The listening experience of this first ArtistShare recording is quite wonderful. Bloom’s leads on soprano sax are jewel-like. Her playing transports me to a heavenly place. Her sense to experiment in range and timing is invaluable to the group’s success. Her one solo introduction on a Rogers and Hammerstein tune is gripping and rings true, only to continue as the bass enters in underneath and completes the molding of the space that is being presented. Bloom has a hold on the melodies she plays like no one else could possess. She has an innate rhythmic set of genes that speak effortlessly. That effortlessness allows her to move all over her sax with distinct notes, runs, but very few split tones or ornamented valving. The horn opens up in extraordinarily pure tone.

Dresser’s clearly stated bassline drives the pulse of the quartet. Even at those times when Dresser plows the bass strings with the bow, does he manage to seize the backbone of the music and push it into standing tall.

Previte’s drumming plants the quartet solidly in the ground. Many times, it is delicate and replete with lightness of stroke on the cymbals or the snare. Previte is responsible for quality maintenance of the rhythm that paints a beautiful backdrop for the upfront line.

However, what renders this music expansive and even more enticing than it already is, is the adeptly applied electronics. Saft, who plays the piano as an elegant support in one number, also plays electronic keyboards. At those times when he activates those instruments, the music widens in its spatial content. Previte’s work on electronics has the same effect.

The balance that is created within this music, instrumentally and musically, is outstanding. The various lines that travel together to structure the whole are beautifully intertwined.

This recording brings great pleasure to my ears. I am afloat and am sorry that the music ends.