He's a virtuoso whose musicianship is complete within itself, almost orchestral; he barely needs anyone or anything else, a bandleader or body of song, to carry out his vision. He can be dazzling with the simplest tune or the most complex . . . Mr. Galliano gives the melodies their prominence: what stays in your head after they�re over are Rota's huge, beautiful, whistleable themes . . . it's imitative or impressionistic, approaching idealized notions of circus bands, 1950s New York jazz, the New Orleans jazz funeral . . .
there is some real improvisation here and there on this record . . . it can be startling when it breaks out . . . both Mr. Galliano and Mr. Surman absolutely throw down, hesitating and teasing and letting you hear the whole sound of their instruments. Those are the places where the record comes into its own and establishes a unique identity . . . jumpy, precise and mischievous. --Record Review / Ben Ratliff, The New York Times / 23. January 2012
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