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© Peter Lutek, 2015
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“...the stand-out performance for me was from Peter Lutek on clarinet. The range and dexterity of his playing, as well as its idiomatic authenticity, was truly thrilling and his every entry raised the intensity of the tune in play.” Tova G. Kardonne; The Live Music Report, February, 2008

“...Peter Lutek’s keening, desolate sax blowing over a shimmering wash of guitar loops, electric keys, and electronic percussion.” Paul Olson; All About Jazz, January 1, 2006

“...soprano saxophonist Perter Lutek delivers a fierce, over-the-top solo that is one of the highlights of the album.” Ken Kase; All About Jazz, October 11, 2006

“Calm and precise, he executes, and sometimes tears the ground out from under our feet.” David Fujino; The Live Music Report, September, 2005

“...the hyper-rockin’ Peter Lutek...” Stanley Fefferman; The Live Music Report, February, 2005

“Brainchild of multi-instrumentalist/composer Peter Lutek, this quintet make music skilfully balanced between freedom and precise structures. A focal point is Lutek's evocative reedsmanship, which employs alto and baritone saxes, clarinet, birdcalls and a "homemade copper-pipe-and-trumpet-bell thing." Nine of the ten pieces are from the leader's pen, and each is fresh and cliché-free. The poignant "Radiant" features a heartfelt alto solo that "radiates" longing ― a solo like this players wait years for. Opener "Seat" is intense, with stern comping from Greg de Denus and back-and-forth interplay between Lutek on clarinet and Tom Richards on trombone, plus a curious ending. "Reach" is a short, poised, dance-like song featuring elegant brushwork by Ethan Ardelli. Closely voiced lines, spiced with tasty dissonance, on "Cell" provide a compelling lead-in to the continually strong clarinet and pensive trombone. What resonates most is how individualized Engine's music is; it doesn't reminisce or allude to the Blue Note days of yore; Start is wholly its own thing. (Pet Mantis)” Glen Hall; Exclaim.ca, February 2011

“The Toronto band Engine doesn’t aim for the same visceral impact, preferring to achieve its spontaneous aims by employing jagged-edged ideas and contrasting creations suggesting off-kilter chamber jazz, abrupt shifts of mood and time, playful sounds off the conventional music map and rumbling passages suggesting a Mingus-influenced uprising. That makes Engine - Start (Pet Mantis Records PMR007 www.enginequintet.com) an interesting disc, nine of its ten tersely-titled items from reedman-leader Peter Lutek. Bandsmen, notably trombonist Tom Richards and pianist Greg de Denus, revel in the discomfort zones with bassist Dan Fortin and drummer Ethan Ardelli trolling rhythmic possibilities with verve. Best crank-turning tune among many good ones is the closing The Lawnmower, with Lutek et al at full wail.” Geoff Chapman; The WholeNote, May, 2011

This new release from multi-reedist Peter Lutek & co. is a perfect balance between modern jazz aesthetics and open-concept improvisation. A hard-hitting rhythm section (pianist Greg DeDenus, bassist Dan Fortin, drummer Ethan Ardelli) backs the frontline of Lutek and trombonist Tom Richards, who effortlessly float over, wade through, or dive right into an ocean of sound. An Ocean that is sometimes calm, sometimes chaotic, but always enjoyable to be immersed in. Right off the bat, we're presented with high-energy playing - a sporadic intro builds into a raging storm during the first half of 'Seat.' The weather calms, briefly, while Richards and Lutek adeptly improvise around a fragmented rhythm section, only to have the intensity return, full force, before an abrupt ending. Other highlights on Start include the smooth, glassy beauty of ʻRadiantʼ, which features exceptional, melodic soloing from both horns, and the angular and dissonant 'Cell.' The record ends just as strongly as it started, with 'The Lawnmower.' As you might expect, itʼs loud and propulsive, with the band showing no restraint. This engine is certainly a powerful one. Itʼs not so crazy that it will turn away the casual listener, yet itʼs crazy enough for those with the most adventurous of ears to be able to appreciate and enjoy it.” Matt Fong; Spontaneous Combustion Magazine, May, 2011