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Jens F. Laurson
DownBeat Magazine, April 2016

The first inclination here is to recognize that Moller is a supreme colorist. His command of instrumental combinations is fully evident throughout ReWrite. From the clustered harmonies to the meticulous overlays of woodwinds and brass to his use of the ensemble’s dynamic resources, he seems to draw from the same well that nourished Oliver Nelson’s The Blues And The Abstract Truth. But he goes further down his own path, unleashing a full complement of percussion to enhance rhythmic momentum and to add a little sonic tinsel on quieter passages. © 2016 DownBeat Magazine

Karl Ackermann
All About Jazz, February 2016

…an ambitious project, brilliantly conceived and performed by world-class artists. One need not have an affinity for Stravinsky to appreciate this bold accomplishment. © 2016 All About Jazz Read complete review

George W. Harris
Jazz Weekly, December 2015

Liebman sounds both free and under control on the 11 minute “Evocation” as horns and percussion veers back and forth. The velvety horns work well on the “Interlude” and the famed them of “Introduction” is lonely and clear. Mazur’s talking African drum adds extra texture to “Spring Square” while the drums and percussion gallop dramatically in sync as the drive up the backs of the horns on “Procession.” This might be the best results yet of melding the harmonies of classical music with the improvisations and rhythms of jazz. Bravo! © 2015 Jazz Weekly Read complete review

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