'The ECM label hosts plenty of artists who blend idioms and make big impacts without raising their voices, but one of the most captivating is Christian Wallumrod...It's old, new, manic and tranquil in seamless concordance.' -- The Guardian, (John Fordham), July 25, 2013 * * * *
'By quietly and subtly achieving the unexpected through subtle motion rather than implicit gesture, this ensemble of shifting textures and moods initially beguiles rather than impresses until you realise that the act of beguiling gradually becomes the act of impressing - quite an achievement in today's world of rebarbative overstatement.' -- Jazzwise, (Stuart Nicholson), October 2013 * * * *
'They move in small groupings at slow pace and make a big thing out of tiny details. Simple motifs carry the weight of mountain ranges.' -- The Independent On Sunday, (Nick Coleman), July 7, 2013 * * * *
'Contrasting introspective explorations with outgoing bursts of angularity, where periods of darkness and light, rounded surfaces and sharp edges, avant-informed palettes and starkly beautiful themes are seamlessly juxtaposed and combined, Outstairs is a both a welcome return for Christian Wallumrod Ensemble and the pianist/composer's most successful fusion of his multifarious musical concerns to-date.' -- All About Jazz, (John Kelman), August 26, 2013
'This is a fine album that hangs musically between many worlds of sound. If you love film sound tracks that create space, and if you like organised beauty, then this is certainly one for you.' -- The Free Jazz Collective, (Joe Higham), September 9, 2013
'Operates in the gaps between genres, using classical harmony, folk melody and jazz freedom in balance...An absorbing and thoughtful album which was initially a little tricky to come to terms with, but is growing in appeal by the listen.' -- The Jazz Breakfast, (Peter Bacon), August 1, 2013
'Calm, mysterious and slightly folky. The constantly overlapping textures, and melodies that teasingly vanish just as you grasp them, keep the ears pleasantly alert.'
--The Observer, (Dave Gelly), August 18, 2013