Stigtette features Steuart on contrabass-guitars & preparations, Ellen Burr on flutes, Andrew Pask on clarinets and Sara Schoenbeck on bassoon. 'Delta' is Steuart Liebig's tenth disc as a leader and this L.A-based master-bassist and composer continues to expand his palette. You would only know his collaborators here if you were a big fan of the ever-expanding Nine Winds/Cryptogramophone/ pfMentum scene in and around L.A. Steuart is a master on that 6-string (?) fretless contrabass-guitar and never ceases to amaze with daredevil playing and intricate writing. He has utilized the talents of gifted flutist Ellen Burr on a few of his previous discs, she can also be heard on recording(s) with Vinny Golia. "hector" opens with some extremely complex modern string quartet like playing, quick and moving in layers.

This followed by two suites, "kprs" and "seven dreams about time." With no percussionist involved, Steuart plays some of the rhythmic parts on the contrabass-guitar. I dig the way different themes and combinations of players are explored, sometimes there are intricate four-part harmonies, sometimes different duos or trios will switch off. There is a section called "light cloud, dark cloud" where things slow down and different ghosts emerge and float by. On "1956-j no. 2," Steuart's lightning speed line of notes is dazzling as the rest of the trio swirl around him at half speed creating a nice contrast. Equally amazing is the way Steuart fingers bounce quickly on the strings on "dynamite's dionysian dance." Sara takes an inspired bassoon solo as Steu bangs on his unique prepared contrabass-guitar. "our lady of the illuminated hand" features some eerie prepared bass and more ghost-like hovering winds, minimal and spaciously placed. The title piece of this suite, "seven dreams about time" is quite dream-like as the pace is slowed down, the harmonies quietly rich and pensive in nature, with Steuart holding it down with somber bass drones and nimble plucked work. Most impressive is "render" with quick inter-connected layers of lines moving simultaneously. What's interesting about this is that this quartet is a completely unique hybrid, three acoustic reeds and one warm-toned (fretless) bass guitar that sound just right together as one formidable quartet, thanks to Steuart's strong composing and solid playing.
-Bruce Lee Galanter, Downtown Music Gallery