It has free elements, poetic depth and improvisational expressiveness. There is a new music influence that can be heard especially in some of the ravishing flute lines and guitar explorations. It's a music of mood, a quietly spacey journey through some murky green depths, a kind of drifting toward a peace of understanding, a pieced-together landscape of seaweed and seafoam.
All three collectively produce a music of originality, with Ms. Pyle's flute and quiet poetry evoking the modern art of Miro and Klee, gentle abstraction, angular lines. The three together produce a modern avant melange that goes about its way with an avant mellow-dee scape that relaxes yet is three-square in a free innovative zone, a sort of improvised jazz version of Morton Feldman's quietude. Flute, guitar and free, quiet, inner-directed percussion meld with Cheryl's recurring poetic action-imagery to set out a special place for our ears and inner imagination.
It's very easy to hear and puts one in a zone that feels good. If you come for the flute, which you should, you'll leave with a feeling of group stasis, of steady-state wonder at the mysteriousness of existence, of the floating oceanic vastness we live surrounded by.