THE WIRE "Top 50 Records of 2001"
"The Best Jazz Records of 2001" : VILLAGE VOICE, BOSTON GLOBE, LA WEEKLY,
SEATTLE WEEKLY, WASHINGTON CITY PAPER
VILLAGE VOICE - GARY GIDDINS, WEATHERBIRD, August 2001
"Consisting of eight main selections and three short untitled transitional
pieces on which Ware does not appear, the paradoxical net result is a
first-rate Ware showcase„even though he makes his first entrance five
minutes into the disc. At that point Shipp„in his organ mode„mostly lays
out, and tenor, bass, and drums lock down for the relatively conventional,
aptly titled "Straight Track," an exuberant instance of Ware's capacity to
avoid clichÚ while upholding passion and clarity. Parker snaps the strings
so hard you can almost feel them slap the wood. Shipp returns toward the
end, piling on the rhythm, and joining in a nicely abrupt finish.
"Superimposed" is a mini Ware festival, boasting an elaborate hoot of a
solo, played (without dubbing) against synth rhythms that suggest a whole
tribe of percussionists. The euphoric edge is fully extended until the
humorous wind-down„Ware sounds as if he's running out of fuel. No less
pleasing is "Sound-a-Bye," in which he creates barely mobile melody out of
what is essentially a three-minute drone, continuing after the others fade
away and then fading himself. It's completely convincing and like nothing
else I can think of. More ambitious is "Corridors & Parallels," with its
synth whistling, funk, zooming arco bass, and a bristling Ware, who enters
like an electric shock and essays a thrillingly upbeat holler of a solo that
produces an oddly liturgical feeling„sort of "Ascension" meets "He Loved Him
Madly." After its mere eight minutes, you feel washed in the blood of the
Read Gary Giddins' whole review and full column on David and group
VILLAGE VOICE - GARY GIDDINS, WEATHERBIRD, January 2002 (2001 Year-End Best Of)
"I disliked Lord of the Rings (never read the book), but since seeing it,
I find that Matt Shipp's electronic interludes remind me of the dark
caves, and when Ware's tenor arrives, finally, and rises to its full
height, it's like Gandalf knocking Christopher Lee on his ass. In
other words, after five months, this album seems even grander than
it did the first time around."
COLUMBIA NEW TIMES
"The term electronica-jazz fusion just doesn't fit, especially with this
album's genre jumping. Not only are the compositions on Corridors &
Parallels unlike anything I've heard before, they are essential
masterpieces of sound formation - never forgoing the crucial element
of enjoyment for the listener. Not only highly recommended, but the
essential jazz album of 2001."
"New moods don't hit the market that often. When they do, you
gotta invest in the laboratory."
Read the whole LA Weekly review!
"5 Stars ... In the days after the World Trade Center collapsed, it was
difficult to return to normal listening habits. Old favorites referenced a
reality that no longer existed; new releases seemed pointless. This album,
however, stood out as a spiritual-emotional soundtrack to the
incomprehensible. Ware's arching, emotive tenor-sax articulations were
somehow able to express the unspeakable agony of the moment while offering
SOUND & VISION
"Ware perversely celebrates his return to the indies with the breakthrough
album that Columbia was probably hoping for. Matthew Shipp plays only
synthesizer here but resists the temptation to prettify, which sank so
much 1970s fusion. Because this isn't fusion - it's latter day free
jazz at its most rigorous and disciplined."
KUSF 90.3FM WebZine
"Another absolutely killer and essential release for
your pathetic and puny music collection from this
seemingly possessed avant-jazz giant of the sax.
He's taken the torch of Coltrane and not just
carried it, but he threw the damn thing into an
active volcano. This man is the bringer of serious
noise, you got me?"
COLLEGE MUSIC JOURNAL "#13 Year End 2001 Jazz Charts"