(Kathodik) Con termini tattici, “We Need You” tratteggia il tradizionale modulo sax tenore, contrabbasso e percussioni, tanto free e tanto jazz, senza infamia e senza lode. La durata delle tre improvvisazioni avrebbe l'aria di incarnare la vita di una tarantola e il suo dimenarsi tra inflessibili folgorazioni free-jazz, tramandate da intoccabili veterani della specie. Facendola corta: Alber Ayler, Cecil Taylor, Sunny Murray, Arthur Doyle… Parallelamente, John Dikeman (sax tenore), Jon Barrios (basso), Toshi Makihara (percussioni) ne fanno una ‘questione personale’, arricchiscono l’armonia della performance con frasi incessantemente singhiozzate, che andranno a spalancare un contatto con l’estetica più radicale dei giorni nostri: improvvisata radicale, aperta e ovviamente incerta. I tre dialoghi, poco differenti tra loro, emanano quel sapore acre dell’improvvisazione ottenuto da un calcolato, razionato e capillare gioco ad incastro degli strumenti. Si sente l’odore, o meglio l’ardore della performance dal vivo, anche se non ne siamo sicuri per via della confezione scarna: una malsana abitudine della Eh? Records. In definitiva: un prodotto di discreta sostanza. - Sergio Eletto

(ADDreviews) Tenor, bass, and percussion-based free form jazz both subtle and chaotic. Enjoyable. - Laze

(Dead Angel) Featuring John Dikeman on tenor sax, Jon Barrios on bass, and Toshi Makihara on percussion, the three tracks on this release -- a total of approximately forty minutes -- are a perplexing assortment of squeaks and creaks, esoteric free jams that as often as not degenerate into stretches of near-silence before climbing back up into agitated explosions of barbaric sax bleat and cranky clattering. The "rhythm section" has less to do with traditional rhythm than with making eccentric ripples of noise while Dikeman wrings tortured, shaking notes from his sax. The energy level ebbs and flows in a genuinely unpredictable fashion; even taking into account the unexpected nature of free improv, these guys are so cryptic that it's nearly impossible to guess where they're headed at any given moment. There's plenty of space evident, especially during the quieter moments; occasionally Dikeman will have the chance to bleat and squeak without too much accompaniment (or accompaniment that is very much in the background, and not terribly intrusive). One of the more interesting things about the trio is Makihara's idiosyncrastic approach to percussion; there's no information on what kind of kit (if any) he's using, but it certainly doesn't sound like a traditional one, and his percussion style is rooted in an eccentric approach to beats, one in which he is less interested in "keeping time" and more concerned with providing texture and counterpoint to the bass and sax lines. Not that either of those guys are behaving in any kind of traditional fashion, either. This is not totally out in left field, and when they're cooking it's fairly busy (and quite energetic), but it's certainly not traditional jazz by any means. Puzzling, often deliberately so, but still most intriguing. - RKF

(Sea of Tranquility) If avant-garde jazz is up your alley then chances are you'll want to investigate this recording entitled We Need You from a trio known as Dikeman, Barrios and Makihara. Comprised of John Dikeman on tenor sax, Jon Barrios on bass and Toshi Makihara on assorted percussion, We Need You is made up of three untitled, improvised compositions that are anything but your typical standard jazz outing. I have to tell you right from the first squawks and squeals out of Dikeman's sax and Makihara's complex and eccentric percussive patterns that this is one far out and challenging listening experience. There are definite peaks and valleys as the listener has to crank up the volume to fully absorb some of the albums quieter passages, only to have this calm come to an abrupt halt through an shrill explosion of Dikeman's sax that almost borders on sheer cacophony. Makihara's approach to percussion is also an intriguing one as at times he sounds like he's pounding out his own rhythms on whatever happens to be nearby. There is no standard timekeeping here as he fluctuates around his kit feeding off and supporting Dikeman's soaring flights of fancy. As mentioned the three compositions that make up We Need You prove to be a demanding listening experience and unless you're a fan of improvised free jazz this music will not appeal to everyone. While it wasn't entirely up my alley I have to admit that I was not only impressed by the abilities of these three talented musicians in general but even more so by their willingness to take these leaps without a net. - Ryan Sparks