Book 3Book 2Book 1

OrderHistoryReviewsChuck's BlogWhat's next


Contact TransvalueLinks


BRUNO & PEGGY KICKS - KICKSEXTREMERADIO (Belgium): Absolutely amazing compositions in a truly timeless unique style. Book III is truly a classic! It's great to hear musicians who keep the integrity to their own voice.

FO - KZSU-FM (Stanford, CA): Gonzo mix of beat poetry and avant-garde jazz out of LA, with some great players. Chuck Britt growls out humorous, angry or philosophical poems (many about family or crises of the self) with gusto, and the band is all over the place. There’s more than a touch of Frank Zappa in here... it’s weird and wild and wonderful, how can you not love it?

MASSIMO RICCI - TOUCHINGEXTREMES.ORG: amalgamation of talking turmoil and spectacular arrangements...typified both by drama and thrilled outbursts...persistently remarkable...they just sound gorgeous.

JEREMY KEENS - AMPERSAND ETCETERA (Australia): ...out of the blue...complex, dramatic, amusing and evocative poems put to music, and delivered musically (not a spoken-word album) in detail, metaphor and humanity, and drive the album forward. Themes include relationships, politics, remembrance that are specific and album of breadth, musicality and sophistication which is a surprise and delight.

DON CAMPAU - KKUP-FM (Cupertino, CA): ...harkens to some of the great iconolclasts like John Trubee, Carla Bley's JCOA period, and even Zappa. Excellent work...

GUY DAROL - METROPOLIS (France): The speaking voice of Chuck Britt, grating and cavernous, perches above a vast body of instruments sounding like a film score of horrors and farces. Funny, carnival improvisation, musical or noisy citations, pharaonic arrangements resulting in a muscular journey.

LA READER: Each is an outstanding player deserving of wide critical and popular acclaim, together this unit burns.

OPTION MAGAZINE: ...this Britt guy is out there, growlin' and shoutin' fairly unfathomable impressionistic (though not unhumorous) images of sex, morality and transcendence...

BOB RUSCH CADENCE (On Michael): In this music one can hear reminders of Mingus, Braxton, Ornette and even touches of Ellington, Brilliantly conceived and strongly executed.

BEYOND BAROQUE: TRANSVALUE, an ace bunch of forward-looking musicians...

LEONARD FEATHER-LA TIMES (On Michael): The band is notable for its unusual instrumentation, encouraging pallet, repertoire of originals, and its good intentions...Vlatkovich's resourceful writing provided a framework for his gritty, muffled-toned trombone.

KIRKSILSBE - LA READER (On Michael): Expressive trombonist. A distinctive compositional approach which strikes a good balance between polyphonic improvising and structure.

JACKI APPLLE - HIGH PERFORMANCE:  I played composition #43 on Dec 2.  I like the album.  It is certainly a performance work.  You’ve got a great voice!  Tom Waits meets Captain Beefheart.  Works great with the music.  What a contrast!  It’s wacky and eccentric. I Like the music too!  I like it best when tough, funky and funny.  I love the trombone!!

PATRICK DOWDEY – WREK, ATLANTA:  I play it a lot!  Will definitely play it on upcoming special.  #60 is the “Best Rap Song” of the August /September sweeps in Atlanta.

ROY DURFEE – KUNM-FM ALBUQERQUE:  We enjoyed Vlatkovich’s 1st  and this one too.  Nice to have art jazz and poetry together.  Wish there was more of it.

NOEL TACHET - TARAN'S FREE JAZZ HOUR: This is a hurricane... I am listening to this CD for the nth time, and can’t stop listening to write. I'm struck by the words that escape from Chuck Britt, and the whirlwind of Vlatkovich... It is all purely American without doubt... This once in a lifetime machine, is fueled and at maximum power searching out our violence and tenderness with deadly accuracy.

STEVEN LOEWY - CADENCE MAGAZINE FALL 2008: There's something about Charles Morrison Britt... you cannot deny his powerful presence. Vlatkovich's compositions and arrangements are uniformly superb... (and) layers sounds and mixes genres, in what is arguably his best writing on disc.

RIGOBERT DITTMAN - BAD ALCHEMY (Germany): What is this? A poem cycle in big band jazz clothes? ...this is big! The stories are much more than an ego trip, in fact they inspire the great music of TRANSVALUE, like the tango, Not Knowing with it’s circus music and Ultra Lounge brass arrangement that gives one the arm around the waist and the tongue-in-the-cheek, Britt’s emotions brush against the grain, with his grating presentation itself the yeast steering us in the opposite direction.

EDUARDO CHAGAS - JAZZ e ARREDORES (Portugal): ...multifaceted universe of colors, tastes and ideas. Flashy and noisy, technically competent and flooding with creative ideas, this is a simple, spontaneous, witty and serious adventure into megalomania. Book III is worth the effort and the time.

OTTAWA CITIZEN: If you free associate a little, this session might remind you of the meeting of jazz and poetry in murky, big city cellars during the days of the "beat generation." The sources of stimulus and the subjects may have changed, but this current incarnation of the genre is still socially aware at its core.

NEW TIMES (On Michael): Vlatkovich is an arresting writer who works with many different forms - numerical compositions, tango, waltzes, big band swingers, and more. He also assembles musicians accomplished enough to interpret his pieces with verve and imagination.

RICHARD KAMINS - CADENCE: The music is quite stimulating and it makes one wish for another Vlatkovich record. Charles Britt sounds like he had fun doing the LP - you should have as much fun listening.

RICHIE UNTERBERGER - OPTION: Britt writes simultaneously ridiculous/sublime prose and complements his angst-laden but passionate delivery with a backing crew of stellar musicians.

CADENCE: Vlatkovich does and impressive job of matching the sound with the moods of the words. Britt’s impressions try to be the agent of catharsis and the listener can be (if in the proper frame of mind) moved by their violence and strange beauty.

LOOKING AHEAD (COASTAL JAZZ AND BLUES SOCIETY, VANVOUVER, BC): Michael's hyper-textured compositions create a direct, exciting spatial relationship with the words of poet Chuck Britt. Chuck's narrative voice punctures the boundaries of jazz... frilly trombones to circus -like mayhem sounds trace the path led by Checks bellowing-whispering-lamenting vocalizing. His throaty words range from embraceably morbid to soft and angelic. Its depth is graphic.

BRUCE GREELEY - EARSHOT JAZZ: Vlatkovich, saxist Scott Raffel and, especially, trumpeter Jim Knodle carried on long "conversations," rivaling Britt's poetry in expressiveness....Britt meanwhile, cut through the din, front and center, preaching and exhorting his own brand of cracked whimsy. Imagine a surrealistic Popeye up on a soapbox, eager to relate his dreams, and you get the idea.

HEATHER WISNER - PORTLAND DOWNTOWNER: Vlatkovich draws inspiration from Ornette Coleman while Britt charges through text whispering, shouting and singing about sex death and other poetic themes.

For more Transvalue Book III reviews and correspondence, click here