Astonishing and endlessly fascinating, Trinity is Mat Maneri working at the peak of his musical powers.
Phillip Freeman, Jazziz
Recent years have seen the maturation of several violinists who bridge the gap between free jazz and contemporary classical music quite effectively. Mat Maneri is perhaps the most impressive of these players. Maneri's music is uncompromisingly modern. His playing often sounds like a series of unconnected feints and abstractions that begin unexpectedly and veer into silence almost as soon as they are tracked by the ear. He does slow the process down quite often, but his aim usually remains to strike an uneasy balance between total abstraction and anything you could quite call melodic. He consistently fools the listener about what's coming next, which was one of the most obvious features of Thelonious Monk's music. But Monk always swung, while Maneri is utterly consistent in eschewing any countable time. He also makes occasional forays into the realm of pure sound where pitch values are irrelevant as such, and fairly frequent use of microtones. But most of his music utilizes the kind of stark dissonance associated with early 20th century classical composers like Webern or Bartók. Certainly these recording will be hard going for listeners not already sympathetic to modern styles. But anyone who hears a kind of freedom in music that ignores tonal conventions will be impressed by the consistently creative language that Maneri has forged for himself.
Duck Baker, Fiddler Magazine
Maneri's virtuosity is everywhere apparent - in his beautiful control of tone, in the moment-to-moment details that unfold in his playing, in the compositional integrity of each of his pieces, in what visual artists might call the variety of his "mark-making": spidery multi-note runs, rhythmically charged double-stops and plucking, subtle and dramatic dynamic shifts. ... It's interesting that one of the most explicit "real world" references on Trinity is Coltrane's Sun Ship. In a way, it's the most Maneri-like of Coltrane tunes - an angular four-note figure, it's been described as a fragment of a scale. But on the original recording, the 1965 Coltrane quartet take it at full-bore up-tempo, driven by Jone's free pulse. Maneri takes the tune back to its Indian sources, with an out-of-tempo introductory opening in the typical Indian alaap manner, tambura-like drones, some gentle, meditative Indian scales, and agitated longer tones and rests rather than Coltrane's unrelenting assault.
Jon Garelick, The Boston Phoenix
In Zeiten, in denen Selbstgefälligkeit und Verwaltung des Erreichten in der Musik mehr zählen als Erfindergeist und Innovation, sind Leute wie Mat Maneri selten geworden. ... Nur mit Violine und Viola arbeitet Maneri den kammermusikalischen Aspekt seiner Musik heraus und zeigt einmal mehr, dass es keine Grenzen gibt, die es sich nicht lohnen würde, zu überschreiten. Mit welchem Etikett man das auch versehen will, bleibt Nebensache. Maneri vermischt auf intelligente Weise kammermusikalische Traditionen und freie Improvisation, hebt das Ganze auf ein übergeordnetes Abstraktionslevel und findet zu einer neuen Musiksprache.
Albert Koch, Musikexpress