMMON INTEREST IN MUSIC IN GENERAL AND IMPROVISED MUSIC IN PARTICULAR, AND (WE) STARTED WORKING TOGETHER AS ORGANIZERS FOR THE EMPTY BOTTLE JAZZ SERIES IN 1996 UNTIL AROUND 2002.

15) Other main collaborators and friends are the veteran sax players Peter Brötzmann and Joe McPhee. Could you remind (us) where and how you introduced yourself to them for the first time?

I FIRST HEARD JOE MCPHEE'S MUSIC WHEN MY FATHER PLAYED ME THE ALBUM, "TENOR," WHEN I WAS 17 YEARS OLD. I ACTUALLY HEARD BROTZMANN FOR THE FIRST TIME WHEN JOHN CORBETT PLAYED ME "MACHINE GUN" WHEN WE WERE BOTH LIVING IN BOSTON AROUND 1987, STRANGE COINCIDENCE TO MEET HIM AGAIN IN CHICAGO A FEW YEARS LATER!

THOUGH I HAD MET JOE AND PETER BRIEFLY ON SEVERAL OCCASIONS, THE FIRST TIME I WORKED WITH JOE WAS ON THE TRIO RECORDING, "CHICAGO MEETING," IN THE MID 1990s; AND WITH PETER WHEN I WAS INVITED TO PARTICIPATE WHEN THE FIRST VERSION OF THE CHCIAGO TENTET WAS PUT TOGETHER AT THE END OF THAT DECADE.

16) Your own projects have often involved Hamid Drake but not William Parker (it seems that you both have played together only in the Brötzmann Chicago Tentet). Why? Could it be due to a hypothetical conflict between two strong and creative personalities?

NO, THE ANSWER IS QUITE SIMPLE, HAMID LIVES IN CHICAGO AND WILLIAM LIVES IN NEW YORK. HAMID AND I BEGAN TO PLAY TOGETHER BECAUSE WE LIVE IN THE SAME CITY, AND NEW YORK IS ABOUT 15 HOURS AWAY BY CAR. I AM FREQUENTLY ASKED WHY I DON'T PLAY WITH MUSICIANS FROM THAT CITY MORE OFTEN, AND ONE OF THE MAIN REASONS IS THE LOGISTICS OF DISTANCE. THOUGH THE DISTANCE BETWEEN MUSICIANS FROM EUROPE AND MYSELF SHOULD SEEM FUTHER, IN ACTUALLITY IT'S FREQUENTLY EASIER TO GET TOGETHER THROUGH VARIOUS MEANS OF FUNDING THROUGH PRESENTERS FEES OR STATE SUPPORT (AS IN NORWAY). THE MONEY AVAILABLE FOR FUNDING IMPROVISED MUSIC IN THE UNITED STATES IS VERY, VERY SMALL, AND MOST OF THE CONCERTS ARE "DOOR GIGS" OR FOR SMALL FINANCIAL GUARANTEES. THIS MEANS THAT PEOPLE IN THE STATES END UP COLLABORATING MORE OFTEN WITH THE PEOPLE WITHIN THEIR OWN REGION THAN THOSE OUTSIDE OF IT, WHICH I BELIEVE IS PRETTY STANDARD IN MOST CREATIVE SITUATIONS AROUND THE WORLD.

17) What musicians would you most like to work with that you've never worked with before?

I ALWAYS DREAMED OF HAVING AN OPPORTUNITY TO PLAY WITH DEREK BAILEY AND NEVER GOT THE CHANCE. I'VE BEEN EXTREMELY FORTUNATE TO HAVE BEEN ABLE TO WORK WITH SO MANY INCREDIBLE ARTISTS, BUT AMONG THOSE THAT I'VE NEVER REALLY BEEN ABLE TO DO SOME EXTENDED PLAYING WITH AND WOULD LIKE TO ARE: CECIL TAYLOR, EVAN PARKER, AND ANTHONY BRAXTON.

18) What were you main influences in the first period of your career?

I THINK THAT SONNY ROLLINS WAS THE FIRST INDIVIDUAL WHO REALLY CAUGHT MY EAR. THERE IS STILL SO MUCH IN HIS PLAYING THAT REMAINS AS STRONG INSPIRATIONS- STRONG SOUND, RHYTMIC EXPRESSION, TONE MANIPULATION, AND A FOCUS ON MELODIC CONTENT.

19) Why did you choose to move from Boston to Chicago?

THOUGH I HAD BEEN PERFORMING IN BOSTON AFTER I MOVED THERE FOLLOWING FILM STUDIES AT MCGILL UNIVERSITY IN MONTREAL, I FELT A NEED TO LEAVE AND FIND OUT WHAT ANOTHER LOCATION COULD OFFER ME MUSICALLY. IN 1989 THE THREE PRIMARY CITIES FOR IMPROVISED MUSIC IN THE UNITED STATES WERE, IN MY OPINION, NEW YORK, SAN FRANCISCO, AND CHICAGO. SINCE I HAD GROWN UP IN THE NORTHEAST ALL MY LIFE I THOUGHT LEAVING THE AREA MIGHT BE A GOOD CHANGE, SO THIS RULED OUT NEW YORK. I DIDN'T WANT TO LIVE ON THE WEST COAST, SO CHICAGO SEEMED LIKE THE ONLY CHOICE, AND I HAD FRIENDS FROM SCHOOL LIVING THERE. CHICAGO WAS ALMOST A DEFAULT DECISION, AND YET HERE I AM NOW!

20) What are your current favorite listenings? Do you like to be updated about other musical genres?

MORE AND MORE I AM INTERESTED IN THE VARIETY OF MUSIC THAT IS POSSIBLE TO EXPLORE. I AM ALWAYS LOOKING FOR DIFFERENT WAYS TO DEVELOP MY COMPOSING AND IMPROVISING, AND THE SOLUTIONS TO THESE PROBLEMS CAN OFTEN BE FOUND IN SOURCES OUTSIDE THE GENRE OF JAZZ. SO AT HOME I AM LISTENING TO MUSIC ALL DAY, FROM MANY DIFFERENT FIELDS: FUNK, DELTA BLUES, NEW MUSIC LIKE ELLIOT CARTER OR MORTON FELDMAN, REGGAE, CERTAIN KINDS OF ROCK. ALL OF THESE THINGS HELP BROADEN THE SPECTRUM OF MY REFERENCE POINTS FOR CREATING CONTEMPORARY WORK.

21) Tell me more about Atomic/School Days' aesthetic aims and approach to music. Are you rehearsing and recording new material with this ensemble?

THIS GROUP IS VERY INTERESTING, IN PART BECAUSE EVERYONE IN THE GROUP WRITES MUSIC FOR IT, SO IN A SENSE THE ENSEMBLE IS A COMPOSERS POOL FOR IMPROVISED MUSIC. THIS MEANS THAT A LISTENER GETS ALMOST EIGHT DIFFERENT VERSIONS OF WHAT THE BAND'S AESTHETICS CAN BE, HOW THINGS SOUND HOW THEY'RE CONSTRUCTED. WE JUST FINISHED A NEW PROJECT IN CHICAGO DURING APRIL, REHEARSING ABOUT A WEEK BEFORE RECORDING TWO NIGHTS IN PERFORMANCE AT A CLUB IN TOWN CALLED THE GREEN MILL. THIS MATERIAL SHOULD BE RELEASED IN THE FIRST PART OF 2007, AND THE GROUP HOPES TO PERFORM IN EUROPE DURING THE SUMMER FESTIVAL SEASON.

22) What about your relationship with Bruno Johnson, Okka Disk label's owner?

BRUNO AND I HAVE BEEN FRIENDS FOR MORE THAN A DECADE. HE WAS INTERESTED IN MY MUSIC IN THE EARLY NINETIES, AND RELEASED THE CAFFEINE ALBUM ALONG SIDE FRED ANDERSON'S DUOS WITH STEVE MCCALL AS THE FIRST ALBUMS ON OKKA DISK. I THINK THAT BRUNO WORKS AND HEARS LIKE A MUSICIAN, THOUGH HIS CONTRIBUTIONS TO THE MUSIC ARE THROUGH THE LABEL, AND THIS IS WHY SO MANY OF US LIKE COLLABORATING WITH OKKA DISK. ALSO, HE'S MY SOUL AND FUNK MUSIC RESOURCE!

23) I can guess you are working and looking after many new projects, tour and pending recordings, could you let us know anything more in advance?

RIGHT NOW THE NEW UPCOMING TOURS INCLUDE FREE FALL AND THE PETER BROTZMANN CHICAGO TENTET IN MAY; A QUARTET PROJECT WITH ADAM LANE, PAAL NILSSEN-LOVE, AND MAGNUS BROO FOR CLEAN FEED IN PORTUGAL AT THE START OF JUNE; A NORTH AMERICAN TOUR WITH CINC (ME, LYTTON, WACHSMANN), LATER IN THAT MONTH; THE NEW TERRITORY BAND PROJECT IN CHICAGO DURING AUGUST; TOURS WITH SONORE, FME, A TRIO WITH PER-AKE HOLMLANDER, AND THE VANDERMARK 5 IN EUROPE DURING THE FALL.

THE NEW ALBUMS INCLUDE THE DUO WITH PAAL NILSSEN-LOVE, "SEVEN," THE BRIDGE 61 DISK, "SKETCHBOOK," A NEW TERRITORY BAND RELEASE YET TO BE TITLED. THE CINC ALBUM, THE SECOND SOUND IN ACTION ALBUM, THE NEW FME ALBUM, AND NEW VANDERMARK 5 ALBUM, ALL BY EARLY FALL.

"JazzEnExpansio" published on 07-16-07 by Jaç

"KV INTERVIEW" published on 05-14-07 by Jazznet

"AAJ Multi-Review (Montage, FJC 3&4, ADL)" published on 02-03-07 by AllAboutJazz.com

"KV Interview (German)" published on 02-02-07 by JazzPodium

"Interview w/KV (in Spanish)" published on 12-18-06 by tomajazz.com

"Interview w/KV" published on 12-06-06 by Jazznet

"Interview w/KV (in Polish)" published on 12-03-06 by Popup Magazine

"THE SHAPES OF JAZZ (Italian)" published on 07-20-06 by Blow Up

"'The Jazz Posse'" published on 04-07-06 by The Chicago Reader

"Interview: Ken Vandermark in Geneva (French)" published on 03-20-06 by Viva La Musica, No. 276 and 277

"KV Interview: Raw and Refined" published on 03-13-06 by AllAboutJazz.com

"Interview: KV" published on 01-26-06 by AllAboutJazz.com