The Reader 2008

With Sam Shepherd’s Floating Points project moving further away from the dancefloor and former status as king of Plastic People with every release, it seemed like only a matter of time before he made a record with an orchestra and a free-jazz luminary. From that point of view, then, the music on Promises – a single, 45-minute semi-minimalist quasi-concerto for saxophone backed by various keyboard instruments and a string orchestra recorded in what appears to be a single, live, and rather spine-tingling take – is not a huge surprise. From the point of view of how much can be done with such sparse foundations, how to bring together fairly disparate musical worlds, and how captivating a recording can be, though, Promises is astonishing.