David Wright, New York Classical Review

“Composer Cheung…cheerfully acknowledged in a program note that his piece didn’t contain much in the way of “tunes.” But the influence of jazz could be detected in each of its five movements, from the swoopy strings under the stratospheric piccolo and violin phrases of the opening bars to the graceful swing and sway of the movement that followed. [Claire] Chase’s flute played various roles in the course of the work, sometimes bold and virtuosic on top of the texture, sometimes sliding under the covers with Armbrust’s viola in the middle. The movements ranged in mood from bluesy languor to chattery recitative to long chords pocked with loud pizzicato, and the last one brought the program to a suitably brilliant close, stomping and sliding to a syncopated beat.”