Reviews – DANIEL CARTER + REUBEN RADDING  Luminescence (AUM025)

"The artists permeate a sequence of gracefully enacted performances, brimmings with subtle inflections and mood-altering thematic forays. The duo's overriding sense of unity and adjoining msuical spirits presents notions of wisdom and oneness." - Glenn Astarita, ALL MUSIC GUIDE

"[they] create an airy atmosphere of breathy movements, silent tensions, and shivering elegance ... Luminescence is hypnotically refreshing." - Ben Schulman, ACTION MAN MAGAZINE.com

"Despite the 'limitations' one might think a bass-sax duo configuration would pose, [they] provide seven works that contain seemingly limitless invention and bountiful variety. It's always dangerous, never mind frivolous, to pick 'album of the year candidates' this early along in the calendar. However, if there is one album that I have heard thus far in 2003 that I could see myself plucking off my shelf in ten years, holding aloft, and saying, "Now this one is a classic," it would be Luminescence." - Christian Carey, SPLENDID e.zine

"This is a stunning release that captures the intuitive interaction and beauty of two magnificent improvisers." - Jay Collins, SIGNAL TO NOISE

"stunningly beautiful and intimate" - Tad Hendrickson, CMJ + 5 weeks now Top 20 Jazz Charts

"This is deep, shadowy night music, or the music of dawn, when the light that enters the eye mingles with the light of the mind..." - Jeff Stockton, ALL ABOUT JAZZ (NYC print edition)

"This is one of the most brilliantly understated documents ever to emerge from the bubbling cauldron of today's New York free improv scene." - Nils Jacobson, ALL ABOUT JAZZ / Publisher's Pick

"The music feels able to swallow listeners whole for nearly three quarters of an hour and deposit them spiritually scrubbed and refreshed at the regrettably inevitable terminus." - Derek Taylor, DUSTED MAGAZINE

"This team's new AUM Fidelity album draws you in with whispery soliloquies and reflective conversation. If you've pegged saxophonist Carter as perpetually volatile, it's a great place to hear a calmer, more graceful side. Bassist Radding creates a flow that changes from babbling brook to animated spillway." - Jim Macnie, VILLAGE VOICE

"****" (4 stars) "The results are startling, showcasing a whole other side to Carter's musical personality. With all his creative energy focused on a single horn, he really makes it sing, alternating soft, legato passages with sweet single notes that sound like clouds of insects exhaling. "Radding bolsters Carter's lyrical approach with some beautiful arco bass, so intimately recorded that you can hear the fibres of the bow curl on each pass. ... the atmosphere remains hushed and elegiac throughout with the exception of the closer, "Occurrences, Places, Entities And The Sea", an exuberant blast that sounds like a shoal of ancient amphibians making their first delirious gasps towards the shore." - David Keenan, THE SUNDAY HERALD (Scotland)

"What really stands out here is the enchanting lyrical side of both of these fine spirits.  Daniel is most often associated with that crazed, free-flowing and often intense burning sax sound, yet here he really lays back and lets those notes glow warmly.  Reuben's bowed bass also has a calm and elegant touch.  The duo take their time and let things slowly unfold and build.  By "Refracted Light and Grace", the tempo and inner flame begin to burn a bit hotter.  Although most (all?) of this music seems to be free, it is not really 'out', there is a lovely connecting spirit at the center of all of these pieces.  It is almost as if Lee Konitz and Charlie Haden had made a suspenseful duo offering for some long lost label.  The other fine things about this release are the near perfect production and appropriate cover art of misty mountain tops.  This would certainly make a swell Valentine's Day gift for that special person." - Bruce Gallanter, DOWNTOWN MUSIC GALLERY

"The first six tracks are so soft spoken they could be almost be whispered, like eloquent descriptions of moonlight, or smoke curling slowly. Recalling some of the work Masaru Satoh provided for the films of Akira Kurosawa, the less manic moments of Raymond Scott, as well as the more subdued nocturnal moments of jazz artists like Mingus, Miles Davis, and Pharoah Sanders. Though this is only two instruments, with no overdubbing, this always feels full and alive with a marvelous textural contrast. Hardly wallpaper; this is active and inventive, slip sliding in rhythmic and melodic twists and turns, that reveal their free jazz aesthetic underpinnings while they make it all so invitingly listenable. The seventh track, "Occurrences, Places, Entities and the Sea" is perhaps the most outside of the set, but it's also one of the highlights; as they evoke a disturbed chaotic liquidity and suspense that resolves itself into a peaceful lingering grace. One of the finest jazz releases of the year." - George Parsons, DREAM MAGAZINE http://www.dreamgeo.com


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