Inspection of the cover reveals that all the pieces are, in fact, composed, four by Delbecq, four by Blaser, and three by Hemingway. Marc Chenard’s illuminating notes state that ten of the eleven selections were communicated via traditional notation on score paper. The CD cover is my only nit concerning the project, for Nuscope has gone away from their signature look that features original art, and instead used a prosaic photograph of water.
Those who have heard Delbecq’s releases on Songlines such as Circles and Calligrams and The Sixth Jump, know that he has a very unique style that utilizes some prepared piano techniques for a percussive effect, particularly in the lower register. I think that he sometimes overuses this approach, but here again the word “balance” comes into play, as he syncs up with Hemingway to establish percussion-based phrases that sound inspired by African rhythms. Elsewhere, he contributes sparkling single-note runs and even a little synthesized bass, very sparingly and tastefully, to bolster the group sound.