The new release from AUMfidelity, CORRIDORS & PARALLELS, unfolds a journey that surprises. The intensity of sound that comes from this quartet is nearly unsurpassable. Ware plays a volumetric tenor sax; William Parker exhibits a constant depth with multiversed technique on the bass; Guillermo Brown solidifies and embellishes and forms bridges with the drum and percussion; and Matthew Shipp becomes a predominant figure playing synthesizer.

The first one minute twenty seconds says that that this recording swings. Shipp, Parker and Brown take it from the top as they establish an amazing rhythmic base into which Ware has no trouble stepping with his reedy tenor. The rhythm has to become dense enough to carry the immense weight of Ware's tenor playing. Ware blasts his way into the scene. Parker diversifies as he is accustomed to doing with both plucking and his inimitable arco technique. Brown is extremely successful in moving from cymbal rolls, hisses and crashes to drums, drums, drums. Everyone has an equal footing.

The development of the music puts it into 'another world' territory. That is the entire intention of the recording. Its dynamic carries you from a straight ahead layout to unexpected places. The synthesizer is particularly responsible for this. The rhythm never wanes and provides the motivation to keep traveling. Ware is relentless. In fact, the quartet is relentless. Somehow, the process of this recording is similar to driving a long distance in order to reach a destination within a certain span of time. You gotta get there...so you go, just go, until you drop. Then you can breathe. As in the 37 second long Untitled Track 6. The destination has been reached. A distinctly different timbre is associated with the second "half" of the recording.

Metaphorically, it is the exploration of the place where the quartet has landed. The landscape is palpable and reasonable and rational. Yet, it makes sense to think that the final titled cut, "Mother May You Rest In Bliss", is the last place to go. The map shows the end of the road. And then all that can be done is to rest with the circumstance. The damped strike of the gong says it all.