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"An improvising trio absent the traditional markers of a rhythm section (bass and/or drums), the musicians on HASTE explore longer forms with a balance of gestural, painterly swoops and pointillist detail. The trio works through three collective pieces totalling just shy of an hour. Weston is an incredibly resourceful keyboardist, but his penchant for poise and deep listening ensure that his glisses and clusters remain on axis. It’s important to note that both Weston and Laubrock are accomplished composers and, while the music on HASTE may be collectively improvised, it’s clearly from a perspective of naturally unfolding structure and organisation (Marshall acquits herself excellently in this department as well). Therefore, as the trio moves through these tri-logues and conversations, it’s with an ear towards engagement, dynamics and resolution.
Sleeping Down Hill comprises the disc’s first half, beginning with subtonal reed kisses and ponticello bowing against hushed, rhapsodic chords. Gradually the three layer and spread out, becoming unruly and dense in the process – Laubrock’s tenor alternately pillowy and harried in a controlled gush against the pricks and dives of Marshall’s cello. Leaving Up finds the saxophonist switching to soprano at the outset, twirling and fluttering as part of a delicate three-pronged counterpoint, the trio moving between skitters and telepathic elision with seemingly sharp left-turns often hinging on bow and strings. While not quite as theatrical as Tristan Honsinger, Marshall’s cello work is similarly mealy and dervish-like, extending modern classicism into an electrifying, madcap whorl. But at the same time, her sense of control within/of the classical tradition garners more than a few nods in the direction of János Starker. HASTE is a gorgeously recorded and far-ranging slab of contemporary creative music, and a fascinating entry in each of these three musicians’ output. " (Dan Warburton, The Wire 2012)