Mathematics and the various sciences are just ordered ways of looking at and analyzing all of the raw data supplied by the universe. It's all about mappings and correspondences. At the same time, my work often takes a speculative and irrational/intuitive approach. It includes both the ordered and rational, the intuitive and irrational, and the acoustics of the ear. - Elliott Sharp
These pieces demonstrate an overwhelming potency, emerging from their respectively huge contrasts, where minute pitches become assimilated into grinding, juddering walls of near-chaotic overload, where clean cycles of rhythm become overlaid and superimposed into dense strata of complex polyphony. ...Sharp’s (b. 1951) music can be radiant, ethereal, alluring and overwhelming. A magnificent disc.
Elliott Sharp is one of New York downtown scene's more notorious affiliates, primarily heralded for his avant-garde guitar work, spanning jazz improvisation, jazz-rock, and blues-rock. He's also an accomplished reedman, evidenced on Quintet and previous ventures into the free-jazz space. Sharp once again aligns with like- minded New York-based artists, some of whom are leaders, and busy session artists.
At age 54, Elliott Murphy has been recording albums of his original compositions regularly for 30 years, and unlike some musicians who have been at it that long (such as Neil Young, whose raucous, Crazy Horse-style guitar playing is echoed on this album's leadoff track and whose After the Gold Rush ballad "Birds" is covered under the title "Bird"), he hasn't changed much about his musical or lyrical approach in that time. The Elliott Murphy of 2003 is not very different from the Elliott Murphy of 1973. He still writes semi-autobiographical songs full of poetic imagery and literary references (The Great Gatsby and Samuel Beckett are favorites), and he still sets them to folk-rock arrangements that call to mind Bob Dylan.