“Bisio serves up a poetic performance all alone with a interpretation of “I’ve Got It Bad And That Ain’t Good” that is technically astonishing while covering a wide range of emotions that goes beyond the doleful one heard on other renditions. “  S. Victor Aaron

AAJ Article The Most Beautiful Thing

“Michael Bisio’s almost-telepathic ability to both follow and propel Shipp’s challenging improvisations speaks to their extensive joint experience.”

“One of the most virtuosic and imaginative performers on the double bass Bisio's signature, melancholic con arco phrases flow in a somber procession with Groder's languid horn on the mystical and dramatic "Tarried Breath."  HRAYR ATTARIAN

“Bisio’s arco technique brings cello-like expressiveness and more out of his bass for five-and-ahalf enthralling minutes;”
Derk Richardson, The Absolute Sound

“In Bisio, whose resume boasts stints alongside multi-instrumentalist Joe McPhee and saxophone iconoclast Charles Gayle, Shipp has found the perfect foil: someone who can match him blow for blow in a blizzard of notes or spin off stirring tales at the drop of a hat, while continually providing expressive plangent counterpoint. “ John Sharpe, AAJ

“Listen to how contrabassist Michael Bisio interacts with it all. He adds so much in a monsterously good way. The deeply flushed tone, the unexpected or reconfirming note choices, the way he can walk or be that "second horn", the impeccable touch and in-the-moment thrust, all that is here in a fantastic way.”

Michael Bisio, Han Bennink in town | Concert preview

“Although Bisio is a comparatively recent associate of Dickey and Shipp, his spontaneous responsiveness and imaginative phrasing facilitates sophisticated three-way conversations that border on the telepathic.” Troy Collins

"They are meteors that strike the most sincere music lovers wherever they are, because they possess an inventive step that is difficult to find around."   Percorsi Musicali

"With Bisio's profound bass work in the picture, and the overall clarity afforded by the absence of drums and cymbals, the performances take on a more openly emotional character. Bisio's lush and welcoming bass introduces the captivating Refuge with a long and absorbing solo, well captured by engineer Jim Clouse, who records most of Perelman's projects." -IAJRC

"The interplay was uncanny with bassist Michael Bisio fine-tuned to every move, and delivering the first-set highlight, a resonant and thumping solo that ended as a bowed bass elegy themed on Coltrane’s “Naima”. " Mike Hobart, Financial Times

"His strong presence, both on the rhythmic underfloor and in the aptness of his reactions, and more generally in the accuracy with which he enters the conversation, contribute a great deal; and all this, without even speaking of the roundness and depth of his sound!"

"Michael is a thoughtful bass tornado whether playing pizzicato or arco, and brings deep feeling and deeply charged energy into the mix."   Grego Applegate Edwards

AAJ interview

"The fleet-fingered and pitch-perfect Bisio ends the piece with an absolutely jaw-dropping solo."
BBC Review, Bill Tilland

"His personality, his technique, his skills are all there, but fully in the service of the music, real music then, with a depth that transcends the physical aspect of sound : it is so full of deep "human-ness". An absolute joy to hear, ... "  Stef Gijssels

"The sound he produces is bound in rhythm and unrelenting in expression to exhibit sensitivity to change and range. When he works within the group, his pizzicatos are strong, relaxed and thoroughly united with music's direction." Lyn Horton

"His responses and choices are those of a master technician; he gives each note unique shading and inflection and, especially with bow in hand, he conjures rich harmonics and deep warming resonance." John Sharpe, The New York City Jazz Record

Earshot Jazz article January 2011

"... he is a marvelously inventive bassist that seemingly has burst forth over the years as a musical trunk rather than a branch. His technique is formidable, both pizzicato and arco, and he taps into a virtually inexhaustible wellspring of musical ideas when he plays."
Grego Applegate Edwards   www.gapplegatemusicreview.blogspot.com2010/02/connie-crothers-and-michael-bisio-in.html

"Increasingly visible bassist Michael Bisio does it all. Not content with being a fearsome soloist, Bisio is also an enabling bandleader and potent composer."

"Two versions of the bassist's "Livin' Large" open the proceedings, both providing ample space for the leader's full dark tone allied with an almost tactile sense of catgut vibrating against wood."
John Sharpe, All About Jazz

"With over a half dozen highly recommended sessions as leader, his work has been likened to David Izenzon, Charlie Haden and Mingus and for good reason."
Laurence Donohue-Greene AAJNY

"...(imagine a fearsome meta-bassist synthesizing Oscar Pettiford, Charlie Haden, and Peter Kowald and you're on the right track)..."
Dan Warburton, Paris Transatlantic

" Bassist Bisio continues to be an overlooked marvel, with his soulful melodicism singing on each progression."
Jay Collins, One Final Note

"He carries with him the virtuosity to facilitate techniques reflective of improvisational and traditional forms at the speed of stream-of-consciousness..."
Dean Roberts, Opprobrium

"Listen to his interaction with Berger on "Constellation" and you get an idea of the unsurpassed linear melodic-rhythmic thrust of his approach."
Grego Applegate Edwards (scroll to July 27, 2009)

"Bisio in particular has one of the downright thickest bass tones of anyone playing the instrument in free music these days - his style has a physical cast to it that demands to be felt, not simply heard. "
Scott Hreha, One Final Note

"But the performance of the disc comes from bassist Bisio, his heartbreakingly articulate arco work full of tar and resin."
David Keenan, The Wire

"...the concert reaches its high climax with broad-hints to A Love Supreme and hieratic India, provided by Bisio ..."
Antonio Terzo

Bisio offers a spectacular performance, especially when using the arco over the course of long droning mantras (such as in "Water Lilies") and extended fragments of melodic fearlessness, a timbre inflexibly rooted in a fertile ground of significant achievements, a lexicon - as ever - definitely unique.
Massimo Ricci Temporary Fault

"The physicality of Mr. Bisio's bass playing puts him in touch with numerous predecessors in the avant-garde, but his expressive touch is distinctive;..."
Nate Chinen The NY Times








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