Posts in REVIEWS
OF POWER | CONTEMPORARY FUSION REVIEWS

“At times, there’s nothing more haunting than looking in the mirror… change only comes when you see the reality you’ve become; and the lyrical & sonic weave Curtis crafted for “Until the Glass Breaks” is among the scariest sonic journeys I’ve ever been on – a true psychological thriller with beautiful violin.”

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OF POWER | Midwest Record

“Civil rights jazz through a lens of classical music and solo violin. Ringing out a sense of struggle from his bow, Stewart encapsulates mournfulness and hope at the same time doing it through a disparate set of sounds that make this a recital that’s one for the books. Interesting stuff for inquiring minds.”

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BRUITS | Gramophone

“The metaphor at the heart of this new album by the quintet Imani Winds is spelled out on the cover: “Bruits” in large, boldface type, above a pronunciation guide and a definition: “Noises made by blood moving through obstructed arteries indicating the body is at risk.” As a homophone it also brings to mind “brutes” — brute force, brutality.”

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BRUITS | The New York Times

“The metaphor at the heart of this new album by the quintet Imani Winds is spelled out on the cover: “Bruits” in large, boldface type, above a pronunciation guide and a definition: “Noises made by blood moving through obstructed arteries indicating the body is at risk.” As a homophone it also brings to mind “brutes” — brute force, brutality.”

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BRUITS | WFMT

The album features three world-premiere recordings: Vijay Iyer’s Bruits; Reena Esmail’s The Light is the Same; and Frederic Rzewski’s Sometimes—all of which speak directly to current social and political issues, and tell stories about people whose lives have made a difference in our world.

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BRUITS | TEXTURA

“The members' sterling command of their respective instruments impresses, but it's the connectedness exemplified by their ensemble playing that makes Imani Winds the special outfit it is.”

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BRUITS | AFRICLASSICAL

Bruits is powerful. It is provocative. It is timely. It is heart-wrenching,” writes Monica Ellis. “It makes both the listener and the performer—especially me, as a performer and the mother of a Black boy—feel a way that few pieces of music allow.”

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REVIEWSGuest UserBruits