music that speaks, if not of higher consciousness, then at least of how the interaction implicit in making music is and can be some kind of social panacea.
Nic Jones
All About Jazz— November 17, 2007
All of the work oscillates between compositional structure and freedom of the execution, between the conceptual vanguard and the purest tradition of jazz, between the rational and the spiritual, and still between the fire of “groove” and the subtlety of its details.
João Pedro Viegas
jazz.pt— September-October 2007
Played with a musical delicacy and precise elegance that demonstrates once again that free jazz can be so much more than noisy blowing contests, and truth be told, even more subtle, nuanced and emotionally authentic than the large majority of more mainstream releases.
Stef Gjessels
Free Jazz Collective— August 21, 2007
The standout track is the terrible 3s, though I also really dig the warbling lyricism, sour blues, and haunted abstraction on flash of the spirit.
Jason Bivins
Dusted— July 17, 2007
brennan plays tight, fast, complex runs over free rhythms, with a hard tone; unpretty, but rigorously functional.
Tom Hull
Tom Hull on the Web— 2007
In fact, his approach is a rhythmic analogue of Coleman’s harmolodics, a theory by which melody, harmony, and rhythm carry equal weight. Sometimes, as when brennan adds a simple descending melody to a Pleasant beat, “muhheankuntuck” achieves this ideal equipoise.