Jim Goetsch

​ENRICO MERLIN / JAZZit - reviewing New Works: "Inspired by the historic multiphony works of Stockhausen and Luigi Nono, the composer constructs a series of electronic sequences that are broadcast live in quadraphony. In the first piece we are dealing with parts of virtual arches that quickly create a texture of glissandi lenses, which like a bullet catapult us into a parallel dimension in which Giacinto Scelsi meets the Ligeti of “Lux Aeterna”. In place of the monolith of  “2001: Space Odyssey” however, Goetsch's saxophone enters, which mixes tonally with the recorded parts to lead us on our interstellar journey. The strings move from pizzicato to a multi-displaced pointillism in the stereophonic space (I can only imagine what the effect could be in a quadraphonic concert hall) and all the instruments begin to interact by improvising. And this is the key that strongly struck me: the work of interaction between pre-composed and pre-recorded materials and total improvisation, each time reformulating the narration of the story, enriching the script in an unpredictable way. But compared to many similar experiences in the past, it does so in a very autonomous and personal way. After all, shouldn't jazz be just that? A great journey into the future. I recommend that you find this album through the band’s site or the label’s site.

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​ENRICO MERLIN / JAZZit - reviewing New Works: "Inspired by the historic multiphony works of Stockhausen and Luigi Nono, the composer constructs a series of electronic sequences that are broadcast live in quadraphony. In the first piece we are dealing with parts of virtual arches that quickly create a texture of glissandi lenses, which like a bullet catapult us into a parallel dimension in which Giacinto Scelsi meets the Ligeti of “Lux Aeterna”. In place of the monolith of  “2001: Space Odyssey” however, Goetsch's saxophone enters, which mixes tonally with the recorded parts to lead us on our interstellar journey. The strings move from pizzicato to a multi-displaced pointillism in the stereophonic space (I can only imagine what the effect could be in a quadraphonic concert hall) and all the instruments begin to interact by improvising. And this is the key that strongly struck me: the work of interaction between pre-composed and pre-recorded materials and total improvisation, each time reformulating the narration of the story, enriching the script in an unpredictable way. But compared to many similar experiences in the past, it does so in a very autonomous and personal way. After all, shouldn't jazz be just that? A great journey into the future. I recommend that you find this album through the band’s site or the label’s site.

JAZZ WEEKLY - reviewing New Works : "Usually, when you read phrases like “spontaneous compositions” on the liner notes of an album, your first association is usually, “cacophonic ramblings”. Well, in the hands of vets like drummer Maury Baker, guitarist Daniel Coffeng, Jim Goetsch on sax and electronics and bassist/electronics man Carl Royce, you get two separated discs of rich impressionistic art, easy to follow and even easier to appreciate."

METALJAZZ.COM - reviewing New Works: "Cultivated art-rock drummer Maury Baker (Ars Nova, Tim Buckley, Frank Zappa) strokes it light & spacious on jazz and electronic tunes/jamz with bandmates Jim Goetsch (sax), Daniel Coffeng (guitar) and Carl Royce (bass). Detailed recording and trippy surround-sound complement tuned-in performances and moody intelligence for a deeply involving audiophile experience, if that ain't a dirty word."

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