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If Ligeti ever wrote a Sextet for Soprano Saxophone, Strings, Percussion and Electronics, I wager it would sound something like the music here. This is as near perfect as it gets. ... This disc is a revelation. The pure group playing is quite extraordinary and the electronics and sound processing of Walter Prati and Marco Vecchi are integral and wholly essential.
Nick Smith, Avant

There is a great deal of slowly-evolving tone colour and space, with the opening track almost entirely textural and hung around Guy's sonorous bass. Sepulchral gong-sounds echo behind Parker's whirling soprano sax, there are spooky percussion solos of slithery whispers and sounds like buckets of broken glass being emptied onto concrete, and the leader's remarkable capacity for contrapuntal solo playing acquires even more voices as the electronics echo it. Serious play, in every respect.
John Fordham, The Guardian (Jazz CD of the Week)

Throughout the album electronics are used very subtly. Parker has questioned the distinction between composition and improvisation in the past. By bringing the often dourly academic world of computer music into contact with the empathies and on-the-hoof musicality of jazz-related improvisation, he and his collaborators have created a potent and open form of music. Take the Barry Guy-dominated 'Contra-Dance' ­ a formidable set of resonant bass tones is swathed in electronic textures, startling in sound terms, but carrying the dredged-up memory of a ballad performance. Instead of the predominance of lightning-quick interplay, the focus on this landmark recording has shifted to evolution and how the richness of acoustic sound can be represented in new ways during performance.
Will Montgomery, The Wire

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