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Bottoms Up 49:40


Michael Foster - soprano/tenor saxophone
Dave Rempis - alto/tenor/bari saxophone
Jason Roebke - bass
Tyler Damon - drums

Bottoms Up - 49:40
Top of the Morning - 48:36

Recorded live at the Hungry Brain, Chicago
March 17th, 2019

Recorded, Mixed, and Mastered by Dave Zuchowski

Produced by Dave Rempis


released May 13, 2020

Recorded at the venerable and longstanding Chicago tavern The Hungry Brain in March of 2019, this release showcases young New York experimentalist Michael Foster on a front line with Chicago firebreather Dave Rempis, trading riffs on top of a framework supported by versatile journeyman bassist Jason Roebke, and the energetic percussion work of Tyler Damon. This is one of those classic Chicago sessions, produced in a comfortable environment where the musicians feel relaxed and ready to see what happens. As often is the case at the Hungry Brain, this may have happened with the supportive encouragement of Dan, the man behind the bar.

Foster was a featured artist on Rempis’ yearly Exposure Series at Elastic Arts in March of 2018, after having first met in Brooklyn in 2016. He and Rempis have locked horns before, most notably on several occasions in New York joined by Brandon Lopez on bass and former Chicagoan Weasel Walter on drums. This time, on Rempis’ home turf, they assembled a group made up of some of his close collaborators. He and Roebke have worked together since 1998, although their last recorded output was on Rempis’ 482 Music release Out of Season in 2005. Rempis and Damon currently work together in the well-known trio unit Kuzu. This was the first time that Foster had encountered either musician. The concert is presented here in its full two-set format.


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Aerophonic Records / Dave Rempis Chicago, Illinois

Aerophonic Records is a 100% artist-run label created by well-known Chicago saxophonist Dave Rempis (Rempis Percussion Quartet, The Engines, Ballister, Vandermark Five) to document his ongoing work. His intent with the label is to give him more direct contact with his audience, more control over how his work is presented, and more synchronicity between touring schedules and recorded output. ... more

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