{|After the Requiem|} continued {|Gavin Bryars|}' journey away from the more experimental work that made his reputation early in his career toward pieces possessing a more melancholic and romantic quality. In two of the works herein, {|The Old Tower ... Read more

{|After the Requiem|} continued {|Gavin Bryars|}' journey away from the more experimental work that made his reputation early in his career toward pieces possessing a more melancholic and romantic quality. In two of the works herein, {|The Old Tower of Lobenicht|} and {|Allegrasco,|} one can hear echoes of his brilliant composing on the {|Hommages|} album. But where the romantic elements were stricter and more crystalline on the prior effort, here there is an expansiveness that sometimes succeeds and at other times verges on kitsch. Guitarist {|Bill Frisell|} performs on three of the four compositions, but his creamy, sustained chords tend to sound somewhat bland and occasionally subvert some otherwise very attractive melodic material. The standout track is a saxophone quartet number, {|Alaric I or II,|} featuring the surprising presence of {|Evan Parker|}. In fact, {|Bryars|}' earliest musical ventures were as a member of the British free improvisation community, so the inclusion of {|Parker|} has some historical background. The composition is a very enjoyable melange of {|minimalist|} technique and references to {|Gershwin|} that manages to cohere into a satisfying whole. Fans of {|Bryars|}' more substantial work from the '70s or his improvising skills in groups like {|Joseph Holbrooke|} may find {|After the Requiem|} a little too sweet for their tastes, while listeners who are looking for something a bit meatier than {|Arvo Part|} or {|Henryk Gorecki|} may find their appetite satisfied. ~ Brian Olewnick Less