innova recordings
PRESS
Yvonne Troxler, Brouhaha
“Troxler shows eloquence, memorability and inspired craftsmanship in this round of chamber works. Ant Farm is a superior performance vehicle that excels is realizing the music. That’s a terrific combination and this album brings lots of pleasure!” [FULL ARTICLE]
—Greg Edwards
Andrew Violette, Sonatas for Cello and Clarinet
“Andrew Violette didn’t make a pact with the devil before he produced his Sonatas for Cello and Clarinet, but he may have engaged in some extra-spiritual scrimmaging on the astral plane with Ives, Messiaen and Hindemith before he penned the sonatas. … [The music] is filled with a very individual quality, and has a presence and melodic dynamic that is unforgettable. [FULL ARTICLE]
—Greg Edwards
Paul Sperry, Open House
“In both cycles, Sperry delivers a near-perfect performance.” [FULL ARTICLE]
—Francois Couture
John Yao, In The Now
“John Yao stands out on his memorable In the Now. … ‘Shorter Days’ is moody and dusky, suggesting the shorter days of autumn and winter. … [In The Now] must be accepted on its own terms and may take several listens before the listener can adequately appreciate what Yao has to offer. But In the Now is well worth the effort, and Yao’s blend of the inside and the outside ultimately yields considerable rewards.”
—Alex Henderson
David Kechley, Colliding Objects
ATTN: MAGAZINE
“Kechley seems to be bypassing the notions of what percussion could be to focus on what percussion is: it’s an impact, a duration, a decay, an anticipation, a presence, an absence, an exertion, an action. … Colliding Objects is separated into five sections, predominantly focused on percussion and rhythm but bleeding outward to explore melody and melodic instruments. What becomes beautifully apparent in the collection’s latter sections is Kechley’s distinctive approach to melody; while rhythm always maintains central focus via its dramatic turns of pace and duration, melody is threaded gorgeously through each beat, with his expert handling of the highs and lows turning those thuds and long instrumental sighs into a captivating assortment of steps and slopes.” [FULL ARTICLE]
—Jack Chuter
Barry Schrader, The Barnum Museum
BABY SUE
“[L]ike the soundtrack to a bizarre science fiction film. Schrader seems to be driven by the pure desire to create … never letting boundaries get in the way of his boundless creative expression. Plenty of cool sounds here that would make Wendy Carlos proud. … His music is always spellbinding and unique. A wild mental audio ride.” [FULL ARTICLE]
—Don W. Seven
Mobtown Modern Big Band, The Re-(W)rite of Spring
CULTURE CATCH
“[R]ecalls the dense harmonies and thick textures of Bill Holman, though the shimmering introduction to the second section, ‘The Sacrifice,’ instead conjures thoughts of Gil Evans. … [A] very worthwhile pickup for jazz fans in the mood for something different.” [FULL ARTICLE]
—Steve Holtje
Cornelius Duffalo, Journaling
TEXTURA
“[A]n excellent record of both the violinist’s artistry and an overview of the work of eight living composers. … [T]he recording confirms Dufallo’s virtuoso status and also shows how skillfully he incorporates electronics so as to enhance the textural richness of his playing, but Journaling captures him using that formidable technique in deferential manner to bring his chosen composers’ works to life.” [FULL ARTICLE]
Philip Blackburn, Ghostly Psalms
“[The] trippy, occasionally apocalyptic [Ghostly Psalms] knocks reality sideways. Intimate vocal soliloquies wrestle free from walls of sustained choral and string drones that morph and change with the (anti)logic of a dream’s unruly narrative.”
—Philip Clark
John Yao, In The Now
ALL ABOUT JAZZ ITALIA
“… the fifty minutes of In the Now [are] held together by a remarkable communicative power that reveals a great sense of form, dynamic balance, tonal variety, ease of performance. The quintet, guided with confidence by the young trombone player, moves confidently through the potential pitfalls of an often complex and layered piece which the leader’s skill in arrangement transforms into flowing, delightful music.”
—Vincenzo Roggero
