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Parker wanted to locate a space between Gil Evans and Luigi Nono. The way the music travels from string-dominated sections with finely etched textures and broad, irregular intervals to ones with propulsive rhythms and multihued brass and woodwind passages, he makes good on his intentions. … This record, like its companion, goes a long way toward reconciling contemporary jazz and classical music without selling either short.
Bill Meyer, DownBeat

Drawing its inspiration from the ancient art of manuscript writing (where lines would run from left to right, then right to left, as if furrowing a field) together with a nod of appreciation to the writings of novelist/playwright Samuel Beckett and composer/conductor/music writer Nicolas Slonimsky, this involving and intricately constructed suite of music sets Parker’s role as a modern composer to the fore. Boustrophodon is also a giant step forward for jazz music that underlines the fact that it is a genre of music without limitations.
Edwin Pouncey, Jazzwise

Pianist Craig Taborn establishes an atmosphere of delicacy at the opening, and long, quiet passages of string improvising are warmed by mellow clarinet, jazzy alto sax from Anders Svanoe, Corey Wilkes’ blustery trumpet, and surging drumming from Paul Lytton and Tani Tabbal. Parker and Mitchell follow each other on the climactic solos, with the improvisers chasing each other in cadenzas near the close. It’s a triumph for Parker, who’s known a few in his revolutionary career.
John Fordham, The Guardian

Boustrophedon is the companion volume to Roscoe Mitchell’s impressive Composition/Improvisation Nos 1, 2 & 3, released last year. … Parker’s vision is an avant knees-up with jazz and folk elements to the fore. Shimmering soundscapes and orchestral slabs are the setting for knockabout improvisations with bucolic flute, Craig Taborn’s spindly piano and the leader’s fluttering sax.
Mike Hobart, Financial Times