CD & LP Release May & September 2026

Translated from French

Tradition, improvisation, creation, and exploration are key elements here in crafting an inventive, ethereal jazz style rich in reverberation and resonance—a soundscape where—let’s be bold enough to say it—every instrument is mastered by a single man. Hayes Greenfield is the sole captain here, master of his own destiny—or rather, of the sonic landscape he builds using a host of effects like soundscapes and loops to accentuate the depth of the sound. It is akin to creating a three-dimensional audio experience that astonishes and surprises, physically captivating the listener through that very depth—amplifying every note on the alto and soprano saxophones and the clarinet, creating vibrations that truly grip the audience. Yet, we must remember we are venturing into uncharted, experimental territory; the music calls for an open mind, especially when the sounds take on a spiritual or philosophical quality. Rest assured, however: the sonic reverberation returns, sometimes accompanied by deeper tones that counterbalance the more melodic, high-register reverb effects. In any case, the wind instrument work is a feast for the ears; it would be a shame to miss out on this craftsman, who single-handedly masters the entire sonic palette of this beautiful album! An artist who paints with music…

Philippe Thirionet

Though he began his career as a hard bop stylist, by the new millennium woodwindist Hayes Greenfield had taken to performing surround sound solo shows, featuring speakers in each corner of a room, looped horn performances, and encouragement to the audience to wander the space and experience the music by being deeply immersed in it. When the pandemic curtailed his live shows, Greenfield turned to software as a way to make a record that simulates those experiences. The accurately-named Painting in Sound is the result.

Using saxophones, flutes, clarinets, harmonica, kalimba, loops, effects pedals, and his own voice, Greenfield adds layers of drones, riffs, ambient abstractions, and improvisational solos, then uses his software to move the sounds as if they’re following the pathways of feet taking a body over here, or a head turning to focus over there. The spaceshifting production helps keep the listener off-balance and more inclined to experience the music as intended, without pre-supposed analysis, but it’s all in support of tunes Greenfield lays down in real time. Calling as much on the spirit of Steve Reich or that of Charlie Parker, the reedist swirls his colors together in minimalist patterns that stay steady but refuse anchors. Given the parameters and the freedom to move within them, Greenfield makes it easy to float through “Dots, Lines, and a Pinch of Bird,” “The Murals of Federal One,” and the subtly bluesy “Film Noir” as if you’re on a trip without having to leave your listening room.

Michael Toland

The CD title perfectly describes the content. Using an instrumental palette of alto and soprano saxophones, C and alto flutes, bass and alto clarinets, harmonica, loops, and related vocal effects, Greenfield sketches thirteen sonic scenes—subtitled with names like ‘A Beauty, And The Shimmering Sun’, ‘My Muse’, and ‘Micasso and Patisse’ (!). It is a meditative soundtrack with an expansive, immersive impact and mystical undertones. The accompanying text discusses the technical details.

Best listened to on headphones. It sits somewhere between Jan Garbarek’s Officium and the soundscapes of Klaus Schulze. Highly recommended for anyone who already owns Gotland by Nils Landgren and Tomasz Stanko.