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From the start the combinatory effect is stunning. Whether that's a good effect or not will be played out. Overall, quite an enjoyable track, though the sax seems to be predominating the scene. Oh Baby what am I to do? The sax has bad connotations for me and I find it hard to tolerate it's sound sometimes, but that's just a personal thing between me and 'it'. The second track, has a nice construction, again the sax is strongly featured but it ends really well. More or Less with the Orchestra Sekra again. Why not Orchestra Seckra? And I think that's a question of balance. Both musically and psychologically, more or less... When there is room for more the equilibrium is better and my own aversion is subdued, a better balance with an equality in strength. Partly Cloudy Skies, and they are today, starts beautifully. The sax flows a bit more gently here and I feel it works better. It's a powerful instrument and unless you really like that sound, this may be too much to bear. Not so much of an 'orchestra', more a setting for the saxophone. Like I said it's a personal and subjective thing. This track is more balanced and works better for me if I focus on what takes the role of background. Try to let it flow that way, and bear the brutishness of the predominant sound. Nice setting. Dreamin' At The Club, something I have found myself doing and sometimes that means you drift and miss the point. I feel this would have worked with a lighter sax, which it seemed to be to start with but then the deep, overwhelming nature of it comes back again. Slightly better balance. Again, I find myself feeling uncomfortable with the equality, though it is improved slightly here. Nicer orchestration. Very Quiet Night starts like a freeform jazz track, with its own traditionality now. Nice track and then that haunting sax sound returns, when I was hoping the Remix would tone it down a bit, which it does to a better degree that I find easier to cope with. A much more laid back track, which works well, in the end. Then, Forward and Fresh, fills me with hope but empties it back out again, it may have a sense of movement but it's freshness is elsewhere. The predominant sound is becoming too much for me and I can see an repetitiveness occur which underlines my personal reservations. This isn't the place for that. It's A Blues track, works better but still that deep sax reverberates and I feel a lighter intonation would have worked even better still. Beyond The Curtain of Depression speaks volumes and seems to work better for me, maybe that's more about the intentionality of the subject, and the sax appears to work better for me as it comes over as slightly lighter and less sonorous, more expressive. Depression is a foul ailment to beset anyone and, like bad backs, people too readily claim they suffer when all they are really experiencing are up and downs of normal life. Real depression is literally sometimes a fatal embrace with the dark side of the psyche. In the Shadow of Leaves, is overall a good track, and my only pick at this album is there is, for me personally too much of that deep, reverberating sax. However, like I said earlier that's simply personal and subjective.

Certainement l'album de Ruediger Kramer le plus accompli. Les synthés d'Angelo Secondini (?) sont parfaits et créent un arrière plan idéal aux improvisations engourdies et erratique du saxophone. L'alliage des timbres n'a jamais été aussi aboutit, cela m'a fait penser aux étranges compositions d'Urban Sax' de la fin des années 70, futuristes et irréelles.